The Sporadic Beaver
June 19, 2018
Este es el musical chileno inspirado por Nowhere Man. Puede leer sobre ello aquí.
This is the Chilean musical inspired by Nowhere Man. You can read about it here.
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I invite you to join me on Facebook or follow me on Twitter.
April 9, 2018
Yo acepté ese encargo sabiendo, que podría ejecutarlo en un espíritu que fuera verdadero para John. La historia de los diarios es la historia que cuento en Nowhere Man: Los últimos días de John Lennon.
Desde ese día de 37 años atrás en que Seaman me dio los diarios, mucho se ha escrito sobre lo que hice con éstos. Pero una simple verdad se ha perdido en las resmas de la cobertura de los medios: yo traté esos diarios con amor y respeto, y los usé para crear un retrato de John Lennon como un ser humano tri-dimensional.
En la entrevista de María Martín a mí, en el último número de la revista beatleriana española El Submarí Groc, y en el video de abajo, en inglés con subtítulos en español, ella pone en claro esa simple verdad, diciendo en el titular que “Robert Rosen… nos acerca la belleza de un John Lennon humano.”
Ha sido como un arribo tras largo tiempo.
Para pedir una copia de El Submarí Groc, escribe a firstname.lastname@example.org.
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In May 1981, John Lennon's personal assistant Fred Seaman gave me the diaries that Lennon had been writing in between January 1975 and December 8, 1980, the day he was murdered. These journals, Seaman explained, were the key to the project Lennon had asked him to carry out in the event of his death. Seaman was to write the true story of Lennon's final years and he wanted me to help him do it.
I accepted this assignment knowing that I could execute it in a spirit that was true to John. The story of the diaries is the story I tell in Nowhere Man: The Final Days of John Lennon.
Since the day 37 years ago that Seaman gave me the diaries, much has been written about what I did with them. But a simple truth has gotten lost in the reams of media coverage: I treated those diaries with love and respect, and used them to create a portrait of John Lennon as a three-dimensional human being.
In María Martín’s interview with me in the latest issue of the Spanish Beatles magazine El Submarí Groc (The Yellow Submarine)—and in the above video, in English with Spanish subtitles—she makes that simple truth clear, saying in the headline that “Robert Rosen… brings us the beauty of a human John Lennon” (“nos acerca la belleza de un John Lennon humano”).
It’s been a long time coming.
To order a copy of El Submarí Groc, write to email@example.com.
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February 18, 2018
Más de 1,1 millón de personas vieron el programa, cual estuvo inspirado en la recuperación de los diarios de Lennon robados, en Berlín, en noviembre de 2017. Como se muestra en el clip anterior, el presentador Iker Jiménez discutió con detalle el contenido de Nowhere Man, así como la dramática historia de cómo yo llegué a la posesión de los diarios de Lennon.
Tú puedes ver el episodio completo aquí. El segmento de Lennon empieza a los 16 minutos y dura una hora. Las partes que discuten Nowhere Man empiezan a los 23 y los 43 minutos.
Amaiur Elizari, autor de Los 9 de John Lennon, estuvo entre los invitados presentados en el programa.
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When the Spanish TV show Cuarto Milenio, last month, broadcast an episode titled “Los diarios secretos de John Lennon” (“The Secret Diaries of John Lennon”), it sent Nowhere Man, on Amazon Spain, rocketing as high as it’s ever been on any Amazon.
More than 1.1 million people watched the show, which was inspired by the recovery of Lennon’s stolen diaries, in Berlin, in November 2017. As shown in the above clip, host Iker Jiménez discussed in detail Nowhere Man’s contents as well as the dramatic story of how I came into possession of Lennon’s diaries.
You can watch the complete episode here. The Lennon segment begins at 16 minutes and runs for an hour. The parts that discuss Nowhere Man begin at 23 minutes and 43 minutes.
Amaiur Elizari, author of Los 9 de John Lennon, was among the guests featured on the show.
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January 9, 2018
Cuando yo fui a la ciudad de México, en 2003, poco después que Random House Mondadori (desde entonces re-nombrada Penguin Random House), publicara por primera vez Nowhere Man: Los últimos días de John Lennon, y cuando retorné a México en 2005, y luego fui a Chile, los medios de esos países reaccionaron a mi visita, como si yo fuera el autor de Harry Potter. Mi rostro fue desplegado en toda la tv, los periódicos y las revistas en una extensión tan desconcertante, que la gente me reconocía en la calle, y así confirmé la verdad esencial de la antigua cita de Woody Allen: “El ochenta por ciento del éxito está apareciendo”. Y eso es especialmente cierto, si tú estás apareciendo en un lugar a 5,000 millas de distancia.
¿Pero seguiría mi hechizo latinoamericano funcionando, en 2017, para una edición española ampliada y re-traducida de Nowhere Man? La respuesta, estoy feliz de reportar, fue un resonante “sí”, y yo incluso no tuve que salir de mi casa para poner las cosas en marcha. Empezó en el cumpleaños de Lennon, el 9 de octubre —el día que la nueva edición fue publicada—, cuando el periódico chileno La Tercera divulgó un extracto de Nowhere Man, y lo continuó al día siguiente con una entrevista.
Un mes más tarde, un artículo sobre el libro en el semanario mexicano Proceso, de Roberto Ponce, basado en parte en una entrevista publicada en el sitio argentino Espectador, envió Nowhere Man a la cima de las listas en Amazon de México.
Entonces las cosas se pusieron surrealistas. Las noticias anunciaron por todo el mundo, el 21 de noviembre, que los diarios robados de John Lennon —los diarios que yo transcribí en 1981, y que habían servido como un mapa de ruta para Nowhere Man—, habían sido recuperados en una casa de subastas en Berlín. Yo no sabía que el chofer de Yoko Ono había, supuestamente, robado los diarios. (Él afirma que no los robó). Pensaba que los diarios habían sido devueltos a Ono en 1982. Aún más sorprendente fue que los medios españoles y latinoamericanos, estaban citando extensamente de Nowhere Man, dándome la clase de publicidad que el dinero no puede comprar.
Yo arribé a Buenos Aires para el lanzamiento oficial el 27 de noviembre. ¿Por qué Buenos Aires? Déjenme contar las razones: mi traductor René Portas y mi agente argentina, Beatriz Norma Iacoviello, viven allí. Argentina es un país que adora tanto a los Beatles como la literatura. (El apartamento de Beatriz y René está a la vuelta de la esquina, de donde Jorge Luis Borges vivió alguna vez.) Yo nací 12 horas después que Eva Perón muriera, y siempre he sentido una conexión con ella y la ciudad. Y como un bono extra añadido, mi amigo Avi Avner estaba en la ciudad, actuando como consultante principal de la Mossad, para la película Operación Final, sobre la captura de Adolf Eichmann en Buenos Aires, cual es asimismo un tema en mi libro aún no publicado, Bobby en Nazilandia.
Lo más destacado de los medios sobre mi estadía en la capital argentina, incluye una entrevista en vivo en el programa de Martín Aragón, Eternamente Beatles, con Octavio Cavalli sirviendo como mi traductor; una entrevista con Luis Kramer para su programa, Cinefilia; y una extensa entrevista grabada en video con Vanesa Preli de Radio Zonica, que aún no está al aire.
Había más por venir cuando retorné a Nueva York: un extracto del libro en Proceso, un artículo sobre eso en Cultura Colectiva y un episodio titulado “El misterio de John Lennon”, escuchado más de 72,000 veces, en el programa de radio de internet del periodista español Iker Jiménez, Universo Iker.
Porque yo trabajo para Vanity Fair en Nueva York, mi trozo de prensa favorito fue una pieza humorísticamente salaz, titulada “Los oscuros secretos sexuales de John Lennon”, de Alejandro Mancilla, que apareció en Vanity Fair de México. Inspirado por una crítica de Rodrigo Fresan, publicada en Página 12 en el 2000, el artículo es, más o menos, un estudio de las escenas de sexo en Nowhere Man. Su toque más surrealista es ver mi nombre en negrita, al lado de algunos como Louis C.K. y Miley Cyrus.
¡Yeah, baby, yo aún tengo mi hechizo!
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Latin America, to me, is an alternate universe where everything I’ve been working for, for the past 40 years, has come to pass in a language I can barely understand.
When I went to Mexico City, in 2003, soon after Random House Mondadori (since renamed Penguin Random House) first published Nowhere Man: Los últimos días de John Lennon, and when I returned to Mexico, in 2005, and then went on to Chile, the media in those countries reacted to my visit if I were the author of Harry Potter. My face was splashed all over TV, newspapers, and magazines to the disorienting extent that people recognized me in the street, thus confirming the essential truth of the old Woody Allen quote, “Eighty percent of success is showing up.” And it’s especially true if you’re showing up in a place 5,000 miles away.
But would my Latin American Mojo still be working, in 2017, for a retranslated and expanded Spanish edition of Nowhere Man? The answer, I’m happy to report, was a resounding Yes, and I didn’t even have to leave my house to get things going. It began on Lennon’s birthday, October 9—the day the new edition was published—when the Chilean newspaper La Tercera ran an excerpt from Nowhere Man and followed it up the next day with an interview.
A month later, an article about the book in the Mexican newsweekly Proceso, by Roberto Ponce, based in part on an interview published on the Argentine site Espectador, sent Nowhere Man to the top of the charts on Amazon Mexico.
Then things got surreal. News broke all over the world, on November 21, that John Lennon’s stolen diaries—the diaries that I’d transcribed in 1981, and had served as roadmap for Nowhere Man—were recovered in an auction house in Berlin. I didn’t know that Yoko Ono’s chauffeur had allegedly stolen the diaries. (He claims he didn’t steal them.) I thought the diaries had been returned to Ono in 1982. Even more shocking was that Spanish and Latin American media were quoting extensively from Nowhere Man, giving me the kind of publicity that money can’t buy.
I arrived in Buenos Aires for the official launch on November 27. Why Buenos Aires? Let me count the reasons: My translator René Portas and my Argentine agent, Beatriz Norma Iacoviello, live there. Agentina is a country that worships both the Beatles and literature. (René and Beatriz’s apartment is around the corner from where Jorge Luis Borges once lived.) I was born 12 hours after Eva Peron died, and have always felt a connection to her and the city. And as an extra added bonus, my friend Avi Avner was in town, acting as chief Mossad consultant for the film Operation Finale, about Adolf Eichmann’s capture in Buenos Aires, which is also a theme in my still unpublished book, Bobby in Naziland.
The media highlights of my stay in the Argentine capital include a live interview on Martín Aragón’s show, Eternamente Beatles (Beatles Forever), with Octavio Cavalli serving as my translator; an interview with Luis Kramer for his show, Cinefilia (think Terry Gross and NPR); and an extensive videotaped interview with Vanesa Preli of Radio Zonica that has yet to air.
There was more to come when I returned to New York: an excerpt of the book in Proceso, an article about it in Cultura Colectiva, and an episode titled “El misterio de John Lennon” (“The Mystery of John Lennon”), listened to more than 72,000 times, on Spanish journalist Iker Jiménez’s Internet radio show, Universo Iker.
Because I work for Vanity Fair in New York, my favorite bit of press was a humorously salacious piece, titled “Los oscuros secretos sexuales de John Lennon” (“The Dark Sexual Secrets of John Lennon”), by Alejandro Mancilla, that ran in Vanity Fair Mexico. Inspired by a critique by Rodrigo Fresan, published in Pagina 12, in 2000, the article is, more or less, a survey of the sex scenes in Nowhere Man. Its most surreal touch is seeing my name in boldface alongside the likes of Louis C.K. and Miley Cyrus.
Yeah, baby, I've still got my mojo!
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December 7, 2017
En el transcurso de esa semana, que fue precedida por la recuperación de los diarios robados de Lennon en Berlín, yo fui entrevistado en vivo en la radio por Martín Aragón, presentador de Eternamente Beatles. (¡Gracias, Octavio Cavalli, por hacer que eso sucediera!) Otras entrevistas, que serán transmitidas en fechas futuras, fueron conducidas por Luis Kramer, presentador del programa de radio de larga duración Cinefilia, y Vanesa Preli de Radio Zonica.
Mi entrevista con Rolando Gallego de El Espectador Avezado está posteada aquí.
Acaso el momento más alentador de mi estadía en Buenos Aires, fue cuando vi Nowhere Man a la venta en un kiosco de la Avenida Santa Fe, junto a Esmeralda. El libro pronto se agotó, pero estoy seguro de que volverá a ser surtido en cualquier instante.
Mientras tanto, Nowhere Man está disponible en línea dondequiera que se vendan libros, incluyendo Mercado Libre en Argentina.
De una forma u otra, todo esto es realmente asombroso.
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Yesterday I returned to New York after a week in Buenos Aires, where, under the skillful guidance of my translator Rene Portas and my Argentinean agent, Beatriz Norma Iacoviello, I launched the new Spanish-language edition of Nowhere Man: Los últimos días de John Lennon.
Over the course of that week, which was preceded by the recovery of Lennon’s stolen diaries in Berlin, I was interviewed live on the radio by Martín Aragón, host of Beatles Forever. (Thank you, Octavio Cavalli, for making that happen!) Other interviews, which will be broadcast at future dates, were conducted by Luis Kramer, host of the long-running radio show Cinefilia, and Vanesa Preli of Radio Zonica.
My interview with Rolando Gallego of El Espectador Avezado is posted here.
Perhaps the most encouraging moment of my Buenos Aires sojourn was when I saw Nowhere Man on sale at a kiosk on Avenida Santa Fe near Esmeralda. The book soon sold out, but I’m assured that it will be back in stock any minute.
In the meantime, Nowhere Man is available online everywhere books are sold, including at Mercado Libre in Argentina.
I invite you to join me on Facebook or follow me on Twitter.
November 20, 2017
Me estoy preparando para mi viaje a Buenos Aires para lanzar la nueva edición en español de "Nowhere Man: los últimos días de John Lennon".
October 9, 2017
¿Por qué viajar 5,310 millas para presentar un libro, que Random House Mondadori (ahora Penguin Random House Grupo Editorial), publicó originalmente en 2003? Porque Nowhere Man no se ha impreso por años, y yo no puedo pensar un lugar mejor que Buenos Aires para celebrar su regreso. Lennon es amado en Buenos Aires, una ciudad donde los aniversarios de su nacimiento, el 9 de octubre, y muerte, el 8 de diciembre, son siempre conmemorados, y donde hay incluso un Museo de los Beatles.
Es asimismo una ciudad impregnada de mitos literarios y políticos, y aunque yo nunca he estado allí, siempre me he sentido conectado a ella, porque Eva Perón murió 12 horas antes de que yo naciera, el 27 de julio de 1952. Su muerte estaba en la primera página de todos los periódicos de Nueva York ese día. Y mi madre, quien idolatraba a “la dama de la esperanza”, siempre estaba hablando de Evita como si fuera una amiga personal.
Pero no se equivoquen: el objetivo primordial de este viaje es empezar a difundir la noticia, de que una edición re-traducida en español de Nowhere Man: Los últimos días de John Lennon, se vuelve a imprimir después de una prolongada ausencia. Con un precio de $ 12.60 dólares, el libro está ahora disponible en Amazon España, Amazon México, Amazon USA, Barnes & Noble, y directamente en CreateSpace. (La edición e-book, por un tiempo limitado, se vende con descuento en $ 9.00 dólares, y la edición de Kindle Matchbook, como siempre, tiene un precio de 99 centavos si tú ya compraste el libro en rústica).
Mientras esté en Buenos Aires, yo estaré firmando libros en una serie de eventos, está atento a los detalles.
Así, sí, yo estoy deseando mucho conocer a mis lectores, los medios argentinos y a mi traductor René Portas. Yo asimismo espero mejorar mi muy limitado español, y quizás incluso aprender a bailar un poco de tango. Y sí, mi esposa, la cantante y compositora Mary Lyn Maiscott (a quien Nowhere Man está dedicado), se unirá a mí, y mientras esté en la ciudad, podría ser persuadida de tomar una guitarra, y cantar una o dos canciones de los Beatles.
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On Monday, November 27, I will arrive in Buenos Aires, Argentina, for the launch of the new Spanish-language paperback edition of my John Lennon biography, Nowhere Man, which was officially released today, Lennon’s 77th birthday.
Why travel 5,310 miles to present a book that Random House Mondadori (now Penguin Random House Grupo Editorial) originally published in 2003? Because Nowhere Man has been out of print for years, and I can’t think of a better place than Buenos Aires to celebrate its return. Lennon is beloved in Buenos Aires, a city where the anniversaries of his birth, on October 9, and death, on December 8, are always commemorated, and where there’s even a Beatles Museum.
It’s also a city steeped in literary and political myth, and though I’ve never been there, I’ve always felt connected to it—because Eva Peron died 12 hours before I was born, on July 27, 1952. Her death was on the front page of all the New York newspapers that day. And my mother, who idolized “la dama de la esperanza,” was always talking about Evita as if she were a personal friend.
But make no mistake: the primary objective of this journey is to start spreading the news that a retranslated Spanish edition of Nowhere Man: Los últimos días de John Lennon is back in print after an extended absence. Priced at $12.60 U.S., the book is now available from Amazon Spain, Amazon Mexico, Amazon U.S., Barnes & Noble, and directly from CreateSpace. (The e-book edition has, for a limited time, been discounted to $9.00 U.S., and the Kindle Matchbook edition is, as always, priced at 99 cents if you’ve already bought the paperback.)
While in Buenos Aires I’ll be signing books at a number of events—stay tuned for details.
So, yes, I’m very much looking forward to meeting my readers, the Argentine media, and my translator, René Portas. I’m also hoping to improve my very limited Spanish and perhaps even learn to dance a little Tango. And yes, my wife, the singer-songwriter Mary Lyn Maiscott (to whom Nowhere Man is dedicated), will be joining me, and while in town she might be persuaded to pick up a guitar and sing a Beatles song or two.
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September 18, 2017
Aunque la fecha oficial de publicación es el 9 de octubre, el cumpleaños de Lennon, Nowhere Man ya está a la venta en Amazon España, Amazon US y Barnes & Noble. Amazon México lanzará la edición impresa el 9 de octubre. Búscala ahí, vinculada a la edición Kindle.
Las copias de reseña están ahora disponibles y el aviso de publicación ha empezado a difundirse. El sitio de los Beatles, 10, Mathew Street, con sede en Madrid, ha posteado un artículo sobre el libro y mi próximo viaje a Buenos Aires para el lanzamiento. Ese viaje debe tener lugar a finales de noviembre-principios de diciembre. Tan pronto como los detalles se finalicen, yo voy, por supuesto, a postear sobre eso aquí.
La nueva edición, re-traducida por René Portas, quien hizo la traducción original para Random House Mondadori (ahora Penguin Random House Grupo Editorial), presenta una foto de cubierta del difunto Jack Mitchell, quien retrató a Lennon y Yoko Ono el 2 de noviembre de 1980 , un mes antes de que un fan trastornado asesinara al ex Beatle frente al Dakota.
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A new Spanish-language print edition of Nowhere Man: Los últimos días de John Lennon is slowly making its way onto book-selling platforms throughout the world.
Though the official publication date is October 9, Lennon’s birthday, Nowhere Man is already for sale on Amazon Spain, Amazon US, and Barnes & Noble. Amazon Mexico will release the print edition on October 9. Look for it here, linked to the Kindle edition.
Review copies are now available and word of publication has begun to spread. The Beatles site, 10, Mathew Street, based in Madrid, has posted an article about the book and my upcoming trip to Buenos Aires for the launch. This journey should take place in late November–early December. As soon as the details are finalized, I will, of course, post about it here.
The new edition, re-translated by René Portas, who did the original translation for Random House Mondadori (now Penguin Random House Grupo Editorial), features a cover photo by the late Jack Mitchell, who shot Lennon and Yoko Ono on November 2, 1980, one month before a deranged fan murdered the ex-Beatle in front of the Dakota.
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May 27, 2017
René Portas, quien tradujo la edición original en lengua española, publicada por Random House Mondadori en 2003, ha hecho una traducción actualizada y mejorada, que incluye cinco capítulos extra.
Aquí está la foto de una primera prueba. La nueva foto de portada fue tomada por el difunto Jack Mitchell, en noviembre de 1980, poco antes de que Lennon fuera asesinado.
Si tú no puedes esperar hasta octubre para leer la nueva edición impresa, una edición e-book está ahora disponible en iTunes, Kindle y todas las otras tiendas que venden e-books.
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I've been working on a new print edition of the Spanish-language Nowhere Man: Los últimos días de John Lennon, scheduled to go on sale October 9, 2017, Lennon's 77th birthday.
René Portas, who translated the original Spanish-language edition, published by Random House Mondadori, in 2003, has done an updated and improved translation, which includes five bonus chapters.
Here’s a photo of an early proof. The new cover photo was taken by the late Jack Mitchell, in November 1980, shortly before Lennon was murdered.
If you can’t wait until October to read the new print edition, an e-book edition is available now from iTunes, Kindle, and all other stores that sell e-book.
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April 25, 2017
Ironically, both my books began as failed magazine articles. In 1982, Rolling Stone and Playboy turned down an early version of what became Nowhere Man--because I couldn't prove to their satisfaction that what I'd written was true. I started writing Beaver Street in 1995 on assignment from The Nation. It was supposed to be an article about the economics of pornography. They rejected it for not being “political enough.”
But sometimes the stars line up and something I write finds its way into a magazine. This month, the first part of a three-part series called “The Provocateur” has been published on a British site, Erotic Review. The series is an excerpt from a book about the 1970s that I’ve been working on, and it’s the story of my old friend Robert Attanasio, an artist and filmmaker who died in 2015.
It was Attanasio’s death that helped me find a focus for the book and made me realize what its central theme should be—the moment when the student left gave way to Punk.
Part I comes with multiple trigger warnings and a big NSFW. Stay tuned for parts II and III.
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September 14, 2016
That Nowhere Man became a cult classic, embraced by the Spanish-language media and reading public, is, in large part, due to Proceso’s ongoing coverage. They’ve been deconstructing and analyzing the book ever since Random House Mondadori (now Penguin Random House Grupo Editorial) first published the Spanish edition in 2003. (An updated e-book edition was published in June.)
Soon after Proceso ran Harry’s probing and empathetic interview, 10, Mathew Street, a Madrid-based site, and The MacWire, an American celebrity site, picked it up.
This sequence of events began when Harry posted part of the interview, amidst a flurry of comments, on his Facebook page, and I posted it here, titled “And the Mersey Beat Goes On/Y el Mersey Beat sigue” (translated by René Portas, who also translated Nowhere Man).
As Harry was the first person to interview me who knew Lennon from Liverpool, before the Beatles became a global phenomenon, I considered it significant—another step on the road to Nowhere Man’s increasing acceptance among those readers who want to know what was really going on in John Lennon’s head.
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Cuando el semanario Proceso de ciudad México, publicó la traducción al español de mi entrevista con Bill Harry, el director fundador del Mersey Beat —la llamaron “Lennon al desnudo…”—, puso mi biografía de John Lennon, Nowhere Man, de vuelta en las noticias. No está mal para un libro que ha estado en prensa por más de 16 años, y fue rechazado originalmente por todo el mundo.
El que Nowhere Man se convirtió en un clásico de culto, abrazado por los medios en lengua española y el público lector, es debido, en gran parte, a la cobertura continua de Proceso. Ellos han estado discutiendo y analizando el libro siempre, desde que Random House Mondadori (ahora Penguin Random House Grupo Editorial) publicó por primera vez la edición española en 2003. (Una edición en e-book actualizada fue publicada en junio).
Poco después que Proceso publicó la tanteadora y empática entrevista de Harry, 10, Mathew Street, un sitio con sede en Madrid, y The MacWire, un sitio célebre americano la recogieron.
Esta secuencia de eventos empezó cuando Harry posteó parte de la entrevista, en medio de un aluvión de comentarios, en su página de Facebook, y yo la posteé aquí, titulada “And the Mersey Beat Goes On/Y el Mersey Beat sigue” (traducida por René Portas, quien asimismo tradujo Nowhere Man).
Como Harry fue la primera persona que me entrevistó, quien conociera a Lennon de Liverpool, antes de que los Beatles se convirtieran en un fenómeno global, yo lo consideré significativo, otro paso en el camino de la creciente aceptación de Nowhere Man, entre esos lectores que quieren saber qué, realmente, estaba pasando en la cabeza de John Lennon.
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*“I read the news today, oh boy”, de “A day in the life”, canción de los Beatles.
August 18, 2016
Mersey Beat, published from 1961–1965, was the newspaper that covered it all. Its founding editor, Bill Harry, had met John Lennon and Stuart Sutcliffe at the Liverpool College of Art. Early on, he commissioned Lennon to write a story explaining how his quartet came to be. “Being a Short Diversion on the Dubious Origins of Beatles” is one of the many articles, as well as Lennon’s poetry, in the Mersey Beat archives.
Several months ago, Harry, who’s written or co-written more than two dozen books, notably The Beatles Encyclopedia and The John Lennon Encyclopedia, requested a copy of Nowhere Man. I sent him one and was thrilled to hear that he enjoyed reading it. He then asked me a number of probing yet empathetic questions about the book and how it came to be. I’ve done hundreds of interviews since Nowhere Man was published, in 2000, but this is the first time somebody who knew Lennon back in Liverpool has interviewed me.
Harry not only “got” the book but called my answers “insightful and an inspiring depiction” of Nowhere Man’s “long journey” to publication.
The interview appears below, in English and Spanish, as well as on Harry’s Facebook page. Here’s a link to part 1.
Bill Harry: Having access to John’s diaries and other relevant material, did you come to any personal conclusions about John, which were different from your previous opinions?
Robert Rosen: Before Fred Seaman gave me John’s diaries, in May 1981, he’d been telling me about John—since the day he started working for him, in February 1979. The picture he originally painted was what I described in the opening paragraph of Nowhere Man: a dysfunctional, “tormented superstar, a prisoner of his fame, locked in his bedroom, raving about Jesus Christ while a retinue of servants tended to his every need.” Seaman told me that he thought John was washed up, that he’d never make music again. He thought that Lennon was tired of living and said that he wouldn’t be surprised if he committed suicide. All this changed in the summer of 1980, when Seaman was in Bermuda with John, and John started writing and recording the material for Double Fantasy. When I started transcribing John’s diaries, much of what Seaman had told me was borne out—especially in John’s diary entries from early 1980, when he did seem scattered, unfocused, and confused about what to do next.
Still, a number of things surprised me, like how much time and energy John spent writing in his diaries—the diaries were his primary creative activity during his years of seclusion. Though I knew about his interest in numerology, astrology, tarot, etc., I was surprised by how seriously he took these things, especially tarot. And though, of course, I knew about John’s rivalry with Paul—in 1979, Seaman started referring to Paul as “the enemy”—I was surprised by how obsessed John was with Paul, how he thought about him virtually every day, and how much pleasure he took when Paul was busted in Japan for marijuana possession. So, if my opinion changed about John, it had to do with how obsessively petty and uncharitable he could be towards Paul.
