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M.C: It is my pleasure and privilege

at this very, very solemn moment

to introduce a young man and his wife,

who saw fit

to put down in music

and lyrics

so that it will never be
forgotten in our country

by anyone...

the tragedy of Attica State.

There is no more that I can say,
ladies and gentlemen,

I would like to introduce to you,

John and Yoko Lennon.

[cheers and applause]

[indistinct chatter]

JOHN LENNON: One, two, three, four.

["Attica State" playing]

JOHN: ♪ What a waste
of human power ♪

♪ What a waste of human lives ♪

♪ Shoot the prisoners in the towers ♪

♪ Forty-three poor widowed wives ♪

♪ Attica state, Attica state ♪

♪ We're all mates with Attica state ♪

♪ Media blames it on the prisoners ♪

♪ But the prisoners did not kill ♪

♪ Rockefeller pulled the trigger ♪

♪ That is what the people feel ♪

[cheers and applause]

JOHN: ♪ Attica state, Attica state ♪

♪ We're all mates with Attica state... ♪

[applause]

[music]

♪ Michelle, my belle ♪

♪ These are words that go together well ♪

♪ My Michelle... ♪

E.V. DI MASSA: You have to understand

where the "Mike Douglas Show"
sat in culture in 1972.

It was the most popular show
in daytime television,

seen by about 40 million people a week.

Quite often 60%
of the audience in New York

was watching the "Mike Douglas Show."

♪ I love you, I love you, I love you ♪

♪ That's all I want to say ♪

♪ Until I find a way ♪

♪ I will say the only words I know... ♪

The booking of John and Yoko
was a really unusual story,

because we were both told
that they had contacted us

and we contacted them.

♪ My Michelle ♪

♪ My Michelle ♪

[cheers and applause]

DI MASSA: We heard that on February 4th,

just 10 days before these
shows were about to air,

Senator Strom Thurmond
went to John Mitchell

and wanted to warn
the Nixon administration

that John and Yoko
were about to take sides.

[music]

When President Nixon leaves
for Peking on Thursday

he will travel on his specially equipped

Boeing 707 Air Force One.

RICHARD NIXON: The
government of the People's.

Republic of China

and the government of the United States

can have differences
without being enemies in war.

JOHN CHANCELLOR: Attorney
John Mitchell resigned today

to run the Presidents campaign
for reelection.

♪ You gotta live ♪

♪ You gotta love ♪

♪ You gotta be somebody ♪

♪ You gotta shove ♪

♪ But it's so hard... ♪

JOHN C:A Federal court order

which calls for large scale busing

went into effect today
in Augusta, Georgia.

NEWSCASTER 1 :Although
there were several false

bomb threats yesterday,

no incidents were reported today.

NEWSCASTER 2:George Wallace
appears no longer worried

that he might need to soft pedal busing

for fear it would conjure up
the old one issue image.

♪ You gotta worry ♪

♪ But it's so hard ♪

♪ It's really hard ♪

♪ Sometimes I feel like going down ♪

RONALD REAGAN:
Well, I happen to believe

that the death penalty is a deterrent

and I think the majority of people

believe the same thing.

REPORTER". Everybody
knows that food prices are going up.

The question is how much
will consumers stand for

in this election year.

♪ Sometimes I feel like going down ♪

♪ Hey ♪

[music]

The Nixon administration announced

that American ground troops in Vietnam

would no longer be used
offensively in combat,

but they would fight only on the defense.

We're here to fight dinks
and that's why we're here.

We're gonna go out and fight them.

NEWSCASTER: Attack bombers

bristling with their deadly cargo

are screaming skyward

from the deck of the aircraft
carrier, Constellation.

SOLDIER: You read in the newspaper

that the war is over.

I don't know if it's Congress, Senate,

but the war is not over.

JOHN: ♪ You gotta hide ♪

♪ You gotta keep your woman satisfied ♪

♪ But it's so hard ♪

♪ It's really hard ♪

♪ Sometimes I feel like going down ♪

[cheers and applause]

MIKE DOUGLAS: We'll be right back.

["Imagine" playing]

INTERVIEWER:
The idea of John Lennon

being a mediator.

WOMAN: Yeah, that's
sort of funny, isn't it?

MAN: Okay. B's rolling only.

Why don't you go up to Wes.
What lens do you have now?

WES: 28 to 135.

[clears throat]

WES: Marker. Marker.

Marker.

YELLOW PEARL:
♪ We are the children ♪

♪ Of the Chinese waiter ♪

♪ Born and raised in the laundry rooms ♪

This is funny. I haven't
seen this whole thing

in all these years.

INTERVIEWER: How on earth
did you get on this?

Out of the blue, uh, one day.

I-I'm in my apartment, in New York City,

and I get a phone call,

and I answer it and it said,
"Hello, this is Yoko."

And Yoko's a Japanese name,

so I said, Yoko who?

And of course I thought it was a scam.

I thought it couldn't be real.

But, um, I called this person back.

And much to my amazement,
it really was Yoko Ono.

George Carlin has a question.

I was going to ask whether
or not biofeedback

could help you remember the
question you were going to ask.

Some food isn't even
food, it's just all chemicals.

The voice said "Hi, this is John and Yoko."

And I'm thinking, "Okay,
this is a prank phone call,

but I'll listen."

John, rock and roll, rock and roll.

There you go. Into the cabbage!

Yoko said we're doing
this show on Mike Douglas,

you know, this a... afternoon show

and we're bringing on people
like in the movement

to talk about the movement.

And on the show
that we're having you on,

we're having Bobby Seale
and Jerry Rubin.

And I'm like, what? [Chuckles]

JOHN: We're Mike's co-hosts this week

and with us on today's show
will be my hero,

Chuck Berry.

YOKO ONO: David Rosenboom.

DAVID ROSENBOOM: As I recall,
they did have an agenda

and they did discuss
the agenda, uh, with me

and the agenda had to do
with making the world better.

DI MASSA: The booking
was terrific for the show

because it got us great ratings,

but it also fit their agenda

which was to get their message
to middle America.

Here is Ralph Nader.

[cheers and applause]

MAN: Okay.

Running for president?

No.

Well, the Mike Douglas week
of shows was memorable

in a 50-year span.

It was memorable because
it couldn't happen today

on network or cable,

daytime television shows.

But it was also memorable then.

It was a real breakthrough then.

[cheers and applause]

♪ Everybody's talkin' at me... ♪

Ooh. Look at that dress! Hmm.

And we not gonna talk about that hair.

♪ Only the shadows of their eyes ♪

When I got to the studio,

I got a glimpse of John Lennon
and Yoko Ono.

I said, "Oh, my goodness.
This is exciting!"

Hanoi charged that American jets today

bombed and strafed populated
areas of North Vietnam.

REPORTER: It happened
on a Sunday morning.

They said about 9:35 a.m.,

planes dove through the cloud...

the cloud cover at that time,
and attacked the hospital,

dropping eight demolition bombs

and four anti-personnel bombs.

[cheers and applause]

[man laughs]

[music]

JOHN: Welcome to
the "Mike Douglas Show."

- This is John Lennon.
- And Yoko Ono.

Now, here's Mike.

MIKE: Hey, I'm really excited
about this week.

I was in Boston last night

and, uh, I had what they call
a press conference.

And when I mentioned the fact

that I was about to begin a week

with the two people
I'm going to introduce,

pencils were dropping.

And... and it turned into
about an hour session

on just talking about these people.

They're not only superstars,

but they're really two
very warm human beings.

And I know that you're going
to enjoy meeting them

and getting to know them
a little bit better.

So, ladies and gentlemen,
welcome with us...

ah, by the way, the song I just sang

is... is written by this gentleman

who's coming out right now.

I wanted to tell you that.

Here is John Lennon and Yoko Ono.

[cheers and applause]

[music]

Good afternoon. You sang it very well.

Thank you.

I wrote the middle eight actually.

- Did you?
- Yeah.

At least you didn't sing, uh...
Normally they sing "Yesterday"

which is Paul's song, and then
saying, "Here, he wrote it."

But I wrote the middle eight
of "Michelle" so we're okay.

MIKE: You wrote the middle eight?

Yeah, but sometimes you write
different bits, you know?

That's usually the toughest
part of a song, actually,

what they call the release,
the middle eight.

Well, yeah, 'cause once
you get the first inspiration,

then you get stuck.

I think we pinched it
from a Nina Simone song,

I'm not sure though.

Some people only remember
middle eight, you know, songs.

MIKE: That's true.
I know that you both have

some very sincere thoughts
about life and people,

and that people mean
a great deal to you.

That's perfectly obvious.

What would you like to talk
about this week, John?

Love, peace, communication,
women's lib.

- Racism.
- Racism.

- War. Prisons.
- And about prison conditions.

-And Drugs? Drugs.
-And life in general.

- Drugs. Anything.
- Talk about...

You know... whatever... what...

that's what's going on now, right?

And also to show the future
direction, you know?

Because the future direction

is actually beautiful, you know,

because people getting
very pessimistic these days.

But actually it's gonna be...
be very beautiful,

and we want to show that to people.

John and Yoko had really
conceived a five-show arc.

So over a period of about
five and a half weeks,

we taped those shows.

This is the first show,
and you can see them

trying to find their
comfort level with Mike,

and Mike trying to be a gentle
and warming host.

I know we have a man on later today

whom you both respect a great deal.

- Yeah.
- In fact, all of us do.

- It's Ralph Nader.
- Right? Yeah, and he's great.

We'll he's... he's a kind of guy
that sets an example.

He does something.
I mean, that, that's...

MIKE: I wish he'd run for office.

Well, I asked him today,

when are you gonna run for president?

- MIKE: Did you?
- You know?

She could minister of peace,
and I'll be minister of music.

That would be marvelous.

[applause]

And we have people like Bobby Seale

and Jerry Rubin and, you know,
just very interesting people.

DI MASSA: You can see
that Yoko is a bit nervous.

John is trying to feel his way.

They obviously had an agenda
and ideas of things

they wanted to get out on the show.

I really do fall for images.

Like when I first met
Jerry Rubin. I was terrified.

I thought I'm gonna meet
a bomb-throwing freak.

Even when I first met the guy
called Frank Zappa,

I was terrified. I really thought he...

- They were terrified of us.
- And they were terrified too,

- so we're all sitting there...
- They were terrified of you?

Oh, yeah. So we're all sitting there,

and then I say, "Well, uh,
you seem quite all right."

And they said, "Well, you're not bad."

So we relaxed, you know?
And we believe in images

that we should know better about,

that have built up for us.

We thought we'd give him
a chance to sort of,

to show what they're actually doing

and what they actually think now,

not two years ago or three years ago,

but now and what their hopes
are for the future.

DI MASSA: One of Mike's
greatest attributes

was he was never terrified
to be around celebrities

or to be talking to celebrities.

He felt right at home

and he made them feel
at home with him.

MIKE: We have a canvas here.

I'd like to point out
what the purpose of this is.

Oh, yes. Yes, you see,
we were thinking that

we would have something like this

that people can draw on...

all of us would draw on

- so that... yes.
- And the guests, right?

So it's a painting that goes on growing.

And in the end of the show...

- End of five days.
- We can auction it,

- and give that money...
- MIKE: Oh, to charity.

Donate that money to charity.

- To charity.
- We'd have a... a canvas

that had not only real people on,

but show biz people as well,
and all the... whoever the stars

or the performers
that come on each day,

we ask them all to sign,
and you and the producer,

I'm gonna have the names or...

