On the radio

 June 9, 1971 

For Your Ears Only (1966)

 

For Your Ears Only

By Biff Bennett

Calgary Herald

May 24, 1966

    You might like to hear the details, although it happened a year ago, of what is generally regarded as the most successful radio April Fool's prank in Canadian radio. It happened on April 1, 1965. It was all the brainchild of Dennis Corrie (the Irish product who handles the 1-4 show each afternoon). So successful was it that the publication Canadian Broadcaster was moved to make special mention.

     To set the stage for the story, Dennis had just arrived here at CKW in Winnipeg, and he arrived with about six hours of tape of interviews with the Beatles that he had collected over the years. In a burst of inspiration (even now he can't recall what prompted it), he decided that the tapes were the basis for an immense practical joke. What he would do was edit the tapes, prepare his own questions which would be geared to the vocal answers of the Beatles, and presto! Announced to the April 1 audience that the Beatles were in Calgary.

     It took two weeks to edit the tapes, splice in the proper questions, dub in background noise, and duplicate them. To show you how meticulous the program was, they recorded music at the McFall Field terminal. Only a few people on the staff were let in on the secret, and to get the radio audience into the proper frame of mind, it was cited to make no advance mention of April Fool's Day. Normally, about that time of year, interesting little bits of April Fool's nonsense make news, but we used none of that, just to keep the listeners off guard.

     It wasn't until 7:25 in the morning of April 1, 1965, that we broke the story. Clarence Mack, then handling the morning show, tossed out the information that it was rumored that the Beatles had made a surprise visit to Calgary. That kicked off a response that even we hadn't anticipated. During the day, we ran six interviews with the Beatles, the same interviews that had been so laboriously put together in our studios weeks before, and they were put together well. You'd have sworn that our men in the street were actually interviewing the Beatles at McCall Field. 

    Mobs of students raced to the airport to see the Beatles, so much so extra police had to be detailed at the airport. They finally had to take the phone off the hook, and our own switchboard here at CFAC almost had a nervous breakdown trying to handle all the calls. We felt we'd really done a realistic job when another radio station in the city (I can't remember the name at the moment) sent one of its cruisers out to the airport to interview the Beatles. I might as well be honest and say that gave us a fair amount of satisfaction.

     Anyway, it was good fun, especially when something like that can be done on a day everyone is prepared for. And we didn't press our luck on April Fool's Day past. We played it straight all the way. The next year, who knows?

On the radio again

 October 16, 1980 

John hearing "(Just Like) Starting Over" on the radio for the first time. 

Swedish Radio (George 1975)

 

Swedish Radio Interview

Early 1975

The Harrison Alliance May/June 1975

Transcribed by Jennie and Pattie

George:  M-A-Y, with a line over the A.  M-A-Y-A -- Maya. When you translate it literally, 'that which is not.' Maya, you know, it's like, I'll just go back. I'll try and do it quickly to go back into the thing of meditation, the thing that I learned.  It's like to say this state of consciousness we're in is only the effect of some very subtle cause. So it's like to say, this is what the Maharishi used to demonstrate. He'd have a flower, and he'd say, 'You see, there's a stem, then the leaves and the petals and all the pieces of the flower. The stem is made of sap. The leaf is made out of sap. The petals are made out of sap. It's all sap. See, the cause is sap, but the effect is petals, leaves, and stems.

     See, so this is very, in some ways. It's quite a deep, sort of philosophical thing. Usually, what I would do is write a song, the melody, and usually get the idea of the words. And even sometimes write them all at the same time. The words I usually have to think more about than the music. And sometimes I can write a whole song musically with, say, one verse and chorus, and then I'll leave it and then come back and finish off the other verses.

 Interviewer: Yeah, I think that your verses are getting more and more complicated. I mean that in a good way.

 George: Yeah.

Interviewer: More and more thought out. You know?

George:  I don't know.

Interviewer: And that's lots of-- they circle around. You know?

George:  I like the things to mean a lot of different things at the same time.

 Interviewer: Yeah, that's what I was trying to say, right? 

George: Yeah, I like that. But....

Interviewer: There's a double meaning.

George: Yeah.

Interviewer: What about "Bye Bye, Love?" What did you do? Why did you do that one?

