Hudson Valley singer-songwriter Ginger Winn has released her newest single in honor of musical icon John Lennon, “Dear John.”
Based in the Hudson Valley, Ginger Winn is a singer-songwriter and guitarist who was launched into the spotlight after a captivating performance at Woodstock Way Hotel.
Since this fateful performance, Winn’s folk-tinged guitar and melancholy-tinted vocals have captivated folks across the Hudson Valley and beyond- eventually resulting in a gig touring the west coast alongside Gipsy Kings.
Released earlier this year, Winn debuted with Stop-Motion, a ten track album that quickly set the tone for Ginger’s career as a promising one.
Returning with her latest work, Winn has released “Dear John,” a heartfelt single dedicated to John Lennon that was published on the anniversary of his untimely passing; a crestfallen letter to a hero she’ll never have the opportunity to meet.
“John Lennon has inspired me from an early age. I remember being about 12 and buying a magazine that told his life story. It taught me a lot about being an artist, following the path you feel is right, and making sure that path leads you to a destination that is best for you, which I’ve used as a guiding light in my journey. He’s a true creative who did whatever he wanted to do, no matter the consequences.”
– Ginger Winn
Co-written with Matthew Baione, co-founder of Keep Good Company Records, “Dear John” has its roots in Paul Goresh’s images capturing Lennon’s interaction with Mark David Chapman, Chapman’s manifesto, the moment in the Imagine documentary where John invites the stalkers on his property in for tea, and the famous image of Pope John Paul II forgiving his would-be assassin.
“The song is as beautiful as it is tragic and John has always been an inspiration; we share a birthday and I’ve always admired his audacity, creativity, search for interconnectivity in society, and his attempts at leading with love, especially near his life’s end. He was a dreamer.”
– Matthew Baione
Following this release, Winn will be performing “Dear John” and other works of hers live at two upcoming shows in New York City. She’ll be gracing the stage of the Bowery Electric on December 29, and Arlene’s Grocery on January 29.
For more information on these shows, Winn’s previous works, and to keep up with all of her future endeavors, be sure to visit her official website here.
“Give peace a chance, not shoot people for peace. All we need is love. I believe it. It’s damn hard, but I absolutely believe it… We’re carrying that torch, passing it from hand to hand, to each other, to each country, to each generation. That’s our job.”
There is no better way to capture the whit of music legend and galactic dreamer, John Lennon, than amidst his own words. In hindsight, a dramatic quote proves ever important on the icon’s 40th death anniversary. His words spark a flame in young and old, seasoned and aspiring; to carry on a tradition, to be one, to share your quirks through this thing we call music. It’s why you’re here, reading.
Three days later, Lennon was shot dead in the archway of the Dakota apartment building, in New York’s upper west side. Living with wife Yoko Ono, and inseparable, they were on their way back from a recording session when Lennon was pointlessly gunned down.
John Lennon – December 5, 1980.
“Welcome to the inner sanctum!”
Lennon’s words in comparrison were wilful, he knew exactly what he was doing. Even pro-Beatle Lennon, wanted to get away from any grounds on his blooming self exposition. It’s a continuous flow of self exploration that Lennon created over. It seems overly introverted, yet Lennon learned about himself in a roundabout, extroverted way. “We write lyrics, and I write lyrics that you don’t realise what they mean until after… like ‘Walrus.’ The whole first verse was written without any knowledge, and ‘Tomorrow Never Knows‘— I didn’t know what I was saying, and you just find out later.”
As we delve into Lennon interviews over the years it is clear why he has reached monumental stature. According to Writer Jonathan Cott, Lennon was unlike almost any other artist, “he allowed himself to be interviewed at crucial points in his life in order to reveal and, perhaps, define for himself where he was in his world,” Shadow In The Night.
Jann Wenner said his interview with Lennon was “The most important, and the peak, of the whole concept of the Rolling Stone Interview. He [Lennon] went all the way to the theory of it, to the hilt.” Wenner never did another one, except with the Grateful Dead’s Jerry Garcia.
John Lennon’s Self Portrait elusive in value, yet monumental in pop-culture.
