Imagine (John Lennon album)
Imagine is the second studio album by John Lennon after his departure from the Beatles. Recorded and released in 1971, the album's musical arrangements are more elaborate compared to the basic, small-group arrangements of his first album, John Lennon/Plastic Ono Band. Imagine is the most popular of Lennon's solo albums and the title track is considered by many to be one of Lennon's finest songs. In 2012, the album was voted 80th on Rolling Stone magazine's list of the "500 Greatest Albums of All Time". While in New York, former Beatles John Lennon and George Harrison had a short jam session, during which Lennon asked Harrison to perform on Lennon's next album. Recording was scheduled to begin in a week's time at Lennon's Ascot Sound Studios, at his Tittenhurst Park residence. Harrison agreed, called his friend the bassist Klaus Voormann, to ask him to join in; the first songs, "It's So Hard" and "I Don't Want to Be a Soldier", were recorded in February 1971 at Abbey Road Studios, during sessions for Lennon's single "Power to the People".
A cover of The Olympics' 1958 song "Well" released on John Lennon Anthology, was recorded on 16 February. Lennon would choose to remake "I Don't Want to Be a Soldier" on 24 May 1971, the opening day of the main album sessions. Lennon enlisted help from Nicky Hopkins, members of the Apple band Badfinger, Alan White and Jim Keltner. George Harrison would drop by to contribute lead guitar parts on various songs. Recording for the album started on 24 May at Ascot Sound Studios. Lennon showed the musicians a song that he had written, the album's title track "Imagine". Besides recording the tracks that would end up on the album recorded during the sessions was the unreleased song "San Francisco Bay Blues", a demo for a track that would turn up in complete form on Lennon's Mind Games album, as "Aisumasen", a demo of "I'm the Greatest". Lennon and Ono flew to New York on 3 July to continue sessions for the album the next day, at Record Plant. Although the basic tracks for Imagine were recorded at Ascot Sound Studios, many of the instruments were re-recorded at the Record Plant in New York City, where strings and saxophone by King Curtis were added.
The tracks that were finished at Record Plant are: "It's So Hard", "I Don't Want to Be a Soldier" and "How Do You Sleep?" As on his last album, Phil Spector joined Yoko Ono as co-producer on Imagine. Extensive footage of the sessions, showing the evolution of some of the songs, was filmed and titled Working Class Hero before being shelved. Footage of "Gimme Some Truth" aired as part of the BBC TV show The Old Grey Whistle Test on 12 December 1972. Bits of footage were subsequently released as part of the documentary film Imagine: John Lennon. Imagine was written and recorded during a period of bad feeling between Lennon and former bandmate Paul McCartney, following the Beatles' break-up the year before and McCartney winning his case in the High Court to have their legal partnership dissolved. Harrison guested on half of Imagine's ten tracks, including "How Do You Sleep?" – a song written in retaliation against McCartney's alleged personal attacks on Lennon and Ono, on his recent Ram album. Lennon 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, the relationship with Paul, to write'How Do You Sleep?'. I don't go'round with those thoughts in my head all the time..."The track "Imagine" became Lennon's signature song and was written as a plea for world peace. Years he acknowledged Ono's role in the song's creation and stated his regret that he had not credited her as a co-writer. "Jealous Guy" has had enduring popularity. "Oh My Love" and the song "How?" were influenced by his experience with primal therapy. Lennon indulged his love of rock and roll with "Crippled Inside" and "It's So Hard". "Gimme Some Truth" heard during the Let It Be sessions in early 1969, appears on the album with a new bridge. The politically themed "I Don't Want to Be a Soldier" closes the first half of Imagine in a cacophonous manner; the last song on the album was "Oh Yoko!". The photographs on the front and back covers were taken by Yoko Ono, it was believed that the front cover photo was taken by Andy Warhol.
The back cover includes a quote from Ono's book Grapefruit, whose UK re-release the Lennons were promoting at the time. Apple Records issued Imagine on 9 September 1971 in the United States and a month on 8 October, in the UK. Early editions of the LP included a postcard featuring a photo of Lennon holding a pig, in mockery of McCartney's similar pose with a sheep on the cover of Ram. Though John along with producer Phil Spector championed "Back To Mono" the album was released in the new 4-channel quadraphonic format. In the US, this 4-channel mix was only available on a Quad 8-track tape with some versions using the phrase Quadrosonic. In the UK and Australia the Quad mix was issued on vinyl using Sony's SQ matrix system along with an Q8-track version in the UK. In Japan the Quad mix was issued on vinyl but using Sansui's QS matrix system known as R M plus they released a discrete 4-channel reel to reel tape of the album. "Imagine", backed with "It's So Hard", was released as a single, in the US on 11 October 1971.