George: That?  I'll tell you what happened with that. When I was just at home playing the guitar with Tommy Scott. Well, Tommy Scott's a sax player. He was playing the bass, and I was, well, we were just thinking, sitting around the fire playing a song, and we started playing. And like, for some reason, I changed. I just started singing "Bye Bye, Love", but I changed the melody into more of a sort of blues. You know how it goes, (sings) "Bye Bye, love, bye bye, happiness."  I changed it to (sings his version) "Bye Bye, love, bye bye, happiness", it's more like it's making it mine, and it's more sort of a blues thing. And we just played for that, you know, for a while. 

And for some reason, it just stuck in my mind, and I decided that it would be funny to record. As I was recording it, I just did it all on my own, you know, that was great for me. I got a studio, a recording studio in my house, so I didn't have to get engineers or anything. So I just did it like that. I have a rhythm machine to keep the time, and I just played it on the guitar. Then I later added the drums and all, well, you know, the bass, the synthesizer, and all that. So it was a good exercise for me, and recording without any help. So then I got more involved with it. I started writing more words about what was happening with my wife, and that was it. 

Interviewer: Does she mind?

 George:  No, she loved it!  I sent Eric and Patty a copy of it. Yeah. They loved it. 

Interviewer: Yeah? Because the papers, you know, they all tried to make a big deal out of it. 

George: Well, you know ....

Interviewer: You know, a revenge thing. 

George: No, well, because look, if you have -- if you're split up with your wife, they automatically want you to hate each other so that they can write about it.

Interviewer: ...to make it a better story. 

George: So that song spoils it for them, because they're always trying to catch you doing something. So I learned from the past that if you have something to hide, I would make everything so that there's nothing to hide anymore. You know, I've never had a private life for 10 years. So, I mean, I just get used to it. So the thing that the press doesn't understand, that they can't understand, is that I could be happy that she's with Eric. 

 Interview: No...

 George: He is one of my best friends. Well, why not? That's fantastic. I mean, I was just with her yesterday or  the day before. You know, we're great friends. I love Eric. You know?

The  last time I was in Sweden was with Delaney and Bonnie.

 Interviewer:  I saw that concert. 

George:  Yeah? with Eric ...

 Interviewer: They were in Stockholm in concert. 

George: Yeah, we played Stockholm and Gothenburg.

Interviewer: It was great!

George: Yeah, I enjoyed that. I enjoyed being in a band. The only problem for me is, if I'm the leader of the band, you know, it's hard because there's so much pressure to put on if you're at the front.

 Interviewer: Yeah, do you ever miss the old times of being in a band, of being with the Beatles?

 George: Well, I don't know. I miss ---  I think all the Beatles miss playing in a band, but not necessarily playing in the Beatles, because that was, well, that was a long time ago. Now the times have really changed. You know, four people in a band, it was really hard. We'd be playing concerts to 20 people up to 70 you know, we had 20,000 to 70,000 people in those days. They didn't know how to mic everything.

 Now you can play with little amplifiers and put it through the sound system and get good sound. But in those days, we just had little amplifiers. And, you know, there were 20,000 people shouting at us. You couldn't hear a thing, and it was frustrating. Now, the audiences are better. They listen more. But the Beatles, it was very limited, because, I mean, our music -- even the last Beatles tour, it was a bit difficult trying to play things. 

I remember trying to do things like" Paperback Writer", which we got into eight track recording. And, you know, it was hard to play with four -- just two guitars, a bass, and drums. To play things like "A Day in the Life" or you know --  "Strawberry Fields Forever." We couldn't do that because it was a studio recording. So you get a better chance of doing it if you have a few more people in the band.

 So that's why I just love this band I was with. It was fantastic. You know, there were horn players, and it's nice to feel a good band behind you. 

Interviewer: What sort of music do you listen to yourself, if you have time?

 George: Well, I'll tell you, I like the Indian classical music. That's my main thing. But then I like after that --I like some blue singers, well, I prefer the old blues, you know, from around the 1930s. And out of the popular, you know, out of the modern, all today's people,  I just love Smokey Robinson, you know? Smokey Robinson -- there's a lot of stuff like that. You know, there's a lot of Tamla and Motown, and I like Bob Dylan and the Band. There's all kinds. There's so much really, but I think I prefer Smokey Robinson, Bob Dylan, and Indian classical music.