Mark Chapman, a troubled American “Beatles fan” had travelled from Hawaii to NYC. After Lennon kindly signed his copy of Double Fantasy, Chapman would seek out the star and fire five hollow-point bullets from a .38 special revolver. Four hit Lennon in the back. Chapman claimed he was angered by Lennon’s lifestyle and public statements, thus remained at the scene, reading The Catcher in the Rye until he was arrested. Lennon was pronounced dead on scene. The world was devastated.
Yoko: There’s no bullshit.
John: There’s no bullshit.
But, this was bullshit.
It wasn’t until ten years ago that these last interviews began to see light. With each passing year Lennon would grow stronger in our hearts. His music, and moreover, his philosophy would continue to inspire for generations to come.
“Ive never claimed divinity. I’ve Never claimed purity of soul. I’ve never claimed to have the answer to life. I only put out songs and answer questions as honestly as I can, but only as honest as I can—
John Lennon, Dec. 5, 1980.
With earlier Rolling Stone interviews, on Sept. 17 and 18, 1968, John Lennon was much less raw in his response. His light and airy nature was apparent, walking around the room of his apartment, singing “Hold Me Tight,” and sitting on the floor to chat, despite two hours’ sleep.
Still distinctively Lennon, he remised about his past and heightened personal nature of his work. Lennon is direct. It’s wasn’t a child’s feeling, it was mine. “It was writing about my past, so it does get the kids because it was me at school, my whole bit,” on “Good Morning, Good Morning,” and the same with “Penny Lane.”
“We really got into the grove of imagining Penny Lane— the bank was there, and that was where the tram sheds were and people waiting and the inspector stood there, the fire engines were down there, it was just reliving childhood.”
“I don’t like the Blood, Sweat and Tears shit. I think all that is bullshit. Rock & roll is going like jazz, as far as i can see, and the bullshitters are going off into that excellentness which I never believed in and other going off… I consider myself in the avant grade of rock & roll.”
Here John begins, and was the only to explicitly, demystify his Beatles persona. “We were like kings of the jungle back then,” and later on when asked if Lennon would take it all back he says: If i could be a fuckin’ fisherman, I would. If I hat the capabilities of being something other than I am, I would.
Love, love, love
Love, love, love
Love, love, love
There's nothing you can do that can't be done
Nothing you can sing that can't be sung
Nothing you can say, but you can learn how to play the game
It's easy
Nothing you can make that can't be made
No one you can save that can't be saved
Nothing you can do, but you can learn how to be you in time
It's easy
A mass of John Lennon interviews is worth the read. Don’t listen or analyse too much, just be free in the moment like he was. Put a record on and recount Lennon’s LSD trips, gripes with The Beatles, his love for Yoko and pure artistic outlook on the world. It’s enlightening.
John Lennon is the musical equalizer. He says it how he sees it, and sadly he unexpectedly paid for those words 40 years ago today. The simple minded Lennon (in principle) fancied classic rock like “Spirit in the Sky,” and was “influenced by acid and got psychedelic, like the whole generation, but really, I like rock & roll, and I express myself best in rock.
“Because that’s what’s happened, all these songs just came out of me. I didn’t sit down to write. They all came out , like the best work that anybody ever does, wether it is an article or what, it’s just the best ones that come out.”
The dream is NOT over.
Why Can’t Lennon be alone, without Yoko?
I can be, but I don’t wish to be. Theres is no reason on earth why I should be without her. There is nothing more important than our relationship, nothing. We dig being together all the time, and both of us could survive apart m but what for? Im not going to sacrifice love, real love for any… 🙂 …
Rest In Peace John Lennon: to the one you loved most and to a world you continually inspire.
Months earlier marked Lennon’s 80th birthday. On October 9, a live stream from London’s Hard Rock Hotel celebrated the 2nd annual Dear John concert. The event supported a heartfelt charity, War Child U.K., an organization that helps impoverished families across war zones throughout the world.
Blurred Vision frontman, Sepp Osley, hosted the virtual show featuring tributes from Peter Gabriel, Richard Curtis CBE, Maxi Jazz of Faithless, Lindsay Ell, PP Arnold, Lawrence Gowan (Styx), Andy Fairweather Low, KT Tunstall, Larkin Poe, John Ilsley of Dire Straits, Nick Van Eede (Cutting Crew), Mollie Marriott and Laura Jean Anderson.
