Donald Trump’s racism, Beatles musical parody

This 15 July 2019 parody music video from Britain is called The Tweetles – Get Back.

It is a parody of the Beatles’ song Get Back. The original lyrics of that song parodied the anti-immigrant views of British Conservative politician Enoch Powell, and anti-Puerto Rican prejudices in the USA.

It is about United States President Donald Trump’s recent attack on Twitter against four oppositional congresswomen: Alexandria Ocasio-Cortez, Ilhan Omar, Rashida Tlaib and Ayanna Pressley. One of them a refugee from the war in Somalia, continued by Trump. The other three congresswomen were born in the USA with immigrant or trans-Atlantic African slave trade ancestors.

The video says about itself:

The unambiguously racist new single from President Donald Trump’s Beatles tribute band.


AOC’s a radical who hates America
Probably ‘cause the air’s too free
If she doesn’t like it, she could always go and
Fix things in her own country

Get back! Get back!
Get back, Ocasio-Cortez!
Go home, Ocasio!
Puerto Rico’s one of the shithole countries, right?
I hope we’re not sending them foreign aid

Ilhan is a nasty racist who hates Israel
She’s from like Somalia
I heard they have pirates, maybe she’s one of ‘em
Wooden leg and going “arrrr!”

Get back! Get back!
Get back to all your pirate friends!
Go home, Ilhan!

There’s another lady who worked here illegally
Then she got a fraud visa
She had an anchor baby, then brought all her family
Oh wait, that’s [Trump’s wife] Melania

That’s fine, that’s fine
That’s fine ‘cause she’s Judeo-Christian

United States neo-nazi site The Daily Stormer praises Trump for this attack, especially because it implies that Congresswoman Ayanna Presley, with ancestry from African American slavery times, and other African Americans, should be deported forcibly to Africa.

Unique John Lennon-Yoko Ono footage rediscovered

This Dutch TV 31 March 2019 video says about itself (translated):

Unique images John Lennon and Yoko Ono rescued from a chemical waste container

Film crews from all over the world were there: the Bed-In For Peace by John and Yoko. The famous images went all over the world. You would say we have seen them all. But 50 years later, unique images of that moment have come to light again.

This is a report by Tonko Dop.

The 1969 Amsterdam images are unique as they are from when only director Peter Goessens and his cameraman Mat van Hensbergen were still present, and the other film crews were gone.

The Bed-In For Peace was a protest against the Vietnam war.

British racist ‘Tommy Robinson”s John Lennon musical parody

This 26 February 2019 music video from Britain is a parody of the John Lennon song Jealous guy; about British racist ‘Tommy Robinson‘.

Another, 7 August 2018 music video from Britain was a parody of the John Lennon song Imagine. YouTube censored it.

It used to say about itself:

Yaxley Lennon [Yaxley-Lennon is the real name of British neofascist ‘Tommy Robinson‘] – Imagine (NSFW)

Tommy Robinson’s John Lennon tribute act.


Imagine there’s no Muslims
It’s easy if you try
No halal butchers
Just bacon and pork pies

Imagine all the rape trials
Live-streamed on Facebook
And YouTube

Imagine there’s no paedos
It isn’t hard to do
Just get rid of all the Muslims
That would solve that issue

If I knew sex offenders
I’d say so on Facebook
And YouTube

You may say that I’m a nobhead
But I’m not the only one
I hope some day they’ll all fuck off
And the world will be as one

JOHN McDONNELL’S clarion call for a new wave of nationwide opposition to racism and the rising tide of far-right violence is timely: here.

Tommy Robinson to appear in court again next week. Meanwhile his fascist supporters plan to mobile in the capital: here.

Humiliated Tommy Robinson sneaks out of election count early. Anti-Islam candidate wins just 2.2% of vote as Brexit party dominates North West: here.

Donald and Melania Trump, Beatles musical parodies

This 25 July 2018 music video from Britain is a parody of the Beatles song A day in the life.

It says about itself:

Find out what it’s like to be Melania Trump as she takes lead vocal duties on The Tweetles‘ new single “A Day in the Wife”.


I read the news today, oh boy
My husband escalated a trade war
Although the news was rather mad
Well, I just had to laugh
Unlike his Chief of Staff

He blew his mind out in a tweet
He hadn’t noticed that the times had changed
A crowd of people stood and stared
They’d seen his tweets before
Nobody was really sure
what else The Donald had in store

I saw a tweet today, oh boy
My husband was unloading on Iran
A crowd of people brushed it off
But I just had to peep
Having met the Veep
I’d love to watch CNN for once

DONALD: Woke up, got out of bed
Combed my hair over my head
Found my way downstairs and checked my phone
Michael Cohen was sending me fake news
Found my coat, put on my tie
Microwaved an apple pie
Found my way upstairs to eat it in bed
Thought about Cohen and I started seeing red
Waaaaaaaaaaaahhhhhhh! Waaaaaaaaaaaahhhhhhh!

