Robert Rosen

Dak Mills, an easygoing New Yorker, wanted to talk about all aspects of my life and career on his podcast Comfortable Being Uncomfortable. And I was completely comfortable chatting with him about the three books I've published—Nowhere Man, Beaver Street, and A Brooklyn Memoir—as well as the untitled book I'm writing about an underground student newspaper at City College in the 1970s, as the antiwar movement was giving way to the despair of punk. So Dak and I jump around from the days of free tuition and open admissions, to John Lennon's dairies, to industrialized pornography, to post-traumatic stress disorder in Flatbush in the aftermath of WWII. I even throw in some hard-earned writing advice.

Please do give it a listen, either on YouTube (above) or on Spotify, Apple, or iHeart.

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All my books are available on Amazon, all other online bookstores, and at your local brick-and-mortar bookstore.

I invite you to join me on Facebook or follow me on X or my eternally embryonic Instagram or my recently launched Threads.

Colombia is one of the many Spanish-speaking countries where readers embraced Nowhere Man: Los últimos días de John Lennon. The book appeared on best-seller lists, and El Heraldo, in Barranquilla—the newspaper where Gabriel García Márquez once worked as a reporter and columnist—ran an excerpt as the cover story in their Sunday magazine supplement.

This was back in the mid-2000s, but Colombia's fascination with Nowhere Man continues. The other week, the book came to the attention of a columnist at the first newspaper to publish Márquez, El Espectador, in Bogotá. (I keep mentioning Márquez because the Venezuelan newspaper Últimas Noticias listed Nowhere Man as one of "Five Indispensable Books" along with Márquez's One Hundred Years of Solitude.) Novelist and poet Luis Fernando Charry's May 4 column is titled "Los últimos días de Lennon
." (You can also access it on MSN.)

He starts out talking about the multitude of Lennon biographies and memoirs, including books by Albert Goldman, Philip Norman, Cynthia Lennon, May Pang, and John Green. This is a setup for his impressions of Nowhere Man. I wouldn't agree with all of Charry's interpretations. I don't know why, for example, he finds Lennon's yoga sessions "disturbing" or why he implies that Yoko Ono was a student of yoga (she wasn't). But he does a good job of making the book sound interesting, describing such things as Lennon's paradoxical diet that wavered between health food and sweets; his obsession with his weight; the "miracle" of his son Sean's birth; and how fatherhood had an adverse effect on his career. This being Latin America, he also mentions that the New York Daily News mistakenly reported that Ono worked for the CIA. And he ends, of course, on how Mark David Chapman put an end to the legend.

I'll count it as a positive review.

Which brings us to the perennial question: Why has Nowhere Man endured for 24 years? The short answer: Because people keep reading it and writing about it. I hope they continue.

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All my books are available on Amazon, all other online bookstores, and at your local brick-and-mortar bookstore.

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My semi-annual journey to West Palm Beach to visit my mother, Eleanor Rosen, in her assisted-living facility coincided with Passover this year. The facility, Morse Life, observes the holiday. As we were sitting under an umbrella in the lush garden, an aide brought my mother her lunch, matzo pizzas consisting of tomato sauce and melted kosher-for-Passover mozzarella cheese on matzo. I reminded her of all the good food she used to prepare for Passover when I was living at home.

My mother is one of the main characters in A Brooklyn Memoir, a book she hasn't been able to read due to failing eyesight. In the book, set in the 1950s and 60s, I describe her as a magician in the kitchen who often cooked gourmet meals like crêpes suzette. When I visit, she likes me to read to her from the book. In honor of her 97th Passover, I read from her favorite chapter, 15, "The Flatbush Diet":

Sometimes on weekends, she'd whip up a batch of blueberry pancakes or a cheese omelet or cinnamon toast or French toast (often made with challah), occasionally with a serving of ambrosia-like bacon on the side. Though we routinely consumed other pig meats as well—notably pork chops and ham—we also observed Passover. And to make more bearable those eight days of giving up virtually every food I liked to eat, my mother made a mouthwatering matzoh brei, latkes as light as feathers, and a sponge cake that she then transformed into a strawberry shortcake so delectable it seemed to defeat the very purpose of the holiday—to remember the suffering and deprivations of the Jews who'd wandered in the desert for 40 years.

And the only reason I can think of that she didn't add matzo pizzas—a variation on English-muffin pizzas—to her repertoire is because kosher-for-Passover mozzarella cheese hadn't been invented yet.

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On May Day, as the majority of Americans wallow in the misery of Donald Trump, I've returned to the 1970s to explore some of that old-time misery. In the book I'm working on, Nixon is president; Agnew is vice president; teenagers are being drafted out of high school and sent to Vietnam to die for the greater glory of Nixon-Agnew; and people in Berkeley, like the Red Star Singers, are writing and recording songs like "Pig Nixon."

I came upon a reference to "Pig Nixon" in the January 24, 1974, issue of Observation Post (OP), the radical/pornographic student newspaper at the City College of New York that's the main setting for my work in progress. The title intrigued me and sure enough, more than 50 years later, there it was on YouTube. So I gave it a listen, and can only wonder why a song this catchy got no radio play that I'm aware of. Fortunately, OP's music critic knew about it.

Now we need a song about that other ex-president who continues to set new standards for piggishness. Everybody should sing it.

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All my books are available on Amazon, all other online bookstores, and at your local brick-and-mortar bookstore.

I invite you to join me on Facebook or follow me on X or my eternally embryonic Instagram or my recently launched Threads.

More than a dozen academic books have cited Beaver Street: A History of Modern Pornography as a source of information. They have titles like Desire and Consent in Representations of Adolescent Sexuality With Adults; Digital Gender Sexual Violations; and Revenge Pornography: Gender, Sexuality and Motivations. Unless you've taken a college-level porn studies course, I doubt you've heard of any of them, and even if you've come across such a book, it's unlikely you've read it. They're filled with academic jargon and are almost unreadable.

Historian Jane Kamensky, a former Harvard professor, recently published a book about the porn industry that, unlike its academic predecessors, is written for a mainstream audience and has been getting some high-profile media attention. Candida Royalle and the Sexual Revolution: A History from Below cites Beaver Street four times.

Royalle (real name Candice Vadala), who died in 2015 at the age of 64, was a porn star who became a producer of X-rated videos that explored women's fantasies.

I was curious what information Kamensky had gleaned from my book. So I checked out Candida Royalle's extensive notes, practically a book in itself, and was impressed with the enormous amount of research Kamensky did.