The date Dec. 8, 1980 will be remembered infamously throughout history as the night John Lennon was shot outside his New York City apartment. The Beatles member and songwriter was returning home from the Record Plant recording studio with his wife Yoko Ono, fresh off their recently released collaborative album, Double Fantasy, when tragedy struck.
Left: John Lennon, Right: Christine Lavin – photos via CNN and Fleming Artists
Lennon was shot four times in the back and was pronounced dead on arrival at the hospital. Fans mourned his death afterwards gathering outside The Dakota, the apartment building where he lived and outside of which he was killed.
Double Fantasy, album by John Lennon and Yoko Ono, released 1980
Four years later, Lennon’s tragic murder was recalled by Christine Lavin, a long-time folk singer-songwriter and guitarist in her song, aptly titled “The Dakota.”
Newspaper headline in Liverpool Photo, Dec. 9th, 1980 via rarenewspapers.com
The song is the final track on her 13 song, self-produced album, Future Fossils, released in 1984. “The Dakota” was actually written a year or two following Lennon’s death, the song inspired by Lavin being stuck in rush hour traffic in NYC as “Imagine” happened to play on the taxi radio.
Album art for Fossil Fuels by Christine Lavin, released 1984
Lavin never actually mentions Lennon by name in the song, alluding to his death primarily through her imagery of the events that unfolded outside of the Dakota. Lavin spent much of her professional career playing venues in New York City and lived only a few blocks away from the Dakota at the time Lennon was killed.
To see one of her musical idols, murdered in a city she called home, was shocking she said in an interview with NYS Music. “That night is burned into my memory,” she said. “To this, day I can’t walk near the scene of the crime without thinking about it.”
In her song, the building serves as an unmoving reminder of that horrific night, a symbol of senseless death that is difficult to escape.
John Lennon and Yoko Ono outside the Dakota – Photo via Getty Images
The chorus finds herself reflecting on the night of Lennon’s death with soft emotion and heartbreak as Lavin sings:
“Every time I see the Dakota, I think about that night. Shots ringing out, the angry shouts, A man losing his life.”
“The Dakota” – Christine Lavin
The closest Lavin comes to referencing Lennon himself is by quoting one of his most popular and enduring songs, “Imagine.” In a unique twist however, Lavin takes the familiar, hopeful tune and bitterly exposes the unrealistic idyllic world, Lennon so vividly painted.
I don’t believe in coincidence So why then on the radio Did an old familiar voice Echo back from not so long ago? “Imagine all the people Living life in peace.” Well, it’s hard to do When you are on this blood-stained street.
“The Dakota” – Christine Lavin
Lavin’s grief and anger over the famed singer’s unnecessary death reaches its peak at this point, the bridge and climax of the song. The lyrics play out like a conversation with herself, as a harmony of voices sing Lennon’s famed lines, and Lavin replies with her honest answer.
Album art for Imagine by John Lennon
“It was just the way I felt at the time,” Lavin explained. “Imagine is so optimistic but it’s almost too optimistic in ways when we think of how the world is today. And it is harder to [be optimistic] when your on that street because to think the man that wrote those lines had such a tragic and violent end doesn’t make sense. Its such a contradiction.”
Still, Lavin said she tries to use her power as a songwriter to find a glimmer of light in a dark situation.
“As songwriters anything we can right that can help us to overcome the dark side of our nature I think we owe to the world,” she said. “It’s acknowledging the world we live in, but knowing we can do better and that it is our duty to do better.”
Lavin said the decision not to mention Lennon’s name in the song was purposeful – she didn’t want to look like she was exploiting the situation. Quite the contrary, Yoko One ended up publishing Lavin’s lyrics in a book she edited about John Lennon.
Memories of John Lennon by Yoko Ono, the book Lavin’s song is featured in
As the song continues, Lavin reflects further on her anger, asking for peace of mind.
I wish I had the answer To the simple question, ‘Why?’ … I wish I could take these bitter thoughts And just shake them from my mind
“The Dakota” Christine Lavin
In what would be Lennon’s last interview before his death, he talked with a crew from RKO Radio in his home in the Dakota. Eerily enough, at one point during the conversation, Lennon pondered themes of death and getting older.
“When we were kids, 30 was death, right?” he said. “I’m 40 now and I feel just … I feel better than before.” He later added, “I consider that my work won’t be finished until I’m dead and buried and I hope that’s a long, long time.”