BH: When you completed the book did you need Yoko’s approval before finding a publisher?
RR: No, I did not need or ask for Yoko’s approval; she did not approve the book; and she did not try to stop me from publishing it after I got a publishing deal. Her lawyers, however, did ask to vet the book. My lawyer refused. He’d already vetted Nowhere Man and felt confident that it did not violate any of Ono’s rights.
BH: In the course of your research you obviously read Albert Goldman’s book. How accurate did you consider it?
RR: Maybe 20 percent of Albert Goldman’s book can be taken at face value. The Lives of John Lennon is composed of little nuggets of truth wrapped in layers and layers of bullshit. Every story he tells is grossly exaggerated to paint John and Yoko in the worst possible light.
BH: On reading diaries with such detail in them, did you ever consider John was obsessive about the occult, horoscopes and other borderline psychic studies?
RR: There’s no question that John was obsessed with the occult: tarot, numerology, magic, and astrology. John and Yoko had a fulltime tarot card reader, whom they called “Charlie Swan.” (His real name was John Green.) Yoko met with or spoke to him daily. John usually met with him several times a week, though for an extended period of time, he had Charlie read daily on gold futures. It was Yoko who introduced John to numerology and turned him on to Cheiro’s Book of Numbers, which became one of John’s “bibles.” (John’s fascination with number 9 is well known.) When Paul was arrested in Japan for marijuana possession, John attributed the arrest to Yoko’s magic, which she’d learned from Lena the Colombian Witch—she’d gone to Colombia with Charlie Swan and paid Lena $60,000 to teach her how to cast magic spells. (Swan, using his real name, writes in detail about Lena in his book, Dakota Days.) And every month, John clipped the Patric Walker horoscopes—Libra for himself, Aquarius for Yoko—from Town and Country magazine, pasted them in his diary, and kept track of how accurate they were. He usually found them extremely accurate.
BH: John was a voracious reader. Can you remember any of the books which impressed him in the diaries?
RR: There were a number of books that John mentioned in his diaries that impressed him for a variety of reasons. He was very much into “lucid dreaming,” or programming dreams (they were often sex dreams about May Pang), which he then would record in his diary. He referred to programming dreams as “dream power.” When I was writing Nowhere Man, I didn’t realize that Dream Power was the title of a book that taught him how to program dreams. Obviously this book had a powerful influence upon him.
John hated wearing glasses and became obsessed with a book about improving his vision through eye exercises. I don’t recall the title, but John did do the recommended exercises in spurts, though it didn’t improve his vision.
He very much enjoyed Black Spring, by Henry Miller, which reminded John of when the Beatles were playing strip joints in Hamburg. He was so impressed by Fear and Loathing in Las Vegas, by Hunter Thompson, he considered playing Thompson in a movie version of the book. And Helter Skelter, by Vincent Bugliosi, about the Manson murders, scared the shit out of John.
BH: Do you have an opinion on why John constantly referred to his wife as “mother”?
RR: At the risk of sounding like a 10-cent psychoanalyst, I think it’s obvious that he looked upon Yoko as a substitute for his real mother. I also think it was a way for John to express his joy that Yoko had given him Sean and that he finally had a real family. It’s worth noting that in his diaries, he did not call Yoko “Mother.”
BH: During the final five-year period of John’s life, which you studied, what were the aspects of John which impressed you, and how different a man was he from his Beatles days?
RR: What impressed me most about John was his fanatical discipline when it came to writing in his diary—the way he got it all down, day after day. As I said in Nowhere Man, he recorded “every detail, every dream, every conversation, every morsel of food he put in his mouth, the perpetual stream of consciousness.” I found this inspiring and tried to emulate that kind of discipline in my own writing.
I also found it extremely interesting that despite his $150 million and his global renown, his day-to-day life didn’t seem all that different from my own. We were both sitting in a room in Manhattan, writing in notebooks and smoking weed. Of course, when he was talking about household expenses, his numbers had an extra couple of zeros at the end.
Obviously, during his Beatle days, when he was recording and touring, he wasn’t spending as much time in solitude and isolation. And though he had a wife, Cynthia, and a son, Julian, he was not acting like a real husband or father. This is something he felt guilty about for the rest of his life, especially his relationship, or, rather, lack of one, with Julian. John considered Sean a miracle and saw him as an opportunity to repent for the sins against family that he’d committed when he was a Beatle. In other words, he did his best to be a real father to Sean.
BH: Was John accepting of Yoko’s companionship with people like Sam Havadtoy and was such a relationship platonic or more intimate?
RR: Though Fred Seaman has insisted that Yoko was having an affair with Sam Havadtoy, John did not explicitly state in his diaries that he thought this was the case. He might have suspected something was going on—he’d overhear little snippets of chatter among the servants. But there’s nothing definitive and no indication that John ever tried to stop Yoko from spending time with her interior decorators, the “Sams,” Havadtoy and Green.
BH: Were John’s final years happy ones or was he tormented or unhappy?
RR: Sean’s birth and the opportunity to be a father and have a real family brought John a huge amount of joy. And towards the end, when songs like “Woman” came to him whole, he was delighted. But his jealousy towards Paul, his sexual frustration and inability to spend time with May Pang, his constant worry over Apple records trying to rip him off, and his fear that he would lose Sean’s love were all ongoing sources of torment. As I said in Nowhere Man: “John’s reality was boredom and pain punctuated by microseconds of ecstasy.”
BH: During your long period of research did you become interested in John’s passion for the occult and did you personally try the I Ching, read horoscopes and practice numerology?
RR: It was only after I started reading up on the occult that many of the references in John’s diaries began to make sense. And yes, I did start reading the horoscopes in Town and Country and I did start paying attention to things like Mercury Retrograde, and I did kind of get hooked on Cheiro’s Book of Numbers. That’s because numerology was the easiest occult practice to understand and it could be applied to so many situations.
BH: Just how difficult was the book to write considering the circumstances?
RR: I started writing the book a couple of weeks after Seaman had ransacked my apartment and taken everything I’d been working on. That was when I realized that I had large portions of John’s diaries memorized, and I began writing down everything I could remember. The more I wrote, the more I remembered. To me, writing is a painful process, and writing Nowhere Man was no more or less difficult than it was to write any other book I’ve written. I had the bulk of Nowhere Man written by the end of 1982—though at the time I called it “John Lennon’s Diaries.” What now appears in the published edition is not all that different from the original manuscript. But because it took me 18 years to find a publisher, I was able to spend that time refining the book, adding more to it as information became available. As I explain in the introduction, new information that I recognized from the diaries was constantly appearing in newspapers, magazines, other books, and especially on the Internet. I assembled all these fragments into a coherent whole, and I had those 18 years to get it right. Though for copyright reasons I was unable to quote from the diaries, I was somehow able to infuse Nowhere Man with the energy, feeling, and tone of the diaries—and that’s the magic of the book. At times it felt as if John were dictating to me, as if I’d plugged into his spirit.
BH: Did you at any time find that his entries in the diary indicated he was at times involved in a life beset with periods of trivia?
RR: I don’t know if I’d call it trivia. John had wide-ranging interests and he read a lot of newspapers, everything from The New York Times to the gossip rags. He thought stories about scientists’ finding new ways to estimate the age of the universe and about Marlon Brando’s gaining weight were equally compelling. He also believed that tabloids like The National Enquirer were more credible than the Times, who he thought got everything wrong.
BH: Since he was intrigued by dreams and kept a dream diary, did he come to any conclusions about dreaming? I.e. was it prophetic, did it provide any answers, etc.?
RR: He didn’t think his dreams were prophetic. (It was the possibility that he might be able to see into the future that was behind his interest in tarot and also, in part, yoga.) But he was fascinated by the symbols in dreams, their relationship to reality, and what they revealed about his psyche. He also thought they might provide him with insight into his relationship with Yoko. (When he programmed dreams, it was only the first dream he was able to program. After that, he might dream about anything.) In one dream a man turned into a wolf, and John saw that as a symbol of his anger. A sex dream he had about George Harrison left him feeling confused—he couldn’t understand why he’d have such a dream.
BH: The last five years were generally reclusive. Was this because of John’s own decisions or because of circumstances?
RR: John was sick of the music business and when his contract with Capitol Records—“Capitol Punishment,” he called it—lapsed he was determined to get away from it. Sean was born around that time and, as I said, John was also determined to be a real father to Sean. So, it appears to be true that it was a mutual decision between John and Yoko that he’d drop out for five years and spend that time raising Sean. Of course, he left the hard parts to Helen Seaman, the governess, while he spent a lot of time in his rooms in the Dakota, Cold Spring Harbor, Palm Beach, and hotel rooms in Japan sleeping, dreaming, smoking weed, watching TV, and writing in his diary. Then, when the five years passed, he made a conscious decision to return to the world, recapture his muse, and make music again. It was a difficult and painful transition that resulted in Double Fantasy.
BH: Describe some of the difficulties that you personally, as an author, suffered while writing the book, and the length of time which passed between the onset of your writing and the final publication?
RR: It’s not as if I worked on the book non-stop for 18 years. I’d put it aside for years at a time, but the story of John’s diaries haunted me. It was a story that demanded to be told and would not leave me alone.
I thought it was absurd that nobody was willing to publish Nowhere Man. There were so many other books about Lennon and the Beatles that were constantly being published and which were flat-out hackwork and cut-and-paste jobs. But publishers told me that Ono would sue (when in fact Ono has never sued a writer for something he’s written). They also said that there was not enough interest in Lennon, and that I couldn’t prove what I’d written was true or that the diaries even existed.
In 1982, I brought the story to Jann Wenner at Rolling Stone. He said he believed me but couldn’t publish it. Instead, he advised me to “save my karma” and tell the story to Yoko, which I did. Ono claimed she didn’t know that John kept a diary. She then asked to read my personal diaries—she wanted to know exactly what Seaman had been doing since she hired him. I gave them to her. First she used the information in my diaries to force Seaman to return John’s diaries. She then gave my diaries to the Manhattan district attorney, who told me that I’d be arrested for criminal conspiracy, based on what I’d written, unless I signed a document waiving my First Amendment rights to tell the story of John’s diaries. (I didn’t sign the document and I wasn’t arrested.) Ono also gave my diaries to Playboy. From the approximately 500,000 words in the diaries, Playboy excerpted the 200 most damning ones (when taken out of context), including my comment about Ono’s skillful exploitation of the Lennon legacy: “Dead Lennons=BIG $$$$$.” In an article designed to destroy my reputation and insure that I’d never be able to publish a book about Lennon, the writer used that quote as an illustration of how I felt about Lennon’s death and depicted me as a criminal conspirator drooling over his corpse. Then in the following issue, the magazine ran a letter to the editor saying that what I had done was worse than what Mark David Chapman had done. This article is the source of many of the conspiracy theories that have been floating around for years. Some of the theories insinuate that I’m a Zionist-funded CIA spymaster who ordered a hit on Lennon. (I’ve added an additional chapter that tells this story in the revised edition of Nowhere Man, published as an e-book in 2015.)
Ono held my diaries for 18 years, until Nowhere Man was going to press. Then she returned them.
BH: What was the most surprising piece of information you discovered while studying the diaries and researching the book?
RR: The single most surprising thing in the diaries was Lennon’s expression of utter joy when McCartney was busted in Japan for marijuana.
BH: If John had been your idol prior to the involvement in the writing, did the completion of the book prove cathartic?
RR: I was a Beatles fan. The first record album I ever bought, in 1964, right after I saw them on The Ed Sullivan Show, was Meet the Beatles. I played that album enough to memorize every word of every song on it. But I also lost track of the Beatles for years at a time and barely followed them after they broke up. I was more into sports—I wanted to be a sports writer. But even the years when I wasn’t paying attention, information was getting through to me subliminally—it was in the air. When John hired Fred, he knew very little about the Beatles—one of the reasons he got the job was because he wasn’t a Beatles freak. Fred started asking me a lot of questions about John and the Beatles, and I was surprised by how much I knew about the music and the lore: Who’s the Walrus? What’s this about Paul being dead? What happens when you play “Revolution 9” backwards? Stuff like that.
All I’m saying is that I did not idolize John or any other Beatle, but I knew a lot about them, more than I’d realized. So, it wasn’t the completion of the book that was cathartic. It was what happened after it was published: After 18 years of being ripped off, ignored, rejected, threatened, called a liar, and subjected to character assassination, I had a critically acclaimed best-seller in multiple countries and multiple languages.
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En los 60s, la floreciente escena musical Merseyside dio ascenso a decenas de bandas prominentes. Aunque los Beatles, por supuesto, eran el grupo más famoso que emergiera del área y alrededor de Liverpool, otros de los artistas musicales, que alcanzaron una aclamación internacional por ese tiempo, incluyen a Gerry and the Pacemakers (“How Do You Do It?”), The Searchers (“Needles and Pins”), The Swinging Blue Jeans (“Hippie Hippie Shake”), y Cilla Black (“Anyone Who Had a Heart”).
Mersey Beat, publicado de 1961 a 1965, fue el periódico que lo cubrió todo. Su director fundador, Bill Harry, había conocido a John Lennon y a Stuart Sutcliffe en el Colegio de Artes de Liverpool. Desde temprano, éste encargó a Lennon escribir una historia, explicando cómo su cuarteto llegó a ser. “Siendo una breve digresión sobre los dudosos orígenes de los Beatles” es uno de los muchos artículos, así como la poesía de Lennon en los archivos de Mersey Beat.
Varios meses atrás Harry, quien ha escrito o co-escrito más de dos decenas de libros, notablemente La Enciclopedia de los Beatles y La Enciclopedia de John Lennon, me solicitó un ejemplar de Nowhere Man. Yo le envié uno y me emocionó oír que había disfrutado leerlo. Él luego me hizo una serie de tanteadoras aunque empáticas preguntas sobre el libro, y de cómo éste llegó a ser. Yo he dado cientos de entrevistas desde que Nowhere Man fue publicado, en el 2000, pero ésta es la primera vez que alguien, quien conoció a Lennon de antes en Liverpool, me ha entrevistado.
Harry no sólo “captó” el libro, sino calificó mis respuestas como “una penetrante e inspiradora descripción” del “largo viaje” de Nowhere Man hacia la publicación.
La entrevista aparece en la página de Facebook de Harry.
Bill Harry: Teniendo acceso a los diarios de John y otros materiales relevantes, ¿tú llegaste a algunas conclusiones personales sobre John, que fueran diferentes a tus opiniones anteriores?
Robert Rosen: Antes de que Fred Seaman me diera los diarios de John, en mayo de 1981, él me había estado contando sobre John, desde el día en que empezó a trabajar para él, en febrero de 1979. La imagen que pintó originalmente, fue la que yo describí en el párrafo inicial de Nowhere Man: la de una disfuncional “super-estrella atormentada, un prisionero de su fama, encerrado en su dormitorio, desvariando sobre Jesucristo, mientras una comitiva de sirvientes atendía cada necesidad suya.” Seaman me contó que él pensaba que John estaba acabado, que nunca haría música de nuevo. Él pensaba que Lennon estaba cansado de vivir, y dijo que no se sorprendería si cometía un suicidio. Todo eso cambió en el verano de 1980, cuando Seaman estaba en las Bermudas con John, y John empezó a escribir y grabar el material para el Double Fantasy. Cuando yo empecé a transcribir los diarios de John, mucho de lo que Seaman me había contado se confirmó, especialmente en los apuntes del diario de John desde principios de 1980, cuando él pareció disperso, desenfocado y confundido sobre qué hacer en lo venidero.
Aún así, una serie de cosas me sorprendió, como cuán mucho tiempo y energía gastaba John escribiendo en sus diarios; los diarios fueron su actividad creativa primaria durante sus años de seclusión. Aunque yo sabía sobre su interés en la numerología, la astrología, el tarot, etc., me sorprendió cuán seriamente él tomaba esas cosas, especialmente el tarot. Y aunque yo, por supuesto, sabía de la rivalidad de John con Paul —en 1979 Seaman empezó a referirse a Paul como “el enemigo”—, me sorprendió cuán obsesionado estaba John con Paul, como pensaba en él virtualmente todos los días, y cuán mucho placer le dio cuando Paul fue detenido en Japón por posesión de marihuana. Así, si mi opinión sobre John cambió, eso tuvo que ver, con cuán obsesivamente mezquino y no caritativo él pudiera ser con Paul.
BH: ¿Cuando tú terminaste el libro, necesitaste la aprobación de Yoko antes de encontrar a un editor?
RR: No, yo no necesité ni pedí la aprobación de Yoko, ella no aprobó el libro, y no trató de impedir que lo publicara después que yo conseguí un contrato de publicación. Sus abogados, sin embargo, pidieron que revisara el libro. Mi abogado se rehusó. Él ya había revisado Nowhere Man y se sentía confiado en que éste no violaba ninguno de los derechos de Ono.
BH: En el curso de tu investigación, obviamente, tú leíste el libro de Albert Goldman. ¿Cuán preciso lo consideraste?
RR: Quizás un 20 por ciento del libro de Albert Goldman, pueda ser tomado como de valor serio. Las vidas de John Lennon está compuesto de pequeñas pepitas de verdad, envueltas en capas y capas de basura. Cada historia que cuenta está grosamente exagerada, para pintar a John y Yoko bajo la peor luz posible.
BH: Al leer los diarios con tal detalle, ¿tú consideraste alguna vez que John fuera obsesivo con lo oculto, los horóscopos y otros estudios psíquicos límites?
RR: No hay duda de que John estaba obsesionado con lo oculto: el tarot, la numerología, la magia y la astrología. John y Yoko tenían un lector de cartas de tarot de tiempo completo, a quien llamaban “Charlie Swan.” (Su verdadero nombre era John Green.) Yoko se reunía con él o le hablaba diariamente. John se reunía con él usualmente varias veces a la semana, aunque por un extenso período de tiempo, él tuvo a Charlie leyendo diariamente sobre los oros futuros. Fue Yoko quien introdujo a John en la numerología y lo encaminó al Libro de los Números de Cheiro, cual se convirtió en una de las “biblias” de John. (La fascinación de John con el número 9 es bien conocida.) Cuando Paul fue arrestado en Japón por posesión de marihuana, John atribuyó el arresto a la magia de Yoko, cual ella había aprendido de Lena la bruja colombiana; ella había ido a Colombia con Charlie Swan y pagado a Lena $60,000 dólares, para que le enseñara a lanzar hechizos mágicos. (Swan, usando su nombre verdadero, escribe con detalle sobre Lena en su libro, Los días del Dakota.) Y cada mes, John recortaba los horóscopos de Patric Walker —Libra para sí mismo, Acuario para Yoko— de la revista Town and Country, los pegaba en su diario y guardaba una pista de cuán precisos éstos fueran. Él usualmente los hallaba sumamente precisos.
BH: John era un lector voraz. ¿Puedes recordar alguno de los libros que le impresionaron en los diarios?
RR: Hubo una serie de libros que John mencionó en sus diarios, que le impresionaron por una variedad de razones. Él estaba muy metido en el “sueño lúcido”, o en la programación de sueños (éstos eran a menudo sueños sexuales con May Pang), cuales luego registraba en su diario. Se refería a la programación de sueños como el “poder del sueño.” Cuando yo estaba escribiendo Nowhere Man, no advertí que El poder del sueño era el título de un libro, que le había enseñado a programar sueños. Obviamente, ese libro tuvo una influencia poderosa sobre él.
John odiaba usar lentes, y se obsesionó con un libro sobre la mejoría de la visión, a través de los ejercicios con los ojos. Yo no recuerdo el título, pero John hacía los ejercicios recomendados por rachas, aunque eso no mejoró su visión.
Él disfrutó mucho la Primavera negra, de Henry Miller, que le recordó a John, de cuando los Beatles estuvieron tocando en locales de striptease en Hamburgo. Estaba tan impresionado por Miedo y asco en Las Vegas, de Hunter Thompson, que consideró interpretar a Thompson en una versión cinematográfica del libro. Y Helter Skelter, de Vincent Bugliosi, sobre los asesinatos de Manson, asustó hasta la mierda a John.
BH: ¿Tú tienes una opinión sobre por qué John se refería constantemente a su esposa como “madre”?
RR: A riesgo de sonar como un psicoanalista de 10 centavos, yo pienso es obvio que él consideraba a Yoko como un sustituto de su madre verdadera. Asimismo pienso que era una manera de John, de expresar su alegría por que Yoko le había dado a Sean, y por que finalmente tenía una familia verdadera. Vale señalar que en sus diarios, él no llamaba a Yoko “Madre”.
BH: Durante el período último de cinco años en la vida de John, que tú estudiaste, ¿cuáles fueron los aspectos de John que te impresionaron, y cuán hombre diferente era él desde sus días con los Beatles?
RR: Lo que más me impresionó sobre John fue su disciplina fanática, cuando se trataba de escribir en su diario, la manera en que lo apuntaba todo, día tras día. Como yo dije en Nowhere Man, él registraba “cada detalle, cada sueño, cada conversación, cada bocado de comida que se ponía en la boca, el flujo perpetuo de la conciencia”. Yo encontré eso inspirador, y traté de emular ese tipo de disciplina en mi propia escritura.
Asimismo encontré sumamente interesante que, a pesar de sus $150 millones y su renombre global, su vida de día a día no parecía toda tan diferente de la mía. Ambos estábamos sentados en una habitación en Manhattan, escribiendo en cuadernos y fumando hierba. Por supuesto, cuando él estaba hablando de los gastos de la casa, sus números tenían un par de ceros extra al final.
Obviamente, durante sus días con los Beatles, cuando estaba grabando y de gira, no estaba pasando tan mucho tiempo en soledad y aislamiento. Y aunque tenía una esposa, Cynthia, y un hijo, Julian, no estaba actuando como un marido o padre verdadero. Eso es algo por lo que se sintió culpable por el resto de su vida, especialmente por su relación, o más bien por la falta de una con Julian. John consideraba a Sean un milagro, y lo veía como una oportunidad para arrepentirse de los pecados contra la familia, que él había cometido cuando era un Beatle. En otras palabras, él hizo lo mejor que pudo para ser un verdadero padre para Sean.
BH: ¿Estaba John aceptando como compañía de Yoko a personas como Sam Havadtoy, y fue esa una relación platónica o más íntima?
RR: Aunque Fred Seaman ha insistido, en que Yoko estaba teniendo un affair con Sam Havadtoy, John no indicó explícitamente en sus diarios que él pensaba ese era el caso. Él podría haber sospechado que algo estaba pasando, había oído de pasada pequeños retazos de la charla entre los sirvientes. Pero no hay nada definitivo, y no hay indicios de que John tratara alguna vez, de impedir a Yoko pasar tiempo con sus decoradores de interiores, los “Sams” Havadtoy y Green.
BH: ¿Fueron los últimos años de John felices, o él estaba atormentado o infeliz?
RR: El nacimiento de Sean y la oportunidad de ser un padre y tener una familia verdadera, brindaron a John una enorme cantidad de alegría. Y hacia el final, cuando canciones como “Woman” le vinieron del todo, estaba encantado. Pero sus celos hacia Paul, su frustración sexual e incapacidad para pasar tiempo con May Pang, su constante preocupación por Apple records, que trataba de estafarlo, y su temor de que iba a perder el amor de Sean, fueron todas continuas fuentes de tormento. Como yo dije en Nowhere Man: “la realidad de John era el aburrimiento y el dolor puntuados por micro segundos de éxtasis”.
BH: Durante tu largo período de investigación, ¿llegaste a interesarte en la pasión de John por lo oculto, y probaste personalmente con el I Ching, leíste horóscopos y practicaste la numerología?
RR: Fue sólo después que yo empecé a leer sobre lo oculto, que muchas de las referencias en los diarios de John comenzaron a tener sentido. Y sí, yo empecé a leer los horóscopos de Town and Country, y empecé a prestar atención a cosas como el Mercurio retrógrado, y estuve a punto de quedarme enganchado con en el Libro de los Números de Cheiro. Eso fue por que la numerología era la práctica ocultista más fácil de entender, y podía ser aplicada a muchas situaciones.
BH: ¿Cuán difícil justo fue escribir el libro, considerando las circunstancias?
RR: Yo empecé a escribir el libro un par de semanas después, que Seaman hubiera saqueado mi apartamento y tomado todo, en lo que había estado trabajando. Fue entonces cuando advertí que tenía grandes porciones de los diarios de John memorizadas, y comencé a escribir todo lo que podía recordar. Mientras más escribía, más recordaba. Para mí escribir es un proceso doloroso, y escribir Nowhere Man fue no más o menos difícil, de lo que fue escribir cualquier otro libro que he escrito. Yo tenía la mayoría de Nowhere Man escrita a finales de 1982, aunque por ese tiempo la llamé “Los diarios de John Lennon.” Lo que ahora aparece en la edición publicada, no es del todo diferente al manuscrito original. Pero debido a que me tomó 18 años encontrar a un editor, fui capaz de pasar ese tiempo refinando el libro, agregando más a éste mientras la información se hacía disponible. Como yo explico en la introducción, nueva información que yo reconocía era de los diarios, aparecía constantemente en los periódicos, las revistas, otros libros, y especialmente en la internet. Yo ensamblé todos esos fragmentos en un todo coherente, y tuve esos 18 años para hacerlo bien. Aunque por razones de derechos de autor yo no podía citar de los diarios, fui capaz de algún modo de infundir en Nowhere Man la energía, el sentimiento y el tono de los diarios, y esa es la magia del libro. A veces se sentía como si John me estuviera dictando, como si yo estuviera conectado con su espíritu.
BH: ¿Tú encuentras en cualquier momento que sus apuntes en el diario, indicaran que él estaba por momentos implicado en una vida plagada de períodos de trivialidad?
RR: Yo no sé si lo llamaría trivialidad. John tenía intereses de amplio alcance y leía un montón de periódicos, todas las cosas de The New York Times hasta los trapos sucios de los chismes. Él pensaba que las historias sobre los científicos, que buscaban nuevas maneras de estimar la edad del universo, y sobre el aumento de peso de Marlon Brando eran igualmente cautivadoras. Él asimismo creía que tabloides como The National Enquirer eran más creíbles que el Times, cual pensaba que lo tomaba todo mal.
BH: Desde que estuvo intrigado por los sueños y llevó un diario de sueños, ¿llegó él a alguna conclusión sobre el sueño?, es decir, ¿era éste profético, le brindaba algunas respuestas, etc.?
RR: Él no pensaba que sus sueños fueran proféticos. (Era la posibilidad, de que él pudiera ser capaz de ver el futuro, la que estaba detrás de su interés en el tarot, y asimismo en parte en el yoga.) Pero él estaba fascinado con los símbolos de los sueños, su relación con la realidad, y lo que éstos revelaban sobre su psique. Él asimismo pensaba que éstos podrían brindarle una percepción de su relación con Yoko. (Cuando él programaba sueños, era sólo el primer sueño el que era capaz de programar. Después de eso, él podía soñar con cualquier cosa.) En un sueño un hombre se convertía en un lobo, y John vio eso como un símbolo de su furia. Un sueño sexual que tuvo con George Harrison, lo dejó sintiéndose confundido, no podía entender por qué él habría tenido tal sueño.
