Ethnomusicology is the study of music from the cultural and social aspects of the people who make it. It encompasses distinct theoretical and methodical approaches that emphasize cultural, material, cognitive and other dimensions or contexts of musical behavior, instead of only its isolated sound component. Folklorists, who began preserving and studying folklore music in Europe and the US in the 19th century, are considered the precursors of the field prior to the Second World War; the term ethnomusicology is said to have been first coined by Jaap Kunst from the Greek words ἔθνος and μουσική, It is defined as the anthropology or ethnography of music, or as musical anthropology. During its early development from comparative musicology in the 1950s, ethnomusicology was oriented toward non-Western music, but for several decades it has included the study of all and any musics of the world from anthropological and intercultural perspectives. Bruno Nettl once characterized ethnomusicology as a product of Western thinking, proclaiming that "ethnomusicology as western culture knows it is a western phenomenon".
Stated broadly, ethnomusicology may be described as a holistic investigation of music in its cultural contexts. Combining aspects of folklore, cultural anthropology, comparative musicology, music theory, history, ethnomusicology has adopted perspectives from a multitude of disciplines; this disciplinary variety has given rise to many definitions of the field, attitudes and foci of ethnomusicologists have evolved since initial studies in the area of comparative musicology in the early 1900s. When the field first came into existence, it was limited to the study of non-Western music—in contrast to the study of Western art music, the focus of conventional musicology. In fact, the field was referred to early in its existence as “comparative musicology,” defining Western musical traditions as the standard to which all other musics were compared, though this term fell out of use in the 1950s as critics for the practices associated with it became more vocal about ethnomusicology's distinction from musicology.
Over time, the definition broadened to include study of all the musics of the world according to certain approaches. While there is not a single, authoritative definition for ethnomusicology, a number of constants appear in the definitions employed by leading scholars in the field, it is agreed upon that ethnomusicologists look at music from beyond a purely sonic and historical perspective, look instead at music within culture, music as culture, music as a reflection of culture. In addition, many ethnomusicological studies share common methodological approaches encapsulated in ethnographic fieldwork conducting primary fieldwork among those who make the music, learning languages and the music itself, taking on the role of a participant observer in learning to perform in a musical tradition, a practice Hood termed "bi-musicality". Musical fieldworkers also collect recordings and contextual information about the music of interest. Thus, ethnomusicological studies do not rely on printed or manuscript sources as the primary source of epistemic authority.
While the traditional subject of musicology has been the history and literature of Western art music, ethnomusicology was developed as the study of all music as a human social and cultural phenomenon. Oskar Kolberg is regarded as one of the earliest European ethnomusicologists as he first began collecting Polish folk songs in 1839. Comparative musicology, the primary precursor to ethnomusicology, emerged in the late 19th century and early 20th century; the International Musical Society in Berlin in 1899 acted as one of the first centers for ethnomusicology. Comparative musicology and early ethnomusicology tended to focus on non-Western music, but in more recent years, the field has expanded to embrace the study of Western music from an ethnographic standpoint; the International Council for Traditional Music and the Society for Ethnomusicology are the primary international academic organizations for advancing the discipline of ethnomusicology. Ethnomusicologists have offered varying definitions of the field.
More scholars debate what constitutes ethnomusicology. Bruno Nettl distinguishes between discipline and field, believing ethnomusicology is the latter. There are multiple approaches to and challenges of the field; some approaches reference "musical areas" like "musical synthesis in Ghana" while others emphasize "a study of culture through the avenue of music, to study music as social behavior." The multifaceted and dynamic approaches to ethnomusicology allude to. The primary element that distinguishes ethnomusicology from musicology is the expectation that ethnomusicologists engage in sustained, diachronic fieldwork as their primary source of data. There are many groups who can be connected to ethnomusicology. According to Merriam, some of these groups are "players of ethnic music," "music educators," "those who see ethnic music in the context of a global view of music, vis a vis the study of Western "classical" music," "made up of persons with a variety of interests, all of which are in some sense "applied" like "professional ethnomusicologists," music therapists, the "musicologists" and the "anthropologist."
