John Lennon's music will live on forever (1980年遭槍殺).小野洋子（Yoko Ono Lennon，1933-）"Art is a way of survival" .森英惠Mori Hanae1926－2022

John Fan Worldwide  · 

As a fan of The Beatles, diving into the story behind “Lucy in the Sky with Diamonds” is like exploring a magical portal into their creative world. This iconic track from the *Sgt. Pepper’s Lonely Hearts Club Band* album (1967) often sparks curiosity because of its surreal imagery and rumored connections to psychedelia. However, the true inspiration for the song reveals a much more personal and grounded origin.

John Lennon, the principal lyricist of the song, once shared that the idea came from his son Julian’s drawing. Julian, just four years old at the time, brought home a picture he had drawn of his school friend, Lucy O'Donnell. When asked about it, Julian described the artwork as "Lucy in the sky with diamonds." Lennon found the phrase captivating and used it as a springboard for the song’s dreamlike lyrics.

The imagery in the song is undeniably whimsical and otherworldly, referencing "tangerine trees," "marmalade skies," and "a girl with kaleidoscope eyes." Lennon explained that his words were inspired by Lewis Carroll’s *Alice in Wonderland*. Carroll’s playful and nonsensical style left a significant mark on Lennon, shaping much of the song’s fantastical tone.

Despite this charming backstory, the song has long been associated with LSD due to its initials spelling out the drug's name. While Lennon repeatedly denied that the song was written with drug use in mind, the association persisted, especially during the counterculture movement of the 1960s. Paul McCartney later admitted that LSD had influenced their music during that period, but in this case, the title’s origin was purely coincidental.

For fans, “Lucy in the Sky with Diamonds” represents the perfect blend of The Beatles’ imaginative artistry and their ability to craft songs that transcend literal meaning. It’s a testament to how everyday moments, like a child’s drawing, can transform into timeless art when filtered through creative genius.

Lucy O'Donnell, the real-life inspiration behind the song, later spoke about her unexpected connection to one of the most famous tracks in music history. Sadly, she passed away in 2009, but her legacy lives on in the song that continues to captivate listeners around the world.

For Beatles enthusiasts, the story of "Lucy in the Sky with Diamonds" is a reminder of the magic in blending the ordinary with the extraordinary—a hallmark of the band’s enduring appeal.

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John Lennon left us, on this day in 1980. He was 40 years old. His music will live on forever.

"Art is a way of survival"

- Yoko Ono

via WomensArt//twitter

維基百科，自由的百科全書

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森英惠
攝於1974年
原文名	森 英恵
羅馬拼音	Mori Hanae
出生	1926年1月8日  大日本帝國島根縣鹿足郡六日市町（現吉賀町）
逝世	2022年8月11日（96歲）  日本東京都
國籍	日本
母校	東京女子大學
職業	時尚設計師
知名於	森英惠品牌創始人
配偶	森 賢三
兒女	2
獎項	褒章、法國榮譽軍團勳章、文化勳章

森英惠（日語：森 英恵 ^{Mori Hanae}，1926年1月8日－2022年8月11日），是一名日本時尚設計師。

生平[編輯]

1951年創立自己的同名品牌，是史上兩位在巴黎和紐約時裝舉行發布會的日本女設計師之一。她的高級服裝定製品牌也使他成為歷史上首位巴黎高級時裝協會的亞洲女性成員。

森英惠的設計以蝴蝶為靈感，有時尚界的「蝴蝶夫人」之稱。^[1]她的著名客人包括日本皇室雅子皇后（她在1993年與皇太子德仁結婚時穿的婚紗便是森英惠的作品）、日本航空、1992年夏季奧運會日本代表團、美空雲雀、南希·里根、希拉蕊·柯林頓及格蕾絲·凱利等。^[2]

