4/28/2019
Is Vinyl’s Comeback Here to Stay?
In 2018, the once-forgotten format feels closer to the mainstream than it has in decades.
It was extinct. It was a fad. It was a bubble about to burst. Vinyl has been consigned to the garbage heap of history more than once. Yet it’s still here—and still growing.
But as 2018 begins, the business and culture of vinyl stand at an unlikely juncture. After more than a decade of increasing American sales, vinyl’s comeback is no longer a quirky, look-at-those-hipsters novelty. Instead, the bustling ecosystem of turntables and records is surprisingly close to being mainstream. Last year, vinyl was featured in commercials for insurance companies and arthritis pills. It was on “The Price Is Right.” In November, Jack White was able to describesuch once-unlikely crossovers during the millennium’s first vinyl manufacturing conference. At the same time, though, vinyl still represents an infinitesimal slice of the $16 billion global recording industry. Even within the shrinking realm of physical media, only one in 10 new albums sold last year was on vinyl according to one industry report—aside from a negligible smattering of cassettes, the other nine were CDs.
Yet the numbers—and observations from industry insiders—suggest that physical records will probably continue to remain a meaningful and lasting presence in many music lovers’ lives. In the years ahead, vinyl will likely maintain its status as a complement to the impersonality of streaming, a scruffy anachronism consistently hanging out at the margins. As of now, here are the big trends from the world of spinning wax.
Vinyl Sales Keep Rising—But It’s Complicated
In 2017, vinyl sales in the U.S. rose for the 12th straight year, according to Nielsen Music. What the latest gains mean has spurred some discussion, though: In an era of data overload, when streaming analytics can break down a song’s popularity to the most minute detail, vinyl metrics can still be pretty murky. Who’s truly tallying up what we buy at some grimy venue’s merch table? Plus, fledgling one-person labels typically don’t report their sales to data trackers. Even Jack White’s Third Man Records doesn’t report most of its sales, either, according to co-founder Ben Blackwell. Captured Tracks owner Mike Sniper, who was a buyer at New York City’s Academy Records in the mid-2000s, at the start of the vinyl resurgence, remembers certain indie records selling “hand over fist” before the numbers reflected it. So, as with so many vinyl records themselves, the official figures are embedded with imperfections.
That said, according to Nielsen, vinyl LP sales climbed by 9 percent last year to a record-high 14.3 million albums. That pace of growth was down from previous years’ double-digit gains, leading some to declare an end to the vinyl boom. But a newer data tracker, BuzzAngle Music, tabulated vinyl sales as up by 20 percent—but only totalling 8.6 million. (The two services have slightly different methodologies and have at times conflicted.) Meanwhile, both eBayand online vinyl marketplace Discogs showed double-digit vinyl gains as well. Elsewhere, vinyl sales soared 27 percent in the UK and 22 percent in Canada. If there’s a downturn looming, it’s not here yet.
More Pressing Plants Are Now Churning Out Vinyl
Not long ago, supply problems looked like they might end up hobbling the vinyl resurgence despite fervent demand. Around 2015, backlogs at pressing plants could routinely take six months or more. For smaller labels, that was a long time with their payment locked up and no product to show for it. As recently as 2016, Billboard reported that “no one makes” vinyl presses anymore.
Over the past couple of years, though, a handful of enterprising companies—Newbilt, Viryl Technologies, and Pheenix Alpha—have indeed begun manufacturing new vinyl presses. Most prominently, Newbilt’s machines have been called into action at Third Man’s recently opened Detroit pressing plant. Alex DesRoches, head of marketing for Viryl, tells Pitchfork that Independent Record Pressing, a plant opened in New Jersey by the indie label family Secretly Group and an exec from the long-running alternative label Epitaph in 2015, has fully switched over to its brand-new presses, which are billed as faster and less prone to error. More generally, vinyl pressing plants are opening up all over. One that’s expected to start operations early this year in Northern Virginia would reportedly add 9 million records a year to the current annual U.S. production capacity of 50 million.
Though presses are still notoriously tied up every year before Record Store Day in April, the benefits from all this new supply are evident even beyond the labels big enough to open their own factories. Jessi Frick, who co-runs indie-rock imprint Father/Daughter from her home, tells Pitchfork she’s seen turnaround times improve. “It doesn’t feel as much of a pain in the ass as it used to be,” she says.
As Vinyl Goes Mainstream, So Have Its Best Sellers
Every year, a number of newly pressed versions of classic albums are virtually guaranteed to end up in the list of the best-selling vinyl albums. Wherever there are college freshmen, there will always be someone discovering Bob Marley’s Legend or the Beatles’ Abbey Road. But among the time-tested dorm wall fodder, each year’s most-purchased LPs have also typically shown a tilt toward new indie rock. In keeping with streaming trends, which have benefited viral hits with global scale, that wasn’t the case last year.
According to BuzzAngle, all of 2017’s Top 25 vinyl sellers were released on major labels (except for the Lumineers’ 2012 self-titled album, at No. 22, out on the independent Dualtone). Nielsen’s top list was similar. And no, major-label vinyl albums from longtime indie darlings like Arcade Fire, LCD Soundsystem, Grizzly Bear, and the War on Drugs didn’t make the cut, either. Instead, the leaders among albums that actually came out last year included Ed Sheeran’s latest and Harry Styles’ solo debut.
This was a long way from 2015 (when Arctic Monkeys’ AM, Sufjan Stevens’ Carrie & Lowell, and Alabama Shakes’ Sound & Color were at least in the Top 10), 2014 (Jack White’s Lazaretto at No. 1), 2013(Vampire Weekend, Arcade Fire, Bon Iver, the National), or 2012 (Beach House’s Bloom at No. 6). Perhaps, as vinyl continues to appeal to more and more people, the format’s common denominators have come to more closely mirror pop culture’s as a whole.
More Records Keep Getting Released on Vinyl
Though not a factor in the year-end charts, pop and R&B albums that wouldn’t have bothered with the format not so long ago are ending up getting lavish vinyl releases now. In 2013, buying Frank Ocean’s channel ORANGE on vinyl involved ordering a bootleg; the same originally went for Beyoncé’s Beyoncé. Last year, following 2016’s Blonde vinyl pressing, Ocean sold a vinyl edition of his visual album Endless on Cyber Monday. In December, Lorde announced a vinyl release for her sophomore release, Melodrama. Greta Gerwig’s acclaimed film Lady Bird takes place in 2002, when vinyl sales were deep in the doldrums; its soundtrack, of course, is currently available on vinyl.
The reissue and box-set machines also continued to churn out vinyl. If you wanted to spin Britney Spears’ ...Baby One More Time or the Predator soundtrack on wax, 2017 was your year. The Velvet Underground, Johnny Cash, and George Harrison all got new vinyl box sets, among many others. These types of massive and costly releases, often including material that’s already available, help explain why it’s still so easy for many to question the sustainability of the vinyl recovery after all this time. According to the latest U.S. record industry figures, vinyl averaged $24.98 at retail in 2016, up more than 20 percent from a decade earlier, adjusted for inflation. As today’s record buyers load up on canonical acts, ubiquitous hits, and novelty soundtracks, they may not have enough money left over to support up-and-coming artists.
As Iconic Record Shops Close, More New Ones Are Opening
For all the ease of online shopping, the human interaction that’s involved with actually stepping into a brick-and-mortar record storeis still a big part of vinyl’s appeal. Any metropolitan vinyl aficionado can rattle off a list of beloved institutions that have closed their doors in recent years. But nearly 400 record stores opened nationwide from 2012 to 2017, according to industry officials.
“Almost every week I get an email from someone, saying, ‘Hey, I’m opening a store in a couple of months,’” says Carrie Colliton, a co-founder of Record Store Day. If vinyl attains more mainstream popularity, and city rents go on rising, existing indie retailers—with their amassed knowledge of records and their customers—are sure to face pressures. But overall, the landscape isn’t shrinking so much as being reconfigured.
No Longer Unusual, Vinyl Is Still a Tiny Niche
Vinyl sales may be rising, but they started from an incredibly low base. Those 8.6 million or so vinyl albums sold in America last year compared with 74.5 million CDs, 64.9 million album downloads, and 377 billion streams, according to BuzzAngle. The only smaller category was the cassette format, which stretched out another improbable ascent, jumping 136.1 percent to 99,400 units sold. If vinyl eventually prices out cognoscenti or becomes utterly passé, cheap and convenient tapes and CDs look poised to last long after whenever Apple phases out the iTunes store. But as a physical medium for obsessive music appreciation, neither seems likely to displace the venerable LP anytime soon.
It was extinct. It was a fad. It was a bubble about to burst. Vinyl has been consigned to the garbage heap of history more than once. Yet it’s still here—and still growing.
But as 2018 begins, the business and culture of vinyl stand at an unlikely juncture. After more than a decade of increasing American sales, vinyl’s comeback is no longer a quirky, look-at-those-hipsters novelty. Instead, the bustling ecosystem of turntables and records is surprisingly close to being mainstream. Last year, vinyl was featured in commercials for insurance companies and arthritis pills. It was on “The Price Is Right.” In November, Jack White was able to describesuch once-unlikely crossovers during the millennium’s first vinyl manufacturing conference. At the same time, though, vinyl still represents an infinitesimal slice of the $16 billion global recording industry. Even within the shrinking realm of physical media, only one in 10 new albums sold last year was on vinyl according to one industry report—aside from a negligible smattering of cassettes, the other nine were CDs.
Yet the numbers—and observations from industry insiders—suggest that physical records will probably continue to remain a meaningful and lasting presence in many music lovers’ lives. In the years ahead, vinyl will likely maintain its status as a complement to the impersonality of streaming, a scruffy anachronism consistently hanging out at the margins. As of now, here are the big trends from the world of spinning wax.
Vinyl Sales Keep Rising—But It’s Complicated
In 2017, vinyl sales in the U.S. rose for the 12th straight year, according to Nielsen Music. What the latest gains mean has spurred some discussion, though: In an era of data overload, when streaming analytics can break down a song’s popularity to the most minute detail, vinyl metrics can still be pretty murky. Who’s truly tallying up what we buy at some grimy venue’s merch table? Plus, fledgling one-person labels typically don’t report their sales to data trackers. Even Jack White’s Third Man Records doesn’t report most of its sales, either, according to co-founder Ben Blackwell. Captured Tracks owner Mike Sniper, who was a buyer at New York City’s Academy Records in the mid-2000s, at the start of the vinyl resurgence, remembers certain indie records selling “hand over fist” before the numbers reflected it. So, as with so many vinyl records themselves, the official figures are embedded with imperfections.