Folklore and Folklorists were the precursors to the field of Ethnomusicology prior to WWII. They laid a foundation of interest in the preservation and continuation of the traditional folk musics of nations and an interest in the differences b
Zimbabwe the Republic of Zimbabwe, is a landlocked country located in southern Africa, between the Zambezi and Limpopo Rivers, bordered by South Africa, Botswana and Mozambique. The capital and largest city is Harare. A country of 16 million people, Zimbabwe has 16 official languages, with English and Ndebele the most used. Since the 11th century, present-day Zimbabwe has been the site of several organised states and kingdoms as well as a major route for migration and trade; the British South Africa Company of Cecil Rhodes first demarcated the present territory during the 1890s. In 1965, the conservative white minority government unilaterally declared independence as Rhodesia; the state endured a 15-year guerrilla war with black nationalist forces. Zimbabwe joined the Commonwealth of Nations, from which it was suspended in 2002 for breaches of international law by its then-government, from which it withdrew in December 2003; the sovereign state is a member of the United Nations, the Southern African Development Community, the African Union, the Common Market for Eastern and Southern Africa.
It was once known as the "Jewel of Africa" for its prosperity under the former Rhodesian administration. Robert Mugabe became Prime Minister of Zimbabwe in 1980, when his ZANU-PF party won the elections following the end of white minority rule. Under Mugabe's authoritarian regime, the state security apparatus dominated the country and was responsible for widespread human rights violations. Mugabe maintained the revolutionary socialist rhetoric of the Cold War era, blaming Zimbabwe's economic woes on conspiring Western capitalist countries. Contemporary African political leaders were reluctant to criticise Mugabe, burnished by his anti-imperialist credentials, though Archbishop Desmond Tutu called him "a cartoon figure of an archetypal African dictator"; the country has been in economic decline since the 1990s, experiencing several crashes and hyperinflation along the way. On 15 November 2017, in the wake of over a year of protests against his government as well as Zimbabwe's declining economy, Mugabe was placed under house arrest by the country's national army in a coup d'état.
On 19 November 2017, ZANU-PF sacked Robert Mugabe as party leader and appointed former Vice President Emmerson Mnangagwa in his place. On 21 November 2017, Mugabe tendered his resignation prior to impeachment proceedings being completed. On 30 July 2018 Zimbabwe held its general elections, won by the ZANU-PF party led by Emmerson Mnangagwa. Nelson Chamisa, leading the main opposition party MDC Alliance contested the election results and filed a petition to the Constitution Court of Zimbabwe; the court confirmed Mnangagwa's victory. The name "Zimbabwe" stems from a Shona term for Great Zimbabwe, an ancient ruined city in the country's south-east whose remains are now a protected site. Two different theories address the origin of the word. Many sources hold that "Zimbabwe" derives from dzimba-dza-mabwe, translated from the Karanga dialect of Shona as "houses of stones"; the Karanga-speaking Shona people live around Great Zimbabwe in the modern-day province of Masvingo. Archaeologist Peter Garlake claims that "Zimbabwe" represents a contracted form of dzimba-hwe, which means "venerated houses" in the Zezuru dialect of Shona and references chiefs' houses or graves.
Zimbabwe was known as Southern Rhodesia and Zimbabwe Rhodesia. The first recorded use of "Zimbabwe" as a term of national reference dates from 1960 as a coinage by the black nationalist Michael Mawema, whose Zimbabwe National Party became the first to use the name in 1961; the term "Rhodesia"—derived from the surname of Cecil Rhodes, the primary instigator of British colonisation of the territory during the late 19th century—was perceived by African nationalists as inappropriate because of its colonial origin and connotations. According to Mawema, black nationalists held a meeting in 1960 to choose an alternative name for the country, proposing names such as "Matshobana" and "Monomotapa" before his suggestion, "Zimbabwe", prevailed. A further alternative, put forward by nationalists in Matabeleland, had been "Matopos", referring to the Matopos Hills to the south of Bulawayo, it was unclear how the chosen term was to be used—a letter written by Mawema in 1961 refers to "Zimbabweland" — but "Zimbabwe" was sufficiently established by 1962 to become the preferred term of the black nationalist movement.