Federico Vicente Fong Pharris known as Federico Fong is a musician and producer, member of several bands in Mexico and the United States: Hip Hop Hoodíos Jaguares La Barranca Caifanes Fobia Born in Northern California's Bay Area in 1967 to a Panamanian father of Chinese descent and an American mother, Fong relocated at a young age with his family to Mexico City where he has lived for the majority of his life. He was a resident of Brooklyn, New York for a few years and relocated to Mexico City to continue working with band La Barranca
Gimme Some Truth
"Gimme Some Truth" is a protest song written and performed by John Lennon. It was first released on his 1971 album Imagine. "Gimme Some Truth" contains various political references emerging from the time it was written, during the latter years of the Vietnam War. Work on the song began as early as January 1969 during The Beatles' Get Back sessions, which would evolve into Let It Be. Bootleg recordings of the group performing songs that would go onto the members' solo recordings feature a few performances of "Gimme Some Truth"; the song expresses Lennon's frustration with deceptive politicians, with hypocrisy, with chauvinism. The song encapsulates some held feelings of the time, when many people were participating in protest rallies against their governments. "Gimme Some Truth" uses a reference to the nursery rhyme "Old Mother Hubbard" as verb. The song's mention of "soft-soap" employs that slang verb in its classic sense − i.e. insincere flattery that attempts to convince someone to do or to think something, as in the case of politicians who use specious or beguiling rhetoric to quell public unrest or to propagandise unfairly.
According to Robert Christgau, the song "unites Lennon unmasked with the Lennon of Blunderland wordplay as it provides a rationale for" a preceding track on the album, "Jealous Guy". Lennon recorded "Gimme Some Truth" on 25 May 1971 at Ascot Sound Studios. Overdubbing of his lead vocal on 28 May 1971 was captured on film. John Lennon – vocals, electric guitar George Harrison – electric guitar, slide guitar Nicky Hopkins – piano Rod Linton – acoustic guitar Andy Davis – acoustic guitar Klaus Voormann – bass Alan White – drums Generation X recorded it as B-side to the single "King Rocker" in 1978, it appeared on the USA release of their eponymous first album and appears as a bonus track on the remastered version of 1979's Valley of the Dolls The Wonder Stuff included "Gimme Some Truth" on the expanded version of the 1989 album Hup. Sam Phillips recorded a version for her 1994 album Bikinis. Ash released it as a B-side to "Angel Interceptor" in 1995. Travis's version is a B-side to "More Than Us", released in 1998, appears on the various artists compilation "Causes 1" released in 2011.
Pearl Jam has covered this song live on numerous occasions. On the 2007 compilation album Instant Karma: The Amnesty International Campaign to Save Darfur, The Wallflowers' frontman Jakob Dylan covers the song and Dhani Harrison reprises his father's role as lead guitarist. Mexican group Jaguares made another cover version for the same album. Primal Scream recorded this song as a B-side to their "Country Girl" single in 2006. Matthew Sweet and Susanna Hoffs released a version on their 2009 collaboration Under the Covers, Vol. 2. Lydia Canaan internet released a cover of the song as a single in 2014. Drive By Truckers covered this song live at the 40 Watt club in Athens Georgia on 2/16/2017 and 2/18/2017. A 2000 direct-to-video documentary film showing the recording sessions and evolution of Imagine took its title, Gimme Some Truth: The Making of John Lennon's Imagine Album, from this song. Jon Wiener took the title of this song for his 1999 book, Gimme Some Truth: The John Lennon FBI Files, about Nixon's attempt to deport Lennon in 1972.
Lyrics of this song at MetroLyrics
EMI Group Limited was a British Transnational conglomerate founded in March 1931 in London. At the time of its break-up in 2012, it was the fourth largest business group and record label conglomerate in the music industry, was one of the big four record companies; the company was once a constituent of the FTSE 100 Index, but faced financial troubles and US$4 billion in debt, leading to its acquisition by Citigroup in February 2011. Citigroup's ownership was temporary, as EMI announced in November 2011 that it would sell its music arm to Vivendi's Universal Music Group for $1.9 billion and its publishing business to a Sony/ATV consortium for around $2.2 billion. Other members of the Sony consortium include the Estate of Michael Jackson, The Blackstone Group, the Abu Dhabi–owned Mubadala Development Company. EMI's locations in the United Kingdom, the United States, Canada were all disassembled to repay debt, but the primary head office located outside those countries is still functional, it is owned by Sony/ATV Music Publishing, the music publishing division of Sony Music which bought another 70% stake in EMI Music Publishing.
