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John Lennon’s official Instagram page unearthed yet another golden-worth photo of John and Yoko Ono.

As you might check out the photo of the couple above, the official Instagram page surprised by not giving any specific details about that unseen frame.




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John Lennon once wrote a heartwarming Christmas letter to his first wife Cynthia, according to unearthed reports.

When he died he was married to Yoko Ono, but an uncovered letter from 1958 revealed the strength of feeling John had for his girlfriend and, later his first wife, Cynthia Powell.
Writing in Vanity Fair in 2012, Bruce Handy revealed how the music icon wished his love interest a Happy Christmas.

Mr Handy wrote how he “was particularly moved by a painfully sweet, eight-page Christmas card” he sent to Cynthia, revealed in ‘The John Lennon Letters’ by editor Hunter Davies and published by Pete Townsend and Neil Young.
The reporter explained: “Under the heading OUR FIRST XMAS!, he drew the two of them standing close, heads together, his hand laid gently on her arm, he in long sideburns and pegged pants, she in a checked miniskirt, looking very much like a potential first couple of not-yet-swinging London.”
John was 18 at the time.

On the sixth page, he wrote: “I love you so don’t leave me I love you so don’t leave leave don’t leave me I love you Cynthia.”
In 1962 he wrote another letter to Cynthia, adding: “It’s Sunday afternoon. I’ve just wakened up … Paul’s leaping about on my head (he’s in a bunk on top of me and he’s snoring!) I can hardly get in a position to write it’s so cramped below stairs captain.
“Shurrup McCartney! Grunt grunt.”
John added he would rather be “on the way to your flat with the Sunday papers and choccies”.
He later commented: “Oh yes! I forgot to tell you I’ve got a GEAR suede overcoat with a belt so I’ll look just like you now!”

As Mr Handy remarked: “Lennon wasn’t much of a letter writer, it turns out; he was more of a jotter and list-maker, a sender of terse, wish-you-were-here style postcards.
“Many of the entries here are perfunctory at best.”

John married Cynthia in 1962. They had one child together, Julian Lennon, but the two of them divorced in 1968. John started a controversial and incredibly high-profile relationship with Yoko – which was often berated by fans and blamed for The Beatles split.
The two of them had a son as well, called Sean.
Both Yoko and Cynthia were devastated in the wake of John’s murder, and became friends.
In 2005 Cynthia wrote a book called ‘John’ about her late ex-husband, detailing their ten year relationship and John’s rise to the top. She died ten years later from cancer.


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The UNICEF event featured John and George’s first scheduled performance since The Beatles’ last concert in 1966, and John Lennon’s last UK live appearance.

A historic concert that, surprisingly, sometimes goes under the radar in the history of some British rock royalty took place at London’s Lyceum Theatre on 15 December 1969.

It was a charity event for UNICEF, the United Nations’ international fund, called Peace and Love for Christmas. The concert marked the live debut of the extended Plastic Ono Band, on this occasion featuring the incredible line-up of John Lennon, Yoko Ono, Eric Clapton and more with a brief appearance by Keith Moon. It came in the week of release of the Plastic Ono Band’s Live Peace In Toronto, the cover of which is pictured above.


The concert turned out to be Lennon’s last live appearance in his home country, and it’s also the answer to what could be a memorable trivia question, about the night Lennon and Harrison were on a bill that also featured Jimmy Cliff, Desmond Dekker, the Young Rascals and UK hitmakers Blue Mink. Tickets cost £1 each, and others joining the stellar cast included Klaus Voorman, Bobby Keys, Jim Price and Alan White, all regular collaborators to this extended family. BBC Radio1 DJ Emperor Rosko MCd the evening.

The Lyceum stage was adorned with a giant “War is over” message banner, previewing the sentiment of John and Yoko’s subsequent Christmas single.

This supergroup performed Lennon and the Plastic Ono Band’s then-current single ‘Cold Turkey’ and its b-side ‘Don’t Worry Kyoko (Mummy’s Only Looking For Her Hand In The Snow),’ both in extended versions. The recordings, mixed by Geoff Emerick, were included as the second disc, titled Live Jam, on the original release of the 1972 album credited to Lennon, Ono and Elephant’s Memory, Some Time In New York City. John introduces ‘Cold Turkey’ (which was in the UK chart at the time of the event, having peaked at No. 14) by saying “This is a song about pain.”
Lennon is quoted, by The Beatles Bible and elsewhere, expressing his enthusiasm for the night. “I thought it was fantastic,” he said. “I was really into it. We were doing the show and George and Bonnie and Delaney, Billy Preston and all that crowd turned up. They’d just come back from Sweden and George had been playing invisible man in Bonnie and Delaney’s band, which Eric Clapton had been doing, to get the pressure off being the famous Eric and the famous George.