RKO General Radio Network Special of the Month (Interview with George & John 1974)

RKO General Radio Network Special of the Month Interview

December 1974

New York City

May/June 1975 Harrison Alliance

Transcribed by Angela Stellato

    The dark Beatle, the mystical Beatle, the slender guitarist who went to India with three other young musicians and came home with Hari Krishna; the Eastern Beatle, who staged a concert for Bangla Desh and raised a fortune for a country in despair. This is our special of the month. An hour with George Harrison and his surprise guest, John Lennon.

 The Tour. 

GH:     I felt, probably for three years, that this tour, you know, subconsciously, I felt it, the presence of this tour, in my subconscious, and it's been like bubbled deep down, and it's slowly been bubbled up to the surface. It's like a lot of forces and energies, you know? I don't really know.

     I mean, in a way, I decided to go on tour. I suppose you could say that, but in reality, it was like just outside energies and maybe subconscious desires, or, I don't know, but whatever it was, I felt it was coming for three years, and when it finally came, I thought, 'What am I doing? What am I doing?' It's mad, really mad. Such a big tour, because I didn't want to do the same thing. Like, you know, those hectic, really crazy tours, like in the old days, where you'd be left in a room for eight hours and they'd throw you a Hershey bar occasionally, when they remembered. I thought we'd do a tour play, maybe 10 cities, and take a lot of time to go to those 10 cities, maybe take two or three days off in between each city, so I could see a little bit of America. Maybe would go by camper or by train or something like that.

     Instead, it just got to the point where I thought, 'Well, if I'm doing it, I might as well do it', you know, in one shot, because once you get into motion, might as well do as many as possible. I have no idea who wants to see me and who doesn't want to see me. Which cities to play, what cities not to play. I just have a lot of concepts which I want to get rid of and which I'm getting rid of.

     Like one was when we went to Dallas or Houston, Texas, on the old Beatle tour. I remember both years, the first year we went to Dallas, we almost got killed. The second year, when we went to Houston, we almost got killed. So my concept of Texas has been wherever I go, I'm not going to Texas because it's so mad. You know?  I just remembered what happened there. And so I played, where was it I played? Oh, Fort Worth and Houston. And it was amazing. The change in five or six years in people's consciousness. It's incredible. I mean, it's like, say, four years ago, five years ago in San Francisco or Los Angeles. It's like that now in Texas; the feeling of the people, their appearance, and their behavior. It's great. You know, it was one of the really nicest shows. Fort Worth was really nice. And Houston, I really-- they're just--- I didn't have any of that old fear that I thought I might have.

     About what my feelings were about the tour, which I can relate the same answer to this thing about before, and that is that it just didn't have enough time. I've been so busy working this year that if I'd sat back and thought about it, I would have been petrified. I wouldn't have been able to do it. There have been moments where I thought, you know, a little bit of negativity has crept in and I have to try and squash it immediately because, well, you know, it's like Lord Buckley. He said, I don't know if you know Lord Buckley, but he said, (This is relating to what I'm talking about), but he's talking about love. He says it's like a beautiful garden. When you use it, it just grows and blooms, but when you don't, it recedes. So positive and negative is like that. It's like when you use a positive thought, it just blossoms, and it seems to uphold. And when you get negative and down, it just comes like creepers to strangle you.

 The First Family. 

GH:      We were just playing Salt Lake City, and during intermission, or between the two shows, somebody said, 'President Ford's son is here, and is it okay to bring him backstage and meet you?' And I said, 'Sure, sure'. I mean, I'll meet anybody. You know? They don't have to be the president's son, because I don't have any idea of the First Family or anything about President Ford. The only impression I had of him was that he was a person who was put in a job which he didn't particularly want, and maybe he really didn't need it all. In fact, he probably-- like the saying-- he needed it like a hole in the head. So I met his son, and his son was just fantastic. His son was just really, really nice and a very good guy. In fact, I got a really good feeling from him the first time I met him.

     I got a good feeling from Gerald Ford. I met him like I'm looking at you. I could look him in the eyes and felt that he was a decent human being. And it gave me hope. You know, it gave me hope because, I mean, not only is America like one of the heaviest places around this planet, but I mean, America has such influence on the rest of the world.  It's like you take it, just to  say a radio station. Now, who's ever's running the radio station-- if he's a guy giving off orders or giving a feeling to the member of the staff, it comes from the top. You know? If the Secretary is unhappy about the way things are going, you usually can trace it back to the top. If there's a good spirit in an organization or a business, it's usually because, from the top, the feeling is coming through. So that's what gave me hope --for America and for the world, because the world is influenced a lot by America.