MIKE: Is it... is it necessary to draw?

- Or can you just sign your...
- You can draw a name,

- or draw a circle.
- Well... yes.

Signing name is an art, too, isn't it?

- MIKE: Sure.
- So you can do that too.

- Draw a circle is enough.
- Yeah.

-All right, fine. That's...
- So when, when we doing it?

Well, shall we do that quickly?

Now are we gonna do it?
Shall we start it then?

What color do you want?

I don't know what I'm gonna draw.

YOKO: Well, um, I... oh, any color.

You have to choose your own color.

Who's gonna break it in then?

- Can you see this?
- Let's... let's Yoko start.

Okay, you start it, it's your idea, right.

Oh, okay.

- Okay.
- JOHN: Oh, that's...

You gonna do the next one?

Yeah, can I take a different color?

YOKO: Sure, sure.

I'll take green, all right?

Everybody's an artist.

Who told everybody
that they weren't an artist?

Some teacher when you're about 12,

somebody says to you,
"Oh, you're an artist."

"You're not. You're a chemist
and you're a scientist."

YOKO: So this show would just be a...

a show of all of us, you know?

You're gonna be participating
a lot... a lot of things too,

so you have to be prepared for that.

You wanna put your name on, Yoko.

- YOKO: Oh, okay.
- Make it more...

worth a dime more... when we sell it.

Do we pass it around
the audience or... or what?

IKE: Yeah.

Why don't we find out

if anybody really has artistic ability?

-AUDIENCE MEMBER: Yes.
- Everybody does.

- Please.
- You wanna take it out, John?

JOHN: Anybody is an artist.

Artist is a frame of mind.

Please pass it on.

YOKO: While you're passing this on,

would you please touch each other?

- JOHN: Come on, don't be shy.
- YOKO: Don't be shy!

JOHN: Touch a stranger, it's great!

[indistinct chatter]

MIKE: Okay, this is great.

DI MASSA: The show was actually taped

in a basement studio,

1619 Walnut Street in Philadelphia.

And walking John down for
one of the evening tapings,

he said to me, you know,
this is so comfortable for me

because it reminds me
of the Cavern Club

where we as the Beatles
had started out in Liverpool.

Were people terribly surprised,

because you are hip,
contemporary people,

- and, that you...
- [snaps fingers]

- [laughter]
- John.

MIKE: That you accepted
the convention of marriage.

Do you think that yours
is an aesthetic marriage

as well as physical?

- Oh, sure, yeah.
- Yes.

It was a mind marriage.

Our minds met before our bodies did.

- I mean, that's for sure.
- Hmm.

For those of you who don't...
don't know this story.

Yoko was having an art show in London,

at a gallery called lndica Gallery.

I heard about this, was gonna
be this Japanese chick

in black bags down at the art gallery.

It's gonna be a happening.

And everything... when I got there,

everything was white... white canvases,

white this, white that.

And there was this board
with hammer and a nail.

So I said, "Can I hammer a nail in?"

She says "No." And then the owner says,

"Come on, come on, you know,
he might buy something."

MIKE: So the owner...
the owner knew who you were?

Yeah, the owner of the gallery, knew...

he knew me, yeah.

She did not know who you were
at that meeting.

No, no.

But I had a nice feeling about him.

I thought, "Oh, rather nice," you know?

Anyway, they... the guy says to me,

John says to me, uh...
or she says, "Okay,

well give me five shillings
then, to hammer a nail in."

That's about a dollar,
you know, more than a dollar.

It's five dollars or something.

I just had to charge, you know?

So I said, "Listen,

I'll give you an imaginary five shillings

and hammer an imaginary nail in.

Is that okay?"

And that was the... her... her whole trip

is this "Imagine this, imagine that."

It was imagining, imagining.

So I was thinking, "Oh, here's a guy"

"who's playing the same
game I'm playing."

And I was really shocked. You know?

I thought, who is it, you know?

Also, the first thing
that was in the gallery

as you went in, there was a...
a white stepladder,

and a painting on the ceiling, or...

A ceiling painting.

A framed piece of white, something.

And a spyglass hanging down.

So, most of the art those days

was art that
put everybody down, you know,

- like make people upset.
- YOKO: Uh-huh.

- MIKE: Yeah. Yeah, yeah.
- So I was anti-art,

because I'd been five years in art school,

and they're all phonies, you know?

And I really was against it.

But... I'd become interested again

by looking around galleries,
and was there...

I walked up this ladder,
and I picked up the spyglass.

You're balancing there, and
it's in teeny little writing,

it just said "Yes."

- MIKE: It said "Yes?"
- And that made my...

- it said "Yes."
- Yes.

It made my decision to go
and see the rest of the show.

If it had said "No," or you know, uh-huh...

- YOKO: Something sarcastic.
- Something nasty,

like you know, rip off or whatever,

I would have left the gallery then.

Because it was positive,
it said "Yes," I thought,

okay, it's the first show I've
been to that said something,

you know, warm to me.

So I... then I decided to see
the rest of the show,

and that's when we met.

- What was your...
- JOHN: If it had said "No,"

I would have walked out.

What was your impression
of Yoko at that meeting, John?

Well, she was very serious,

and not at all impressed
by who I was, you know,

which I didn't mind,

because it was a change
not to be known, you know?

Does that... is that a welcome
thing for you,

when somebody is not
terribly impressed by you

and just accepts you.

I don't want people to just,
uh, react to me and it...

people, some...
I guess you have the same.

People think that... that you
want them to... to do something

or say something special.

You don't... you want them
to be themselves.

And therefore you can be yourself.

And don't you find that
when people meet you,

and they want so to say the right thing,

and almost always it comes out
backwards, doesn't it?

- Oh, yeah.
- What are some

of the incredible things
people have said to you

- upon first meetings?
- I don't know, the...

our main problems are things
like getting in the taxi,

and the taxi driver is so frantic

that he's driving on the sidewalk.

[laughter]

Which is a very dangerous driver.

It's very hard to get anywhere,

and I think that's all this...

And the waiters be... bring,

you know, something wrong,

because they weren't you...
listening to the orders...

JOHN: The waiters don't hear
what you're ordering,

I'm talking, and I know
they're not listening,

because they're only saying,
"Oh that's him? Is that him?

"ls that him?" And they're looking at me

right in the eye, and I'm
saying I'd like a, you know,

a... a medium-rare steak
and some French fries

and an elephant's leg,
and a policeman's hat, please.

And they say, "Yes, sir, yes, sir!"

Because they're not hearing me.

[laughter]

A policeman's hat and...

We'll be right back.

[cheers and applause]

INTERVIEWER: What we're really
focusing on that February

of 1972 because if you don't
understand what 1972 is like,

you don't understand why these
shows were so transgressional.

Well, 1972 was the Nixon era.

Richard Nixon, the pits, uh,

he was a very vengeful, uh, president.

And he was afraid of what
he called the liberal media.

And he was afraid of a young
generation uprising.

It was, uh, a time
of considerable fracturing.

I mean, uh, we... we were...
we had made it out of the '60s

by the time that... that,
uh, I was on the shows.

But the aftermath
was still quite, uh, quite...

disturbing.

This was the context in which the '60s,

we... in which we lived.

Aside from the news
which everybody saw at night,

bringing these ideas,

I think more the ideas
and the conversations, uh,

into the living rooms of...
of women was really...

it was really important.

I remember overhearing
one of the producers say

to John and Yoko backstage,

do you have any friends
that aren't political?

Yeah. It was something they
were trying to get away with.

[laughs]

And it was basically housewives

or people who were at home
who wanted to be entertained.

It was an entertainment
variety kind of thing.

So I really didn't even have
a clue that they were having

all these almost counter cultural figures.

I mean, it was really interesting

to see Ralph Nader so young.

[piano plays]

It's been almost a year since
we've seen this next gentleman

on our show, and in that time
he's gotten his fingers

into a lot of new pies.

He's an attorney.

He's from the nation's capital.

And recently he's been called
"The man who makes waves."

Here is Ralph Nader.

[cheers and applause]

NADER: Mike Douglas
watched the evening news.

He probably said to himself,

I think I want this guy on the show.

And he doesn't over talk
and he smiles once in a while

and he's concise enough for daytime TV.

It helped that he had a staff
member, Erni Di Massa,

on the show
who was very, uh, persuasive

in getting citizen group
voices on the show.

I might say you also
had Roger Ailes. [Laughs]

DI MASSA: Roger Ailes, who started

as a public relations man
on the "Mike Douglas Show"

met Richard Nixon
on the "Mike Douglas Show."

Went to work for him,
got him elected president.

Then later in his career,
started Fox News,

which is a pretty incredible transition

when you think about it

from the "Mike Douglas Show"
to Fox News.

One of the stories is that Roger Ailes

was actually behind the scenes

trying to get John and Yoko booked

on the "Mike Douglas Show"

with the hope of convincing them

to become Republican backers
of Richard Nixon.

I remember being on the stage

and I watched this young guy
in the back.

He was going like this,

constantly absorbing the details

of the television experience.

I could just see him saying to himself

someday I'm gonna make sure
that television

is a major tool of right-wing politicians.

' [applause]
" [music]

- [whistles] Stop him!
- Stop him.

Would you do us the honor, uh, Ralph?

Yes. Indeed. Yes, yes, yes.

This is gonna go...

be auctioned off at the end of the week.

And all the money will go to charity.

- That's beautiful.
- Oh, look at that!

- Yes.
- That's the yin yang sign.

- Yeah.
- Actually...

JOHN: Yin and yang is like
positive-negative,

- black-white, right.
- RALPH: Going back to...

MIKE: R. Nader.

The nat... natural balance of things.

JOHN: Can I ask you something?

You know, the small book
you gave us before the show,

that... that book was to, um,

help people... students organize, right?

RALPH: That's right.
Action, Action for a Change.

It's to show them how they
could do it themselves, like...

- Exactly.
- JOHN: Right?

So what kind of thing do you tell them?

I know something about tax
and all, well...

Well, first, it makes a very
important distinction.

- JOHN: Yeah.
- Everybody...

most everybody wants peace
and justice and equity.

However, the most important
first step is to develop

the instruments that will
lead, uh, to these objectives.

So the first part
of the book is, uh, devoted

to showing exactly, step by
step, how they can organize.

Well, it's one of the reasons
I went on the "Mike Douglas,"

so, so enthusiastically.

We were beginning the drive
to organize students

in large numbers to contribute
through their student dues,

a few bucks each year
into a non-profit group

that they would run.

And this book came out,
it was a manual.

It was very detailed by
Donald Ross, bless his soul.

He showed the students how to do it.

For example that, uh,
they spend on the average

about $250 a year
on soft drinks, cigarettes,

uh, and candies.

Now if they just spend 37>,
or 2% of that, two, three,

four dollars a year, they could develop

the strongest democratic force
in the state.

- JOHN: Yeah.
- And they could also work

with people who aren't students.

- JOHN: Yeah.
- Retired people

who have a lot of time and a lot of talent

on their hands.

- It's a great resource.
- You tell 'em to register

to vote, as well?

- RALPH: Register to vote.
- Because that's been a great

- change in the whole...
- RALPH: Exactly.

Movement people,
a lot of people were saying,

uh, voting's irrelevant
and... a few years ago.

