WEBVTT - John Lennon - Part 1: Composer of Longing

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<v Speaker 1>Personology is a production of I Heart Radio. John Lennon

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<v Speaker 1>had a traumatic upbringing, filled with abandonment and loss. These

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<v Speaker 1>miseries shaped his internal life, his attachments to other people,

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<v Speaker 1>and his creative endeavors Throughout his tragically cut short life.

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<v Speaker 1>Feelings of longing buried in his unconscious drove him to

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<v Speaker 1>write many of the most important songs of the last century.

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<v Speaker 1>My guest today is Jordan run Tug, one of the

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<v Speaker 1>two hosts of the podcast Rivals, a show about the

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<v Speaker 1>greatest music rivalries in history. So I thought it would

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<v Speaker 1>be a perfect opportunity to get him on to discuss

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<v Speaker 1>one of the most well known musicians of all time.

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<v Speaker 1>This conversation went long, but it was all so good

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<v Speaker 1>that we decided to turn it into two episodes. This

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<v Speaker 1>first one will cover John's early life right up to

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<v Speaker 1>the point for the Beatles really explode in popularity. So

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<v Speaker 1>with that, let's start at the beginning. John Lennon born

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<v Speaker 1>October ninet and Liverpool, not in the midst of a

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<v Speaker 1>bombing raid has been you know, said in legend, but

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<v Speaker 1>it's a pretty good metaphor for his upbringing. Just constant

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<v Speaker 1>state of conflict, running for safety and shelter. It was

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<v Speaker 1>World War two, to Liverpool was a major bombing target

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<v Speaker 1>because of it was industrial ports city. Trauma going on

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<v Speaker 1>all around him, so to speak. I mean, people were

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<v Speaker 1>very concerned. It was a difficult time. There was a

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<v Speaker 1>lot of rationing. And his mother and father, his father

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<v Speaker 1>being a merchant marine who was being intimately shipped out.

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<v Speaker 1>We're definitely barely making ends meet. Let's say, um, and

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<v Speaker 1>we're a very young married couple, very very young, and

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<v Speaker 1>and not exactly happily married either. They essentially married on

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<v Speaker 1>a dare, shall we say. His father, Alfred Lennon, was

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<v Speaker 1>something of a to be kind of smooth talking rogue,

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<v Speaker 1>something of a cad, i should say. And then John's mother,

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<v Speaker 1>her name was Julius Stanley, was very much like John

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<v Speaker 1>went for broke flauded convention, was a real fun, loving renegade.

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<v Speaker 1>She was described even in later years as sort of

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<v Speaker 1>vivaciously full on the upside right, and very charming in

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<v Speaker 1>that sense. On the downside, perhaps very irresponsible, selfish, self involved,

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<v Speaker 1>and important to note that her parents did not want

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<v Speaker 1>her to marry him. Oh, this is not an approved

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<v Speaker 1>of marriage. And as you know, every every Romeo and

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<v Speaker 1>Juliette's story. She mostly married and might say despite her family,

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<v Speaker 1>and she I guess she came home and put the

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<v Speaker 1>marriage license down on table. So there I've gone and

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<v Speaker 1>done it. And so rebellious, rebellious, very something John probably

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<v Speaker 1>would have done exactly. And so you know, when we

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<v Speaker 1>think about attributes, or let's say, of less than attributes

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<v Speaker 1>that he perhaps got from his parents, she was the

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<v Speaker 1>kind of counterculture, anti authoritarian, rebellious one in the pair,

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<v Speaker 1>very much so. And and John's mom and dad were

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<v Speaker 1>rarely together. I read something that he probably spent no

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<v Speaker 1>more than two months at a stretch with them both

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<v Speaker 1>in the same house at any point in his childhood,

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<v Speaker 1>before the age of maybe six, because, as you said,

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<v Speaker 1>his dad was a merchant seaman and was constantly shipped out.

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<v Speaker 1>He would send money home, but it often dried up,

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<v Speaker 1>and he spent some time in Algerian prisons. And he

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<v Speaker 1>there's a famous story of him in London getting drunk

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<v Speaker 1>and breaking into a women's department store window and stealing

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<v Speaker 1>a dress and just waltzing down Oxford Street in a dress.

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<v Speaker 1>So he had his own rebellions authoritarian. Shortly after John's birth,

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<v Speaker 1>he goes off to see on a mission. I mean

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<v Speaker 1>it was this was his job and this is what

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<v Speaker 1>he had to do. He was he basically, uh sort

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<v Speaker 1>of looked for German u boats or dodged them as

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<v Speaker 1>he brought supplies back to Britain and while he was gone.

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<v Speaker 1>Though at times things were good when he left. Over time,

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<v Speaker 1>even though she initially seemed to be happy and taking

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<v Speaker 1>care of John and having a baby, over time she

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<v Speaker 1>would leave him and go to pubs and drink and

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<v Speaker 1>flirt and get involved with other men, many other man.

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<v Speaker 1>There's a series of lovers that she would bring home.

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<v Speaker 1>It was obviously very confusing to young John. One of

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<v Speaker 1>them she ended up becoming pregnant by and then Alfred

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<v Speaker 1>came home after eighteen months away showed up as she

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<v Speaker 1>was pregnant with another man's child. Huge fight in the

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<v Speaker 1>house between the three of them. John apparently witnessed it.

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<v Speaker 1>He was maybe four or five years old, and and

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<v Speaker 1>he he remembers it years later, doesn't remember. He didn't

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<v Speaker 1>know at the time obviously what was happening, but he

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<v Speaker 1>absorbed that anger that was happening in the house, the

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<v Speaker 1>relationship with this other man. His name is Taffy Williams

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<v Speaker 1>didn't last. But what was important is that in that fight,

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<v Speaker 1>basically John's father removed John and said I'm leaving. I'm

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<v Speaker 1>taking my kid with me. He gave John for a

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<v Speaker 1>period of time to his brother and this uncle. The

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<v Speaker 1>amount of chaos in this little child's life and his

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<v Speaker 1>ability to attach to any one person was really compromised

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<v Speaker 1>by the fact that father leaves, father comes back. Then

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<v Speaker 1>child is taken away, stays with a father a while.

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<v Speaker 1>Now he's with the uncle, the father's brother for a while.

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<v Speaker 1>He's moved around so and more people before that too.

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<v Speaker 1>That because Julia, when when Alfred was away, stayed with

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<v Speaker 1>her father's, stayed with her sisters, stayed with her cousins.

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<v Speaker 1>I mean, it's just the amount of up people in

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<v Speaker 1>his young life before the age of five was ridiculous.

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<v Speaker 1>And then there was a crucial, crucial moment in the

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<v Speaker 1>age of five. The father has come back, has taken John,

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<v Speaker 1>goes away with him to sort of a beach location

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<v Speaker 1>if you will, Blackpool exactly, and is in his own

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<v Speaker 1>mind crafting a plan that maybe he's going to take

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<v Speaker 1>John with him and go to New Zealand and the

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<v Speaker 1>two of them will be will leave Julia for good essentially,

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<v Speaker 1>and he will have John, and Julia understands that this

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<v Speaker 1>is about to happen. She finds the father and they

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<v Speaker 1>have an argument and they both turned to John, who

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<v Speaker 1>is five, and say who do you want to live with?

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<v Speaker 1>In reality, I think that he was actually probably gonna

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<v Speaker 1>stay up in Blackpool with his father, who would probably

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<v Speaker 1>be away as much as he always was at sea.

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<v Speaker 1>So it was a case of do you want to

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<v Speaker 1>live up here with these family members that you really

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<v Speaker 1>don't have any connection to, or do you want to

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<v Speaker 1>go back down to the life you have a really

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<v Speaker 1>known in Liverpool, but psychically, psychically for for a five

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<v Speaker 1>year old who has definitely does not have the cognitive

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<v Speaker 1>or developmental capacity to make such a choice. But what's

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<v Speaker 1>important about this memory is less so it's accuracy. Then

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<v Speaker 1>that's how then what John Lennon believed it to be

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<v Speaker 1>and reported it to be, which is that he had

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<v Speaker 1>to make this choice, this unchoosable situation. Essentially that he

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<v Speaker 1>initially said I'll stay with my father because he's been

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<v Speaker 1>with his father. The mother in his memory of it,

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<v Speaker 1>turns and walks out. He can't bear it. He runs

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<v Speaker 1>after her. No Mommy, I'll stay with you. He leaves

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<v Speaker 1>with his mother, and then of course he doesn't see

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<v Speaker 1>his father for another twenty years. So in his fantasy

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<v Speaker 1>memory of this tragic event, he basically chooses away from

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<v Speaker 1>his father, loses his father for two decades, and he

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<v Speaker 1>goes with his mother, who fairly promptly gets involved with

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<v Speaker 1>another man marries him. It's not a good situation, this man.

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<v Speaker 1>There's domestic violence in the house. He doesn't like this

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<v Speaker 1>guy at all. He's quite he's an alcoholic. It's miserable.