Though Beaver Street doesn't mention Royalle—I never dealt with her during my tenure as an editor of "adult" magazines—I did write extensively about other people and topics Kamensky explores: the late Gloria Leonard, who was the figurehead publisher of High Society magazine and a member of Royalle's porn star support group; Traci Lords, the underage sex superstar who disrupted the porn industry; male and female porn stars in general; and the nitty-gritty of porn technology and economics. One of Kamensky's Beaver Street notes has to do with Lords and another concerns porn technology and economics.

The Leonard note calls for closer examination. In Beaver Street I wrote that High Society's circulation was 400,000. This is accurate information based on what I learned during my time working at the magazine with Leonard in 1983 and '84. In Candida Royalle, Kamensky quotes Leonard as saying that circulation was four million. This is absurd—she added a zero to the true number. If it were true, it would have meant High Society sold more copies than Hustler and was running close behind Penthouse and Playboy. The whole time I was there, the real publisher, Carl Ruderman, was obsessed with catching up to Hustler, his personal white whale that would brand him "Asshole of the Month" in November 1983. In her note Kamensky writes, "Rosen disputes Leonard's figures."

This is correct. I here and now dispute with great vigor Leonard's fantasyland PR hype that nobody with any sense ever believed.

The most interesting footnote is for a quote Kamensky uses in Chapter 22, "Pornography of the People." Izzy Singer (real name Neil Wexler) is one of the main characters in Beaver Street. He's an intellectual pornographer and my porn industry mentor. Kamensky writes: "For male performers, orgasmic reliability was the gold standard, and could insure a lifetime of work for those with the homeliest faces. But for women, ripeness was all, and in the heat of the triple-X theater, ripeness quickly sugared into rot. The publisher of For Adults Only magazine put it bluntly: 'The sad fact is that porn stars age in dog years.'" In footnote 53, Kamensky identifies the source of this wisdom as "Izzy Smith."

The dog years quote comes from Beaver Street, page 91, and Kamensky got it almost right—it's "sad part" not "sad fact." And she got the pseudonym, Izzy Singer, half right. (Wexler was the editor, not the publisher, of For Adults Only.) But she must be given credit for recognizing Wexler's profound insight, one that in my non-academic opinion deserves a place of pride in Bartlett's Familiar Quotations.

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All my books are available on Amazon, all other online bookstores, and at your local brick-and-mortar bookstore.

I invite you to join me on Facebook or follow me on X or my eternally embryonic Instagram or my recently launched Threads.

May Pang's relationship with John Lennon began in 1973 after he separated from Yoko Ono. Eighteen months later, in early 1975, Lennon returned to Ono. Pang's 2023 documentary, The Lost Weekend: A Love Story, covers the same ground as her book Loving John, published in 1983. It's not surprising that it took Pang almost 50 years to get the movie version of her story into theatres and onto streaming services. As I've discussed in my book Nowhere Man, in The Village Voice, and elsewhere on this blog, Ono, now 91, uses the threat of legal action to try to control what other people say about Lennon. And she's often successful at repressing stories that go against the official narrative of Lennon as a happy househusband and secular saint. (Michael "Mike Tree" Medeiros's unpublished book, In Lennon's Garden, is an especially egregious example.) What Pang went through to make and release The Lost Weekend must be quite a story in itself. That the film exists is a tribute to her tenacity.

If you know the story of Pang and Lennon, The Lost Weekend, set in LA and New York, will seem familiar. It's a diary-like collection of still photos of the two of them, some iconic, some taken by Pang; video of Lennon and Ono; video of Pang on various talk shows; recent video of Pang with Lennon's son Julian; and a bit of animation to fill in the gaps. Pang provides the narration and does a nice job of it. The entire film is well done and has garnered a wide array of mostly positive reviews, like the one in Variety.

What I found most interesting about The Lost Weekend is that Pang confirms virtually everything I wrote about her relationship with Lennon in Nowhere Man, a book that grew out of my access to diaries the former Beatle kept during the final six years of his life. Lennon's diaries begin in 1975, when he's living with Pang in her apartment on the east side of Manhattan and enjoying himself very much. The diaries confirm that he had deep feelings for Pang and carried a torch for her the rest of his life. They were in love, she says in the film.

"John was torn between May and Yoko," I write in Nowhere Man. "He wanted both of them but that was out of the question. May was fun, and pure sexual passion." But Yoko "was survival." May, with some hesitation, talks about their active sex life and mentions that the last time she spoke to John was when he called her from Cape Town, South Africa, a "directional" journey he took in April 1980. This is all detailed in Nowhere Man.

One thing May didn't know was that Lennon had learned to program dreams and many of the dreams he programmed were about making love to May. It was often the only way he could be with her after he returned to Yoko.

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All my books are available on Amazon, all other online bookstores, and at your local brick-and-mortar bookstore.

I invite you to join me on Facebook or follow me on X or my eternally embryonic Instagram or my recently launched Threads.

Aida Vílchez and Martín León Soto rehearse "If I Fell," by the Beatles, for their Nowhere Band show at La Tregua in Sevilla, Spain.

The Nowhere Man event I did in Sevilla,* in January, was the second reading and Q&A I've done in Spain. The first was in 2018, in Madrid. And what I witnessed both times was a passion for the Beatles that's different from anything I've seen in the United States in the last 50 years. There's an innocence and purity to it that I can't quite explain. You can feel it in Aida Vílchez and Martín León Soto's rehearsal of the Beatles' "If I Fell." And you can hear it in the crowd's response when they performed the song at La Tregua. ("If I Fell" begins at 01:30:50 in the video below.)

I originally thought this innocense and purity had to do with Francisco Franco, the (still dead) fascist generalissimo who led Spain from 1938 to 1973. He repressed foreign rock music though allowed the Beatles to perform there twice to show the world that Spain was a "normal" country. But once Franco was out of power and Spain became a democracy, British and American rock exploded there. So I was under the impression that the Spanish were making up for lost time with their passionate embrace of the Beatles. But that's not what happened with the people who invited me to Spain. Franco was their parents' generation. I now think it's more a case that they were born too late and they're trying to re-create and recapture the energy of this fantastic thing they missed. They do it by playing Beatles music live and listening to stories about them, especially from people who had a connection to it. Which is true in the US, too, but it's so much more commercialized here, which diminishes that feeling of purity and innocense.

The Spanish passion for the Beatles reminds me of the way I felt about the Brooklyn Dodgers, who left town when I was four. I was just old enough to understand who they were and what I'd missed. But there was no way to re-create the magic of 1955, the only time Brooklyn won the World Series.