That said, according to Nielsen, vinyl LP sales climbed by 9 percent last year to a record-high 14.3 million albums. That pace of growth was down from previous years’ double-digit gains, leading some to declare an end to the vinyl boom. But a newer data tracker, BuzzAngle Music, tabulated vinyl sales as up by 20 percent—but only totalling 8.6 million. (The two services have slightly different methodologies and have at times conflicted.) Meanwhile, both eBayand online vinyl marketplace Discogs showed double-digit vinyl gains as well. Elsewhere, vinyl sales soared 27 percent in the UK and 22 percent in Canada. If there’s a downturn looming, it’s not here yet.
More Pressing Plants Are Now Churning Out Vinyl
Not long ago, supply problems looked like they might end up hobbling the vinyl resurgence despite fervent demand. Around 2015, backlogs at pressing plants could routinely take six months or more. For smaller labels, that was a long time with their payment locked up and no product to show for it. As recently as 2016, Billboard reported that “no one makes” vinyl presses anymore.
Over the past couple of years, though, a handful of enterprising companies—Newbilt, Viryl Technologies, and Pheenix Alpha—have indeed begun manufacturing new vinyl presses. Most prominently, Newbilt’s machines have been called into action at Third Man’s recently opened Detroit pressing plant. Alex DesRoches, head of marketing for Viryl, tells Pitchfork that Independent Record Pressing, a plant opened in New Jersey by the indie label family Secretly Group and an exec from the long-running alternative label Epitaph in 2015, has fully switched over to its brand-new presses, which are billed as faster and less prone to error. More generally, vinyl pressing plants are opening up all over. One that’s expected to start operations early this year in Northern Virginia would reportedly add 9 million records a year to the current annual U.S. production capacity of 50 million.
Though presses are still notoriously tied up every year before Record Store Day in April, the benefits from all this new supply are evident even beyond the labels big enough to open their own factories. Jessi Frick, who co-runs indie-rock imprint Father/Daughter from her home, tells Pitchfork she’s seen turnaround times improve. “It doesn’t feel as much of a pain in the ass as it used to be,” she says.
As Vinyl Goes Mainstream, So Have Its Best Sellers
Every year, a number of newly pressed versions of classic albums are virtually guaranteed to end up in the list of the best-selling vinyl albums. Wherever there are college freshmen, there will always be someone discovering Bob Marley’s Legend or the Beatles’ Abbey Road. But among the time-tested dorm wall fodder, each year’s most-purchased LPs have also typically shown a tilt toward new indie rock. In keeping with streaming trends, which have benefited viral hits with global scale, that wasn’t the case last year.
According to BuzzAngle, all of 2017’s Top 25 vinyl sellers were released on major labels (except for the Lumineers’ 2012 self-titled album, at No. 22, out on the independent Dualtone). Nielsen’s top list was similar. And no, major-label vinyl albums from longtime indie darlings like Arcade Fire, LCD Soundsystem, Grizzly Bear, and the War on Drugs didn’t make the cut, either. Instead, the leaders among albums that actually came out last year included Ed Sheeran’s latest and Harry Styles’ solo debut.
This was a long way from 2015 (when Arctic Monkeys’ AM, Sufjan Stevens’ Carrie & Lowell, and Alabama Shakes’ Sound & Color were at least in the Top 10), 2014 (Jack White’s Lazaretto at No. 1), 2013(Vampire Weekend, Arcade Fire, Bon Iver, the National), or 2012 (Beach House’s Bloom at No. 6). Perhaps, as vinyl continues to appeal to more and more people, the format’s common denominators have come to more closely mirror pop culture’s as a whole.
More Records Keep Getting Released on Vinyl
Though not a factor in the year-end charts, pop and R&B albums that wouldn’t have bothered with the format not so long ago are ending up getting lavish vinyl releases now. In 2013, buying Frank Ocean’s channel ORANGE on vinyl involved ordering a bootleg; the same originally went for Beyoncé’s Beyoncé. Last year, following 2016’s Blonde vinyl pressing, Ocean sold a vinyl edition of his visual album Endless on Cyber Monday. In December, Lorde announced a vinyl release for her sophomore release, Melodrama. Greta Gerwig’s acclaimed film Lady Bird takes place in 2002, when vinyl sales were deep in the doldrums; its soundtrack, of course, is currently available on vinyl.
The reissue and box-set machines also continued to churn out vinyl. If you wanted to spin Britney Spears’ ...Baby One More Time or the Predator soundtrack on wax, 2017 was your year. The Velvet Underground, Johnny Cash, and George Harrison all got new vinyl box sets, among many others. These types of massive and costly releases, often including material that’s already available, help explain why it’s still so easy for many to question the sustainability of the vinyl recovery after all this time. According to the latest U.S. record industry figures, vinyl averaged $24.98 at retail in 2016, up more than 20 percent from a decade earlier, adjusted for inflation. As today’s record buyers load up on canonical acts, ubiquitous hits, and novelty soundtracks, they may not have enough money left over to support up-and-coming artists.
As Iconic Record Shops Close, More New Ones Are Opening
For all the ease of online shopping, the human interaction that’s involved with actually stepping into a brick-and-mortar record storeis still a big part of vinyl’s appeal. Any metropolitan vinyl aficionado can rattle off a list of beloved institutions that have closed their doors in recent years. But nearly 400 record stores opened nationwide from 2012 to 2017, according to industry officials.
“Almost every week I get an email from someone, saying, ‘Hey, I’m opening a store in a couple of months,’” says Carrie Colliton, a co-founder of Record Store Day. If vinyl attains more mainstream popularity, and city rents go on rising, existing indie retailers—with their amassed knowledge of records and their customers—are sure to face pressures. But overall, the landscape isn’t shrinking so much as being reconfigured.
No Longer Unusual, Vinyl Is Still a Tiny Niche
Vinyl sales may be rising, but they started from an incredibly low base. Those 8.6 million or so vinyl albums sold in America last year compared with 74.5 million CDs, 64.9 million album downloads, and 377 billion streams, according to BuzzAngle. The only smaller category was the cassette format, which stretched out another improbable ascent, jumping 136.1 percent to 99,400 units sold. If vinyl eventually prices out cognoscenti or becomes utterly passé, cheap and convenient tapes and CDs look poised to last long after whenever Apple phases out the iTunes store. But as a physical medium for obsessive music appreciation, neither seems likely to displace the venerable LP anytime soon.
Source: https://pitchfork.com/features/article/is-vinyls-comeback-here-to-stay/
Music Documentaries Available on the Roku FilmRise Channel
Among many other music movies they have under the category "Classic Albums":
Paul McCartney & Wings Concert - RockShow
The Making of Fleetwood Mac Rumours
The Making of Goodbye Yellow Brick Road by Elton John
The Making of Plastic Ono Band by John Lennon
The Making of Aja by Steeley Dan
The Making of Stripped by the Rolling Stones
They also have a "Live Concerts" category for music fans.
Filmrise is the latest channel to bring you hassle-free movies, documentaries, and television shows with no subscriptions or linking to your Roku. The channel offers the standard "B" movies that can be found on other channels like Watch Free Flix or Popcorn Flix, as well as the commercials.
The movies are offered in the following categories:
Popular - 24 videos available
Featured - 23 videos available
Comedy - 35 videos available
Horror - 21 videos available
Romance - 20 videos available
Action & Thriller - 28 videos available
Drama - 31 videos available
TV Shows - 8 videos available
Indie Films - 20 videos available
Family & Kids - 13 videos available
Documentaries - 28 videos available
World Cinema - 92 videos available
There is a fair amount of overlap between the categories, and the movies are ad-supported.
FilmRise delivers unlimited FREE instant streaming of popular movies and hit TV shows. Choose from our extensive collection of movies and TV spanning all genres – available absolutely free with no subscription.
Watch hit television shows like Forensic Files, Women Behind Bars and Urban Legends. Popular kids’ shows include PBS’ Emmy award winning The Big Comfy Couch, Discovery Kids’ Popular Mechanics for Kids and the BBC's Young Dracula.
FilmRise also offers film favorites like the action-packed thriller, Red Scorpion, as well as great comedies, romances, dramas, horror films, documentaries, award-winning foreign language films and independent cinema.
All FilmRise movies and TV shows are available instantly. No subscription needed. Available on any Roku ready device, FilmRise is the premiere Roku channel for absolutely FREE movies and TV!
For more information and high quality film and TV entertainment, please visit FilmRise.com.
-- Information is current as of October 3, 2014
Developer's Channel Description: FilmRise offers the best selection of movie and TV entertainment, all available for unlimited FREE instant streaming. Enjoy hit TV shows, popular movies, riveting documentaries, kids shows, world cinema and much more. No subscription. No waiting. Absolutely FREE!
Source: https://channelstore.roku.com/details/45437/filmrise
4/21/2019
John Lennon's Final Interview 12-08-1980
On a dark evening of December 8, 1980, the music world was shocked to hear the untimely assassination of Beatles legend John Lennon by Mark David Chapman. Hours before the Lennon death, RKO Radio Network DJ Dave Sholin and his crew had an exclusive final interview with the Beatles icon. In commemoration of the 30th anniversary of the Lennon assassination, Y101 Always First provides an in-depth look on the people’s reactions on the legacy he left behind.
In the afternoon of that day, Sholin and his fellow interviewers Ron Hummel, Laurie Kay, and Bert Keane were privileged enough to have taken part in the last interview of John Lennon and Yoko Ono at their Dakota building residence in New York. In an unprecedented first, the public gets an inside look on the key conversations with Lennon and how the immediate aftershocks of his assassination changed them and the world that mourned his death.
In the build-up to the interview, the crew reminisced in great detail as to how the Lennon-Ono residence looked like as if they were there. They admit that it took them about a month just to set up that historic interview with John and Yoko. As the anticipation builds up, the crew talked with Yoko while John just finished their iconic Rolling Stone pictorial with Annie Leibovitz.