BH: Los últimos cinco años fueron generalmente de reclusión. ¿Fue eso debido a las propias decisiones de John o debido a las circunstancias?
RR: John estaba hastiado del negocio de la música, y cuando su contrato con la Capitol Records —el “Castigo de la Capitol” lo llamaba— caducó, estaba decidido a alejarse de ésta. Sean nació alrededor de ese tiempo y, como yo dije, John estaba asimismo decidido a ser un padre verdadero para Sean. Así, parece ser verdad que fue una decisión mutua entre John y Yoko, que él se retirara por cinco años y pasara ese tiempo criando a Sean. Por supuesto, él le dejó las partes difíciles a Helen Seaman, la institutriz, mientras él pasaba mucho tiempo en sus habitaciones en el Dakota, en Cold Spring Harbor, Palm Beach, y en las habitaciones de hotel en Japón durmiendo, soñando, fumando hierba, mirando la tv y escribiendo en su diario. Entonces, cuando los cinco años pasaron, él tomó la decisión consciente de regresar al mundo, recuperar su musa y hacer música de nuevo. Fue una transición difícil y dolorosa que resultó en el Double Fantasy.
BH: Describe algunas de las dificultades que tú personalmente, como autor, sufriste mientras escribías el libro, y la longitud de tiempo que pasó entre el comienzo de tu escritura y la publicación final.
RR: No es como si yo hubiera trabajado en el libro sin parar durante 18 años. Yo lo he puesto a un lado a la vez durante años, pero la historia de los diarios de John me perseguía. Era una historia que exigía ser contada y no me dejaba en paz.
Yo pensaba que era absurdo que nadie estuviera dispuesto a publicar Nowhere Man. Había tantos otros libros sobre Lennon y los Beatles que se estaban publicando constantemente, y que eran trabajos de plantilla a toda máquina y labores de cortar-y-pegar. Pero los editores me decían que Ono los demandaría (cuando de hecho Ono nunca ha demandado a un escritor por algo que éste haya escrito). Asimismo me decían que no había suficiente interés en Lennon, y que yo no podría probar que, lo que había escrito, era verdad o que incluso los diarios existían.
En 1982, yo le llevé la historia a Jann Wenner en la Rolling Stone. Él dijo que me creía, pero que no la podía publicar. En lugar de eso, me aconsejó que “salvara mi karma” y le contara la historia a Yoko, lo cual hice. Ono afirmó que no sabía que John llevara un diario. Luego me pidió leer mis diarios personales, ella quería saber exactamente qué había estado haciendo Seaman, desde que lo contratara. Yo se los di a ella. Primero ella utilizó la información de mis diarios, para obligar a Seaman a devolverle los diarios de John. Luego le dio mis diarios al fiscal del distrito de Manhattan, quien me dijo que yo sería arrestado por conspiración criminal, basado en lo que había escrito, a menos que firmara un documento renunciando a mis derechos de la Primera Enmienda, de contar la historia de los diarios de John. (Yo no firmé el documento y no fui arrestado.) Ono asimismo le dio mis diarios a Playboy. De las aproximadas 500, 000 palabras de los diarios, Playboy extrajo las 200 más incriminatorias (cuando se toman fuera de contexto), incluyendo mi comentario sobre la hábil explotación de Ono del legado de Lennon: “Lennon muerto=Grandes $$$$$”. En un artículo diseñado para destruir mi reputación, y asegurar que yo nunca fuera capaz de publicar un libro sobre Lennon, el escritor utilizó esa cita como una ilustración, de cómo yo sentía la muerte de Lennon, y me dibujó como un conspirador criminal que se babeaba sobre su cadáver. Luego, en el número siguiente, la revista publicó una carta al director, diciendo que lo que yo había hecho, era peor que lo que Mark David Chapman había hecho. Ese artículo es la fuente de muchas de las teorías de conspiración, que han estado flotando alrededor por años. Algunas de las teorías insinúan que yo soy el jefe-espía sionista financiado por la CIA, que ordenó el golpe contra Lennon. (Yo he agregado un capítulo adicional que cuenta esa historia, en la edición revisada de Nowhere Man, publicada como e-book en el 2015.)
Ono retuvo mis diarios durante 18 años, hasta que Nowhere Man estaba yendo a la prensa. Entonces me los devolvió.
BH: ¿Cuál fue la más sorprendente pieza de información que descubriste, mientras estudiabas los diarios e investigabas para el libro?
RR: La única cosa más sorprendente en los diarios, fue la expresión de Lennon de alegría absoluta, cuando McCartney fue detenido en Japón por la marihuana.
BH: Si John ha sido tu ídolo antes de enfrascarte en la escritura, ¿la terminación del libro resultó catártica?
RR: Yo era un fan de los Beatles. El primer álbum musical que yo alguna vez compré, en 1964, justo después que los vi en El show de Ed Sullivan, fue Meet the Beatles. Yo puse ese álbum lo suficiente, como para memorizar cada palabra de cada canción de éste. Pero asimismo perdí a la vez la pista de los Beatles durante años, y apenas los seguí después que se separaron. Yo estaba más en el deporte, quería ser un escritor de deportes. Pero incluso en los años cuando no estaba prestando atención, la información me estaba llegando de modo subliminal, estaba en el aire. Cuando John contrató a Fred, él sabía muy poco sobre los Beatles; una de las razones por las que consiguió el empleo, fue porque no era un freak de los Beatles. Fred empezó a hacerme un montón de preguntas sobre John y los Beatles, y yo me sorprendí por lo mucho que sabía sobre la música y la tradición: ¿Quién es la morsa? ¿Qué es eso sobre que Paul está muerto? ¿Qué pasa cuando pones "Revolution 9" hacia atrás? Cosas como esas.
Todo lo que yo estoy diciendo, es que no idolatré a John o a cualquier otro Beatle, pero sabía mucho sobre ellos, más de lo que hubiera advertido. Así, no fue la terminación del libro lo que fue catártico. Fue lo que sucedió después que se publicó: después de 18 años de haber sido estafado, ignorado, rechazado, amenazado, llamado un mentiroso y sometido a un asesinato de carácter, yo tenía un best-seller aclamado por la crítica en múltiples países y múltiples lenguas.—Traducción de René Portas
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July 13, 2016
El domingo 17 de julio a las 8 p.m. hora de Buenos Aries (7 p.m. hora de Nueva York) Octavio me va a entrevistar en su programa, transmitido en 325radio.com.
Vamos a estar hablando de la nueva y aumentada traducción al español de mi biografía de Lennon, Nowhere Man, lanzada en todo el mundo el mes pasado.
Octavio, un abogado de profesión, es conocido por sus preguntas precisas y penetrantes. Mis respuestas, por supuesto, serán reveladoras y provocativas.
Yo espero que tú puedas sintonizar el domingo. Si no es así, puedes descargar el podcast aquí.
Te invito a unirte a mí en Facebook o a seguirme en Twitter.
And for the English speakers:
Octavio Cavalli, perhaps Argentina’s foremost Fab Four expert, is the author of Bendito Lennon, a comprehensive and well-researched biography of the ex-Beatle. He’s also the host of a weekly radio show, Bendito Lennon On Air.
Sunday, July 17, at 8 P.M. Buenos Aries time (7 P.M. New York time), Octavio will interview me on his show, streamed on 325radio.com (click on “Como sintonizarnos”).
We’ll be talking about the new and expanded Spanish translation of my Lennon bio, Nowhere Man, released worldwide last month.
Octavio, a lawyer by profession, is known for his precise and penetrating questions. My answers, of course, will be revealing and provocative.
I hope you can tune in on Sunday. If not, you can download the podcast here.
I invite you to join me on Facebook or follow me on Twitter.
June 18, 2016
¿Cómo puedo yo estar tan seguro? Es fácil. Es un hecho bien establecido que yo tuve acceso a los diarios de John Lennon, y lo que he comunicado en Nowhere Man es la esencia de lo que había en esos cuadernos. Hasta que los diarios sean publicados, lo cual no sucederá en nuestro tiempo de vida, Nowhere Man es lo más cerca que puedes llegar a la autobiografía de Lennon.
Si tú fueras un Beatle, especialmente si fueras Paul McCartney, ¿no querrías saber lo que Lennon escribió sobre ti en sus diarios?
La respuesta es por sí misma evidente.
Lo que McCartney descubrió tras la lectura de Nowhere Man, fue lo que Lennon pensaba de él todo el tiempo, y que estaba locamente celoso por el éxito incesante de Paul. El espíritu de McCartney embrujaba realmente a Lennon. Él oía la música de McCartney en su cabeza cuando Paul estaba en la ciudad. Él escuchó la música de McCartney, cuando trató de salir de su mala racha creativa y compuso las canciones para el Double Fantasy. La “I Don’t Want to Face It” de Lennon —grabada para el Double Fantasy, pero lanzada en el Milk and Honey—, fue una respuesta directa a la “Coming Up” de McCartney. Además Lennon, disgustado por las demandas de McCartney sobre una reunión de los Beatles, se refirió a él como McOjodeculo, y se regocijó cuando Paul fue detenido en Japón por posesión de marihuana, dándole el crédito a Yoko Ono por causar el arresto al lanzarle un hechizo mágico. “Yo quiero a Paul como a un hermano”, escribió Lennon. “Sólo que él no me gusta.”
Hoy, el 74 cumpleaños de Paul McCartney, quedan nueve días hasta el lanzamiento mundial del e-book Nowhere Man 15 aniversario ampliado y recién traducido. Tú puedes pre-ordenar el e-book en Amazon, iTunes y Barnes & Noble. Entonces, el 27 de junio, podrás conocer aún más sobre la tormentosa relación Lennon-McCartney.
Mientras tanto, vamos todos a desearle a Paul un 74 cumpleaños feliz y saludable. Que él siga brillando.
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And for the English speakers:
When journalists ask me if any of the Beatles have ever read Nowhere Man: The Final Days of John Lennon, my answer is an unequivocal: “Yes, absolutely… though they’d never admit it publicly.”
How can I be so sure? Easy. It’s a well-established fact that I had access to John Lennon’s diaries, and what I’ve communicated in Nowhere Man is the essence of what was in those notebooks. Until the diaries are published, which will not happen in our lifetimes, Nowhere Man is as close as you can get to Lennon’s autobiography.
If you were a Beatle, especially if you were Paul McCartney, wouldn’t you want to know what Lennon wrote about you in his journals?
The answer is self-evident.
What McCartney discovered upon reading Nowhere Man was that Lennon thought about him all the time and that he was insanely jealous of Paul’s unabated success. McCartney’s spirit veritably haunted Lennon. He heard McCartney’s music in his head when Paul has in town. He listened to McCartney’s music as he tried to break out of his creative slump and compose the songs for Double Fantasy. Lennon’s “I Don’t Want to Face It”—recorded for Double Fantasy but released on Milk and Honey—was a direct response to McCartney’s “Coming Up.” Yet Lennon, repulsed by McCartney’s demands for a Beatles reunion, referred to him as McAsshole, and rejoiced when Paul was busted in Japan for marijuana possession, crediting Yoko Ono with bringing about the arrest by casting a magic spell. “I love Paul like a brother,” Lennon wrote. “I just don’t like him.”
Today, on Paul McCartney’s 74th birthday, nine days remain until the worldwide release of the expanded and newly translated 15th Anniversary Nowhere Man e-book. You can pre-order the book on Amazon, iTunes and Barnes & Noble. Then, on June 27, you can learn even more about the stormy Lennon-McCartney relationship.
In the meantime, let’s all wish Paul a happy and healthy 74th birthday. May he continue to shine on.
I invite you to join me on Facebook or follow me on Twitter.
June 15, 2016
La marihuana de John
Durante dos años estuvimos en un viaje mágico y misterioso. Cuando Seaman estaba en la ciudad, cruzábamos por toda Nueva York y más allá, una vez yendo tan lejos como hasta Montreal, en el flamante nuevo Mercedes Benz verde manzana de Lennon, fumando porros gruesos de la potente marihuana de John, y resonando rock ‘n’ roll en el personalizado sistema de sonido Blaupunkt.
John en Jerusalén
En el interior de las murallas, deambuló por las calles, por la vía Dolorosa, ocultándose tras sus gafas de sol, con su cabello largo por los hombros fluyendo como el de Jesús, por debajo del sombrero de Panamá. Miraba absorto a los árabes con sus tocados, sentados en los taburetes afuera de los cafés antiguos, fumando inmensos trozos de hashish, tres o cuatro de éstos halando de narguiles enormes, como Alicia en el país de las maravillas. Él también quería fumar, pero tenía miedo.
Una pareja en crisis
Algo andaba terriblemente mal con John Lennon y su esposa, Yoko Ono, mientras la nueva década amanecía en el Dakota. Sus vidas se estaban haciendo pedazos. La plegaria anual de John por el disfrute continuo de su salud y riqueza, había caído aparentemente en oídos sordos. La situación se había vuelto tan desesperada, que los sirvientes especulaban entre sí sobre la posibilidad de un suicidio doble.
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June 6, 2016
The list price is a numerologically harmonious $9.99, but if you bought the print edition, published by Random House Mondadori, on Amazon, you can download the e-book for 99 cents.
I’m writing this in English because my self-taught Spanish, which I can read on about a fourth-grade level, is not up to the task. That’s why René Portas, who translated the original Spanish edition, has returned to do a new and improved translation.
René, who’s in Buenos Aires, and normally translates Russian writers like Dostoevsky, Tolstoy, and Chekhov, reminded me how vital yet under-appreciated translators are. Translation is not a matter of simply substituting a word in English for a word in Spanish. Rather, it’s a magical process. A great translator gets inside a writer’s head and somehow transforms his (or her) distinctive voice into an entirely new idiom.
That is what René has done with Nowhere Man. And after a 13 year absence from the market, the book will once again be available. Start spreading las noticias!
I invite you to join me on Facebook or follow me on Twitter.
May 4, 2016
For the past few months, the book’s original translator, René Portas (who normally translates the works of Tolstoy, Dostoevsky, and Chekhov), has been putting together the definitive (and long-awaited) Spanish-language incarnation of the 15th anniversary Nowhere Man e-book, which was published in English last October, on Lennon’s 75th birthday.
The Spanish edition will be available worldwide within the next month—exact publication date to be announced.
In the meantime, René continues to work on making Nowhere Man perfect. And the price for this perfection will be a far more reasonable $9.99.
I invite you to join me on Facebook or follow me on Twitter.
January 5, 2016
Nowhere Man: The Final Days of John Lennon has been included on its share of “best” lists. Among them are: Christianity Today’s “10 Best Books of 2000” (which also includes The Human Stain, by Philip Roth); iLeon’s “10 Essential Music Biographies of All Time”; “The Top 20 Beatle Books,” a chapter in The Beatles: Having Read the Book, by Greg Sterlace; and The Examiner’s “Top 3 Conspiracy Theories Revolving Around the Death of John Lennon” (a bizarre list that I share with J. D. Salinger and Stephen King).
Obviously, none of these publications and Websites can be considered mainstream sources of rock-establishment opinion, and, it’s safe to say, none of the writers who assembled these lists harbor any ambitions of working for Rolling Stone or interviewing Yoko Ono.
That’s why I was astonished to wake up one morning last month and find Nowhere Man on The Huffington Post’s list of “12 Great Books About John Lennon.” Dennis Miller (the author, not the right-wing comedian) wrote the piece, in which he calls Nowhere Man a “cult classic.” Though Miller is not a card-carrying member of the rock establishment, The Huffington Post is well within the mainstream.
Miller’s list contains several of the usual suspects, like John Lennon: The Life, by Philip Norman; Tune In: The Beatles, by Mark Lewisohn; and The Love You Make, by Peter Brown and Steven Gaines. But, in addition to Nowhere Man, Miller includes what is arguably the most radioactive book in the Lennon canon: The Last Days of John Lennon, by Frederic Seaman.
Suffice it to say that Seaman, Lennon’s former personal assistant, gave me Lennon’s diaries, which enabled me to write Nowhere Man. (I tell the story of our relationship in the intro.) And Yoko Ono so hated The Last Days of John Lennon, she was finally able to force Seaman to withdraw the book a decade after it was published, thus making it the only banned book on the list. (Copies are still available on the Internet.)
Though I’m no fan of Seaman’s book, I was still happy to see it on the Huffington Post list—because I hate the idea of anybody having the power to repress any book. The Last Days of John Lennon is a fascinating combination of flattering and unflattering truths about Lennon, unflattering truths about Ono, and a liberal smattering of overt lies about everybody involved, including me. It’s also a book that’s well worth reading, especially if you read it alongside Nowhere Man.
So, I’d like to commend Dennis Miller for putting together this unorthodox list, though I may never know if it was a product of bravery in the face of the rock establishment, charming naïveté, or simply a dozen books that he happened to like very much.
December 8, 2015
Is there anything to be gained by expressing my disgust with the NRA, who apparently believe that everybody over the age of three should be armed; the Congress, who are on the take from the NRA; and the menagerie of candidates running for the Republican presidential nomination, one of whom, a medical doctor, has said, “I never saw a body with bullet holes that was more devastating than taking the right to arm ourselves away”?
I doubt it.
In Nowhere Man, I explain that Mark David Chapman acquired the handgun he used to murder Lennon by telling a lie on his pistol-permit application. He said he’d never been institutionalized for mental illness, when, in fact, he had. But nobody did a background check, and Marky got his gun.
Of Chapman’s delusional act, I wrote, “Nobody has ever assassinated a popular entertainer before. This is completely different, a new kind of madness. It’s very scary shit.”
Thirty-five years later, this “very scary shit” has gone well beyond assassinating popular entertainers. I now live in a country that’s in the throes of a guerrilla war being waged by terrorists and unaffiliated crazies of all stripes and their supporters in the NRA, Congress, and on the campaign trail.
The other night, my wife and I were eating dinner in a crowded restaurant that we’ve been going to for years. And though I didn’t say a word about it at the time because I didn’t want to ruin the meal, I kept glancing out the window and thinking that this is probably not a good place to eat anymore. The restaurant, situated on a wide avenue that branches off into a warren of streets and provides easy access to bridges and tunnels, is a good target for somebody who wants to do a mass shooting and escape. It’s better to eat in a restaurant on a narrow side street prone to traffic jams—I thought that would be a less inviting target.
This is what it’s come to in the land of the free and the home of the brave—everybody walking around thinking about how to avoid being shot and how to protect yourself when the shooting starts. And though it would be nice if Yoko Ono’s “Imagine Peace” were something more than a cliché as absurd as the Republicans’ offering “thoughts and prayers” to victims of the latest massacre, it’s not.
It’s going to take a lot more than imagination and prayer to solve the problems of a country where at last count there were more guns (357 million) than people (317 million).
In 2015, we are all at least as vulnerable as John Lennon was, and he was more vulnerable than he ever imagined.
November 30, 2015
Nirenberg said that the book made him feel as if he were “inside the Dakota with John Lennon and Yoko Ono,” and that Lennon came across as “naked—flawed, mean, and beautiful.”
So, yes, all these years after publication, the book continues to affect people and inspire them to communicate their feelings about what they’ve read. This is what every writer wants his or her books to do.
To me, this is especially satisfying because for 18 years nobody would publish Nowhere Man—editors had deemed it “unpublishable.”
I think it’s now safe to say that they were wrong. Nowhere Man is the book that refused to die. And in this season of thanksgiving I can only give thanks to all the people who’ve read Nowhere Man and made up their own minds about it.
November 23, 2015
You can tune in on the dates and times below:
Thursday, January 18: 10 A.M., 1 P.M. & 4 P.M. ET; 9 A.M., 12 P.M. & 3 P.M. CT; 8 A.M., 11 A.M. & 2 P.M. MT; 7 A.M., 10 A.M. & 1 P.M. PT
Saturday, January 27: 11 A.M. ET; 10 A.M. CT; 9 A.M. MT; 8 A.M. PT
Friday, March 30: 10 A.M., 1 P.M. & 4 P.M. ET; 9 A.M., 12 P.M. & 3 P.M. CT; 8 A.M., 11 A.M. & 2 P.M. MT; 7 A.M., 10 A.M. & 1 P.M. PT
Sunday, April 22: 7:30 A.M. ET; 6:30 A.M. CT; 5:30 A.M. MT; 4:30 A.M. PT
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Thursday, June 14: 7 A.M. ET; 6 A.M. CT; 5 A.M. MT; 4 A.M. PT
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Thursday, July 19: 1 P.M. & 4 P.M. ET; 12 P.M. & 3 P.M. CT; 11 A.M. & 2 P.M. MT; 10 A.M. & 1 P.M. PT
Monday, August 20: 7 A.M., 11 A.M. & 3 P.M. ET; 6 A.M., 10 A.M. & 2 P.M. CT; 5 A.M., 9 A.M. & 1 P.M. MT; 4 A.M., 8 A.M. & 12 P.M. PT
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Sunday, August 13: 4 P.M. ET, 3 P.M. CT, 2 P.M. MT, 1 P.M. PT
Sunday, September 17: 8 A.M. ET, 7 A.M. CT, 6 A.M. MT, 5 A.M. PT
Friday, September 22: 8 A.M. and 12 P.M. ET , 7 A.M. and 11 A.M. CT, 6 A.M. and 10 A.M. MT, 5 A.M. and 9 A.M. PT
Saturday, October 14: 9 A.M. ET, 8 A.M. CT, 7 A.M. MT, 6 A.M. PT
Monday, October 23: 9 A.M. ET, 8 A.M. CT, 7 A.M. MT, 6 A.M. PT
Friday, November 3: 8 A.M. ET, 7 A.M. CT, 6 A.M. MT, 5 A.M. PT
Sunday, November 5: 8 A.M. ET, 7 A.M. CT, 6 A.M. MT, 5 A.M. PT
Monday, November 13: 10 A.M. and 4 P.M. ET, 9 A.M. and 3 P.M. CT, 8 A.M. and 2 P.M. MT, 7 A.M. and 1 P.M. PT
Friday, December 22: 8 A.M. and 1 P.M. ET, 7 A.M. and 12 P.M. CT, 6 A.M. and 11 A.M. MT, 5 A.M. and 10 A.M. PT
Wednesday, March 23: 9 P.M. ET, 8 P.M. CT, 7 P.M. MT, 6 P.M. PT
Saturday, April 2: 6 P.M. ET, 5 P.M. CT, 4 P.M. MT, 3 P.M. PT
Wednesday, April 20: 8 A.M. ET, 7 A.M. CT, 6 A.M. MT, 5 A.M. PT
Saturday, May 21: 12 P.M. ET, 11 A.M. CT, 10 A.M. MT, 9 A.M. PT
Tuesday, May 31: 10 A.M. ET, 9 A.M. CT, 8 A.M. MT, 7 A.M. PT
Wednesday, June 1: 8 A.M. ET, 7 A.M. CT, 6 A.M. MT, 5 A.M. PT
Thursday, June 9: 8 A.M. ET, 7 A.M. CT, 6 A.M. MT, 5 A.M. PT
Tuesday, June 28: 8 A.M. ET, 7 A.M. CT, 6 A.M. MT, 5 A.M. PT
Wednesday, August 3: 10 A.M. ET, 9 A.M. CT, 8 A.M. MT, 7 A.M. PT
Friday, August 26: 8 A.M. ET, 7 A.M. CT, 6 A.M. MT, 5 A.M. PT
Monday, September 5: 1:30 A.M. ET, 12:30 A.M. CT, 11:30 P.M. MT, 10:30 P.M. PT
Tuesday, September 6: 6 A.M. ET, 5 A.M. CT, 4 A.M. MT, 3 A.M. PT
Wednesday, September 7: 9 A.M. ET, 8 A.M. CT, 7 A.M. MT, 6 A.M. PT
Sunday, September 25: 9:30 A.M. ET, 8:30 A.M. CT, 7:30 A.M. MT, 6:30 A.M. PT
Wednesday, September 28: 9 P.M. ET, 8 P.M. CT, 7 P.M. MT, 6 P.M. PT
Saturday, October 1: 10 A.M. ET, 9 A.M. CT, 8 A.M. MT, 7 A.M. PT
Friday, October 21: 9 A.M. ET, 8 A.M. CT, 7 A.M. MT, 6 A.M. PT
Reelz (TWC 128/Fios 233 in New York City) is not available on demand, so set your DVR. Click here to find Reelz on your local cable or satellite system.
November 2, 2015
Saturday, November 7: 3 P.M. ET, 2 P.M. CT, 1 P.M. MT, 12 P.M. PT
Sunday, November 8: 12 P.M. ET, 11 A.M. CT, 10 A.M. MT, 9 A.M. PT
Reelz is not available on demand, so set your DVR if you can’t tune in at the appointed times. (In New York City, Hollywood Scandals is on Time Warner Cable 128 and Fios 233 .) Click here to find the show on your local cable or satellite system.
If you’re wondering why Hollywood Scandals asked me to talk about Lennon and my bio Nowhere Man (which has just been re-released as an e-book), there are a lot of good reasons. You can find the latest one in a just-published book titled The Beatles: Having Read the Book, by Greg Sterlace. In this volume, the author, using Robert Christgau’s “Consumer Guide” format, reviews “the best and worst of the Beatle tomes.” In his Nowhere Man critique, he calls me “the Woodward and Bernstein of rock” and gives me an “A.”
That’s a title and a grade I can live with.
October 27, 2015
In 2002, when the paperback edition of Nowhere Man was published, I started keeping track of interviews. I'd already been doing a lot of talking about the book for the two years since the hardcover had come out, and I knew that I was going to be doing a lot more. Also, having developed an abiding interest in numerology, I found numbers... significant.
Since the release of the 15th anniversary Nowhere Man e-book on October 9, I find myself in the midst of another interview frenzy. My chat with Daniel Zuckerman on his Time Warped Hour podcast—my second appearance on the show—is #179 since the publication of the paperback 13 years ago.
Zuckerman and I cover a lot of ground, discussing everything from conspiracy theories to John Lennon’s eating habits to (naturally) his music.
Over the course of the interview, Zuckerman, a Beatles aficionado, plays a lot of good Lennon tunes, including some obscure cuts that I’d never heard before. Perhaps the most surprising track is Elvis Costello’s cover of Yoko Ono’s “Walking on Thin Ice,” the song she and Lennon were working on the night he was assassinated.
So turn off your mind, relax, click on the player, and float through 86 minutes of provocative music and conversation.
October 26, 2015
Below are links to Nowhere Man on the main online booksellers. Please note that if you've already bought the print edition on Amazon, you can download the updated e-book for 99 cents.
BARNES & NOBLE
And if you don't want to pay for it, ask for the Nowhere Man e-book at your local library. They’ll pay for it.