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<v Speaker 1>So even though he chose his mom and his mom

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<v Speaker 1>brought him home, he doesn't get his mom right, as

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<v Speaker 1>she's sort of with this other man and absentee emotionally

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<v Speaker 1>for him. And he goes to live with his aunt Mimi. Right.

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<v Speaker 1>And something that that's not really mentioned much is that

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<v Speaker 1>actually he believed that his mother gave him away. That

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<v Speaker 1>is how he believed it, really, as far as I know,

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<v Speaker 1>to the end of his life. In reality, his aunt

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<v Speaker 1>Mimi had kind of been lobbying for many years. He's

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<v Speaker 1>seen what was going on from the sidelines, knew that

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<v Speaker 1>this little boy was was bright and aware of some

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<v Speaker 1>kind of chaos that was happening around him. He might

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<v Speaker 1>not been able to put down exactly what was going on,

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<v Speaker 1>but but he was smart enough to know this wasn't right,

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<v Speaker 1>and she was really worried about him. And I think

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<v Speaker 1>the final straw was when Julia and her new lover

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<v Speaker 1>moved into a new apartment that had one bed and

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<v Speaker 1>they all shared one bed, and that I think was

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<v Speaker 1>was so shocking to Mimi that she's all right, you

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<v Speaker 1>know what. I think she basically did the equivalent of

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<v Speaker 1>contacting social services and got John placed in her care.

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<v Speaker 1>I don't think John knew any of that, but that

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<v Speaker 1>adds another layer of confusion, well you could say confusion,

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<v Speaker 1>but really again abandonment. His mother gave him away. It's

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<v Speaker 1>also important to note that, yes, indeed, he seemed quite

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<v Speaker 1>privy to what went on in the marital bed, and

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<v Speaker 1>in fact, he himself discusses having seen sexual goings on

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<v Speaker 1>between his mother and her husband, probably at an earlier

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<v Speaker 1>age than he could necessarily process in a way that

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<v Speaker 1>was healthy for him. That stimulated sexual feelings that he

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<v Speaker 1>maybe didn't know where to go with them, so to speak,

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<v Speaker 1>but certainly the sexuality of his mother, and then longing

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<v Speaker 1>for his mother and being in his mind given away

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<v Speaker 1>to this aunt who my all accounts was right was

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<v Speaker 1>I mean, she was structured. She introduced him to everything

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<v Speaker 1>from table manners to religion, but to also to literature

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<v Speaker 1>and things that became important. And actually he really quotes

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<v Speaker 1>a lot later in life in terms of what went

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<v Speaker 1>into his music also, so uh poetry, Lewis Carroll a

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<v Speaker 1>very important Exactly things that he read in that house

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<v Speaker 1>and went to school and participated in that later crop

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<v Speaker 1>up as important to him in his feeling states and

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<v Speaker 1>in his music. Absolutely and as you say, very structured,

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<v Speaker 1>strict but fair. They kind of appealed to each other

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<v Speaker 1>on an intellectual level. He loved making her laugh because

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<v Speaker 1>she was again very stern, but he could always kind

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<v Speaker 1>of get through to her that way. Her husband, John's uncle, George,

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<v Speaker 1>was by all accounts a sweet, sweet man, probably the

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<v Speaker 1>only uncomplicated loving relationship in his childhood. It was very

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<v Speaker 1>affectionate and give him candy the kids, and that he

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<v Speaker 1>was a dairy farmer and would deliver milk to people's

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<v Speaker 1>houses and would sing as he did it. And I

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<v Speaker 1>think gave John his first um harmonica, one of his

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<v Speaker 1>first musical instruments a character in John's early life that

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<v Speaker 1>really doesn't get discussed very much, but it was a

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<v Speaker 1>huge influence. And when John was a boy, I think

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<v Speaker 1>he was twelve, George dropped dead of non alcoholics curosis

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<v Speaker 1>of the liver, which is something you know, you don't

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<v Speaker 1>expect somebody who doesn't drink a lot to have. He

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<v Speaker 1>just John was out to play and he just literally

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<v Speaker 1>dropped dead in the house. Boys, I think even now,

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<v Speaker 1>aren't really taught. It's okay to be exactly, but boys

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<v Speaker 1>in the fifties in Britain absolutely not. He apparently he

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<v Speaker 1>just went up to his bedroom and just laughed. Is

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<v Speaker 1>that this odd laughing response that he had subsusstance. Some

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<v Speaker 1>other deaths that occurred, but it's important to note, and

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<v Speaker 1>this will this will be important later and we talk

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<v Speaker 1>about really the most pivotal loss of his life, but that,

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<v Speaker 1>as you point out, in Britain in the fifties, it

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<v Speaker 1>wasn't just that boys weren't supposed to emote. Nobody was

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<v Speaker 1>supposed to emote. So you know, the reaction to death.

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<v Speaker 1>You know, if you were going to cry, it had

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<v Speaker 1>to be in private. You know, you you couldn't really

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<v Speaker 1>talk about loss. You couldn't talk about sadness and agony.

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<v Speaker 1>You had to have that stiff upper lip. And religion

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<v Speaker 1>was supposed to be your big solace and you're supposed

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<v Speaker 1>to faith. And everything happened for a reason. The tone

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<v Speaker 1>was set for repression, and that is in every section exactly,

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<v Speaker 1>and that's how you were supposed to behave. Of course,

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<v Speaker 1>we know that you know, feelings don't disappear just because

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<v Speaker 1>you've repressed them, and in fact, in some ways when

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<v Speaker 1>you repress them and they have even more power to

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<v Speaker 1>influence behavior and feeling states. And in that sense, all

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<v Speaker 1>of this chaos and tumult and abandonment and then loss.

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<v Speaker 1>As John headed into his teenage years, he became by

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<v Speaker 1>all accounts, increasingly angry, rebellious, misbehaving, aggressive, And so he's

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<v Speaker 1>described as a teenager in school as someone who originally

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<v Speaker 1>was doing well as a student in grammar school and

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<v Speaker 1>middle school, clearly bright, a really promising student. Now he

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<v Speaker 1>heads into high school and he's cutting classes, he's starting fights, right,

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<v Speaker 1>He's he's having physical fights, very vitriolic with all kinds

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<v Speaker 1>of people. It's like just really says terrible and biting

0:12:36.679 --> 0:12:40.960
<v Speaker 1>and crass things to push people away again defensively, not

0:12:41.080 --> 0:12:44.200
<v Speaker 1>an unusual style for someone who has struggled with a

0:12:44.240 --> 0:12:47.600
<v Speaker 1>lot of ambivalent attachments to people. This is the point

0:12:47.640 --> 0:12:50.040
<v Speaker 1>I want to make. When you have a young childhood

0:12:50.080 --> 0:12:53.840
<v Speaker 1>where it's not you're just abandoned and left, but in

0:12:53.880 --> 0:12:56.920
<v Speaker 1>fact you go back and forth, you attach, but you

0:12:57.040 --> 0:13:00.120
<v Speaker 1>never know if that person to whom you've got and

0:13:00.200 --> 0:13:03.920
<v Speaker 1>all of these warm attachment feelings is going to stick around.

0:13:04.280 --> 0:13:07.760
<v Speaker 1>You could suddenly be dropped or abandoned and have it

0:13:07.800 --> 0:13:10.760
<v Speaker 1>go back and forth. You develop what Bold be an

0:13:10.800 --> 0:13:14.959
<v Speaker 1>important psychologist, would have called an avoidant ambivalent attachment style.

0:13:15.040 --> 0:13:17.560
<v Speaker 1>And what that means is, more than the average person,

0:13:17.880 --> 0:13:22.400
<v Speaker 1>you long for attachment. You desperately need and want someone

0:13:22.440 --> 0:13:25.360
<v Speaker 1>to be that person that's with you all the time.

0:13:25.520 --> 0:13:28.760
<v Speaker 1>But at the same time you have a great paranoia

0:13:28.840 --> 0:13:31.640
<v Speaker 1>and a great fear that at any moment that will

0:13:31.679 --> 0:13:34.800
<v Speaker 1>be ripped out from under you. And so people like

0:13:34.920 --> 0:13:40.800
<v Speaker 1>that often appear highly neurotic, intimately struggled with depression, terrible anxiety,

0:13:41.280 --> 0:13:45.360
<v Speaker 1>lots of jealousy, and lots of aggression. And so that

0:13:45.559 --> 0:13:48.240
<v Speaker 1>is what we start to see as John Lennon becomes

0:13:48.280 --> 0:13:51.880
<v Speaker 1>a teenager that he starts to behave this way toward

0:13:52.120 --> 0:13:58.280
<v Speaker 1>friends supposedly or you know, um mates in school, um

0:13:58.640 --> 0:14:02.679
<v Speaker 1>at Mimi, and that is not surprising given his background.

0:14:04.840 --> 0:14:06.719
<v Speaker 1>Let's take a quick break here. We'll be back in

0:14:06.760 --> 0:14:18.000
<v Speaker 1>a minute. When we left off, the teenage John Lennon

0:14:18.040 --> 0:14:20.800
<v Speaker 1>was having trouble adjusting to a quieter, more suburban like

0:14:20.960 --> 0:14:24.440
<v Speaker 1>with his Aunt Mimi. Years of instability had taken their toll,

0:14:24.680 --> 0:14:27.680
<v Speaker 1>and now suddenly his mother comes back into the picture.