 Current Records

GH:     I must say, there are so many records that I don't ever hear, Uh not because I don't like them, but because  I don't either hear them, or I don't have time. I'm so busy making records. I recently bought the new Maria Muldaur record because I liked something about her on her first album, the Reprise album. Maybe it wasn't her first overnight success, but the one I bought was the new album. I just got stuck on a track called "Cool River." And if you're listening, Maria, I love it. It's just makes me want to cry. "Cool River." I don't know if you've heard that. It's on her new album. But I read somewhere in the review of the album that she never wrote the song herself. Somebody else wrote the song. But I just love that song, except for one line in the second bridge, she says, 'I have tried praying to God and His saints on high, but they don't hear me.' The only thing was, if I did a cover version, I'd have to change that line to 'I've tried praying to God and His saints on high and I know they hear me.'

 Sue Me, Sue You Blues

GH:     It's taken a long time being sued over that song, "My Sweet Lord". I'll tell you how I wrote the song. I went up to see Delaney and Bonnie and friends, which was with Eric Clapton. He was one of the friends playing at the Albert Hall in London. Sometimes you go to a show. I don't know. I feel this as a musician. I go to a show, and I know this must be going on while I'm doing the show now in America, sometimes I go to a show and I think, 'Wow,' you know, 'I'd just love to be up there playing with them. This is really nice.'  And other times I think, 'Ooh, I'm glad I'm not in that band.' 

    But Delaney and Bonnie and friends with Eric, it was so good, you know? It was like coming home. All that was their first album when they had everybody. They had Jim Gordon and  Carl Radle, and they had Bobby Keys and it was a good band. It was a really good band at that time, Delaney and Bonnie -- it was great. They played really well.

     And I sat there with the Ringo in a box at the Albert Hall. I just thought, 'Wow', you know, 'I'd really-- that band's great. I'd really like that.' And the next day, they just pulled a bus up outside my house and said, 'Come on.' I got my guitar and went and did a tour of England, and then I went around Europe to places, and I remember Eric and Delaney and Bonnie were doing interviews with somebody, and I think it was either Copenhagen or Gothenburg. It was somewhere in Sweden. I was so thrilled with it, with "Oh Happy Day", it really just knocked me out, you know, that idea, that song, and I felt a really great feeling of the Lord, you know? And I was thinking, 'Oh, I'm gonna write an 'Oh Happy Day' song.'  "My Sweet Lord."

     So they're suing me over a song written by a guy who died a while back, who I'd never even heard of anyway, although I knew the song. I'd heard the song, and the problem being that I wrote "My Sweet Lord" in the dressing room while Delaney and Bonnie were being interviewed. It turned out to be not an "Oh  Happy Day" after all, it turned out to be more like a song that the Chiffons did-- "He's So Fine." --"It takes so long, my Lord,."

    That was the quickest thing I ever wrote. No "Ding Dong Ding Dong" was the quickest song I ever wrote. It took me three minutes, except for it took me four years of looking for a thing, "ring out the old ring in the new ring out the false ring in the true" before I realized it was a hit song. And I'm being a bit, precocious saying "a hit song", because it is so-- I mean, it makes me laugh. You know, it's just so simple -- which reminds me again of Lord Buckley. He says it was just like a jitterbug. It's so simple, it evaded me. Well, that song evaded me for four years.

 Enter John

GH:  Let me introduce you to the one and only. John Lennon. You're just coming in here  to shout things, talking about the Beatles.

JL: What's that? 

GH: Anyway, we remember now. I remember this. I remember this. Now we made a record, and John wrote a song which was quite similar, and we did it as an album track and avaded or avoided making it into the next single. In fact, he gave it to some people who no one's ever heard of. That song was, "There's a Place". Remember? (singing)  'There's a place. La, la, la.'

JL:  I never heard it that way! (laughs) 

GH: But somebody else did it as a single but we just played it on the album.  But it was like the one before it, the mouth organ and the bit.

JL: Yeah, I did one about when you change, you know. They attacked the Stones who've  just made one of the greatest albums that they ever made, mixing in, like the beauty, and saying it's the same old stuff. It isn't the same old stuff. It's great Stones. And if you do change it, then you attack the change in it, right?

GH: Yeah.

JL: And all the audiences have been to all his shows (because I have a lot of good spies), and the critics don't like it because he's changed it. If he did it the same, he wouldn't have been attacked. 

GH: Yeah.

JL: But he changed it.

