In 1967, Lennon, who had attended art school, funded and anonymously participated in Ono's art exhibition Half-A-Room that was held at Lisson Gallery. Following his collaborating with Ono in the form of The Plastic Ono Band that began in 1968, Lennon became involved with the Fluxus art movement. In the summer of 1968, Lennon began showing his painting and conceptual art at his You Are Here art exhibition held at Robert Fraser Gallery in London.[290] The show, that was dedicated to Ono, included a six foot in diameter round white monochrome painting called You Are Here (1968). Besides the white monochrome paint, its surface contained only the tiny hand written inscription "you are here". This painting, and the show in general, was conceived as a response to Ono's conceptual art piece This is Not Here (1966) that was part of her Fluxus installation of wall text pieces called Blue Room Event (1966). Blue Room Event consisted of sentences that Ono wrote directly on her white New York apartment walls and ceiling. Lennon's You Are Here show also included sixty charity collection boxes, a pair of Lennon's shoes with a sign that read "I take my shoes off to you", a ready made black bike (an apparent homage to Marcel Duchamp and his 1917 Bicycle Wheel), an overturned white hat labeled For The Artist, and a large glass jar full of free-to-take you are here white pin badges.[291] A hidden camera secretly filmed the public reaction to the show.[292] For the 1 July opening, Lennon, dressed all in white (as was Ono), released 365 white balloons into the city sky. Each ballon had attached to it a small paper card to be mailed back to Lennon at the Robert Fraser Gallery at 69 Duke Street, with the finder's comments.[293]
Klug defines classical antisemitism as "an ingrained European fantasy about Jews as Jews," arguing that whether Jews are seen as a race, religion, or ethnicity, and whether antisemitism comes from the right or the left, the antisemite's image of the Jew is always as "a people set apart, not merely by their customs but by their collective character. They are arrogant, secretive, cunning, always looking to turn a profit. Loyal only to their own, wherever they go they form a state within a state, preying upon the societies in whose midst they dwell. Mysteriously powerful, their hidden hand controls the banks and the media. They will even drag governments into war if this suits their purposes. Such is the figure of 'the Jew,' transmitted from generation to generation."[23]
Black Secret Societies Tariq Nas
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