[MELANIA:] I read the news today, oh boy
Four thousand migrant children in a cage
And though the kids were rather small
They had to count them all
Now they know how many kids it takes to build a border wall
I just don’t care, do you?

This 24 July 2018 music video from Britain is a parody of the Beatles song Honey pie.

It says about itself:

“Rouhani Pie” is the Iran-threatening new single from the President’s Beatles tribute band, The Tweetles. Available now in caps lock.


We left the nuclear deal
Back in early May
Now we’re reimposing sanctions
From the USA
And if I could only tweet Iran
This is what I’d say:



So very bigly!


Ah to hell with it, I’m bored now
Hey, so what’s all this I’m hearing about Persian Golf?
You wanna go play a few rounds?
Get the putts!

US getting ready to attack Iran. It has warned its allies if you buy Iranian oil you will be sanctioned: here.

Seven months after Trump’s tax cut. Corporate tax collection rate at historic low: here.

Donald Trump policies, cartoon

Trump administration deported up to 463 immigrant parents without their children: here.

This single Trump appointee was responsible for keeping hundreds of kids locked up.
FLOTUS: FIRE THAT NATIONAL SECURITY OFFICIAL Melania Trump made an unprecedented call for firing deputy national security adviser Mira Ricardel, who reportedly clashed with the first lady’s staff over plane seating. “It is the position of the Office of the First Lady that she no longer deserves the honor of serving in this White House,” a spokesperson for FLOTUS told ABC. [HuffPost]

Rupert Murdoch and British election upset, Beatles parody

This 9 June 2017 satiric music video from Britain is called The Jeremy Corbeatles – “Fuck You, The Sun“.

It is a parody of the song Here Comes the Sun, by the Beatles.

Big right-wing media billionaire Rupert Murdoch ran away furiously from the election room of his Times newspaper when he heard that the British Conservatives had lost their majority in the general election.

It says about itself:

Labour leader Jeremy Corbyn adapts a classic Beatles number for Rupert Murdoch, Paul Dacre and Richard Desmond.


Fuck you, The Sun!
Ha ha ha ha
Fuck you, The Sun!
The Mail and the Express

Rupert Murdoch, I’ve tried my best to be magnanimous
Rupert Murdoch, I can’t contain it any more

Fuck you, The Sun!
Ha ha ha ha
Fuck you, The Sun!
The Mail and the Express

Paul Dacre, the smile has disappeared from your face
Paul Dacre, you can’t fool everyone all the time

Fuck you, The Sun!
Ha ha ha ha
Fuck you, The Sun!
The Mail and the Express

Sun, Sun, Sun, suck your mum
Sun, Sun, Sun, suck your mum

Richard Desmond, you tax-avoiding shit porn baron
Richard Desmond, I might just laugh my arse right off

Fuck you, The Sun!
Ha ha ha ha
Fuck you, The Sun!
The Mail and the Express

Sun, Sun, Sun, suck your mum

UK election 2017: The Sun, Daily Mail and Express newspapers binned in protest at Jeremy Corbyn coverage: here.

Trump, Theresa May, Beatles parody song

This 29 January 2017 parody music video from Britain is called Donald Trump & Theresa May [who met this week in the USA] – “I Want to Hold Your Hand“.

It is a parody of the Beatles song of that name.

The lyrics are:

DT: Oh yeah, I’ll tell you something – my mother’s from Scotland
TM: Oh really? How very lovely
DT: Mind if I hold your hand?
Both: I want to hold your hand

TM: Oh please say to me you’ve got a nice deal planned
DT: Yeah sure, just give us all the NHS stuff – and let me hold your hand
Both: I want to hold your hand

Both: And when I touch you I feel slightly annoyed
But it just looks so damn good on celluloid

TM: Oh please say to me you won’t withdraw from NATO
DT: Okay, but hold my hand first – it’s like a sweet potato
Both: It’s got the colour and texture of a sweet potato

Both: And when I touch you I think I might be sick
But one must do unpleasant things in politics

DT: Oh yeah, I just signed an order for Muslims to be banned
TM: The BBC might ask you about that – but me, I’ll hold your hand
Both: I want to hold your hand

Paul McCartney 1964 recording rediscovered

This music video from England says about itself:

The BeatlesIt’s For You [Paul McCartney piano demo]

21 July 2016

Yesterday, a previously unknown acetate demo of Paul McCartney singing “It’s For You” was discovered in the late Cilla Black’s archives. The demo was recorded on June 3, 1964 and was given to Cilla, who recorded her version a week later and re-recorded it on June 29th. The re-recorded version hit #7 on the UK charts that summer. This demo version has thus far only leaked as a short excerpt in rough sound quality, which I’ve cleaned up and given an appropriate photo montage. Enjoy!