Yoko vividly recalled the tingling sound of glass just like how “Just Like Starting Over” epitomized the sexual revolution and the counter-culture movement of the 70s. Just as they were getting started with their interview and John Lennon enters the scene. Sholin recalled that Lennon’s presence “put him at ease” as if he is like “an old friend he knew.” Hummel felt at awe as if he was a little boy meeting his favourite idol.
Lennon even poked fun at Keane as if he was just a character at Sesame Street while Kay was concerned about the previous Lennon interview with Playboy and he may not talked about his Beatles past.
Apparently, she was wrong and viewed him as the “nicest human being” she ever known. Lennon’s sabbatical provided him the inspiration for his last album “Double Fantasy” and really solidified his solo career thereby separated him from the John Lennon of Beatles fame with the John Lennon we know as Yoko Ono’s partner. His hit single “Woman” is believed to have encapsulated John’s adoration to Yoko.
Lennon relished his times as father to Sean and his domestic lifestyle as the father he wanted to be. He sacrificed his music career and enjoyed his role as a “house-husband.” Despite his five-year self-exile, Lennon still managed to find his creative talent and get back again to the business he knows best – making his own music.
All the women from John’s life from his mother Julia to Yoko played an important part in his creative process. In fact, Sholin can relate how John and Yoko are perfect for each other as to how they made eye contact to each other and finish each other’s statements. In a rare moment in their discussion despite John’s jovial mood and optimism, he displayed an apparent sadness as he opens up aspects of his personal life including his haunting 18-month “lost weekend” where his relationship with Yoko hit rock bottom and how he tried to fixed things up.
As the consummate storyteller that he is, Lennon has showed how he grown up and overcame the challenges in his career and personal life. Hummel recalled Lennon’s animated response to the socio-political dynamics of the turbulent decade of the 60s and 70s as shown in “Across the Universe” and “Imagine.” He espoused the philosophy of “music is love” to counter the horrors of the Vietnam War and the political climate of the time.
Hummel would recall an ironic twist to the waning moments of the interview wherein John talks about his own mortality. “…I realised that all my work won’t be done until I’m dead and buried…” is an eerie statement on what the Lennon death might become. Yet he was hoping to be still making record but it’s unfortunate that his life would end by the bullets of a Charter Arms .38 Special revolver used by Chapman hours after the interview.
Ride the time capsule and recall key moments of John Lennon’s life and career by listening to his two-hour final interview exclusively at Y101 FM, Always First.
From The German Music Blog, post Reminiscing John Lennon’s Final Interview
-----
John Lennon's Final Interview
Nine-hour discussion with 'Rolling Stone' took place three days before he died
Read more: http://www.rollingstone.com/music/news/john-lennons-final-interview-20101207#ixzz1dbeskxWO
By Andy Greene
December 7, 2010 11:30 PM ET
On December 5, 1980, three days before he was murdered, John Lennon sat down with Rolling Stone's Jonathan Cott for a nine-hour interview. Select excerpts from the interview ran in Rolling Stone's tribute to John Lennon the following month — but Cott never transcribed all of the tapes. For 30 years they sat in the back of his closet.
Photos: John Lennon's Final Years
"Earlier this year I was cleaning up to find some files in the recesses of my closet when I came across two cassette tapes marked 'John Lennon, December 5th, 1980,'" Cott says. "It had been 30 years since I listened to them, and when I put them on this totally alive, uplifting voice started speaking on this magical strip of magnetic tape."
John Lennon's Last Days: Audio clips from Jonathan Cott's 1980 interview with Lennon, plus video, photos, playlists and more
Cott's interview with John Lennon — the artist's last print interview — finally hits newsstands this Friday as the centerpiece of Rolling Stone's tribute to John Lennon on the 30th anniversary of his death. In the remarkably candid interview Lennon lashes out at fans and critics who went after him during his five-year break from music. "What they want is dead heroes, like Sid Vicious and James Dean," Lennon says. "I'm not interested in being a dead fucking hero...so forget 'em, forget 'em."
Hear Clips of John Lennon's Last Interview
He also talked about plans for a possible return to the road. "We just might do it," he said. "But there will be no smoke bombs, no lipstick, no flashing lights. It just has to be comfy. But we could have a laugh. We're born-again rockers, and we're starting over...There's plenty of time, right? Plenty of time."
Background on John Lennon:
John Winston Lennon, MBE (9 October 1940 – 8 December 1980) was an English musician and singer-songwriter who rose to worldwide fame as one of the founding members of The Beatles, one of the most commercially successful and critically acclaimed acts in the history of popular music. Along with fellow Beatle Paul McCartney, he formed one of the most successful songwriting partnerships of the 20th century.
Born and raised in Liverpool, Lennon became involved as a teenager in the skiffle craze; his first band, The Quarrymen, evolved into The Beatles in 1960. As the group disintegrated towards the end of the decade, Lennon embarked on a solo career that produced the critically acclaimed albumsJohn Lennon/Plastic Ono Band and Imagine, and iconic songs such as "Give Peace a Chance" and "Imagine". After his marriage to Yoko Ono in 1969, he changed his name to John Ono Lennon. Lennon disengaged himself from the music business in 1975 to devote time to his infant son Sean, but re-emerged in 1980 with a new album, Double Fantasy. He was murdered three weeks after its release.
As of 2010, Lennon's solo album sales in the United States exceed 14 million units, and as writer, co-writer or performer, he is responsible for 25 number-one singles on the US Hot 100 chart. In 2002, a BBC poll on the 100 Greatest Britons voted him eighth, and in 2008, Rolling Stone ranked him the fifth-greatest singer of all-time. He was posthumously inducted into the Songwriters Hall of Fame in 1987 and into the Rock and Roll Hall of Fame in 1994.
History
1940–57: Early years
Lennon was born in war-time England, on 9 October 1940 at Liverpool Maternity Hospital, to Julia and Alfred Lennon, a merchant seaman who was away at the time of his son's birth.[1] He was named John Winston Lennon after his paternal grandfather, John "Jack" Lennon, and then-Prime Minister Winston Churchill.[2] His father was often away from home but sent regular pay cheques to 9 Newcastle Road, Liverpool, where Lennon lived with his mother,[3] but the cheques stopped when he went absent without leave in February 1944.[4][5] When he eventually came home six months later, he offered to look after the family, but Julia—by then pregnant with another man's child—rejected the idea.[6] After her sister, Mimi Smith, twice complained to Liverpool's Social Services, Julia handed the care of Lennon over to her. In July 1946, Lennon's father visited Smith and took his son to Blackpool, secretly intending to emigrate to New Zealand with him.[7] Julia followed them—with her partner at the time, 'Bobby' Dykins—and after a heated argument his father forced the five-year-old to choose between them. Lennon twice chose his father, but as his mother walked away, he began to cry and followed her.[8] It would be 20 years before he had contact with his father again.[9]
Throughout the rest of his childhood and adolescence, he lived with his aunt and uncle, Mimi and George Smith, who had no children of their own, atMendips, 251 Menlove Avenue, Woolton.[10] His aunt bought him volumes of short stories, and his uncle, a dairyman at his family's farm, bought him a mouth organ and engaged him in solving crossword puzzles.[11] Julia visited Mendips on a regular basis, and when he was 11 years old he often visited her at 1 Blomfield Road, Liverpool, where she played him Elvis Presley records, and taught him the banjo, learning how to play "Ain't That a Shame" byFats Domino.[12]
In September 1980 he talked about his family and his rebellious nature:
Part of me would like to be accepted by all facets of society and not be this loudmouthed lunatic musician. But I cannot be what I am not. Because of my attitude, all the other boys' parents ... instinctively recognised what I was, which was a troublemaker, meaning I did not conform and I would influence their kids, which I did. ... I did my best to disrupt every friend's home ... Partly, maybe, it was out of envy that I didn't have this so-called home, but I really did ... There were five women who were my family. Five strong, intelligent women. Five sisters. Those women were fantastic ... that was my first feminist education ... One happened to be my mother ... she just couldn't deal with life. She had a husband who ran away to sea and the war was on and she couldn't cope with me, and when I was four-and-a-half, I ended up living with her elder sister ... the fact that I wasn't with my parents made me see that parents are not gods.[13]
He regularly visited his cousin, Stanley Parkes, who lived in Fleetwood. Seven years Lennon's senior, Parkes took him on trips, and to local cinemas.[14] During the school holidays, Parkes often visited Lennon with Leila Harvey, another cousin, often travelling to Blackpool two or three times a week to watch shows. They would visit the Blackpool Tower Circus and see artists such as Dickie Valentine,Arthur Askey, Max Bygraves and Joe Loss, with Parkes recalling that Lennon particularly liked George Formby.[15] After Parkes's family moved to Scotland, the three cousins often spent their school holidays together there. Parkes recalled, "John, cousin Leila and I were very close. From Edinburgh we would drive up to the family croft at Durness, which was from about the time John was nine years old until he was about 16."[16] He was 14 years old when his uncle George died of a liver haemorrhage on 5 June 1955 (aged 52).[17]
Lennon was raised as an Anglican and attended Dovedale Primary School.[18] From September 1952 to 1957, after passing his Eleven-Plus exam, he attended Quarry Bank High School in Liverpool, and was described by Harvey at the time as, "A happy-go-lucky, good-humoured, easy going, lively lad."[19] He often drew comical cartoons which appeared in his own self-made school magazine called The Daily Howl,[20] but despite his artistic talent, his school reports were damning: "Certainly on the road to failure ... hopeless ... rather a clown in class ... wasting other pupils' time."[21]
His mother bought him his first guitar in 1956, an inexpensive Gallotone Champion acoustic for which she "lent" her son five pounds and ten shillings on the condition that the guitar be delivered to her own house, and not Mimi's, knowing well that her sister was not supportive of her son's musical aspirations.[22] As Mimi was sceptical of his claim that he would be famous one day, she hoped he would grow bored with music, often telling him, "The guitar's all very well, John, but you'll never make a living out of it".[23] On 15 July 1958, when Lennon was 17 years old, his mother, walking home after visiting the Smiths' house, was struck by a car and killed.[24]
