All About John Lennon

'He was a holy fool' – a classic John Lennon feature from the vaults

Mark Cooper, guardian.co.uk, Tuesday 4 December 2012 16.18 GMT

As we approach the anniversary of John Lennon's death on 8 December 1980, we visit Rock's Backpages – the world's leading archive of vintage music journalism – for this insightful piece from Record Mirror

 

John and Yoko

When we were growing up, my brother and I, we both loved the Beatles, and he loved John Lennon especially. Our parents used to give us a Beatles album every Christmas. Sgt Pepper was the last one we got. Maybe we left home after that, I can't remember. 

My brother used to live in small bedsits in Sheffield. I'd go and visit him, and for bedtime reading I'd always take down John Lennon Speaks. Lennon, around that time, always seemed a bit daft, always going over the top and changing every minute. But I always believed him. He never struck me as a man who lied. He was always searching for something, trying something out, taking a new tack.

John, along with Yoko, tried to use his public power for peace, a word that only presidents use any more. Yoko and he looked so funny in bed surrounded by cameras and flashbulbs, all white and eccentric. Then there was the political phase that openly declared John's love affair with New York. The cover was all newsprint and John and Yoko were angry and left and topical. And above all, naïve and enthusiastic in the way they picked things up.

I've never written an obituary before. The last time I felt like this was when Kennedy died and some essential safety seemed to have gone from the world. I was too young to understand it, but I knew something was wrong. I haven't written any because most of my friends are too young to have died. Including John. Now I feel like some binding thing has been torn, not only a period in life but a whole growing-up.

The Beatles were ours, mine and my brother's, in the sixties. Our parents came to like them, grudgingly at first and then wholeheartedly. The sound was ours and the media made them everybody's – they were more reproduced than Kennedy. John was always winking into cameras, taking the piss out of the medium, making it human. His wit was always Liverpudlian to the core. John was always a wag.

The Beatles got wrapped up more and more into a nice homely package. Everyone loved them, America canonized them and still does, and the media hugged them. People didn't like John giving back his medal and a lot didn't think he deserved it in the first place, but they ended up respecting him. When John was primal-screaming about his Mother or appearing on the Two Virgins cover, his sheer innocence and commitment somehow enabled him to lose his dignity and recover it at the same time.

He was a holy fool and still a bit of a wag.

And then he went to New York and left the public eye. He started escaping the cameras and trying to live his own life with Yoko and his child. All through the 60s, every gesture he made was mirrored a thousand times by followers and a million times by cameras. He began to live for the public, using his gestures as responsibly as he could. Then he stopped writing his diary in the public eye. John sought anonymity, privacy, peace, a family life.

Nobody seemed to quite believe in John and Yoko's private life. Many resented it: they were so used to him and "they never trusted Yoko". The papers had great difficulty in letting them disappear, he'd been such good copy. Somehow he managed it by being normal in NYC for a while. He'd be frequently sighted in the Village, arm in arm with Yoko. He'd chosen his privacy and the locals at least respected his wish.

Starting Over wasn't really a new start. It was just a reminder that John still existed, still loved Yoko and rock'n'roll, like suddenly getting a telephone call from a friend you used to spend every day with and haven't seen for years. I felt sick when the radio started this morning. I wanted it to be a hoax. I wanted him to have what he wanted, his son and his wife. And I can't believe he died like that, his body broken. How could anybody hurt John, whom everyone loved like they loved their youth?

I'm in a state of shock. I want to talk over the old days and how we always loved John whatever he did because he always did it all the way with the best drum sound. And he wrote down growing up for us.

Crazy John. Poor Yoko. Some stupid bloke killed him because he used to be famous. All you can say is that he always will be. The world's gone mad and now I'm going to try and get through to my brother again. Because I want to remember. You owe him that and a whole lot more.

More: The Lennon Letters

“The John Lennon Letters” edited by Hunter Davies

 By JAMES ROSEN, Washington Post Published: December 1

“In a hundred years from now,” John Lennon sang in a satirical home demo he recorded in New York in 1978, “they’re going to be selling my socks, like Judy Garland! And I hope they get a good price!” So the founder of the Beatles predicted this day would come — and as editor Hunter Davies makes clear in his prefatory remarks to “The John Lennon Letters,” even the ex-Beatle’s unsigned grocery lists and skimpiest doodles now command five figures at Sotheby’s.

A massive deposit of freshly excavated notes, screeds, asides and howls, each lavishly reproduced and carefully annotated, “Letters” is the most intimate book ever published about Lennon. In its revelation of the man’s psychology, it far surpasses all previous accounts by wives, lovers, half-siblings, ex-aides and even the best biographers. This is Lennon unfiltered and characteristically defiant, scrawling ferociously across lined paper, homemade Christmas cards, Indian novelties, fading Apple Corp. letterheads. Fans of the Beatles and Lennon, students of popular culture, armchair lovers of English and Irish wit, and anyone fascinated by the inner workings of the creative mind: All will find Davies’s book essential.

