Actors Photos Actor John Lennon HD Photos and Wallpapers December 2023 By GethuCinema Admin December 2, 2023 Related Posts Actor John Lennon HD Photos and Wallpapers March 2024 Actor John Lennon HD Photos and Wallpapers February 2024 Actor John Lennon HD Photos and Wallpapers January 2024 Actor John Lennon HD Photos and Wallpapers December 2023 Actor John Lennon HD Photos and Wallpapers December 2023 Actor John Lennon HD Photos and Wallpapers November 2023 Share This Post FacebookTwitterPinterestWhatsAppReddItTelegram GIRL. 🔴 That’s me! Writing about this dream girl again that hadn’t come yet. ‘Girl’ is real. There is no such thing as the girl; she was a dream, but the words are all right. It wasn’t just a song, and it was about that girl – that turned out to be Yoko in the end – the one that a lot of us were looking for. I never wrote about people except for myself. When Paul and I wrote lyrics in the old days we used to laugh about what Tin Pan Alley people would do. And we’d do it like an exercise. It was only later on that we started to try and match the lyrics to the tune. I like it. It was one of my best. It’s the one we say, ‘tit, tit, tit’ in. I was just talking about Christianity in that – a thing like you have to be tortured to attain heaven. I’m only saying that I was talking about ‘pain will lead to pleasure’ in ‘Girl’ and that was sort of the Catholic Christian concept – be tortured and then it’ll be all right, which seems to be a bit true but not in their concept of it. But I didn’t believe in that, that you have to be tortured to attain anything, it just so happens that you were. The song ‘Woman’ is the grown-up version of ‘Girl’ to me. GIRL. Is there anybody going to listen to my story All about the girl who came to stay She’s the kind of girl you want so much It makes you sorry Still you don’t regret a single day Ah girl Girl girl When I think of all the times I tried so hard to leave her She will turn to me and start to cry And she promises the earth to me And I believe her After all this time I don’t know why Ah girl Girl girl She’s the kind of girl who puts you down When friends are there you feel a fool When you say she’s looking good She acts as if it’s understood She’s cool ooh ooh ooh Ah girl Girl girl Was she told when she was young That pain would lead to pleasure Did she understand it when they said That a man must break his back To earn his day of leisure Will she still believe it when he’s dead Ah girl Girl girl I’M ONLY SLEEPING. 🔴 That’s me. Dreaming my life away. It’s all backwards guitars too. When you’re on tour, you exist in this kind of vacuum all the time. It’s work, sleep, eat and work again. We work mad hours, really, but none of us would have it any other way. When I look back, I can’t remember a time when I wasn’t in the business – it seems years to me, now. In Hamburg, you would only have two hours’ sleep, and then you’d have to wake up and take a pill, and it would be going on and on and on, since you didn’t get a day off; you’d just begin to go out of your mind with tiredness and you’d think you’d be glad to get out of there. But then you’d go back to Liverpool, and only remember the good fun you had in Hamburg, so you wouldn’t mind going back. What with playing, drinking and birds, how could we find time to sleep? I dream in colour, and it’s always very surreal. My dream world is complete Hieronymus Bosch and Dali. I love it, I look forward to it every night. One recurrent dream, all through my life, was the flying bit. I’d always fly in time of danger. I remember it as a child, flying around, like swimming in the air. I’d be swimming round where I lived or somewhere I knew very well, usually. The other times in dreams I remember are nightmarish, where there’d be a giant horse or something and whenever it would get near to a danger point, I would fly away. I WANT YOU (SHE’S SO HEAVY). 🔵 ‘She’s So Heavy’ was about Yoko. When it gets down to it, like she said, when you’re drowning you don’t say, ‘I would be incredibly pleased if someone would have the foresight to notice me drowning and come and help me,’ you just scream. And I just sang ‘I want you, I want you so bad, she’s so heavy,’ like that. It is pretty heavy. The ending, you know, because we used the Moog synthesizer on it. I WANT YOU (SHE’S SO HEAVY). I want you I want you so bad I want you I want you so bad It’s driving me mad It’s driving me mad I want you I want you so bad babe I want you I want you so bad It’s driving me mad It’s driving me I want you I want you so bad babe I want you I want you so bad It’s driving me mad It’s driving me mad I want you I want you so bad I want you I want you so bad It’s driving me mad It’s driving me She’s so Heavy Heavy She’s so Heavy She’s so heavy I want you I want you so bad I want you I want you so bad It’s driving me mad It’s driving me mad I want you You know I want you so bad babe I want you You know I want you so bad It’s driving me mad It’s driving me mad Yeah She’s so HELP! 