October 22, 2015
I received a copy of the galley to this book several years ago, before it was published. I could not put it down! Robert Rosen effectively delves into John Lennon’s dark side, but from a wholly analytical, non-judgmental perspective. Rather, Rosen affords an in-depth exploration of the complexities of Lennon's often-tortured psyche, with the insight and precision that only a seasoned journalist can provide. His writing is stark, intelligent and authoritative. I highly recommend this book. —Alissa Wolf
Having just released an updated 15th anniversary e-book edition of Nowhere Man, now available on Amazon (for the unbeatable “matchbook” price of 99 cents) and Smashwords, this review, to say the least, reminded me why the book has endured for those 15 years.
Thank you, Alissa Wolf!
October 12, 2015
If the original publication of Nowhere Man was "like the end of the Vietnam war and I'm the Vietcong" (as I told M. A. Cassata when she interviewed me for Goldmine magazine in 2000), then the release of the e-book edition has been like a Ho Chi Minh Day parade celebrating 15 years of postwar survival.
A core group of supporters have been doing all they can to help me introduce the digital edition of Nowhere Man: The Final Days of John Lennon to a new generation of readers.
Louie Free, the book-loving host of The Louie Free Radio Show: Brainfood from the Heartland, remains a rare independent voice carrying on the nearly forgotten tradition of free-form radio. In early 2000, during our first interview, a scheduled 15-minute chat turned into a four-hour Nowhere Man talkathon. Since then, from his base in Youngstown, Ohio, Louie has interviewed me dozens of times, most recently on October 9, for Lennon’s 75th birthday. I’ll be back December 8, and you can listen live here. And be sure to tune in for the holidays, when Louie will be playing Mary Lyn Maiscott’s “Christmas classic” (his words) “Blue Lights.”
M. A. Cassata and I once worked for the same publishing company. She edited and wrote for rock magazines; I edited men’s mags. Now she runs The MacWire, where she’s posted an interview and an article about the e-book.
The passion of the Spanish-speaking world for Nowhere Man took me by surprise when the book was first published in that language, in 2003. Nowhere is that passion more evident than on 10, Mathew Street, a Beatles Website based in Madrid. To celebrate John Lennon’s 75th birthday and the release of the e-book, they’ve run an interview with me in English and Spanish.
Fifteen years after Lady Jean Teeters and I first spoke about John Lennon for her Absolute Elsewhere site, I’ve come to regard the interview as a classic—an empathetic conversation that took place just as my life was undergoing a radical transition. For the e-book edition, Jean has posted promos on AE and on History Unlimited, another site she runs. You can also connect with her on Facebook’s The Spirit of John Lennon page.
Daniel Zuckerman’s The Time Warped Hour podcast and Bryan Schuessler’s Shu-Izmz site and podcast are two recent arrivals to the circle of support. Stay tuned for links to their upcoming John Lennon shows.
And a special thanks to Chris Reeves who designed the cover, an homage to the original design by Celia Wiley; to Ann Schneider who helped me secure the rights to the cover photo; and to everybody else who’s stood by me over the years. You know who you are. If you don’t, you should look here.
October 8, 2015
In the intro, I look back over the past 15 years, to the multitude of things that have changed in the world, in book publishing, and in my own life since Soft Skull Press released the original hardcover.
I also address the book’s critics, some of whom were driven into what I describe as “a state of spluttering apoplexy” by my “controversial” author’s note: “Nowhere Man is a work of investigative journalism and imagination.” I go into more detail about what, exactly, that sentence means.
Tomorrow, you can read the complete intro on Amazon. It begins like this:
What you’re now reading on your “device” is the latest incarnation of a book that was rejected by everybody before Soft Skull Press, a tiny independent operating out of a tenement basement on Manhattan’s Lower East Side, published it in July 2000.
New York that summer was a place where it was still possible for an underground entity like Soft Skull to exist. The city itself had not yet become a real-estate playpen for anonymous oligarchs who sheltered their fortunes in $100 million apartments in thousand-foot-tall glass towers. The Twin Towers and the economy had not yet collapsed. George W. Bush was not yet president. The U.S. had not yet invaded Iraq. People did not yet assume that every word they launched into the electronic ether was stored and possibly analyzed by the NSA. And the publishing industry had not yet been turned upside-down by e-books, piracy, and the Internet. There was no Twitter, no Facebook; there were no smartphones. I didn’t know what a blog was. It was, in short, the final moment before the Old World gave way to iWorld—and an obscure, middle-aged writer could publish a book exclusively as hardcover with a gritty indie who, through a combination of old-fashioned PR skills and relentless audacity, could ignite a conflagration of media attention that would send that book rocketing up best-seller lists in multiple countries and in multiple languages.
October 7, 2015
Soft Skull Press, Nowhere Man's original publisher, was a notable exception. In 2000, a young man with a George W. Bush "Bring it on!" complex was running the company, and he was fearless when it came to lawsuits. That's why Soft Skull published Nowhere Man when virtually every other publisher had turned it down.
Soft Skull acted as though lawsuits were a good way to get publicity and sell books, an attitude that almost destroyed them, as the documentary Horns and Halos—about Fortunate Son, a George W. Bush biography they published that detailed Bush’s cocaine habit—vividly demonstrates.
For Nowhere Man, Soft Skull used the back cover photo from Lennon and Ono’s Two Virgins LP for the cover of the galley, which they sent out to the media for review. The cover served one purpose only: to provoke Ono.
“You’re crazy!” I told the publisher. “It’s her photo! She’s going to sue you!”
Sure enough, within hours of Soft Skull’s releasing the galley, Ono’s attorneys demanded that they cease and desist, and in an uncharacteristic act of sanity, they withdrew the galley and reprinted it with a plain white cover.
Now, more than 15 years later, as I prepare to launch the Nowhere Man e-book, its cover an homage to the cover Soft Skull ultimately used for the best-selling hardback, the galley—there might be about a hundred in circulation—has become a newsworthy artifact, though I’d never sell it on eBay.
Instead, I should hang it on my wall as a symbol of all the insanity Nowhere Man has survived.
October 5, 2015
I wanted to give readers an alternative to downloading pirated editions, and I especially wanted to give people who've bought the print edition from Amazon, either in paperback or hardcover, the opportunity to buy the updated and expanded e-book (with a new introduction and five bonus chapters rather than the bonus malware you often receive when you download pirated books) for the extraordinary price of 99 cents--Amazon's “matchbook” price. The book will be exclusively available on the site on October 9, Lennon's 75th birthday. Also, Nowhere Man is not DRM-protected, so you can share it, unlike with many e-books.
Pre-order now and receive Nowhere Man at midnight Eastern Time on October 9.
The 99-cent matchbook price, the $9.99 regular price, and the release date are not random numbers. As I detail in Nowhere Man, notably in a chapter titled “The Book of Numbers,” number 9, as well as its multiples 18 and 27, were numbers that played a significant role throughout Lennon’s life and death.
Lennon and his son Sean were born October 9; Yoko Ono was born February 18; Paul McCartney was born June 18; Lennon received his green card on July 27; and when Mark Chapman murdered Lennon (December 8 in New York but already December 9 in England), he believed that he was writing Chapter 27 of The Catcher in the Rye—a book that has only 26 chapters—in Lennon’s blood.
And that’s just scratching the surface of what Nowhere Man says about 9, 18, and 27.
Following the rules of Cheiro’s Book of Numbers, a volume that Lennon and Ono considered one of their bibles, I wanted the prices, a double 9 (or 18) and a triple 9 (or 27), and the release date to, as John would have thought, vibrate harmoniously with his life.
I do hope you’ll buy my book, especially if you’ve already enjoyed reading a pirated edition.
September 27, 2015
The new introduction talks about all that's happened to me and to the book since Soft Skull Press published the original hardcover edition in 2000. The cover is a 15th anniversary homage to the Soft Skull cover.
There are also five bonus chapters and additional revelations about Lennon and Yoko Ono that I was unable to include in previous editions. I’ll discuss this in more detail in future posts.
The release date is October 9, Lennon’s 75th birthday.
Anybody who’s bought any edition of Nowhere Man on Amazon can download the e-book for 99 cents. (The regular price is $9.99.)
So please, click here to pre-order the e-book, and click here to like Nowhere Man on Facebook.
July 18, 2015
In any case, adhering to my philosophy of treating like Oprah everybody who wants to talk about my books, I spoke at length to Ozy, and when they ran the story, "How Nixon Shaped Porn in America," about the connection between Watergate and Nixon's efforts to ban the film Deep Throat, I was amazed by the results.
Not only was Beaver Street prominently featured, but the story was shared a respectable 1,760 times (and counting) on Facebook; was published in the popular German tabloid Bild as “Mister President wollte eigentlich das Gegenteil ... Wie Nixon dem Porno zum Durchbruch verhalf” (roughly translated as “Mr. President wanted the opposite of it... how Nixon helped porn to its breakthrough”); and was cited in the Washington Post and Baltimore City Paper.
That Beaver Street has remained in the news for more than four years in an environment where just about everything is forgotten within 24 hours is nothing short of miraculous. But apparently, that’s how long it’s taken the media to catch on to one of the book’s central themes: The biggest crooks—notably Richard Nixon, Spiro Agnew, Edwin Meese, and Charles Keating—cry “Ban pornography!” the loudest.
And speaking of books that people keep talking about long after publication, on Tuesday, July 21, at 10 P.M eastern time, and Saturday July 25, at 2:30 P.M. eastern time, the Reelz channel will broadcast the John Lennon episode of Hollywood Scandals, in which I discuss my Lennon bio, Nowhere Man. Click here to find the show on your cable or satellite system.
May 27, 2015
Fifteen years ago today, on May 27, 2000, this article ran in the Metro section of The Times. It marked a long-awaited turning point in my career, the moment when all the emotion and frustration I'd been carrying with me for 18 years had at last found an outlet. This was one of the first Nowhere Man interviews I'd ever done, and I had a lot to say. Like many newspaper articles published in the early 21st century (or late 20th century, if you want to be technical), "Lennon Juice" is not available online. I’ve reproduced it word-for-word below.
The Times | May 27, 2000
Every fan knows the story of the last chapter of John Lennon’s life. The contented, if eccentric, days he spent in the apartment he and Yoko shared in New York’s Dakota building have become part of rock ’n’ roll legend.
While Yoko looked after business, Lennon was the happy househusband, baking bread and bringing up their son Sean. It was, Ono recalled, interviewed in Metro two years ago, “the happiest time” in their entire relationship.
At least that is the official version. As we approach the twentieth anniversary of Lennon’s death, New York journalist Robert Rosen is telling a far darker tale, an account of Lennon’s Dakota days based loosely on the intimate diaries the former Beatle kept between 1974 and 1980.
There are a series of leather-bound New Yorker desk diaries, in which Lennon recorded his every action, every private thought, every dream, even his every meal. And Rosen is one of the few people alive to have read them.
Sitting over breakfast in an East London café, Rosen admits the book is certain to cause major controversy among Lennon fans. He describes the character who emerges as “a dysfunctional, tormented superstar, disintegrating under the effects of fame and living in a high-rent purgatory of superstition and fear.”
Far from being lived in domestic bliss, Lennon’s last years, waited on by a retinue of servants whose appointments had been vetted by a tarot card reader, were characterized by “boredom and pain punctuated by microseconds of ecstasy,” he says. Rosen details a myriad of slavishly followed obsessions, from numerology to vows of silence to Billy Graham. In this account, Lennon is even responsible for Paul McCartney’s 1980 incarceration for drug possession in Tokyo, having asked Yoko to put a curse on his former partner.
Past biographies have either been uncritical eulogies (Ray Coleman’s 1984 Lennon) or have magnified Lennon’s weaknesses (Albert Goldman’s 1992 Sound Bites), Rosen states. Nowhere Man: The Final Days of John Lennon is, he says, simply the truth.
“It’s a three-dimensional portrait of John that’s as honest as I could possibly make it. I hope it tells you what the neurotic experience of being John Lennon was like. It’s a journey through his consciousness, the story of the last years of his life, as seen through his eyes.” But is it? Many, including Ono and Sean Lennon, would probably strongly dispute the accuracy of the portrait and questions Rosen’s powers of accurate recall.
They will point out that the author, by his own admission, has not read the lost diaries since 1982 and that even the notes he made at the time are no longer in his possession. For legal reasons, he is forced to declare in the preface to the book: “I have used no material from the diaries. I have used my memory of Lennon’s diaries as a roadmap to the truth.”
Yet there is no dispute that the lost Lennon journals exist and that for several months in 1981 they were in Rosen’s possession. And he insists his memory is perfect. “I spent 16 hours a day for weeks on end transcribing them, and I realized that I had huge chunks of the diaries memorized. I had worked so hard on them and run them through my typewriter so many times, I had them all in my head.”
At the time of Lennon’s death at the hands of obsessive fan Mark David Chapman in December 1980, Rosen was a 28-year-old cab driver with a master’s degree in journalism. He had never met the former Beatle, but he did know Fred Seaman, the singer’s personal assistant, from college. “Twenty-four hours after Lennon’s murder, Seaman told me that while they were in Bermuda together that summer, Lennon had asked him to write the true story of his Dakota days,” Rosen recalls. “It was to be the ultimate Lennon biography and he told me, ‘It’s what John wants.’”
Six months later, in May 1981, Seaman delivered Rosen the crown jewels of the Lennon archive—six volumes of stolen personal diaries. The would-be author began transcribing them. “I’d never seen anything like it. He got it all down—every detail, every dream, every conversation, every morsel of food he put in his mouth was recorded in a perpetual stream of consciousness. I thought the story was rock ’n’ roll’s Watergate.”
When he finished, Rosen sent a detailed story based on the diaries to various publishers, including Jann Wenner, the founding editor of Rolling Stone.
Wenner alerted Yoko, who was still unaware that the diaries had been stolen. After a court case they were eventually returned to her and Seaman was convicted of grand larceny. At the same time, Ono also persuaded Rosen to join her payroll and while he was in her employment he handed over 16 of his own notebooks based on the Lennon journals. They remain in Ono’s possession to this day.
Why he has waited so many years to write the book is not entirely clear. There were legal ramifications under American copyright law, further complicated by the fact that the diaries had been stolen. “Legally, I can’t say what I would like to say,” he says. “It took me all these years to put the book together in a form that I was happy with, but I’m not allowed to say it is based upon the journals. It is a work of investigative journalism, intuition and imagination. That’s the line.”
Rosen admits to having feelings of guilt about the book and he has never taken legal steps to recover his own journals from Yoko. “I did something that wasn’t 100 per cent kosher, even though my intentions were entirely honourable. Because the diaries were stolen, I feel that I owe her something. I wouldn’t be human if I didn’t feel guilt.
“When I met Yoko my heart totally went out to her. But I’ve got a story and I’m a professional journalist. So I’m going to tell it. This is a great story that deserves to be told.”
Ask him if he thinks Lennon ever meant the diaries for public consumption and he hesitates. “I don’t know. I think it was the basis of something he wanted out. I think his diaries were a very early rough draft of what could have been the great memoir.”
What made Lennon such a compelling subject was less his money and fame and more the contradictions within his character, Rosen says. “Every facet of his life was a paradox. Part of him aspired to follow the way—Jesus, Gandhi and whoever. The other part of him just wanted sex and drugs. Part of him wanted a perfect macrobiotic diet. Another part of him wanted chocolate chip cookies.”
Gossip and cheap innuendo or the most complete and honest portrait of Lennon yet written.
Unless Yoko decides to publish the original diaries herself, perhaps we will never really know. But fiction or non-fiction, Nowhere Man is a gripping read that no Lennon fan will be able to resist.
Nowhere Man: The Final Days of John Lennon is published by Soft Skull Press on June 1, price £14.99/£11.99.
May 9, 2015
Robert Rosen is a freelance journalist living in New York. He has written for a number of US newspapers and magazines, and studied fiction writing with Joseph Heller and James Toback. He won a Hugo Boss poetry award in 1996
UNCUT: What did John Lennon mean to you personally?
ROBERT ROSEN: I was a fan but not a hardcore fanatic. I bought Sgt Pepper, the White Album and Abbey Road. When they broke up, I didn’t follow their solo careers closely. Then John Lennon moved to New York, which made me sit up and take notice. It’s my town.
What was your initial connection to John and Yoko?
I was at college with a guy called Fred Seaman. In January 1979, he got a job as John’s personal assistant. The very first day on the job, he said to me we should collaborate on a book. He’d call me every day from wherever they were and tell me all the gossip. He also had access to Lennon’s Mercedes and we’d go out in the car and hang out. I was having a total blast. Fred would score dope for John and take a cut and we’d joyride in the Mercedes and smoke John’s best weed.
So what kind of gossip were you hearing?
Fred described this guy who was locked in his bedroom all day raving about Jesus, who was out of his mind and totally dysfunctional. I took notes on everything he told me and that’s all in the book. Then in June 1980, Fred went with John to Bermuda. He claimed that while they were there John had told him that if anything should happen to him, it was Fred’s job to tell the true story of his life.
How did Seaman react when John died?
He showed up at my apartment within 24 hours. That’s really when the book begins. Fred knew John’s life wasn’t what people thought it was. The portrait they were painting in the media wasn’t true. He said, “Now’s the time to do the book.”
So at this stage you were going to collaborate on it?
Yes. I had an informal contract drawn up. He started feeding me material—not the diaries at first, but slides, pictures, snapshots. One of the first things he gave me was the Double Fantasy demo tapes.
At what point did you become aware of the diaries?
He gave me the diaries in May 1981 and I was just blown away. He was still saying “This is what John wants.” And I believed that John wanted it all to come out because that’s what I wanted to believe.
How had Seaman acquired the diaries?
They were there and he took them. After John died, he was taking box loads of stuff out of the Dakota every week. But I knew the diaries were the key to John’s consciousness.
So did you transcribe them?
I spent about five months reading and dipping into them, and then I transcribed them. His handwriting was really difficult to read and a lot of it was in code. I spent eight weeks, 16 hours a day, transcribing them. I got inside John’s head and saw the light and the truth as he saw it.
What did you feel when you first read them?
It was profound. He was isolated. If you think becoming rich and famous is going to solve your problems, it isn’t. All it does is exacerbate them. Everything that was wrong before he became a Beatle was magnified. That was the message of the diaries for me.
Did Seaman carry on working for Yoko after John died?
Until one day when he crashed the Mercedes and Yoko fired him. But he said we were still doing the project. Then I took a vacation in Jamaica and when I got back everything connected with the Lennon project was gone. Fred had the keys to my apartment.
So he took the original diaries?
They were kept in a safe deposit box to which we both had the key, so he had those. But I had transcripts and photocopies and he took all that. But then I realized that big sections of the diaries were running through my brain. I had the diaries memorized. I had run them through my typewriter so many times that I literally had them all in my head. So I wrote it all down again.
Then you went to work for Yoko. How did that happen?
I thought I had a story that was rock ’n’ roll’s equivalent of Watergate, so I went to Jan Wenner at Rolling Stone. He checked it out with Yoko. She didn’t even know about the stolen diaries until he told her. He said there was no way he could publish it, but he said he wanted to save my karma. He said the only thing I could do was tell her the story.
So you did?
I had a meeting with the attorneys from the Lennon estate at the Dakota in August 1982. I told them the whole story. They were stunned and astonished and freaked out. There was high-grade paranoia going on. They thought that maybe Fred Seaman had hired Mark Chapman to set this whole thing up. That turned out not to be true, but that was the mind-set they were in. They even thought maybe Fred would try to kill me, so they put me in a New York hotel under an assumed name and I sat there watching TV for several weeks.
So when did you meet Yoko?
I walked out one morning to buy a newspaper and Yoko’s bodyguards were waiting on the corner. They said Yoko needed to talk to me and it was an emergency. I said, “OK, but no lawyers.” I met with her at the Dakota and she asked to read my diaries. She said there was stuff in there that even she didn’t understand. She told me John’s journals were sacred. It was calculated to play on my guilt. I had read the forbidden sacred books.
And she offered to put you on the payroll?
We negotiated a token salary in the bathroom, standing on opposite sides of the toilet. They were very into the metaphor of money being shit. I went back the next day with 16 volumes of my diaries and transcripts. We spent several weeks reading them, everybody picking my brains and putting the story together. She still has them.
Did she also get the original diaries back from Seaman?
They used the information I gave them to have Fred arrested. Which was fine by me, because I was furious at him. He was convicted of grand larceny and got five years probation or something. He’s still out there posting stuff on the web claiming Yoko hired Chapman and nonsense like that.
And Yoko still has the diaries?
As far as I know. There is some suggestion that the 1980 diary might be missing. It could be sitting around in some dusty box in the Dakota.
What does your book tell us about Lennon that we didn’t know before?
It’s a three-dimensional portrait that takes you inside his head. I hope it tells you what it was like to be John Lennon, which was a really neurotic experience. There is a lot more detail about what was going on in his head than has ever appeared before. It is the accumulation of small details, the tone and the perspective.
Have you been hassled by Yoko’s people?
No, but our lawyers are in touch with her lawyers. She wanted to see the manuscript before it was printed, but that was out of the question. I have nothing against Yoko and I’d like nothing more than to be at peace with her.
March 12, 2015
So, aside from the book, what’s been happening since January 12? Here are a half-dozen highlights:
Like everybody else in the northeast, I’ve been getting through the winter, which can’t end soon enough, though I’ve not been letting the cold or the snow interfere with my daily walks by the Hudson River, which on some days might be mistaken for the Northwest Passage.
My wife and I spent a week in Florida, visiting my mother and being tourists in Miami. It was warmer there, I went swimming every day, and at no point was I forced to stand my ground.
For a brief moment, Beaver Street was the #1 porn book on Amazon Germany and Nowhere Man was the #1 Beatles book on Amazon Canada. Is it too soon to declare them both cult classics?
Quadrant, a conservative Australian literary journal, cited Nowhere Man in an essay comparing John Lennon to Russell Brand. The conservative media’s 15-year embrace of my work, using it to prove whatever point they’re trying to prove, continues to be a source of astonishment.
In my blog post about Charlie Hebdo, I wrote about the artist who, in the 1970s, had drawn a pornographic cartoon as a way of expressing his discontent with the Catholic Church. I’d published the drawing in Observation Post, the City College newspaper I was editing at the time. Major controversy ensued. Well, the artist read the post, and contacted me. We got together for the first time since 1974. He’s still an artist. And he’s still crazy after all these years. But so am I.
I woke up one morning to find that the porn star Stoya, whom the Village Voice had described on their cover as “The Prettiest Girl in New York,” had mentioned Beaver Street in a blog post. If I could have picked three people on planet Earth to read and appreciate Beaver Street, Stoya would have been among them, alongside Philip Roth and Joan Didion. So, I tweeted her a thank you and she tweeted back, “Thank you for writing it. Amazing glimpse into the adult industry.” Say what you will about Stoya, but I’ll say this much: The girl gives good blurb.
February 21, 2015
I’m sorry to interrupt your Mexican retirement, but we need to discuss a bit of unfinished business—something I’ve wanted to get off my chest for 25 years. I know that’s a long time, but there’s no past in cyberspace. There’s only what’s out there now. And if there’s one thing I’ve learned about the Internet, it’s that if you put out information people want, they’ll find it. Take my word for it. Internet killed the magazine star.
Imagine if there were a blogosphere in 1984.
The funny thing is, over the past nine years, as I traveled around the U.S., Europe, and Latin America promoting my John Lennon biography, Nowhere Man, conducting some 300 no-holds-barred interviews and press conferences, nobody has ever asked me about the Playboy article. It’s almost as if it’s ceased to exist.
But the story is still out there, buried in the dark crevices of cyberspace, like an unexploded bomb left over from an ancient war. And it’s accessible to those who want to find it—like the Zionist-conspiracy theorists who’ve embraced it as irrefutable proof that the Jews murdered Lennon (with a little help from the CIA).
I can no longer pretend that the article doesn’t exist, especially now that every day another story from that long-gone era seems to resurrect itself online, and especially now that the exhibition on Lennon’s New York City years at the Rock & Roll Hall of Fame Annex has put the past so prominently back in the news. Yes, Barry, I think it’s time to drag the article out into the open and expose it to a bit of sunlight.
The story, as you may recall, was no small matter. It was about 6,000 words and written by a journalist of some repute, David Sheff. It received a great deal of media attention when it was published. But what really gets me is that Playboy still had a reputation for journalistic integrity at the time and at least some people really did buy it for the articles. I was one of them. I believed in Playboy’s journalism. That’s why I sent you my manuscript—the manuscript that would become Nowhere Man. You were the executive editor in charge of interviews and articles.
I remember very well the day we met in your New York office: July 27, 1982—my 30th birthday. You had some nice things to say about my writing; you especially liked my chapter about Lennon’s relationship with Paul McCartney (“His Finest Hour” in Nowhere Man).
We spoke for quite some time, and I told you how after Lennon was murdered, his personal assistant, Fred Seaman, said it was time for us to begin work on the Lennon biography John had asked him to write in the event of his death, using any source material he needed to complete the project. I told you how Seaman gave me Lennon’s diaries, how I transcribed and edited them, and how Seaman then sent me out of town, ransacked my apartment, and took everything I’d been working on. I told you how I had re-created from memory portions of Lennon’s diaries. In short, I told you the entire Nowhere Man backstory—a story that I thought was the equivalent of a rock ’n’ roll Watergate. I also told you that I was in dire financial straits and needed a break.
You then strung me along for the rest of the summer, assuring me that you hadn’t forgotten about the story and that my name was in your Rolodex. But you never gave me an assignment.
So I sent the manuscript to Jann Wenner at Rolling Stone, and met with him, too. At least he was up-front with me. He told me that he couldn’t publish the story and that the only way I could “save” my “karma” was to tell Yoko Ono herself what had happened. I met with her in the Dakota in September and told her the story. She then asked to read my personal diaries, and I gave them to her—16 volumes covering more than three years.
You finally called me in April 1983 to say that you’d assigned the Lennon diaries story to Sheff, and you asked me to cooperate with him—neglecting to mention something I didn’t find out until I saw the article in print: Ono had given you and Sheff (who was collaborating with his wife at the time, Victoria Sheff) access to my diaries. Because I thought that this was the only way I’d be able to tell the story, I allowed David Sheff to come to my house and interview me for two hours.
You had my trust, my cooperation, my manuscript, and my diaries, the intimate details of my life. And what did you do? You ran a story in the March 1984 Playboy, “The Betrayal of John Lennon,” that had one purpose only: to silence me by destroying my credibility, my reputation, my career, and my life. In fact, I’d go so far as to say that of the countless articles and reviews that have since been written about Nowhere Man—most of which, I might add, are positive—none of them, not even those written by anonymous character assassins, comes close to the sustained maliciousness and contempt of the Playboy story. It is indeed in a class by itself.
And now, 25 years later, I think it’s time for you to answer a couple of questions.