And, uh, a lot of movement
people have decided

that voting is relevant,

'cause it's the only chance
they're gonna get.

- MIKE: Of course.
- Like if you want to beat

the Establishment,
you got to know how it works.

Well, you'll be more likely to want to vote,

particularly at a younger age,

if you know what the issues are,

and if you can push for a real choice

between different candidates.

At least if you,
if you're registered to vote,

it doesn't say you have to vote.

At least you have it,
and then if somebody comes,

if there's somebody around
that you can believe in,

you've got that vote
but if you don't register,

and it comes and you want
to do something, it's...

you've missed it.

And somebody put it very succinctly,

Richard Neville of... of OZ,

which is an underground
scene in London.

He said, "Well, we all made a mistake."

We should have voted.
We should have registered.

Because there's... there's one inch

in which we breathe difference
between the two parties...

And everybody's saying,
"They're all the same."

They are all the same!

But there's that one inch
in which they let you breathe.

And if you vote,
you broaden out the difference

between the parties in the right way

for the next election
and the next election.

I mean, that was a very astute comment.

Democracy means,
in a word, self-government.

And anytime we delegate
our responsibilities,

- it's for convenience.
- JOHN: Yeah.

How about the organizing housewives?

You know, they're just sort
of, very vast amount

of silent majority there, you know?

And they're sort of... they don't have

the direct communication society.

They're sort of isolated people.

MIKE: I've never thought of housewives

as a silent majority.

- [laughter]
- Well, maybe at home

they might say a lot,
but they don't have a chance

to say it in the society
and also, they don't have

a direct sort of horizontal
contact, you know?

- MIKE: Yes.
- They're in the house.

They're isolated.

If you can get a housewife's
manual or something

to help the cause,

what could they do
for pollution, you know?

Well, actually, we're just working on that.

What you have to do is
step back and start by trying

to help organize people

and trying to get them to see
citizenship as a profession,

as an expertise.

And this could be a great country,

and it can contribute to
the world in magnificent ways,

because we've got the affluence

and we've got the intelligence
and the know-how,

but we're not in effect letting people

control their destinies.

I was just thinking, does Ralph Nader

make a New Year's resolution?

- [chuckles]
- Do you do such things?

Yeah, actually.

What... what were yours,
or what was yours?

Try to find a 36-hour day.

[chuckles]

I'm looking for a 48-hour day.

As the Romans used to say,
tempus fugit.

Time flies.

Ralph, you must get an awful lot of mail.

Where, where can people write you?

Well, you can go to Nader.org,
and by the way,

sign up to receive free,
electronically every week,

my weekly column,
which started in 1971.

- And that's it?
- Just like that.

Thank you, Ralph Nader.

And stay with us. We'll be right back.

[music]

Yoko, you have some, some great ideas

- in your book "Grapefruit."
- Thank you.

And one of them involves a... a teacup.

- Yes, well see...
- Tell, tell us about it.

YOKO: This is a cup. And it's broken.

Through the five days,
we want to mend it,

and all of us participate in mending it.

By the end of the five days,

this cup would be a whole cup, I hope.

It's not as easy as you thought, right?

It's not that easy as you think.

MIKE: What is the point
behind this, Yoko? Is it...

Yeah, I'll hold them. You
tell... you explain yourself.

- Hold it like this.
- I'll hold it like that.

And are we out of time?

That's fine. Um, we'll go
through the next day.

Okay, we have four more shows
in which to complete it.

I would like to take this
opportunity to thank

my co-host and my co-hostess,

John Lennon and Yoko Ono,

Ralph Nader.

- We'll see you tomorrow.
- [cheers and applause]

[music]

INTERVIEWER: People tend
to think Woodstock

three years earlier was a big deal.

But this was the best minds
of the counterculture.

Yoko had a lot of confidence

bringing these radical people

into this very, uh, middle class Amer...

middle America space,
putting that and seeing

let's see what happens when we do this.

In the environment where there
weren't very many choices,

uh, in TV,

to get the opportunity,
that John and Yoko had,

the "Mike Douglas Show" and
then to use it as a platform

to bring the counterculture to people

in a way that was actually quite friendly.

It was approachable.

Well, I think John and Yoko
reflected the importance

of what you call the ephemeral
and what I call,

say, the spiritual and philosophical

aspect of living.

John Lennon and Yoko Ono
didn't want us

to talk about their music.

That spoke for itself.

I think for your...

your general audience,

those audiences that watched
Mike Douglas.

And to see...

Yoko, in particular, speaking up or even...

in a sense, answering, uh,

a question that had been put
to... to John Lennon,

I don't think it was a turnoff to...

in particular to women.

Now some men might have
got turned off!

The government's top mental
health officials said today

that marijuana laws are too strict.

The report cites studies however

that indicate motorists
have their driving ability impaired

by marijuana use.

STUDY SUPERVISOR:
You'll drag for two seconds,

then you'll hold for 15 seconds,

then you'll exhale

- and relax for 20 seconds.
- MAN: Okay.

ANCHOR: The smoking
is carefully supervised

by medics and psychiatrists.

Marijuana, the study
has found, dulls the senses.

Many drivers drift across the center line,

their ability to react impaired.

The central nervous system's
processing centers

are affected...

[applause]

MIKE: I... I thoroughly...

I thoroughly enjoyed yesterday's show.

- Oh, we did too.
- Did you?

We did too. And we'd just like to say,

you know, we...
we sometimes get very nervous

doing these things, and, uh,
it's a very relaxing show.

YOKO: Yes. You made us very relaxed.

- Thank you. Thank you.
- And that's so nice.

MIKE: We've got such
an interesting thing going.

- The teacup...
- Yes, oh, where is it? Oh!

- It was interesting.
- Oh, there it is, yeah.

Am I supposed to...

- Oh, it stayed a bit.
- Yes.

Well, it stayed together anyway.

Well, I have to explain it.
Oh, it did stay together.

She has a lot of funny ideas, you know?

Now, this is, uh, a sculpture
and also, this is, uh,

a sculpture called mend piece.

And we're all going to mend it together.

MIKE: One piece every day?

YOKO: Yes, one piece every day.

And in the end, probably
we'll have a nice cup.

JOHN: Do you want me to...

Yes, you can...

And also, meanwhile,
while John is doing that,

uh, we're going to the next
audience piece, um,

which is, um... yesterday,
we did this touch piece,

- remember?
- Oh, yeah, this, this was...

YOKO: Everybody touching each other?

And you called this...
they called this an... an event.

- Yes.
- You want to try...

what are we gonna do today?

Now, the minute, uh,
when I raise my hand...

- Listen to this.
- Please start to shout,

right away, start shouting the
first word that came to you.

- Until...
- And don't be shy now,

- don't be shy.
- Wait a minute...

- Keep on shouting.
- Now, wait a minute...

- [indistinct chatter]
- Keep on shouting...

You're on television, coast to coast.

Well, yes, I'm sure
truly beautiful people...

- You'll never hear it.
- So it'll be all right.

YOKO: One, two, three!

AN: Mama!

[audience shouting]

MAN 1: Hey. Hey. Hey. Hey.

MAN 2; Hey, hey, hey!

- Okay. Clears the air.
- Exactly.

I think... yes, it did clear the air, didn't it?

- Who said "Fatso?"
- [chuckles]

- MIKE: No, no.
- No, it wasn't you, was it?

What... what... why do you call
'em "events" and... and,

- I want to start with her.
- Oh, because, uh...

it's a... it's... it's a kind of thing...

a "happening" is a bit more theatrical,

but this is something
that includes people in it,

that's not... has no calculation,

it's just that people
who follow their own instinct

and it has freedom in it, you know?

Yeah. Whenever we have
co-hosts on the show,

we always explore their interests,

and also book the show, uh,

to make them happy,
Jerry Rubin, who's an out...

[John gasps]

YOKO: Oh!

MIKE: Ain't it funny?

You did that
and the audience didn't react.

I know.

DI MASSA: Mike developed a
very interesting relationship

with John over the course of the week.

You can see in the first show,

there's a little bit of tenseness.

And it starts to warm up and warm up.

We're gonna spend the day
talking, one of the shows,

talking about the Beatles,
but, uh, will the Beatles

ever, for any reason,

- for a charity reason...
- Yeah.

Or anything ever perform
together again?

Let's say this.

There's no reason why
they never should do it again,

but there's also no reason
why they should.

And like, anything's possible.

And, uh, just to get it
straight, once and for all,

we're not all at each other's throats.

When those court cases...
it gets, you know,

when lawyers get involved,

it looks vicious and it gets in the paper.

But, uh, I talk to Paul about once a week.

He called me two days ago
to say he'd just been

to dinner with Ringo
and he was just going

to dinner with George.

And I said,
"Well, you better catch George"

'cause he's on his way over here,

"and then he's going
to Bangladesh." You know?

We're having a quite normal relationship.

And you know what each other is up to.

But musically, we're, we're...
musically we feel as though

we can express ourselves
better as individuals,

that's all, you know?
And it came to a head.

And we're all friends, you know?

But we just... you never know

what's gonna happen
in the future, but, uh...

When you were with the Beatles,

you... you didn't express yourself

politically at all, did you?

Well, let's say, uh,
it was a slow development.

But, uh, on our first tour, there was a...

a sort of unspoken thing
that, uh, Mr. Epstein

was preventing us talking
about the Vietnam War.

And, um, before we came back
the second time to America,

George and I said to him,

"We don't go unless
we answer that question,

what we feel about the war."

'Cause you were being asked about it.

Because we were being asked
about it all the time.

It was just silly, and we had to pretend

to be like, you know,
in the old days when artists

weren't meant to say anything
about anything.

But we spoke our minds
after that, you know?

And also, the Beatles were really

a social event, you know?

It was a fantastic thing

that we changed the society in a way.

In that sense it was political, I think.

I think something like that comes along

once about every 20 or 30 years.

Well, I thought it was 10,

because there was 10 years
between us and Elvis.

And there's 10 between
him and Johnnie Ray.

I'm not doing... saying
anything demeaning

- about El... Elvis, but...
- Yeah.

But, I don't... I haven't seen anything

as big as the Beatles. I mean...

JOHN: Well, I don't know.

Well, maybe I'm still an Elvis fan.

[laughs] I think he's pretty
damn big, you know?

- Yes.
- I suppose the Beatles

- are like that in a way, too.
- And he has surprised

everyone because I remember
when he happened, uh,

all the critics were saying it
would be an overnight thing,

that in a year,
nobody would ever hear of him.

And he's certainly fooled a lot of people.

JOHN: You know, the reviews
of our second record

was below par Beatles.

This was in England
before we'd even made it here.

They were already saying,
you're on your way out.

This is on our second record.

So, I mean, any... they've been
saying rock and roll was dead

since it began. You know? It'll never die.

Like jazz, it's like
the people who said jazz

is immoral, or jazz is dead.

You know, that it's a...
it's a certain form of music

that'll go on and on forever.

- I don't see any reason...
- YOKO: Is it fair to say,

John, that you have become very political

and even radical in your thinking?

- Is that your next question?
- Well, I don't know, Mike.

MIKE: Yes, it is.

How do you expect me
to remember all that?

- I've got to write it down.
- YOKO: I just want...

No, but see the thing is,

because the world's, uh, you know, be...

become a bit more mature too,

but we were interested
in, um, you know, the aspect

of say female liberation, things like that,

that people are not
too interested in the times,

in the days of Beatles,
let's say, you know?