Paul McCartney had written that song jointly with John Lennon.

This music video says about itself:

Cilla Black – It’s For You (1964). Cameo from Paul McCartney & John Lennon.

Ringo Starr against homophobia in North Carolina, USA

This music video is called All You Need Is Love – The Beatles (with lyrics).

From CBS in the USA:

Ringo Starr Latest To Cancel North Carolina Concert

April 13, 2016 4:21 PM …

In a news release, the onetime Beatles drummer said he was joining with Bruce Springsteen and other artists as he called off an All Starr Tour show that had been planned for June 18 at the Koka Booth Amphitheatre in Cary, North Carolina over the law, known as HB2.

“I’m sorry to disappoint my fans in the area, but we need to take a stand against this hatred,” Starr said in the release. “Spread peace and love.”

Starr’s release said the law “opens the door to discrimination everywhere.”

“How sad that they feel that this group of people cannot be defended,” he said in the release. …

The North Carolina law further bars local governments statewide from prohibiting discrimination in public places based on sexual orientation and gender identity. A new statewide nondiscrimination law doesn’t contain those specific protections.

In announcing the cancellation of his concert, Starr asked his fans to support organizations fighting to overturn the law.

“As Canned Heat sang, ‘Let’s work together.’ And The Beatles said, ‘All you need is love,’” Starr’s release said.

Because of the same law, Springsteen this past Friday announced the cancellation of a concert that had been planned for last Sunday at the Greensboro Coliseum.

“Some things are more important than a rock show and this fight against prejudice and bigotry — which is happening as I write — is one of them,” Springsteen wrote Friday. “It is the strongest means I have for raising my voice in opposition to those who continue to push us backwards instead of forwards.” …

The new law would also make clear local governments can’t require area businesses to pay workers above the current minimum wage, with some exceptions.

Beatles producer George Martin dies

The Beatles and George Martin in the studio in 1964

By Hiram Lee in the USA:

Beatles producer George Martin dies at 90

15 March 2016

Music producer George Martin, best known for his work with the Beatles, died March 8 at the age of 90. Together with the Beatles, Martin crafted some of the most enduring pop music of the 1960s and, indeed, of the twentieth century. His orchestrations and performances, along with his watchful editing and criticism of the group’s work, played a significant role in bringing the compositions of Lennon-McCartney and George Harrison to life.

Martin was born January 3, 1926, in London. In his 1979 memoir, All You Need Is Ears, Martin described his childhood home during the Depression, a three-family house in the Highbury district: “[I]t was just two rooms on a top floor, with an attic room above. There was no electricity: we had gas lights on either side of the mantelpiece. There was no kitchen: my mother cooked on a gas stove on the landing. There was no bathroom: we had our baths in a tin tub.”

Martin’s father was a talented carpenter who nevertheless remained unemployed for 18 months during the Depression before getting a job selling newspapers on the street. While the family may not have had much, they were able to acquire a piano, thanks to an uncle who was “in the piano trade.” Martin’s love affair with music began at the age of six, when he first touched the instrument’s keyboard.

Martin later discovered he had perfect pitch and began teaching himself Chopin pieces by ear. At school, he was treated to performances of the BBC Symphony Orchestra, led by Adrian Boult. Hearing the orchestra perform Debussy’s “Prelude to the Afternoon of a Faun” was a revelation for the 15-year-old Martin, who later commented: “I couldn’t believe that human beings were making such an incredibly beautiful sound.”

He would go on to study composition at the Guildhall School of Music and Drama, where he also studied piano and oboe. Following his graduation in 1950, he worked briefly for the BBC’s classical music department before taking a job with Parlophone records, a division of EMI. By 1955, he was the label president.

Prior to his work with the Beatles, Martin produced comedy albums for some of the more talented satirists of the day, including Goon Show comics Peter Sellers, Spike Milligan and Harry Secombe, as well as Peter Cook, Dudley Moore, Alan Bennett and Jonathan Miller of the Beyond the Fringe revue.

But by the early 1960s, Martin wanted to branch out into rock and roll. He signed a contract with a new group of working class kids from Liverpool who had cut their teeth performing night after night in the red light district of Hamburg, Germany, and had just failed an audition with Decca records.