GH: There's lots that I  really thought were pretty good, and there's ones which were sensational. To try and put them into, you know, quickly to say which ones I really enjoy. I enjoyed things like 'Strawberry Fields.' I enjoyed the ones which were inventive and which were new. You know? Like I enjoyed 'Norwegian Wood' because I felt where it was  coming from. I remember, you know, I was alongside John or Paul as they were writing things. Occasionally, they might have said a line or a word, like my mother would say a line or a word which I used. But that, you know, I can think of a million times when I wrote a few lines or verses to "Eleanor Rigby" or something else too. They didn't really help me that much. John helped me as much as he said; he gave me a tip, which wasn't a real tip. It was just, you know, he was being observant, and that is what once you get in the motion of starting it, it's handy to try and finish it, complete it. 

    I remember the day when John did an interview with a certain magazine and said some things. And then I remember the day when he disagreed with what he said. But the man who interviewed him denied him the right to change his mind. Even though it was two and a half years later, he still went ahead and published something which John said he no longer agreed with himself on. Which means, the dream was over; yet certain people wouldn't allow him to have his dream over. 

JL: In other words, imagine if somebody-- if you accidentally banged your head and you shouted "OW!" And that's the end of it. Or you can go on for the next five years. And we all do that.

GH: We're all alone. Every one of us. There may be a million of us all in the same room having a party. Elton John, Duane Eddy, Duane Allman, John Lennon, and the rest. They can all be clustered in the room thinking they're all together. But there's 1000 alone people together,  and that's why  I thank the Beatles for taking me through 10 years of bad reviews in order to appreciate that it's not the reviews that count, it's the response. So at the end, it's really-- if you face yourself, you can face anything.

Another day at the airport with the McCartney family

 

January 10, 1975

With a transistor radio

 

Rockline

 May 29, 1989 

Roundtable Radio

 

February 9. 1979 -

Look it up if you have never heard Michael and George on the Roundtable program.   The show is like"Juke Box Jury," and they listen to songs and give their opinion on their songs.   It is pretty interesting. 

Say Pepsi Please

 

When the Beatles arrived in the United States in February 1964, the boys were given transistor radios that looked like a mini Pepsi Cola vending machine and said "Say Pepsi Please."    I believe all 4 of the guys were handed one, but photos and film of Paul holding his up to his ear are well known.    It was great advertisement for Pepsi and even to this day, they are called "The Beatles Pepsi radios." 

Ringo on Flo and Eddie

Much thanks to the John Lennon Lost Weekend Group on Facebook for sparking my re-interest in this story and sharing the photo.

On April 14, 1974 Ringo Starr along with Keith Moon and others appeared on the radio program known as "Flo and Eddie."    Flo and Eddie were really Mark Volman and Howard Kaylan who were part of the 1960's band The Turtle (Happy Together was their biggest hit).    When the Turtles ended, they joined Frank Zappa and worked on the film 200 Motels--with Ringo.    They discovered along the way that  for legal reasons they couldn't use the name "The Turles" or even their own names when recording music.   And so they became known as "Flo and Eddie."  

In the mid 1970's they had their own radio show with DJ Rodney Bingenheimer (who you will remember as the groovy guy that hung out with George Harrison in San Francisco in 1967) on KROQ in Pasadena, California.      42 years ago Ringo appeared at Midnight on the show  (right around teh time it was scheduled to go end) and started to take phone calls from listeners.    However, Ringo was quite drunk and uttered the F-bomb at least 15 times in a 90 second period while the pair was attempting to interview him.    Besides that Ringo caused the program to run over by 40 minutes.  The FCC got complained and looked into the matter and that was the end of the "Flo and Eddie" show.  

Beatles New Year Cake

I have to give a big thank you to Ted Hutchens who did ALL of the research on this story!   He kindly sent me the information that he found as he was researching it.    I would like to point out that Ted has a really neat Beatles display currently available for viewing at the Springfield, Missouri Library.   It has some one of a kind items, including the clarinet case that three of the Beatles autographed for a young fan while they were at Reed Pigman's ranch.    If you live in the area, it would be well worth your time to go see the exhibit.  I hope I can make it out there before it is taken down.  

Ted also runs a facebook page called "MO Beatles" which is about the Beatles in Missouri (a topic that I love---since I have written an entire book basically on this topic!)   