Let’s begin with my diaries. You had at your disposal approximately 500,000 words that I’d written in the heat of the moment. From them, you extracted about 200 words, including 5 that seem to be the only thing most people remember about the story—the takeaway, so to speak, the line the conspiracy theorists quote over and over. I can assure you that I’d prefer not to repeat my comment about what I saw as Ono’s skillful exploitation of the Lennon legacy: “Dead Lennons=BIG $$$$$.” But I’m not the one who made it public. And it certainly wasn’t my idea to depict the comment as an indictment of my own behavior, portraying myself as a criminal conspirator drooling over Lennon’s corpse.
That was quite an image, Barry. But don’t you think it would have been appropriate to help yourselves to a few more of the remaining 499,800 words and give your readers a more accurate picture? For example, you could have quoted—as I did in the first chapter of the paperback edition of Nowhere Man—from the passage that describes my state of mind the night Lennon was murdered, words about shedding tears in front of the Dakota and thanking John for touching my life. Or you could have quoted the part in which Seaman tells me, two days later, that he’s quitting his job at the end of the week to begin writing a book: “‘It’s what John wants,’ he said. ‘He knew he was going to die and he poured his heart out to me. He knew I was working on a book.’”
I suppose it’s possible that you excerpted only 200 words because you didn’t want to infringe my copyright any more than necessary to tell the version of the story that Ono had dictated to you through her spokesman, Elliot Mintz. But couldn’t you have avoided any additional infringement by using more than 22 words from my two-hour conversation with Sheff—the only direct quote that you allowed me in the story because those were the only 22 words that fit your story line?
Or couldn’t you have simply described my diaries? Nowhere in the article did you mention that the portion of my diaries from which you took most of your quotes was typed on teletype paper—hundreds of attached sheets, like a Kerouacian scroll. But apparently any images of serious literary endeavor were to be avoided at all costs. That would have interfered with the real conspiracy—the one you, Ono, and the Manhattan district attorney had cooked up.
I trust you remember what happened the day the article was published: First I was fired from my job at High Society magazine, where I was an editor. They didn’t want a “criminal” on the premises. Then the DA’s office told me I’d be arrested on criminal conspiracy charges if I didn’t sign a document forfeiting my First Amendment rights to tell the story of John Lennon’s diaries. Ono, as I’m sure you know, had by this time given my diaries to the DA—to use as “evidence” against me.
The DA, however, didn’t know that I’d managed to retain a top-notch criminal attorney, willing to defend me pro bono. His name was David Lewis and, as crazy as this must sound to you, he believed that the Constitution applied equally to everybody.
So, there I was, sitting in Lewis’s office, listening to him talk to an assistant DA, Steven Gutstein, on the speakerphone about my diaries, which had apparently provided Gutstein with hours of reading pleasure: His opening parry was a series of one-liners about how often I masturbated—a preview, I presume, of the evidence he was planning to present to the jury. Then Gutstein started talking about the “charges” against me, and I can still recall Lewis’s exact words: “You’re in gross violation of my client’s constitutional rights.”
And you know what? That was the end of it. Lewis called the DA’s bluff and it was shocking how fast he folded. I didn’t sign the document and nobody arrested me. In fact I never heard from the DA again. The case was a total fabrication that would never have stood up to scrutiny in open court. The whole thing was dependent on my not having competent legal counsel. What were you telling people at editorial meetings? “Rosen’s going to be arrested the day the article comes out. What’s he going to do, sue us?”
Not a bad idea, actually. But, as I understand it, your story elevated me to limited-purpose-public-figure status, meaning that if I’d wanted to sue the powerful Playboy corporation, I’d have had to prove that you not only libeled me, but that you did so knowingly and maliciously. Which, of course, you did. But proving it in a court of law was not really feasible on a pro-bono budget.
And it also appeared that the story wasn’t exactly having its intended effect. My friends and neighbors, for example, saw it for the textbook hatchet job that it was. Everybody in my building was wondering why Playboy was going to such extraordinary lengths to destroy the unassuming guy on the fifth floor. That story made me the talk of Washington Heights—a real International Man of Mystery.
And then there was the job offer. I assume you knew, or knew of, Chip Goodman. He was Martin Goodman’s son, and Martin Goodman, as I’m sure you know, is credited with inventing the modern men’s mag, or men’s adventure mags, as they were called at the time. You must have heard the story about how Hugh Hefner wanted to call Playboy “Stag Party,” but Martin Goodman was already publishing Stag magazine, so Hefner couldn’t use the title.
I can’t say that Chip hired me as managing editor of Stag because of the Playboy article. But Chip was no fan of Yoko Ono’s, and he did say that he’d read the article. Our conversation, in fact, left me with the distinct impression that the article was a contributing factor in his hiring decision—the cherry on top of my considerable editorial experience. And yes, I know, Playboy’s a much classier porn rag than Stag could ever dream of being, but at least Stag didn’t pretend to have journalistic integrity. We were an honest stroke book. And it was a pretty good gig for 16 years.
But you weren’t finished with me yet, were you? You had to go ahead and run that letter to the editor—the one suggesting that reading a man’s diaries was a crime as heinous as murder. Do you think John Lennon would have agreed with that analysis? Or maybe you think such notions only apply when “little people” read the diaries of the wealthy and powerful, not when members of the media elite read and publish without authorization the diaries of little people. Yes, that must be it—the Playboy Philosophy in the Age of Ronald Reagan.
Now I ask you, 25 years after the fact: Do you believe that the story has any journalistic merit whatsoever? I.e.: Is it something more than a press release Ono might have written herself if she hadn’t had you and the Sheffs to do it for her? I hope she at least thanked you for a job well done. And what did you hope to get out of it other than the grim satisfaction of currying favor with a rich and powerful woman? Was the article designed to do anything more than repress the story that Lennon told in his diaries and that I told in Nowhere Man? Is there something I’m missing here?
I will offer you a bit of friendly advice: Next time you try to whack somebody, make sure they’re dead before you walk away.
So, Barry, I do hope you’re enjoying your Mexican retirement. It’s a wonderful country you’ve chosen to live in—such warm and gracious people, in my experience. But I must admit, I am wondering if you ever read Proceso, the Mexican newsweekly, though I’d guess the answer is no. It’s not exactly a magazine for “gringo retirees”, is it? The Proceso editors and writers are into speaking truth to power, a concept that doesn’t appear to sit well with you at all. And they did give Nowhere Man the most amazing coverage when it was published there. As you probably noticed, they were hardly the only ones—even Playboy’s Mexican edition gave the book a good review. Jesus, with all those articles and the stuff on TV, you must have thought you were in Bizarro World and that I’d written Harry Potter or something. Too bad I didn’t know 25 years ago how receptive the Mexican media would be to Nowhere Man. I wouldn’t have bothered you with my query letter.
Anyway, that’s my side of the story.
Maybe we’ll talk again someday, perhaps the next time I’m in Mexico on a book tour.
December 2, 2014
The first one, tomorrow, Wednesday, December 3, at 7 PM ET, will be a live interview on The Time Warped Hour, Daniel Zuckerman’s radio show broadcast out of Purchase College. You can listen live here, listen to a podcast here, or get more information about the show on its Facebook page.
Also on December 3, at 11 PM ET, the Reelz Channel (128 TWC and 233 Verizon, in Manhattan) will rebroadcast the Lennon episode of Hollywood Scandals. Look for me in the opening minutes of the show and again in the final part, when I discuss Lennon’s years of seclusion in the Dakota, and his killer, Mark David Chapman. Hollywood Scandals is available coast-to-coast in the U.S. at 10 PM CT, 9 PM MT, and 8 PM PT. Click here to find the Reelz Channel on your local cable or satellite system, and remember to set your DVRs, as the show is not available on demand.
Finally, on Sunday, December 14, at 6 PM ET, I’ll be appearing live on Octavio Cavalli’s recently launched Internet radio show, Lennoncast. Broadcasting out of Buenos Aires, Argentina, Cavalli, author of the comprehensive Spanish-language Lennon bio Bendito Lennon, will be interviewing me in English and simultaneously translating our conversation into Spanish, which is a pretty good trick. You can listen live here, or download the podcast here.
Hope you can tune in to one or all of these shows.
October 18, 2014
I'm probably not the best audience for Lennon: Through a Glass Onion, the jukebox musical that opened this week at the Union Square Theatre, in New York. But the fault isn't with the show; it's with me, and it's strictly a case of having been marinated in Beatles music, lore, and literature for more than a half-century and having written a John Lennon bio, Nowhere Man, after transcribing and editing the personal diaries that Lennon kept from 1975 until his death in 1980. The problem is that I've heard it all before, and what I want from a show like this is to hear something new and unexpected.
John R. Waters, an Australian film and TV star, is not (thank God) a Lennon impersonator. Rather than wearing a wig and the trademark glasses, he portrays the ex-Beatle as he might have been had he lived and, at age 64 or so, decided to perform in intimate venues, singing his classic songs and explaining the inspiration behind them. Waters and Stewart D’Arrietta, whose piano playing is the musical driving force behind this stripped-down production, have been doing the show for 22 years, and, not surprisingly, they’ve got it down cold (turkey).
In this alternate Glass Onion reality, the AARP-ified Walrus—clad in a black leather jacket and black jeans, and enveloped in a mist that perhaps suggests the limbo between life and death—shares his thoughts on Mark David Chapman, his would-be assassin, suggesting that he must have listened to a lot of Beatles music, which, in fact, he did.
As Waters strums an acoustic guitar and D’Arrietta pounds on the piano (and occasionally harmonizes), the duo work their way through either snippets or complete renditions of more than 30 selections from the Lennon-solo and Lennon-McCartney songbooks, including such favorites as “A Day in the Life,” “Help,” “Imagine,” and “Watching the Wheels.”
Waters intersperses the music with wittily told stories and quips (mostly lifted from interviews, though sometimes made up) about Lennon’s rivalry with Paul McCartney, the bigger-than-Jesus blowup, his relationship with Yoko Ono, meditating with the Maharishi, the birth of his son Sean, and the so-called househusband years. And he indeed gives a good sense of what it might have been like to listen to Lennon. His performance demonstrates the absurdity of Ono’s contention that her third husband was so complex, no one actor could portray him—a notion she brought to life in the 2005 Broadway catastrophe Lennon, in which nine actors, both men and women, took turns playing Lennon and ultimately communicated no sense of who he was or what his life was like.
Just once, however, I’d like to see Lennon portrayed in a way that goes beyond retelling the most famous stories and does not totally buy into the bread-baking househusband myth. Show him in his final years as the tormented, secluded, confused, and jealous man that he was. Show him continuing his affair with May Pang after he went home to Yoko, and carrying a torch for May until the day he died. Show him as a contradictory man who longed to follow the path of Jesus but also dabbled in the occult, loved money, smoked a lot of weed, lost his muse, and then regained it after an epic creative struggle.
It would have been great to hear Waters sing some of the lesser-known Lennon songs that illuminate this reality, like “Serve Yourself,” complete with the spoken-word primal meltdown of “Youse fuckin’ kids all the fuckin’ same...” which was directed at his older son, Julian.
Apparently, though, this isn’t what most Lennon fans want. They want to hear the most famous songs, and judging by the audience reaction, Waters and D’Arrietta gave the people exactly what they wanted, straight up and with fresh energy.
Even so, it’s hard not to see Lennon: Through a Glass Onion as a poignantly sad reminder of what can never be again and what so many people, myself included, have tried so hard to keep alive throughout these ever more dispiriting times.
August 21, 2014
I pop up eight times altogether, three times quickly in the opening minutes and five more times, somewhat more substantially, towards the end.
The episode is an accurate and surprisingly evenhanded rundown of Lennon’s life and death. But as the name of the show implies, they don’t hesitate to highlight the numerous “scandals” that punctuated his life—the “bigger than Jesus” controversy; leaving his first wife, Cynthia, for Yoko Ono; and his affair with May Pang, for example.
There is, however, nothing salacious about the presentation. Like Detective Joe Friday on Dragnet, which was also set in L.A., Hollywood Scandals wants “just the facts,” wherever they may lead.
It’s rare that I’m given the opportunity to talk about Lennon on national TV, and it’s extraordinary that they’ve allowed me to mention his diaries or any of the details of his final years, before he emerged from seclusion to record Double Fantasy. So this is must-see TV for Lennon fans, and especially for the ever-growing community of Nowhere Man readers.
Using the hashtag #HWDScandals, I’ll be making every effort to live-tweet the show.
In New York City, Reelz is 128 on Time Warner cable; you can click here to find it on your cable or satellite system.
The Lennon episode will also air on the following days:
Sunday, August 24 at 12 P.M. ET
Monday, August 25 at 2 A.M. ET
Thursday, August 28 at 8 P.M. ET
Hope you can all come together and watch this one.
August 13, 2014
My blog posting yesterday, "Imagine Yoko Watching," about an upcoming Lennon episode of Hollywood Scandals that I’ll be appearing in provoked a flurry of questions on Facebook about the conspiracy theories.
Here are Ponce's questions and my answers in the original English.
1) Octavio Cavalli, author of the biography Bendito Lennon, told me that one of his important sources of information about John Lennon’s murder is an article by Salvador Astucia, “José Joaquín Sanjeanis Perdomo: John Lennon’s true assassin?” In another one of his articles, Astucia has accused you, Mr. Robert Rosen, of being involved in the killing of John Lennon. What can you say about this?
I’m aware that Octavio Cavalli has thoroughly researched every aspect of John Lennon’s murder and for a variety of reasons doesn’t believe that Mark Chapman was the lone gunman. Among the issues Cavalli raises is the presence at the murder scene of Dakota doorman José Joaquín Sanjeanis Perdomo, a Cuban exile and former CIA agent, according to “Salvador Astucia,” which is the pseudonym of a Holocaust-denying conspiracy theorist. Astucia says, among other things too numerous to recount here, that I’m the Zionist-funded CIA spymaster who gave the order to kill Lennon, after which, in order to disgrace his memory (as well as the entire antiwar movement), the CIA then paid me to write Nowhere Man. He also says that I, along with another Jew, Edward Teller, the “Father of the H-bomb,” and Ronald Reagan, felt that Lennon had to die (and his memory besmirched) so America could go forward with its “Star Wars” missile-defense initiative.
The mere fact that Astucia is still alive is proof enough that his theories are absurd. Because if anything he said were true, a real spymaster would have silenced him 10 years ago, when he started posting this stuff online.
I don’t know if Astucia says these things because he believes them, or to provoke and to get attention. My inclination is to dismiss outright everything he or any other Holocaust denier says about anything. That Cavalli was able to find one shred of truth in Astucia’s insane ravings is a tribute to Cavalli’s tenaciousness, and his abilities as a researcher.
Though I must give Astucia full credit for my inclusion as number two, alongside J. D. Salinger and Stephen King, on a list titled “Top Three Conspiracy Theories Revolving Around the Death of John Lennon.”
And I’m sure that he’d be pleased to know that I briefly considered dedicating to him the novel I just finished writing, Bobby in Naziland, about a kid growing up in Brooklyn in the 1950s and early-60s, alongside Holocaust survivors and World War II veterans who’d fought the Nazis. That dedication would have read: “For ______, my Personal Nazi, who reminded me I was a Jew and taught me anew the meaning of anti-Semitism.”
2) What do you think of the conspiracy theories that accuse the CIA, FBI, various ex-presidents of the U.S., Operation 40, and even the Jewish people of being behind Lennon’s murder?
I don’t completely reject all conspiracy theories. I’ve had 50 years to think about JFK, and the official explanation still strikes me as less than satisfying. But I don’t think Lennon was the victim of a conspiracy. I think Chapman was a lone nut, and I think if Yoko Ono believed that Lennon’s murderer, or an accomplice to the murder was still at large, she’d have conducted a private investigation—for her own safety. She’s done nothing of the sort.
I think most conspiracy theories—Manchurian Candidates, for example—are based on scenarios so complex, they’d be nearly impossible to execute. My understanding of the psychology behind conspiracy theories is that certain people cannot accept the fact that horrendous events, like murder, can be totally random and can happen to anybody. So they need to invent fairy tales, impervious to rational evidence, that give them a sense of control and show that it can’t happen to them. That’s why Astucia is the only so-called “journalist” I’ve ever refused to speak to. Because no matter what I told him, he’d use it as further “proof” that I work for the CIA and that I did order Lennon’s murder.
There is, however, one Lennon-related conspiracy I am aware of: The unsuccessful attempt by Ono, the New York District Attorney’s office, and G. Barry Golson, a former Playboy editor, to have me arrested on criminal conspiracy charges unless I signed a document forfeiting my First Amendment rights to write about Lennon’s diaries. The libelous article that Golson ran in the March 1984 Playboy is the root of all Lennon conspiracy theories about me. He took a comment from my diary (which Ono had given to him), about what I saw as Ono’s skillful exploitation of the Lennon legacy, and depicted that comment, “Dead Lennons=BIG $$$$$,” as my indictment of my own behavior, portraying me as a criminal conspirator drooling over Lennon’s corpse.
3) In your book Nowhere Man: The Final Days of John Lennon you created an interesting profile of Mark Chapman’s mind. How has your vision of the killer changed since then? Why did he kill John Lennon? Did he commit the crime alone or maybe not?
My vision of Mark Chapman has not changed since I wrote Nowhere Man. I still think he was a mentally unstable and possibly psychotic individual who acted alone and was motivated by envy and a desire to be famous, and believed that by shooting Lennon, whom he considered a hypocrite, he’d literally vanish into the pages of The Catcher in the Rye and become The Catcher in the Rye for his generation. I await definitive proof that this is not the case.
4) After your experience with the Lennon diaries, what ideas would you suggest to the new generation of Latin American students about how they can be more effective in their work and lives?
In 1982, I was an obscure freelance writer who’d uncovered a story that was the equivalent of Rock ’n’ Roll Watergate. That’s why it took me 18 years to publish what I knew about Lennon’s diaries. In the eyes of the mainstream media, in any country, it’s simply unacceptable for an unknown journalist to come out of nowhere and break the story of the decade. Also, what I learned from the diaries went against the myth that Ono remains determined to perpetuate—that in his final years, John Lennon was a content, bread-baking househusband. That’s why she used all the political and media influence at her disposal to try and stop me. So, I’d say to any journalism students that it’s not enough to uncover a great story, especially one that goes against powerful people or institutions (as great stories often do). You must be prepared to fight for years, if not decades, to get your story out to a mass audience. I’d also say that anybody who’s considering investigating conspiracy theories should be aware that you’re walking into a swamp that you may never come out of. Or if you do make it out, you’ll emerge with a bag of half-answers, shadows, suspicions, and more questions than you took in there with you.
August 12, 2014
The show is scheduled to be broadcast on the following dates:
Thursday, August 21 at 9 P.M. ET
Friday, August 22 at 12 A.M. ET
Sunday, August 24 at 12 P.M. ET
Monday, August 25 at 2 A.M. ET
Here’s a capsule summary of the Lennon episode, taken from the Hollywood Scandals Website:
John Lennon is one of the most influential and important artists in music history. But the public face of peace, love, and revolution is a mask. Behind his righteous persona is a troubled man crippled by a traumatic childhood. John Lennon buries the pain of abandonment by spending his whole life building a myth. And when the private truth became public, it ultimately cost him everything.
I don’t know how much or which parts of my interview they used or who else they interviewed. I do know that during my interview the chemistry was right and I settled into a good story-telling groove.
I hope you’ll watch the show, and I hope to live-tweet at least one of the broadcasts.
And while I’m on the subject of Lennon, I want to send out a big thanks to the 6,074 (at last count) people on Facebook who liked the Nowhere Man Wiki mirror page. I’m sure you’ll all be watching.
July 15, 2014
A commendably accurate essay about the book has turned up on one of those sites where students go to download term papers. The site, eNotes.com, bills itself as a "critical compilation" of "literary masterpieces." And though I might not be up there with William Shakespeare, who has four works among the top 10 most popular term paper subjects, and Harper Lee's To Kill a Mockingbird, which is #1, it's still gratifying to be included at all.
So, I’d like to take this opportunity to offer a few words of advice to any student who’s considering writing a paper about Nowhere Man: Read the damn book and write your own paper, kid. You’re only cheating yourself if you download a paper somebody else wrote! And remember, I’m here for you. AMA.
June 9, 2014
The latest one that’s come to my attention is a volume called Sex and the Beatles. Written by Canadian author Jeff Walker (not the be confused with Jerry Jeff Walker), the book is a compilation, drawn from a wide variety of sources, of 400 Fab Four sexual escapades that took place between the 1950s and 2013.
Among those escapades is at least one, #153, lifted from the “Lennon’s Complaint” chapter in Nowhere Man, and subtly titled “Warning: Sordid Lennon Account Not for the Squeamish.” It’s Walker’s retelling of a 1963 backstage encounter between John and a groupie.
I suspect the book is peppered with more Nowhere Man tales, like the one about the prostitute in South Africa. But having not yet gotten my hands on Sex and the Beatles, I’ll reserve final judgment until Walker does me the professional courtesy of sending one. Thanks in advance, Jeff.
May 17, 2014
Important update: The above player no longer works. You can listen to the interview here.
No need to even leave this website to listen to my interview with Alia Janine, which was originally posted on OnMilwaukee.com. Just click on the player. Next thing you know, you'll be hearing Alia sing the theme from Rawhide. Apparently , if you live in Milwaukee, this song has nothing to do with cowboys and everything to do with Rosen.
May 6, 2014
Alia, whose X-rated talents cannot be overstated, has developed (so to speak) into a first-rate interviewer. It’s her ability to put her subject at ease, and make an in-depth interrogation seem like a friendly chat that sets Alia apart in this competitive journalistic arena. Some of the people she’s previously interviewed include porn star Belle Knox, actor Joe Reitman, and comedian Gareth Reynolds. They’re all archived on OnMilwaukee.com.
Alia and I cover a lot of ground in a half hour, but mostly we talk about Beaver Street, deconstructing everything from the invention of free phone-sex at High Society magazine (which marked the dawn of the Age of Modern Pornography), to the Traci Lords scandal, to Edwin Meese, the rabidly anti-porn attorney general who was driven from office under a cloud of corruption.
And please stay tuned to The Sporadic Beaver for more big news.
April 18, 2014
On March 6, 1978, a white-supremacist serial killer, outraged by an interracial photo spread in Hustler, pumped a .44-caliber bullet into Larry Flynt near the Georgia courthouse where the magazine publisher, on trial for obscenity, had just testified in his own defense. One year later Flynt, paralyzed from the waist down because of his injuries, rented the house at 720 South Ocean Boulevard--or S.O.B., as the locals call it--in Palm Beach. His landlady, socialite Brownie McLean, would have much preferred to sell the 10,000-square-foot white elephant known as El Solano. But in those grim days of hyperinflation and gas lines, there were no takers, not even the recession-proof Flynt. So McLean, who had once refused the Hope Diamond as a wedding gift from her husband because she believed the jewel was cursed, didn't hesitate to accept a much-needed cash infusion from the man who introduced "split beaver" to a mass audience.
Most of Flynt’s neighbors took the porn publisher’s presence in stride—even though it was common knowledge that he employed a team of photographers to shoot X-rated pictorials throughout the Spanish-style mansion’s six bedrooms, five servant rooms, ballroom, and sauna, as well as by the square “morning pool” and rectangular “afternoon pool.”
Through a spokesperson, Flynt has declined to offer any more information about his season in El Solano.
The current owners of El Solano also prefer not to discuss their winter residence—though they do say, through a spokesperson, that it’s “public knowledge” that they own it, and that it’s permissible to publish their names. Apparently, this wasn’t the case in 1993 when the extensive renovations of architect Darby Curtis, working with designer Robert Metzger, were documented in Architectural Digest—the most detailed and elaborate El Solano pictorial on record. The owners were quoted anonymously, and the story failed to mention that they were the architect’s parents: Alan Curtis, an investment banker, and Christine Curtis, a freelance writer, who had bought the house in January 1990 for $4,315,000, though it’s not publicly known from whom. More surprising than this was Darby Curtis’s reaction when asked if she might shed some additional light on her work at the historic abode: “I have nothing to say.”
Perhaps Curtis’s reticence is best explained by others who’ve worked in the house, some of whom were willing to speak (anonymously) of the fact that in a small community like Palm Beach, those whose livelihoods depend on access to the super-rich—and occasionally super-famous—would be foolish to make unwanted revelations about their employers (or parents). But in the same breath these people also speak of the house’s strangeness, of their belief that things have happened in El Solano that those who have lived there simply don’t want to talk about.
In a way, El Solano exists in the realm of the mystical, a piece of unreal estate—a mansion with a long history of secrets, celebrated owners, and at least one profound occurrence that changed the course of rock ’n’ roll.
The first person to live in El Solano was the man who built it in 1919, controversial “society” architect—many considered his designs hideous—Addison Mizner, who named it both for the hot Mediterranean winds that blow through Spain, and El Solano County, California, where he was born in 1872. A mythical figure whose 11-foot-tall statue now stands in Boca Raton, a city he helped develop, and whose Mediterranean Revival style came to define the look of Worth Avenue, the six-foot-two, 250-pound Mizner settled in Palm Beach apparently for health reasons.
(Stephen Sondheim has chronicled the Florida misadventures of Mizner and his flimflamming business-partner brother, Wilson, in his musical Road Show, which portrays both Mizners as incestuous, Addison as homosexual, and in the end, according to The New York Times, reduces the brothers to “cocaine-snorting wrecks.”)
Though Mizner’s Villa Flora, which he built for J.P. Morgan, and La Guerida, which became John F. Kennedy’s “Winter White House,” may be better known than El Solano, the latter is regarded as the purest expression of Mizner’s chaotic vision—a “stream of consciousness” consisting of idiosyncratically connected spaces, as designer Michael Christiano, who also worked on the 1993 renovations, described the house to Architectural Digest.
The house so intrigued next-door neighbor Harold Vanderbilt, grandson of railroad magnate Cornelius Vanderbilt, that he bought it from Mizner and added on—as did many of the successive celebrity owners, such as actor Douglas Fairbanks Jr., who briefly settled into El Solano in 1973 with his second wife, Mary Lee Hartford, heir to the Atlantic and Pacific Tea Company fortune.
John Lennon and Yoko Ono, too, were taken by the house, and on the advice of their tarot card reader, whom they called Charlie Swan, Patric Walker’s Town & Country horoscope, and Cheiro’s Book of Numbers, bought it—on January 27, 1980, for a million dollars, a price they considered a steal. (“John made the tea, while Yoko hammered out the negotiations,” real estate broker Ben Johnson told The Palm Beach Post.)
In years to come, many stories about the ex-Beatle’s El Solano activities would filter into the public domain—a rare breaching of the house’s shield of secrecy. Most of them were inconsequential, such as details about Lennon’s ongoing feud with Paul McCartney, reports of an ugly incident that occurred when the actor Peter Boyle and his wife came to visit, and tales of locals stopping Lennon on the beach, without realizing who he was, to talk about the historically cold weather that February. But one story of significance would emerge as well: After five years of musical silence, it was in El Solano that Lennon reconnected with his muse, which many in his inner circle had given up for dead.