In a 2001 interview, black nationalist Edson Zvobgo recalled that Mawema mentioned the name during a political rally, "and it caught hold, and, that". The black nationalist factions subsequently used the name during the Second Chimurenga campaigns against the Rhodesian government during the Rhodesian Bush War of 1964–1979. Major factions in this camp included the Zimbabwe African National Union, the Zimbabwe African People's Union. Archaeological records date human settlement of present-day Zimbabwe to at least 100,000 years ago; the earliest known inhabitants were San people, who left behind arrowheads and cave paintings. The first Bantu-speaking farmers arrived during the Bantu expansion around 2000 years ago. Societies speaking proto-Shona languages fir
Pickup (music technology)
A pickup is a transducer that captures or senses mechanical vibrations produced by musical instruments stringed instruments such as the electric guitar, converts these to an electrical signal, amplified using an instrument amplifier to produce musical sounds through a loudspeaker in a speaker enclosure. The signal from a pickup can be recorded directly. Most electric guitars and electric basses use magnetic pickups. Acoustic guitars, upright basses and fiddles use a piezoelectric pickup. A typical magnetic pickup is a transducer that consists of one or more permanent magnets wrapped with a coil of several thousand turns of fine enameled copper wire; the magnet creates a magnetic field, focused by the pickup's pole piece or pieces. The permanent magnet in the pickup magnetises the guitar string above it. So the string is, in essence, a magnet itself and its magnetic field is in alignment with that of the permanent magnet that magnetized it; when the string is plucked, the magnetic field around it moves down with the string.
This moving magnetic field induces a current in the coil of the pickup. The pickup is connected with a patch cable to an amplifier, which amplifies the signal to a sufficient magnitude of power to drive a loudspeaker. A pickup can be connected to recording equipment via a patch cable; the pickup is most mounted on the body of the instrument, but can be attached to the bridge, neck or pickguard. Pickups have magnetic polepieces centered on each string. On most guitars, the strings are not parallel: they converge at the nut and diverge at the bridge. Thus, bridge and middle pickups have different polepiece spacings on the same guitar. There are string spacing between the poles. Spacing is measured either as a distance between 1st to 6th polepieces' centers, or as a distance between adjacent polepieces' centers; some high-output pickups employ strong magnets, thus creating more flux and thereby more output. This can be detrimental to the final sound because the magnet's pull on the strings can cause problems with intonation as well as damp the strings and reduce sustain.
Other high-output pickups have more turns of wire to increase the voltage generated by the string's movement. However, this increases the pickup's output resistance/impedance, which can affect high frequencies if the pickup is not isolated by a buffer amplifier or a DI unit; the turns of wire in proximity to each other have an equivalent self-capacitance that, when added to any cable capacitance present, resonates with the inductance of the winding. This resonance can accentuate certain frequencies; the more turns of wire in the winding, the higher the output voltage but the lower this resonance frequency. The inductive source impedance inherent in this type of transducer makes it less linear than other forms of pickups, such as piezo-electric or optical; the tonal quality produced by this nonlinearity is, subject to taste, some guitarists and luthiers consider it aesthetically superior to a more linear transducer. The external load consists of resistance and capacitance between the hot lead and shield in the guitar cable.
The electric cable has a capacitance, which can be a significant portion of the overall system capacitance. This arrangement of passive components forms a resistively-damped second-order low-pass filter. Pickups are designed to feed a high input impedance a megohm or more, a lowimpedance load reduces the high-frequency response of the pickup because of the filtering effect of the inductance.|date=January 2019 Single-coil pickups act like a directional antenna and are prone to pick up mains hum — nuisance alternating current electromagnetic interference from electrical power cables, power transformers, fluorescent light ballasts, video monitors or televisions — along with the musical signal. Mains hum consists of a fundamental signal at a nominal 50 or 60 Hz, depending on local current frequency, some harmonic content. To overcome this, the humbucking pickup was invented by Joseph Raymond "Ray" Butts, but Seth Lover of Gibson was working on one. Who developed it first is a matter of some debate, but Ray Butts was awarded the first patent and Seth Lover came next.