The Dakota as seen from Central Park West – Photo via Wikipedia
Even in 2022, memories of Lennon’s death haunt the state of New York. Although, The Dakota has undergone extensive renovations, it still maintains its signature gothic architecture and remains home to numerous celebrities, thanks to its prime location facing Central Park.
Lennon’s killer, now 67, also lives, albeit behind bars at the Green Haven Correctional Facility in New York. Just this September, he was denied parole for the 12th time. Yoko Ono, has historically sent a letter to the parole board every two years to request her husband’s murderer remain in prison, CNN reported.
Despite the painful reminders, Lennon’s legacy and hope for a better world persists long after his death as well.
An annual tribute concert is held in Lennon’s name in NYC bringing together famous musicians and celebrities in a night of song and remembrance. Proceeds also go to supporting songwriting programs in elementary schools. One selected artist is also awarded with the John Lennon Real Love Award, this year given to Joan Osborne.
Joan Osborne to receive this years John Lennon Real Love Award
Lavin’s final lyrics capture the conflicting emotions around wanting to forget the tragedy but remember Lennon’s greatness as she closes out the chorus singing:
“Well, it’s something we shouldn’t dwell upon But it’s something we shouldn’t ignore Too many good men have been cut down Let’s pray there won’t be any more.”
“The Dakota” – Christine Lavin
John Lennon is memorialized in “Strawberry Fields,” a section of Central Park across the street from the Dakota that Yoko Ono landscaped in honor of her husband.
Symphony Space will celebrate love, life, and John Lennon with Kenny Loggins and other music acts during their 44th Annual Benefit Tribute as a part of their 2024-25 season.
A multi-disciplinary performing arts center, Symphony Space was founded and functions under the belief that the arts transcend barriers, bringing communities together by celebrating both similarities and differences.
Known for their wide array of programming including but not limited to Selected Shorts, their immersive Wall to Wall concerts, and their Global Arts education initiative, Symphony Space boasts a full slate of original, affordable, and free programming that fosters the arts through all disciplines.
Among many talents and events featured on Symphony Space’s 2024-25 music season is the time honored John Lennon Tribute, now in its 44th year. Two-time Grammy Award winner Kenny Loggins will grace the stage for an evening of his favorite Lennon and Beatles Classics, and will be the recipient of the 2024 John Lennon Real Love Award.
In addition to Loggins, the night will feature performances from Joan Osborne, Jimmy Vivino, The Kennedys, Chrissi Poland, Martha Redbone, Everett Bradley, and Music Director Rich Pagano.
All proceeds from the Lennon tribute will support the Theatre Within initiative. Creators of the John Lennon Real Love Project, Theatre Within provides free workshops in creative expression and mindfulness for folks of all ages that have been impacted by cancer. Notably, they bring the music and mindset of John Lennon to life in elementary and middle school classrooms in an award-winning songwriting workshop and program.
The 44th Annual John Lennon Tribute will be hosted on Saturday, December 7. For more information on how to attend and ticket purchasing, visit the event page here.
The rest of Symphony Space’s 2024 lineup is host to a series of impressive acts including but not limited to queer pop musician and filmmaker Be Steadwell, recipient of the Stephen Sondheim Award, National Book Award, and the 2024 Library of Congress Prize for American Fiction James McBride, Grammy-winning New Orleans Rebirth Brass Band, multi-instrumental and vocalist artists in residence Jerron Paxton and Dennis Lichtman, and 1920s jazz inspired The Squirrel Nut Zippers in a Christmas Caravan show.
The center will open the 2025 year with critically acclaimed blues and folks artist Queen Esther and continue with acts like the Arun Ramamurthy Trio, the “elegantly gritty” Big Lazy, award-winning Black folk interpreter Jake Blount, fusion act Metropolitan Klezmer, the Broadway legend Patti LuPone herself, the lively Martha Spencer and the Wonderland Country Band, Tony Trischka’s tribute to Earl Scruggs, and raga jazz fusion ensemble Falsa in addition to the return of some of their resident artists.
For further details on their entire 2024-25 season, how to attend, and the artists featured, visit Symphony Space’s official website here.