Lennon failed all his GCE O-level examinations, and was accepted into the Liverpool College of Art only after his aunt and headmaster intervened.[25] Once at the college, he started wearing Teddy Boyclothes and acquired a reputation for disrupting classes and ridiculing teachers. As a result, he was excluded from the painting class, then the graphic arts course, and was threatened with expulsion for his behaviour, which included sitting on a nude model's lap during a life drawing class.[26] He failed an annual exam, despite help from fellow student and future wife Cynthia Powell, and was "thrown out of the college before his final year."[27]
1957–70: The Quarrymen to The Beatles
Further information: The Quarrymen, Lennon–McCartney, Brian Epstein, The Beatles, Beatlemania, British Invasion, and More popular than Jesus
1957–65: Formation, commercial breakout, and touring years
The Beatles evolved from Lennon's first band, the Quarrymen. Named after Quarry Bank High School, the group was established by him in September 1956 when he was 15, and began as a skiffle group.[28] By the summer of 1957 the Quarrymen played a "spirited set of songs" made up of half skiffle, and half rock and roll.[29]Lennon first met Paul McCartney at the Quarrymen's second performance, held in Woolton on 6 July at the St. Peter's Church garden fête, after which McCartney was asked to join the band.[30]
McCartney says that Aunt Mimi: "was very aware that John's friends were lower class", and would often patronise him when he arrived to visit Lennon.[31] According to Paul's brother Mike, McCartney's father was also disapproving, declaring Lennon would get his son "into trouble";[32] although he later allowed the fledgling band to rehearse in the McCartneys' front room at 20 Forthlin Road.[33][34] During this time, the 18-year-old Lennon wrote his first song, "Hello Little Girl", a UK top 10 hit forThe Fourmost nearly five years later.[35]
George Harrison joined the band as lead guitarist,[36] even though Lennon thought Harrison (at 14 years old) was too young to join the band, so McCartney engineered a second audition on the upper deck of a Liverpool bus, where Harrison played "Raunchy" for Lennon.[37] Stuart Sutcliffe, Lennon's friend from art school, later joined as bassist.[38] Lennon, McCartney, Harrison and Sutcliffe became "The Beatles" in early 1960. In August that year The Beatles, engaged for a 48-night residency in Hamburg, Germany, and desperately in need of a drummer, asked Pete Best to join them.[39] Lennon was now 19, and his aunt, horrified when he told her about the trip, pleaded with him to continue his art studies instead.[40] After the first Hamburg residency, the band accepted another in April 1961, and a third in April 1962. Like the other band members, Lennon was introduced to Preludin while in Hamburg,[41] and regularly took the drug, as well as amphetamines, as a stimulant during their long, overnight performances.[42]
Brian Epstein, The Beatles' manager from 1962, had no prior experience of artist management, but nevertheless had a strong influence on their early dress code and attitude on stage.[43] Lennon initially resisted his attempts to encourage the band to present a professional appearance, but eventually complied, saying, "I'll wear a bloody balloon if somebody's going to pay me".[44] McCartney took over on bass after Sutcliffe decided to stay in Hamburg, and drummer Ringo Starrreplaced Best, completing the four-piece line-up that would endure until the group's break-up in 1970. The band's first single, "Love Me Do", was released in October 1962 and reached #17 on the British charts. They recorded their debut album, Please Please Me, in under 10 hours on 11 February 1963,[45] a day when Lennon was suffering the effects of a cold,[46] which is evident in the vocal on the last song to be recorded that day, Twist and Shout.[47] The Lennon/McCartney songwriting partnership yielded eight of its fourteen tracks. With few exceptions—one being the album title itself—Lennon had yet to bring his love of wordplay to bear on his song lyrics, saying: "We were just writing songs ... pop songs with no more thought of them than that–to create a sound. And the words were almost irrelevant".[45] In a 1987 interview, McCartney said that the other Beatles idolised John: "He was like our own little Elvis ... We all looked up to John. He was older and he was very much the leader; he was the quickest wit and the smartest".[48]
The Beatles achieved mainstream success in the UK during the beginning of 1963. Lennon was on tour when his first son, Julian, was born in April. During their Royal Variety Show performance, attended by the Queen Mother and other British royalty, Lennon poked fun at his audience: "For our next song, I'd like to ask for your help. For the people in the cheaper seats, clap your hands ... and the rest of you, if you'll just rattle your jewellery."[49] After a year of Beatlemania in the UK, the group's historic February 1964 US debut appearance on The Ed Sullivan Show marked their breakthrough to international stardom. A two-year period of constant touring, moviemaking, and songwriting followed, during which Lennon wrote two books, In His Own Write and A Spaniard in the Works.[50] The Beatles received recognition from the British Establishment when they were appointed Members of the Order of the British Empire in the Queen's Birthday Honours of 1965.[51]
Lennon grew concerned that fans attending Beatles' concerts were unable to hear the music above the screaming of fans, and that the band's musicianship was beginning to suffer as a result.[52]Lennon's "Help!" expressed his own feelings in 1965: "I meant it ... It was me singing 'help'".[53] He had put on weight (he would later refer to this as his "Fat Elvis" period),[54] and felt he was subconsciously seeking change.[55] The following January he was unknowingly introduced to LSD when a dentist, hosting a dinner party attended by Lennon, Harrison and their wives, spiked the guests' coffee with the drug.[56] When they wanted to leave, their host revealed what they had taken, and strongly advised them not to leave the house because of the likely effects. Later, in an elevator at a nightclub, they all believed it was on fire: "We were all screaming ... hot and hysterical."[56] A few months later in March, during an interview with Evening Standard reporter Maureen Cleave, Lennon remarked, "Christianity will go. It will vanish and shrink ... We're more popular than Jesus now—I don't know which will go first, rock and roll or Christianity."[57] The comment went virtually unnoticed in England but caused great offence in the US when quoted by a magazine there five months later. The furore that followed—burning of Beatles' records, Ku Klux Klan activity, and threats against Lennon—contributed to the band's decision to stop touring.[58]
1966–70: Studio years, break-up and solo work
Deprived of the routine of live performances after their final commercial concert on 29 August 1966, Lennon felt lost and considered leaving the band.[59]Since his involuntary introduction to LSD in January, he had made increasing use of the drug, and was almost constantly under its influence for much of the year."[60] According to biographer Ian MacDonald, Lennon's continuous experience with LSD during the year brought him "close to erasing his identity".[61]1967 saw the release of "Strawberry Fields Forever", hailed by TIME magazine for its "astonishing inventiveness",[62] and the group's landmark album Sgt. Pepper's Lonely Hearts Club Band, which revealed Lennon's lyrics contrasting strongly with the simple love songs of the Lennon/McCartney's early years.
In August, after having been introduced to the Maharishi Mahesh Yogi, the group attended a weekend of personal instruction at his Transcendental Meditation seminar in Bangor, Wales,[63] and were informed of Epstein's death during the seminar. "I knew we were in trouble then", Lennon said later. "I didn't have any misconceptions about our ability to do anything other than play music, and I was scared".[64] They later travelled to Maharishi's ashram in India for further guidance, where they composed most of the songs for The Beatles and Abbey Road.[65]
The anti-war, black comedy How I Won the War, featuring Lennon's only appearance in a non–Beatles' full-length film, was shown in cinemas in October 1967.[66] McCartney organised the group's first post-Epstein project,[67] the self-written, -produced and -directed television film Magical Mystery Tour, released in December that year. While the film itself proved to be their first critical flop, its soundtrack release, featuring Lennon's acclaimed, Lewis Carroll-inspired "I am the Walrus", was a success.[68][69] With Epstein gone, the band members became increasingly involved in business activities, and in February 1968 they formed Apple Corps, a multimedia corporation comprising Apple Records and several other subsidiary companies. Lennon described the venture as an attempt to achieve, "artistic freedom within a business structure",[70] but his increased drug experimentation and growing preoccupation with Yoko Ono, and McCartney's own marriage plans, left Apple in need of professional management. Lennon asked Lord Beeching to take on the role, but he declined, advising Lennon to go back to making records. Lennon approached Allen Klein, who had managed The Rolling Stones and other bands during the British Invasion. Klein was appointed as Apple’s chief executive by Lennon, Harrison and Starr,[71] but McCartney never signed the management contract.[72]
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Sample of "Give Peace a Chance", recorded in 1969 during Lennon and Ono's second Bed-In for Peace. As described by biographer Bill Harry, Lennon wanted to "write a peace anthem that would take over from the song 'We Shall Overcome'—and he succeeded ... it became the main anti-Vietnam protest song."[73]
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At the end of 1968, Lennon featured in the film The Rolling Stones Rock and Roll Circus (not released until 1996) in the role of a Dirty Macband member. The supergroup, comprising Lennon, Eric Clapton, Keith Richards and Mitch Mitchell, also backed a vocal performance by Ono in the film.[74] Lennon and Ono were married on 20 March 1969, and soon released a series of 14 lithographs called "Bag One" depicting scenes from their honeymoon,[75] eight of which were deemed indecent and most of which were banned and confiscated.[76] Lennon's creative focus continued to move beyond The Beatles and between 1968 and 1969 he and Ono recorded three albums of experimental music together:Unfinished Music No.1: Two Virgins[77] (known more for its cover than for its music), Unfinished Music No.2: Life with the Lions and Wedding Album. In 1969 they formed The Plastic Ono Band, releasing Live Peace in Toronto 1969. In protest at Britain's involvement in the Nigerian Civil War,[78] Lennon returned his MBE medal to the Queen, though this had no effect on his MBE status, which could not be renounced.[79]Between 1969 and 1970 Lennon released the singles "Give Peace a Chance" (widely adopted as an anti-Vietnam-War anthem in 1969),[80]"Cold Turkey" (documenting his withdrawal symptoms after he became addicted to heroin[81]) and "Instant Karma!".