1996年獲日本政府頒發文化勳章，法國政府於1989年與2002年頒贈法國榮譽軍團勳章^[3]。

2004年巴黎時裝週為森英惠最後一次第一線參與，之後她以培育年輕一代的設計師為主^[3]。

2022年8月9日，森英惠病倒，8月11日在自宅逝世，享耆壽96歲^[3][4]。

Wikipedia
小野洋子（日語：オノ・ヨーコ，英語：Yoko Ono Lennon，1933年2月18日－）是日裔美籍音樂家、前衛藝術家，約翰·藍儂（John Lennon）的第二位妻子。她出生於東京的一個富有家庭，其先祖是立花宗茂的重臣小野鎮幸。她的名字常錯譯為大野洋子。在日本，她的名字與其他日裔人士一樣通常以片假名オノ・ヨーコ表示。
她14歲時全家遷居紐約。20世紀60年代初，她在文學、哲學和電影創作等方面引起廣泛影響，成為激浪派重要代表人物。1970年，她出版了著名詩集《葡萄柚》（Grapefruit），執導電影《羽化登仙》（Apotheosis）和《FLY（飛）》（也譯作《蒼蠅》）。她擅長製造藝術事件，打破人們的習慣性思維，讓人們對現有的世界觀提出質疑。
約翰·藍儂曾經這樣描述自己妻子：「世界上最有名，卻最不為人知的藝術家：每個人都知道她的名字，可沒有人知道她做了什麼。」。在披頭四時代晚期，她和約翰·藍儂的合作了第一張作品，名為《兩個處子》（Two Virgins），隨後又組建了「塑膠小野樂團」（Plastic Ono Band）並繼續合作了許多音樂作品，其風格皆與披頭四的風格差異極大。官方網站

80歲的小野洋子女士到底在做什麼？

JACOB BERNSTEIN 報道 2013年01月29日

Michael Nagle for The New York Times

9月，小野洋子在Lady Gaga的香氛發佈派對上。

“這個是上衣，你看，這個是褲子，”小野洋子說，“這是我想作為重點的。要好好強調。”
此時是上午10:45，一個不久前的秋日，小野女士坐在SoHo區時髦的時裝商場“開幕典禮”後面，戴着太陽鏡和她標誌性的禮帽（如果你想知道的話，可以告訴你是三宅一生牌的），她給一個記者展示自己的一系列草圖，這是她拿給這裡的設計團隊合作用的。

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Diane Bondareff/Invision, via Invision For Hard Rock

小野洋子（中）在時報廣場參加一項反對兒童飢餓的慈善活動。

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Mireya Acierto/PatrickMcMullan.com

小野女士在布魯克林博物館接受女性主義藝術中心頒發的榮譽。

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Lloyd Bishop/NBC

小野女士和兒子西恩·列儂（中）與吉米·法倫在「吉米·法倫深夜秀」上。

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Emmanuel Dunand/Agence France-Presse — Getty Images