“They became the guitarists in this and they all turned up, and it was again like the concert in Toronto. I said, ‘Will you come on?’ They said, ‘Well, what are you going to play? I said, ‘Listen, we’re going to do probably a blues…or ‘Cold Turkey,’ which is three chords, and Eric knew that. And ‘Don’t Worry Kyoko,’ which was Yoko’s, which has three chords and a riff. I said, ‘Once we get on to Yoko’s riff, just keep hitting it.’”


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When The Beatles took the roof of the Apple building in January 1969, spectators got a glimpse of the Fab Four making Let It Be, the band’s final release. And, though no one could have known it at the time, they were witnessing the last live Beatles performance.
Though the group didn’t announce it had broken up until April 1970, there hadn’t been a Beatles (as everyone knew it) for months. In fact, the last time all the band members were in a studio together was August ’69, when they wrapped up Abbey Road.
But Let It Be still needed some work prior to its release. So Paul McCartney, George Harrison, and Ringo Starr met in the Apple studios for one last session in early ’70. And the band finished Harrison’s “I Me Mine.”
If you check the credits on that track, you won’t find John Lennon listed anywhere. John wasn’t even in the country at the time.
Lennon had already left the band by January ’70
After telling his bandmates he was leaving the group in September ’69, John went about his business. That included new music recorded with Eric Clapton and released as a Plastic Ono Band single that October.
At the end of December, John and Yoko Ono flew to Denmark to spend time with Yoko’s daughter, Kyoko. They stayed there until late January. In the meantime, the other three Beatles had finished “I Me Mine” and tied up the other hanging threads on Let It Be. But John wasn’t interested.

1970: John Lennon carries his wife, Yoko Ono, across the snow in North Jutland, Denmark, where they are visiting Yoko’s daughter by her previous marriage, Kyoko, who lives with Yoko’s former husband Anthony Cox and his wife Belinda. (Photo by Keystone/Getty Images)

So Paul, George, and Ringo wrapped up the work without him. After John returned to Apple studios, he did arrange for Phil Spector to prepare Let It Be for release. But during the final Beatles studio date (Jan. 4, 1970), John was nowhere to be found.
In one “I Me Mine” take on Anthology (the above video), George jokingly acknowledges John’s absence. “You all will have read that Dave Dee is no longer with us,” George said. “But Mickey and Titch and I would just like to carry on the good work that’s always gone down in [Abbey Road Studio] No. 2.”
If you watch Let It Be, a moment between John and George stands out. While George introduces “I Me Mine” to the band, John takes the opportunity to dance a waltz with Yoko.
When the band got together the finish the track the following year, no one was surprised John didn’t show. In fact, skipping George’s songs wasn’t anything new for John. He didn’t play on three of George’s four White Album tracks and didn’t turn up on “Here Comes the Sun.”
Certainly, the two Beatles needed a break from one another by the start of 1970. But their relationship didn’t stop there. When John recorded Imagine the following year, George joined him on slide guitar (even on “How Do You Sleep?”).
In 1973, they worked together again (this time, on Ringo’s album).


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John Lennon tore into deep cuts, treasured favorites and no less than four songs that hit No. 1 on the American or U.K. charts. Sometimes, he didn’t like the arrangement or the take the group decided to use, other times he couldn’t get past the lyrics. “I feel I could remake every fucking one of them better,” he bluntly told David Sheff in a 1980 interview for Playboy.

From: Please Please Me (1963)
The History: A pop standard composed for a play of the same name, “A Taste of Honey” was adapted from Lenny Welch’s 1962 vocal update during the afternoon portion of a marathon session on Feb. 11, 1963, in which the Beatles recorded most of their first album. The screenplay for A Taste of Honey was also said to have inspired Paul McCartney to write 1967’s “Your Mother Should Know.”
On the Charts: Part of their Hamburg set lists in 1962-63, and was performed seven times for BBC radio, but never released as a single.
Lennon’s Line: Lennon actually took jabs at the song while on stage with the Beatles, singing “A Waste of Money” behind McCartney’s lead vocal.