The Beatles were electrifying, and they were somehow different. When they exploded onto the American charts in mid-January 1964, their serious competition came from remarkable performers like the Beach Boys, Ray Charles, and the Four Seasons. Despite the extraordinary (in some cases, greater) musicality of the latter, none of those became a global cultural phenomenon in the way the Beatles did. They certainly struck a chord in the US. Their first appearance on the “Ed Sullivan Show” in February 1964 was watched by more than a third of the American population (some 73 million people).

There was a rebelliousness about the British band’s music, an aggressiveness and a punch that other groups and individual performers lacked. There are few moments in rock and roll as exciting as hearing the voices of John Lennon, Paul McCartney and George Harrison climb higher and higher on “Twist and Shout” (1963) until they erupt into frenzied screams. Their recording of the song is more exciting, and crazed, than the original (and very fine) Isley Brothers version from the year before.

The Beatles’ entry onto the musical scene marked and emerged from a period of increasing social and cultural ferment. In Britain, the mood revealed in the “Angry Young Men” trend of the late 1950s took more artistically and socially consistent form in the social realist “New Wave” films of Lindsay Anderson, Karel Reisz, Tony Richardson and others in the early 1960s. In 1964, widespread working class dissatisfaction with the realities of postwar life brought the Labour Party to power, for the first time in 13 years.

In the US, 1963 witnessed mass protests over civil rights, the largest being the March on Washington addressed by Martin Luther King, Jr., as well as the first demonstrations against US involvement in Vietnam. Political violence erupted in the assassination of John F. Kennedy. The first major inner-city riot occurred in Harlem in July 1964. Newspaper headlines reported hunger in Appalachia, and Michael Harrington’s The Other America (published in 1962) reported that as much as 25 percent of the US population lived in poverty.

One could perhaps argue that the growing mood of social rebellion in the US first found expression in the field of popular music and, oddly enough, in the mass enthusiasm for British groups. They tended to be more socially and class conscious, generally more savvy. British popular culture had not suffered the same devastation at the hands of—and therefore was not as intimidated by—official anti-communism.

The Beatles appeared sharper, less cowed by the media and less willing to play nice than their American counterparts. Their interviews and press conferences were mocking comedic performances worthy of the figures recorded earlier by Martin. No one, it seemed, could get the better of them. This same attitude found its way into their music.

George Martin’s musical counseling would prove invaluable to the Beatles in the years that followed. McCartney has often spoken of Martin’s good “bedside manner,” providing both a challenging and nurturing environment in which he and Lennon, and eventually Harrison, could develop as songwriters.

And as their music became more complex, Martin contributed more frequently as a composer and performer. His arrangements and orchestrations were featured on songs like “Yesterday” and “Eleanor Rigby.” There was the brass accompaniment on “Mother Nature’s Son” and “Martha My Dear” from the White Album. Martin performed the haunting electric harpsichord on “Because” from Abbey Road.

He was most frequently heard on piano. He performed the Baroque-style solo on “In My Life,” the saloon piano of “Rocky Raccoon” and the solo in the middle of “Lovely Rita.” On “Being for the Benefit of Mr. Kite,” Martin contributed piano, harmonium, organ, glockenspiel and probably the kitchen sink to build the circus atmosphere the song required. He was often tasked with finding practical solutions for the realization of Lennon and McCartney’s more unorthodox musical ideas, splicing together song fragments and manipulating tape loops.

While sometimes portrayed as the stodgy father figure to “the boys,” he actually encouraged their experimentation and joined in with some of his own. When Martin explained to the 40-piece orchestra assembled for “A Day in the Life” the sort of outburst he had in mind for them to perform, he said, “they all looked at me as though I were completely mad.”

While Martin did his best work with the Beatles, he also produced several well-known records for other artists. During the Beatles years there were recordings with Gerry and the Pacemakers (“Don’t Let the Sun Catch You Crying,” “How Do You Do It?”), Cilla Black (“Anyone Who Had a Heart,” “You’re My World,” “Alfie”) and Shirley Bassey (“Goldfinger”). Later he worked with jazz artists Stan Getz (Marrakesh Express) and the Mahavishnu Orchestra (Apocalypse), as well as rock guitarist Jeff Beck (Blow by Blow, Wired).

He collaborated again with Paul McCartney on three albums during the 1980s, including Tug of War (1983) with its beautiful tribute to John Lennon, “Here Today.”

In 2006, Martin collaborated with his son Giles to mix together a selection of Beatles songs in a well-received suite entitled “Love,” which accompanies a special theatrical production of the same name by Cirque du Soleil. It will celebrate its 10th anniversary later this year.