- And we are grateful so...
- Also it was a develop...

- a personal development.
- It's a development.

I mean, I was 20... let's say
I was 25 or something,

and we were busy in our own lives,

'cause it's a lot of pressure
that we have...

hardly had to time to think,
never mind be political.

But we were conscious
of our connection with youth

and the fact that we were
changing people's hairstyles

and their dress styles.

And that was the revolution
we were into at the time.

You're responsible for bringing

these two people to us,

so why don't you handle
their first introduction

to nationwide television?

Chris and Joanna,

and, uh, beautiful singers

and, uh, they have a story to tell,

and they're gonna come on now
and do it.

Here they are, Yellow Pearl.

[applause]

But the real story happened
before this. [Laughs]

That's what got us in trouble.

[laughs]

Usually, people know very little about...

Asians...

and this is a song about our movement,

about our people's plight in America.

♪ We are the children
of the migrant worker ♪

♪ We are the offspring
of the concentration camp ♪

♪ Sons and daughters
of the railroad builder ♪

♪ Who leave their stamp on America ♪

♪ We are the children
of the Chinese waiter ♪

♪ Born and raised in the laundry rooms ♪

♪ We are the offspring
of the Japanese gardener ♪

♪ Who leave their stamp on America ♪

NOBUKO: Chris ljima

was a pretty exceptional person,

both politically.

He went to Columbia University,

but he also loved music.

I had never seen an
Asian American sing like him

or play like him.

♪ Sing a song for ourselves ♪

♪ What have we got to lose? ♪

♪ Sing a song for ourselves ♪

♪ We got the right to choose ♪

♪ We got the right to choose ♪

♪ We got the right to choose ♪

We had a long drive
from New York to Philadelphia.

John and Yoko were sitting

in the front of the limousine...

a very long stretch, with, uh, Jerry Rubin.

And Chris and I in the backseat saying,

we... we... 'cause we did...
we did all this material

all the time.

So what are we going to sing?

And we said, "Well,
if we get one song to sing,

we should sing 'We Are The Children, "'

because that tells our story.

♪ Foster children
of the Pepsi generation ♪

♪ Cowboys and Indians ride ♪

- ♪ Red man ride... ♪
- Yeah.

♪ Watching war movies
with the next-door neighbor ♪

♪ Secretly rooting for the other side ♪

Yeah.

Of course, we were two hours late.

There were people
outside the theater gathered,

waiting to see John Lennon.

As soon as we get in there
they wanted to see us,

what we're going to do immediately.

So we sang the song,
very simply, uh, you...

and we got to the part,
"Watching war movies

with a next-door neighbor."

♪ Secretly rooting for the other side ♪

And boom, director comes up

and says, "Excuse me.

What other songs do you have to sing?"

Chris and I look at each other.

Uh, we're going to sing this one.

"Well, well, you know there's
a couple of lines in there

that will upset the housewives

of the Midwest."

"Watching movies
with a next-door neighbor,

secretly... uh, rooting

for the other side"

seems subversive.

And then, John Lennon

and, uh, comes up trying to mediate.

And I'm thinking,
would he change his words

from strawberry to raspberry
if somebody asked him to?

And then the director again
came at us and said,

you know, "Well, what other
songs can you sing?"

I try to be accommodating myself

and be a good Asian, I guess.

H's my upbringing.

But all of a sudden, I just...
something took over me

and I said,

"You, you put us in concentration camps,

and you're saying
we can't sing this song?"

And I turn around and I walk out

towards the door.

And the director comes running
after me and says,

"No, no, no, no.

You can sing anything you want."

And I'm like, "Oh."

I still had my finger pointed
at him, like, "Oh, my God.

Did I do that?"

♪ We are the cousins
of the freedom fighter ♪

♪ Brothers and sisters
all around the world ♪

♪ We are a part
of the Third World people ♪

♪ Who will leave their stamp
on America ♪

♪ Who will leave their stamp
on America ♪

♪ Who will leave our stamp on America ♪

♪ Who will leave our stamp on America ♪

♪ America! ♪

♪ And leave our stamp on America ♪

♪ We will leave our stamp on America ♪

♪ We will leave our stamp
and stamp and stamp ♪

♪ And we will leave our stamp
and stamp and stamp ♪

♪ Sing a song for ourselves ♪

♪ What have we got to lose? ♪

♪ Sing a song for ourselves ♪

♪ We got the right to choose ♪

♪ We got the right to choose ♪

♪ We got the right We got the right ♪

♪ We got the right We got the right ♪

[applause]

[chuckles]

INTERVIEWER: That poor director

on the "Mike Douglas Show,"

did he know what he was walking into?

Well, he deserved it. [Laughs]

[music]

INTERVIEWER: If you didn't
know that was John Lennon

and Yoko,

were you ever able
to sort of get a bead on them

as human beings?

OBUKO: Yoko had a lot of confidence

in what she was doing.

She was a performance
artist extraordinaire.

And I think for John and Yoko,

they were very aware
also of this performance

between the movement in a way

and the greater audience
that they were reaching.

GARY SCHWARTZ: I didn't sense
them in any way competitive.

I felt that they were very appreciative

of each other's questions.

ROSENBOOM:
One of them is a superstar.

The other is very important artist.

And yet it was equals right away.

They combine beautifully.

It was like one plus one equals three.

AN: There was such a camaraderie

between the two of them.

And Yoko was Yoko, you know.

She's gonna answer.
She's gonna do her thing.

But it was okay for him the way she was.

HILARY: Somebody asked her,
where do you get your ideas?

And she kind of laughed and said,

"I... ideas just come."

NOBUKO: When have we really seen,

you know, somebody like Yoko

who's like very frank and outspoken

be an equal?

She was who she was.

And she was an equal to a rock star.

[applause]

♪ Woke up In the morning ♪

♪ My hands cold in fear ♪

♪ In midsummer New York,
my heart shakes in terror ♪

♪ My heart, my hand, my legs, my mind ♪

♪ And everything I touch,
shaking, shaking ♪

♪ Shaking, shaking, shake, I shake ♪

♪ Oooh ♪

♪ I woke up in the morning ♪

♪ The bed's wet in sweat ♪

♪ In midsummer New York,
I scream in the mirror ♪

♪ The door, the chairs,
the floor, the ceiling ♪

♪ Everything you see
is aching, it's shaking ♪

♪ Shaking, shaking ♪

♪ Oooh... ♪

[vocalizing]

[applause]

Here's a man that I know
very little about,

other than what I have read
in newspapers and magazines,

and what I've heard on television.

And, uh, quite honestly,

my feelings are quite negative.

DI MASSA: One of the hardest thing

for Mike to handle
and for the staff to handle,

the producers to handle,

was the presence of Jerry Rubin.

Jerry Rubin had a persona
from the media

which was, uh, pretty wild,

and John actually talked

about himself being scared of Jerry.

Jerry Rubin had
a very interesting approach

to politics.

A flair of theater really and of humor.

The Yippies, you know,
this liberated White people

that were going to do magical things.

Well, Jerry Rubin was
a confessed street fighter.

He believed in demonstrations

to get attention of the establishment,

to arouse the masses of the people.

And when he got invited
on these national shows,

I'm sure that there
is a lot of nervousness

as to whether he was going
to disrupt the show.

DI MISSA: Mike also felt pretty strongly

that Jerry had a lot of opinions

and a lot of things to say

that were not in Mike's best interest

in terms of his audience,

and so this was a moment
of, uh, trepidation

for all parties.

[applause]

What... what the... what is
the new Jerry Rubin thinking

about these days?

I'm glad you asked that.

Uh, we're gonna support Nixon
for President,

because, uh, by going to China,

he's furthering communist revolutions

throughout the world.

DI MISSA: I can just imagine
Roger Ailes watching the show

and hearing that.

I'm just kidding. I'm really just kidding.

I'm really just kidding.

What he's... what he's really done

is automate the war in Vietnam

so that it's machines killing people,

uh, created a situation

where 43 people can be
murdered at Attica,

um, created a situation

where four kids can be killed
at Kent State,

and people are afraid.

So, um, I'm working very hard

with people all over the country

to defeat Nixon.

I think that's the most important thing.

JOHN: So you're not gonna vote
for him, though?

No, no, not gonna vote for him at all.

What's different in you
and the movement? Right?

Let's say people thought the
movement had died, you know?

BARBARA LODEN:
Yes. What is the movement?

What is... what... A,
what is the movement,

and B, did it die,

and what are the differences
in it now than four years ago?

- Can you explain that?
- Wow, I need an hour!

Well, the movement is everybody I hope

watching television, you know?

It doesn't have any narrow definition.

Now the way the movement's changed,

is um, the rhetoric has gone calmer,

because their oppression is so heavy,

that anybody who does anything
gets arrested, jailed, killed,

that people are like very pessimistic.

Wherever you go right now,
there's tremendous pessimism.

JOHN: You mean youth in general,

whether they're ranting or anything,

just youth in general,
we noticed that amongst youth.

Just totally pessimistic.
Like there was no hope.

Whether they're political youth

or just musical youth,

there seems to be such an atmosphere

of apathy around 'em.

This is the only place in the world,

if I may say so,

where a man can say something
like this on television,

and not go... and not go to jail.

-And also I admit that your...
- No, wait a minute.

I got five years in jail facing me

for saying things like this,
so it's not so true.

I only hear you say what you are

against in this country.

What are you...
what do you think this count...

what do you think is right
about this country?

I think what's right is the fact

that there are people in the country

who want to change it.

What was your home life like?

Well, it was...

DI MASSA: Now, this is
a very interesting moment

because Mike asked
a very honest question

and was trying to find out

about Jerry's background, his upbringing.

Hey, I'm not going for laughter here.

No, it's a good question.

It's... I read that in a magazine.

Uh, my father's a truck driver.

Um, and a Teamster and, uh, oppressed,

because he worked
like all around the clock

for very little money.

My mother was, uh, unhappy
as a housewife, you know.

And, you know, and that's what I learned.

I saw it and was a child,

and I was forced to go
to school, which is boring,

and which doesn't really educate you.

And, uh, that's where
the rebellion began.

Mm-hmm. And your parents
are no longer alive?

No.

And, you know, I think that
the system killed my parents,

just like I think it killed all of us.

But he's talking about the system,

and he's not talking about the people.

You have trust in people, don't you?

Oh, yeah. I wouldn't be doing this

if I didn't have trust, you know?

And you really do love people.

I mean, the reason for you
to come on the show

that you know it's going on at 4:30

and is not an audience
that is geared to see you.

Is there a reason for me to believe

that you have trust in enough

of those people
that are gonna watch you?

- JERRY: Absolutely, yeah.
- YOKO: Yes.

- JOHN: As well as...
-And change, you know.

JOHN: The so-called
movement and so called youth?

I have... we have a tremendous faith

in the people in this country.

JOHN: But no age group.

I think this is a beautiful country,

with full of possibilities, you know?

The children of America
want to change the country,

and are going to change it.

That's what's beautiful.

You know, that there is a future.

We are completely out of time.

Thank you, John. Thank you, Yoko.

Thank you, Jerry. See you tomorrow.

[applause]

The Georgia legislature,
Governor Jimmy Carter

had some praise
for Alabama Governor Wallace.

REPORTER: Carter's statement
overshadowed.

Wallace's standard campaign speech,

which was interrupted
repeatedly by applause.