🔴 Yes. That’s mine. I wrote it. It was getting hard to be someone then. I was grossly overweight and needed help and only one critic/reviewer ever spotted it and it was Al Aronowitz in the New York Post. He said ‘Johnny’ or whatever he was calling me, ‘is crying out for help.’ And I didn’t realise that I was at the time. I was just writing a song for the movie. I wrote it ‘Bam! Bam!’ like that, and got the single. It was really getting weird then. The whole Beatles thing was just beyond comprehension and I was eating and drinking like a pig and I was fat as a pig, dissatisfied with myself and subconsciously crying for help. It was like the Fat Elvis period. You see the movie, he’s very fat, very insecure and completely loss of self. I’m singing about when I was younger and all the rest of it. Now the positive thing is, yes, yes, I’m very positive. I also go through deep depressions where I’d like to jump out the window, you know? I am an amazingly emotional person. It’s becoming easier to deal with as I get older and I realise, I try – I don’t know whether control is the right word – or I’ve grown up a little, or you calm down a little but the swings and the motion from ecstatic highs to suicidal depressions are actually physically and mentally wearing and I’ve always had it, all my life. I remember Maureen Cleave, a writer – the one who did the famous ‘We’re more popular than Jesus’ story in the Evening Standard – asked me, ‘Why don’t you ever write songs with more than one syllable?’ So in ‘Help!’ there are two- or three-syllable words and I very proudly showed them to her and she still didn’t like them. I was insecure then, and things like that happened more than once. I never considered it before. So after that I put a few words with three syllables in, but she didn’t think much of them when I played it to her, anyway. I don’t like the recording too much; we did it too fast, trying to be commercial… I might do ‘I Want To Hold Your Hand’ and ‘Help!’ again, because I like them and I can sing them. REVOLUTION.🔵 You say you want a revolution, well you know We all want to change the world You tell me that it’s evolution, well you know We all want to change the world But when you talk about destruction Don’t you know that you can count me out Read more about ‘Revolution’ → johnlennon.com I AM THE WALRUS. 🔵 The first line was written on one acid trip one weekend. I was running through the house and I just typed on the typewriter ‘I am he as you are he as we are all together’ and that was lying on the typewriter for about three weeks before it became a song. That was the whole song right in that line. And that was an acid trip line, and it was a great effort to just put in on the typewriter. For those of you who know those kind of things. So that line was written and left on the typewriter there for two or three weeks until I went to look at it on the next acid trip the next weekend and subsequently filled in after I met Yoko. I did have this idea of doing a song that was the police siren, you know. Didn’t work in the end, because you couldn’t really sing with police siren. Yellow matter custard and all that is an English children’s chant – ‘Yellow matter custard, green snot pie, all mixed together with a dead dog’s eye. Spread it on a butty, Spread it on thick, Then wash it down with a cup of cold sick’ – That was a Liverpool kids song. I’d seen Allen Ginsberg and some other people who liked Dylan and Jesus go on about Hare Krishna. It was Ginsberg, in particular, I was referring to. The words ‘Elementary Penguin’ meant that it’s naïve to just go around chanting ‘Hare Krishna’ or putting all your faith in one idol. It was ‘The Walrus and The Carpenter’, Alice and Wonderland. And it was only years later that I went back to check because I never went into that bit about what Lewis Carroll really meant. Like what people are doing with the Beatles’ work or anybody’s work, digging into it. Lewis Carroll was commenting on Capitalist and Socialist systems at the time. The Walrus and the Carpenter representing social positions. People draw so many conclusions and it’s ridiculous… What does it really mean, ‘I am the eggman’? It could have been the pudding basin for all I care. It’s not that serious. A DAY IN THE LIFE. 🔵 It was a good piece of work between Paul and I. I had the ‘I read the news today’ – all that bit. And it turned him on, you know. Because now and then we really turn each other on with a bit of a song. It just sort of happened beautifully. And we arranged it and rehearsed it – which we don’t often do – the afternoon before, so we all knew what we were playing. And we just all got into it. And it was a real groove, you know, the whole scene, on that one. It had two stories. One was (Tara Brown) the Guinness child that killed himself in a car. That was the main headline story. And on the next page there were about four thousand holes in Blackburn, Lancashire. It was (written) in Kenwood, the house in the suburbs. I’m on the piano and the TV is going, over in the corner, flickering. And I was just looking for inspiration and I looked