0:14:29.320 --> 0:14:33.280
<v Speaker 1>As he progressed into adolescence and with butt heads more

0:14:33.320 --> 0:14:36.120
<v Speaker 1>and more with Aunt Mimi, he started to sort of

0:14:36.120 --> 0:14:39.880
<v Speaker 1>secretly at first visit his mother, who lived two miles away,

0:14:40.280 --> 0:14:43.320
<v Speaker 1>had a spare bedroom, had now two daughters with this

0:14:43.320 --> 0:14:47.000
<v Speaker 1>this other man, and Mimi at first very much discouraged that.

0:14:47.080 --> 0:14:48.960
<v Speaker 1>She didn't want to confuse him. She just thought she

0:14:49.040 --> 0:14:53.000
<v Speaker 1>was a bad influence also, but ultimately she couldn't stop

0:14:53.080 --> 0:14:57.200
<v Speaker 1>him from visiting his mother, and who really behaved more

0:14:57.320 --> 0:15:00.520
<v Speaker 1>like an indulgent aunt or a big sister. She kind

0:15:00.560 --> 0:15:04.240
<v Speaker 1>of encouraged him skipping off school. Whenever he did skip school,

0:15:04.280 --> 0:15:06.360
<v Speaker 1>even more often than not go to her house, but

0:15:06.480 --> 0:15:09.400
<v Speaker 1>she did encourage him. He started to get into music.

0:15:09.440 --> 0:15:12.680
<v Speaker 1>This was the mid fifties when Elvis Presley, Jean Vinson,

0:15:12.840 --> 0:15:15.720
<v Speaker 1>Eddie Cochrane, all these people that were huge influences on John,

0:15:15.800 --> 0:15:19.280
<v Speaker 1>Bonnie Donnegan, the skiffle Star started putting records out, and

0:15:19.400 --> 0:15:22.840
<v Speaker 1>Julia was unusual with most of the adults in John's

0:15:22.880 --> 0:15:24.960
<v Speaker 1>life because she actually liked this stuff. She she got

0:15:24.960 --> 0:15:26.720
<v Speaker 1>even got a cat and named it Elvis, which she

0:15:26.760 --> 0:15:29.840
<v Speaker 1>thought was amazing. She was playing those records at her

0:15:29.840 --> 0:15:32.640
<v Speaker 1>house anyway, because she was buying these records and playing

0:15:32.640 --> 0:15:35.640
<v Speaker 1>these records, whereas Mimi was like, definitely not what we're

0:15:35.640 --> 0:15:38.880
<v Speaker 1>listening to classical music at our home. That's what they did.

0:15:39.120 --> 0:15:42.640
<v Speaker 1>In addition, she would buy John the t shirts and

0:15:42.680 --> 0:15:46.120
<v Speaker 1>the tight color and all of the sort of get

0:15:46.200 --> 0:15:49.040
<v Speaker 1>up so that he could pull off this look of

0:15:49.080 --> 0:15:52.119
<v Speaker 1>being what they called the teddy boy, which was a toughie,

0:15:52.240 --> 0:15:54.560
<v Speaker 1>like a tough guy. It was funny now because you

0:15:54.560 --> 0:15:56.360
<v Speaker 1>look at them and they look you know, they look

0:15:56.440 --> 0:15:59.400
<v Speaker 1>preppy almost they don't look in anyway. But at the

0:15:59.440 --> 0:16:01.640
<v Speaker 1>time that was like if you were like the bad

0:16:01.680 --> 0:16:04.480
<v Speaker 1>boy that was a little luck a rock and roller.

0:16:04.920 --> 0:16:08.720
<v Speaker 1>His mother really supported this whole self image that he

0:16:08.920 --> 0:16:12.880
<v Speaker 1>was developing, and again taught him his first song too,

0:16:13.920 --> 0:16:16.320
<v Speaker 1>and that was his first song, was Ain't that a shame?

0:16:16.440 --> 0:16:19.680
<v Speaker 1>A Fats Domino song that she'd heard? She probably heard

0:16:19.680 --> 0:16:22.040
<v Speaker 1>the Pat Bollon version, but yeah, and so I mean

0:16:22.320 --> 0:16:26.000
<v Speaker 1>she she played panjo around the house and taught him

0:16:26.600 --> 0:16:33.840
<v Speaker 1>how to play banjo. That was his first real music education,

0:16:34.000 --> 0:16:36.720
<v Speaker 1>was his mom taught him. So she was really the

0:16:37.800 --> 0:16:41.680
<v Speaker 1>instrumental in the beginning of this development of music. Now,

0:16:41.720 --> 0:16:46.520
<v Speaker 1>he was clearly viewed himself as artistic and creative, and

0:16:46.640 --> 0:16:49.920
<v Speaker 1>in fact was right. He was a good drawer. Let's

0:16:49.960 --> 0:16:51.720
<v Speaker 1>let's say he was a brilliant drawer, but he was.

0:16:51.960 --> 0:16:54.280
<v Speaker 1>He was a good drawing show James Berber pen and ink,

0:16:54.640 --> 0:16:57.960
<v Speaker 1>very surreal um illustrator. I think it's probably what he'd

0:16:57.960 --> 0:17:01.320
<v Speaker 1>call himself. He liked drawing pen and kind of surreal drawings.

0:17:01.840 --> 0:17:05.600
<v Speaker 1>Wrote poetry, funny, sort of James Joyce and almost like Jabberwockie.

0:17:06.000 --> 0:17:09.760
<v Speaker 1>That kind of style again very important because ultimately, I mean,

0:17:10.040 --> 0:17:12.840
<v Speaker 1>you know, when you think about music, the lyrics are

0:17:12.960 --> 0:17:15.840
<v Speaker 1>essentially poetry. And so that's something he started early and

0:17:15.920 --> 0:17:20.359
<v Speaker 1>something again encouraged by his mother, and importantly ultimately he

0:17:20.680 --> 0:17:24.360
<v Speaker 1>his first band, which was in high school they practiced

0:17:24.359 --> 0:17:26.680
<v Speaker 1>at the mother's house because that's where they could practice.

0:17:26.760 --> 0:17:28.800
<v Speaker 1>Oh yeah, Mimi wouldn't let him at front. If on

0:17:28.920 --> 0:17:31.680
<v Speaker 1>the rare case that she let John's friends into her home,

0:17:31.800 --> 0:17:34.800
<v Speaker 1>it was through the back door, which is says a

0:17:34.840 --> 0:17:37.960
<v Speaker 1>lot about Mimi, exactly exactly. So, yeah, they would go

0:17:37.960 --> 0:17:40.320
<v Speaker 1>over to his mother's house, and so he would bounce

0:17:40.400 --> 0:17:46.080
<v Speaker 1>back and forth between being repressed with all probably good intentions,

0:17:46.080 --> 0:17:48.119
<v Speaker 1>but being repressed through Mimi. She would throw away his

0:17:48.240 --> 0:17:53.800
<v Speaker 1>drawings and poetry and basically beg him in more strict

0:17:53.920 --> 0:17:56.440
<v Speaker 1>terms than that, but really urged him to just focus

0:17:56.480 --> 0:17:59.600
<v Speaker 1>and get on the straight and narrow and just be secure.

0:17:59.600 --> 0:18:03.240
<v Speaker 1>And it came from her, you know, raising a single

0:18:03.400 --> 0:18:06.320
<v Speaker 1>woman in the fifties in Britain, raising a teenage boy.

0:18:06.359 --> 0:18:08.760
<v Speaker 1>I mean she she needed him to get it together,

0:18:08.880 --> 0:18:11.120
<v Speaker 1>wanted wanted him to be able to be self sufficient

0:18:11.600 --> 0:18:16.440
<v Speaker 1>and not be like his mother, especially father for that matter.

0:18:16.520 --> 0:18:19.320
<v Speaker 1>Right in this period of time, then really regains a

0:18:19.320 --> 0:18:22.720
<v Speaker 1>closeness with his mother. I think it's important to understand though,

0:18:22.720 --> 0:18:27.439
<v Speaker 1>that it's very normal for children, especially younger children, when

0:18:27.480 --> 0:18:31.919
<v Speaker 1>they first start experiencing sort of sexual feelings, to feel

0:18:31.960 --> 0:18:34.399
<v Speaker 1>those feelings for the parent of the opposite sex. Right,

0:18:34.440 --> 0:18:38.119
<v Speaker 1>we call that the edible complex to be attracted to.