A humbucking pickup is composed of two coils. Each set of six magnetic poles is opposite in polarity. Since ambient hum from electrical devices reaches the coils as common-mode noise, it induces an equal voltage in each coil, but with opposite amplitudes; these cancel each other, while the signal from the guitar string is doubled. When wired in series, as is most common, the overall inductance of the pickup is increased, which lowers its resonance frequency and attenuates the higher frequencies, giving a less trebly tone than either of the two component single-coil pickups would give alone. An alternative wiring places the coils in buck parallel, which has a more neutral effect on resonant frequency; this pickup wiring is rare, as guitarists have come to expect that humbucking pickups'have a sound', are not so neutral. On fine jazz guitars, the parallel wiring produces cleaner sound, as the lowered so
Bass describes tones of low frequency and range from 16 to 256 Hz and bass instruments that produce tones in the low-pitched range C2-C4. They can cover a wide range of musical roles. Since producing low pitches requires a long air column or string, for stringed instruments, a large hollow body, the string and wind bass instruments are the largest instruments in their families or instrument classes. In musical compositions, such as songs and pieces, these are the lowest-pitched parts of the harmony. In choral music without instrumental accompaniment, the bass is supplied by adult male bass singers. For an accompanied choir, the bass is provided by pipe organ or piano. In an orchestra, the basslines are played by the double bass and cellos, bassoon or contrabassoon, low brass such as the tuba and bass trombone, the timpani. In many styles of traditional music such as Bluegrass, in styles such as Rockabilly and Big Band and Bebop jazz, the bass role is filled by the upright bass. In most rock and pop bands and in jazz fusion groups, the bass role is filled by the electric bass.
In some 20th and 21st century pop genres, such as 1980s pop, hip hop music and Electronic Dance Music, the bass role may be filled with a bass synthesizer. When bass notes are played in a musical ensemble such an orchestra, they are used to provide a counterpoint or counter-melody, in a harmonic context either to outline or juxtapose the progression of the chords, or with percussion to underline the rhythm. In popular music, the bass part, called the "bassline" provides harmonic and rhythmic support to the band; the bass player is a member of the rhythm section in a band, along with the drummer, rhythm guitarist, and, in some cases, a keyboard instrument player. The bass player emphasizes the root or fifth of the chord in her basslines and accents the strong beats. In classical music, different forms of bass are: basso recitante. Basso continuo was an approach to writing music during the Baroque music era. With basso continuo, a written-out bassline served to set out the chord progression for an entire piece, with the bassline being played by pipe organ or harpsichord and the chords being improvised by players of chordal instruments.
"The bass differs from other voices because of the particular role it plays in supporting and defining harmonic motion. It does so at levels ranging from immediate, chord-by-chord events to the larger harmonic organization of a entire work." As seen in the musical instrument classification article, categorizing instruments can be difficult. For example, some instruments fall into more than one category; the cello is considered a tenor instrument in some orchestral settings, but in a string quartet it is the bass instrument. Examples grouped by general form and playing technique include: Double bass from the viol or violin family Bass guitar and acoustic bass guitar, instruments shaped and held like guitars, that play in the bass range; the electric bass guitar is the instrument referred to as a "bass" in pop and rock music. A bass horn, such as a tuba and sousaphone from the wind family and low-tuned versions of specific types of brass and woodwind instruments, such as bassoon, bass clarinet, bass trombone and bass saxophone, etc.
Keyboard bass, a keyboard alternative to the bass guitar or double bass Washtub bass, a simple folk instrumentA musician playing one of these instruments is known as a bassist. Other more specific terms such as'bass guitarist','double bassist','bass player', etc. may be used. Keyboard bass Pedal keyboard Bass drum Timpani Double bass Bass guitar Washtub bass Bassoon Bass clarinet Bass saxophone Contrabassoon Baritone Saxophone Tuba Bass trombone Euphonium With recorded music playback, for owners of 33 rpm LPs and 45 singles, the availability of loud and deep bass was limited by the ability of the phonograph record stylus to track the groove. While some hi-fi aficionados had solved the problem by using other playback sources, such as reel-to-reel tape players which were capable of delivering accurate deep bass from acoustic sources, or synthetic bass not found in nature, with the popular introduction of the compact cassette in the late 1960s it became possible to add more low frequency content to recordings.
By the mid-1970s, 12" vinyl singles, which allowed for "more bass volume", were used to record disco, reggae and hip-hop tracks.