MADDOX: Hey, Mr. President.

REPORTER: The shouts came

from Lieutenant Governor
Lester Maddox,

who told the standing-room-only crowd

that George Wallace
could be elected president.

MIKE: So welcome please, John Lennon

and his wife, Yoko Ono.

[applause]

[cheers and applause]

Hey.

Are you going to tell them
what the song is about?

Okay-

Today's my... today's my turn

- and, um...
- Today's her turn to sing.

Yes, right.

- And it's a song that...
- With the mic, please.

It's a song that I dedicate
to the sisters in the world

called "O Sisters, O Sisters."

Some people thought
she was singing about nuns,

but it's not about nuns.

[laughter]

♪ We lost our green land ♪

♪ We lost our clean air ♪

♪ We lost our true wisdom ♪

♪ We live in despair ♪

♪ O sisters, O sisters,
let's stand up right now ♪

♪ It's never too late
to start from the start ♪

♪ O wisdom, O wisdom,
that's what we ask for ♪

♪ And yes, my dear sisters,
we must learn to ask ♪

♪ Wisdom, O wisdom,
that's what we ask for ♪

♪ That's what we live for now ♪

♪ O wisdom, O wisdom,
that's what we ask for ♪

♪ That's what we live for now ♪

♪ O sisters, O sisters,
let's give up no more ♪

♪ It's never too late
to start from the start ♪

♪ O new world, O new world ♪

♪ That's what we live for ♪

♪ And yes, my dear sisters,
we must learn to live ♪

♪ New world, O new world,
that's what we live for ♪

♪ That's what we must now
learn to build ♪

♪ O new world, O new world ♪

♪ That's what we live for ♪

♪ That's what we must now
learn to build ♪

[applause]

DI MASSA: So one of the things
we did with the co-hosts

on the "Mike Douglas Show"
was ask them

to give us a list of people
they'd like to meet.

John and Yoko obviously had

a very strong political agenda,

but John also had some
musicians he wanted to meet,

and at the top of that list
was Chuck Berry.

On the day of the show,
the taping of the show,

I just by total random chance

happened to be in the green room

when John and Chuck
encountered each other

for the first time.

It was a very powerful moment to watch.

I think it's interesting
that you... that you chose...

chosen the guests
that you have this week

to be on the show.

And I wish we could have photographed

the meeting between
John and Chuck Berry.

- Oh, yeah.
- Oh, that was beautiful. Yes.

Because he was really
the guy that started

- the whole thing...
- Oh, yeah.

The whole rock and roll thing.

I mean, I don't think
there's any-there's any group

in the world, uh, White or Black,

but mainly the white kids
were really turned on

by Chuck Berry, you know?

And, uh, he was putting out
great records in the '50s.

And not one of us from Beatles
to Stones to...

you name any top group

and they've all been influenced by him,

all done his numbers on records.

MIKE: There was one of his
records right then.

Yeah. That... that was him escaping now.

Yes.

- He was - - And he's fantastic.

When we met today, I hadn't met him.

George and Ringo met him
at some showbiz party

a long time ago in London.
I'd never met him.

Today, he walked in the door.

And I just, you know...

- YOKO: Yeah.
- I went, "Chuck Berry,"

"my hero." It just came out, you know?

MIKE: That's marvelous.

And he just gets over and he hugs me.

I was really thrilled, you know?

- And we were playing...
- He's so together.

In the back there
playing the dressing room.

He just grabbed me
backstage, says, "I hope"

we have a... "he said,
"Boy, John Lennon.

"I hope we have a chance to rap."

He's the greatest rock and roll poet.

And I really admire him, you know?

Do you feel the same today as you did

years ago in Liverpool

- about rock?
- When I...

when I hear rock,

good rock of the caliber of Chuck Berry,

I just-I just fall apart

and I have no other interest in life.

You know? The world could be ending

if rock and roll is playing. You know?

It's a disease of mine.

In the... in the days when he was writing

and doing those songs,

those songs didn't have messages.

- The me... the lyrics were...
- But his lyrics

were very intelligent lyrics in the '50s.

When people were just singing
virtually about nothing,

he was writing social comment songs.

He was writing all kinds of songs

with incredible meter to the lyrics,

which influenced Dylan and me
and many other people.

The meter of his lyrics was tremendous

- and that was in '50s.
- Do all the songs...

do all the songs that you write

or have written in the past,
John, have a message?

Well I think, uh...

Well it has a spirit, every one.

In that way, every song
will have a message.

You know? I don't sit down and say,

"What's today's message?" You know?

I'm either writing about
something that happened,

uh, you know... I, I'm either
writing about what's going on

in the world or what's
happening to me, basically.

[applause]

If you were try...
to try and give rock and roll

another name,
you might call it Chuck Berry.

- Right.
- MIKE: Here he is,

- Chuck Berry.
- [applause]

["Memphis, Tennessee" playing]

[both] ♪ Long distance information ♪

♪ Give me Memphis, Tennessee ♪

♪ Help me find a party ♪

♪ Trying to get in touch with me ♪

♪ She would not leave her number ♪

♪ But I know who placed the call ♪

♪ My uncle took the message ♪

♪ And he wrote it on the wall ♪

♪ Help me information
get in touch with my Marie ♪

♪ She's the only who'd phone me ♪

♪ Here from Memphis, Tennessee ♪

♪ Her home is on the South Side ♪

♪ High up on a ridge ♪

♪ Just a half a mile
from the Mississippi Bridge ♪

♪ You know, the last time I saw Marie ♪

♪ She was waving me goodbye ♪

- Hello, John!
- Hello!

[both] ♪ With hurry home
drops on her cheek ♪

♪ That trickled from her eye ♪

♪ Marie is only six years old ♪

♪ Information, please ♪

♪ Try and put me through to her ♪

♪ In Memphis, Tennessee ♪

I nearly got the words...
words right, right?

Did you really invent r0... you
invented rock and roll,

- didn't you?
- Well, I say,

I'll answer for him.

He did. You're one of the all-time greats.

I've heard more people,
before I ever met you, Chuck,

I... your, you know, your
reputation precedes you

- wherever you are.
- You know, rock and roll,

you mentioned rock and roll,
it's named rock and roll.

But gee, some of our ancestors,

some of the people before me,

the people that,
uh, intrigued me with music

were Louis Jordan and T-Bone Walker,

and, uh, Freddie Slack,

these people that I heard, Glenn Miller,

uh, I should never forget
the beats that they had in.

- You know? And the big bands.
- Yeah.

And they're the ones that really put

the spirit here. You know?

You made some record
with big bands, right?

- One.
- [singing lyrics]

- [hums tune]
- CHUCK BERRY: Yeah.

MIKE: John said your
music had a message.

- Do you think it did?
- JOHN: It is a message.

I really try to make a message.

I really, I can't sing a song,
"Oh, baby, oh, oh baby.

Don't go.

Don't go because you know
I love you so."

I mean, that's understood. You know?

But he was writing good
lyrics and intelligent lyrics

in the '50s when people were singing,

"Oh, baby, I love you so."

And it was people like him
that influenced

our generation to try and make sense

out of the songs rather than just say,

"Doo wah daddy." You know?

You know something
that occurred to me?

When, whenever I see you,

you're one of the few people
who can go away

from a recording studio

and do your thing and it sounds

at least remotely like what you recorded.

Some of these groups,

they get out of the studios
with all the gadgets

and all the things happening

and they can't...

they can't make that sound
again and without...

Mike, since you mentioned it...

the age of a recording studio.

I would much rather perform,

um, live than... I'd rather
perform live 10 times

than make a recording.

Because somehow, playing
to a wall or playing to a mic,

and that's all, is, uh, it's fictitious.

- You know? It's not real.
- MIKE: You're a people lover.

- That's what.
- [laughs]

- You better believe it.
- You got to hear

that breathing and see those faces.

To look in somebody's eyes
and see them bright

when, uh, when you're striking
a note or something,

it just calls for another note. You know?

Don't ever play the same
or do something different.

You know? If you can't do
something different

wiggle or something.
Don't do the same thing.

- You know? Keep it different.
- I don't...

I don't know if the viewers
out there realize this,

but this is a first, Chuck Berry

and John Lennon appearing together.

In fact, they met only this afternoon.

- You know, I can never hit...
- This is a first

- on television.
- I can never shake

- this guy's hand.
- [applause]

MIKE: Chuck Berry!
John Lennon and Yoko Ono!

We'll be right back!

[applause]

When I got the call and heard

that they were going to do this,

it blew my mind

because Mike Douglas
was an afternoon show

that was bland.

Yoko, you mentioned you wanted
to have someone on the show

to talk about macrobiotic, uh, foods.

And so, my next guest will do just that.

In fact, she's even going to demonstrate

how to make a macrobiotic dish.

Greet Hilary Redleaf.

HILARY: Oh, here's the moment.

Sweet John, he even rises
from his seat, as does Chuck.

What is uh, a macrobiotic diet?

Well, it's a different way
of looking at food.

It's not with vitamins and minerals.

It's a way of balancing one's food

with one's environment.

Frankly, I was nervous.

I was clinging to...

[exhales] just be here.

This is gonna be fine.

And how did the whole thing
start originally?

Well, all countries
have macrobiotic diets.

In our industrialized society,

we have frozen everything,

- flown everything to us.
- MIKE: Yeah.

And native cultures
eat what's around them.

And when it's cold in the winter,

they eat what they have
to keep them warm.

They don't eat, uh, you know, ice water

because they don't have freezers.

You know? In the winter and...

Everything's natural, you know.

Naturally in warm, um, climate,

you need more sugar. You know?

-And so...
- MIKE: Natural sugar.

The, the nature is naturally,

you know, it's sort of balancing it.

'Cause nature makes a balance.

The seasons change.

And if we can concentrate
and make an effort

in our cooking, we can balance ourselves

with the seasons

and with the environment around us

and make harmony with nature

and, and have peace.

You know, farm to table,

you know, organic food.

I mean, in 1972, this was very far out.

- May I call you Hilary?
- Please.

Can we go over here? I understand

we're gonna prepare something.

- Yes.
- And why don't we all...

JOHN: Shall we all go in the kitchen?

HILARY: So, we finally get
over to this part

and I don't even know how I knew

how to do this, to be honest.

You can share mine.

You have to have it.

We don't have much to...
what are we going to make?

We're going to make something
called Hijiki egg roll.

- A what?
- Hijiki egg roll.

Hijiki egg roll.

We have to have a calm,
peaceful, loving attitude

about this, or else the food

- is gonna be very chaotic.
- MIKE: Oh, Joe...

Joe, we have to have a calm,
peaceful, loving attitude.

Can you play something
that's calm and peaceful?

Because... that's part
of the vibration in the food,

because if you have to make something,

the cook's intention
and concentrated effort

goes into the final product.

- So with that in mind...
- YOKO: No, you're right

- about that.
- MIKE: Is that seaweed

- that I'm looking at?
- This is seaweed.

This is called hijiki.

And this is the first ingredient.

And we soak it in water
until it looks like this.

It kind of puffs up a lot.

Then we have carrots
and we try to maintain

the balance that nature creates.

And as you see, some are cut.

Okay. Now, Mike is gonna
help me cut onions.

- [laughter]
- YOKO: Is he?

He was eating them today, right?

- MIKE: Yeah.
- Okay.

Why do I always get the onion?