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*Forgive me for saying Sevilla rather than Seville. But Seville no longer sounds right to my ear. Two weeks with Aida and Martín and I feel like a Sevillano.

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All my books are available on Amazon, all other online bookstores, and at your local brick-and-mortar bookstore.

I invite you to join me on Facebook or follow me on X or my eternally embryonic Instagram or my recently launched Threads.

When I was on her payroll there was lots of free time between encounters, and I wanted to make the most of it. So I tried an experiment. Every morning, as soon as I got up, I sat down in front of the typewriter, rolled in a blank sheet of paper, and filled it with words. I just banged away on the keys and whatever came out came out. No editing. Pure stream of consciousness, and I did it for 100 consecutive days, pasting each sheet of paper into the diary I was keeping. Now, all these years later, I'm trying it again on my blog. I don't know what I'm going to say, but I'm going to say something. And no, I'm not going to keep it up for 100 days. But I'm going to do it today, until I don't feel like doing it anymore. And for you aspiring writers who might be reading this, if you're blocked, do what I'm doing now: Sit down in front of your computer and write anything, throw words on the screen until the right words begin to flow. And yes, I might go back and edit this a little—for clarity. The difference between this and what I did 40 years ago with a typewriter is that I'm posting this here and probably on FB, too, and people will be reading it. I don't want to waste their time (or your time). I want them (or you) to get something out of this. Don't ask me what. So let's call this an experiment in blogging. Do people blog anymore? Or is everything that matters on TikTok and Instagram? What can I say? The past few weeks I've been into diaries, not the famous ones you may have read about in one of my books, but my own diaries, which I wrote about last week and here I go again. What is it that keeps me writing in those notebooks? Well there's fear—fear that if I stop, the writing gears will rust as they did back in the 70s before I began keeping diaries. And there's compulsion, the compulsion to write everything down in notebooks just... because. Though I'm not as compulsive as I was when I started doing this in 1977. In those days, when I carried a pocket-size memo book, if somebody said something interesting, I'd take it out and write down what they said. "What are you doing?" they'd ask. "Writing down what you just said." Drove people nuts. It was like if you were with me, everything was on the record. I don't do that anymore. If you say something interesting I'll write it down when I get home, though my memory isn't what it used to be.

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All my books are available on Amazon, all other online bookstores, and at your local brick-and-mortar bookstore.

I invite you to join me on Facebook or follow me on X or my eternally embryonic Instagram or my recently launched Threads.

Francine du Plessix Gray gave me a great piece of advice: "Keep a notebook and write in it every day."

She said this in 1975, when I was a graduate student in the creative writing program at the City College of New York. But I waited two years to take that advice. I'd just finished my first book and was remembering the impossible time I had getting started. I'd taken a long vacation from writing and so hadn't written a word in months. When I tried to begin the book, the words refused to flow. It was as if the writing gears had rusted and wouldn't budge. It took weeks of pounding out reams of gibberish before decent sentences began to form.

The day I typed the last page of the book, I bought a pocket-size memo pad and began scribbling in it. That was 47 years ago. Over that time I've written virtually every day and filled 60 notebooks. Francine's idea, I realized, is to make writing as natural and necessary as breathing. It's how a writer finds their voice.

Since I've been writing in notebooks, getting started on a project has never been as difficult as my first attempt at writing a book. Diaries flow into books flow into blog posts flow into articles flow into books flow into diaries. I refer to the diaries all the time. Beaver Street is based on diaries I kept when I was working as an editor of men's magazines.

Around 1982, I had so many volumes that I started losing track of what any given volume covered. That's when I began decorating the covers with images that serve as reminders. In the photo, Volume 57 covers, among other things, the publication of Bobby in Naziland, which would be renamed A Brooklyn Memoir. Volume 58 covers the first year of the pandemic. Volume 59 covers the publication of the latest edition of Nowhere Man. Volume 60, the current volume, covers my recent trip to Spain.

And so it continues, my life a river of words flowing into an ocean of sentences and paragraphs like the ones you've just read.

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All my books are available on Amazon, all other online bookstores, and at your local brick-and-mortar bookstore.

I invite you to join me on Facebook or follow me on X or my eternally embryonic Instagram or my recently launched Threads.

In December 2021, I wrote an article for The Village Voice about Michael Barbosa Medeiros, John Lennon's gardener, personal assistant, archivist, and friend. John couldn't remember Michael's last name and called him "Mike Tree."

The Voice article, "Mike Tree in John Lennon's Nutopia," was in part about a memoir Michael had written about working with John and Yoko Ono beginning in 1977 and continuing until 1982, 18 months after John was murdered.

Michael sold John Lennon: Barefoot in Nutopia to Diversion Books. They changed the title to In Lennon's Garden and were supposed to publish it in 2020. But Ono's attorneys threatened legal action and now, four years later, Diversion has still not published the book and they refuse to return the rights. The book remains in Limbono.

Michael wanted to wait until Barefoot in Nutopia was available before he spoke publicly about his relationship with John and Yoko.

In 2022, I went on Robert Rodriguez's podcast, Something About the Beatles, to discuss Michael and how Yoko is able to suppress books that refute her narrative of John as the happy househusband. The episode is called "Catch and Kill."

This month Michael, now 84, agreed to talk with Robert about the book and life with John and Yoko. It's an amazing episode of Something About the Beatles: intimate, detailed, surprising, and honest. Among Michael's many revelations is that John wanted him to become romantically involved with Yoko.

Please do give it a listen.

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All my books are available on Amazon, all other online bookstores, and at your local brick-and-mortar bookstore.

I invite you to join me on Facebook or follow me on X or my eternally embryonic Instagram or my recently launched Threads.

The Glass Onion podcast.

I always read comments posted about interviews I've done. I find it helpful to get a sense of the vox populi—voice of the people. Though I rarely respond to anything posted in a public forum, I  appreciate positive comments. (Please contact me directly through this website or on Facebook if you'd like me to respond.)

The other day I was poking around the Internet and stumbled on an interview I did three years ago with Glass Onion, a podcast devoted to John Lennon. I was surprised that people were still listening to it and had posted a number of comments I hadn't seen. Those comments, I thought, are emblematic of the kind of feedback I've been getting about Nowhere Man since it was published more than 24 years ago.