0:18:38.440 --> 0:18:43.400
<v Speaker 1>But as one ages one represses that attraction, you might

0:18:43.480 --> 0:18:47.560
<v Speaker 1>transfer it on to another person. It is not unusual

0:18:47.600 --> 0:18:49.600
<v Speaker 1>for people to marry people who are a lot like

0:18:49.880 --> 0:18:52.600
<v Speaker 1>the parent of the opposite sex, though nobody wants to

0:18:52.640 --> 0:18:55.280
<v Speaker 1>know that's what's going on. Right. But in this case,

0:18:56.040 --> 0:18:59.760
<v Speaker 1>the fact that John was a very privy to a

0:18:59.800 --> 0:19:02.639
<v Speaker 1>lot of sexual goings on in the home with his

0:19:02.720 --> 0:19:05.600
<v Speaker 1>mother and witnessing it, be that his mother didn't act

0:19:05.640 --> 0:19:07.919
<v Speaker 1>like a mother, that she didn't create a distance, that

0:19:08.080 --> 0:19:13.960
<v Speaker 1>she tried to be the fun, seductive artsy out there

0:19:13.960 --> 0:19:19.119
<v Speaker 1>on Janue exactly left this door open for more sexual

0:19:19.160 --> 0:19:22.880
<v Speaker 1>attraction from John towards his mother, something that he really

0:19:23.040 --> 0:19:26.600
<v Speaker 1>referred to even later in his life. He kept a

0:19:26.680 --> 0:19:31.240
<v Speaker 1>private audio diary in the late seventies which was subsequently

0:19:31.240 --> 0:19:34.640
<v Speaker 1>found and then published in numerous biography. So it's out there,

0:19:35.240 --> 0:19:37.560
<v Speaker 1>and he talks about an afternoon and I'll put it

0:19:37.560 --> 0:19:40.359
<v Speaker 1>in my delicate terms, and he did basically lying on

0:19:40.400 --> 0:19:42.720
<v Speaker 1>the bed with his mother one afternoon home alone with

0:19:42.840 --> 0:19:46.040
<v Speaker 1>just her, he thought in the moment, and I guess

0:19:46.080 --> 0:19:48.040
<v Speaker 1>for the rest of his life, thought about whether or

0:19:48.080 --> 0:19:50.640
<v Speaker 1>not he should have, in his words, tried something, made

0:19:50.640 --> 0:19:53.560
<v Speaker 1>a move, made a move yeah. In fact, he refers

0:19:53.600 --> 0:19:57.120
<v Speaker 1>to having his hand on her breast yes, and that

0:19:57.280 --> 0:20:01.560
<v Speaker 1>he probably should have done something more doom, presuming she

0:20:01.560 --> 0:20:06.280
<v Speaker 1>would have allowed it. Sexual fantasy that is fairly intense

0:20:06.760 --> 0:20:09.919
<v Speaker 1>and actually very accessible. That's what's unusual. It is not

0:20:10.000 --> 0:20:14.280
<v Speaker 1>unusual for kids to have or even later perhaps older

0:20:14.359 --> 0:20:18.360
<v Speaker 1>kids to have such a fantasy, but it's usually really

0:20:18.400 --> 0:20:23.160
<v Speaker 1>repressed and unavailable to them. So this longing for his mother,

0:20:23.440 --> 0:20:28.760
<v Speaker 1>who is constantly intimately unavailable to him, and it being sexualized,

0:20:28.840 --> 0:20:33.600
<v Speaker 1>I think heightens his not only desire for in a

0:20:33.680 --> 0:20:37.520
<v Speaker 1>mommy way, but sexual desire for his mom. And that

0:20:37.800 --> 0:20:40.760
<v Speaker 1>remains important as well, we'll talk about later in terms

0:20:40.760 --> 0:20:44.439
<v Speaker 1>of the threads of his music and the threads of

0:20:44.560 --> 0:20:48.800
<v Speaker 1>his future relationships and how they need to be for him,

0:20:48.960 --> 0:20:51.600
<v Speaker 1>so to speak. So he has this intensity of feeling

0:20:51.640 --> 0:20:54.919
<v Speaker 1>about his mom. He's developing the person that maybe he

0:20:55.000 --> 0:20:58.359
<v Speaker 1>wants to be, or he feels is the direction that

0:20:58.400 --> 0:21:01.720
<v Speaker 1>he can take should take, feels good about. He can't

0:21:01.760 --> 0:21:05.560
<v Speaker 1>get into college because his grades are so existence. It's

0:21:05.600 --> 0:21:08.640
<v Speaker 1>Aunt Mimi and trying to save him, manages to wangle

0:21:08.720 --> 0:21:11.560
<v Speaker 1>him essentially into an art school. But he is already

0:21:11.640 --> 0:21:15.840
<v Speaker 1>now playing music in a band, and he's already met

0:21:15.920 --> 0:21:18.840
<v Speaker 1>Paul McCartney and brought the two of them together, and

0:21:18.880 --> 0:21:21.320
<v Speaker 1>so they're already operating at the same time that he's

0:21:21.600 --> 0:21:24.320
<v Speaker 1>sort of in this art school, sort of doing some

0:21:24.440 --> 0:21:27.000
<v Speaker 1>art exactly. Yeah, And John didn't like his relationships to

0:21:27.040 --> 0:21:30.040
<v Speaker 1>be equal at that partner's life. He liked being the ringleader.

0:21:30.040 --> 0:21:32.280
<v Speaker 1>He liked having a gang sort of falling around. Paul

0:21:32.400 --> 0:21:35.000
<v Speaker 1>was really one of the few, one of the first

0:21:35.480 --> 0:21:38.080
<v Speaker 1>people of his own age in his life. Paul's a

0:21:38.119 --> 0:21:41.760
<v Speaker 1>little younger that he respected as an equal, respected him musically.

0:21:41.960 --> 0:21:44.640
<v Speaker 1>Paul went and saw John's band, The Corey Men, play,

0:21:44.800 --> 0:21:47.879
<v Speaker 1>and Paul's impressed, thought he was a little sloppy, but

0:21:47.960 --> 0:21:51.000
<v Speaker 1>impressed and went backstage after and they had a mutual

0:21:51.000 --> 0:21:53.040
<v Speaker 1>friend who introduced them, and Paul said, Hey, can I

0:21:53.040 --> 0:21:55.160
<v Speaker 1>borrow your guitar? You know, I know how to play

0:21:55.160 --> 0:21:57.119
<v Speaker 1>a little bit too. And he's left handed, so he

0:21:57.160 --> 0:21:59.800
<v Speaker 1>plays it upside down, which already blows John's minds, like, wow,

0:21:59.840 --> 0:22:02.880
<v Speaker 1>you play it both ways? Wow? And he plays um

0:22:02.960 --> 0:22:05.760
<v Speaker 1>one of John's favorite songs that Fight Rock by Eddy Cochrane,

0:22:05.760 --> 0:22:15.560
<v Speaker 1>and he knows all the words. John can't remember words

0:22:15.600 --> 0:22:17.600
<v Speaker 1>to save his life. He's he's he's more big picture.

0:22:17.640 --> 0:22:21.199
<v Speaker 1>Paul learns the solos, learns the words, and so that

0:22:21.320 --> 0:22:25.600
<v Speaker 1>kind of made him super super respect Paul like the

0:22:25.640 --> 0:22:28.720
<v Speaker 1>fact that Okay, he's good, he's real good. And he

0:22:28.760 --> 0:22:31.520
<v Speaker 1>proved himself in that moment in a way that really

0:22:32.119 --> 0:22:34.280
<v Speaker 1>no one else I think in John's life at that

0:22:34.320 --> 0:22:36.360
<v Speaker 1>age did, And so from that point on they were

0:22:36.440 --> 0:22:40.040
<v Speaker 1>bonded musically. And Paul had lost his mother a few

0:22:40.119 --> 0:22:43.080
<v Speaker 1>years earlier to cancer when he was fourteen, and John

0:22:43.080 --> 0:22:44.760
<v Speaker 1>would say to him at this point like, oh my god,

0:22:44.760 --> 0:22:48.080
<v Speaker 1>how can you just exist normally when your mom's dead?

0:22:48.119 --> 0:22:49.960
<v Speaker 1>Like I give something like that ever happened to me.

0:22:50.480 --> 0:22:53.400
<v Speaker 1>I would completely go crackers. I would lose my mind.

0:22:53.440 --> 0:22:56.520
<v Speaker 1>I can't believe you you continue to function obviously in

0:22:56.560 --> 0:23:00.000
<v Speaker 1>a way prophetic. Not long after he went to Julie

0:23:00.080 --> 0:23:02.960
<v Speaker 1>his house, John went to Julia's house to go see her.