HILARY: John was definitely...
he was beautiful.

He was really interested in it.

Yoko, too.

Chuck was like along for the ride.

What's John making? He have to -

After she's finished, you're gonna...

you're gonna fry them up.

- I'm gonna fry them up?
- Yup.

[clears throat]

You know, this, this looks like

a soul brother pizza, really.

[laughter]

- A soul brother pizza?
- Yeah.

HILARY: Right. Would you like?

Yes, I would love it.

- Didn't eat today.
- Thank you.

You dip it in the sauce, okay?

HILARY: Well, how do they taste?

[laughter]

- YOKO: How is it going?
- HILARY: You see,

this is gonna become part of your body

so it's important that you have...

[laughter]

It's important that you get to know it.

- What part?
- HILARY: Your blood.

- Your muscles.
- This is goo-

- my muscles?
- Well, sure.

YOKO: I think you should chew it a lot.

HILARY: Yes, and you should
chew it well.

How come it gets larger as I chew?

Hilary Redleaf. Thank you.

Hilary, thank you. It's beautiful food.

Thank you.

[applause]

So this is an artifact

that I didn't even remember that I had,

and it's the pay stub

from the honorarium that I received

for being on the show.

It says, "Mike Douglas Entertainment"

on the top, so maybe that's why I kept it.

Like, okay, this really happened.

I cashed the check. [Laughs]

INTERVIEWER:
Tell me what I'm getting into.

You're about to see something
very new and unusual,

how someone might be able
to learn to control aspects

of their brain waves,

which is related to their general state,

by putting electrodes on Mike Douglas

for a little demo
and then on John and Yoko.

I'm gonna then join them

and play a little bit on a keyboard.

Sort of an envelope around it

to make it a musical experience.

And we're going to have
to do this quickly

in a very compacted
TV show time frame.

INTERVIEWER: Why didn't
you say this 50 years ago?

[laughs]

MIKE: David, welcome.

- [applause]
- Thank you. Thank you.

Yes, can you explain to our viewers

please what biofeedback is?

Biofeedback is a new process,
uh, that's been made possible

by advances in technology,
by which a person can listen

to his own internal
physiological processes.

And, uh, by listening to it,
he can learn about it

and, uh, begin to learn to control

some that he may not be in control of.

Do some people respond
to this better than others?

Oh, yeah. Oh, yeah.

For example alpha brain waves,

there's been a lot of publicity about that.

And we know that if you're high strung

and nervous and things like that,

uh, you may have a hard time at first.

You can learn to do it.

It may take you a little longer.

You have to learn how to be a person

by not trying to be a person, you know?

What would it be like if a stone

had to try to be a stone, you know?

You know, why is a stone a stone?

Yeah.

David played me a tape of he
and his friends performing

with the alpha wave on the head.

And, uh, I think they used
a keyboard as well.

And I was asking him, uh, could I do it

with a guitar and rock and roll?

And if we could learn it,
we could do it eventually.

It'd be fantastic.

DAVID: The process
of doing it was a bit scary,

that could we make this work?

Of course, we were audacious.

We wanted to do these things.

So let's, so why not try it?

I have to put some paste on it

so it makes a good electrical contact.

I hope my Alpha's all right.

[laughter]

YOKO: He might be. That machine...

What's the song called, this one

I referred to that you composed?

- What, this thing?
- Yeah.

This thing we're gonna do now?

This is going to be improvised completely

out of whatever comes out of our head

and whatever David

- does on the keyboard.
- All right. Yeah.

JOHN: Complete improvisation.

This is... see, David was talking to us

also privately about a lot of this,

the state of alpha is often a state

that musicians will get into

when they're jamming, you know?

Whether it's rock and roll or jazz.

And they'll get into a certain jam session,

and then the music
will sort of take them higher.

And uh, that state of mind

is the state of mind

that gives you the control over this.

- You know?
- MIKE: That's wild.

[rapid clicking]

DAVID: Now turn on the sound
and see what...

-Am I star...
- [rapid clicking]

DAVID: There goes Yoko. Hear it?

Hear that sound?

You hear it?

[clicking, warbling]

MIKE: That is eerie, isn't it?

[sounds accompanied by piano]

DAVID: There was a meeting of minds

and spirits and creative energies.

A very wonderful, resonant unity.

John and Yoko achieved
a very significant focus

in a really short period of time.

I only wish we could have done it

for a longer period of time.

MIKE: I just have enough time
to thank Chuck Berry,

Hilary Redleaf and David Rosenboom.

And, of course, Yoko Ono
and John Lennon

and Chuck, thank you for joining us.

This was really a first today,

you two guys together, were too much.

Thank you. Bye-bye.

[applause]

Yes, I think there was a utopian agenda.

There was an idealism
that came out of that time

that John and Yoko were absolutely, um,

promoting and pushing

and saying, "Why not?"

The White House said Mr. Nixon made

an announcement today
which puts him squarely

on the side of those who oppose busing

as a means to achieve
racial balance in schools.

I've called on the President

to end the busing

by executive order.

REPORTER: What followed
were some of the most violent

protests against busing that have yet

to be seen in the North.

[crowd shouting]

Hi. Welcome back.
Uh, Yoko, why don't you, uh...

if you will start at the beginning. Tell...

because maybe somebody
hasn't been with us,

- uh, might just be joining.
- This cup is a broken cup.

Every day we're just sort of
putting it together.

May I ask you something?
Because even though

I know you very well

and I still haven't quite
understood it. You see?

- I know you broke it.
- MIKE: Why has she broke it

- in the first place?
- But sticking it

together again, now, what, what's the...

Well, the idea is that, uh,

- you start with a broken cup.
- JOHN: The actual doing it?

The actual physically doing it?

Right. And also, everybody
doing it together, actually.

Now, you should do part of it...

- Well, we should.
- MIKE: We should tell

the young people around the country

not to break mama's china - right?

This is what you do
with the broken one there.

No, but try with a broken one. You know?

- MIKE: I see.
- YOKO: Already broken.

MIKE: What's this? Is this for me?

I live with her, you know?
I still don't get it.

Yes, that is actually, a present for you.

[chuckles]

- You should read it.
- It says "a box of smile.

Yoko Ono. 1967."

Now what am I...
do I smile as I look in it?

Well, why don't you open it
and see what it is?

- Okay.
- You might just smile in it.

It's not a jack in the box, now?

Well, let's see.

Yeah. Oh, there is a smile. Yes.

YOKO: Really? ls there a smile in it?

- But it's mine.
- YOKO: Oh, great.

Yeah. That's nice.

Well, I thought maybe we should all put

- a smile in it. You know?
- MIKE: Okay.

- Instead of autographs.
- We put one in.

That's a present for you from both of us.

- Yes.
- And there's our smile.

Can I have one more, John?

- There we go.
- There's one with teeth.

DI MASSA: You know,
as you watch these shows,

you're going to see
the comfort level growing

between John and Mike
actually becoming friends.

And John is very open.

You know what I'd like to ask, John?

I haven't found out... I've read...

I was reading the book, "The Beatles."

JOHN: Oh, the Hunter Davies
book, you mean?

Yes. And, uh,

your father left you and your mother

- at a... at a very tender age.
- JOHN: Yeah.

And you were... you were raised
by an aunt,

- weren't you?
- I was raised by my auntie.

My father and my mother split
when I was about four.

I had... I spent some time with mother

up till about four, then my father split.

He was a merchant seaman. You know?

You can imagine and it was 1940s

in the war and all that.

He left and I was brought up
by an auntie.

-And then I, uh...
-And then he... didn't he, uh...

He turned up after I was famous.

- After you were famous.
- You know, which I wasn't

- very pleased about. 'Cause...
- And you didn't really open

the door to him right away
at that point, did you?

He knew where I was all my life

up till I was... I mean,
I lived in the same house

in the same place
and he knew I was living

with that auntie for most of my childhood

up till 24 or 25 it was before I really...

- we made it big.
- And he never visited you?

And I thought it was a bit
suspicious that he turned up

- after I'd made it. You know?
- Yeah.

He looks like a little one of me, only.

He's only five foot tall. You know?

- MIKE: Five feet?
- He's 5'1".

What is he... what is he
doing now, John?

Uh, I guess he's retired. He just married

a 23-year-old girl. You know?

He's had another son,
so he's getting on fine now.

See what you're in for? No, no, no.

They're a lot of ravers, those Lennons.

Hey, yeah, we can't talk about that.

How old is your father now?

I guess he must be in his 60s.
I really don't know. You know?

And then, uh, when I was 16,
I reestablished

a relationship with my mother
for about four years.

She taught me music.

She first of all taught me the banjo.

And from that I progressed to guitar.

She... the first song I learned
was "Ain't That a Shame,"

an old rock hit, Fats Domino.

And then unfortunately,
she was, uh, run over

by an off-duty policeman,
who was drunk at the time.

And in spite of all that,
I still don't have a hate

for pigs attitude or hate cop attitude.

But, uh, it was very hard
for me at that time.

And, uh, I really had a chip
on my shoulder,

and it still comes out
now and then. You know?

Because it's a... it's a strange life to lead.

But in general, uh,
I've gotten my own family now.

- YOKO: Not these days.
- That's Yoko and she made up

- for all that pain.
- Interesting that we were

talking about your aunt because, uh,

this is a very interesting quote.

- JOHN: I know. I guessed it.
- May I?

- Go on.
- Did you? "I never forgave

her for not treating me like a genius

or whatever I was when I was a child."

Her husband died and she was
looking after me on her own.

She wanted to keep up
this semi-detached house

and not go down. And so,
we took in students in.

And she always wanted me be
a rugby type

or a chemist. You know?

And I was writing poetry and painting

and singing since, uh, since she had me.

And all the time I used to fight and say,

"Look, I'm an artist.

Don't bug me with all
this maths and don't try

and make me into a chemist or a vet.

I can't do it. You know? I have to be..."

And I used to say,
"Don't you destroy my papers."

You know? I'd come home
when I was 14

and she'd rooted all my things
and thrown all my poetry out.

I said, "One day I'll be famous

and you're going to regret it."

But the best quote she ever said was,

"The guitar's all right for a hobby, John,

but you'll never make a living at it."

- Oh. Oh.
- So, some fan in America

had that framed on steel
and sent it to her.

She has it in the house I bought her

and she has that looking
at her all the time.

[applause]

MIKE: Here's a young lady
that I got to know

when we worked together in Las Vegas.

She creates an excitement
when she works.

And you'll feel it immediately.

- YOKO: Oh, I agree.
- Yes. And she's got

the ability to sing opera
if she were taught about it.

- YOKO: Oh, sure. Yes.
- But believe me,

you're going to hear more soul now

than you've heard in a long time.

Here's Vivian Reed.

♪ Yeah! ♪

♪ Yeah! ♪

Uh-uh, you can get nastier
than that. Do it again.

WOMAN: ♪ Yeah ♪

♪ Whoo-woo! ♪

WOMAN: ♪ Whoo-woo! ♪

VIVIAN: Coming into show
business is not easy.

I think the biggest thing
for me is that women

were starting to come into their own

and... which really at that time
or at any time

was very important and is important

because back then

we were not taken seriously.

It was a man's world.