Naturally, there are those who insist on calling me a "con artist" whose only goal was "to profit off of John's death." Their evidence: a discredited hatchet job Yoko Ono's spokesman Elliot Mintz dictated to two Playboy magazine reporters in 1984, in a failed attempt to insure that Nowhere Man would never be published. If you want to know why this libelous work of half-truths and gross distortions has been discredited, please read "An Open Letter" to former Playboy editor G. Barry Golson in the latest edition of Nowhere Man.

But as has been the case since 2000, most people like what I've written and said and have commented accordingly. Below is a sampling, edited for clarity, of some of the recent comments posted on Glass Onion's YouTube channel.

@stevenrufini3515
Maybe John would have published his memoirs or diaries in some form himself later on! Didn't John not like Elliot Mintz and call him a sycophant? He's always remained loyal, maybe he's paid to be! Robert seems a good guy.

@favouritemoon4133
This seems to me to be a seriously under-listened to interview.

@keriford54
It'd be a good thing to have John's journals published, I suspect he wouldn't have minded. They were probably his main form of expression for the years he wasn't producing music. I've just ordered Nowhere Man. I like that Rosen used imagination to recreate something he knew was there. I think it is more honest to give an approximation than to remain silent because you can't be sure it's exactly right.

@glassoniononjohnlennon6696 [podcast host]
Robert's book is both entertaining and fairly truthful (as much as we can possibly know). It's pretty messy what goes on with the Lennon estate. Have a listen to Robert on Something About The Beatles, an episode about a year ago called "Catch The Kill," all about claiming and reclaiming narratives.

@keriford54
@glassoniononjohnlennon6696 Thanks, I listened to that, it was good. I am looking forward to getting his book. I live in New Zealand and it takes about a month for things to arrive. I am currently reading Fred Seaman's book, I understand he's not that well thought of, but I understand that's mainly because of his legal issues with taking the diaries and conflicts with Yoko. The book itself I am finding really interesting and it seems to me to be quite a nuanced portrait. While he doesn't have much love for Yoko I do think that he tries to see things from her perspective. It doesn't feel to me like a character assassination. But the portrait of John is fascinating. John comes across as incredibly intellectually curious, a voracious reader and able to move from anger to humour. For me, the portrait he paints makes John more interesting than the kind of bland popular portrait. It also inspires me to get the John Green book Dakota Days. I had not really previously appreciated that line "The Oracle has spoken, We cast the perfect spell," from "Cleanup Time." I wonder if that line was meant as a humorous dig at McCartney and the spell to keep him from staying at their favourite hotel.

And that's how a book endures for 24 years. People keep talking about it. So I guess I did something right.

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All my books are available on Amazon, all other online bookstores, and at your local brick-and-mortar bookstore.

I invite you to join me on Facebook or follow me on X or my eternally embryonic Instagram or my recently launched Threads.

Before I arrived in Sevilla, Spain, for my presentation of Nowhere Man: Los últimos días de John Lennon at La Tregua, I did a lot of rehearsing. My plan was to read in Spanish a brief introduction and then the opening paragraphs of the Siendo Rico chapter, enough to give people a sense of what the book is like. So I read both parts out loud over and over until the Spanish words started to feel comfortable coming out of my mouth.

The problem is I don't speak anything resembling fluent Spanish, and though I can make myself understood when necessary, I cannot understand what people are saying, especially when they talk fast. For the Q&A part of the presentation, I was going to need somebody to translate. Martín León Soto and Aida Vílchez made that possible. Martín and Aida had invited me and my wife, singer-songwriter Mary Lyn Maiscott, to come to Sevilla and stay at their house. They organized the event, arranged for publicity, and arranged for the Nowhere Band to join them and Mary Lyn in playing Beatles songs and original music for the second part of the show.

Aida was my language coach, Henry Higgins to my Eliza Doolittle—The rain in Spain stays mainly on the plain until I got it. A typical session would go like this: "The word is reclusión, not seclusión... You do not pronounce the 'u' in seguir... It's él, not el." And so on. But she was a good teacher, and by the time I took to the stage at La Tregua, though nobody would ever think Spanish was my mother tongue, I felt confident that the audience would understand everything I said.

Martín and I had never worked together, but he proved to be an excellent translator for both the audience questions and my answers. I did my best to keep my answers short, and we'd discussed beforehand what to do if I went on too long. "Oh, just slap me across the face," I said. But violence was unnecessary. A comical hand signal drew a laugh from the audience and got me to shut up so he could translate. Click here to see a video of the Martín & Bobby Show. It begins at 6:55.

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All my books are available on Amazon, all other online bookstores, and at your local brick-and-mortar bookstore.

I invite you to join me on Facebook or follow me on X or my eternally embryonic Instagram or my recently launched Threads.

If you habla español, then you can understand my interview on El Flexo de Paco Reyero on Canal Sur radio in Sevilla, Spain. I talk about Nowhere Man: Los últimos días de John Lennon. Since I don't speak fluent Spanish (or even close to it), the interview is done NPR style—I say a few words in English and it switches to the Spanish translation. The interview begins at 7:55 and runs for 17 minutes.

If you don't speak Spanish and want to learn about Nowhere Man, then please check out any of my other interviews. Most of them are in English. Or read the English edition of the book.

Many thanks to Martín León Soto (aka Maleso) for arranging the interview with Paco.

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All my books are available on Amazon, all other online bookstores, and at your local brick-and-mortar bookstore.

I invite you to join me on Facebook or follow me on X or my eternally embryonic Instagram or my recently launched Threads.

Antonio Cabral, a Sevilla-based photographer specializing in the culture and architecture of Spain, is best known for directing the photography for a 2016 National Geographic documentary about the restoration of the Fountain of the Lions in the Alhambra, in Granada. In recent years he's worked exclusively as a photographer, shooting mostly in black and white.

I met Antonio and his wife, Lorena, when they came to see my Nowhere Man presentation at La Tregua, in Sevilla. They asked if I'd be willing to pose for some photographs. After looking at the artful images on Antonio's website, I said yes and joined them one Saturday afternoon in Plaza de España, an enormous public square in Sevilla's Parque de María Luisa. You might recognize the square's colonnade from a scene in the Star Wars film Attack of the Clones. In the photo below, I'm reading Nowhere Man in the colonnade, and it's behind me in the color photo further down the page.

"I try to be objective," Antonio said, explaining that his concept of photography is to "see things as they are" but as a "sensitive human being" rather than a machine. He added, "I think that photography is the only language that can be understood throughout the world."

Taking photographs involves not only your eyes, but your sense of touch and smell, Antonio said. "Beauty is in everything, in the sublime and in the ordinary," and taking a great picture "has little to do with the things you see and a lot to do with how you look at them."