0:23:02.960 --> 0:23:05.479
<v Speaker 1>She wasn't there. She was actually at Mimi's house. They

0:23:05.480 --> 0:23:08.119
<v Speaker 1>had just missed each other. Julia and Mimi would have

0:23:08.200 --> 0:23:10.840
<v Speaker 1>like sort of a weekly tea, had repaired their relationship

0:23:10.880 --> 0:23:13.400
<v Speaker 1>a little bit. And so Julia was leaving Mimi's house,

0:23:13.520 --> 0:23:15.840
<v Speaker 1>was crossing a busy street in front of her house,

0:23:16.000 --> 0:23:19.000
<v Speaker 1>and a car came and strucker two things that are

0:23:19.080 --> 0:23:21.480
<v Speaker 1>just a note when we think later again about John

0:23:21.520 --> 0:23:24.440
<v Speaker 1>Lennon's music and lyrics. She was struck by an off

0:23:24.680 --> 0:23:28.280
<v Speaker 1>duty police officer who was only twenty four actually, who

0:23:28.280 --> 0:23:31.159
<v Speaker 1>actually apparently only had his learners permit, and so there

0:23:31.200 --> 0:23:33.680
<v Speaker 1>were a lot of questions as to whether his mother

0:23:33.840 --> 0:23:36.240
<v Speaker 1>was in the wrong in that moment or whether and

0:23:36.520 --> 0:23:39.440
<v Speaker 1>it was something that the driver did, but also important

0:23:39.640 --> 0:23:42.680
<v Speaker 1>that she was taken to the hospital because Mimi heard

0:23:42.720 --> 0:23:45.000
<v Speaker 1>the accident. She was alive apparently when she was taking

0:23:45.000 --> 0:23:48.080
<v Speaker 1>the hospital, but died, and it was a police officer

0:23:48.200 --> 0:23:52.000
<v Speaker 1>who then came and told John at the home what

0:23:52.119 --> 0:23:56.240
<v Speaker 1>had happened. And his interaction with police, so to speak,

0:23:56.800 --> 0:23:58.960
<v Speaker 1>is set in a certain kind of way in terms

0:23:58.960 --> 0:24:01.879
<v Speaker 1>of being notified and being responsible for the death, but

0:24:02.000 --> 0:24:05.000
<v Speaker 1>subsequently finding that it was the fault of his mother

0:24:05.280 --> 0:24:10.080
<v Speaker 1>and questions about that. His immediate reaction was stunned, and

0:24:10.160 --> 0:24:16.000
<v Speaker 1>then remarkably, you know, non emotional. Everybody's reaction was remarkably

0:24:16.560 --> 0:24:21.800
<v Speaker 1>non emotional in fact, the attempt to repress everybody's response

0:24:21.880 --> 0:24:25.080
<v Speaker 1>to Julia's death. She has two daughters, The daughters are

0:24:25.080 --> 0:24:27.359
<v Speaker 1>shipped away and told at the time that they shipped

0:24:27.359 --> 0:24:30.720
<v Speaker 1>away for a long period of time, and Mimi doesn't

0:24:31.040 --> 0:24:34.040
<v Speaker 1>have much of an emotional response. This is sad, but

0:24:34.320 --> 0:24:37.480
<v Speaker 1>life goes on. The husband similarly seems to not have

0:24:37.680 --> 0:24:40.480
<v Speaker 1>that much of an emotional reaction. He outraged John. I

0:24:40.480 --> 0:24:42.240
<v Speaker 1>guess one of his first reactions was who's going to

0:24:42.320 --> 0:24:46.080
<v Speaker 1>look after the kids? And John, selfish guy. I can't

0:24:46.080 --> 0:24:49.560
<v Speaker 1>believe that's what you know that he never forgot that

0:24:49.640 --> 0:24:53.360
<v Speaker 1>completely outraged him. He again doesn't have like a vehicle,

0:24:53.640 --> 0:24:58.719
<v Speaker 1>an audience, support group to really grieve with. Undoubtedly this

0:24:58.880 --> 0:25:01.840
<v Speaker 1>may have furthered his on with Paul McCartney, who, as

0:25:01.840 --> 0:25:04.679
<v Speaker 1>you said, had lost his mother and somebody that he

0:25:04.720 --> 0:25:08.359
<v Speaker 1>could be with who maybe would understand at least what

0:25:08.520 --> 0:25:11.000
<v Speaker 1>it was like. As you say, I mean, you're right,

0:25:11.080 --> 0:25:13.560
<v Speaker 1>no one in his immediate family really was able to

0:25:13.600 --> 0:25:16.000
<v Speaker 1>provide the support system. And just even sort of more cruel,

0:25:16.240 --> 0:25:19.440
<v Speaker 1>the accident happened right outside of his bedroom window. Basically

0:25:19.480 --> 0:25:21.920
<v Speaker 1>he wasn't specifically told that, but he worked it out

0:25:21.960 --> 0:25:24.440
<v Speaker 1>where it would have happened. So it was a sort

0:25:24.440 --> 0:25:28.720
<v Speaker 1>of a constant reminder of this gaping hole in his life.

0:25:29.000 --> 0:25:31.040
<v Speaker 1>And you're right, he and Paul a lot of it

0:25:31.040 --> 0:25:33.479
<v Speaker 1>went unspoken, but it was definitely a bond they shared,

0:25:33.800 --> 0:25:36.680
<v Speaker 1>and it was something that they knew each other understood,

0:25:36.960 --> 0:25:39.280
<v Speaker 1>and that was kind of enough that there was somebody

0:25:39.280 --> 0:25:41.560
<v Speaker 1>else there who got it. I don't think there were

0:25:41.560 --> 0:25:44.480
<v Speaker 1>too many instances of them actually having heart to hearts

0:25:44.520 --> 0:25:47.280
<v Speaker 1>about it. Specifically, John had no heart to hearts. That

0:25:47.440 --> 0:25:50.919
<v Speaker 1>is really the point that he really he didn't process it.

0:25:51.000 --> 0:25:52.679
<v Speaker 1>He didn't you know. We think about like how do

0:25:52.760 --> 0:25:55.440
<v Speaker 1>you deal with grief, And there's no question but that

0:25:55.560 --> 0:25:59.000
<v Speaker 1>John Lennon repeatedly said this was the biggest trauma of

0:25:59.000 --> 0:26:01.320
<v Speaker 1>his life. This was the biggest loss of his life,

0:26:01.920 --> 0:26:04.880
<v Speaker 1>no doubt, made much much more so by the fact

0:26:04.920 --> 0:26:07.240
<v Speaker 1>that he constantly had this longing for this mother who

0:26:07.280 --> 0:26:11.040
<v Speaker 1>kept disappearing and reappearing, but now she had reappeared and

0:26:11.080 --> 0:26:14.480
<v Speaker 1>he was with her, and this abrupt loss that you

0:26:14.520 --> 0:26:16.800
<v Speaker 1>can't come back from, right, You can't get back together

0:26:16.840 --> 0:26:21.240
<v Speaker 1>again after death. And the ability to process grief usually

0:26:21.440 --> 0:26:23.440
<v Speaker 1>is in talking about it and being able to think

0:26:23.480 --> 0:26:25.679
<v Speaker 1>about it and being able to express it in It

0:26:25.720 --> 0:26:28.480
<v Speaker 1>seems that that was something that he couldn't do for

0:26:28.520 --> 0:26:31.040
<v Speaker 1>the collection of reasons of you know, who was around him,

0:26:31.080 --> 0:26:33.440
<v Speaker 1>the times that they were, who he was, who he

0:26:33.560 --> 0:26:37.320
<v Speaker 1>was already right, his style of already dealing with everything,

0:26:37.359 --> 0:26:40.400
<v Speaker 1>which was to be highly defended and highly repressed, and

0:26:40.520 --> 0:26:44.080
<v Speaker 1>so he doesn't resolve this. It's it's important in the

0:26:44.119 --> 0:26:50.119
<v Speaker 1>sense that in numerous songs, particularly you know song Julia Mother,

0:26:50.680 --> 0:26:53.680
<v Speaker 1>that he writes these lyrics that are just I call

0:26:53.760 --> 0:26:55.760
<v Speaker 1>your name, but you're not. There. Was that a blame

0:26:55.840 --> 0:26:58.879
<v Speaker 1>for being unfair? He always said later on, I mean,

0:26:58.920 --> 0:27:01.480
<v Speaker 1>that's an early song of him. But he always said

0:27:01.600 --> 0:27:03.520
<v Speaker 1>there was a lot in those words that he don't think.

0:27:03.520 --> 0:27:09.760
<v Speaker 1>I don't think he even consciously realized that name, but

0:27:09.960 --> 0:27:17.720
<v Speaker 1>do not there was a yeah, you would later say,

0:27:17.720 --> 0:27:19.240
<v Speaker 1>you know, I lost her twice. I lost her when

0:27:19.240 --> 0:27:20.920
<v Speaker 1>I was five, and then I lost her again more

0:27:20.960 --> 0:27:23.359
<v Speaker 1>permanently at seventeen, and then when it happened, it was

0:27:23.480 --> 0:27:25.439
<v Speaker 1>it was the worst thing that ever happened to me.