Lennon left the group in September 1969,[82] and agreed not to inform the media while the band renegotiated their recording contract, but he was outraged that McCartney publicised his own departure on releasing his debut solo album in April 1970. Lennon's reaction was, "Jesus Christ! He gets all the credit for it!"[83] He later wrote, "I started the band. I disbanded it. It's as simple as that."[84] In later interviews with Rolling Stone magazine, he revealed his bitterness towards McCartney, saying, "I was a fool not to do what Paul did, which was use it to sell a record."[85] He spoke too of the hostility he perceived the other members had towards Ono, and of how he, Harrison, and Starr "got fed up with being sidemen for Paul ... After Brian Epstein died we collapsed. Paul took over and supposedly led us. But what is leading us when we went round in circles?"[86]
1970–80: Solo career
1970–72: Initial solo success and activism
In 1970, Lennon and Ono went through primal therapy with Dr. Arthur Janov in Los Angeles, California. Designed to release emotional pain from early childhood, the therapy entailed two half-days a week with Janov for four months; he had wanted to treat the couple for longer, but they felt no need to continue and returned to London.[87] Lennon's emotional debut solo album, John Lennon/Plastic Ono Band (1970), was received with high praise. Critic Greil Marcus remarked, "John's singing in the last verse of 'God' may be the finest in all of rock."[88] The album featured the songs "Mother", in which Lennon confronted his feelings of childhood rejection,[89] and the Dylanesque "Working Class Hero", a bitter attack against the bourgeois social system which, due to the lyric "you're still fucking peasants", fell foul of broadcasters.[90][91] The same year, Tariq Ali's revolutionary political views, expressed when he interviewed Lennon, inspired the singer to write "Power to the People". Lennon also became involved with Ali during a protest against Oz magazine's prosecution for alleged obscenity. Lennon denounced the proceedings as "disgusting fascism", and he and Ono (as Elastic Oz Band) released the single "God Save Us/Do the Oz" and joined marches in support of the magazine.[92]
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Sample of "Imagine", Lennon's "most famous post-Beatles' track."[93] Like "Give Peace a Chance", the song became an anti-war anthem, but its lyrics offended religious groups. Lennon's explanation was, "If you can imagine a world at peace, with no denominations of religion—not without religion, but without this 'my God is bigger than your God' thing—then it can be true."[94]
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With Lennon's next album, Imagine (1971), critical response was more guarded. Rolling Stone reported that "it contains a substantial portion of good music" but warned of the possibility that "his posturings will soon seem not merely dull but irrelevant".[95] The album's title track would become an anthem for anti-war movements,[96] while another, "How Do You Sleep?", was a musical attack on McCartney in response to lyrics from Ram that Lennon felt, and McCartney later confirmed,[97] were directed at him and Ono. However, Lennon softened his stance in the mid-70s and said he had written "How Do You Sleep?" about himself.[98] He said in 1980: "I used my resentment against Paul ... to create a song ... not a terrible vicious horrible vendetta ... I used my resentment and withdrawing from Paul and The Beatles, and the relationship with Paul, to write 'How Do You Sleep'. I don't really go 'round with those thoughts in my head all the time".[99]
Lennon and Ono moved to New York in August 1971, and in December released "Happy Xmas (War Is Over)".[100] To advertise the single, they paid for billboards in 12 cities around the world which declared, in the national language, "WAR IS OVER—IF YOU WANT IT".[101] The new year saw the Nixon Administration take what it called a "strategic counter-measure" against Lennon's anti-war propaganda, embarking on what would be a four-year attempt to deport him: embroiled in a continuing legal battle, he was denied permanent residency in the US until 1976.[102]
Recorded as a collaboration with Ono and with backing from the New York band Elephant's Memory, Some Time in New York City was released in 1972. Containing songs about women's rights, race relations, Britain's role in Northern Ireland, and Lennon's problems obtaining a green card,[103] the album was poorly received—unlistenable, according to one critic.[104] "Woman Is the Nigger of the World", released as a US single from the album the same year, was televised on 11 May, on The Dick Cavett Show. Many radio stations refused to broadcast the song because of the word "nigger".[105]Lennon and Ono gave two benefit concerts with Elephant's Memory and guests in New York in aid of patients at the Willowbrook State School mental facility.[106] Staged at Madison Square Garden on 30 August 1972, they were his last full-length concert appearances.[107]
1973–75: "The lost weekend"
While Lennon was recording Mind Games (1973), he and Ono decided to separate. The ensuing eighteen-month period apart, which he later called his "lost weekend",[108] was spent in Los Angeles and New York in the company of May Pang. Mind Games, credited to "the Plastic U.F.Ono Band", was released in November 1973. Lennon also contributed "I'm the Greatest", to Starr's album Ringo(1973), released the same month. (an alternate take, from the same 1973 "Ringo" sessions, with Lennon providing a guide vocal, appears on John Lennon Anthology.)
In early 1974, Lennon was drinking heavily and his alcohol-fuelled antics with Harry Nilsson made headlines. Two widely publicised incidents occurred at The Troubadour club in March, the first when Lennon placed a menstruation ‘towel’ on his forehead and scuffled with a waitress, and the second, two weeks later, when Lennon and Nilsson were ejected from the same club after heckling theSmothers Brothers.[109] Lennon decided to produce Nilsson's album Pussy Cats and Pang rented an L.A. beach house for all the musicians[110] but after a month of further debauchery, with the recording sessions in chaos, Lennon moved to New York with Pang to finish work on the album. In April, Lennon had produced the Mick Jagger song "Too Many Cooks (Spoil the Soup)" which was, for contractual reasons, to remain unreleased for more than 30 years. Pang supplied the recording for its eventual inclusion on The Very Best of Mick Jagger (2007).[111]
Settled back in New York, Lennon recorded the album Walls and Bridges. Released in October 1974, it yielded his only number-one single in his lifetime, "Whatever Gets You Thru the Night", featuringElton John on backing vocals and piano.[112] A second single from the album, "#9 Dream", followed before the end of the year. Starr's Goodnight Vienna (1974) again saw assistance from Lennon, who wrote the title track and played piano.[113] On 28 November, Lennon made a surprise guest appearance at Elton John's Thanksgiving concert at Madison Square Garden, in fulfilment of his promise to join the singer in a live show if "Whatever Gets You Thru the Night"—a song whose commercial potential Lennon had doubted—reached number one. Lennon performed the song along with "Lucy in the Sky with Diamonds" and "I Saw Her Standing There", which he introduced as "a song by an old estranged fiancee of mine called Paul".[114]
Lennon co-wrote "Fame", David Bowie's first US number one, and provided guitar and backing vocals for the January 1975 recording.[115] The same month, Elton John topped the charts with his cover of "Lucy in the Sky with Diamonds", featuring Lennon on guitar and back-up vocals. He and Ono were reunited shortly afterwards. Lennon released Rock 'n' Roll (1975), an album of cover songs, in February. "Stand By Me", taken from the album and a US and UK hit, became his last single for five years.[116] He made what would be his final stage appearance in the ATV special A Salute to Lew Grade, recorded on 18 April and televised in June.[117] Playing acoustic guitar, and backed by an eight-piece band, Lennon performed two songs from Rock 'n' Roll ("Stand By Me", which was not broadcast, and "Slippin' and Slidin'") followed by "Imagine".[117]
1975–80: Retirement and return
With the birth of his second son Sean on 9 October 1975, Lennon took on the role of househusband, beginning what would be a five-year hiatus from the music industry during which he gave all his attention to his family.[13] Within the month, he fulfilled his contractual obligation to EMI/Capitol for one more album by releasing Shaved Fish, a compilation album of previously recorded tracks.[13] He devoted himself to Sean, rising at 6 am daily to plan and prepare his meals and to spend time with him.[118] He wrote "Cookin' (In the Kitchen of Love)" for Starr's Ringo's Rotogravure (1976), performing on the track in June in what would be his last recording session until 1980.[119] He formally announced his break from music in Tokyo in 1977, saying, "we have basically decided, without any great decision, to be with our baby as much as we can until we feel we can take time off to indulge ourselves in creating things outside of the family."[120] During his career break he created several series of drawings, and drafted a book containing a mix of autobiographical material and what he termed "mad stuff",[121] all of which would be published posthumously.