Antonio also offered some advice for aspiring photographers: "There are those who think that with a better camera they will be able to take better photos. A better camera won't do anything for you if there's nothing in your head or heart. One becomes a photographer when the camera becomes an extension of oneself. Then creativity with the five senses begins."

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All my books are available on Amazon, all other online bookstores, and at your local brick-and-mortar bookstore.

I invite you to join me on Facebook or follow me on X or my eternally embryonic Instagram or my recently launched Threads.

Why has Nowhere Man: The Final Days of John Lennon (Nowhere Man: Los últimos días de John Lennon) endured for more than 24 years? Because people keep talking about it and writing about it.

The book has generated a miraculous amount of media coverage over the decades, in a variety of languages. The most recent example appeared in Diario de Sevilla the day before a Nowhere Man event last month at La Tregua café in that beautiful Spanish city. (Click here for the English translation.)

The article, "Nowhere Man, o todo lo que siempre quiso saber acerca de John Lennon" (Nowhere Man, or everything you ever wanted to know about John Lennon), by José Miguel Carrasco, is a retrospective of my career. But José also talks about how the presentation at La Tregua came about with a lot of help from Aida Vílchez and her "partner in life and art," Maleso (Martín León Soto), musicians in the Nowhere Band who performed Beatles and Lennon songs at the café along with my wife, Mary Lyn Maiscott, who sang some of her own songs, too.

Maleso must also be given a huge amount of credit for providing the translation during the Q&A portion of my presentation.

José's article certainly got word out about the show. The turnout at La Tregua was fantástico, the most people who've come to any event I've participated in since the Nowhere Man New York City launch party in 2000. And the crowd's enthusiasm for literature and music was electrifying. All I can say is, "We slayed in Sevilla!"

But enough talk about the show. If you want to see what it was like and get an idea of why Nowhere Man is the book that refuses to die, there's a video of the complete event. You can watch it here.

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All my books are available on Amazon, all other online bookstores, and at your local brick-and-mortar bookstore.

I invite you to join me on Facebook or follow me on X or my eternally embryonic Instagram or my recently launched Threads.

If you couldn't make it to La Tregua, in Sevilla, on January 28, here's a video of the complete show. Martín León Soto provides the translation for my Nowhere Man presentation. Bajo Cuerda, La Tregua's house band, covers a few Beatle tunes. And the Nowhere Band performs the Beatles, John Lennon, and Mary Lyn Maiscott originals. That's Mary Lyn on vocals and guitar; Martín on keyboard, guitar, and vocals; Aida Vílchez on guitar and vocals; Juan Carlos León on guitar, and Jorge Collado on percussion and vocals.

Here's the set list:

00:00:50 Grow Old With Me - Aida Vílchez & The Nowhere Band
00:04:05 Oh, My Love - Adelardo Mora
00:07:00 Presentación de Robert Rosen
00:11:12 Lectura
00:14:38 Questions from the audience
00:54:08 Nowhere Man - Bajo Cuerda
00:57:22 Things We Said Today - Bajo Cuerda
01:00:38 And I Love Her - Bajo Cuerda
01:03:43 I'm Losing You - Mary Lyn Maiscott & The Nowhere Band
01:08:43 Jezebel - Mary Lyn Maiscott & The Nowhere Band
01:13:12 Midnight in California - Mary Lyn Maiscott & The Nowhere Band
01:17:48 You Can't Do That - Mary Lyn Maiscott & The Nowhere Band
01:21:41 My Cousin Sings Harmony - Mary Lyn Maiscott & The Nowhere Band
01:26:20 Now And Then - Mary Lyn Maiscott & The Nowhere Band
01:30:50 If I Fell - The Nowhere Band
01:33:26 One After 909 - The Nowhere Band
01:36:08 (Just Like) Starting Over - The Nowhere Band

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Hola a todos. Yo soy Robert Rosen. Escribí el libro Nowhere Man: Los últimos días de John Lennon. Ahora estoy en Nueva York pero estaré en Sevilla el 28 de enero en café La Tregua. Voy a leer un poco del libro y responderé preguntas al respecto. Espero verte allí. Aquí un poco del capítulo uno.

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All my books are available on Amazon, all other online bookstores, and at your local brick-and-mortar bookstore.

I invite you to join me on Facebook or follow me on X or my eternally embryonic Instagram or my recently launched Threads.

This is my last blog post before Mary Lyn Maiscott and I leave for Sevilla, Spain. There, on January 28 at 7 p.m. (19:00), at La Tregua café, I'll be reading en español from Nowhere Man: Los últimos días de John Lennon and answering questions (in translation) about the book. Both the Spanish and English editions of Nowhere Man will be available.

My presentation will be followed by the Nowhere Band, featuring Mary Lyn and Sevilla locals Aida Vílchez and Martín León Soto, and backed by Bajo Cuerda, La Tregua's house band. They will perform Beatles and Lennon covers, original songs by Mary Lyn, and more. I hope you can join us for a memorable evening of literature and music.

You can read more about the event here, in la revista Yuzin.

If you're unfamiliar with Nowhere Man, here's a link to an interview I did recently with Adam Scull on WPRN Public Radio that does a nice job of summing up both the book and the story behind it.

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All my books are available on Amazon, all other online bookstores, and at your local brick-and-mortar bookstore.

I invite you to join me on Facebook or follow me on X or my eternally embryonic Instagram or my recently launched Threads.

Though Adam was a friend of mine, I did not know him well...

The opening line of Jackson Browne's "Song for Adam" came to mind when I heard about the death of Matthew Flamm the other day. Matt was a good friend whom I didn't know very well but who helped me a lot. The last time I saw him was December 14, 2019, when he and his wife, Diane Keating, came to the New York launch event at the Killarney Rose for my book Bobby in Naziland (since retitled A Brooklyn Memoir). I knew something was wrong when I had a disjointed phone conversation with him several months ago. I couldn't bring myself to ask what it was, and he didn't say. It never occurred to me that he had brain cancer. 

Matt was one of the few people I've met in publishing who was in a position to help an author and was willing to do so. He was a writer, poet, and critic who retired a few years ago from his longtime gig as a reporter at Crain's New York Business. I met him over the phone, in 1999, when he was writing "Between the Lines," a column about the book-publishing world, for Entertainment Weekly. This was one of the first Nowhere Man interviews I'd done, and in the course of our conversation he asked what I was currently working on. I told him about Beaver Street, a book about the history of the pornography industry, based in part on my experiences editing men's magazines, as they're euphemistically known. He mentioned that his old college roommate, whom he'd lost touch with, wrote fiction for such magazines. "Do you happen to know David Katz?" he asked.