Sir James Paul McCartney is an English singer-songwriter, multi-instrumentalist, composer. He gained worldwide fame as the bass guitarist and singer for the rock band the Beatles considered the most popular and influential group in the history of popular music, his songwriting partnership with John Lennon remains the most successful in history. After the group disbanded in 1970, he pursued a solo career and formed the band Wings with his first wife and Denny Laine. McCartney is one of performers of all time. More than 2,200 artists have covered his Beatles song "Yesterday", making it one of the most covered songs in popular music history. Wings' 1977 release "Mull of Kintyre" is one of the all-time best-selling singles in the UK. A two-time inductee into the Rock and Roll Hall of Fame, an 18-time Grammy Award winner, McCartney has written, or co-written, 32 songs that have reached number one on the Billboard Hot 100, as of 2009 he had 25.5 million RIAA-certified units in the United States. McCartney, George Harrison and Ringo Starr all received appointment as Members of the Order of the British Empire in 1965 and, in 1997, McCartney was knighted for services to music.
McCartney is one of the wealthiest musicians in the world, with an estimated net worth of US$1.2 billion. McCartney has released an extensive catalogue of songs as a solo artist and has composed classical and electronic music, he has taken part in projects to promote international charities related to such subjects as animal rights, seal hunting, land mines, vegetarianism and music education. He is the father of five children. James Paul McCartney was born on 18 June 1942 in Walton Hospital, England, where his mother, Mary Patricia, had qualified to practise as a nurse, his father, James McCartney, was absent from his son's birth due to his work as a volunteer firefighter during World War II. McCartney has one younger brother named a stepsister, Ruth; the children were baptised in their mother's Catholic faith though their father was a former Protestant, who had turned agnostic. Religion was not emphasised in the household. McCartney attended Stockton Wood Road Primary School in Speke from 1947 until 1949, when he transferred to Joseph Williams Junior School in Belle Vale because of overcrowding at Stockton.
In 1953, with only three others out of ninety examinees, he passed the 11-Plus exam, meaning he could attend the Liverpool Institute, a grammar school rather than a secondary modern school. In 1954, he met schoolmate George Harrison on the bus from his suburban home in Speke; the two became friends. McCartney's mother, was a midwife and the family's primary wage earner, she rode a bicycle to her patients. On 31 October 1956, when McCartney was 14, his mother died of an embolism. McCartney's loss became a point of connection with John Lennon, whose mother, had died when he was 17. McCartney's father was a trumpet pianist, who had led Jim Mac's Jazz Band in the 1920s, he kept an upright piano in the front room, encouraged his sons to be musical and advised McCartney to take piano lessons. However, McCartney preferred to learn by ear; when McCartney was 11, his father encouraged him to audition for the Liverpool Cathedral choir, but he was not accepted. McCartney joined the choir at St Barnabas' Church, Mossley Hill.
McCartney received a nickel-plated trumpet from his father for his fourteenth birthday, but when rock and roll became popular on Radio Luxembourg, McCartney traded it for a £15 Framus Zenith acoustic guitar, since he wanted to be able to sing while playing. He found it difficult to play guitar right-handed, but after noticing a poster advertising a Slim Whitman concert and realising that Whitman played left-handed, he reversed the order of the strings. McCartney wrote his first song, "I Lost My Little Girl", on the Zenith, composed another early tune that would become "When I'm Sixty-Four" on the piano. American rhythm and blues influenced him, Little Richard was his schoolboy idol. At the age of fifteen on 6 July 1957, McCartney met John Lennon and his band, the Quarrymen, at the St Peter's Church Hall fête in Woolton; the Quarrymen played a mix of rock and roll and skiffle, a type of popular music with jazz and folk influences. Soon afterwards, the members of the band invited McCartney to join as a rhythm guitarist, he formed a close working relationship with Lennon.
Harrison joined in 1958 as lead guitarist, followed by Lennon's art school friend Stuart Sutcliffe on bass, in 1960. By May 1960 the band had tried several names, including Johnny and the Moondogs and the Silver Beetles, they adopted the name the Beatles in August 1960 and recruited drummer Pete Best shortly before a five-engagement residency in Hamburg. The Beatles were informally represented by Allan Williams. In 1961, Sutcliffe left McCartney reluctantly became their bass player. While in Hamburg, they recorded professionally for the first time and were credited as the Beat Brothers, who were the backing band for English singer Tony Sheridan on the single "My Bonnie"; this resulted in attention from Brian Epstein, w
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