Greenwich Entertainment has released the documentary Revival69: The Concert That Rocked the World in select theaters across the US and on streaming platforms. The film tells the story of the 1969 Toronto Rock and Roll Revival festival, and how two friends inadvertently changed the course of music history forever. This festival single-handedly cemented the legendary status of classic acts, highlighted up-and-comers, and ended the greatest act in music history. With a mix of archival footage, slick animation, and artist interviews, Revival69 captures the energy of its titular festival without sacrificing any details.
Award-winning filmmaker Ron Chapman directs bringing his concert film expertise. Chapman has previously collaborated with Madonna, U2, Sting, and Lady Gaga on his documentary Who the F**K Is Arthur Fogel, bringing him much acclaim. This acclaim has continued with the release of Revival69, winning Best International Feature at the Florida Film Festival. Additionally it was officially selected at the SXSW Festival.
Revival 69 Synopsis
For much of the 1960s, Toronto was not on the map musically. Despite this, two friends were dead set on bringing touring acts to their city. 22 year old John Brower and 23 year old Ken Walker decided to take matters into their own hands when it came to booking acts. The duo started an independent promotion business to bring their favorite artists to Toronto. By 1969, their dreams had become a reality with the duo organizing the Toronto Pop Festival. Legends like the Velvet Underground and Chuck Berry all performed at the first major pop festival in Canadian History.
Building off the success of this festival, the duo immediately began to plan a new event for the fall. While the pop festival was a rapturous success, this new festival’s planning was anything but. The spark for Rock and Roll Revival was purely coincidental, with Brower realizing that some of the biggest names of 1950s rock were all available on the same day – September 13th. The plan from there was simple: book these legendary acts and wait for audiences to flock to Toronto for a historic concert. With Chuck Berry, Jerry Lee Lewis, Bo Diddley and more, who wouldn’t want to see the concert? This however was not the outcome, with the festival planning proving the maxim “anything that can go wrong will go wrong.”
As it turns out, not as many people wanted to see these acts as expected. Brewer and Walker had only sold 2,000 tickets – 7,000 fewer than needed to break even. Needing a headliner, Brower contacted the Doors, who were riding high off the success of their no. 1 hit “Hello I Love You.” This, however, only added to Brower’s issues. The Doors requested $25,000, which Brower did not have, forcing him to borrow money from a local motorcycle gang. On top of this, the Doors soon had to deal with legal issues, as Jim Morrison faced felony indecent exposure charges, leading to a cancellation of all shows.
Enter John Lennon
In a hail mary, Brower and Walker called John Lennon‘s office in London. This point marks a shift in tone for the rest of the documentary. While anxiety still exists in the background, pieces slowly begin to fall into place, with the Rock and Roll Revival seeming more and more likely to succeed. Through the assurances of mutual friends, Lennon eventually agrees to perform in Toronto. This sequence of the film is brought to life by office recordings of John Lennon, humanizing such a legendary figure, and bringing a needed authenticity to these interactions.
Art of the Plastic Ono band from Revival69
Lennon – who had not performed live in years – needed a new band. Much like the haphazard planning of the Revival festival, the formation of the Plastic Ono Band was equally chaotic. Viewers see Lennon alongside Yoko Ono, bassist Klaus Voorman, Drummer Alan White of Yes, and Eric Clapton band together for the first edition of the group. Despite having a large festival scheduled, the group never rehearsed together until they were on the plane heading to Toronto. This sequence feels straight out of a superhero movie, with these legendary artists banding together to form a true supergroup . Additionally, it features small artistic flourishes for keen viewers. Whether it is Voorman’s Revolver-esque drawings of the group, or the instrumental for “Roundabout” playing during White’s introduction, music fans will take joy in these little details.
Revival Comes to Life
Cutting to the day of the festival, the documentary truly comes to life. The driving force for the rest of the film is archival footage from documentarian D.A. Pennebaker and camerawoman Molly Davis. During Bo Diddley’s set, the footage shows audiences smiling, smoking, and dancing without a care in the world. With the anxiety and fear that marks the first half of the film, this footage is a cathartic release. Audiences can see that all of the gambles and hard-work going into the festival actually paid off.
The high-point of these classic performances comes from Chuck Berry. Berry was known for assembling rag-tag backing bands in each city he traveled to. The footage shows Berry enter alongside the teenage members of the local band Nucleus. Berry calls out to the audience “Ole” and “Peace,” ramping up the energy more and more. Then without saying what song will be played or what key it is in, Berry bursts into song. The footage of this set does a spectacular job at visual storytelling. At the beginning of the set, you can see drummer Danny Taylor with fear in his eyes trying to keep up with Berry. After a few songs, however, things begin to click, and following a single chef’s kiss motion from Berry, you can see the band begin to mesh like they had been playing together for years.