down. Do you know those kinds of sections they have in newspapers of top different things that happened? They had about four thousand holes in Blackburn, Lancashire – a real story that the council had spent real money. The bulk of the song was written entirely by me. Paul’s contribution being that little beautiful little lick going into his song, ‘I’d love to turn you on’ – that melodic little piece there where it changes – is his contribution. It came to a where I needed a middle eight, but, you know, that would have been forcing it. All the rest had come out smooth, flowing, no trouble. And to write a middle eight would have been to write a middle eight. We got into ‘how about putting a whole different song’ which he already had – that had nothing to do with ‘A Day in the Life’ – which is all about being on the top of the bus in a barber chair. He sang that (middle) bit. He had that one little lick floating around in his head. He couldn’t use it for anything. He stuck it on. And putting those two together was a precursor to the Abbey Road (medley) style, later on. Abbey Road Studios DAY TRIPPER. 🔴 That’s mine. Including the lick, the guitar, the whole bit. I think Paul helped me out with the verse. ‘Day Tripper’ was under complete pressure, based on an old folk song I wrote about the month previous. It was a very hard going, and it sounds it. It’s just a rock and roll song. It wasn’t a serious message song. It was a drug song. I just liked the word. ‘Day Trippers’ are people who go on a day trip, right? Usually on a boat, you know, a ferry boat or something. But it was kind of, you know, ‘you’re just a weekend hippie’. The real line in that was ‘she’s a prick teaser, she took me half the way there’. But we wrote ‘big teaser’ in the lyrics. ‘Paperback Writer’ is son of ‘Day Tripper’ – a rock ’n’ roll song with a guitar lick on a fuzzy, loud guitar – but is Paul’s song. Listen on Apple Music → https://music.apple.com/gb/album/day-tripper-2023-mix/1713066744?i=1713066902 DAY TRIPPER. Got a good reason For taking the easy way out Got a good reason For taking the easy way out now She was a day tripper One way ticket, yeah It took me so long to find out And I found out She’s a big teaser She took me half the way there She’s a big teaser She took me half the way there now She was a day tripper One way ticket yeah It took me so long to find out And I found out Tried to please her She only played one night stands Tried to please her She only played one night stands now She was a day tripper Sunday driver, yeah It took me so long to find out And I found out Day tripper yeah Day tripper yeah Day tripper Day tripper yeah Day tripper NORWEGIAN WOOD (THIS BIRD HAS FLOWN). 🔴 ‘Norwegian Wood’ is my song completely. It was about a little affair I’d been having. I was very careful and paranoid because I didn’t want my wife Cyn to know that there really was something going on outside of the household, so I was trying to be sophisticated in writing about an affair. But in such a smokescreen way that you couldn’t tell whether it was real or it was another Beatle story. I don’t know how I got to ‘Norwegian Wood’ – the actual title. It was the first sitar used on a pop record and I specifically asked George to play the sitar on the record. NORWEGIAN WOOD (THIS BIRD HAS FLOWN). I once had a girl Or should I say she once had me She showed me her room Isn’t it good Norwegian wood She asked me to stay And she told me to sit anywhere So I looked around And I noticed there wasn’t a chair I sat on a rug Biding my time drinking her wine We talked until two And then she said, ‘It’s time for bed’ She told me she worked in the morning And started to laugh I told her I didn’t And crawled off to sleep in the bath And when I awoke I was alone This bird had flown So I lit a fire isn’t it good Norwegian wood 🏆 Beatlemania is BACK 🏆 The Beatles claim 18th Official Number 1 single – and break UK Official Chart records in the process ✨@officialcharts Nothing’s gonna change my world… ACROSS THE UNIVERSE. 🔵 It’s one of the best lyrics I’ve written. In fact, it could be the best. It’s good poetry, or whatever you call it, without chewing it. See, the ones I like are the ones that stand as words without melody. They don’t have to have any melody, like a poem you can read them. I was lying next to my first wife in bed, you know, and I was irritated. She must have been going on and on about something and she’d gone to sleep and I’d kept hearing these words over and over, flowing like an endless stream. I went downstairs and it turned into sort of a cosmic song rather than an irritated song, rather than a, ‘Why are you always mouthing off at me?’ or whatever, right? But the words stand, luckily, by themselves. They were purely inspirational and were given to me as ‘boom!’ I don’t own it, you know; it came through like that. I don’t know where it came from, what meter it’s in, and I’ve sat down and looked at it and said, ‘Can I write another one with this meter?’ It’s so interesting: ‘Words are flying out like endless rain into a paper cup, they slither while they pass they slip away across the universe.’ Such an extraordinary meter and I can never repeat it! It’s not a matter of craftsmanship, it wrote itself. It drove me out of bed. I didn’t want to write it, I was just slightly irritable and I went downstairs and I couldn’t get to sleep until I put it on paper, and then I went to sleep. It’s like being possessed, like a psychic or a medium. The thing has to go down. It won’t let you sleep, so you have to get up, make it into something, and then you’re allowed to sleep. That’s always in the middle of the bloody night, when you’re half awake or tired and your critical facilities are switched off. ALL YOU NEED IS LOVE. 🔵 There’s nothing you can do that can’t be done… The Beatles’ ‘Red’ and ‘Blue’ albums (2023 editions) are out now! Listen to the newly-expanded and remixed albums today, including the last Beatles song, ‘Now And Then’. → https://TheBeatles.lnk.to/RedAndBlue2023 #RedAndBlue TICKET TO RIDE. 🔴 That’s me. That was the first, one of the earliest heavy metal records made, I think. Paul’s contribution was the way Ringo played the drums. ‘Ticket to Ride’ was one move. I remember that, you know, it was a definite sort of change. I liked it because it was a slightly new sound at the time. It was pretty fucking heavy for then. If you go and look in the charts, or whatever music people were making and you hear it now, it’s one of them and it doesn’t make you cringe. If you give me the eight-track, I’ll remix it and I’ll show you what it is, really, but you can hear it there. I used to like guitars, you know, I don’t want anything else on the album, the guitar’s jangling, piano or whatever and it’s all happening, it’s a heavy record, you know, and the drums are heavy too, that’s why I like it. “My baby don’t care” – one of my favorite bits of ‘Ticket To Ride’ – we just threw on at the end on the fade-out. ELEANOR RIGBY. 🔴 Both of us. I wrote a good lot of the lyrics, about 70 per cent. The first verse was his and the rest are basically mine. But the way he did it… Well, he knew he had a song. But by that time he didn’t want to ask for my help, and we were sitting around with Mal Evans and Neil Aspinall, so he said to us, ‘Hey, you guys, finish up the lyrics.’ He had the first lines about ‘Eleanor Rigby picks up the rice in the church when there is nobody there.’ And we worked in a room together on it somewhere to finish off a verse and a bit, and then the rest of it was finished off in the studio. We had Father McCartney for a bit, but he said his dad would be upset ‘cause it sounded better than McKenzie, but we made it into McKenzie, but from then on it was new characters. He didn’t have the middle eight, ‘Ah, look at all the lonely people’ – he and George Harrison were settling on that as I left the room to go to the toilet, at the studio, and I turned around and said, ‘That’s it!’ I just dig the strings on Eleanor Rigby, it’s sort of like ‘30’s strings. Jane Asher turned him on to Vivaldi and he made that backing and it was very good. Ray Charles did a great version of this. NOW AND THEN. #NowAndThen is now available to listen to worldwide! 🎧→ 𝗟𝗶𝗻𝗸 𝗶𝗻 𝗯𝗶𝗼 I FEEL FINE. 🔴 I wrote it the same time as we recorded it. I wrote it around a riff. I didn’t really bother with the words. That’s me completely, including the guitar lick and the record with the first feedback on it anywhere. I defy anybody to find a record, unless it’s some old blues record in 1922. The first pop record where I had this electric acoustic guitar and it would feedback. I mean, everybody played with feedback in between takes and onstage and then the Jimi Hendrix stuff was going on long before. In fact, the punk stuff is only what people were doing in the clubs, but now it’s at Madison Square Garden, as it were. Well, everybody was doing feedback and far out stuff but never putting it on record. And the little intro was (humming) mmm da da da is the first feedback. I claim it for the Beatles. Before Hendrix, before The Who, before anybody. George and I play the same bit on guitar together – that’s the bit that’ll set your feet a-tapping, as the reviews say. I suppose it has a bit of a country and western feel about it, but then so have a lot of our songs. The middle eight is the most tuneful part, to me, because it’s a typical Beatles bit. I wrote ‘I Feel Fine’ around the riff which is going on in the background. I tried to get that effect into practically every song on the LP, but the others wouldn’t have it. I told them that I’d write a song specially for this riff. So they said, ‘Yes, you go away and do that,’ knowing that we’d almost finished the album. Anyway, going into the studio one morning, I said to Ringo, ‘I’ve written this song, but it’s lousy.’ But we tried it, complete with riff, and it sounded like an a-side, so we decided to release it just like that. With ‘I Feel Fine’, we were ready to get to number five at first go, and I suppose if we’d have done that, we’d have been written off. Nobody would have remembered that The Beatles had had six number ones on the trot before ‘I Feel Fine’… Coming in at number one was great, because, well, we weren’t sure we’d do it. NOW AND THEN. #NowAndThen is now available to listen to worldwide! 