Geoff Emerick. It was the first appearance on the program by any member of the Beatles since 1966, as well as the public unveiling of the Lennons' new cropped look. Two versions of "Instant Karma!" – known as "knitting" and "cue card" – were taped for Top of the Pops, and aired on 12 and 19 February, respectively. The clips differ from one another in terms of Lennon's attire and the nature of Ono's role as, in author Robert Rodriguez's description, "an onstage focal point around which all activity was staged." In addition, for the 19 February broadcast, Lennon's vocal was treated with echo. In the "knitting" clip, Lennon is wearing a black polo-neck jumper as Ono sits beside his piano, blindfolded, and knitting throughout. In "cue card", Lennon wears a flower-pattern shirt under a denim jacket, while Ono, seated on a stool, holds up a series of cryptically worded cue cards and speaks into her microphone. The cards' messages include "Smile", "Hope", and "Peace". Although Ono appears to have a more active role, she is again blindfolded and the words she utters cannot be heard. Lennon and Ono also promoted the single with an appearance on Emperor Rosko's BBC Radio 1 show Midday Spin, shortly after the "cue card" clip aired. In response to the many letters asking about her role in the Top of the Pops performance, Ono said "the blindfold means to me like everybody in the world is like blind ... the stool was like a grove ... And everybody's sitting on the grove blindfolded and trying their best, you know." Rodriguez describes both clips as "terrifically engaging, providing suitably dynamic visuals to a powerful song." He says that the "cue card" performance "captures much more of the ambience, with frequent shots of White's stellar work and the studio dancers." In the view of media analyst Michael Frontani, Lennon's and Ono's untidy, cropped hairstyle befitted the couple's "new agenda" for 1970 – a year in which Lennon, still mistrusted by the political left for his rejection of their principles in the Beatles' 1968 single "Revolution", sought "greater confrontation with the system." Frontani writes of Lennon's appearance on Top of the Pops, that it "was a stark picture, one at odds with his Beatles past. For Lennon, ragged and ugly in comparison to the Beatle image, it was a means of breaking even more fully with his