From: Past Masters (1965)
The History: “Yes It Is” was recorded in February 1965, on the same day the Beatles completed George Harrison’s “I Need You.” Both notably featured volume-pedal work from George, though “Yes It Is” is more famous for its gorgeous three-part harmonies.
On the Charts: First appeared as the B-side to the Beatles’ No. 1 smash “Ticket to Ride.”
Lennon’s Line: “That’s me trying a rewrite of [1963’s] ‘This Boy,'” Lennon said in the 1980 interview with Playboy, “but it didn’t work.”

From: Help! (1965)
The History: The Beatles completed this song, which appeared on the second side of Help!, over six takes in June 1965. By the way, McCartney later took up for “It’s Only Love” in Barry Miles’ Many Years From Now, saying: “It’s only a rock ‘n’ roll song; I mean, this is not literature.”
On the Charts: Never released as a single, “It’s Only Love” ended up on the heavily edited U.S. version of Rubber Soul.
Lennon’s Line: “That’s the one song I really hate of mine. Terrible lyric,” Lennon told Hit Parader magazine. In David Sheff’s All We Are Saying, Lennon added: “I always thought it was a lousy song. The lyrics were abysmal. I always hated that song.”

From: Rubber Soul (1965)
The History: Lennon got this song underway by swiping a line from “Baby, Let’s Play House,” made famous by Elvis Presley in 1955 – then gave it a far more jealous edge.
On the Charts: The Beatles actually began the October 1965 sessions for Rubber Soul with “Run for Your Life,” though it ended up as the album’s final track. Never released as a single.
Lennon’s Line: John returned to this more than once over the years, saying he “always hated” it, that “Run for Your Life,” was his “least favorite Beatles song,” and calling it “just a sort of throwaway song of mine that I never thought much of.”

From: Past Masters (1966)
The History: “Paperback Writer” marked the end of a hectic cycle, envisioned by Brian Epstein and George Martin, in which the Beatles would release two albums and four stand-alone singles each year. Lennon argued that it led them to a cookie-cutter result.
On the Charts: Recorded in April 1966, the gold-selling “Paperback Writer” nevertheless went to No. 1 in both the U.K. and America.
Lennon’s Line: Referring to his own 1965 single featuring a “lick on a fuzzy, loud guitar,” John dismissed “Paperback Writer” as “son of ‘Day Tripper.'”

From: Sgt. Pepper’s Lonely Hearts Club Band (1967)
The History: Dusted off in December 1966 sessions for Sgt. Pepper as McCartney’s own father was turning 64, this track actually dates back to before the Beatles. Paul wrote an early version on the family piano when he was about 15. He’d later vamp on it when the Beatles had equipment break downs during very early club dates.
On the Charts: “When I’m Sixty-Four” was originally supposed to serve as the b-side to “Strawberry Fields Forever,” before George Martin and Brian Epstein suggested they use “Penny Lane” instead.
Lennon’s Line: Lennon sneeringly described McCartney’s songs in this music-hall style as “granny music shit,” according to engineer Geoff Emerick. Asked who wrote “When I’m Sixty-Four” in his 1980 talk with Playboy, Lennon said it was “Paul’s, completely. I would never dream of writing a song like that.”

From: Sgt. Pepper’s Lonely Hearts Club Band (1967)
The History: Also dating back to February and March 1967, “Good Morning Good Morning” was initially sparked by a Kellogg’s cereal television commercial that was playing in the background. Lennon’s stream-of-consciousness tale concludes with a roaring stampede of animals.
On the Charts: Never released as a single.
Lennon’s Line: “It’s a throwaway, a piece of garbage, I always thought,” Lennon argued in All We Are Saying. “I always had the TV on very low in the background when I was writing and it came over, and then I wrote the song.”

From: Sgt. Pepper’s Lonely Hearts Club Band (1967)                                                                                 The History: Recorded in February and March of 1967, McCartney’s paean to a England’s traffic wardens – known in the U.S. back then as the more colloquially interesting “meter maids” – was completed with a kazoo-like sound made with paper threaded through a comb, and a sped-up honky-tonk piano solo by George Martin.
On the Charts: Never released as a single.
Lennon’s Line: “I’m not interested in writing about people like that,” he said in 1980. “I like to write about me, because I know me. I don’t know anything about secretaries and postmen and meter maids.”