On February 27, 1980, Lennon and Ono were watching the Grammy Awards in the den when Bob Dylan came on to sing his latest hit, “Serve Someone,” which says it doesn’t matter who you are, you’re going to have to serve either Satan or God. The song provoked from Lennon a spontaneous musical explosion called “Serve Yourself.” Accompanying himself on guitar, Lennon lashed out at everything and everybody: Jesus, Buddha, Muhammad, Krishna, his sons, his mother—the world, the universe. And this song soon primed a flood of new material that seven months later appeared on Lennon and Ono’s album Double Fantasy. (“Serve Yourself,” which Ono considered too raw, obscene, and off-message for public consumption, wouldn’t be released for another 19 years.)
On December 8, 1980, Double Fantasy was riding high on the charts. That night, John Lennon, aged 40, was shot to death by a deranged fan in front of the Dakota, his apartment building on West 72nd Street in New York City. Among the candlelight vigils held throughout the world, one took place outside El Solano, which Ono kept until 1986, adding on to its chaotic sprawl and then selling it for a numerologically harmonious $3.15 million to a Bostonian family that preferred to remain anonymous.
March 4, 2014
Saturday, February 15, 2014: Meeting Robert Rosen in New York City
Maybe it's because I'm a novice when it comes to researching the life of John Lennon and promoting a book based on that research. But I didn't remember until I was in the midst of publicizing my Lennon biography, Bendito Lennon, that one of my Facebook friends was New York writer Robert Rosen, author of the best-selling Lennon bio Nowhere Man. Rosen's book is based on his knowledge of Lennon's diaries, which were given to him by his friend Fred Seaman, John's personal assistant from 1979-1980.
Robert commented on a post I made about my book, which led to a conversation that we conducted mainly through audio files, which we sent back and forth, between Buenos Aires and New York. I'd ask him questions about John's diaries and he'd respond in detail.
Since mid-2013 I’ve been correcting and revising Bendito Lennon, primarily adding new information and fresh material from all phases of John’s life. Among the new things I wrote about are John’s feelings as a Beatle, in 1963, when the group was being hailed as heroes in the U.K., but hadn’t yet conquered the world, and also his way of telling stories through his poems, tales, and songs. Robert Rosen was supportive of my endeavor to revise Bendito Lennon, and especially helpful regarding the last six years of John’s life. And I was very pleased to share my new information with him, and grateful that he’d agreed to meet me and talk about Lennon when I told him I was coming to New York.
On the afternoon of February 15, in the middle of a blizzard, with the temperature plunging well below 0º C, I met Robert in the neighborhood where he lives and where John also lived for a couple of years when he first moved to Manhattan: Greenwich Village. At Cafe Reggio, 119 MacDougal Street, we drank coffee and cappuccino as Robert accepted a paperback edition of Bendito Lennon and autographed my Spanish edition of Nowhere Man.
We talked about Lennon’s life, and Robert was humbled and impressed by how much I knew about John, especially his childhood. I, of course, couldn’t help but be aware that he was one of the few people who had access to John’s diaries, which covered much of his daily activities and feelings from 1975-1980. He told me what it meant to him to have Lennon’s diaries for more than six months, and he described the long task of transcribing them and deciphering every drawing, word, and letter. It was obvious, he said, that John was writing for himself, and that the diaries were not meant to be read by others, though they could have been a first draft of the memoir he never got to write.
He also told me about his shock and horror when all the material that Fred Seaman had given him, and that he’d studied and transcribed, was taken from his apartment... by Seaman. Later, Robert said, when Yoko Ono found out that Seaman, in despair after John’s death, had stolen all kinds of things from her Dakota apartments, she had Seaman arrested for grand larceny. When Robert met with Yoko to discuss what had happened, she asked him to give her his own diaries, so she could use them as evidence against Seaman. He did so, and she held them for 18 years.
Robert then told me how he wrote Nowhere Man, elaborating on what he remembered from Lennon’s diaries, incorporating notes from his own diaries, and spending years doing additional research. He concluded by talking about his impressions of John’s last years.
After Cafe Reggio, Robert and I walked in the Village, through the driving snow, to 105 Bank Street. He asked me if I knew which apartment John lived in. I wasn’t sure, and we agreed that researching John Lennon’s life is a difficult task for all writers, even ones who'd met him, and even if, like us, they'd had the opportunity to speak to members of his family, former assistants, and friends. Those closest to John are usually reluctant to talk about him to anybody who's writing a book.
Other people, thankfully, will trust an author to use their information responsibly, and will share their knowledge and opinions.
As of today, Bendito Lennon has sold out in Argentina, Uruguay, Venezuela, Chile, and Mexico, but is still available as an e-book in Canada, the U.S., and Spain. The new edition, due to be published sometime in 2014, will be completely revised and will include all the information from my conversations with Rosen.
Even though I’d intended to be finished by now, my research continues—though I realize I have to set a limit on how much time I can spend learning the details of Lennon’s life. Because if I don’t, the work will be endless. There will always be new pieces of information, new sources, and new people to interview, and I’ll always want to rewrite some portion of the manuscript in order for the biography to be accurate and up to date. This, then, is the compromise I must make to complete the book, which has attracted readers around the world who want to know in detail the story of one of the greatest musicians and social leaders of 20th century.
February 18, 2014
Here's how today works out according to Cheiro's formula, which says that all numbers should be added together, like this:
2 + 1 + 8 + 2 + 0 +1 + 4 = 18
The symbol for 18, according to Cheiro, is “a rayed moon from which drops of blood are falling; a wolf and hungry dog are seen below catching the falling drops of blood in their open mouths, while still lower, a crab is hastening to join them. It is symbolic of materialism striving to destroy the spiritual side of the nature. It generally associates a person with bitter quarrels, even family ones, war, social upheavals, revolutions; and in some cases it indicates making money and position through wars. It is a warning of treachery, deception by others, also danger from explosions. When this ‘compound’ number appears in working out dates in advance, such a date should be taken with a great amount of care, caution and circumspection.”
If you reduce 18 to a single digit, 1 + 8, you get 9. (The single numbers 1 to 9, Cheiro says, represent “the physical or material side of things” and compound numbers from 10 on represent the “occult or spiritual side of life.”)
Cheiro has a lot to say about 9:
“Number 9 persons are fighters in all they attempt in life. They usually have difficult times in their early years but generally are in the end successful by their grit, strong will and determination. They are hasty in temper, impulsive, independent and desire to be their own masters.”
“When number 9 is noticed to be more than usually dominant in the dates and events of their lives, they will be found to make great enemies, to cause strife and opposition wherever they may be and are often wounded or killed either in warfare or in the battle of life.”
“They have great courage and make excellent leaders in any cause they espouse. Their greatest dangers arise from foolhardiness and impulsiveness in word and actions. They generally have quarrels and strife in their home life. They strongly resent criticism. They like to be ‘looked up to’ and recognized as ‘head of the house.’ For affection and sympathy they will do almost anything, and men of this number can be made the greatest fools of if some woman gets to pulling at their heart strings.”
“This number 9 is the only number that when multiplied by any number always reproduces itself. The number 9 is an emblem of matter that can never be destroyed. At the 9th hour the savior died on the cross. All ancient races encouraged a fear of the number 9. The number 9 is considered a fortunate number to be born under, provided the man or woman does not ask for a peaceful or monotonous life and can control their nature by not making enemies.”
Happy birthday Yoko!
February 10, 2014
If John Lennon were alive today, I think he'd enjoy posting anonymously on some of these forums, and I'm certain that whatever he said would be greeted with comments far less generous than, "You don't know shit about the Beatles!"
That's because Beatles forums tend to be vipers’ nests of ignorance and hostility, with the most vicious comments coming from the people who know the least. May Pang, for example, used to post in rec.music.beatles, but was driven off the site by malicious attacks on virtually everything she said.
The most scathing reviews of Nowhere Man that I’ve seen anywhere have been posted by people who proudly declare, “I’ve never read the book. I don’t have to. I know what’s in it.”
Last night, inspired by the 50th anniversary of The Beatles’ first appearance on The Ed Sullivan Show, I was browsing one of the more civilized forums, Beatles Bible, when I came across a comment that shocked me. Going against the usual party line of “Nowhere Man bad!” somebody who uses the moniker “10centwings” indulged in a bit of independent thought. Softening his or her post with the standard caveat about reading it “with one eyebrow raised,” 10centwings said, “I’m 1/3 through the Rosen book…. This one’s a page turner. I actually lunched in today just so that I could sneak in an extra hour of reading.”
A comment like this, from a “real” reader, in a forum that’s usually hostile to the book reminds me yet again why Nowhere Man endures 14 years after publication. And though the controversy will probably never cease, more people are beginning to see the book for what it is.
I can hardly wait till Nowhere Man’s 50th anniversary.
January 27, 2014
Because I read, transcribed, edited, and wrote about Lennon's diaries in my book Nowhere Man, I was one of the people they interviewed for the article.
They also spoke with my former writing partner and Lennon's personal assistant Fred Seaman, photographer Bob Gruen, and three musicians who played on Milk and Honey: guitarist Earl Slick, arranger Tony Devillo, and keyboard player George Small.
Written by Barry Nicolson, “The Final Voyage” is notable for its even-handedness. Nicolson takes pains to get beyond the myth of Lennon as a content, bread-baking househusband, and instead portrays him as a contradictory, deeply flawed, three-dimensional human being—which is probably why Ono refused to talk to him.
Nicolson balances my take on Lennon’s relationships with Ono, Paul McCartney, and May Pang, and his obsession with the occult, with Gruen’s attempts to perpetuate the myth, and Seaman’s efforts to characterize Lennon as a Republican and a supporter of Ronald Reagan. (The only thing Lennon said in his diaries about Reagan was that they’d shoot him and we’d get a CIA government. He was right on both counts... eventually.)
My only complaint about the piece is that the photo identified as “Robert Rosen” isn’t me, and I’d suggest that a correction is in order.
“The Final Voyage” is a rare example of rock journalism that neither places Lennon on a pedestal (like Ray Coleman) nor tears him down to size (like Albert Goldman). Click here to read the complete story.
December 8, 2013
Since it was originally published, in English, in 2000, the press in countries like Mexico, Chile, Argentina, and Colombia (as well as Spain), have given Nowhere Man more serious, thoughtful coverage than any of the scandal-splattered stories that have occasionally roiled U.S. tabloids, like the New York Daily News, to name one.
The Latin American trend continues with two articles commemorating today’s anniversary of John Lennon’s murder that ran in the current issue of Proceso, which is, more or less, a progressive Spanish-language version of Newsweek in its heyday.
In the more than ten years since Random House Mondadori brought out a Spanish edition of Nowhere Man, this Mexico City-based journal of politics and culture has provided frequent, in-depth features about the book and its myriad literary and historical implications.
The two articles that ran in the December 8 issue are “Lennon, una biografía total” (Lennon, a full biography), by Roberto Ponce, and the provocatively titled “Sólo creo en una conspiración: la de Yoko Ono en mi contra” (I just believe in one conspiracy: Yoko Ono’s against me), which I wrote.
Ponce’s piece is about a massive Lennon bio, Bendito Lennon, by Octavio Cavalli, a Buenos Aires attorney who has obsessively researched every aspect of the ex-Beatle’s life. Prosa Amerian Editores is bringing out a revised edition next year, and it will feature new information about Lennon’s diaries, which I’ve been discussing with Cavalli.
The article analyzes Cavalli’s belief that Lennon was the victim of a conspiracy, that Mark David Chapman did not act alone, and that Dakota doorman José Perdomo, who was on duty the night of the murder, was a former CIA agent.
My piece is about “Salvador Astucia,” a pseudonymous Holocaust-denying conspiracy theorist who has accused me of being the CIA spymaster who ordered Lennon’s murder. As it turned out, Cavalli has uncovered what may be the only scrap of truth in “Astucia’s” insane online ravings: José Perdomo may very well be a former CIA agent.
The conspiracy in the headline is a reference to the unsuccessful efforts of Yoko Ono, former Playboy editor G. Barry Golson, and the New York district attorney to have me arrested unless I agreed never to tell the story of Lennon’s diaries. (Click here to see both articles.)
I cannot imagine the mainstream media in the U.S. ever publishing such a story, which I will soon post here, it its original English.
Hey hey, my my, conspiracy theories will never die.
Imagine if I were fluent in Spanish.
December 4, 2013
The other file is my complete Nowhere Man reading from this past October at a John Lennon event at 2A. That’s Eric Danville introducing me again. (A video of the first two parts of this reading is available here.)
Both files are downloadable.
In coming weeks, I’ll upload additional material from my archives—readings, interviews, and anything else that seems worth posting.
But for now, to commemorate the anniversary of Lennon’s murder on December 8, I give you The Catcher in the Rye and Nowhere Man.
November 25, 2013
Hyped on page one as El lado oscuro de John Lennon (The Dark Side of John Lennon), and given the provocatively misleading cover line, La segunda muerte de John Lennon (The Second Death of John Lennon), in the entertainment section, the actual article was called Viaje al fondo del submarinista amarillo (Voyage to the bottom of the yellow submariner). It’s a semi-accurate summary of Nowhere Man, broken up by semi-sarcastic subheads like Sexo, no paz (Sex, no peace) and Nostradamus en ácido (Nostradamus on acid).
Meanwhile, as I await the impending publication of a revised edition of Bendido Lennon, by Octavio Cavalli, which will draw heavily from interviews Cavalli has conducted with me, and will be met by yet another surge of Latin American media attention, set to begin around the anniversary of Lennon’s murder, on December 8, I continue to grapple with an ongoing milagro that I became aware of three years before Nowhere Man was published in Spanish, in what may as well have been an alternate universe where people spoke a language I didn’t understand.
November 13, 2013
For one thing, our conversation began October 31 and may very well continue through February, when Cavilli comes to New York. For another, Cavalli, in Buenos Aires, records his questions and sends them to me as MP3s. I listen, make notes, and then record my own MP3s, which I send to him, sometimes twice a day.
Virtually every question Cavalli asks is about Lennon’s diaries, which I transcribed and edited in 1981, and which I discuss in detail in my own Lennon bio, published in Latin America and Spain as Nowhere Man: Los Últimos Días De John Lennon.
Cavalli’s book and our interview have come to the attention of Proceso, the Mexican newsweekly.
Ten years ago, Proceso ran a series of articles that helped put Nowhere Man on bestseller lists in multiple countries.
I think the revised edition of Bendito Lennon, which Prosa Amerian Editores is bringing out next year, is headed for bestseller lists, too. In the meantime, it’s breathing new life into Los Últimos Días.
November 7, 2013
Bendito Lennon, or Blessed Lennon, by Octavio Cavalli, is a 728-page John Lennon biography that you'll soon be hearing about if you live in Latin America. I've been grappling with the book for the past week, with a lot of help from Google translate, and it appears to be the definitive Spanish-language take on the ex-Beatle.
Cavalli, a Buenos Aires attorney, has obsessively researched every aspect of Lennon's life and death, and is currently revising the book for a new edition that Prosa Amerian Editores will publish in 2014.
I’ve been conducting an in-depth dialogue with Cavalli about my own Lennon bio, Nowhere Man, and John Lennon’s personal diaries, which I transcribed and edited in 1981. My knowledge of the diaries is among the new information that Cavalli will include in the revised edition of Bendito Lennon.
Since Nowhere Man: Los Últimos Días De John Lennon was published in Mexico, in 2003, Latin America has embraced the book in a way that I consider miraculous. Ten years later, in Bendito Lennon, the miracle continues in Argentina.
October 16, 2013
Normally, I'm less than satisfied with my readings, but this one, last night at 2A, is one of my better performances, and Michael Paul did a nice job capturing it on video. I'm reading from my book Nowhere Man: The Final Days of John Lennon.
The first part is the opening section of the chapter titled "Being Rich." The second part is all of "Chapter 27," my eyewitness account of the sentencing hearing of Lennon's killer, Mark David Chapman, who believed that by shooting the ex-Beatle, he'd write the missing chapter of J. D. Salinger's novel The Catcher in the Rye in Lennon's blood.
October 10, 2013
Ten years later, on what would have been Lennon’s 73rd birthday, the Spanish-language media continues to write about Nowhere Man. Here are three links to stories that appeared yesterday.
La vida inconclusa de John Lennon (Originally published in January 2011, Proceso made this available online yesterday.)
John Lennon y la numerología: su obsesión y destino (Un día como hoy)
Minuto a minuto. Las últimas 24 horas de Lennon (Radioacktiva)
If you’d like to see what all the fuss is about, please join me, Eric Danville, and Lainie Speiser, on Tuesday, October 15, 8:00 P.M., at the 2A bar in the East Village. I’ll be reading from Nowhere Man, in English.
October 9, 2013
But next Tuesday, October 15, at 8:00 PM, at the 2A bar in the East Village, I will be celebrating Lennon's life by reading from three chapters of Nowhere Man. Joining me will be my Title TK co-producers Eric Danville and Lainie Speiser, adult actress Alia Janine, radio personality Ralph Sutton, writer James Sasser, character actor David Healy, and writer and musician Mary Lyn Maiscott.
The event, as always, is free, and if you have an urge to tune into the Lennon vibe, 2A is the place to be on Tuesday night.
October 2, 2013
This is number four in the Tuesday night reading series that Eric Danville, Lainie Speiser, and I have been producing. We've christened our spoken-word collective Title TK, and Listen to This Reading is our celebration of John Lennon's birthday--he would have been 73 on October 9.
I’m going to read from my Lennon bio, Nowhere Man, specifically the opening chapter, “Being Rich,” the closing chapter, “Dakota Fantasy,” and “Chapter 27,” which is a reference to the nonexistent chapter of J. D. Salinger’s The Catcher in the Rye, the novel that drove Mark David Chapman to murder.
Mary Lyn Maiscott, who’s more accustomed to performing with a guitar in hand, will read from “Birth of a Song,” the Nowhere Man chapter that explores the inspiration behind Lennon’s “I’m Losing You,” which Mary Lyn covered at the first Bloomsday on Beaver Street.
Lainie will read from May Pang’s memoir, Loving John.
Other readers include actor David Healy, adult actress Alia Janine, actor James Sasser, and radio personality Ralph Sutton.
As always, admission is free and there’s no cover.
In other Title TK news, Lexi Love has created a long-awaited Bloomsday on Beaver Street page on her Website. The page features some very cool photos and the complete audio of her reading that night. Check it out for a taste of the unexpected drama you can expect on October 15, at 2A
September 23, 2013
One of the first things that popped into my head was the idea of a kid in grade school, who knows nothing about the Holocaust, being given an assignment to write a report about the Nazis. He goes to Google and the first thing he sees is that the Holocaust didn't happen, thereby handing a tremendous victory to the deniers.
I posted this on Facebook, and it led to a surprisingly large number of comments, notably from fellow Headpress writer Shade Rupe, who’s done a great deal of Holocaust research.
What I hadn’t mentioned on Facebook was that part of the inspiration for Bobby in Naziland was my own dealings with a Holocaust-denying conspiracy theorist who’d read Nowhere Man, and in Internet postings that described me as a “Jewish writer,” said that I was the Zionist-funded CIA spymaster who’d given the order to kill John Lennon. He also tried to goad me into an online debate about whether or not the Holocaust really happened.
In the book’s endnotes, I say of this (naturally) pseudonymous fellow, “That there are people like this lurking on the Internet should come as no surprise to anybody. That other people who call themselves journalists echo such theories in cyberspace and, on occasion, have published them in books, and in at least one legitimate newspaper, is an alarming truth that cannot be ignored.”
That’s just the way it is in the fact-free 21st century. Holocaust denial is spreading and Bobby in Naziland is, in part, my own small response to it, for whatever that may be worth.
And, yes, the bone-grinding machines were specifically built to grind human bones in Nazi death camps.
September 9, 2013
A lot has been going on since July 24:
· I’ve given the complete Bobby in Naziland manuscript to the Mistress of Syntax, who has read the entire thing. I’ve since been working on corrections and rewrites.
· The Beaver Street Kindle edition was re-released on Amazon U.S. and Canada, and last week it was the #1 “Hot New Release” in pop culture books in the U.S., and the #2 “Hot New Release” in art books, behind Gertrude Stein’s The World Is Round, in Canada. This is my first #1 anything in the U.S. since September 2000, when Nowhere Man was riding high on numerous bestseller lists.
· In other Amazon news, the secretive company has made the Kindle edition of Beaver Street unavailable in the U.K., telling me that they “don’t have the rights to sell it.” This is what Amazon U.S. told me last year about the print edition of the book—before the threat of a public protest against Amazon censorship persuaded them to make the book available. Perhaps the Brits will sort this one out, though they’ve given no indication that they’re capable of doing so.
· I’ve been kicking back in Machiasport, Maine; Saint Andrews, New Brunswick; and Greenacres, Florida, doing my best not to think about Amazon or any of the other routine aggravations that the publishing industry is so good at generating.
· Eric Danville, Lainie Speiser, and I have been preparing for our next group reading on Tuesday, September 17, at 8:00 P.M., at the 2A bar in the East Village. The theme is politics, and I’ll be reading from the Lockhart Commission/Deep Throat/Watergate section of Beaver Street. Stay tuned for more info, and in the meantime, you can listen to Eric talk about Deep Throat on The Rialto Report.
June 3, 2013
The former lead guitarist and lyricist for the seminal rock group The Band, which was inducted into the Rock and Roll Hall of Fame, in 1994, was talking about his forthcoming children's book, Legends, Icons & Rebels: Music that Changed the World, co-written with his son Sebastian Robertson, who was with his father on the BEA Downtown Author Stage Saturday morning, along with journalist Alan Light, who asked them questions.
Tundra Books will release Legends, Icons & Rebels in October, and it will contain a double-CD featuring the music of all 27 musicians and groups covered in the book. They include The Beatles (of course), the Beach Boys, Bob Dylan, Aretha Franklin, Louis Armstrong, Billie Holiday, and Louis Jordan (but not the Rolling Stones or The Band).
Though other children’s books, such as The Book of Rock Stars: 24 Musical Icons That Shine Through History, by Kathleen Krull, and The Blues Singers: Ten Who Rocked the World, by Julius Lester, cover much of the same territory as Legends, Icons & Rebels, they don’t contain CDs (and didn’t sell especially well, either). So, when Robertson said, “There’s no other book like this,” he apparently meant that there’s no other children’s book about musicians, written by a rock star, that contains a CD with previously unattainable Beatles music.
The unattainability of Beatles music is something that’s driven home every week to anybody who watches Mad Men, as Don Draper and company live out the 1960s to a Beatles-free soundtrack. That a show this successful can’t get those rights speaks volumes. So, one can only imagine what hoops Robertson had to jump through, what rings he had to kiss, and how much money he had to spend to get the rights to those sacred songs.
I’ve no doubt that the final Beatles text had to be personally approved by Paul McCartney, Ringo Starr, Yoko Ono, and Olivia Harrison. And I think it’s safe to assume that the John Lennon section of this completely inoffensive, non-iconoclastic book will, according to the rules of Ono, praise her as a positive influence, and contain no mention of numerology, tarot, astrology, or Colombian witches. And though the book will say that Lennon was shot by a disturbed fan, it will not mention his name.
So, what we have in Legends, Icons & Rebels is a book that parents will buy for their kids, and with any luck at all, the kids, ages 8-13, will read the book, listen to the CDs, and be turned on to some great old music.
Then, when the kids get a little older, and they’re ready for some unvarnished truth about their legends, icons, and rebels, there are books like Nowhere Man that they can grow into. Makes me glad I wrote it.
I was coming from the booth of my distributor, SCB, where I’d picked up a copy of their erotic books catalogue, Revel, where Beaver Street is prominently featured on the same spread as Robin Bougie’s Cinema Sewer. The catalogue was tucked under my arm when I spotted, a couple of booths down, Ann Romney, wife of Mitt, signing advance copies of her book, The Romney Family Table, from Shadow Mountain, due out in October.
I got in line.
“Can you make it out to Bob Rosen,” I said to Romney, handing her the book. (Actually, it’s more of a brochure.)
“Is that R-o-s-e-n?” she asked.
“Very good,” I replied. “I know it’s such a weird and difficult name.”
“I always won the spelling bee,” she said, laughing as she signed book.
As we shook hands and I thanked her, I discreetly admired her beautiful and tasteful ring, sapphire if I’m not mistaken, and, shamefully, I was feeling a dusting of the Ann Romney charm—the charm that had been utilized in an attempt to “humanize” Mitt in his presidential campaign.
Ann Romney, I must admit, had a good vibe. I got the sense that, despite my scruffy and possibly progressive appearance, she genuinely enjoyed our little exchange. Still, there’s no way I’d ever vote for her husband, even if she gave me that sapphire ring.
On the way home from the BEA, I passed, on 10th Avenue near 17th Street, Yoko Ono, dressed in a sharp white blazer, talking to a couple of people on the sidewalk. It was an omen, I thought as I walked by, though an omen of what I have no idea.
May 3, 2013
I suppose most writers (as well as most readers) find it peculiar that a writer would work in total silence and secrecy for five years, especially these days, when it's become increasingly common for writers to share works-in-progress online with readers who provide instant feedback.
This is the height of literary absurdity and the best of all possible ways for a writer to achieve a state of confusion. Book writing should be a solitary activity that takes place in a room of one’s own with a lock on the door (to paraphrase Virginia Woolf). And I’ve been doing this long enough that I trust my own editorial judgment.
Which is not to say I wouldn’t prefer to be working with an editor at an actual book publishing company who’s given me an advance so substantial, I could concentrate, to the exclusion of all else, on finishing Bobby in Naziland. But I’m not the kind of writer who gets advances, substantial or otherwise, on unfinished books. On the contrary, when I finish the book and begin submitting it, I think publishers will tell me, “Great read, but there’s not enough interest in Jews, goyim, Nazis, the Holocaust, UFOs, the Rosenbergs, or Brooklyn to justify publishing this.”
This is the kind of thing that publishers say reflexively to most writers about most books. It can’t be taken seriously. When I was struggling to publish Nowhere Man—a book that would be translated into a half-dozen languages and become a bestseller in five countries—I was told time and again, for 18 years, “There’s not enough interest in John Lennon.”
Which is one reason I waited five years before showing Bobby in Naziland to anybody, especially publishers. There’s nothing more demoralizing for a writer than to hear from a so-called voice of authority that your work-in-progress is unpublishable.
I also trust the judgment of my editor, and when she reads Bobby in Naziland in its entirety, I want her to read it with a fresh eye. So, I will continue to work in secrecy and silence.
March 27, 2013
I told Foxon that as the first edition of Nowhere Man was going to press, in 2000, Ono had returned my diaries--except for two small notebooks covering the summer of 1979. Foxon's inevitable follow-up question: What happened to the two volumes?