He emerged from retirement in October 1980 with the single "(Just Like) Starting Over", followed the next month by the album Double Fantasy, which contained songs written during a journey toBermuda on a 43-foot sailing boat the previous June,[122] that reflected Lennon's fulfillment in his new-found stable family life.[123] Sufficient additional material was recorded for a planned follow-up album Milk and Honey (released posthumously in 1984).[124] Released jointly with Ono, Double Fantasy was not well received, drawing comments such as Melody Maker's "indulgent sterility ... a godawful yawn".[125]
8 December 1980: Death
Main article: Death of John Lennon
At around 10:50 pm on 8 December 1980, as Lennon and Ono returned to their New York apartment in The Dakota, Mark David Chapman shot Lennon in the back four times at the entrance to the building. Lennon was taken to the emergency room of nearby Roosevelt Hospital and was pronounced dead on arrival at 11:07 pm.[126] Earlier that evening, Lennon had autographed a copy of Double Fantasy for Chapman.[127]
Ono issued a statement the next day, saying "There is no funeral for John," ending it with the words, "John loved and prayed for the human race. Please pray the same for him."[128] His body was cremated at Ferncliff Cemetery in Hartsdale, New York. Ono scattered his ashes in New York's Central Park, where the Strawberry Fields memorial was later created.[129] Chapman pleaded guilty to second-degree murder and was sentenced to 20 years to life; as of 2011, he remains in prison, having been denied parole six times.[130][131]
Personal relationships
Cynthia Lennon
Further information: Cynthia Lennon
Lennon and Cynthia Powell met in 1957 as fellow students at the Liverpool College of Art.[132] Although being scared of Lennon's attitude and appearance, she heard that he was obsessed with French actress Brigitte Bardot, so she dyed her hair blonde. Lennon asked her out, but when she said that she was engaged, he screamed out, "I didn't ask you to fuckin' marry me, did I?"((sfn|Lennon|2005|p=21}} She often accompanied him to Quarrymen gigs and travelled to Hamburg with McCartney's girlfriend at the time to visit him.[133] Lennon, jealous by nature, eventually grew possessive and often terrified Powell with his anger and physical violence.[134] Lennon later said that until he met Ono, he had never questioned his chauvinistic attitude to women. The Beatles' song "Getting Better", he said, told his own story, "I used to be cruel to my woman, and physically—any woman. I was a hitter. I couldn't express myself and I hit. I fought men and I hit women. That is why I am always on about peace".[13]
Recalling his reaction in July 1962 on learning that Cynthia was pregnant, Lennon said, "There's only one thing for it Cyn. We'll have to get married."[135] The couple were married on 23 August at the Mount Pleasant Register Office in Liverpool. His marriage began just as Beatlemania took hold across the UK. He performed on the evening of his wedding day, and would continue to do so almost daily from then on.[136] Epstein, fearing that fans would be alienated by the idea of a married Beatle, asked the Lennons to keep their marriage secret. Julian was born on 8 April 1963; Lennon was on tour at the time and did not see his son until three days later.[137]
Cynthia attributes the start of the marriage breakdown to LSD, and as a result, she felt that he slowly lost interest in her.[138] When the group travelled by train to Bangor, Wales, in 1967, for the Maharishi Yogi's Transcendental Meditation seminar, a policeman did not recognise her and stopped her from boarding. She later recalled how the incident seemed to symbolize the ending of their marriage.[139] After arriving home at Kenwood, and finding Lennon with Ono, Cynthia left the house to stay with friends. Alexis Mardas later claimed to have slept with her that night, and a few weeks later he informed her that Lennon was seeking a divorce and custody of Julian on grounds of her adultery with him. After negotiations, Lennon capitulated and agreed to her divorcing him on the same grounds. The case was settled out of court, with Lennon giving her £100,000, and custody of Julian.[140]
Brian Epstein
Further information: Brian Epstein
The Beatles were performing at Liverpool's Cavern Club in 1962, when all four Beatles were introduced to Epstein after a midday concert. Epstein was homosexual. According to biographer Philip Norman, one of his reasons for wanting to manage the group was that he was physically attracted to Lennon. Almost as soon as Julian was born, Lennon went on holiday to Spain with Epstein, leading to speculation about their relationship. Questioned about it later, Lennon said, "Well, it was almost a love affair, but not quite. It was never consummated. But it was a pretty intense relationship. It was my first experience with a homosexual that I was conscious was homosexual. We used to sit in a café in Torremolinos looking at all the boys and I'd say, 'Do you like that one? Do you like this one?' I was rather enjoying the experience, thinking like a writer all the time: I am experiencing this."[141] Soon after their return from Spain, at McCartney's twenty-first birthday party in June 1963, Lennon physically attacked Cavern Club MC Bob Wooler for saying "How was your honeymoon, John?" The MC, known for his wordplay and affectionate but cutting remarks, was making a joke,[142] but ten months had passed since Lennon's marriage, and the honeymoon, deferred, was still two months in the future.[143] To Lennon, who was intoxicated with alcohol at the time, the matter was simple: "He called me aqueer so I battered his bloody ribs in".[144]
Lennon delighted in mocking Epstein for his homosexuality and for the fact that he was Jewish.[145] When Epstein invited suggestions for the title of his autobiography, Lennon offered Queer Jew; on learning of the eventual title, A Cellarful of Noise, he parodied, "More like A Cellarful of Boys".[146] He demanded of a visitor to Epstein's flat, "Have you come to blackmail him? If not, you're the only bugger in London who hasn't."[145] During the recording of "Baby, You're a Rich Man", he sang altered choruses of "Baby, you're a rich fag Jew".[147][148]
Julian Lennon
Further information: Julian Lennon
Lennon's first son, Julian, was born as his commitments with The Beatles intensified at the height of Beatlemania during his marriage to Cynthia. Lennon was touring with The Beatles when Julian was born on 8 April 1963. Julian's birth, like his mother Cynthia's marriage to Lennon, was kept secret because Epstein was convinced public knowledge of such things would threaten The Beatles' commercial success. Julian recalls how some four years later, as a small child in Weybridge, "I was trundled home from school and came walking up with one of my watercolour paintings. It was just a bunch of stars and this blonde girl I knew at school. And Dad said, 'What's this?' I said, 'It's Lucy in the sky with diamonds.'"[149] Lennon used it as the title of a Beatles' song, and though it was later reported to have been derived from the initials LSD, Lennon insisted, "It's not an acid song."[150] McCartney corroborated Lennon's explanation that Julian innocently came up with the name.[150] Lennon was distant from Julian, who felt closer to McCartney than to his father. During a car journey to visit Cynthia and Julian during Lennon's divorce, McCartney composed a song, "Hey Jules", to comfort him. It would evolve into The Beatles song "Hey Jude". Lennon later said, "That's his best song. It started off as a song about my son Julian ... he turned it into 'Hey Jude'. I always thought it was about me and Yoko but he said it wasn't."[151]
Lennon's relationship with Julian was already strained, and after Lennon and Ono's 1971 move to New York, Julian would not see his father again until 1973.[152] With Pang's encouragement, it was arranged for him (and his mother) to visit Lennon in Los Angeles, where they went to Disneyland.[153] Julian started to see his father regularly, and Lennon gave him a drumming part on a Walls and Bridges track.[154] He bought Julian a Gibson Les Paul guitar and other instruments, and encouraged his interest in music by demonstrating guitar chord techniques.[154] Julian recalls that he and his father "got on a great deal better" during the time he spent in New York: "We had a lot of fun, laughed a lot and had a great time in general."[155]
In a Playboy interview with David Sheff shortly before his death, Lennon said, "Sean was a planned child, and therein lies the difference. I don't love Julian any less as a child. He's still my son, whether he came from a bottle of whiskey or because they didn't have pills in those days. He's here, he belongs to me, and he always will." He said he was trying to re-establish a connection with the then 17-year-old, and confidently predicted, "Julian and I will have a relationship in the future."[13] After his death it was revealed that he had left Julian very little in his will.[156]
Yoko Ono
Further information: Yoko Ono
Two versions exist of how Lennon met Ono. According to the first, on 9 November 1966 Lennon went to the Indica Gallery in London, where Ono was preparing her conceptual art exhibit, and they were introduced by gallery owner John Dunbar.[157] Lennon was intrigued by Ono's "Hammer A Nail": patrons hammered a nail into a wooden board, creating the art piece. Although the exhibition had not yet begun, Lennon wanted to hammer a nail into the clean board, but Ono stopped him. Dunbar asked her, "Don't you know who this is? He's a millionaire! He might buy it." Ono had supposedly not heard of The Beatles, but relented on condition that Lennon pay her five shillings, to which Lennon replied, "I'll give you an imaginary five shillings and hammer an imaginary nail in."[13] The second version, told by McCartney, is that in late 1965, Ono was in London compiling original musical scores for a book John Cage was working on, Notations, but McCartney declined to give her any of his own manuscripts for the book, suggesting that Lennon might oblige. When asked, Lennon gave Ono the original handwritten lyrics to "The Word".[158]
Ono began telephoning and calling at Lennon's home, and when his wife asked for an explanation, he explained that Ono was only trying to obtain money for her "avant-garde bullshit".[159] In May 1968, while his wife was on holiday in Greece, Lennon invited Ono to visit. They spent the night recording what would become the Two Virgins album, after which, he said, they "made love at dawn."[160] When Lennon's wife returned home she found Ono wearing her bathrobe and drinking tea with Lennon who simply said, "Oh, hi."[161] Ono became pregnant in 1968 and miscarried a male child they named John Ono Lennon II on 21 November 1968,[129] a few weeks after Lennon's divorce from Cynthia was granted.[162]
During Lennon's last two years in The Beatles, he and Ono began public protests against the Vietnam War. They were married in Gibraltar on 20 March 1969, and spent their honeymoon in Amsterdam campaigning with a week-long Bed-In for peace. They planned another Bed-In in the United States, but were denied entry,[163] so held one instead at the Queen Elizabeth Hotel in Montreal, where they recorded "Give Peace a Chance".[164] They often combined advocacy with performance art, as in their "Bagism", first introduced during a Vienna press conference. Lennon detailed this period in The Beatles' song "The Ballad of John and Yoko".[165] Lennon changed his name by deed poll on 22 April 1969, adding "Ono" as a middle name. The brief ceremony took place on the roof of the Apple Corps building, made famous three months earlier by The Beatles' Let It Be rooftop concert. Although he used the name John Ono Lennon thereafter, official documents referred to him as John Winston Ono Lennon, since he was not permitted to revoke a name given at birth.[166] After Ono was injured in a car accident, Lennon arranged for a king-sized bed to be brought to the recording studio as he worked on The Beatles' last album, Abbey Road.[167] To escape the acrimony of the band's break-up, Ono suggested they move permanently to New York, which they did on 31 August 1971.