From: Sgt. Pepper’s Lonely Hearts Club Band (1967)
The History: A popular theory at the time was that “Lucy in the Sky With Diamonds,” recorded in February and March 1967, held a coded reference to psychedelic drugs. But Lucy O’Donnell was actually the name of a school friend found in a drawing by John Lennon’s four-year-old son Julian. The classic fairy tale Alice in Wonderland also had a clear influence on this song’s imagery.
On the Charts: The Beatles didn’t release this as a single, but Elton John did – scoring a No. 1 hit in 1975 with a cover version featuring John Lennon performing as Dr. Winston O’Boogie.
Lennon’s Line: “I heard ‘Lucy in the Sky With Diamonds’ last night. It’s abysmal, you know?” Lennon said in 1980. “The track is just terrible. I mean, it is a great track, a great song, but it isn’t a great track because it wasn’t made right. You know what I mean?”

From: Magical Mystery Tour (1967)
The History: In Many Years From Now, McCartney argued that “Hello Goodbye” spoke to deeper themes of duality in the universe – man and woman, black and white, up and down, so on. Lennon, who admitted to being angry that “I Am the Walrus” appeared as this song’s B-side, just thought “Hello Goodbye” was goofy.
On the Charts: This chart-topping song was recorded during October 1967 sessions, then became the Beatles’ final single in a year of remarkable output.
Lennon’s Line: “[Hello Goodbye] smells a mile away,” he said in withering comments to Playboy, adding that it “wasn’t a great piece.” Earlier, Lennon reportedly described the tune as “three minutes of contradictions and meaningless juxtapositions.” He finally conceded, however, that “the best bit was the end, which we all ad-libbed in the studio, where I played piano.”

From: Let It Be (1970)
The History: Lennon couldn’t quite nail this one down. Originally recorded in February 1968, “Across the Universe” took a circuitous route before finally appearing on Let It Be. The track was originally released on 1969’s No One’s Gonna Change Our World, a World Wildlife Fund charity project, then languished until second producer Phil Spector reworked it for the Beatles’ last-released album.
On the Charts: Never issued as a single.
Lennon’s Line: “It was a lousy track of a great song, and I was so disappointed by it,” he told Sheff, blaming the others – specifically McCartney – for not “supporting me or helping me with it. … Paul would sort of subconsciously try and destroy a great song, meaning that we’d play experimental games with my great pieces. Usually, we’d spend hours doing little detailed clean-ups of Paul’s songs; when it came to mine, especially if it was a great song like ‘Strawberry Fields’ or ‘Across the Universe,’ somehow this atmosphere of looseness and casualness and experimentation would creep in.”

From: Past Masters (1968)
The History: The Beatles’ first release of 1968 was recorded just before they left for a doomed trip to study under the Maharishi Mahesh Yogi. “Lady Madonna” betrayed McCartney’s deep debt to the late early-rock legend Fats Domino, and marked a sharp turn away from the psychedelia that dominated the Beatles’ Sgt. Pepper-era work.
On the Charts: Recorded in February 1968, “Lady Madonna” became another Beatles No. 1 single in the U.K., while finishing at No. 4 on the Billboard charts.
Lennon’s Line: “Good piano lick, but the song never really went anywhere,” he said in 1980. “Maybe I helped [Paul] with some of the lyrics, but I’m not proud of them either way.”

From: The White Album (1968)
The History: McCartney celebrated the pre-reggae sounds of Jamaican ska on this track, which was written while the Beatles were in India and then recorded in July 1968. George Harrison clearly disliked “Ob-La-Di, Ob-La-Da” too, taking a direct swipe at it in the lyrics for “Savoy Truffle” from the same album.
On the Charts: “Ob-La-Di, Ob-La-Da” was a contemporary release internationally, but it didn’t become a U.S. single until 1976. Fans apparently had come to agree with Lennon by then, since the song ended up stalling out at No. 49 on the Billboard charts.
Lennon’s Line: This is the original song to elicit Lennon’s “granny shit” put down. Worse, McCartney ran the group through so many different anger-inducing takes that a frustrated Geoff Emerick quit the day after “Ob-La-Di, Ob-La-Da” was completed.

From: The While Album (1968)
The History: Composed during the Beatles’ 1968 trip to India, and then recorded that July, “Cry Baby Cry” harkens back to age-old nursery rhymes like “Sing a Song of Sixpence.” They tacked on an ad-libbed snippet that McCartney recorded during a separate session for the White Album song “I Will,” as Ken Scott took over engineering duties for the now-departed Geoff Emerick.
On the Charts: Never released as a single.
Lennon’s Line: He apparently came to dislike “Cry Baby Cry” so much that he disowned it. When David Sheff asked him who wrote the song, Lennon said, “Not me. A piece of rubbish.”