"I worked with David all the time," I said. "He once did a 12-installment porno parody of David Copperfield—you know, a serialization like Dickens."

Two things happened next: Matt's item in Entertainment Weekly lit the fuse for the wall-to-wall coverage of Nowhere Man that landed it on bestseller lists. And I began hanging out with Matt, David, and another friend, Neil Wexler, one of the main "characters" in Beaver Street (I call him "Izzy Singer" in the book). We sometimes went to dinner at John's, an Italian joint in the East Village. Matt, David, and Neil were big Godfather fans—Mario Puzo once worked at the magazine publishing company where Neil and I used to work—and John's had that Godfather atmosphere, the kind of place where you half-expected to see somebody get rubbed out over a plate of lasagna.

We were eating in John's one night in 2002. Matt had just published in The New York Times a review of W.S. Merwin's poetry collection The Pupil. He wrote that Merwin sounded so worn out it was easy to forget he was once exciting to read.

"That was harsh," I said.

Echoing Sonny Corleone talking to his consigliere about somebody who had to be whacked, Matt said, "I like the guy. It's not personal. It's strictly business."

Later that year, Matt published another piece in the Times that was enormously helpful. As I continued to work on Beaver Street, he wrote a profile of literate writers, including me, who'd toiled in the salt mines of smut. "A Demimonde in Twilight" gave mainstream legitimacy to a topic that many publishers found too taboo to touch (though the Times was too prudish to print the title of my book). In the article Matt also profiled Neil and David, who used a pseudonym.

Matt's final work is a book of poetry, Grieving for Beginners, published in October. I was looking forward to reading it and discussing it with Matt. Then I saw the news of his death in "Publisher's Lunch," a daily mailing I get. I only wish I'd picked up his book sooner, because Matt spelled out his situation in a devastating poem, "Night Before Surgery, Lenox Hill." It begins:

It could be anything the surgeon said.

In my darkened room, he showed me

on his phone the black-and-white slides

of the mass in my brain.

I extend my deepest condolences to Diane and their two daughters, Gabrielle and Allegra.

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In these first days of 2024, as I prepare to travel to Sevilla, Spain, to read from and answer questions about Nowhere Man: Los últimos días de John Lennon, at La Tregua café on January 28, I've been thinking about what a miracle Nowhere Man has been. A book that publishers spent 18 years rejecting has now been in print 24 years in a variety of languages, and it's been a life-transforming odyssey. In 1981, when I began writing the book, I was an obscure freelancer. Suffice it to say that's no longer the case.

To celebrate my upcoming journey and the book's longevity, and to remind myself that what's happened is real, I've put together the above collection of ten print editions of Nowhere Man. This does not include another half-dozen print and ebook editions with identical covers. I invite you to join me in this celebration and, if possible, come to see me in Spain for a night of literature and music featuring the Nowhere Band: Mary Lyn Maiscott,  Aida Vílchez, and Martín León Soto.

Till then, happy New Year and ¡Feliz año nuevo!

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As another year of worldwide tragedy sputters to an end I've been trying to think of something simple and positive to say, and a question I was asked in a recent interview came to mind: How do you want to be remembered?

It's not the sort of question I usually get and it took me by surprise. But the answer I came up with is simple and positive. Before I share what I'm calling the "Quote of the Year," I want to wish all my friends, family, and readers the happiest New Year.

"I'd prefer to be remembered as a decent human being and a writer who opened peoples' eyes to new realities."

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All my books are available on Amazon, all other online bookstores, and at your local brick-and-mortar bookstore.

I invite you to join me on Facebook or follow me on X or my eternally embryonic Instagram or my  recently launched Threads.

Here's another reminder of the many talents of Aida Vílchez and Martín León Soto, who will be our hosts on January 28 when Mary Lyn Maiscott and I travel to Sevilla, Spain, and appear with Aida and Martín at La Tregua café for an evening of literature and music. I'll be reading from the Spanish edition of Nowhere Man: Los últimos días de John Lennon and answering questions about the book. Mary Lyn will be singing Beatles covers, her own songs, and more with Aida and Martín, backed by La Tregua's house band.

In the above video, created with AI, CapCut, and a homemade green screen, Aida takes over for Diane Keaton in a scene with Woody Allen from Annie Hall, dubbed in Spanish. Who said you can't improve on a classic?

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All my books are available on Amazon, all other online bookstores, and at your local brick-and-mortar bookstore.

I invite you to join me on Facebook or follow me on X or my eternally embryonic Instagram or my just-launched Threads.

Aida Vílchez and Martín León Soto will be our hosts when Mary Lyn Maiscott and I travel to Sevilla, Spain, next month for a January 28 show at La Tregua café. I'll be reading from the Spanish edition of Nowhere Man and answering questions about the book. Mary Lyn will be singing Beatles covers, her own songs, and more with Aida and Martín, backed by La Tregua's house band.

As I learned recently, Aida's and Martín's talents go far beyond the musical. With a little help from AI, CapCut, and a homemade green screen, here's Aida, in the role of Yoko Ono, sitting in with John Lennon for a few bars of "Imagine." Stay with it till the end of this transcendent 42 seconds.

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All my books are available on Amazon, all other online bookstores, and at your local brick-and-mortar bookstore.

I invite you to join me on Facebook or follow me on X or my eternally embryonic Instagram or my just-launched Threads.

Every gift-giving season I make available signed copies of some of my books. Here's the selection for 2023:

• Nowhere Man: The Final Days of John Lennon (updated and expanded 2022 edition), $21
• A Brooklyn Memoir (2022), $23
• Nowhere Man: The Final Days of John Lennon (2002 edition with photos), $19
• Bobby in Naziland (2019, earlier, slightly different edition of A Brooklyn Memoir), $23

Prices include shipping in the continental US. Please email me for information on payment via Zelle, check, or money order, or if you have any questions.

Wishing all of you the happiest of holidays! And to help you get into the spirit of the season, here's Mary Lyn Maiscott's Christmas classic, "Blue Lights."

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All my books are available on Amazon, all other online bookstores, and at your local brick-and-mortar bookstore.

I invite you to join me on Facebook or follow me on X or my eternally embryonic Instagram or my just-launched Threads.