“Well,” I said, “I’m not really sure, but I don’t think their disappearance had anything to do with Ono.”
I explained that after I’d given my diaries to Ono, she turned them over to the police (and other legal and media entities), who combed though the half-million words I’d written, looking for evidence they could use to charge me with a crime, any crime, and use that as leverage to prevent me from ever writing about John Lennon’s diaries. (You can read about that fiasco here.)
But what the police found in the two volumes that had vanished were detailed notes about the gig I had in the summer of 1979, ghostwriting a novel for a former New York City cop. Those notes contained the names of cops I was taking drugs with, the dates we took the drugs, and the places we took them. In one notable passage, I described smoking a joint with a uniformed, on-duty cop in his patrol car.
“So,” I said to Foxon, “I figured the cops freaked out when they read that, and they wanted that information to disappear. I guess the two missing volumes ended up in a shredder.”
And unless I get arrested today, that’s the last police story I’m going to tell for a while.
March 11, 2013
Meanwhile, over in Chicago, my Nowhere Man interview with Bryan "Shu" Schuessler was streamed Sunday afternoon on Core of Destruction Radio. As it was being streamed, I had a lot of fun on the chat board with Lizard Messiah, the guy who runs the Website. We talked about John Lennon, Beaver Street, Jim Morrison, and conspiracy theories. Lizard was unfamiliar with Lennon's first solo album, Plastic Ono Band, but when the interview ended, he played two cuts from the LP, Mother and Working Class Hero. Very cool. (If you missed the interview it's available as a free download here.)
Goatserpent, a Core of Destruction DJ, also logged onto the chat board for a while. I noticed on his profile page that under “Favorite Books” he lists “early 90s issues of Swank.” Hey, Goat, you ought to pick up a copy of Beaver Street. I worked for Swank in the early 90s.
March 8, 2013
I'll follow my inclination. See you next week!
March 7, 2013
If you're unfamiliar with Nowhere Man, the interview is a good, in-depth primer on how I came into possession of Lennon's personal diaries, transcribed them, and over an 18-year period was able to transform the information in the diaries into a book that takes you on a journey through Lennon's consciousness. I also talk about how, in the final part of Nowhere Man, I got inside the head of Lennon's killer, Mark David Chapman.
As I tell Shu in the interview, I’m just happy that people still want to talk about Nowhere Man 13 years after it was originally published. If you want to know why people are still talking about the book, then give the interview a listen.
Hope to see you on the radio.
March 4, 2013
But this time I heard about it. Bryan "Shu" Schuessler, who runs the culture site Shu-izmz, read Beaver Street, ran a rave review, interviewed me on his radio show, and then read my John Lennon bio, Nowhere Man, not because he had any interest in Lennon or the Beatles, but because he liked my writing style and Nowhere Man has a number of true crime elements, which fascinate him. Up went another rave review, and last night we recorded another radio interview, which Shu will post sometimes this week and which will be available for download as a podcast.
For the most part, we talked about the background of Nowhere Man—how I came into possession of Lennon’s diaries, how I transcribed them, how they were stolen from me, how I recreated them from memory, and how it took me 18 years to find a publisher for a book that’s now considered an underground classic.
In the course of our conversation, Shu said something about Nowhere Man that I’d never heard before—that’s it’s a good book for people with attention deficit disorder because it has short chapters. To which I say, “Hey, ADD people, welcome aboard. Hope you like my book.”
And as our conversation ended, I said to Shu, “Thank you. It’s folks like you who keep folks like me going.”
“We’ve got to support those whose talents and endeavors we enjoy,” Shu replied.
Couldn’t have said it better myself.
February 11, 2013
10. New York Calling to the Riot Zone (Aug. 11, 2011)
A meditation on the London riots from the comfort of my New York living room.
9. The Tea Party Congressman and the Porn King (Feb. 14, 2012)
An investigative report detailing Swank publisher Lou Perretta’s campaign contributions to ultra-conservative congressman Scott Garrett.
8. Fat Sex (Sept. 28, 2011)
An essay on some of the problems I had editing magazines like Plump & Pink and Buf.
7. The Unfinished Life of John Lennon (Jan. 3, 2011)
A piece I wrote for the Mexican newsweekly Proceso, on the 30th anniversary of John Lennon’s murder, in its original English.
6. Memoirs of a Pornographer (May 13, 2011)
Editor Jamie Maclean’s rave review of Beaver Street for the British sex journal Erotic Review.
Tomorrow, Volume II
January 29, 2013
I was about seven the first time I got paid for "real" work--making change for newspapers in my father's candy store, and I did such a good job he soon promoted me to soda jerk. If you think there's no skill involved in making egg creams, you're wrong. You need to use just the right amount of chocolate syrup, just the right amount of milk, and you have to squirt the seltzer in the glass at just the right angle and with just the right amount of force, so the head is neither too foamy nor not foamy enough. It's like drawing a perfect pint of Guinness, and it's an art I'd mastered by the time I was eight.
Since those days, which I discuss in the Beaver Street Prologue, my jobs have included, in no particular order: cab driver, Wall Street messenger, Good Humor man, art auction-house worker, envelope stuffer, drugstore delivery boy (wasn’t everybody?), produce-stand worker, clerical worker (various offices), election inspector, assistant air conditioner repairman and electrical worker, Pinkerton industrial spy (one day), camp waiter, camp counselor, swimming pool supply store worker, and porn movie extra. Then there was my brief agriculture phase: fruit picker (apples and pears), field hand, and poultry worker. And finally there are the things I’ve done and continue to do in my field: author, editor, reporter, critic, essayist, ghostwriter, speechwriter, advertising copywriter, and writing tutor.
I’ve always been open to doing just about anything, and I’ve gotten two books out of it. Both Nowhere Man and Beaver Street are the result of jobs I was willing to accept—editor/ghostwriter and pornographer.
As the astute critic John Branch has pointed out in his Beaver Street review: “From the outset, then, and through the remainder of the book, it’s mostly in terms of work that Rosen experienced the field of pornography.”
That’s because I’ve always found fascinating the concept of one person paying another to do something.
Anybody need any apples picked? I’ve got experience.
January 25, 2013
I've been conscious of the importance of anniversaries since Nowhere Man was published right before the 20th anniversary of John Lennon's murder. There's no question that the media attention surrounding that event was instrumental in putting the book on best-seller lists. Ever since, I've been seeking out anniversaries anywhere I can find them.
There are plenty of Beaver Street anniversaries to celebrate, though for the most part the media tend to overlook them—even though they are events of genuine historical significance. 2011, for example, was the 25th anniversary of the Meese Commission on Pornography and the Traci Lords scandal. I don’t recall hearing anything about either one of those events. In fact, Edwin Meese, arguably the most corrupt attorney general in the history of the United States, has managed to squirm back into the news, his corruption unmentioned as he mouths off about ways to impeach Obama. And this month, January 2013, is the 30th anniversary of free phone-sex, the first fusion of erotica and computers, and the beginning of the Age of Modern Pornography. Please clue me in if you’re aware of any commemorations. And while you’re at it, please join me in spirit on April 11 to celebrate the day, 30 years ago, that I began working in XXX. (Yikes!)
Amid all these anniversaries, there’s one personal anniversary that somehow escaped my attention: On January 12, 2011, Beaver Street was mentioned in the media for the first time, in the February UK edition of Vanity Fair, the one with Justin Bieber on the cover. This is significant because here it is, two years down the road, and Beaver Street continues to garner media attention. How rare is it that people are still talking about a book two years after publication? Trust me, it’s rare. And it is cause for celebration. You are cordially invited to join me in spirit as I toast to my ongoing promotional campaign.
January 16, 2013
The latest review appeared today on Bryan Schuessler’s site, Shu-Izmz. Schuessler, as regular readers of this blog will recall, is a fan of porn, death metal, gore, and true crime who writes from the perspective of regular guy whose mind is in the gutter. So taken was he with Beaver Street, he felt compelled to read Nowhere Man, too.
And, yes, Schuessler enjoyed the book, despite the fact that he’s not a fan of the Beatles or Lennon. This, of course, is what’s kept Nowhere Man alive all these years—it takes people by surprise, transcending the genre of rock ’n’ roll bio.
Here’s a blub from the review: “The manuscript is so personal that one would think John Lennon himself was telling Rosen exactly what to write.”
I urge you all to read his entire critique. And then get your own copy of Nowhere Man. See for yourself why it’s an underground classic. Hell, you don’t even have to buy it. You can get it at the library. Someday, somebody might even make it available as an e-book.
January 14, 2013
But this isn't a post about Facebook's stupidity. It's a post about what I found in my Other box, most of which wasn't spam. The messages, dating back to early 2010, were from all kinds of people who wanted to get in touch with me about my writing. One of them played a major role in my John Lennon biography, Nowhere Man.
Let me say right off that I’m not one hundred percent certain that the message is legitimate—that it’s from the person whose name is attached to it rather than an imposter. But after looking at his Facebook page—yes, even he appears to have one—I’m inclined to believe that it is legitimate. His minimalist status updates—“April 8, 2011: Time is dragging on lately… December 10, 2010: Franks and Beans tonight”—and one friend, Human Rights Watch, do not strike me as satire. Please look at the page and decide for yourself. (And yes, some prisoners do have Internet access.)
The prisoner in question is Mark David Chapman, the man who murdered John Lennon and who was in Attica Correctional Facility in New York State until last year, when he was transferred to Wende Correctional Facility, also in New York. His message, sent on October 20, 2010, says the following:
’read your book. I liked it very much.
Though I’m always delighted to hear from people who like my books, this one creeped me out for obvious reasons. And I imagined how strange it must have been for Chapman—assuming it is Chapman—to have read a book that partially takes place inside his head.
I responded to the message and asked if it was really him. Then I sent an e-mail to my publisher at Headpress: “Do you think we can get him to blurb Beaver Street too?”
It’s probably necessary to say here that the e-mail was intended as a joke. Because I’ve often found that when things like this happen, the only thing you can do is laugh about them—as I’m still chuckling today about the existence of Facebook’s Other box and what I found in it.
January 8, 2013
Anybody who goes into the book-writing biz for the money is either ignorant, delusional, or has a close relative in a powerful position at a major publishing house. Most people who become writers do it because they have to, because they can't stop themselves, because they hear that voice in their head and they feel a primal need to communicate. That’s why I've been doing it for 38 years
It was in the process of attempting to sell my first published book, Nowhere Man, that it occurred to me that I was at war—an ongoing war of attrition against two powerful forces.
The publishing industry, driven by wilful ignorance and irrational fear, spent 18 years rejecting Nowhere Man because, they said, there’s not enough interest in John Lennon, and Yoko Ono will sue.
Yoko Ono, it’s worth noting, has never sued a writer, not even writers who have, essentially, begged her to sue them in an effort to bring more attention to their book. However, in an effort to stop me from publishing Nowhere Man, she did try to pressure the New York District Attorney’s office to arrest me for criminal conspiracy, a farce I’ve written about elsewhere. When Nowhere Man was finally published in 2000, I felt as if I’d overrun Saigon and my personal Vietnam had come to an end.
As for Beaver Street, if you’ve been following this blog, then you know about my battles with Amazon and Google, two forces arguably more powerful than Yoko Ono. But I’ve said little about why every publisher in the US passed on Beaver Street before, without the assistance of an agent, I was able to find a home for it with Headpress, a London-based indie.
Publishing houses passed, they said, because:
1) Nobody wants to read a non-academic book about pornography that wasn’t written by a porn star.
2) Beaver Street is neither memoir nor history.
3) Beaver Street is neither pro-porn nor anti-porn.
4) We don’t know how to publish it.
All of which also goes a long way towards explaining why Amazon is eating the publishing industry’s breakfast, lunch, dinner, and between-meal snacks, thereby replacing an awful system with a more awful system.
There’s a war out there, baby, and it’s every writer, agent, and publisher for him (or her) self.
January 4, 2013
The image to the left is a scan of the cover and cover flap of the diary volume I finished the other day. As regular readers know, I've been a compulsive diarist since 1977. My two books, Beaver Street and Nowhere Man, were both based, in part, on those diaries. To remind me what's in a particular diary, I paste images on the cover that relate to significant or memorable events that happened over the course of that volume. So, 20 years from now, when I look at Volume 51, I'll know that I spent much of 2012 promoting Beaver Street, and that I went to the new Yankee Stadium on August 4. (No, I didn’t pay $175 to watch the Yanks lose to Seattle. It was a corporate freebie courtesy of the legal firm my friend works for. And that little strip of text to the left of Roger Maris is the invitation to Bloomsday on Beaver Street.)
I’m writing about diaries now because for Christmas, my wife gave me a 2013 New Yorker desk diary, which I’ve christened Volume 52. In Nowhere Man, I write at length about how John Lennon kept his journals in New Yorker diaries. Though it seems as if this is something I might have done at least once over the past 33 years, I never have kept my journal in a New Yorker diary—for various reasons. I’ve always preferred to write in blank spiral notebooks because the New Yorker diaries offer only a limited amount of space for each day. (Lennon overcame this problem by pasting into his diary additional sheets of paper.) Also, while I was writing Nowhere Man, a process that went on for 18 years, I spent too much time in Lennon’s head and I didn’t especially want to go back there.
So, there you have it. I’ll be keeping my 2013 journal Lennon Style. It was bound to happen some year, I suppose. Why not this one?
October 26, 2012
The four images of Lennon are similar to Warhol's well-known Lennon silkscreen, and the Campbell's Tomato Soup cans refer to the Warhol silkscreen that launched the pop art movement in 1962.
Lennon, who was once friendly with Warhol, seemed to have become irritated with him (and a lot of other people) during his “househusband” years—because while he was holed up in the Dakota, scribbling in his journal, Warhol was hanging around Studio 54, and his name was routinely appearing in gossip columns. Referring to Warhol’s early career as a commercial illustrator, Lennon had noted: I was an artist while he was still drawing fucking shoes!
Whatever the case, this is my favorite Lennon reference shot since the one taken in Mexico City on October 9, 2005, in which I’m wearing the same sunglasses. They’d both work well as Warholian-style silkscreens, I think.
October 11, 2012
Yesterday, I returned to ReW & WhO? for my second dose of Rew's Warholian "15 minutes of fame." I talked about Beaver Street. I talked about Nowhere Man and John Lennon. I talked about Holocaust deniers and conspiracy theorists. I talked about Bobby in Naziland. I talked about a skeleton in my closet that may surprise even some of you who think you know me well. And I had a blast. But enough talk. Let's go to the videotape!
October 10, 2012
Back in early 2000, he was one of the first people to interview me about Nowhere Man, our scheduled 15-minute chat turning into a four-hour free-form radio marathon. I've lost count of the number of times I've been back on Louie b. Free since then, but it's enough that I consider the show my home on the radio.
Yesterday, during our spontaneous conversation--and I hope some of you heard it--Louie suggested that, because I'd read Lennon’s diaries, I know him better than virtually anybody.
“I don’t know about that,” I said. “Yoko Ono knew him pretty well. But yes, it’s true, reading John’s diaries gave me a great deal of insight into what was going on in his mind during his years of seclusion. It allowed me to show what the world looks like through Lennon’s eyes.”
And that’s why, 12 years after publication, in a world where most books have the shelf-life of yogurt, people still want to talk to me about Nowhere Man. And that’s why, every year on October 9, I give thanks to John Lennon.
Today, at 4 P.M. Eastern Time, the celebration of Lennon’s spirit will continue on ReW & WhO?, broadcast live from Otto's Shrunken Head in New York City. I’ll be talking about Nowhere Man (and Beaver Street), and I hope you can join us.
And if you missed my Nowhere Man posting on Indies Unlimited yesterday, here’s the link again.
October 9, 2012
Which is also why tomorrow, October 10, at 4 P.M. Eastern Time, I'll be returning to ReW & WhO?, the internet TV show that’s broadcast live from Otto's Shrunken Head in New York City. Rew and I will be talking about Lennon, Beaver Street, and skeletons in my closet. It's a lot to jam in to the "15 minutes of fame" that Rew bestows upon each guest. But Rew and I are pretty good at jamming. So, if you find yourself in front of a computer, please tune in. Or, if you find yourself in New York, please join us in the back room of Otto's, and help us celebrate the life of John Lennon.
October 8, 2012
This year, to celebrate Lennon, on Wednesday, October 10, I'll be returning to ReW & WhO?, the internet TV show with the Warholian premise that each guest receives 15 minutes of fame. The New York Times describes the show as a quirky blend of "live musical performances and interviews" featuring guests who are "a broad spectrum of East Village talent ranging from drag queens to lounge acts to published authors to museum curators."
In addition to talking about how, more than 30 years ago, I was given Lennon’s personal diaries to transcribe and edit, I’ll also be talking about my new book, Beaver Street, and Rew will be asking me about skeletons in my closet, because that’s what Rew does. Last year I told her that I don’t have any skeletons in my closet. “I put them all in my books,” I said. When she insisted that I divulge something, I told her about my “experiment in participatory journalism” that I describe in Beaver Street: posing for an X-rated photo shoot. So I guess I better do some research and find another good skeleton.
You can watch the live broadcast, from 4-6 P.M. Eastern Time, here. Or, if you’re in the New York area, you’re welcome to join the studio audience in the back room of Otto’s Shrunken Head at 538 East 14th Street.
October 3, 2012
I wrote about all this in Nowhere Man. In the last section of the book, “The Coda,” I detail Chapman’s descent into madness as he travels from Hawaii to New York to carry out his mission. In the book’s final chapter, “Chapter 27,” I describe Chapman’s 1981 court hearing, which I attended as a journalist. Rather than stand trail, Chapman pleaded guilty and was sentenced to 20 years to life. In the courtroom, as his statement to the world, he read from chapter 22 of The Catcher in the Rye, the part where Holden Caulfield tells his sister that he wants to be the catcher in the rye.
None of this has anything to do with why the book was banned. It was banned because Holden talks too much about sex. And Salinger captures his voice perfectly, which is the real magic of The Catcher in the Rye.
Hope you can stop by and listen to all the readings. And please check out this excellent article in Adult Video News about the event, and banned books in general.
September 19, 2012
Last night, I talked to Bryan Schuessler, who'd recently posted an enthusiastic Beaver Street review on his site Shu-Izmz. In the course of our extensive conversation, we covered a slew of topics that included pornography, politics, John Lennon, Nazis, and writing. The interview will be broadcast this Sunday, September 23, on Core of Destruction Radio and will also be available as a podcast. Check their site for details.
The review of About Cherry that I posted here yesterday came to the attention of a number of people on Twitter, including the film's co-writer, porn star Lorelei Lee, who retweeted the last line: "Guaranteed to piss off Gail Dines." Among other things, I said that About Cherry was the best movie about the porn industry since Boogie Nights. Then, out of curiosity, I read a few other critiques, and was surprised to see how savagely critics had trashed the film. The Hollywood Reporter, for example, called About Cherry "dramatically feeble and fraudulent." Well, obviously I disagree, and I can say with some authority that this particular critic doesn't know what the fuck he's talking about. Bring on the controversy, baby!
A site called Indies Unlimited asked me to write a guest blog about how my John Lennon bio, Nowhere Man, became an international bestseller. My essay will run on Lennon’s 72nd birthday, October 9, and you can read it here after it goes live at 2 P.M. Eastern time.
Finally, please remember to visit Talk Story TV tonight at 9 P.M. Eastern Time for my live chat with Julia Widdop about Beaver Street. The technical problems we experienced last week appear to have been solved.
September 7, 2012
One such review, titled "Worst Book Ever!" was posted on Amazon U.K. soon after Nowhere Man was published. "This book is just a bunch of lies," the anonymous critic (whose identity is transparent) wrote. "If I could rate this book 0 stars I would, but the computer makes you rate it 1 star and up. I think Robert Rosen should read [name redacted]'s books. Maybe he will get some sense knoked (sic) into him." He then posted a similar review on Amazon U.S., this time referring to his own book as "masterful."
I learned a long time ago that such critiques can help sell a book, provided that there are enough positive reviews to balance them out. Hatchet jobs make books seem interesting and controversial. Fifty Shades of Grey, for example, has 3,800 one-star reviews to go along with its 4,700 five-star reviews.
Yesterday, I also said that I never have and never will pay for a review. On one occasion, though, I have gone over to the dark side and anonymously trashed another author’s book. But it wasn’t a competing author and it was a special case, the first of its kind: A high-profile conspiracy theorist published a book implicating me in a CIA-backed plot to murder John Lennon.
I remember standing in a bookstore in Chicago, the week that Nowhere Man was scheduled to be published, reading this book in a state of shock and horror, and wondering how anybody who called himself a journalist could a) believe such a thing, and b) publish it without speaking to me first.
A few months later I got the brilliant idea to post an anonymous one-star review of this book on Amazon. What I wrote, though, was completely true: “Not only is this book so murkily written that it borders on unreadable, but the author offers not a shred of concrete evidence to support his paranoid fantasy—that the CIA was behind the death of every one of the [10 rock stars mentioned in the subtitle]. This is trash fiction masquerading as investigative journalism.”
Naturally, the author guessed who was behind this review and accused me on his blog of viciously attacking and ridiculing him.
Beaver Street has yet to be anonymously trashed by a competing author. Perhaps that’s because it’s usually porn stars who write books about pornography, and your average porn star has more integrity than your average conspiracy theorist or Beatles biographer. Or maybe porn stars just have better things to do.
September 6, 2012
I was never much into the idea of "making it big" after I was dead. I mean really, what's the point in spending years writing a book that nobody reads when you're alive? Yes, I write for money, but the thing that keeps me going day after day, especially during those long stretches between fat (and not so fat) paychecks, is a primal need to communicate, which I'm not counting on being able to do from beyond the grave.
That's why I've always done everything possible to bring my books to the attention of people who might enjoy reading them while I’m still here. My philosophy has always been: Talk to anybody who wants to talk to you about your book for as long as they want to talk about it, and go anywhere people are interested in your work. I’m the only American writer I know who’s traveled to Chile to do book promotion, and I’d do it again in a heartbeat if the opportunity presented itself.
Since 2000, when my John Lennon bio, Nowhere Man, was published, I’ve done more than 300 interviews, treating journalists from the most obscure websites as if they were Oprah. Cause you just never know. In fact, I’ve turned down only one interview request ever—from a Holocaust-denying conspiracy theorist who believes I’m the Zionist-funded CIA spymaster who gave the order to whack Lennon.
But there’s one thing I’ve never done and never will do to sell books: Pay for a positive review. A recent article in The New York Times pointed out that Amazon has been flooded with bogus five-star reviews written by critics who don’t read the books they’re reviewing and which authors are paying for: one review for $99, 50 for $999.
I wouldn’t do it because fake reviews sound fake; few people believe the reviews they read on Amazon; and even real five-star reviews (or rave reviews anywhere) don’t help much when it comes to selling books. (If they did, Beaver Street would be selling a lot better than it is.)
Which is to say, if I’m going to get more people to read Beaver Street while I’m alive, then I’m going to continue doing it the old fashion way—speak to anybody who wants to speak to me and go anywhere I’m invited.
So, I hope to see you next week on Talk Story TV and in the Book House in Albany, NY.
August 31, 2012
My first appearance on ReW & WhO?
As the Labor Day weekend and the official beginning of the Beaver Street Autumn Offensive approaches, I'm posting a schedule of all the upcoming events that I'll be participating in over the next several weeks. This is as much for my own reference as for everybody who'd like to meet me, either virtually or in person.
Wednesday, September 12, 9 P.M. Eastern Time: Join me online for a live chat with Talk Story TV host Julia Widdop. I’ll be answering questions about Beaver Street, Nowhere Man, and pretty much anything else you want to ask me about.
Friday, September 14, 7 P.M.: I’ll be reading from and signing Beaver Street at the Book House, 1475 Western Avenue, in Albany, New York.
Thursday, October 4, 8:00 P.M.: In celebration of Banned Book Week, I, along with several other authors, will be reading passages from banned books at the 2A Bar, 25 Avenue A, in New York City. My passage, which I’ve not yet chosen, is from The Catcher in the Rye by J. D. Salinger, a book I discuss in detail in Nowhere Man. I’ll post a link to this event as soon as one is available.
Wednesday, October 10, 4:00-6:00 P.M. Eastern Time: Rew Starr has invited me to join her again on ReW & WhO?, her long-running Internet TV show broadcast in front of a live studio audience at Otto’s Shrunken Head, 538 East 14th Street in New York City. I’ll be talking about John Lennon (October 9 is his birthday), Nowhere Man, Beaver Street, and possibly even my work in progress, Bobby in Naziland.
Here’s wishing everybody a great holiday weekend! I hope to see you somewhere soon!
August 27, 2012
Letters from readers and blog posts on sites like Tumblr are true indications, I think. But how many times have you read a book that you loved (or hated), and meant to tell the author about it, but just never got around to it?
Another way to tell if a book is really being read is when the book’s title or the author’s name turns up as a clue on a game show or in a crossword puzzle, indicating that the work has, indeed, become part of the popular culture. It’s happened three times that I’m aware of with my John Lennon bio Nowhere Man. The first was in December 2003, when it was a Jeopardy answer—“Rock ’n’ Roll Bookstore” for $400, Alex!” (“Nowhere Man is Robert Rosen’s take on “the final days of” this Beatle,” was the clue.) The second was two years ago, when “Nowhere Man: The Final Days of John Lennon author Robert” was 118 across in the L.A. Times syndicated crossword, which was picked up by dozens of newspapers. (The link is to the Palm Beach Post.)
It happened again in the crossword puzzle in the May issue of Buffalo Spree, a venerable regional magazine from Western New York State—same clue as the L.A. Times, but this time it was 117 across, a number more in keeping with the book’s numerology themes.
So yes, I take these incidents as irrefutable and encouraging evidence that Nowhere Man has fully penetrated the popular culture. And I can only hope that Beaver Street isn’t far behind. (And if you don’t know the answer to 117 across, you can click here.)
August 24, 2012
If you click on the picture, it takes you to a page that also includes a posting that went viral a few months ago--an excerpt from my other book, Nowhere Man: the Final Days of John Lennon.
June 1, 2012
10. A blogger in England puts my John Lennon bio, Nowhere Man, on his list of "Top 10 Books," among the works of such commercial powerhouses as Dan Brown, Stephanie Meyer, and C.J. Sanson. This has happened dozens of times before, and each time it does, it reminds me anew that 12 years after publication, Nowhere Man has achieved "cult classic" status.
9. A rave review of Nowhere Man: Gli ultimi giorni di John Lennon, in an Italian magazine, calls the book “daring,” “an unforgiving but truthful portrait,” and a “must for… Beatles fans.”
8. The Italian edition of Nowhere Man sells out its first printing, but Italy, like the publishing industry itself, is in such a state of economic and political chaos, nobody seems to know if there will be a second printing.