Electric and Musical Industries Ltd was formed in March 1931 by the merger of the Columbia Graphophone Company and the Gramophone Company, with its "His Master's Voice" record label, firms that have a history extending back to the origins of recorded sound. The new vertically integrated company produced sound recordings as well as recording and playback equipment; the company's gramophone manufacturing led to forty years of success with larger-scale electronics and electrical engineering. In 1934, the company developed the electronic Marconi-EMI system for television broadcasting, which replaced Baird's electro-mechanical system following its introduction in 1936. After the war, the company resumed its involvement in making broadcasting equipment, notably providing the BBC's second television transmitter at Sutton Coldfield, it manufactured broadcast television cameras for British television production companies as well as for the BBC. The commercial television ITV companies used them alongside cameras made by Pye and Marconi.
Their best-remembered piece of broadcast television equipment was the EMI 2001 colour television camera, which became the mainstay of much of the British television industry from the end of the 1960s until the early 1990s. Exports of this piece of equipment were low, EMI left this area of product manufacture. Alan Blumlein, an engineer employed by EMI, conducted a great deal of pioneering research into stereo sound recording many years prior to the practical implementation of the technique in the early 1950s, he was killed in 1942 whilst conducting flight trials on an experimental H2S radar set. During and after World War II, the EMI Laboratories in Hayes, Hillingdon developed radar equipment, microwave devices such as the reflex klystron oscillator, electro-optic devices such as infra-red image converters, guided missiles employing analogue computers; the company was for many years an internationally respected manufacturer of photomultipliers. This part of the business was transferred to Thorn as part of Thorn-EMI later became the independent concern Electron Tubes Ltd.
The EMI Electronic Business Machine, a valve and magnetic drum memory computer, was built in the 1950s to process the British Motor Corporation payroll. In 1958 the EMIDEC 1100, the UK's first commercially available all-transistor computer, was developed at Hayes under the leadership of Godfrey Hounsfield, an electrical engineer at EMI. In the early 1970s, with financial support by the UK Department of Health and Social Security as well as EMI research investment, Hounsfield developed the first CT scanner, a device which revolutionised medical imaging. In 1973 EMI was awarded a prestigious Queen's Award for Technological Innovation for what was called the EMI scanner, in 1979 Hounsfield won the Nobel Prize for his accomplishment. After brief, but brilliant, success in the medical imaging field, EMI's manufacturing activities were sold off to other companies, notably Thorn. Subsequently and manufacturing activities were sold off to other companies and work moved to other towns such as Crawley and Wells.
Emihus Electronics, based in Glenrothes, was owned 51% by Hughes Aircraft, of California, US, 49% by EMI. It manufactured integrated circuits electrolytic capacitors and, for a short period in the mid-1970s, hand-held calculators under the Gemini name. Early in its life, the Gramophone Company established subsidiary operations in a number of other countries in the British Commonwealth, including India and New Zealand. Gramophone's Australian and New Zealand subsidiaries dominated the popular music industries in those countries from the 1920s until the 1960s, when other locally owned labels began to challenge the near monopoly of EMI. Over 150,000 78-rpm recordings from around the world are held in EMI's temperature-controlled archive in Hayes, some of which have been released on CD since 2008 by Honest Jon's Records. In 1931, the year the company was formed, it opened the legendary recording studios at Abbey Road, London. During the 1930s and 1940s, its roster of artists included Arturo
Caifanes is a rock en español band from Mexico City. Formed in 1987, the group achieved international fame during early 1990s; the original lineup consisted of Saúl Hernández, Alejandro Marcovich Sabo Romo, Alfonso André, Diego Herrera. Caifanes’ style can be described as a hybrid of British new wave, progressive rock and Latin percussion underscored by deep and Latin American-Mexican-Spanish-influenced lyrics and the vocal style of Saúl Hernández. Members of Caifanes have cited Teresa Escogido as a major influence; the name Caifanes is derived from 1940s Mexican pachuco slang "Cae fine". Its equivalent in English would be “cool dude.” The word has been used to describe the proverbial Mexican pachuco, delinquent, or outsider. The seeds of what was to become Caifanes were planted in 1984 with Las Insolitas Imágenes de Aurora, a band that included Saúl Hernández, Alfonso André and Alejandro Marcovich. According to Marcovich, Insólitas started out as a side project for the purpose of performing as a party band for the filming of his brother's film project.