From: The White Album (1968)
The History: McCartney follows the adventures of an old-west cuckold in a goofy aside which was written on the roof of a Rishikesh ashram and then recorded in August 1968.
On the Charts: Never issued as a single – to Lennon’s eternal relief.
Lennon’s Line: “I saw Bob Hope doing it once on the telly years ago; I just thanked God it wasn’t one of mine,” Lennon was quoted as saying in Blackbird: The Life and Times of Paul McCartney. David Sheff subsequently asked him who wrote “Rocky Raccoon.” “Couldn’t you guess?” Lennon fired back. “Would I go to all that trouble about Gideon’s Bible and all that stuff?”

From: The While Album (1968)
The History: The result of a September 1968 jam session at Abbey Road, “Birthday” eventually became the opening song for the second half of the Beatles’ self-titled 1968 double album. McCartney later gave Lennon credit for 50 percent of the song’s composition in Many Years From Now.
On the Charts: Never released as a single.
Lennon’s Line: “I think Paul wanted a song like ‘[Happy,] Happy Birthday Baby,’ the old ’50s hit,” he told Playboy. “It was a piece of garbage.”

From: Let It Be (1970)
The History: “Dig a Pony” dated back to their original January 1969 sessions at Twickenham Film Studios, though the version on Let It Be was recorded during their rooftop concert later that month. For some reason, Spector edited out Lennon’s opening line (“all I want is you”), which originally gave this song its title.
On the Charts: Never appeared as a single.
Lennon’s Line: “It was literally a nonsense song,” Lennon said in 1972. “You just take words and you stick them together, and you see if they have any meaning. Some of them do and some of them don’t.”

From: Let It Be (1970)
The History: Though it gave their final album its title, “Let It Be” was actually part of The White Album era. Original work on the track was done on the song in January and April 1969, with final overdubs in January 1970 by Spector.
On the Charts: A No. 1 smash in the U.S., “Let It Be” was released with two different guitar solos: Harrison used a rotating Leslie on the single, and played in a more straight-forward manner on the album version.
Lennon’s Line: “That’s Paul. What can you say?” he told Sheff. “Nothing to do with the Beatles. It could’ve been Wings. I don’t know what he’s thinking when he writes ‘Let It Be.'”

From: Abbey Road (1969)
The History: The second track in Abbey Road’s lengthy medley of song fragments, “Sun King” was recorded back-to-back in July 1969 with the succeeding song, “Mean Mr. Mustard.” The trembling guitar sound from Fleetwood Mac’s “Albatross” influenced Harrison’s intro; Lennon subsequently descends into gibberish that seems to combine elements of Spanish, Portuguese and Italian.
On the Charts: Never released as single, this song was originally called “Here Comes the Sun King,” but the title was shortened after George submitted the similar-sounding “Here Comes the Sun.”
Lennon’s Line: “That’s a piece of garbage I had around,” he said in 1980.

From: Abbey Road (1969)
The History: Through composed during their time with the Maharishi, “Mean Mr. Mustard” sat around through sessions for The White Album and Let It Be before finally finding a home during the July 1969 sessions on Abbey Road. The song was inspired by a news item on a penny-pincher who reportedly concealed money in his rectum. An original reference to sister “Shirley” became “Pam,” in order to link “Mean Mr. Mustard” with “Polythene Pam,” the next Lennon track in the medley.
On the Charts: Never released as a single.
Lennon’s Line: He told David Sheff that “Mean Mr. Mustard” as “a bit of crap that I wrote in India,” adding that it was a “piece of garbage. I’d read somewhere in the newspaper about this mean guy who hid five-pound notes, not up his nose but somewhere else.”



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A pair of John Lennon’s sunglasses have sold for £137,500.
John left the round-rimmed glasses in the back of Ringo’s Mercedes in the summer of 1968.
Former chauffeur Alan Herring, who sold them at auction at Sotheby’s in London, said he noticed at the time that they were damaged.
“I asked John if he’d like me to get them fixed for him. He told me not to worry they were just for the look,” he said.
Mr Herring said he never did get them fixed. They were sold to an unnamed bidder on Friday.
The sale included other Beatles’ memorabilia, including a necklace with cowbells worn by George Harrison, which sold for £10,000.
“For my family’s sake, it makes sense for me to say goodbye to my collection now while I can still tell all the stories behind everything,” he said.