A comment on this article by Robert B. Livingston says:

One of the most significant celebrations of St. Patrick’s day outside of Ireland takes place on the little emerald island of Montserrat. Festivities there last throughout the week and take on a Caribbean flavor with soca bands competing, fancy dress balls, and many other happy events.

How bittersweet that Martin should pass away even as people there, and many Montserratians in diaspora, looking homeward, were gleefully anticipating the coming week.

Martin had personally done much by using his celebrity to plead their cause and raise money for their relief after the island was half devastated by eruptions of the Soufrière Hills volcano after 1995. He had himself in 1989 lost a recording studio, one he had once built there, when Hurricane Hugo swept through.

As a kid, I was mesmerized by the animated film Yellow Submarine. From an allowance I was able to scrape up enough to purchase the LP soundtrack– the first record of many collections hard won and lost– which I listened to for hours on end, admiring the cartoons on the cover. Martin’s classical score on Side 2 was at first a curiosity to me, but grew on me with time.

Imagine the movie without it! Impossible. And what a beautiful and innocent film it is.

Protest against BP polluters’ ‘artwash’

This video about the USA says about itself:

Profit, Pollution, and Deception: BP and the Oil Spill. BBC documentary

1 November 2013

The Deepwater Horizon oil spill (also referred to as the BP oil spill, the BP oil disaster, the Gulf of Mexico oil spill, and the Macondo blowout) began on 20 April 2010 in the Gulf of Mexico on the BP-operated Macondo Prospect. It claimed eleven lives and is considered the largest accidental marine oil spill in the history of the petroleum industry, an estimated 8% to 31% larger in volume than the previously largest, the Ixtoc I oil spill.

Following the explosion and sinking of the Deepwater Horizon oil rig, a sea-floor oil gusher flowed for 87 days, until it was capped on 15 July 2010. The total discharge has been estimated at 4.9 million barrels (210 million US gal; 780,000 m3).

This video from England says about itself:

Reverend Billy Talen Exorcising BP out of Tate Liverpool

Exorcising BP out of Tate Liverpool 28 April 2015.

With the Stop Shopping Choir.

Tate has revealed oil giant BP donated £3.8m to its galleries as part of its sponsorship deal over a 17-year period.

The figures have been released after Tate lost a three-year Freedom of Information battle, brought by environmental campaigners.

Activist group Platform said Tate should cut its ties with the oil industry for ethical reasons, as the money was “easily replaceable” .Tate said BP’s sponsorship “fits in” with its “ethical policy”.

By Will Stone in Britain:

Activists perform musical protest over BP pollution

Wednesday 29th April 2015

SIXTY grassroots activists stormed the foyer of Tate Liverpool yesterday and formed an impromptu choir to sing protest songs about oil giant BP to the melodies of Beatles songs.

The campaigners joined New York musician collective Reverend Billy and The Stop Shopping choir inside the prestigious art museum, which takes sponsorship funding from BP.

This video from England says about itself:

28 April 2015

Reverend Billy & the Stop Shopping Choir join a crowd of Liverpudlians at Tate Liverpool in opposition to BP‘s continued funding at Tate institutions around the UK. In collaboration with Mel Evans and the Institute For The Practice Of Art And Dissent In The Home. More info at

The Will Stone article continues:

They wept in remembrance of the fifth anniversary of the oil giant’s Deepwater Horizon spill, the damage of which is still being felt by communities living along the Gulf coast today.

Singing “the Gulf of Mexico coast is dying, BP keeps on lying” to Beatles tunes including Eight Days a Week, You Really Got a Hold on Me and You’ve Got to Hide Your Love Away, the performance protest involved a projected image of the spill on the seabed.

“These oil companies are clinging on to every aspect of our lives — we have to rip them out,” exclaimed Reverend Billy.

The group was made up of artists, students, local activists on a lunch break from work and several children. Author Mel Evans, whose book Artwash was launched in Liverpool at the News From Nowhere bookshop yesterday evening, said the Tate “desperately” needs to “artwash” BP from its public image.

“Tate refuses tobacco and arms funding and it should end oil sponsorship too,” she added.

Campaigners are calling on all major public institutions to disentangle themselves from the oil industry.

The performance lasted around half an hour inside the gallery but the choir continued singing on the Albert Dock.

A Tate spokeswoman said the gallery remained open to the public throughout the protest.

A CLIMATE-CONSCIOUS art collective closed off the Tate Modern at the weekend with a 25-hour live installation in protest against the art museum’s links to oil company BP: here.