Chuck Berry’s performance from D.A. Pennebaker’s footage
The festival was not just classic acts, also acting as a springboard for one of the greatest names in rock. Brower needed to find a backing band for rockabilly so Gene Vincent enlisted the help of Arizona’s Alice Cooper. Chapman’s direction alongside Pennebaker’s film does an amazing job illustrating the energy and sheer horror of Alice Cooper’s set. As Cooper recalled, they were the underdogs of the show, so had to make their time on stage count. On top of playing scorching proto-metal, Cooper turned the stage into a battleground. He fought with his bandmates, hammered the stage, and sprayed a feather pillow out into the crowd. Interview with singer and audience-member Claudia Barry illustrates the atmosphere of the moment, recalling feeling like “Somebody’s gonna die.”
Alice Cooper’s set illustrates another strength of the film: making the legendary feel human. Throughout the segment, there is a comical back and forth between Cooper and agent Shep Gordon. Their interaction – strangely enough – revolved around a chicken in a pillowcase. Gordon thought it would be funny to release it on stage during Cooper’s set. Cooper, seeing the chicken, decided to throw it assuming that chickens could fly away. It did not fly, and rather plummeted into the crowd, spawning rumors of Cooper’s chicken killing spectacles at concerts. In an interview, Cooper still fights back, saying Gordon refuses to admit he released the chicken. Little flourishes like this help bring a sense of levity and humanity to such a big event.
Alice Cooper’s infamous chicken throw
Lennon Finds Peace
The highlight of the festival – and the film – is John Lennon’s much-anticipated performance. Lennon, despite being the biggest star of the era, is mortified to go out on stage. The archival footage shows him throwing up before the performance, really humanizing Lennon. Despite his anxieties, he alongside the Plastic Ono Band emerged to deafening applause and a sea of candles throughout the crowd. The applause however, died out quickly, as Yoko Ono began to sing. As bassist Klaus Voorman recalled, someone “must have stepped on a nail or something.” Despite the cold reception, John stuck by Yoko throughout the set, hugging her and yelling at the audience to “Wake up” and realize the artistic merit of her performance. These small acts of devotion and love really help to humanize a couple as legendary as John and Yoko.
Voorman provides a thought-provoking monologue through this portion of the film, set alongside a montage of the Vietnam war. This marks a stark contrast with the rest of the film, being much more somber and even bone-chilling at points. Voorman recalls the performance clicking, realizing the duality of Lennon and Ono. He realized that as Lennon sang “Give Peace a Chance,” offering hope for the future, Ono howled with her classically-trained voice, reflecting the current death and destruction of the Vietnam war, with both of these halves coming together to form a truly moving reflection on the war.
Leaving the stage, Lennon immediately announced to his bandmates that he was leaving the Beatles. He had found a new band, a new identity, and a new lease on life, and wanted to move into a new era of his career. Ending on such a big piece of music history like this really works to wrap up the film well. At its heart, the Toronto Rock and Roll Revival was a pet project between two friends that was not assured to succeed. Despite countless monetary, legal, and booking issues that threatened to derail the show, it somehow persevered. Through this perseverance, Brower and Walker inadvertently ended the Beatles, bringing about a symbolic end to the 1960s, and moving rock into a new era.
“When we played at the Rock n’ Roll Revival show in Toronto…it was exciting for John because he felt he didn’t need to live up to the Beatles mystique…we had total freedom”
– Yoko Ono, 2020
Review
In conclusion, Revival69: The Concert That Rocked the World brings one of the most momentous nights in rock history to life. Pennebaker’s superb archival footage displays the utter joy of both the performers and audience. This combined with interviews from organizers, performers, and audience members weaves a complex tapestry. These interviews are the emotional backbone of the film’s compelling narrative. Overall, Revival69 is a perfect film for lovers of 1950s and 60s rock, history, or live performances more generally.
The film is now playing at Manhattan’s New Plaza Cinema for a limited time. Additionally, the film is available to rent or buy on Amazon Prime Video.