On New Years' Eve of 1964, a radio station from KICK radio station in Springfield, Missouri decided the best way to get the Beatles' to perform a concert in their area in 1965 was to send a cake to Liverpool.    Now I am not sure what they really expected to happen since the Beatles themselves hadn't lived in Liverpool for at least 3 years by 1965, but maybe they thought the fan club located in Liverpool would eat the cake and spread the message to the Fab 4.   Or maybe it was just a publicity stunt for the radio station....

But anyhow....a cake that was 8 foot 3 inches was baked and decorated in what was called a "Kaleidoscope of pastel colors"   It appears that the cake had drawings of each of the Beatles in circles and wished the guys a Happy New Year for 1965.     It was then put into a gold painted wooden box with Red letters that once again wished the Beatles a Happy New Year and had the names of the DJ's from KICK.    It was locked up with 7 padlocks and the keys were mailed to Liverpool separately from the cake. 

It then was loaded onto a Campbell 66 truck and was taken to the airport in St. Louis.

From St. Louis it flew on a T.W.A. flight to New York City, where it was to be put on the Queen Elizabeth and float over to Liverpool.    However---the Beatles cake never left the dock in New York.  At the time, people were told that a "shipping technicality"  stopped it from boarding the liner and that it would be kept in "cold storage" until the ship arrived back in New York on January 20th.   However, one person from that time recalls that there was a shipping strike going on during that time period and the Beatles cake "wasted away on the docks there and never made it to Britain."

Listen to me live on the wireless machine.

You all may or may not realize it, but this Sunday (March 9th) marks the 5 year anniversary of this blog!    It totally blows me away that I have been doing this for 5 years!   Think about that---it is the  same amount of time from Please Please me to the White album.  One of the things I am doing to celebrate this milestone is appear as the guest on Jude S. Kessler's online radio program, The John Lennon Hour.

I will be telling some of the stories that have appeared on this blog (ones that sway more towards John) and talking about photos and this blog!      I have never, ever been on the radio before.  So if you tune in, please keep in mind that I was nervous and little flustered, but I did my best.    I recorded the program tonight, and  I know I made some mistakes and tripped up a bit, but overall I think it will be good and it was a fun time.  

The program is on Beatles a-rama radio station.   If you don't listen to Beatles-a-rama, I high recommend it.   I like to put it on when I am doing things like cleaning the house or folding laundry because it makes the time go by faster and you get to hear a variety of Beatles music.  There are also some great programs on there, such as Jude's "John Lennon hour."

So tune in at 8:00 eastern/ 7:00 central on Sunday, March 9, 2014 to hear me on the John Lennon Hour!

If John Lennon was at the recording of the John Lennon Hour, I would have been much more nervous! 

Beatles or Bust!

A radio station van ready to head out to see a Beatles concert in 1964!

Ringo radio

Serena Torz and Ringo.  copyright Serena Torz  posted here with permission

In the mid 1980's (most likely 1984), Serena Torz met Ringo Starr at a radio station where she worked at the time.   By the look at the smile on her face in this photo, it was a great event!   I think Ringo is looking particularly handsome here.   I guess it is because it is a rare photo of him without the sunglasses!

WOKY radio DJ

John in a coon skin cap

In February of 1975, not only was John back with Yoko at the Dakota (or as John put it 'our separation was a failure'), but he was also was hitting the circuit to promote the Rock n Roll album.    On February 13 he found himself at WNEW in New York on air with Scott Muni.   You can hear John on the radio that day right here.   
The two photos from the radio station come from the book "ticket to ride" by Denny Somach and the one with the fans is from the March/April 1975 issue of  "the Write thing."     Michael Stanikowits wrote a short paragraph about meeting John after the radio show for The Write Thing.  Here is what he said:

Guess what?  Karen and myself met John again outside Yoko's apartment (Feb 13).  He gave an interview on the radio, and of course we went down there.  He was dropped off by a limo by himself and we jumped out of the car and talked and took pics of him.  We have one of John, Karen and myself, taken by another friend.  He looked really fine - wearing a Davy Crockett type of hat and jeans and all.  We told him of June 12th (the write-in campaign) also.

Photos of John at WFIL

I just posted some video footage of when John Lennon was at the Philadelphia radio station, WFIL in 1975 and now here are some photographs of the occassion. I have previously posted pohtos from the Helping Hands Marathon that were taken of John with fans outside of the radio studio. Here are some taken on the inside.

I wish I could have been there. Was anyone who reads this blog there the day John co-hosted the radio station?