♪ Why ♪

♪ Should my heart ♪

♪ Be discouraged? ♪

♪ And why ♪

♪ Should the shadows fall? ♪

♪ Why ♪

♪ Should my heart be lonely ♪

♪ And yearn ♪

♪ For heaven and home'? 3

♪ When Jesus ♪

♪ ls my portion ♪

♪ A constant friend ♪

♪ Is He ♪

♪ His eye is on... ♪

- Sing, Vivian.
- ♪ The sparrow ♪

♪ And I know ♪

♪ He watches ♪

♪ He watches me ♪

- [cheers and applause]
- Yes!

When I look at myself singing.

"His Eye is on the Sparrow," I sang it...

♪ I sing ♪

♪ Because I'm happy ♪

♪ I sing ♪

♪ Because I'm free ♪

And that worked for me back then.

But today... [chuckles]

I go-.-...

♪ I sing ♪

♪ Because I'm happy ♪

♪ I sing ♪

♪ Because I'm free ♪

♪ Oh ♪

♪ His eye ♪

There's a difference.

There's a difference.

[cheers and applause]

Vivian Reed.

We'll be right back.

JOHN: The man we're going to introduce

is a good friend of ours

and also of yours I hope.

The man is Bobby Seale, the chairman

of the Black Panther Party
and here he is.

MIKE: Bobby Seale.

[applause]

I had no idea

that Bobby Seale was gonna be
on this show.

I said, "Bobby Seale, what?"

Did you really do standup
comedy at one time,

as John pointed out?
I wasn't aware of that.

- JOHN: Did I get it right?
- Yeah, I did do that.

- Yeah.
- That's tough, isn't it?

- Reality?

- Not to me.
- Mike had a comfort level

with Bobby Seale that he did not have

with some of the other guests
that John and Yoko brought.

And actually, Mike to me,

felt a little more comfortable
than Bobby felt.

You group is into some very
new and positive projects.

Now the food program and the...

and the addition of the shoe program.

Well actually, we have, uh,
15 survival programs.

Uh, we have a sickle
cell anemia foundation

and we work in conjunction

with the Mid Peninsula Sickle
Cell Anemia Foundation,

uh, implementing
the slide elution method

in all our clinics where we've tested

nearly 30,000, uh,
Black people in this country.

YOKO: Are you getting
any government help?

No. The press done
one of the dirtiest things

to the Black Panther Party five years ago

when it first started when they first said

that the Black Panther Party
picked up guns

to go into the white community
to kill white people.

Now, we've been here five years

and we've never done that
and that was never

our intention in the first place.

Our intention was to defend
ourselves against unjust

brutalizing racist attacks that occur

upon Black people
in the Black community

on the part of the police and other races.

Only that negative action that they're...

that negative attack,
that aggression they put up

on you to kill you,
at that point we was teaching

people that, to defend
ourselves even with guns.

But the main thing is this here,

you don't want to defend
yourselves with guns.

You defend yourselves also
with these basic programs

'cause violence is also
manifested in hunger,

- is it not?
- JOHN: Yeah.

Violence is also manifested
in rats and roaches

and dilapidated living conditions, right?

You see what I'm talking about?

That's a form of violence that comes

- from the whole system.
- Now, this film

that you have brought. It's,
uh, on the Richmond Program.

Uh, it is silent so will you comment

- on it when we roll it?
- Yes, I will.

Okay. Will you... will you
roll it please, Don?

SEALE: Uh, this is, um,
a free food program

in Richmond where we gave away

some, um, 750 bags

of groceries plus free brand
new shoes that we had.

JOHN: brand-new shoes
you're giving away.

It ain't secondhand though. That was...

SEALE: This is Elbert Howard,
who is speaking

to the people there. People
talk about freedom this,

freedom that, freedom
must ring out in the land.

We say okay,
we want some free medicine.

We need some free clothing.
We need some free shoes.

We need some free bread.

We need some free medical
care, etcetera, etcetera,

etcetera, to actually
implement some real freedom.

He was all about defining freedom

the way Marcus Cicero,
the ancient Roman lawyer, did.

Best definition I've ever heard.

He said, quote, "Freedom
is participation in power."

VIVIAN: To hear him speak
on this with such eloquence

and talk about the things
that he had established

inside of the Black community

and galvanizing Black people
to, "Come on, let's do this."

Are you getting good reception,

good reaction to that?

Would you say Black people
come in and help?

Definitely. But, see, you're going to get

very good reaction.
If you have 5,000 bags

of groceries and you put leaflets out

with 5,000 bags of groceries
to be given away

and all these people
are hungry you're going to get

good response 'cause they're
going to come down, right?

I was impressed. I gotta tell you,

I found a new respect for that man.

We'll continue. Just a minute.
We'll be right back.

[applause]

MAN: John Lennon and Yoko Ono!

Hello, hello.

Hello? ls the mic on?

My favorite song.

♪ Imagine there's no heaven ♪

♪ It's easy if you try ♪

♪ No hell below us ♪

♪ Above us only sky ♪

♪ Imagine all the people ♪

♪ Living for today ♪

♪ Imagine there's no countries ♪

♪ It isn't hard to do ♪

♪ Nothing to kill or die for ♪

♪ And no religion too ♪

♪ Imagine all the people ♪

♪ Living life in peace ♪

♪ You ♪

♪ You may say I'm a dreamer ♪

♪ But I'm not the only one ♪

♪ I hope someday ♪

♪ You'll join us ♪

♪ And the world will live as one ♪

♪ Imagine no possessions ♪

♪ I wonder if you can ♪

♪ No need for greed or hunger ♪

♪ A brotherhood of man ♪

♪ Imagine all the people ♪

♪ Sharing all the world ♪

♪ You ♪

♪ You may say I'm a dreamer ♪

♪ But I'm not the only one ♪

Am I?

♪ I hope someday ♪

♪ You'll join us ♪

♪ And the world will be as one ♪

[cheers and applause]

A year and a half ago,

the Reverend Daniel Berrigan
began serving a three-year

prison term for destroying draft records

at Catonsville, Maryland
as a protest against the war.

Last month, he was granted parole,

and today he left prison.

ALL: ♪ AII we are saying ♪

♪ Give peace a chance ♪

♪ AII we are saying ♪

♪ ls give peace a chance ♪

My co-hosts this week
are really involved.

It's been an education all of this week,

finding out about the many
interests they have.

Here are John Lennon and Yoko Ono.

[cheers and applause]

They're marvelous, just marvelous.

Are going to put another piece?

- Uh, this is the last day.
- Going to finish it today.

I'm going to explain

that, um, this was a broken cup.

It was all broken in the beginning

and, uh, it's just about to be finished.

- Um...
- John, Yoko doesn't go around

breaking china at home

just to put it back together, does she?

- Nothing like that?
- Uh, occasionally,

I have to let her. You know how it is.

[laughter]

- This side. Very good.
- YOKO: Back now.

JOHN: It's going to make it. Right?

- Oh.
- Hey, hey.

JOHN: Oh, great.

Hey! Hey!

[applause]

We've got a marvelous show today.

We got one of the most brilliant young

comedians that-that I've known.

I've known him for a long time.

- His name is George Carlin.
- JOHN: Oh, great.

- He'll be with us today.
- Very grand.

And a medical discussion of,

of heart and blood pressure with

a Dr. Gary Schwartz
of Harvard University.

So, sounds like a very

- exciting show, doesn't it?
- Very exciting idea, yes.

Who are some
of the other people that-that

you listened to when you were
in Liverpool just starting?

Uh, well, there was Bo Diddley,

Little Richard, Elvis, of course,

Gene Vincent when he was alive,

Eddie Cochran when he was alive.

Uh, before that we used to listen

to a lot of, uh, blues, you know?

Uh, some of T-Bone Walker

that Chuck Berry mentioned and, uh...

- YOKO: And Elvis.
- Sleepy John Estes.

We-we listened to blues at first.

When I went to art school...

I was at art school for five years.

When I went to...
this is a sort of college.

I went in there, they would
only allow jazz to be played.

You know, they wouldn't
allow rock and roll

and it was frowned upon those days.

So we had to con them into letting us

play rock and roll there
on the record player

by calling it blues. You know?

So, we'd have blues sessions
and then gradually

slip in the rock records.

You-your real intention
was to-to have it happen big

here because that's what really

makes a person a-a superstar.

It has to happen in America for you.

In the early days,
we didn't even dream of it.

- You know?
- MIKE: Didn't you?

I mean, we didn't think
we'd, uh, you know,

we-we couldn't think in terms
of going to America.

I mean, that was like a dream.

Uh, I mean, you think locally.

First of all, it was making it
big in Liverpool.

- MIKE: Yes.
- And then being the best

group in the... in the county. You know?

Then being the best group in England,

and then we got to Scotland

and break them in and things like that.

And your goal is always,
you know, just a few

yards ahead rather than right up there.

Originally, Paul and I wanted to be

sort of Goff in and King of England.

You know? Carole King and Gerry Goff in

were writing good songs a long time ago.

- Yes.
-And Paul and I

used to think, well,
I'm sure we could do it

if we just worked at it.

And we wanted to, you know...

Our goal was to be as big as Elvis,

but we didn't actually think
we were going to do it.

- You know?
- MIKE: You got bigger.

- Well, I don't know.
- MIKE: Oh, yes. Oh, yes.

How long did you really think
it was going to last, John?

Well, you see, that was one
of them questions, actually.

- Yeah.
- MIKE: Oh, really?

You know, they used
to always ask us, uh... yeah.

[overlapping chatter]

MIKE: But I wonder about that though.

But we never thought of it.

We thought that, uh, as long
as we could make... go on...

as long as we wanted to go on,

that we could always make
and write good enough music

to get an occasional hit,

not saying that every song
would be number one

and it would be Beatlemania
for all our lives.

I think we could have sustained

making the occasional hit record

for years and years to come.
Because I think...

You're saying that, uh, by... you know,

in 30 you won't be singing.

Yeah, but, yeah, that's
a great one to remind me.

Thanks. When-when,
when we did earlier interviews

when I must have been about
25 or 24 or something,

I used to always say, "Well,
one thing I won't be doing"

is singing "She Loves You" when I'm 30.

What I really meant, I had
some idea that I wouldn't be

what I was, whatever I was at
30 and it was th... I'm 31 now.

I was 30 when I first decided
to, you know,

let's, uh, finish this now,
go on for a new life.

Someone once reviewed The Beatles

and it could possibly have been after

- one of your early movies...
- Yeah.

And they referred to you
as the Groucho of the group.

JOHN: Oh, really?

[imitates Groucho Marx]
I can't do it even.

[laughter]

[applause]

MIKE: Yoko, would you introduce

- our next guest for us?
- Yes. Our next guest

is, um, assistant professor
of personality psychology

in the department of social relations.

He's here to discuss people's ability

to lower their blood pressure at will,

which is very interesting, you know.

Greet Dr. Gary Schwartz.

[applause]

INTERVIEWER: What does
it feel like watching this?

It's nostalgic, um, at multiple levels.

Can you explain the term biofeedback?

Because on Wednesday's show
we did something that was, uh,

very interesting, which we'll get into.

But explain that for me, please.

The term biofeedback was a term coined

to express the use of equipment

for providing information

about what goes on inside of you,

things that you're not normally aware of

like the beat of your heart,

your blood pressure, your brain waves.

And it would present it to you
in a way such as a-

a meter, or a light, or in
your case, musical notes.

JOHN: Were you getting
into that with the people

lowering their own
blood pressure at will?

- GARY: Yes.
- YOKO: That's really good.

JOHN: How did that start?