Those partial to the Beatles’ early Motown covers may be pained to read Lennon’s casual dismissal of them, on American Airlines stationery, in September 1971: “ ‘Money’, ‘Twist ’n’ Shout’, ‘You really got a hold on me’ etc. I always wished we could have done them even closer to the original.”

“Letters” also delivers the earliest known explanation of why Lennon left his wife and son for Yoko Ono. “She’s as intelligent as me (you can take that any way!),” he writes about Ono to his Aunt Harriet, his mother’s sister, in 1968. “She’s also very beautiful — in spite of reports in the press to the contrary — she looks like a cross between me and my mother — has the same sense of humour too!”

Captured here, too, are Lennon’s views on creativity, as set forth in a 1967 letter to a cheeky student from Quarry Bank High School, the prototypical dehumanizing British institution where Lennon, a decade earlier, had honed his rebel persona. “All my writing,” Lennon says, “I do it for me first — whatever people make of it afterwards is valid, but it doesn’t necessarily have to correspond to my thoughts about it, OK? This goes for anybody’s books, ‘creations,’ art, poetry, etc. — the mystery and [expletive] that is built around all forms of art needs smashing, anyway.”

The present owner of that two-page gem is a dentist in Arkansas. Davies’s detective work in uncovering the book’s 286 entries and tracing their complicated provenance makes for an entertaining divertissement. No one is more qualified. Two of the letters reprinted herein were addressed to Davies himself. To research “The Beatles,” the acclaimed authorized biography he published in 1968, he spent the years 1966-68 hanging out with the band — in their homes, at Abbey Road studios, around Swinging London.

Of that book, still an indispensable work, Davies writes here that despite urgent pleas from Mimi Smith — the stern-faced Liverpool aunt who raised Lennon and demanded the excision of all references to his youthful swearing and thievery — he “changed nothing.” This conflicts with Lennon’s 1970 Rolling Stone interview, in which he trashed “The Beatles” and added: “It was written in this sort of Sunday Times [style]. . . . No truth was written, and my auntie knocked all the truth bits out about my childhood and me mother and I allowed her.”

Davies also proves surprisingly error-prone. He guesses 1970 as the year Lennon sent to Melody Maker’s Ray Coleman an undated postcard that was signed “Them Beatles.” Davies should have known better. By 1970, Lennon wasn’t signing anything in the name of the Beatles. Indeed, only 23 pages earlier, Davies reprints Lennon’s angry instruction to a lawyer in 1969: “I don’t want to read about ‘Beatles’ as if they’re still alive — OK?” What’s more, in the photographs section of “Lennon,” Coleman’s excellent 1984 biography, well known to all Beatles scholars, Coleman reproduced the “Them Beatles” postcard and correctly dated it from the group’s 1965 European tour.

Other problems include a tantalizingly incomplete poem that Lennon scribbled on a Japanese postcard circa 1965 or ’66 (“When a girl begins to be a problem/ Pretty soon the girl must go”) that Davies heralds here as previously unpublished. But surely he saw this item reproduced just last year, in “Beatles Memorabilia: The Julian Lennon Collection,” a handsome coffee table volume that elsewhere in “Letters” he cites by name. Most egregious is the 1971 date assigned to a postcard that Lennon sent to Julian and signed “love/Dad Yoko Sean.” Sean Lennon was born in 1975. There are also sins of omission, as Davies’s selections from Lennon’s Hamburg and Cavern Club days appear tamer than other letters from the same period.

Our view of Lennon isn’t changed by his letters, but sharpened. He emerges here a whimsical and irrepressible soul — undeniably a multifaceted genius — and a formidable scold. He appears to have nurtured a lifelong love-hate relationship with Christianity, a dynamic that, when fully exposed here, makes the furor he provoked in the summer of 1966, with his comments about the relative popularity of the Beatles and Christ, seem less inadvertent than inevitable.

However, Lennon also betrays the touching desire to end even his angriest exchanges on a conciliatory note. At Christmas 1971, after spending the year hurling profane thunderbolts at Paul and Linda McCartney in public and private, he sends them a short note. It accompanies what Lennon believes to be a bootleg copy of the Beatles’ first — and unsuccessful — tryout for a major British label, recorded on Jan. 1, 1962. “Dear Paul Linda et al, this is THE DECCA AUDITION!!” he writes, with a fan’s enthusiasm. “They were a good group/ fancy turning THIS down! Love John & Yoko.”