0:27:25.600 --> 0:27:27.439
<v Speaker 1>And when it did happen, I felt, you know what,

0:27:27.560 --> 0:27:31.639
<v Speaker 1>I have no responsibilities to anyone now. Obviously is traumatic

0:27:31.680 --> 0:27:34.359
<v Speaker 1>and horrific and in a way that that cannot be

0:27:34.400 --> 0:27:37.480
<v Speaker 1>over emphasized. In a strange way, I think he felt

0:27:37.760 --> 0:27:40.320
<v Speaker 1>liberated by it. Obviously not saying that this is a

0:27:40.320 --> 0:27:41.879
<v Speaker 1>good thing. You could say, well, you could say on

0:27:41.920 --> 0:27:44.360
<v Speaker 1>the upside liberated. You could stay on the downside unmoored,

0:27:44.600 --> 0:27:48.320
<v Speaker 1>feeling essentially that there was no structure and nothing keeping

0:27:48.400 --> 0:27:51.919
<v Speaker 1>him quote at home. He leaves, he goes with the

0:27:51.960 --> 0:27:55.560
<v Speaker 1>band right to Germany, to Germany, to Hamburg, and in

0:27:55.600 --> 0:27:59.280
<v Speaker 1>a way finds himself or a little bit more of himself.

0:27:59.359 --> 0:28:04.360
<v Speaker 1>Let's say, as they play together, let's take a quick

0:28:04.400 --> 0:28:14.399
<v Speaker 1>break here. We'll be back in a minute. So John

0:28:14.440 --> 0:28:16.280
<v Speaker 1>has just had to deal with the death of his mother,

0:28:16.520 --> 0:28:19.560
<v Speaker 1>who he was very close to. As a method of coping,

0:28:19.760 --> 0:28:22.600
<v Speaker 1>he started to throw himself into his music as well

0:28:22.640 --> 0:28:28.840
<v Speaker 1>as other more destructive things in the immediate aftermath of

0:28:28.920 --> 0:28:31.679
<v Speaker 1>his mother's death. Has happened in the Beatles went to

0:28:31.720 --> 0:28:35.320
<v Speaker 1>Hamburg in nineteen sixty and in that period he really

0:28:35.720 --> 0:28:37.760
<v Speaker 1>sort of, probably a lot of men did at that time,

0:28:37.840 --> 0:28:40.720
<v Speaker 1>drowned his sorrows and alcohol, and it was, as you said,

0:28:40.760 --> 0:28:44.640
<v Speaker 1>acted out, would smash up telephone boxes and get into fights,

0:28:44.640 --> 0:28:47.400
<v Speaker 1>and was really difficult to deal with, put his music

0:28:47.440 --> 0:28:49.440
<v Speaker 1>on hold for a couple of months until Paul kind

0:28:49.440 --> 0:28:52.320
<v Speaker 1>of coaxed him back. But yeah, Germany was where he

0:28:52.360 --> 0:28:54.160
<v Speaker 1>really he grew up. He would always say, I was

0:28:54.200 --> 0:28:56.840
<v Speaker 1>born in Liverpool, but I grew up in Hamburg, Germany.

0:28:56.920 --> 0:28:59.800
<v Speaker 1>They were called the Beatles at that point had a residency.

0:29:00.000 --> 0:29:02.160
<v Speaker 1>Are just boys let off the leash was how they

0:29:02.160 --> 0:29:04.200
<v Speaker 1>would always put it. So in high school he'd already

0:29:04.240 --> 0:29:07.280
<v Speaker 1>discovered sex and alcohol. Um, so he was. He was

0:29:07.320 --> 0:29:10.440
<v Speaker 1>already involved. But after the death of his mother and

0:29:10.520 --> 0:29:14.800
<v Speaker 1>going to Hamburg, there was now sex, alcohol, drugs in

0:29:14.840 --> 0:29:18.360
<v Speaker 1>abundance and abundance and nobody's schedule. They played all night,

0:29:18.480 --> 0:29:20.960
<v Speaker 1>so the whole schedule was topsy turvy. But they grew

0:29:21.000 --> 0:29:24.520
<v Speaker 1>their presence essentially, and they grew their cohesiveness. Give us

0:29:24.520 --> 0:29:27.040
<v Speaker 1>the timing of when did they add in Ringo and

0:29:27.280 --> 0:29:30.760
<v Speaker 1>George and they well, it's funny. They went to Germany

0:29:30.800 --> 0:29:33.840
<v Speaker 1>with an art school friend of John's named Stewart Suckcliffe,

0:29:33.880 --> 0:29:37.400
<v Speaker 1>who was more so than Paul this period, his best

0:29:37.440 --> 0:29:41.600
<v Speaker 1>friend and a mentor. He was there about the same age,

0:29:41.600 --> 0:29:45.120
<v Speaker 1>but they were an odd couple. Stewart was incredibly gifted

0:29:45.160 --> 0:29:48.400
<v Speaker 1>Painter Stewart, who became his best friend, and he met Cynthia,

0:29:48.400 --> 0:29:52.560
<v Speaker 1>who would become his wife. Two odd couples, two odd couples,

0:29:52.600 --> 0:29:55.080
<v Speaker 1>but in art school. But Stewart Wright goes off with

0:29:55.200 --> 0:29:59.040
<v Speaker 1>him essentially to Germany, and he really really respected Stewie said,

0:29:59.040 --> 0:30:01.240
<v Speaker 1>I relied on stud tell me the truth, which is

0:30:01.280 --> 0:30:03.600
<v Speaker 1>a great thing to say about anybody, really really, And

0:30:04.040 --> 0:30:06.080
<v Speaker 1>Stewart was in the band, not really because he was

0:30:06.080 --> 0:30:07.719
<v Speaker 1>a great musician, but John wanted him there and they

0:30:07.720 --> 0:30:09.520
<v Speaker 1>were really close, and of course that caused a lot

0:30:09.560 --> 0:30:12.120
<v Speaker 1>of jealousy with Paul, who not only was jealous of

0:30:12.120 --> 0:30:14.320
<v Speaker 1>the friendship but also thought he wasn't a very good musician,

0:30:14.320 --> 0:30:17.400
<v Speaker 1>which he wasn't. And they were very very close. And

0:30:17.480 --> 0:30:19.240
<v Speaker 1>when they were in Germany they met a bunch of

0:30:19.320 --> 0:30:21.560
<v Speaker 1>arts of German arts students who would have a big

0:30:21.600 --> 0:30:24.240
<v Speaker 1>influence on the band in terms of their style. Names

0:30:24.280 --> 0:30:26.960
<v Speaker 1>that fans might now claus form and who designed the

0:30:27.000 --> 0:30:29.760
<v Speaker 1>Revolver album cover. And this woman Astrid that can never

0:30:29.800 --> 0:30:33.120
<v Speaker 1>say last name, sorry, Astrid Astrid Kircher, who was kind

0:30:33.120 --> 0:30:35.600
<v Speaker 1>of like the band's first stylist. The Beatle haircuts kind

0:30:35.600 --> 0:30:38.240
<v Speaker 1>of came from her and their early leather image and

0:30:38.560 --> 0:30:41.920
<v Speaker 1>kind of moody, almost like French new wave style. With

0:30:42.000 --> 0:30:44.400
<v Speaker 1>the caller was Pierre Carden, jackets and stuff. That was

0:30:44.440 --> 0:30:47.800
<v Speaker 1>all her And she fell in love with Stewart, and

0:30:47.880 --> 0:30:51.000
<v Speaker 1>so Stewart left the band when they left Germany to

0:30:51.120 --> 0:30:53.920
<v Speaker 1>live with her, and they ended up getting engaged, and

0:30:54.200 --> 0:30:56.960
<v Speaker 1>he and john even though they were, you know, countries apart,

0:30:57.040 --> 0:30:59.520
<v Speaker 1>stayed close. And then when the band were going back

0:30:59.560 --> 0:31:02.480
<v Speaker 1>to Hamburg in nineteen sixty two, they got to the airport.

0:31:03.080 --> 0:31:05.360
<v Speaker 1>They're flying, man, that's what there are. Things are starting

0:31:05.400 --> 0:31:07.040
<v Speaker 1>to pick up. They got to the airport and Astrid

0:31:07.040 --> 0:31:10.760
<v Speaker 1>met them there and Johnson Warris Stu and he died

0:31:10.800 --> 0:31:14.280
<v Speaker 1>the day before. And this freak brain hemorrhage. He'd been

0:31:14.320 --> 0:31:17.440
<v Speaker 1>suffering from really severe headaches, abilitating headaches for the last

0:31:17.960 --> 0:31:19.920
<v Speaker 1>year and a half, two years, and Noah knew why,

0:31:20.040 --> 0:31:22.000
<v Speaker 1>and and he had a brain hemorrhage and died a

0:31:22.040 --> 0:31:24.840
<v Speaker 1>horrible loss. But again he laughed, he laughed. He just

0:31:25.000 --> 0:31:27.360
<v Speaker 1>mean because it came out of nowhere. I mean, just

0:31:27.480 --> 0:31:30.520
<v Speaker 1>all these deaths that were just shocking. I mean, his uncle,

0:31:30.840 --> 0:31:34.640
<v Speaker 1>his mother, his best friend. In the space of why

0:31:34.680 --> 0:31:38.040
<v Speaker 1>eight years, six years something like that a crucial age

0:31:38.400 --> 0:31:42.840
<v Speaker 1>one at this later loss. And none of these old people,

0:31:43.000 --> 0:31:45.320
<v Speaker 1>none of these are old didn't get to live their

0:31:45.360 --> 0:31:48.240
<v Speaker 1>full lives. A few people that he actually really allowed

0:31:48.280 --> 0:31:50.400
<v Speaker 1>himself to connect to, So that that's another one that

0:31:50.440 --> 0:31:52.200
<v Speaker 1>I think doesn't get mentioned enough. And he had a

0:31:52.200 --> 0:31:56.160
<v Speaker 1>guilt complex too, because they The theory is that the

0:31:56.160 --> 0:31:58.600
<v Speaker 1>head trauma that caused this would have been from a

0:31:58.600 --> 0:32:00.680
<v Speaker 1>fight after a gig, and he joined the band because

0:32:00.760 --> 0:32:03.360
<v Speaker 1>John wanted him there, and so he was haunted by

0:32:03.360 --> 0:32:05.240
<v Speaker 1>this the rest of his life. At the same time,

0:32:05.320 --> 0:32:08.880
<v Speaker 1>he's involved with Cynthia. They're a couple. There are a couple.