At the time, both Hernández and Marcovich were playing in different bands. The members decided to continue; as the seriousness of the project grew the band began to play in different spots in Mexico City like Rockotitlán, High Tower, El Jabalí. In May 1986, Insolitas recorded a live demo performed at Rockotitlán. Insólitas developed a strong cult following in Mexico City. Insólitas broke up in 1986. Saúl and Alfonso reformed as Caifanes with bass player/producer Sabo Romo and Diego Herrera on keyboards and sax. Caifanes' first live show was April 1987, in Rockotitlán; the building was filled to capacity and many people were left outside. Their popularity began to grow throughout Mexico City. By late 1987 Caifanes had carved a niche for themselves as a dark contrast to the corporate pop/rock and light ballads that dominated Mexican radio and television during the 1980s. At times the image and the sound were considered radical for the Mexican music industry. Between December 28, 1986 and January 3, 1987 Juan Aceves produced a four-song demo for the band using "free" studio time at night at Arco Studio.
The demo was showcased on the independent radio program Espacio 59, a show that promoted up and coming rock bands. With demo in hand Caifanes approached CBS Mexico; the musical director at the time shunned them for dark new wave attire and said, “You look like fags.” At the time, Caifanes’ sound and look was influenced by British post-punk groups such as The Cure and The Jesus and Mary Chain. They sported frizzly hair and makeup. Upon hearing the demo of “Será Por Eso”, the CBS executive said, “At CBS, our business is to sell records, not coffins.” The movement of Rock en Español or rock en tu idioma was too strong to ignore by record execs. The flood of groups from Spain and Argentina forced Mexican labels to take a second look at up-and-coming Mexican bands. Caifanes received a big break when Ariola records invited them to open for Argentinean rocker Miguel Mateos’ Mexico City show; the show brought Cafaines to the attention of Miguel Mateos’ producer Oscar Lopez. Oscar took them to the studio to record a demo.
Lopez would be instrumental in their signing to RCA-Ariola and would go on to produce their first two albums. Caifanes’ debut album Caifanes was released in August 1988 by RCA-Ariola; the LP was preceded by an EP made up of three songs. The immediate sale of 300,000 copies of the EP cemented the band's appeal; the first single “Mátenme Porque Me Muero” became a minor hit in Mexico City. The first three singles garnered sufficient radio play. In December 1988 Caifanes released a cover of Cuban folk singer Guillermo Rodriguez Fiffe's classic cumbia, “La Negra Tomasa,” as a Maxi single; the song was a massive hit in Mexico and introduced Caifanes to a wider audience nationally and abroad. By 1989, Caifanes had emerged. In June Caifanes played two sold-out shows at Mexico's Auditorio Nacional, a 10,000 person venue – a first for a Mexican rock band. In late 1989, Caifanes began to record their second album in New York City; the record was produced by Oscar Lopez, aided by Daniel Freiberg. El diablito was released in July 1990 through BMG Records.
The band now included former Insolitas guitarist Alejandro Marcovich. Marcovich's textural guitar work changed Caifanes’ sound and cemented the “classic” Mexican rock sound that Caifanes became famous for. “La Célula Que Explota”, with its brushes of mariachi and bolero guitars and a crescendo of mariachi trumpets and its music video directed by Juan Carlos Colín became both a signature of the band as well as a massive hit in 1990 and 1991. By this time, Caifanes along with Maná, Maldita Vecindad, La Lupita, Cafe Tacuba and Los Amantes de Lola, helped to move Mexican Rock toward a wider audience and catapulted the Rock En Español movement of the 1990s. In 1992, Caifanes released El silencio. Recorded in Wisconsin and produced by Adrian Belew, of King Crimson fame, El Silencio further had a more direct guitar driven sound. “No Dejes Que”, “Estas Dormida”, “Deba
Post-punk is a broad type of rock music that emerged from the punk movement of the 1970s, in which artists departed from the simplicity and traditionalism of punk rock to adopt a variety of avant-garde sensibilities and diverse influences. Inspired by punk's energy and DIY ethic but determined to break from rock cliches, artists experimented with sources including electronic music and black styles like dub, free jazz, disco. Communities that produced independent record labels, visual art, multimedia performances and fanzines developed around these pioneering musical scenes, which coalesced in cities such as London, New York, Melbourne and San Francisco; the early post-punk vanguard was represented by groups such as Siouxsie and the Banshees, Public Image Ltd, the Pop Group, Cabaret Voltaire, Pere Ubu, Gang of Four, Joy Division, Talking Heads, Throbbing Gristle, the Slits, the Cure, the Fall, Au Pairs. The movement was related to the development of ancillary genres such as gothic rock, neo-psychedelia, no wave, industrial music.