🎧→ 𝗟𝗶𝗻𝗸 𝗶𝗻 𝗯𝗶𝗼 I know it’s true It’s all because of you And if I make it through It’s all because of you And now and then If we must start again Well we will know for sure That I love you Now and then I miss you Oh now and then I want you to be there for me Always to return to me I know it’s true It’s all because of you And if you go away I know you’ll never stay Now and then I miss you Oh now and then I want you to be there for me I know it’s true It’s all because of you And if I make it through It’s all because of you Abbey Road Studios All we are saying is Give Peace A Chance GLASS ONION. 🔵 That’s me just doing a throwaway song à la ‘Walrus’, à la everything I’ve ever written. I threw the line in ‘the Walrus was Paul’ just to confuse everybody a bit more. And I thought Walrus has now become me, meaning ‘I am the one.’ Only it didn’t mean that in this song. It could have been ‘the fox terrier is Paul,’ you know. I mean, it’s just a bit of poetry. It was just thrown in like that. Well, that was a joke. The line was put in partly because I was feeling guilty because I was with Yoko and I was leaving Paul. I was trying… I don’t know. It’s a very perverse way of saying to Paul, you know, ‘Here, have this crumb, this illusion, this stroke, because I’m leaving.’ Strawberry Field was a place near us that happened to be a Salvation Army home. But Strawberry Fields… I mean, I have visions of Strawberry Fields. And there was Penny Lane, and the Cast Iron Shore and they were just good names, just groovy names. Just good sounding. Because Strawberry Fields is anywhere you want to go. GLASS ONION. I told you ‘bout Strawberry Fields You know the place where nothing is real Well here’s another place you can go Where everything flows Looking through the bent backed tulips To see how the other half live Looking through a glass onion I told you about the walrus and me man You know that we’re as close as can be man Well here’s another clue for you all The walrus was Paul Standing on the cast iron shore yeah Lady Madonna trying to make ends meet yeah Looking through a glass onion Oh yeah, oh yeah, oh yeah Looking through a glass onion I told you ‘bout the fool on the hill I tell you man he’s living there still Well here’s another place you can be Listen to me Fixing a hole in the ocean Trying to make a dovetail joint yeah Looking through a glass onion JOHN LENNON STORE. NEW FALL/WINTER COLLECTION. Available Now → https://store.johnlennon.com. Let us know what you like in the comments. FROM ME TO YOU. 🔴 The night Paul and I wrote ‘From Me To You’, we were on the Helen Shapiro tour, on the coach, travelling from York to Shrewsbury (28 Feb 1963). We weren’t taking ourselves seriously – just fooling around on the guitar – when we began to get a good melody line, and we really started to work at it. Before that journey was over, we’d completed the lyric, everything. I think the first line was mine and we took it from there. What puzzled us was why we’d thought of a name like ‘From Me To You’. It had me thinking when I picked up the NME to see how we were doing in the charts. Then I realised – we’d got the inspiration from reading a copy on the coach. Paul and I had been talking about one of the letters in the ‘From You To Us’ column. We were looking to write the next single after ‘She Loves You.’ It was getting pretty hard to top each single. We’d already written ‘Thank You Girl’ as the follow-up to ‘Please Please Me’. This new number was to be the B-side. We were so pleased with it, we knew we just had to make it the A-side. It was far bluesier than that when we wrote it. You know, the notes, you could rearrange it pretty funky. We nearly didn’t do it because it was too bluesy. But by the time we’d finished it and George Martin had scored it with harmonica it was all right. I’d played a lot of harmonica, mouth organ, really, it was. And so we did those numbers and so we started using it on ‘Love Me Do’. We used to work out arrangements and we just used it and then we stuck it on ‘Please Please Me’ and then we stuck it on ‘From Me To You’. I remember it was Paul’s idea, or was that ‘From Me to You’ where instead of singing ‘I Love You’ that we’d have a third party passing a message on to someone else. And that kind of little detail is apparent in his work, where he will write a story. I’m more inclined to just write about myself. The ‘Ooh!’ was taken from the Isley Brothers ‘Twist and Shout’ which we stuck in everything, ‘From Me to You’, ‘She Loves You’, they all had that ‘Ooh!’. That was a combination written song, it was not a song that was written individually. It was created together, singing into each other’s notes. TagsJohn Lennon Previous articleActor Aziz Bader HD Photos and Wallpapers December 2023Next articleActress Virginia Trioli HD Photos and Wallpapers December 2023