Save the Date: Sunday, January 28, 2024, at 19.00 (7 p.m.), at La Tregua café in Sevilla, Spain. I'll be reading en español from Nowhere Man: Los últimos días de John Lennon and answering questions (in translation) about the book. I'll also be signing the latest Nowhere Man Spanish and English editions, which will be available at the café.

A performance by the Nowhere Band, featuring New York City's Mary Lyn Maiscott and Sevilla locals Aida Vílchez and Martín León Soto will follow. Backed by La Tregua's house band, the trio will perform Beatles and Lennon covers, original songs by Mary Lyn, and more. You can check out Mary Lyn's latest release, "My Cousin Sings Harmony," here.

Admission is gratis. For more information please call La Tregua at +34 687 94 02 36 or write them at latreguasevilla@gmail.com.

Stay tuned for more details.

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All my books are available on Amazon, all other online bookstores, and at your local brick-and-mortar bookstore.

I invite you to join me on Facebook or follow me on X or my eternally embryonic Instagram or my just-launched Threads.

This is the final installment of a transcript, edited for clarity, of the questions asked at my Nowhere Man event at Subterranean Books in St. Louis. Transcription courtesy of Laurel Zito.

What did John write in his diary that was most revealing about his relationship with Paul McCartney that was not publicly known?

One of the main parts of Nowhere Man is my description of John Lennon's relationship with Paul McCartney based on my memory of his journals. John didn't see much of Paul, but he thought about him virtually every day. He was angry at Paul because Paul wanted a Beatles reunion and John wanted no part of that. He felt that reuniting the Beatles was going backward, and he wanted to move forward. The Beatles were his childhood, his adolescence, his 20s. He was a 40-year-old man with a family. He wanted to leave the past behind. And Paul was just a constant reminder of that past: "Let's reunite the Beatles! Let's reunite the Beatles!" John made it absolutely clear that he didn't want to do that. He said he loved Paul like a brother but he couldn't stand being around him.

While John was in seclusion, doing nothing, not recording music, not writing music, Paul was out there recording song after song, hit after hit, and John was extremely jealous. He felt that the only way he could get Paul's attention was if Yoko did something like sell a cow for a quarter-million dollars, and that would make the papers. And Yoko sold a cow for a quarter-million dollars, which at the time was a record-setting price for a cow. There was a big story about it in the papers, and John wrote in his journal that it was a great victory over the McCartneys.

In early 1980, Paul was getting ready to go on tour with Wings. He stopped by New York on his way to Japan and called John at the Dakota. He said he had some good weed and, you know, would you like me to come by and we'll smoke some weed together. And John said no. Then he found out that in Japan Paul was planning to stay in the Presidential Suite at the Okura Hotel, in Tokyo. John and Yoko considered that their private suite and he was outraged and repulsed that Paul and his wife, Linda, would be staying there. He told Yoko that we can't let this happen, that she's got to stop McCartney from going on tour and staying in our suite and "ruining our hotel karma."

"Yoko did it!!! Paul busted in Japan!!!"

He wrote in his journals about how Yoko practices magic. They both were into all this occult stuff: magic, tarot, numerology, you name it. They had a full-time tarot-card reader, Charlie Swan—his real name was John Green. Yoko and Swan went to Colombia, in South America, where Swan hooked her up with a powerful bruja, a witch. And she paid the witch $60,000 to teach her how to cast magic spells. And Yoko told John that she was going to use her magic to stop McCartney from staying in their hotel suite. And what happened was—you might remember this—in 1980, when Paul arrived in Japan, he was stopped at customs smuggling marijuana. He was arrested; he spent 10 days in jail; and the tour was ruined. And when John found out about this, it was the happiest moment of 1980 for him up to that point. Because his life was just kind of adrift, and he was doing nothing. Even his journals were really fragmented. He just wasn't writing coherently. But when Paul was busted he wrote, "Yoko did it!!! Paul busted in Japan!!!" And then he quotes the thing from Monopoly: "Go to jail, go directly to jail, do not pass go, do not collect $200." He was thrilled.

John also thought he had a psychic connection with Paul. Anytime Paul was in town he said he heard McCartney's music in his head. And then finally, in Bermuda, in the summer of 1980, John started writing music again, serious music, for the first time in five years. And, yeah, he was really struggling to get back in gear and to connect with his muse and write something inspired. What really got John going was that McCartney had just released an album called McCartney II. And one of the songs on there is "Coming Up." The whole song is addressed directly to John, and McCartney's calling for a Beatles reunion. One of the lyrics in "Coming Up" is "I know that we can get together/Stick around and see." John would play "Coming Up" over and over again. It inspired him and he started writing a song that was really a response to "Coming Up." That song was "I Don't Wanna Face It." It has autobiographical lyrics like "You want to save humanity/But it's people that you just can't stand" and "You're looking for oblivion/With one eye on the Hall of Fame." Even though Paul wasn't there, John was collaborating with him by listening to "Coming Up" and responding to it. Some of John's best writing was when he was collaborating with Paul. Which is not to say his solo songs were bad, but his best work was with the Beatles.

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I invite you to join me on Facebook or follow me on X (the site formerly known as Twitter) or my eternally embryonic Instagram or my just-launched Threads.

Below is a transcript, edited for clarity, of another question asked at my Nowhere Man event at Subterranean Books in St. Louis. Transcription courtesy of Laurel Zito.

How was John's relationship with Yoko in those last days?

Most of the time John was keeping the diaries he was in seclusion and there wasn't much going on. When John and Yoko's son, Sean, was born, in 1975, he was going to drop out of the music business, which he hated, and he was going to devote five years to bringing up Sean. That had been the plan. It's not that he didn't do that. He did it to some degree, but he had a staff of servants and nannies to do the heavy lifting when it came to bringing up a child.

John had mostly retreated to his room and he smoked a lot of dope and he wrote in his journals and he dreamed a lot. The journals were kind of a stream of consciousness for five years. I mean he would record everything—what he ate, when he went to the bathroom. You just got like a real granular sense of what this man's life was like, and, yeah, he spent time with Sean, obviously. But he was very much into his solitude and smoking his weed and writing in his journals.

John and Yoko had five apartments in the Dakota. They had an office on the first floor; their apartment was on this the seventh floor. John was spending most of his time by himself in the apartment, and Yoko was downstairs in the office doing business. So, yeah, you got the sense that they really didn't see each other that much. He would complain in his journals that he wanted to spend more time with Yoko. He missed her and loved her and needed her.