By the mid-1980s, post-punk had dissipated while providing the impetus for the New Pop movement as well much subsequent alternative and independent music. Post-punk is a diverse genre. Called "new musick", the terms were first used by various writers in the late 1970s to describe groups moving beyond punk's garage rock template and into disparate areas. Sounds writer Jon Savage used "post-punk" in early 1978. NME writer Paul Morley stated that he had "possibly" invented the term himself. At the time, there was a feeling of renewed excitement regarding what the word would entail, with Sounds publishing numerous preemptive editorials on new musick. Towards the end of the decade, some journalists used "art punk" as a pejorative for garage rock-derived acts deemed too sophisticated and out of step with punk's dogma. Before the early 1980s, many groups now categorized as "post-punk" were subsumed under the broad umbrella of "new wave", with the terms being deployed interchangeably. "Post-punk" became differentiated from "new wave".
Nicholas Lezard described the term "post-punk" as "so multifarious that only the broadest use... is possible". Subsequent discourse has failed to clarify whether contemporary music journals and fanzines conventionally understood "post-punk" the way that it was discussed in years. Music historian Clinton Heylin places the "true starting-point for English post-punk" somewhere between August 1977 and May 1978, with the arrival of guitarist John McKay in Siouxsie and the Banshees in July 1977, Magazine's first album, Wire's new musical direction in 1978 and the formation of Public Image Ltd. Simon Reynolds' 2005 book Rip It Up and Start Again is referenced as post-punk doctrine, although he has stated that the book only covers aspects of post-punk that he had a personal inclination toward. Wilkinson characterized Reynolds' readings as "apparent revisionism and'rebranding'". Author/musician Alex Ogg criticized: "The problem is not with what Reynolds left out of Rip It Up... but, that too much was left in".
Ogg suggested that post-punk pertains to a set of artistic sensibilities and approaches rather than any unifying style, disputed the accuracy of the term's chronological prefix "post", as various groups labeled "post-punk" predate the punk rock movement. Reynolds defined the post-punk era as occurring between 1978 and 1984, he advocated that post-punk be conceived as "less a genre of music than a space of possibility", suggesting that "what unites all this activity is a set of open-ended imperatives: innovation. AllMusic employs "post-punk" to denote "a more adventurous and arty form of punk". Many post-punk artists were inspired by punk's DIY ethic and energy, but became disillusioned with the style and movement, feeling that it had fallen into a commercial formula, rock convention, self-parody, they repudiated its populist claims to accessibility and raw simplicity, instead of seeing an opportunity to break with musical tradition, subvert commonplaces and challenge audiences. Artists moved beyond punk's focus on the concerns of a white, working-class population and abandoned its continued reliance on established rock and roll tropes, such as three-chord progressions and Chuck Berry-based guitar riffs.
These artists instead defined punk as "an imperative to constant change", believing that "radical content demands radical form". Though the music varied between regions and artists, the post-punk movement has been characterized by its "conceptual assault" on rock conventions and rejection of aesthetics perceived of as traditionalist, hegemonic or rockist in favor of experimentation with production techniques and non-rock musical styles such as dub, electronic music, noise, free jazz, world music, the avant-garde; some previous musical styles served as touchstones for the movement, including particular brands of krautrock, art rock, art pop and other music from the 1960s. Artists once again approached the studio as an instrument, using new recording methods and pursuing novel sonic territories. Author Matthew Bannister wrote that post-punk artists rejected the high cultural references of 1960s rock artists like the Beatles and Bob Dylan as well as paradigms that defined "rock as progressive, as art, as'sterile' studio perfectionism... by adopting an avant-garde aesth
John Winston Ono Lennon was an English singer and peace activist who co-founded the Beatles, the most commercially successful band in the history of popular music. He and fellow member Paul McCartney formed a much-celebrated songwriting partnership. Along with George Harrison and Ringo Starr, the group achieved worldwide fame during the 1960s. In 1969, Lennon started the Plastic Ono Band with his second wife, Yoko Ono, he continued to pursue a solo career following the the Beatles' break-up in April 1970, he was born as John Winston Lennon in Liverpool, where he became involved in the skiffle craze as a teenager. In 1957, he formed his first band, the Quarrymen, which evolved into the Beatles in 1960. Further to his Plastic Ono Band singles such as "Give Peace a Chance" and "Instant Karma!", Lennon subsequently produced albums that included John Lennon/Plastic Ono Band and Imagine, songs such as "Working Class Hero", "Imagine" and "Happy Xmas". After moving to New York City in 1971, he never returned to England for the remainder of his life.