I mean, the yogas and all that

had been doing it and everybody thought

only the mysterious East could do it.

And there the West came
along and says, "No,

anybody can do it."

Well, the Westerners
were really ignorant,

that is the scientists,
of what was going in the East.

That is, they knew of it
but they didn't believe it.

JOHN: Yeah.

But in the late '50s and early '60s,

a number of creative and, uh,
sort of bold scientists said,

"Look, some of these things
must be possible"

and we have to just develop
procedures for looking

"at it carefully and making it easier."

GARY: I felt like I was with peers.

I felt like I was interacting with people

who were thinking
about this as deeply as I was.

It was a delight to have
a conversation with them.

JOHN: I mean, if you can
control your blood pressure,

I mean, it's-it's obvious to me

that you can control everything.

It's just learning how to do it.

There'd be no reason for us to be able

to just control one part of our body.

We must... we obviously
control it all, right?

Sure, but on the other hand
it's very good that our bodies

are built to keep things going

- in spite of our minds.
- YOKO: Right.

If you had to worry all the time about

keeping your heart rate going
and your blood pressure

going you'd never get anything done.

This may have been the first time

that I was in a green room.

And I'm in this room
with this young skinny guy...

his hair was longer than mine...

um, who introduced himself
as George Carlin,

and I did not know him
from a hole in the wall.

I last, uh, had him on the show

when we were in San Diego

before a young college audience

and he just absolutely destroyed...

- He's great, isn't he?
- He's just marvelous.

He's, uh, he's original.

He writes a lot of his own material

and he has a great rapport
with America's youth

because he's concerned
about conditions.

Here's George Carlin.

[applause]

DI MASSA: George himself had changed

from a three-piece suit,
wearing-a-tie comedian

into kind of this, uh, what he used to call

the hippy dippy weatherman
kind of persona.

And, uh, it sort of fit
where we were at the times.

CARLIN: If Sister Nathaniel
could see that.

I never had good handwriting

and she would always hold up,

"Whose homework is this?

I can't read the name on this."

DI MASSA: It was really fascinating.

George had started doing the
show in the Cleveland days.

Had followed the show to Philadelphia.

And as George's persona changed,

Mike's relationship
with George never changed.

George, you've
undergone some changes...

Yeah.

In the last couple of years.

- Mm-hmm.
- Each time I've seen you,

that's been a... you've been
a little bit different.

Has this made you, uh, a better person

or a better performer?

All of my bits used to be
ladies on quiz shows,

or newsmen, or disc jockeys,

and I was hiding behind these things.

I didn't know it consciously.

But television rewarded that.

See, that's one facet
of my comedy is I am a mimic.

And they rewarded that so much for me,

and starting in 1965,
that I just forgot myself

and I was not in my act anymore.

And that was not the reason
I went into this.

As anyone knows, you go
into as self-expression,

and once you're not doing that, forget it.

So it just dawned on me.

I said, "Hey, wait a second
now. Look here."

And, uh, it worked out fine.

It only took about a year
to turn things around

the way I, uh, feel happy now

that I'm in control
of what happens to my life

and career instead of drifting.

One of your idols... excuse me.

- Pardon me.
- I'm sorry.

Was there a lot of pressure,

I mean, just to become yourself?

Oh. Uh, well, I was ready for that.

It was one thing is
I wasn't in my act anymore.

Secondly, I discovered
I didn't want to be an actor.

All my life I'd grown up
saying, "Well, I'll become

a disc jockey, and that'll get
me to be a comedian,

and then that'll get me to be an actor."

I always thought actor was
the end of the road for it.

And I found out one day I hated it

and I want to write. Let me write down.

"Phil comes in and walks like a chicken."

I don't want to do it. Let me write that.

I'd like to write the jokes.

So when I discovered that
and I wasn't in my act,

I was freed and I was free to change.

And then there was a couple
incidents in nightclubs

where I had grown too far so far,

- you know, to stay there.
- MIKE: Yeah.

And, uh, I had little incidents

that weren't much really,
but, uh, it served as a basis

for some of the things
I do in my shows now.

It was like a variety, uh,

a very creative kind of variety show.

And I don't know if such a...

if such a thing could be recreated partly

because you have
to have a John Lennon

and a Yoko Ono along
with a Mike Douglas.

You probably have been seeing
many people creeping around

with cameras all week taking pictures,

but one of them belongs to us.

The rest of them are just people taking...

Are you going to give us copies?

Oh, yeah. You'll love them too.

These are pictures that have been taken

throughout the five shows.

Oh, I like this bit.

MIKE: To John and Yoko.

♪ All my thanks for being my co-hosts ♪

♪ I'd like to say this week
with you is really the most ♪

♪ It's been a joy and pleasure ♪

♪ The moments really flew ♪

♪ I'll have this week to treasure ♪

♪ In my memories of you ♪

♪ I'd like to thank my many
friends for being so helpful ♪

♪ It's been a happy week
I know I'll never forget ♪

♪ I hope it isn't very long
before the moment when ♪

♪ We have another chance
to do it again ♪

US'

♪ I'd like to thank my many friends ♪

♪ For being so helpful ♪

♪ It's been a happy week
I know I'll never forget ♪

♪ So once again before
we bid you all a fond adieu ♪

♪ It's really been a pleasure ♪

♪ Just being here with you ♪

John Lennon, Yoko Ono.

[applause]

INTERVIEWER: What would
you say to a student

who watched this appearance

and said, "Yeah, but that was '72",

the world was full of promise,

gas was 25 cents a gallon,

John Lennon was alive,

I don't have those
opportunities anymore"?

DAVID: Well, you have to keep trying.

Go with your vision
and you can think about life

as kind of like two circles.

One of them has all the things
that you're most inspired by

that are right at the
center of your vision,

and the other is the things
you have to do to survive.

And your goal in life is to
make those two things overlap

as much as you possibly can.

VIVIAN: You know,
I remember back to the '60's

and in particular the '70's,
where young people thought,

okay, we can do this, we're going...

we're going to do big things,
where they had hope.

But I think the difference

between the youth then
and the youth today

are the youth today, they don't play.

INTERVIEWER:
I watched you 50 years ago,

30 year-old Ralph Nader

making incredibly prescient
point after point after point.

And 50 years later things are,
pardon my French,

still fucked up.

How do you maintain optimism?

How do you do it?

Well, young people
are known to be cynical.

And I say to them, you know,
if you're cynical,

you're a quitter and you're
gonna make things worse

for you and your close friends,

not just for the world at large.

So try to be skeptical
because skeptical asks

the same questions that the cynic asked,

but they charge back
and try to change things.

You know, as, uh,
Norman Cousins once said,

"Nobody's smart enough
to be a pessimist."

INTERVIEWER: Let's talk
about the other idol,

the other world entertainment superstar.

- I'm not being facetious...
- MAN: Yeah.

INTERVIEWER: Here, is Mike Douglas.

DI MASSA: You know,
it's really interesting

when you look back at these
shows 50 years later,

that everybody remembers these shows

because of John and Yoko.

But the host of this show, Mike Douglas,

was an amazing man.

The fact that anybody wants to
look at this 50 years later,

really has a lot to do
with who that man was.

INTERVIEWER: There was a lot
going on in these things.

They're more than a time capsule.

They're a signpost and a warning sign.

They were like canaries
in the mines, so to speak.

They were seeing the possibilities

of both concerns and opportunities

and were encouraging us
to look forward.

NOBUKO: It's a long process,

change... it-it took us

how many centuries to get here,

to really crawl out of,

and to understand the system
that we live in,

and how we're going to change it

to make a more human world.

What better to work for than that?

US'

[applause]

MIKE: All right. Who would like

to ask a question of John?

I see a hand way in the back,
the very last row.

You see it? On the right-hand side?

- JOHN: Oh, hello.
- Oh, hi.

Will you and your band be going

on tour in the near future?

JOHN: Uh, we-we both, we-we'd like to.

It really... we have to get
permission to work here.

You know? Every time...
Like if we do this show

we have to... we ask
for permission to work.

We'd really like to get on the road again.

- It really depends on the...
- You only have to do that...

you only have to do that every
few months, don't you?

Something like that. Yeah.
For something like a tour

we'd have to apply for a kind
of special visa or something.

MIKE: Are you planning to do that, John?

We-we'd like to if it... if it's all right

with the people in the visa office.

What are your... what
are your immediate plans

- when you leave here?
- Uh, recover.

[laughter]

First hand I saw was
that young lady right there.

WOMAN: What was the biggest
hit record you made?

MIKE: Biggest of all your
hit records, which one?

- JOHN: Oh, um, I really don't know.

MIKE: ♪ You love me
yeah, yeah, yeah, yeah ♪

It could be probably something like

"I Want to Hold Your Hand"
or "She Loves You."

L-I can't... it was one
that you don't expect.

I really don't know which one it is.

I've forgotten offhand.

MAN: I'd like to know
if you've heard the new

McCartney album and if so,
how'd you like it?

- JOHN: The Wings one?
- Yeah.

I quite enjoy some it, yeah.

You know, I think it's, uh,

I don't... it's very hard to, you know,

- uh, listen to your friend.
- How did you like it?

- How did you like it?
- MAN: Not much.

Some of it's all right. I
thought it was getting better.

Some of it wasn't as good
and some was better.

I think he's going in the right direction.

You think he's getting ba... you
think he's getting it back?

JOHN: I think he has to.
He's got it there somewhere.

Is he your best friend, Paul?

I guess, uh, in the male sex,
he-he-he was.

I don't know about now

because I don't see much of him now.

MIKE: There was something in the...

in the Philadelphia paper here

which I... which I... can I get in on this?

- Yeah. Yeah.
- Oh, yes. Go ahead.

This is... this is interesting
because I wrote this down.

The quote is "Yoko is a quiet,

sweet girl in public, all right."

- Oh, that's what that is.
- Oh, that one.

"But at home with John
it's kvetch, kvetch, kvetch."

Now, that means,
that means nag, that word.

That-that story is a lunatic story.

I thought it must have come...

Now let-let me, give it me.

It's incredible what they're saying.

They're saying about...

this-this is one of those stories,

I thought it must have come

from the Holly... "National
Enquirer" or something.

It says things like...
It says, uh, has a pa...

It's supposed to be the inside story.

It's from the "Los Angeles..."

MIKE: This market.

"Yoko wanted... "It says,
"Yoko wanted to call.

The Beatles 'Yoko's Husband
and his Three Sidemen."'

[laughter]

Would you wait
until the boom gets to you...

would you mind standing?

WOMAN: Like a lot of times
people say you know,

about demonstrations at all and like

how everybody should rush out
and go to demonstrations

and everything and it's gonna help.

But I don't know if it really helps.

And I want to know like what I can do,

like me, just personally, like to help

people, you know, how I can do it.

JOHN: Do you want to that?

You should first start, uh, I think,

you know, we can all do it.

But, uh, if we can't solve
our own personal problems,

we can never solve a big problem.

All we have to do
is convince one person,

and that's all you have to do.

And, uh, if everybody
convinced one person,

the whole world is going to be convinced.

You see? It's that simple.

People tend to think that, uh,
somebody will save them,

whether it's a president or a, you know,

whoever your hero might be.

Somebody's going to come out
of the blue to save you.

And there's only people can save us,

only us all deciding to do

something about anything, whatever it is,

just even making that decision

I want to do something is a start.

[applause]