They first lived in the St. Regis Hotel on 5th Avenue, East 55th Street, then moved to a street-level flat at 105 Bank Street, Greenwich Village, on 16 October 1971. After a robbery, they relocated to the more secure Dakota at 1 West 72nd Street, in May 1973.[168]
May Pang
Further information: May Pang
ABKCO Industries, formed in 1968 by Allen Klein as an umbrella company to ABKCO Records, recruited May Pang as a receptionist in 1969. Through involvement in a project with ABKCO, Lennon and Ono met her the following year. She became their personal assistant. After she had been working with the couple for three years, Ono confided that she and Lennon were becoming estranged from one another. She went on to suggest that Pang should begin a physical relationship with Lennon, telling her, "He likes you a lot." Pang, 22, astounded by Ono's proposition, eventually agreed to become Lennon's companion. The pair soon moved to California, beginning an eighteen-month period he later called his "lost weekend".[108] In Los Angeles, Pang encouraged Lennon to develop regular contact with Julian, whom he had not seen for two years. He also rekindled friendships with Starr, McCartney, Beatles' roadie Mal Evans, and Harry Nilsson. Whilst drinking with Nilsson, after misunderstanding something Pang said, Lennon attempted to strangle her, relenting only when physically restrained by Nilsson.[169]
On moving to New York, they prepared a spare room in their newly rented apartment for Julian to visit.[169] Lennon, hitherto inhibited by Ono in this regard, began to reestablish contact with other relatives and friends. By December he and Pang were considering a house purchase, and he was refusing to accept Ono's telephone calls. In January 1975, he agreed to meet Ono—who said she had found a cure for smoking—but after the meeting failed to return home or call Pang. When Pang telephoned the next day, Ono told her Lennon was unavailable, being exhausted after a hypnotherapy session. Two days later, Lennon reappeared at a joint dental appointment, stupefied and confused to such an extent that Pang believed he had been brainwashed. He told her his separation from Ono was now over, though Ono would allow him to continue seeing her as his mistress.[170]
Sean Lennon
Further information: Sean Lennon
When Lennon and Ono were reunited, she became pregnant, but having previously suffered three miscarriages in her attempt to have a child with Lennon, she said she wanted an abortion. She agreed to allow the pregnancy to continue on condition that Lennon adopt the role of househusband; this he agreed to do.[171] Sean was born on 9 October 1975, Lennon's 35th birthday, delivered by Caesarean section. Lennon's subsequent career break would span five years. He had a photographer take pictures of Sean every day of his first year, and created numerous drawings for him, posthumously published as Real Love: The Drawings for Sean. Lennon later proudly declared, "He didn't come out of my belly but, by God, I made his bones, because I've attended to every meal, and to how he sleeps, and to the fact that he swims like a fish."[172]
Former Beatles
Although his friendship with Starr remained consistently warm during the years following The Beatles' break-up in 1970, Lennon's relationship with McCartney and Harrison varied. He was close to Harrison initially, but the two drifted apart after Lennon moved to America. When Harrison was in New York for his December 1974 Dark Horse tour, Lennon agreed to join him on stage, but failed to appear after an argument over Lennon's refusal to sign an agreement that would finally dissolve The Beatles' legal partnership. (Lennon eventually signed the papers while holidaying in Florida with Pang and Julian.[173]) Harrison incensed Lennon in 1980 when he published an autobiography that made little mention of him. Lennon told Playboy, "I was hurt by it. By glaring omission ... my influence on his life is absolutely zilch ... he remembers every two-bit sax player or guitarist he met in subsequent years. I'm not in the book."[174]
Lennon's most intense feelings were reserved for McCartney. In addition to attacking him through the lyrics of "How Do You Sleep?", Lennon argued with him through the press for three years after the group split. The two later began to reestablish something of the close friendship they had once known, and in 1974 even played music together again, before growing apart once more. Lennon said that during McCartney's final visit, in April 1976, they watched the episode of Saturday Night Live in which Lorne Michaels made a $3,000 cash offer to get The Beatles to reunite on the show.[175] The pair considered going to the studio to make a joke appearance, attempting to claim their share of the money, but were too tired.[13] Lennon summarised his feelings towards McCartney in an interview three days before his death: "Throughout my career, I've selected to work with...only two people: Paul McCartney and Yoko Ono....That ain't bad picking."[176]
Along with his estrangement from McCartney, Lennon always felt a musical competitiveness with him and kept an ear on his music. During his five-year career break he was content to sit back so long as McCartney was producing what Lennon saw as mediocre "product".[177] When McCartney released "Coming Up" in 1980, the year Lennon returned to the studio and the last year of his life, he took notice. "It's driving me crackers!" he jokingly complained, because he could not get the tune out of his head.[177] Asked the same year whether the group were dreaded enemies or the best of friends, he replied that they were neither, and that he had not seen any of them in a long time. But he also said, "I still love those guys. The Beatles are over, but John, Paul, George and Ringo go on."[13]
Political activism
Lennon and Ono used their honeymoon as what they termed a "Bed-In for Peace" at the Amsterdam Hilton Hotel; the March 1969 event attracted worldwide media ridicule.[178][179] At a second Bed-In three months later at the Queen Elizabeth Hotel in Montreal[180] Lennon wrote and recorded "Give Peace a Chance". Released as a single, it was quickly taken up as an anti-war anthem and sung by a quarter of a million demonstrators against the Vietnam War in Washington, DC, on 15 October, the second Vietnam Moratorium Day.[80][181]
Later that year, Lennon and Ono supported efforts by the family of James Hanratty, hanged for murder in 1962, to prove his innocence.[182] Those who had condemned Hanratty were, according to Lennon, "the same people who are running guns to South Africa and killing blacks in the streets. ... The same bastards are in control, the same people are running everything, it's the whole bullshit bourgeois scene."[183] In London, Lennon and Ono staged a "Britain Murdered Hanratty" banner march and a "Silent Protest For James Hanratty",[78] and produced a 40-minute documentary on the case. At an appeal hearingyears later, Hanratty's conviction was upheld.[184]
Lennon and Ono showed their solidarity with the Clydeside UCS workers' work-in of 1971 by sending a bouquet of red roses and a cheque for £5,000.[185]On moving to New York City in August that year, they befriended two of the Chicago Seven, Yippie peace activists Jerry Rubin and Abbie Hoffman.[186]Another peace activist, John Sinclair, poet and co-founder of the White Panther Party, was serving ten years in prison for selling two joints of marijuana after previous convictions for possession of the drug.[187] In December 1971 at Ann Arbor, Michigan, 20,000 people attended the "John Sinclair Freedom Rally", a protest and benefit concert with contributions from Lennon, Stevie Wonder, Bob Seger,Bobby Seale of the Black Panther Party, and others.[188] Lennon and Ono, backed by David Peel and Rubin, performed an acoustic set of four songs from their forthcoming Some Time in New York Cityalbum including "John Sinclair", whose lyrics called for his release. The day before the rally, Michigan State had drastically reduced the penalties for Sinclair’s crimes and three days after the rally, he was released on bail.[189] The performance was recorded and two of the tracks later appeared on John Lennon Anthology (1998).[190]
Following the Bloody Sunday incident in Northern Ireland in 1972, in which 13 unarmed civil rights protesters were shot dead by the British Army, Lennon said that given the choice between the army and the IRA (who were not involved in the incident) he would side with the latter. Lennon and Ono wrote two songs protesting British presence and actions in Ireland for their Some Time in New York City album: "Luck of the Irish" and "Sunday Bloody Sunday". In 2000, David Shayler, a former member of Britain's domestic security service MI5 suggested that Lennon had given money to the IRA though this was swiftly denied by Ono.[191] Biographer Bill Harry records that following Bloody Sunday, Lennon and Ono financially supported the production of the film The Irish Tapes, a political documentary with a republican slant.[192]
According to FBI surveillance reports (and confirmed by Tariq Ali in 2006) Lennon was sympathetic to the International Marxist Group, a Trotskyist group formed in Britain in 1968.[193] However, the FBI considered Lennon to have limited effectiveness as a revolutionary since he was "constantly under the influence of narcotics".[194]
Deportation attempt
Following the impact of "Give Peace a Chance" and "Happy Xmas (War is Over)", both strongly associated with the anti–Vietnam War movement, the Nixon administration, hearing rumours of Lennon's involvement in a concert to be held in San Diego at the same time as the Republican National Convention,[195] tried to have him deported. Nixon believed that Lennon's anti-war activities could cost him his re-election;[196] Republican Senator Strom Thurmond suggested in a February 1972 memo that "deportation would be a strategic counter-measure" against Lennon.[197] The next month the United States Immigration and Naturalization Service (INS) began deportation proceedings, arguing that his 1968 misdemeanor conviction for cannabis possession in London had made him ineligible for admission to the United States. Lennon spent the next three and a half years in and out of deportation hearings until on 8 October 1975, when a court of appeals barred the deportation attempt, stating " ... the courts will not condone selective deportation based upon secret political grounds."[198][103] While the legal battle continued, Lennon attended rallies and made television appearances. Lennon and Ono co-hosted the Mike Douglas Show for a week in February 1972, introducing guests such as Jerry Rubin and Bobby Seale to mid-America.[199] In 1972, Bob Dylan wrote a letter to the INS defending Lennon, stating:
John and Yoko add a great voice and drive to the country’s so-called art institution. They inspire and transcend and stimulate and by doing so, only help others to see pure light and in doing that, put an end to this dull taste of petty commercialism which is being passed off as Artist Art by the overpowering mass media. Hurray for John and Yoko. Let them stay and live here and breathe. The country’s got plenty of room and space. Let John and Yoko stay![200][201]
On 23 March 1973, Lennon was ordered to leave the US within 60 days.[202] Ono, meanwhile, was granted permanent residence. In response, Lennon and Ono held a press conference on 1 April 1973 at the New York City Bar Association, where they announced the formation of the state of Nutopia; a place with "no land, no boundaries, no passports, only people".[203] Waving the white flag of Nutopia (two handkerchiefs), they asked for political asylum in the US. The press conference was filmed, and would later appear in the 2006 documentary The U.S. vs. John Lennon.[204] Lennon's Mind Games(1973) included the track "Nutopian International Anthem", which comprised three seconds of silence.[205] Soon after the press conference, Nixon's involvement in a political scandal came to light, and in June the Watergate hearings began in Washington, DC. They led to the president's resignation 14 months later. Nixon's successor, Gerald Ford, showed little interest in continuing the battle against Lennon, and the deportation order was overturned in 1975. The following year, his US immigration status finally resolved, Lennon received his "green card" certifying his permanent residency, and when Jimmy Carter was inaugurated as president in January 1977, Lennon and Ono attended the Inaugural Ball.[206]
FBI surveillance and declassified documents
After Lennon's death, historian Jon Wiener filed a Freedom of Information Act request for FBI files documenting the Bureau's role in the deportation attempt.[207] The FBI admitted it had 281 pages of files on Lennon, but refused to release most of them on the grounds that they contained national security information. In 1983, Wiener sued the FBI with the help of the American Civil Liberties Union ofSouthern California. It took 14 years of litigation to force the FBI to release the withheld pages.[208] The ACLU, representing Wiener, won a favourable decision in their suit against the FBI in the Ninth Circuit in 1991.[209] The Justice Department appealed the decision to the Supreme Court in April 1992, but the court declined to review the case.[210] In 1997, respecting President Bill Clinton's newly instigated rule that documents should be withheld only if releasing them would involve "foreseeable harm", the Justice Department settled most of the outstanding issues outside court by releasing all but 10 of the contested documents.[210] Wiener published the results of his 14-year campaign in January 2000. Gimme Some Truth: The John Lennon FBI Files contained facsimiles of the documents, including "lengthy reports by confidential informants detailing the daily lives of anti-war activists, memos to the White House, transcripts of TV shows on which Lennon appeared, and a proposal that Lennon be arrested by local police on drug charges".[211] The story is told in the documentary The U.S. vs. John Lennon. The final 10 documents in Lennon's FBI file, which reported on his ties with London anti-war activists in 1971 and had been withheld as containing "national security information provided by a foreign government under an explicit promise of confidentiality", were released in December 2006. They contained no indication that the British government had regarded Lennon as a serious threat; one example of the released material was a report that two prominent British leftists had hoped Lennon would finance a left-wing bookshop and reading room.[212]
Writing and art
Lennon's biographer Bill Harry writes that Lennon began drawing and writing creatively at an early age with the encouragement of his uncle. He collected his stories, poetry, cartoons, and caricatures in a Quarry Bank High School exercise book that he called the Daily Howl. The drawings were often of crippled people, and the writings satirical, and throughout the book was an abundance of wordplay. According to classmate Bill Turner, Lennon created the Daily Howl to amuse his best friend and later Quarrymen band mate, Pete Shotton, to whom he would show his work before he let anyone else see it. Turner said that Lennon "had an obsession for Wigan Pier. It kept cropping up", and in Lennon's story A Carrot In A Potato Mine, "the mine was at the end of Wigan Pier." Turner described how one of Lennon's cartoons depicted a bus stop sign annotated with the question, "Why?". Above was a flying pancake, and below, "a blind man wearing glasses leading along a blind dog—also wearing glasses".[213]
Lennon's love of wordplay and nonsense with a twist found a wider audience when he was 24. Harry writes that In His Own Write (1964) was published after "Some journalist who was hanging around The Beatles came to me and I ended up showing him the stuff. They said, 'Write a book' and that's how the first one came about". Like the Daily Howl it contained a mix of formats including short stories, poetry, plays and drawings. One story, "Good Dog Nigel", tells the tale of "a happy dog, urinating on a lamp post, barking, wagging his tail—until he suddenly hears a message that he will be killed at three o'clock". The Times Literary Supplement considered the poems and stories "remarkable ... also very funny ... the nonsense runs on, words and images prompting one another in a chain of pure fantasy". Book Week reported, "This is nonsense writing, but one has only to review the literature of nonsense to see how well Lennon has brought it off. While some of his homonyms are gratuitous word play, many others have not only double meaning but a double edge." Lennon was not only surprised by the positive reception, but that the book was reviewed at all, and suggested that readers "took the book more seriously than I did myself. It just began as a laugh for me".[214]
In combination with A Spaniard in the Works (1965), In His Own Write formed the basis of the stage play The John Lennon Play: In His Own Write, co-adapted by Victor Spinetti and Adrienne Kennedy. After negotiations between Lennon, Spinetti and the artistic director of the National Theatre, Sir Laurence Olivier, the play opened at the Old Vic in 1968. Lennon and Ono attended the opening night performance, their second public appearance together to date.[215] After Lennon's death, further works were published, including Skywriting by Word of Mouth (1986); Ai: Japan Through John Lennon's Eyes: A Personal Sketchbook (1992), with Lennon's illustrations of the definitions of Japanese words; and Real Love: The Drawings for Sean (1999). The Beatles Anthology (2000) also presented examples of his writings and drawings.