7. My wife and I spend a blissful week in Santa Barbara, at our friends’ house, “Casa de los patios,” as it’s called. We begin each day sipping coffee on one of five patios, gazing at the mountains in the distance. “Another goddamn beautiful day,” says the mistress of the house each morning, as she comes trotting onto the patio with her four dogs.
6. For the fourth consecutive month, this website hits a new high in traffic.
5. I read and sign Beaver Street at Book Soup, the legendary independent bookstore on Sunset Strip in L.A.
4. I’m interviewed about Beaver Street on The Tiffany Granath Show on Sirius XM Playboy radio.
3. After a year of hustling and promotion, the first printing of Beaver Street sells out in the U.K. There will be a second printing… sooner or later.
2. Christy Canyon and Ginger Lynn interview me about Beaver Street on their Sirius XM Playboy radio show, You Porn. Christy shows me her extraordinary (and ageless) breasts. Paul Slimak (Henry Dorfman in Beaver Street) calls in as Erich von Pauli, the character he plays in the Beaver Street promotional videos, and has everybody in the studio cracking up as he threatens to launch his V-2 missiles. It’s one of the best hours of radio I’ve ever participated in.
1. Claiming at various times “technical problems,” that they don’t have the right to sell the book, or that the book is “unavailable,” Amazon effectively bans the print edition of Beaver Street in the U.S. and there appears to be nothing anybody can do about it.
May 23, 2012
Though my Book Soup event seems like ancient history at this point, I haven’t written about it yet, and I’ve been meaning to say that I’m pleased with the progress I’ve made in reading the so-called “dirty part” from “The Accidental Porn Star” chapter, which I’ll be reprising at the New York event. My performance, I dare say, is beginning to feel like a cross between a Lenny Bruce stand-up routine and a recitation of a Shakespearian soliloquy. What stands out in my mind about the reading was a man who was browsing through some art books off to the side, paying no attention to me—until I began reading. Then he looked at me with a huge smile, mesmerized, as if he couldn’t believe what he was hearing. The Accidental Porn Star had connected with The Accidental Listener.
Just before I left for L.A., my old pal in St. Louis, Kendra Holliday, posted a video of her interview with me, conducted moments before the event at Shameless Grounds coffee house. It’s an interesting document of a very nervous writer, with a lot on his mind, about to embark on a U.S. promotional tour. I have mixed feeling about this video. Some of it, I think, is outrageous and hilarious. In other parts, however, my nervousness is obvious, and I find it difficult to watch as I struggle for words. But this is the book biz in the 21st century, where every writer, no matter how reluctant, is forced to become a performer.
Finally, here’s a link to a Google-translated review, posted yesterday, of the Italian edition of Nowhere Man: Gli ultimi giorni di John Lennon, which has sold out its first printing. (Here’s the review in the original Italian.) The critic calls the book “daring,” “an unforgiving but truthful portrait,” a “must for… Beatles fans,” and praises the “excellent translation” of Paolo Palmieri. Made my day.
April 20, 2012
Today, I asked somebody at Amazon what’s going on. They told me, essentially, that technical problems within their system are preventing the book from being made available, and that they’re working on it.
I continue to hope for resolution.
And I can tell you this much about Amazon: In 2000, when Nowhere Man was published, Amazon was instrumental in making the book a bestseller, and for that I’ll always be grateful. Yes, Amazon is a different company now, and it’s a different world out there. But for an author, there’s still nothing like the rush of looking at your book on Amazon and seeing that sales ranking shooting towards the toppermost of the poppermost.
April 11, 2012
Forty-one years later, I spend most of my time in sitting a room, writing. And though I still believe that if I write good books people will buy them, I now know that marketing and promotion are far more important than the quality of the book itself. A well-promoted piece of dreck will outsell a great book, if not every time, then certainly most of the time. The trick, I realized, is to write the kind of books that people really want to read, and then emerge from my isolation cell and find a way to sell, sell, sell.
Thirteen years into the game, I’m hardly a novice. It was relatively easy to promote my first book, Nowhere Man, a “controversial” bio about John Lennon that became a bestseller in five countries. When it came out in the booming economy of 2000, people had lots of disposable income to spend on books. And, of course, everybody wanted to talk to me about Lennon. In the first year alone, I did about 150 interviews, spending entire days talking on the radio, doing one show after another, from before dawn until well into the night.
The live radio interview became my medium of choice. When the chemistry’s right, and the interviewer has actually read the book and knows how to put me at ease—The Louie Free Show, which I’ve done about two dozen times, comes to mind—my performance feels like free-form jazz; it can go anywhere.
In the dozen years since Nowhere Man was published, it simply wasn’t necessary to do a lot of readings. But in 2012, with the economy in shambles and the book business in chaos, every book is a tough sell unless your name’s Stephen King or J. K. Rowling. I know that if I want people to read Beaver Street, then I’m going to have to hand-sell it myself, event-by-event, blog-by-blog, reader-by-reader. Which is, of course, why I went to St. Louis.
Unlike, say, New York, St. Louis was immediately receptive, offering me three very different venues—Left Bank Books, Shameless Grounds, and Apop Records—where I could focus on Beaver Street’s literary and pornographic qualities. The media, too, was supportive. The Riverfront Times, for example, chose my Left Bank reading as a pick of the week, along with Fiddler on the Roof.
It was strange to do three live performances in a week. The nervousness-bordering-on-fear before each event was the worst of it. But I have to accept the fact that I need to do this kind of thing as much as possible. Yes, I’m learning as I go, and I know there’s room for improvement. But I also know I’ve written a book that’s well worth reading, and I thank the city of St. Louis for allowing me to bring it to the attention of a wider audience.
Now, it’s on to L.A.
March 9, 2012
In particular, the posting on the left caught my attention. A Spanish-speaking blogger from Mexico, who goes by the name Little Child, copied the excerpt, in English, in her—I assume it’s a her—beautiful handwriting.
Little Child, whoever you are, muchas gracias por preocuparse por mi libro.
March 7, 2012
“Robert Rosen never knew or even met John Lennon,” somebody who calls themselves mclennon-forever wrote. “This quote is dubious.”
I’m going to respond to this comment because it’s so typical of the type of negativity I’ve been hearing about Nowhere Man since it was published in 2000.
First of all, the suggestion that it’s wrong to write a biography of somebody I never met is absurd on its face. Should contemporary biographers not write books about Mozart or George Washington, for example, because they never met them?
And the source of this “dubious” quote, I might add, is the late Neil Aspinall himself. In 1963, Aspinall was the Beatles’ road manager, and he was the one who procured the groupie for John. When I met Aspinall, in London, in September 1981, he was managing director of Apple. Fred Seaman, my writing partner at the time and Lennon’s former personal assistant, introduced me to him. The three of us went out to a pub near Apple, and over many pints of beer Aspinall told me the story.
The revelation of the source, of course, will not end the controversy engulfing Nowhere Man. But as always, I welcome the opportunity to answer any questions about the book. You know where to find me.
February 20, 2012
Here’s a photo of Zoppo in his studio with one of his favorite books. Grazie, signore! Spero di incontrarti un giorno.
We now return to our regularly scheduled muckraking.
January 11, 2012
Also, as you may have noticed, I haven’t been blogging much lately, choosing instead to devote my time and energy to the book I’m currently working on, Bobby in Naziland. Well, between now and March 23, I’m going to slowly ease back into the daily blogging groove, posting once or twice a week for the time being. So, please check back regularly for updates.
For those of you visiting this site for the first time (perhaps seeking information on porn star Missy Manners) allow me to bring you up to date: Last year, Beaver Street was published in the U.K. to critical acclaim across cultural spectrum. (Check out the blurbs in the right-hand column and links to reviews on the home page.) On more than a half dozen occasions, it’s surged to the top of the heap of Amazon U.K. porn bios, where even on the worst day, it generally resides in the top 20, among the likes of Jenna Jameson, Ron Jeremy, and Annie Sprinkle.
This augurs well as I kick off The Year of the American Beaver, which will begin in St. Louis—yes, St. Louis!—with a launch party hosted by Kendra Holliday, whom you can see in the March 2012 issue of Hustler magazine. Then, we return to New York for a party on Beaver Street, in downtown Manhattan. Stay tuned for details, and I hope to see all of you there.
January 5, 2012
Yesterday I received a couple of copies of the Italian edition of Nowhere Man: Gli ultimi giorni di John Lennon (back cover, right, front cover here).
What most struck me about the book were the extensive footnotes, which are unlike anything that's appeared in any other foreign language edition. The translator, Paolo Palmieri, took pains to explain words and phrases that were impossible to render in Italian without losing some of the meaning. Lennon’s puns and wordplay, Liverpudlian English, and words that rhymed in English but not in Italian were all obsessively annotated.
Here’s an excerpt from my favorite footnote, which appears in the chapter called “Il Lennon Dei Rimpianti” (“Lennon’s Complaint”):
«What did you do to ME fuckin’ cock?»; raro caso cui è possible rendere perfettamente il senso della traduzione operando tra gerghi di lingue diverse: il “me” di Liverpool sta infatti per l’inglese “my”, ovvero viene usata in forma gergale la particella pronominal “me” in sostituzione del possessivo “my”.
What he’s saying, briefly, is that in Liverpudlian slang, sometimes people say “me” instead of “my.” Though I’m sure the Latin mavens among you figured that out on your own.
December 17, 2011
The writer, Julio Hurtado, calls Nowhere Man “one of the most sincere and brutal biographies” ever written.
Muchas gracias, España, y toda la gente que han leído mi libro.
December 9, 2011
Two days ago I made my debut on the Rew & Who? show. If you were unable to watch the live webcast from Otto's Shrunken Head in New York City, here are the two video clips of my interview with Rew and her co-host, Alan Rand.
In addition to talking about and reading from Nowhere Man: The Final Days of John Lennon, I also spoke at some length about my new book, Beaver Street: A History of Modern Pornography, which is out now in the U.K. and will be published here in March 2012, and the book I’m currently writing, tentatively titled Bobby in Naziland.
Among the people appearing with me for this tribute to John Lennon and Rew’s brother Richard “Dicky” Kesten were May Pang, whom I haven’t seen since 1981; my wife, Mary Lyn Maiscott, who sang Lennon’s “I’m Losing You” and her own Christmas song, “Blue Lights;” and Hoop, who played guitar for Mary Lyn, and sang his original song about Lennon, “Oh, John.”
You can see clips of all Rew’s guests on YouTube.
December 6, 2011
Wednesday, December 7
4:00-6:00 P.M. (local time)
Otto's Shrunken Head
538 East 14th Street
New York City
Or watch it live on Internet TV.
Alan Rand is the “Who?”
4:00: May Pang
4:30: Mary Lyn Maiscott
4:45: Robert Rosen
5:00: Adam Bomb
5:15: Violet The Cannibal
5:30: Joff Wilson & David Peel
December 1, 2011
Wednesday, December 7
4:00-6:00 P.M. (local time)
Otto's Shrunken Head
538 East 14th Street
New York City
The show’s called “Rew and Who,” and I’ll be reading from my book Nowhere Man: The Final Days of John Lennon. May Pang will also be appearing, and there’ll be musical performances by David Peel, HooP, Mary Lyn Maiscott, and others. It’s being streamed live on Internet TV, and it’s one of my very rare New York readings.
Thursday, December 8
10:00 A.M.-2:00 P.M. (local time)
The Louie Free Radio Show
WYCL 1540 AM
The Louie Free Show is free-form talk radio, and my December 8 appearance is a tradition that goes back to 1999. Of course I’ll be talking about Lennon and Nowhere Man, and Louie will be playing lots of Lennon music. But he’s unpredictable, so there’s no telling where the interview will go. The show streams live on the Internet. Check Louie’s website that morning for the exact time.
Friday, December 9, 9:00 P.M.-Midnight (local time)
Viale della Resistenza 4
I’m being beamed in via Skype for this major presentation of the recently published Italian edition of Nowhere Man: Gli ultimi giorni di John Lennon. If you want to see it, you’ll have to go to Piombino, a picturesque Tuscan city on the Mediterranean. Rock ’n’ roll expert and author Riccardo Bertoncelli will be hosting the event, and my Italian translator and avatar, Paolo Palmieri, will be answering questions about the book and translating everything I have to say as I field questions from the audience. You can get more information on Facebook.
Hope to see you everywhere!
November 22, 2011
November 15, 2011
This special event takes place on December 9, in the central auditorium in Piombiono, a picturesque Tuscan city on the Mediterranean, where Nowhere Man's translator, Paolo Palmieri, lives. It will commemorate the anniversary of Lennon's murder, on December 8, 1980.
Since I can’t be there in person, I will be beamed in via Skype, and will answer questions about Lennon and the Beatles.
Also appearing is rock ’n’ roll expert Riccardo Bertoncelli.
So, if you find yourself in Piombino on the big night, perhaps on your way to Elba or Sardinia, please check out the presentation. The Lennon energy in the town is intense, (especially in Il Pinguino café), Paolo will be happy to speak to you, and (it goes without saying) the food in Piombino is excellent.
Hope you can make it!
October 4, 2011
The countdown clock you see here, marking the time until Beaver Street is published in the US, signifies another change in this website and in this blog in particular. As regular readers are aware, I've been posting here five days a week—on Beaver Street itself, occasionally on Nowhere Man, and on whatever might be happening in the world that I feel like writing about, like the riots in the UK and, more recently, the Occupy Wall Street protests.
For the next few months, until the US Beaver Street launch, I’ll be posting here more sporadically, adhering to no particular schedule. Naturally, I’ll continue to comment on any significant Beaver developments, as well as the recent publication of the Italian edition of Nowhere Man. But it’s time for me to focus more of my energies on other things, like the new book I’ve been writing.
So I’d like to send out a big Thank You! to everybody’s who’s bought Beaver Street (and Nowhere Man in any language), to all the critics and journalists who’ve written about my books (or are planning to), and especially to the regular readers of this blog—the ones who’ve checked in every day, and gave me a reason to keep doing it.
Keep in touch, and stay tuned for some big changes.
September 23, 2011
What I find fascinating about such divergent opinions is that the reviewers appear to be talking about two entirely different books. It’s a perfect illustration of the Oscar Wilde quote from the preface to The Picture of Dorian Gray: “Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself.”
Antony, the Italian reviewer, described Nowhere Man as an “excellent” book, and a narrative that “portrays a rock star as very sensitive and vulnerable.” He also said that the author and Paolo Palmieri, the translator, “have made John Lennon one of us,” and that it’s “a book to always have on hand, and occasionally to open and read a few lines to understand the simplicity” of life.
Dulce Erdt, the German reviewer, however, said that Nowhere Man is “confusing” and “revolting,” lacks “sensitivity” and “respect,” paints a “too negative” portrait of Lennon, and then insists, “We all know that John Lennon was not a ‘nowhere’ man, why is this author trying to tell the world the contrary?”
The other good lesson I learned about reviews is to never argue with critics, especially ignorant ones, like Dulce Erdt. But sometimes their ignorance is just too overwhelming to ignore. Which is why I will take this opportunity to point out to Fraulein Erdt that some of us are aware that Lennon’s song “Nowhere Man” is autobiographical. In other words, I didn’t have to tell the world about Lennon’s “Nowhere Man” status. He beat me to it by 34 years.
September 19, 2011
Never before have I seen a translator featured so prominently in an article about Nowhere Man. But in this case the credit is well deserved—without Paolo, there would be no Italian edition.
This is really a story about a local boy who’s made good. The article says that Paolo’s translation of this international bestseller, born of Lennon’s personal diaries, has brought merit to his hometown of Piombino.
Paolo says his translation is “an act of love for a musician who I’ve always loved,” and that he’d dreamed of going to New York to meet the ex-Beatle, but Lennon was murdered before he could make the trip.
Already on sale in some bookstores, Nowhere Man’s “official” publication day is September 22.
September 15, 2011
The book should soon be available on the Internet, as well, but in a land where Kindle doesn’t exist, the real Nowhere Man action, I’m told, is going to be in le librerie of Rome, Milan, and… Piombino.
Yes, Piombino, a picturesque Tuscan city on a promontory jutting into the Mediterranean, where on a clear day you can see Elba. This is where my translator and Italian Avatar, Paolo Palmieri, lives. I’ve been there, and there’s a lot of Beatles energy in this town.
One place you can feel it is in Il Pinguino café on Piazza Della Costituzione. The owner, Simone, a published poet whose last name escapes me, has decorated the walls of his café with photos of the Beatles. When he heard that I’d written Nowhere Man, he recited for me—with Paolo supplying a simultaneous translation—a poem he’d written about the night Lennon was murdered, “The Last Tolls of Your Footsteps.”
So, if you find yourself in Piombino, perhaps stopping off there on your way to Elba or Sardinia, why not head over to Il Pinguino and say ciao to Simone. He might read you a poem. And, oh yeah, check out the wall in his Beatles room. I hear my picture’s hanging there, too.
September 13, 2011
And though The Daily Beaver and Beaver Street itself have been consistently provoking positive reactions from all levels of the culture, highbrow to lowbrow, it still comes as a surprise each time it happens.
It happened again yesterday. The Sleazoid Podcast, which I was unfamiliar with, had some rather kind things to say about Beaver Street. If you click on this link, you can hear them beginning about 18 minutes into the show.
The host, Mike Ashcraft, having read a Beaver Street review, now wants to read the book because it was written by the author of the John Lennon bio Nowhere Man, and because “It’s an expose completely blowing the lid off the adult industry.” So he ordered it from Amazon—apparently from one of the marketplace sellers, as it hasn’t yet been published here.
“Beaver Street?” said Ashcraft’s co-host. “It sounds like a movie we all need to make.”
I couldn’t agree more.
Ashcraft has already invited me to come on The Sleazoid Podcast and talk about Beaver Street. Dear readers, I am so ready to talk.
September 7, 2011
My literary relationship with Paolo began three years ago, when I received an e-mail from a stranger in Tuscany who’d read an English language edition of Nowhere Man. “Why,” he asked, “is there no Italian edition?”
“Good question,” I replied.
Paolo took it upon himself to find a publisher—Coniglio—and then translate the book. For the first time I’ve had an opportunity to work closely with a translator, and clarify, over the course of about a thousand e-mails, the countless words and passages that would have otherwise been lost or obscured in translation, which Paolo then explained in footnotes—the first foreign language edition to do so. This translation, in short, is a labor of love.
Now that the book exists, Paolo is going to give readings, talk about it to the media, blog about it, tweet about it, and promote it in any way he can think of. Which makes him a lot more than my translator. He is my Italian Avatar.
It’s been more than 11 years since the original hardcover edition of Nowhere Man was published in the United States. Can we all just agree now that the book is a classic?
August 19, 2011
It was written by Matthew Flamm, a journalist who’s been instrumental in bringing attention to my work. In 1999, Flamm was the first one to write about my John Lennon bio, Nowhere Man. His item in Entertainment Weekly sparked a conflagration of media coverage that put Nowhere Man on best-seller lists in five countries.
Flamm has at last read the published version of Beaver Street, and has posted his distinctly New York-flavored review on Amazon. I will quote it in its entirety below:
Robert Rosen’s Beaver Street is both an absorbing memoir of a writer's struggle to make a living and a brief history of pornography as it grew from a mom and pop business into the industrial giant it is today. But this well researched, smartly written, surprisingly funny book is also a one of a kind tour through a fast-disappearing underbelly of American popular culture. Rosen, a pre-gentrification New Yorker, fell into porn when it still held a certain countercultural allure. His cast of characters includes hapless, aspiring artists, shrewd businessmen (and businesswomen), all-out neurotics, sexual desperados, and conniving egomaniacs. Kind of a cross section of a broken down IRT local train circa 1980. Beaver Street shows us an alternative Grub Street, one that many of us never knew existed.
August 3, 2011
Every now and then I’ll stumble upon some evidence that indicates I have, indeed, gotten through to somebody, somewhere—which inspires me to keep writing.
Yesterday, I found the following paragraph posted on YouTube, explaining the origins of an already controversial video for a song called “The Ballad of Mark David Chapman,” by Maria Fantasma, a band from Tulsa, Oklahoma:
“I read a great book called Nowhere Man: The Final Days of John Lennon, by Robert Rosen, which gave me more insight [into Lennon’s] flaws and hang-ups…. The book turns into an account of the days leading up to the murder.… It amazes me how murders and death shape art, and this is a sad story for all parties. Anyway, Nowhere Man is an easy read, and I liked it even better the second time. It inspired me to write a song. Maybe it will do the same for you.”
That's the best review any writer could hope for.
July 27, 2011
One review on the UK site, posted by “10, Mathew Street,” calls Beaver Street the “best book” of the year.
Well, that’s saying quite a bit, and the year isn’t over yet. But I have no doubt that Beaver Street is the best book 10, Mathew Street—a Beatles site based in Spain that has been amazingly supportive of Nowhere Man—has read in the past seven months.
So, Beaver Street sends a big gracias to 10, Mathew Street! And thanks again to everybody who has posted those wonderful reviews.
If anybody out there would like to give me another five-star review for my birthday, well, that would be nice—but only if you really mean it.
July 13, 2011
In fact, I noticed the other day that a new online debate has erupted on the Steve Hoffman Music Forums. Between June 24 and June 29, there were 217 posts discussing the perennial question: Which book is more truthful, Nowhere Man or The Last Days of John Lennon, written by my former collaborator Fred Seaman, Lennon’s personal assistant at the time of his death?
I no longer participate in these debates because, as has been demonstrated every time I have taken part in one, even when people don’t know what they’re talking about, they believe what they want to believe, and nothing I can say will change their minds. Also, I’ve found that the most ignorant people are invariably the most abusive.
However, in this particular debate, a poster who calls himself “Matthew B” raised two interesting points that I will respond to… here, on my home turf. And in the service of freedom of expression, I invite him (or anybody else) to post their comments… here.
Referring to an old interview in which I said that in Nowhere Man, I couldn’t tell the story of Paul McCartney’s 1980 Japanese marijuana bust the way I wanted to for legal reasons, Matthew wrote, “If there’s any legal barrier to Rosen’s repeating the drug-bust rumor, it’s more likely fear of a libel suit.” (See posting 194.)
It had nothing to do with libel, Matthew. I would have liked to quote verbatim the four euphoric sentences John wrote in his diary when he learned McCartney was busted in Japan. But as I explain in the book, I don’t quote directly from the diary for copyright reasons.
And finally, Matthew raises a point that I’ve never seen mentioned anywhere else. “Rosen’s court testimony [in the Seaman trial],” he writes, “should not be looked at uncritically, but unlike Rosen’s and Seaman’s books, it was given under oath.” (See posting 206.)
Yes, Matthew, my court testimony was, indeed, given under oath. And if you were familiar with my testimony beyond what you might have read in the papers or seen online, that testimony was, pretty much, the first chapter of Nowhere Man, “John Lennon’s Diaries.”
I hope that settles it.
June 30, 2011
Sometime after Nowhere Man was published, in 2000, I set out to write the best book that had ever been written about pornography—because nobody who’s worked in the industry has ever adequately or entertainingly explained the impact of porn on modern culture, politics, and society. This was my modest ambition and, obviously, it’s up to other people to judge whether or not I’ve succeeded.
Beaver Street has been out in the UK for a couple of months now, and it’s gotten a bit of media attention, thank you very much. But this is just the beginning, a dress rehearsal for the big show—its inevitable publication here, in America. And I, of course, intend to keep slogging away, doing everything I can to see that it reaches its intended audience.
To paraphrase Lucinda Williams: “It’s a long way to the top if you want to write a book.”
June 7, 2011
One reader in London, who works with photographer Steve Colby and helped me organize shoots for the various magazines I edited back in the day, said that the layout reminds her of her favorite mag, Razzle, from the 1970s. The piece set off a flood of nostalgia: “I remember Steve having to do themed five-girl shoots for Razzle—five girls in a plastic paddling pool filled with baked beans or custard, that kind of stuff. Fun, except the studio was whiffy for weeks afterwards! Did some good themed stuff for you, too, if you remember—the two-girl Egyptian shaved set! Or the girl on the swing, in front of a romantically painted backdrop, who shaved her head! Wow! Imagine getting away with that these days...”
And a reader in Chile (where I’d gone in 2005 to promote Nowhere Man) writes: “As I read that article I cannot stop laughing or being surprised. Taking mescaline in S&M clubs... fake boobs exploding in the middle of a scene… Excellent stories, what can I say? It doesn’t even seem real... Ben Myers deserves an award, because it’s an excellent article, fun and freaky, in a way that you want to eat that book of yours.”
Thank you, dear readers. And keep those cards and letters coming in.
June 2, 2011
This has been going on for years, and at first it was disturbing, especially when other writers picked up on it and reprinted his “theories.” You’d think that people who call themselves journalists would make an effort to get in contact with someone before they implicate him in a high-profile murder. But the only conspiracy theorist who’s asked to interview me is Astucia (means “clever” or “cunning” in Spanish), and that is the only interview I’ve ever refused to do. I don’t know if he really believes what he’s writing, or he knows it’s bullshit and he just says it to be provocative. But he’s also a Holocaust denier and tends to describe me as a “Jewish writer.” That’s why I call him My Personal Nazi. (Everybody should have one.) What I finally realized is that when Astucia gets active, and starts splattering stuff all over the Internet—it goes in cycles—it sells books. So, I don't totally hate him. And any time I find myself on a top-three list with Stephen King and J. D. Salinger, I only have My Personal Nazi to thank.
June 1, 2011
Hey Alan, thanks for the feedback. Appreciate your perspective and the energy you put into writing it. Thank god you weren’t bored with Beaver Street. As a rule, I don’t argue with critics. Tried it too many times with Nowhere Man and found you can’t change people's minds. So, I stand by what I wrote. The book speaks for itself. I didn’t use Arnold Shapiro’s real name cause he’s not dead—dead on the inside doesn’t count—and he’s not a public figure or even a limited-purpose public figure. (I explained it in the author’s note.) This is the most negativity I’ve received from somebody who’s capable of genuine critical thought. But that’s encouraging, as I’m sure you know what Oscar Wilde said about when the critics disagree. (See the preface to Dorian Gray if you don’t.) I am going to share your critique with a few other Swank alumni cause I’m sure they’ll find it as interesting as I do.
January 3, 2011
So there we were 30 years later, onstage at Purchase College, just north of New York City, a panel of rock ’n’ roll experts and assorted journalists who’d all lived through the events of that ancient day: December 8, 1980. We’d been invited to share our wisdom with a group of journalism students who were exploring “The Myth vs. the Reality of John Lennon.” The students were full of questions. They wanted to know about Lennon’s heroin use, and about his sons, Julian and Sean. But mostly they wanted to hear our stories about what we were doing the night we heard the news that John Lennon was dead. (more…)
December 8, 2010
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October 8, 2010
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August 21, 2010
The Spanish Beatles site 10, Mathew Street just ran a little piece about "Transcriptions from the Universe," my article in Headpress Journal 2.2 that discusses my own diaries at the time I began writing Nowhere Man.
August 15, 2010
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February 10, 2010