In 1975, he disengaged himself from the music business to raise his infant son Sean, but re-emerged with Ono in 1980 with the album Double Fantasy. He was shot and killed in the archway of his Manhattan apartment building three weeks after the album's release. Lennon revealed a rebellious nature and acerbic wit in his music, drawings, on film and in interviews, he was controversial through his political and peace activism. From 1971 onwards, his criticism of the Vietnam War resulted in a three-year attempt by the Nixon administration to deport him; some of his songs were adopted as anthems by the larger counterculture. By 2012, Lennon's solo album sales in the United States had exceeded 14 million units, he had 25 number-one singles on the US Billboard Hot 100 chart as a co-writer or performer. In 2002, Lennon was voted eighth in a BBC poll of the 100 Greatest Britons and in 2008, Rolling Stone ranked him the fifth-greatest singer of all time. In 1987, he was posthumously inducted into the Songwriters Hall of Fame.
Lennon was twice posthumously inducted into the Rock and Roll Hall of Fame: first in 1988 as a member of the Beatles and again in 1994 as a solo artist. Lennon was born on 9 October 1940 at Liverpool Maternity Hospital, to Alfred Lennon. Alfred was a merchant seaman of Irish descent, away at the time of his son's birth, his parents named him John Winston Lennon after his paternal grandfather, John "Jack" Lennon, Prime Minister Winston Churchill. His father was away from home but sent regular pay cheques to 9 Newcastle Road, where Lennon lived with his mother; when he came home six months he offered to look after the family, but Julia, by pregnant with another man's child, rejected the idea. After her sister Mimi complained to Liverpool's Social Services twice, Julia gave her custody of Lennon. In July 1946, Lennon's father visited her and took his son to Blackpool, secretly intending to emigrate to New Zealand with him. 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.
In one account of this incident, Lennon twice chose his father, but as his mother walked away, he began to cry and followed her. According to author Mark Lewisohn, Lennon's parents agreed that Julia should take him and give him a home. A witness, there that day, Billy Hall, has said that the dramatic portrayal of a young John Lennon being forced to make a decision between his parents is inaccurate. Lennon had no further contact with Alf for close to 20 years. Throughout the rest of his childhood and adolescence, Lennon lived at Mendips, 251 Menlove Avenue, with Mimi and her husband George Toogood Smith, who had no children of their own, his aunt purchased volumes of short stories for him, his uncle, a dairyman at his family's farm, bought him a mouth organ and engaged him in solving crossword puzzles. Julia visited Mendips on a regular basis, when John was 11 years old, he visited her at 1 Blomfield Road, where she played him Elvis Presley records, taught him the banjo, showed him how to play "Ain't That a Shame" by Fats Domino.
In September 1980, Lennon commented 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 poet/musician. But I cannot be what I am not... I was the one who all the other boys' parents – including Paul's father – would say, "Keep away from him"... The parents instinctively recognised I was a troublemaker, meaning I did not conform and I would influence their children, which I did. I did my best to disrupt every friend's home... Out of envy that I didn't have this so-called home... but I did... There were five women. Five strong, beautiful women, five sisters. One happened to be my mother. Just couldn't deal with life, she was the youngest and she had a husband who ran away to sea and the war was on and she couldn't cope with me, I ended up living with her elder sister. Now those women were fantastic... And, my first feminist education... I would infiltrate the other boys' minds. I could say, "Parents are not gods because I don't live with mine and, therefore, I know."
He visited his cousin, Stanley Parkes, who lived in Fleetwood and took him on trips to local cinemas. During the school holidays, Parkes visited Lennon with Leila Harvey, another cousin, the threesome travelled to Blackpool two or three times a week to watch shows, they would