0:32:08.920 --> 0:32:11.080
<v Speaker 1>It didn't make much sense. No one ever was really

0:32:11.120 --> 0:32:12.959
<v Speaker 1>sure what they saw on each other. I think that

0:32:13.000 --> 0:32:16.720
<v Speaker 1>he was attracted to how submissive she was. I mean,

0:32:16.720 --> 0:32:19.320
<v Speaker 1>that's a terrible thing to say now, but but it's

0:32:19.440 --> 0:32:22.280
<v Speaker 1>very important. It's very important to John. She changed a

0:32:22.280 --> 0:32:24.400
<v Speaker 1>lot for him, and she would be with him and

0:32:24.440 --> 0:32:27.920
<v Speaker 1>accept all kinds of behaviors from him and not leave,

0:32:28.040 --> 0:32:30.000
<v Speaker 1>still be there with him. He was awful to her,

0:32:30.040 --> 0:32:31.960
<v Speaker 1>I mean, he hit her, and I think she did

0:32:32.000 --> 0:32:34.920
<v Speaker 1>actually leave briefly after that incident. Like it was, he

0:32:35.040 --> 0:32:39.120
<v Speaker 1>was fiously jealous, absolutely furiously jealous. Of course, as most

0:32:39.200 --> 0:32:42.160
<v Speaker 1>jealousy belar, he didn't hold himself to that standard at all.

0:32:42.200 --> 0:32:44.120
<v Speaker 1>When he went away to Hamburg, he did whatever he wanted.

0:32:44.760 --> 0:32:48.480
<v Speaker 1>He would sleep with whoever. He was constantly angry and

0:32:48.560 --> 0:32:53.640
<v Speaker 1>jealous and paranoid about her. Again not surprising coming from

0:32:53.640 --> 0:32:59.000
<v Speaker 1>this avoidant ambivalent attachment childhood, where the thought would be,

0:32:59.040 --> 0:33:01.040
<v Speaker 1>you know, anytime I can see you, you might be

0:33:01.120 --> 0:33:03.840
<v Speaker 1>leaving me, you might be abandoning me. So that would

0:33:03.920 --> 0:33:06.800
<v Speaker 1>prime someone to be a very jealous other, as he

0:33:06.960 --> 0:33:09.960
<v Speaker 1>was all the time. Actually, in addition, when you were cheating,

0:33:10.080 --> 0:33:12.520
<v Speaker 1>to be honest, you imagine it's not that difficult for

0:33:12.520 --> 0:33:15.160
<v Speaker 1>your partner the same thing, which would only add to

0:33:15.160 --> 0:33:18.200
<v Speaker 1>your jealousy. But she would always come back and always

0:33:18.280 --> 0:33:20.840
<v Speaker 1>be there. That might have been to him at that

0:33:20.880 --> 0:33:24.000
<v Speaker 1>stage in his life, when he has such desperate longings

0:33:24.120 --> 0:33:27.800
<v Speaker 1>for someone to stay attached to him, might have been

0:33:27.920 --> 0:33:30.200
<v Speaker 1>enough like that might have been the thing that you know,

0:33:30.240 --> 0:33:32.560
<v Speaker 1>would make you qualify, so to speak, to be the other.

0:33:32.680 --> 0:33:34.440
<v Speaker 1>But he was also, as you point out, he was

0:33:34.520 --> 0:33:37.320
<v Speaker 1>completely absorbed in his music and being with the Bandon

0:33:37.920 --> 0:33:41.720
<v Speaker 1>performing with the band, he added ringo at the Ringo

0:33:41.840 --> 0:33:45.040
<v Speaker 1>came last. In two. They had a drummer all through Hamburg,

0:33:45.120 --> 0:33:48.320
<v Speaker 1>this guy named Pete Best, and he never really jelled.

0:33:52.000 --> 0:33:53.920
<v Speaker 1>They kind of had him on just because he had

0:33:53.960 --> 0:33:56.400
<v Speaker 1>a drum kit, which was an expensive item and in

0:33:56.440 --> 0:33:59.080
<v Speaker 1>the early sixties, and he just was there and available,

0:33:59.160 --> 0:34:01.120
<v Speaker 1>so they took him and before they knew it, a

0:34:01.160 --> 0:34:03.760
<v Speaker 1>couple of years went by. But as they said later,

0:34:03.880 --> 0:34:07.080
<v Speaker 1>he wasn't really something that they would have necessarily chose

0:34:07.120 --> 0:34:09.440
<v Speaker 1>and given an option. And while they were in Hamburg,

0:34:09.520 --> 0:34:12.080
<v Speaker 1>they became close with Ringo, who's in a different band

0:34:12.120 --> 0:34:15.839
<v Speaker 1>over there, and they ended up when they went to

0:34:15.920 --> 0:34:19.840
<v Speaker 1>have a record demo session, the record producer, their longtime producer,

0:34:19.840 --> 0:34:21.840
<v Speaker 1>George Martin, didn't like the drummer, and so that was

0:34:21.920 --> 0:34:23.440
<v Speaker 1>kind of all they needed to hear, is like, all right,

0:34:23.480 --> 0:34:26.720
<v Speaker 1>we need to actually get somebody we like who's good,

0:34:26.760 --> 0:34:28.480
<v Speaker 1>and they yeah, they went with Ringo, so that the

0:34:28.520 --> 0:34:31.200
<v Speaker 1>lineup was was cemented by August to sixty two, and

0:34:31.239 --> 0:34:33.719
<v Speaker 1>they had a manager by that point, Brian Epstein, who

0:34:33.760 --> 0:34:36.600
<v Speaker 1>was a I would say the closest thing to a

0:34:36.600 --> 0:34:41.839
<v Speaker 1>paternal figure that John had throughout the tumultuous rise of Beatlemania,

0:34:41.880 --> 0:34:44.920
<v Speaker 1>all through the sixties. He was a paternal figure and

0:34:45.040 --> 0:34:48.200
<v Speaker 1>John was the closest in the group to him, although

0:34:48.280 --> 0:34:52.360
<v Speaker 1>John was also the one who would viciously and abuse

0:34:52.480 --> 0:34:56.680
<v Speaker 1>him about being Jewish, about being gay, and just on

0:34:56.760 --> 0:34:59.880
<v Speaker 1>and on and on, and yet they had this inten

0:35:00.160 --> 0:35:05.520
<v Speaker 1>closeness very intensively. It's been suggested that Brian first wanted

0:35:05.560 --> 0:35:07.799
<v Speaker 1>to manage the Beatles because he went and solve him

0:35:07.920 --> 0:35:09.880
<v Speaker 1>and absolutely fell in love with John on the spot

0:35:09.880 --> 0:35:11.759
<v Speaker 1>when he was on stage. He as you said, he

0:35:11.800 --> 0:35:14.920
<v Speaker 1>was gay. He liked kind of rough, they called him,

0:35:14.960 --> 0:35:19.000
<v Speaker 1>like duck worker type guys, like leather clad, rough, aggressive man,

0:35:19.160 --> 0:35:22.680
<v Speaker 1>particularly men who weren't gay, as John was not, at

0:35:22.760 --> 0:35:26.440
<v Speaker 1>least far as we all know. That's a bit too simplistic,

0:35:26.480 --> 0:35:29.759
<v Speaker 1>but he definitely had strong feelings for John in a

0:35:29.840 --> 0:35:33.480
<v Speaker 1>way that John could reciprocate. But John knew it, and

0:35:33.600 --> 0:35:37.120
<v Speaker 1>so he would sometimes use that to establish his position

0:35:37.160 --> 0:35:39.360
<v Speaker 1>in the band. I guess he was very political. And

0:35:39.400 --> 0:35:42.160
<v Speaker 1>there's a famous story John and Cynthia got married. John

0:35:42.360 --> 0:35:45.120
<v Speaker 1>Cynthia rather, she got pregnant in uh in the summer

0:35:45.200 --> 0:35:48.120
<v Speaker 1>sixty two and unplanned. And you know what you did