Then towards the end, when they finally decided that he was going to come out of seclusion and he was going to release his first album in five years, that's when John and Yoko started working together and that was a big change. At that point he pretty much stopped writing in his journals. He'd recorded the Double Fantasy demo tape in Bermuda, and then he came back to New York and they started working on the album. They had to find a record company and they signed with David Geffen.

For the first time in five years John was writing music and rehearsing and going into the studio and recording. And Yoko was doing the same thing. Double Fantasy, the final album—probably a lot of you have heard it—was a song of John's followed by a song of Yoko's followed by a song of John's all the way through. And working on Double Fantasy brought them together unlike anything that had happened in the previous years when he wasn't working and doing whatever he was doing to pass the time watching the wheels as the song said.

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I invite you to join me on Facebook or follow me on X (the site formerly known as Twitter) or my eternally embryonic Instagram or my just-launched Threads.

Shepherd is a Website that works closely with authors in an effort to guide readers to good books. Last year I gave them a list of five books that inspired me to write. You can see the list here.

This year they wanted to know the three best books I read in 2023. It was an easy question, and three books sprang to mind: The Overstory by Richard Powers, The Friend by Sigrid Nunez, and The Murder of Roger Ackroyd by Agatha Christie, an iconic author I've somehow managed to avoid reading until now.

Click here to peruse the list and see my reasons for chosing those books. Perhaps it will inspire you to pick up one of my books or another book you hadn't considered reading.

If you're looking for even more choices, here's Shepherd's list of The 100 Best Books of 2023.

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Below is a transcript, edited for clarity, of a question asked at my event at Subterranean Books in St. Louis. Transcription courtesy of Laurel Zito.

Do you feel that the burglary of your apartment was done by somebody who wanted John Lennon's diaries back or do you think it was just an ordinary burglary?

I know who did it: My old college friend Fred Seaman, John's assistant, the guy who hired me to write the book that 18 years later would become Nowhere Man: The Final Days of John Lennon. He had the key to my apartment. He was staying there when I was out of town and he had three weeks to go through everything and take what he wanted. John's diaries were the key to the project.

John and Fred were in Bermuda in the summer of 1980. John was putting together the demo tape for his Double Fantasy album. Fred said that John had a premonition of his death, and John told him that if anything should happen him he wanted Fred to write the true story of his life based on whatever material he needed. This is what Fred told me and I accepted it as face value. Years later I learned that Fred had decided at a certain point he was going to sell the diaries as an art object and he didn't need me for that. He was going to make a lot more money that way.

After the burglary I put together a book proposal based on what happened and what I remembered from the diaries. I was going around trying to get a book deal. I went to Playboy because they had that big interview with John and Yoko. I went to Rolling Stone and I met with Jan Wenner, the editor. I told him the story and he believed me but he said he couldn't publish it and that he wanted to save my karma. He told me I needed go to Yoko Ono and tell her the story. So I went to Yoko Ono and she put me on the payroll for six months.

The whole time that I was transcribing John's diaries, and long before that, beginning in 1977, I'd been keeping my own diaries. Everything that had happened since the day John and Yoko hired Fred was in there. Fred's first day on the job, in February 1979, he came to me and said, "Someday we have to write a book about John Lennon." And I said okay. I didn't know when this was going to happen, and for the two years, between when Fred was hired and John was murdered, he was in touch with me at least once a week, and he'd tell me everything that was going on with John and Yoko and their son Sean—how they were traveling to Bermuda or their homes on Long Island and in Palm Beach. For two years I was taking notes in my own diaries, and this is what Ono wanted to see. She told me that she didn't know that John was keeping diaries. I didn't think that was true. In fact I'm sure it wasn't. On some pages in John's diaries, like when he was contemplating having an affair, Yoko had scrawled something like, "Over my dead body." So she obviously knew the diaries existed. She told me that John's diaries were sacred and I shouldn't have read them. That's when she asked if she could read my diaries. I said, "All right, that's only fair. I read John's diaries you can read my diaries."

I brought over 16 volumes of my diaries, about a half-million words. This covered everything from the day Fred was hired until he was fired. We'd sit around her kitchen table, she'd read my diaries and ask me questions about them. She wanted to piece together what Fred was doing this whole time, and my diaries were like an hour-by-hour account. As far as she was concerned Fred did not have the right to take John's diaries. She had him arrested and she got John's diaries back.

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Jeopardy! premiered March 30, 1964, on NBC and has run, on and off, ever since, with the current edition now in its 40th season. In New York City, the original show, hosted by Art Fleming (Don Pardo was the announcer), aired at 11:30 in the morning. My mother watched it and all the other morning game shows on a small TV in the kitchen as she did her housework. One day, probably in 1968, I was watching it with her and my uncle. I don't remember the category or clue, but the answer (always in the form of a question) was, "What is 'Penny Lane'?" My mother and uncle didn't know it, but I was a Beatles fan and I did, and it prompted my uncle to say, "He should do as well with his schoolwork as he does with Jeopardy!"

Flash forward to December 2003. I'm a professional writer enjoying success with my first published book, Nowhere Man: The Final Days of John Lennon. It's on best-seller lists. Excerpts are running in magazines. Foreign-language editions are appearing. It's getting reviewed. But my parents, retired and living in Florida, have not grasped how dramatically my life has changed.

One night my father calls. "Did you see Jeopardy!?" he asks.

"No," I say, aware that he and my mother are big fans of the show. "Why?"

"You were a question!"

"What?"

All he remembers is that my name and Nowhere Man were mentioned. And this to him is proof at last that his son is "a famous writer." 

I obtain a videocassette of the show, from December 26. And sure enough, there I am in Double Jeopardy!, "Rock & Roll Bookstore" for $400: "'Nowhere Man' is Robert Rosen's take on 'the final days' of this Beatle."

Flash forward again, 20 years, to October 18, 2023. I'm scrolling through Facebook when my messages and notifications suddenly light up: I'm hearing that Bob Rosen was a clue on Jeopardy tonight!... You've hit the big time, my boy!... You were just on Jeopardy!!... Bob, did you know that you're a Jeopardy question??? I'm watching tonight's episode right now!

It's the same category, same question, and same $400 from 2003. Except this time half the world is watching, and at least three people managed to take a picture of the clue.

I later find out that Jeopardy! has been rerunning questions since the writers' strike. And they reran my question in the age of smartphones and social media.

From "Penny Lane" to Nowhere Man, Jeopardy! loves the Beatles.

My Jeopardy! moment 2023.

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I invite you to join me on Facebook or follow me on X (the site formerly known as Twitter) or my eternally embryonic Instagram.