Musicianship
Instruments played
Further information: John Lennon's musical instruments and List of The Beatles' instruments
His playing of a mouth organ during a bus journey to visit his cousin in Scotland caught the driver's ear. Impressed, the driver told Lennon of a harmonica he could have if he came to Edinburgh the following day, where one had been stored in the bus depot since a passenger left it on a bus.[216] The professional instrument quickly replaced Lennon's toy. He would continue to play harmonica, often using the instrument during The Beatles' Hamburg years, and it became a signature sound in the group's early recordings. His mother taught him how to play the banjo, later buying him an acoustic guitar. At 16, he played rhythm guitar with the Quarrymen.[217] As his career progressed, he played a variety of electric guitars, predominantly the Rickenbacker 325, Epiphone Casino and Gibson J-160E, and, from the start of his solo career, the Gibson Les Paul Junior.[218][219] Occasionally he played a six-string bass guitar, the Fender Bass VI, providing bass on some Beatles' numbers that occupied McCartney with another instrument.[220] His other instrument of choice was the piano, on which he composed many songs, including "Imagine", described as his best-known solo work.[221] His jamming on a piano with McCartney in 1963 led to the creation of The Beatles' first US number one, "I Want to Hold Your Hand".[222] In 1964, he became one of the first British musicians to acquire a Mellotron keyboard, though it was not heard on a Beatles' recording until "Strawberry Fields Forever" in late 1966.[223]
Vocal style
When Lennon recorded "Twist and Shout", the final track during the mammoth one-day session that captured the band's 1963 debut album Please Please Me, his voice, already compromised by a cold, came close to giving out. Lennon said, "I couldn't sing the damn thing, I was just screaming."[224] In the words of biographer Barry Miles, "Lennon simply shredded his vocal cords in the interests of rock 'n' roll."[225] The Beatles' producer, George Martin, tells how Lennon "had an inborn dislike of his own voice which I could never understand. He was always saying to me: 'DO something with my voice! ... put something on it ... Make it different.'"[226] Martin obliged, often using double-tracking and other techniques. Music critic Robert Christgau says that Lennon's "greatest vocal performance ... from scream to whine, is modulated electronically ... echoed, filtered, and double tracked."[227]
As his Beatles' era segued into his solo career, his singing voice found a widening range of expression. Biographer Chris Gregory writes that Lennon was, "tentatively beginning to expose his insecurities in a number of acoustic-led 'confessional' ballads, so beginning the process of 'public therapy' that will eventually culminate in the primal screams of 'Cold Turkey' and the cathartic John Lennon/Plastic Ono Band."[228] David Stuart Ryan notes Lennon's vocal delivery to range from, "extreme vulnerability, sensitivity and even naivety" to a hard "rasping" style.[229] Wiener too describes contrasts, saying the singer's voice can be "at first subdued; soon it almost cracks with despair"[230] Music historian Ben Urish recalls hearing The Beatles' Ed Sullivan Show performance of "This Boy" played on the radio a few days after Lennon's murder: "As Lennon's vocals reached their peak ... it hurt too much to hear him scream with such anguish and emotion. But it was my emotions I heard in his voice. Just like I always had."[231]
Legacy
Music historians Schinder and Schwartz, writing of the transformation in popular music styles that took place between the 1950s and the 1960s, say that The Beatles' influence cannot be overstated: having "revolutionized the sound, style, and attitude of popular music and opened rock and roll's doors to a tidal wave of British rock acts", the group then "spent the rest of the 1960s expanding rock's stylistic frontiers".[232] Liam Gallagher, his group Oasis among the many who acknowledge the band's influence, identifies Lennon as a hero; in 1999 he named his first child Lennon Gallagher in tribute.[233] On National Poetry Day in 1999, after conducting a poll to identify the UK's favourite song lyric, the BBC announced "Imagine" the winner.[94]
In a 2006 Guardian article, Jon Wiener wrote: "For young people in 1972, it was thrilling to see Lennon's courage in standing up to [US President] Nixon. That willingness to take risks with his career, and his life, is one reason why people still admire him today."[234] Whilst for music historians Urish and Bielen, Lennon's most significant effort was "the self-portraits ... in his songs [which] spoke to, for, and about, the human condition."[235]
Lennon continues to be mourned throughout the world and has been the subject of numerous memorials and tributes. In 2010, on what would have been Lennon’s 70th birthday, the John Lennon Peace Monument was unveiled in Chavasse Park, Liverpool, by Cynthia and Julian Lennon.[236] The sculpture entitled ‘Peace & Harmony’ exhibitspeace symbols and carries the inscription “Peace on Earth for the Conservation of Life · In Honour of John Lennon 1940–1980”.
Awards and sales
The Lennon/McCartney songwriting partnership is regarded as one of the most influential and successful of the 20th century.[citation needed] As performer, writer or co-writer Lennon has had 25 number one singles on the US Hot 100 chart.a His album sales in the US stand at 14 million units.[237] Double Fantasy, released shortly before his death, and his best-selling, post-Beatles' studio album[238] at three million shipments in the US,[239] won the 1981 Grammy Award for Album of the Year.[240] The following year, theBRIT Award for Outstanding Contribution to Music went to Lennon.[241] Participants in a 2002 BBC poll voted him eighth of "100 Greatest Britons".[242] Between 2003 and 2008, Rolling Stone recognised Lennon in several reviews of artists and music, ranking him fifth of "100 Greatest Singers of All Time"[243] and 38th of "The Immortals: The Fifty Greatest Artists of All Time",[244] and his albums John Lennon/Plastic Ono Band and Imagine, 22nd and 76th respectively of "The RS 500 Greatest Albums of All Time".[244][245]He was appointed Member of the Order of the British Empire (MBE) with the other Beatles in 1965.[51] He was posthumously inducted into the Songwriters Hall of Fame in 1987[246] and into the Rock and Roll Hall of Fame in 1994.[107]
Discography
Main article: John Lennon discography
See also: The Beatles discography
- Unfinished Music No.1: Two Virgins (with Yoko Ono) (1968)
- Unfinished Music No.2: Life with the Lions (with Yoko Ono) (1969)
- Wedding Album (with Yoko Ono) (1969)
- John Lennon/Plastic Ono Band (1970)
- Imagine (1971)
- Some Time in New York City (with Yoko Ono) (1972)
- Mind Games (1973)
- Walls and Bridges (1974)
- Rock 'n' Roll (1975)
- Double Fantasy (with Yoko Ono) (1980)
- Milk and Honey (with Yoko Ono) (1984)
- Menlove Ave. (1986)
Notes
^ Note a: Lennon was responsible for 25 Billboard Hot 100 number one singles as performer, writer or co-writer.
- Solo (2): "Whatever Gets You Thru the Night", "(Just Like) Starting Over".[247]
- With The Beatles (20): "Can't Buy Me Love", "I Feel Fine", "I Want to Hold Your Hand", "Love Me Do", "She Loves You", "A Hard Day's Night", "Eight Days a Week", "Help!", "Ticket to Ride", "Yesterday", "Paperback Writer", "We Can Work It Out", "All You Need Is Love", "Hello Goodbye", "Penny Lane", "Hey Jude", "Something/"Come Together", "Get Back", "Let It Be", "The Long and Winding Road"/"For You Blue".[248]
- As co-writer of and performer on release by another artist (1): "Fame" (David Bowie).[249]
- As co-writer of releases by other artists (2): "A World Without Love" (Peter and Gordon),[250] "Lucy in the Sky with Diamonds" (Elton John).[251]
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