0:35:48.120 --> 0:35:50.520
<v Speaker 1>back then when you were pregnant you got married, and

0:35:50.560 --> 0:35:53.360
<v Speaker 1>so they did. Mimi, of course, was furious and boycotted

0:35:53.400 --> 0:35:56.320
<v Speaker 1>the ceremony. Brian was the best man actually, and she

0:35:56.400 --> 0:36:00.000
<v Speaker 1>had a baby in April sixty three. Julian named off

0:36:00.280 --> 0:36:02.680
<v Speaker 1>John's mother Julia. But actually, so it's interesting, you know,

0:36:02.760 --> 0:36:07.759
<v Speaker 1>Julian's actual name is John. He has two he has

0:36:07.960 --> 0:36:12.160
<v Speaker 1>it's John, I think Charles Julian. It's after her father,

0:36:12.760 --> 0:36:17.040
<v Speaker 1>but John after John, and then Julian, and they called

0:36:17.120 --> 0:36:20.560
<v Speaker 1>him Julian, but Julian was after Julia. It's just important

0:36:20.600 --> 0:36:24.600
<v Speaker 1>because when you look again later at some of John's music,

0:36:25.160 --> 0:36:30.200
<v Speaker 1>that Julian was, this conglomeration of his mother and himself

0:36:31.040 --> 0:36:35.279
<v Speaker 1>in name ends up being important in terms of who

0:36:35.320 --> 0:36:39.120
<v Speaker 1>he represents to John. Oh absolutely. And so he was

0:36:39.160 --> 0:36:42.920
<v Speaker 1>away on tour when he was born. He goes to

0:36:43.040 --> 0:36:45.480
<v Speaker 1>visit Cynthia and Julian in the hospital and oh, this

0:36:45.560 --> 0:36:48.240
<v Speaker 1>is great. You know, he's beautiful. By the way, Cynthia,

0:36:48.680 --> 0:36:51.560
<v Speaker 1>Brian wants to take me to Spain. Uh, we're gonna

0:36:51.560 --> 0:36:54.520
<v Speaker 1>go on vacation in two weeks. So bye. Well, first

0:36:54.560 --> 0:36:57.040
<v Speaker 1>of all, he wasn't there at the birth. He comes

0:36:57.120 --> 0:37:00.279
<v Speaker 1>days later. Right, This now establishes this tragic path. Don't

0:37:00.280 --> 0:37:02.560
<v Speaker 1>of exactly how he interacts with his son, which is

0:37:02.840 --> 0:37:06.200
<v Speaker 1>not he Well, he blows in like woo, you know,

0:37:06.400 --> 0:37:09.920
<v Speaker 1>with like toys or or some sort of very intense,

0:37:10.400 --> 0:37:13.560
<v Speaker 1>uplifting attachment, and then he blows out and he's gone

0:37:13.600 --> 0:37:15.560
<v Speaker 1>for long periods of time, or he might come in

0:37:15.640 --> 0:37:18.440
<v Speaker 1>and ignore him. But basically this is a repetition, right,

0:37:18.520 --> 0:37:20.640
<v Speaker 1>It's a repetition of the way that he was treated

0:37:20.680 --> 0:37:23.480
<v Speaker 1>as a child. He does exactly the same thing tragically

0:37:23.520 --> 0:37:26.279
<v Speaker 1>with his own son. It's heartbreaking and he knew that too.

0:37:26.320 --> 0:37:27.719
<v Speaker 1>He would say later on, I felt like a real

0:37:27.760 --> 0:37:30.440
<v Speaker 1>bastard doing this, but Brian was his manager and he

0:37:30.480 --> 0:37:34.120
<v Speaker 1>wanted to have this solo experience with him to really

0:37:34.160 --> 0:37:36.839
<v Speaker 1>kind of cement his wall. You could you could say

0:37:36.880 --> 0:37:38.279
<v Speaker 1>he felt like a bastard do it, but he had

0:37:38.320 --> 0:37:41.000
<v Speaker 1>to do it, or you could say that he had

0:37:41.040 --> 0:37:46.680
<v Speaker 1>to do it because internally, emotionally he was driven to repeat.

0:37:46.719 --> 0:37:49.880
<v Speaker 1>It's called repetition compulsion. It's a way of sort of

0:37:50.400 --> 0:37:55.640
<v Speaker 1>dealing with trauma, is to unconsciously repeat the exact same trauma,

0:37:55.680 --> 0:37:58.480
<v Speaker 1>but in doing it to someone else, you're in the

0:37:58.520 --> 0:38:02.480
<v Speaker 1>position of power now or not. The victim you're the

0:38:02.840 --> 0:38:07.480
<v Speaker 1>powerful one who, instead of being left and hurt, is

0:38:07.520 --> 0:38:11.280
<v Speaker 1>the lever. So essentially he initiated that relationship with Julian

0:38:11.280 --> 0:38:14.480
<v Speaker 1>which was probably overdetermined, and you know, justified it with

0:38:14.480 --> 0:38:16.440
<v Speaker 1>will Brian says, you know, I have to leave. It

0:38:16.520 --> 0:38:19.880
<v Speaker 1>was really tragic, and you know, left this terrible relationship

0:38:19.960 --> 0:38:24.080
<v Speaker 1>ultimately and did the same thing psychologically Julian essentially that

0:38:24.120 --> 0:38:25.960
<v Speaker 1>had been done to him. It didn't do much for

0:38:26.000 --> 0:38:28.680
<v Speaker 1>his relationship with his wife. He was off doing a

0:38:28.680 --> 0:38:31.680
<v Speaker 1>lot of drugs, doing a lot of women, and being

0:38:32.200 --> 0:38:35.040
<v Speaker 1>mostly gone. She just sort of took it and kind

0:38:35.080 --> 0:38:38.960
<v Speaker 1>of hung in there. And yet all this time he

0:38:39.160 --> 0:38:42.360
<v Speaker 1>is writing music, right, he is writing and I think,

0:38:42.400 --> 0:38:45.320
<v Speaker 1>you know, if people look back at even the songs,

0:38:45.360 --> 0:38:48.279
<v Speaker 1>then they all sound cheery and upbeat and love Me

0:38:48.320 --> 0:38:51.560
<v Speaker 1>Do and so on. But there are songs like help,

0:38:52.000 --> 0:38:55.839
<v Speaker 1>you know, there are songs that clearly belie some of

0:38:55.840 --> 0:39:00.120
<v Speaker 1>this emotional longing and emotional difficulty and trauma along the way.

0:39:06.880 --> 0:39:09.880
<v Speaker 1>We're going to leave part one here. On the next episode,

0:39:10.160 --> 0:39:13.000
<v Speaker 1>we'll get into the worldwide explosion of the Beatles band

0:39:13.440 --> 0:39:16.080
<v Speaker 1>and how John deals with a level of fame few

0:39:16.200 --> 0:39:18.839
<v Speaker 1>human beings have ever had. To deal with. We will

0:39:18.880 --> 0:39:23.280
<v Speaker 1>discuss John the composer, husband and father, the impact of drugs,

0:39:23.680 --> 0:39:27.200
<v Speaker 1>loss and therapy on his mind, and of course we'll

0:39:27.239 --> 0:39:31.040
<v Speaker 1>get into his pivotal relationship with the Yoko Ono. I

0:39:31.120 --> 0:39:33.719
<v Speaker 1>want to thank my guests Jordan run Tug for a

0:39:33.760 --> 0:39:37.480
<v Speaker 1>superb conversation. If you haven't yet, please go check out

0:39:37.480 --> 0:39:41.240
<v Speaker 1>his podcast Rivals, about the greatest musical rivalries in history.

0:39:41.640 --> 0:39:44.160
<v Speaker 1>You won't be disappointed. And if you're interested in more

0:39:44.200 --> 0:39:46.799
<v Speaker 1>information about the people we discuss on the show, you

0:39:46.800 --> 0:39:49.160
<v Speaker 1>can check out my book The Power of Different or

0:39:49.200 --> 0:39:51.719
<v Speaker 1>you can follow me on social media at Dr Gale

0:39:51.760 --> 0:39:54.919
<v Speaker 1>Salts or at Personalogy m D. We'll be back next

0:39:54.920 --> 0:39:58.200
<v Speaker 1>week with part two of John Lennon. Thanks for listening.

0:40:00.080 --> 0:40:06.600
<v Speaker 1>M Personology is a production of I Heart Radio. The

0:40:06.640 --> 0:40:10.200
<v Speaker 1>executive producers are Dr Gayl Saltz and Tyler Clang. The

0:40:10.239 --> 0:40:14.840
<v Speaker 1>supervising producer is Dylan Fagan. The associate producer is Lowell Berlanti.

0:40:15.160 --> 0:40:19.040
<v Speaker 1>Editing music and mixing by Lowell Berlante. For more podcasts

0:40:19.080 --> 0:40:21.479
<v Speaker 1>from My Heart Radio, visit the I heart Radio app,

0:40:21.600 --> 0:40:25.480
<v Speaker 1>Apple Podcasts, or wherever you get your podcasts.