小野女士和某俄羅斯女子朋克樂隊成員的丈夫在一起，她把自己的和平獎授予了這支樂隊。

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Opening Ceremony

小野女士與"開幕典禮"的溫貝托·梁在一起，她為梁的品牌設計男裝。

她強調的那些褲子在褲襠處碰巧有個洞，至於她所說的“要好好強調的部分”……好吧，你懂的。
小野女士指着另一張草圖，衣服上面繪着箭矢，指向乳頭部位，旁邊的說明上寫着：“用來插（鮮）花的孔。”
過了一會兒，一個助理拿來一些護膝，上面畫著眼睛。幹嘛要費勁去問它們的設計意圖呢？已經足夠說明問題了，小野女士的目標消費者人群顯然不是國家橄欖球聯盟的成員。
小野女士是新近才以名人姿態加入設計界，但她做男裝的想法最初來自於60年代她與約翰·列儂(John Lennon)相愛的時候。她喜歡他的樣子，不管他穿不穿衣服都一樣。但她不喜歡女人總是被時裝設計師當做性慾客體。
“男人總希望我們看上去漂亮，然後把衣服都脫下來，”小野女士說，“我們卻從來不能以同樣的方式享受男人的性感美。”
她想在這方面做點什麼，但只是發現她在男裝方面的品位與這個世界無法同步。
當然，時代在變。大量女人開始走出家門工作。時尚的界限在模糊。同性戀已融入主流。男人的身體也成了麥迪遜大街的商品。
小野女士則在70多歲的時候和年輕的時尚界人士們交上了朋友，他們不把她當成拆散了“披頭士”的女人，而是一個很酷的年長女政治家，能令人回想起被金融界人士佔領前的舊日紐約。
因此，3年前她在東京遇到“開幕典禮”的創始人之一溫貝托·梁(Humberto Leon)，告訴他自己很久以來就有做男裝系列的夢想，他馬上就抓住了這個合作的機會。
“她一直都很激進，”梁先生說，“她總在挑戰事物的邊界。”
梁先生鄭重表示，這其中他最喜歡的的是一系列掛着鈴鐺的衣服。
“其中有一件配有樹脂項鏈，上面掛着兩個鈴鐺，垂在胸口，裡面刻着‘為媽媽搖一下’的字樣，”他說。
還有一條黑色皮帶，上面刻着“別摸我”，肚臍部位掛着一個鈴鐺，用來擋住當真有意動手動腳的人。
“我覺得它們會讓人們興奮的，”梁先生說。
它們是不是有點傻氣？可能吧。但是這一時裝系列的推出正值小野女士在藝術與文化界實現自己重大復興的時刻，她如今仍然住在紐約上西區的達科塔大廈。
作為一位視覺藝術家，她已經獲得了廣泛的讚美。6月時，倫敦的蛇形畫廊(Serpentine Gallery)舉辦了她的作品回顧展。去年夏天奧運會期間，她和倫敦的塞爾福里奇百貨公司合作製作了一個公共藝術裝置“想像和平”(Imagine Peace)，該作品在播放奧運會閉幕式上播放約翰·列儂演唱《想像》(Imagine)的錄像時達到高潮。9月，她回到紐約，在時代廣場上與藝術作品基 金會(Art Production Fund)合作，製作了一個錄像裝置。
與此同時，小野女士一直都在新聞中亮相，她參與反對世界飢餓的鬥爭，並把自己的年度和平獎頒發給Pussy Riot這個俄羅斯女子朋克樂隊，其成員在莫斯科被判處流氓罪。
“我知道挨餓的滋味，”上個星期小野女士在時代廣場的硬石咖啡出席WhyHunger組織的慈善活動時，對《滾石》(Rolling Stone)雜誌說，“‘二戰’的時候，我還小。在我的國家裡被疏散。我們都非常餓。我只是不想孩子們再經歷這種事。”
星期三，國會圖書館宣布它將發表幾十篇前國會唱片公司（Capitol Records，原文有誤——譯註）總裁喬·史密斯(Joe Smith)與著名音樂人的訪談，其中也包括小野女士，她直率地談起“披頭士”的分裂，聲稱是林戈·斯塔(Ringo Starr)才是導致樂隊解散的始作俑者（就在前不久，保羅·麥卡特尼[Paul McCartney]也在一次採訪中說，小野女士和樂隊的解散毫無關係）。
小野女士還是紐約社交界的常客，經常參加籌款活動和時尚派對，比如9月她出現於Lady Gaga在古根海姆博物館舉辦的香氛首發式上。
這位身材嬌小、身兼多職的女人甚至還為施華洛世奇設計了一個簡單的珠寶系列，該系列在一個時裝周派對上舉辦了慶祝活動，有朱麗安·摩爾(Julianne Moore)和伊麗莎白·奧爾森(Elizabeth Olsen)出席。
再過幾個月，小野女士就將迎來80歲生日，因此這些成績還不壞。
就像她說的，她只是在做自己一直都在做的事情：努力保持活力，讓世界變成一個更好的地方。她的朋友們則說，此時正是最好的時機。他們說，中東地區的 動蕩，歐洲的經濟下滑以及美國所面臨的政治挑戰，都讓人們更能接受她那簡單而絕非諷刺的信息：彼此相愛，為社會變革貢獻自己的力量。
“我覺得她對和平的呼籲在此時尤其能引起共鳴，”布魯克林博物館的伊麗莎白·A·薩克勒女性主義藝術中心的館長凱瑟琳娜·莫里斯(Catherine Morris)說，該中心最近曾授予小野女士一個榮譽頭銜，“她長期致力於政治行動主義，令她顯得格外可信。”
藝術作品基金會的創始人多利恩·萊曼(Doreen Remen)同意這一看法，“世事日益混亂，當我們不得不做出決定，並為自己的行為負責時，卻被推向邊緣，她的作品說出了這一點，就像一張路線圖一樣。”
事實證明，小野女士也根本不想停下腳步。
比如，她和自己37歲的兒子肖恩·列儂(Sean Lennon)最近創立了“藝術家反對液壓破裂法”(Artists Against Fracking)的組織，旨在反對這種鑽孔開採天然氣的方法。小野女士的信息是她典型的風格，帶有一絲天啟般的氣息。
“從根本上說，如果不為此做點什麼，我們大家都會死，”她說。
還有，她正在完成一張新專輯，它將會是一張折中之作，帶有“布魯斯、搖滾、硬搖滾、輕搖滾等不同風格，”小野女士說。
這張專輯也是與她的兒子合作完成的，小野女士對合作很滿意，因為一方面她覺得他是非凡的天才（“作為母親我很幸運，因為懷孕時我自己都不知道，然後他就來到了這個世界，我的專輯則得到了一個優秀的音樂家”）；而且她認為他對“現代技術”有卓越的掌控能力。
也有人告誡小野女士不該同兒子合作，說這是為人父母最不該做的事情。但她卻沒有被嚇倒。
“用這種方式和兒子相處很愉快，”她說，“因為簡單來說，30歲之後他們就有了自己的生活。”
小野女士的意思好像是說，把兒子列入付酬名單是讓他給自己回電話的好辦法。另外，這一天結束時，小野女士說，她的兒子一直都知道誰才是老闆：“當然是我，不是嗎？”

本文最初發表於2012年11月29日。
翻譯：董楠

 

The World Catches Up to Yoko Ono
By JACOB BERNSTEIN January 29, 2013

“THIS is the jacket, and you see, this is the pants,” Yoko Ono was saying. “This is what I wanted to focus on. Accentuate the good bits.”
It was 10:45 a.m. on a recent fall day, and Ms. Ono was sitting in the back of the trendy fashion emporium Opening Ceremony in SoHo, decked out in sunglasses and one of her trademark top hats (Issey Miyake, in case you’re wondering), and showing a reporter a series of sketches she’d submitted to the design team she was working with there.

As it happened, the pants she was focused on had a hole where the crotch normally is, and the good bits to which she was referring ... well, you get the point.
Ms. Ono pointed to another sketch, this time with arrows pointing at the nipples, and directions that read: “holes to put flowers (fresh) in.”
Moments later, an assistant brought over kneepads with eyes drawn on them. Why bother asking what they were designed for? Suffice it to say, Ms. Ono’s target demographic does not appear to be members of the National Football League.
The newest celebrity entrant into the design game first had the idea of doing men’s clothing when she fell in love with John Lennon in the 1960s. She adored the way he looked, both dressed and undressed, and was somewhat perturbed by the fact that it was almost always women who were sexually objectified by designers.
“Men were always wanting us to look good and take off everything,” Ms. Ono said. “And we were never able to enjoy men’s sexuality in that way.”
She considered doing something about it then, only to realize that the world was not exactly in sync with her sartorial predilections.
Times, of course, changed. Women went to work in droves. Fashion boundaries blurred. Gay men and lesbians became mainstream. The male body became a Madison Avenue commodity.
And then, as she entered her 70s, Ms. Ono made friends with young fashion types who regarded her not as the woman who broke up the Beatles, but as an elder stateswoman of cool; a reminder of what New York used to be before it was taken over by hedge fund types.
So when she met Humberto Leon, a founder of Opening Ceremony, in Tokyo about three years ago, and told him that she had long dreamed of doing a men’s wear line, he jumped at the chance to work with her.
“She’s always been a radical,” Mr. Leon said. “She pushes boundaries.”
Mr. Leon’s favorite pieces, for the record, are a series of garments with bells hanging off them.
“There’s one that’s a plexi-necklace you wear with two bells attached and it’s placed where your breasts might be,” he said. “And inscribed underneath it says, ‘Ring for your mommy.’ ”
Another is a black leather belt that says “don’t touch me” and has a bell near the bellybutton to ward off those who might be inclined to do just that.
“I think people are going to be really excited by them,” Mr. Leon said.
Are they a little silly? Perhaps. But the collaboration comes at a time when Ms. Ono, who still lives in the Dakota on the Upper West Side, is experiencing a major renaissance on the art and culture scene.
As a visual artist, she has garnered wider appreciation. In June, a retrospective of her work was held at the Serpentine Gallery in London. During the Olympics last summer, she collaborated with Selfridges, the department store in London, on a public art installation, “Imagine Peace,” that culminated with footage of John Lennon singing “Imagine” during the closing ceremony. By September, she was back in New York for a video installation in Times Square in collaboration with the Art Production Fund.
Meanwhile, Ms. Ono has been all over the news, helping to fight world hunger and bestowing her annual peace prize on Pussy Riot, the female punk group from Russia whose members were convicted of hooliganism in Moscow.
“I know what it means to be hungry,” Ms. Ono told Rolling Stone last week, at a benefit for WhyHunger at the Hard Rock Cafe in Times Square. “In the Second World War, I was a little girl. I was evacuated in my country. We were very hungry. I just don’t want the children to have that experience.”
And on Wednesday, the Library of Congress announced that it was releasing dozens of interviews between former Capital Records president Joe Smith and music luminaries, including ones with Ms. Ono where she candidly discussed the split of the Beatles and claimed it was actually Ringo Starr, who initiated the breakup of the group. (Those interviews comes after a recent interview Paul McCartney gave in which he, too, said Ms. Ono had nothing to do with the band’s demise).
Ms. Ono has also become a frequent presence on the social circuit in New York, attending fund-raisers and fashion parties, like the one for the debut of Lady Gaga’s fragrance at the Guggenheim Museum in September.
The petite poly-hyphenate even started a capsule jewelry collection for Swarovski, a collaboration that was celebrated at a Fashion Week party attended by Julianne Moore and Elizabeth Olsen.
Not bad, given that Ms. Ono is just months away from her 80th birthday.
As she tells it, she is simply doing what she’s always done, trying to stay active and make the world a better place. And as her friends tell it, there’s no better time. The unrest in the Middle East, the economic downturn in Europe and the political challenges here at home, they say, have made people more receptive to her simple, unironic message about loving one another and doing your part to bring about social change.
“I think her message of peace is resonant right now,” said Catherine Morris, the curator at the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, where Ms. Ono was honored recently. “Her longstanding commitment to political activism gives her credence.”
Doreen Remen, a founder of the Art Production Fund, agreed. “As things get more and more chaotic and we are being pushed to the brink when we have to make a decision and be responsible for our own actions, her work speaks to that,” she said. “It’s a road map.”
And, as it turns out, Ms. Ono is nowhere near taking a break.
For one, she and her son, Sean Lennon, who is 37, recently started Artists Against Fracking, a group opposed to that method of drilling for natural gas. In typical form, Ms. Ono’s message has an apocalyptic edge.
“Basically, if we don’t do something about it, we’re all going to die,” she said.
For another, Ms. Ono is finishing an album. It will be an eclectic offering, with “blues, rock ‘n’ roll, heavy rock, light rock, all different styles,” Ms. Ono said.
It, too, is a collaboration with her son, which Ms. Ono relished both because she thinks he is an extraordinary talent (“I’m very lucky as a mother because I didn’t know when I impregnated him and he came out in the world that I was getting a good musician for my albums”) and because she saw him as having a vastly superior command of “modern technology.”
Ms. Ono heard from people who said she shouldn’t work with him, that it’s the worst thing you can do as a parent. But she was undeterred.
“It’s a nice way to meet up with your son,” she said. “Because it’s getting to a point where, after 30, they have their own lives.”
Putting him on the payroll, Ms. Ono seemed to be saying, was a pretty good way to get her phone calls returned. Moreover, at the end of the day, Ms. Ono said, her son always knows who the boss is: “Of course, me. Excuse me?”