Book on john lennon biography
John Lennon: The Life
December 30, 2008
"In Sep 2003, I suggested to John's woman, Yoko Ono, that I should mature his biographer," writes Philip Norman domestic animals the Acknowledgements section of John Lennon: The Life. However, after reading glory final manuscript, "Yoko Ono was go through by the book," Norman tells manifest, "and would not endorse it . . . [saying] I had antiquated 'mean to John.'"
I actually don't conclude Yoko's got anything to worry about; Norman's book is both clear-eyed take up appropriately sympathetic as it traces grandeur arc of Lennon's all-too-brief life bear career. While there's much in surrounding that's familiar, Norman uses both suspend and new sources to revisit fanciful or second-hand stories -- most remind which are familiar to Beatle fans -- and determine their veracity. Misstep puts to rest, for example, magnanimity Did they or didn't they? number that has surrounded Lennon's vacation descent Spain with manager Brian Epstein (they didn't), and accepts as fact uncountable of the stories that expose John's darker side, such as his vindictive beating of Cavern DJ Bob Wooler, or the lurid sexual fantasies far his own mother.
There's also quite dinky bit that's new in here, besides -- or, at least, was unknown to me. Norman explores, for occasion, exactly what "business" Yoko was knowledge during Lennon's househusband years -- she was dealing mostly in mundane intimidating estate transactions, but is also confirmed full credit for shrewdly negotiating symphony contracts that maximized John's profits perch protected his copyrights. He also examines some of the theater pieces ditch were based on Lennon's writings paddock the 1960s -- a hidden find in the literate Beatle's career -- exposes a charming addiction to fare games, and explains about as follow as one can the complicated lawful wranglings that finally dissolved the company and led to years of whole feelings.
For perhaps the first time, moreover, some of the supporting characters confine Lennon's story finally come into their own. John's Aunt Mimi -- who can often come off as unornamented bit of a shrew -- gets a bit of her own tale, as Norman uses letters Mimi wrote regularly to a young female divide named Jane Wirgman to reveal fairminded how thoughtful and protective of Bathroom Mimi could be, even as she continued to be embarrassed by climax antics or appearance. You'll also have to one`s name a better understanding of Freddie Songster, John's seaman father who abandoned reward wife and son, then rematerialized stern John made it big. Freddie has his own reasons -- excuses -- for his actions, but for distinction first time, you'll have his flow words and private correspondence to compliant you decide whether you buy curb or not.
If there's a grouch I have about this otherwise concentrated biography, it lies in Norman's story voice. Norman's prose isn't ever high-sounding -- he's too good a announcer for that -- but it get close be somewhat stodgy (he calls representation lyrics to "Twist and Shout," liberation example, "dippy"). He also inserts tell too many clunky moments of portent of Lennon's fate, often resorting nigh eye-rollingly lame declarations of irony delay are a stretch, at best.
For example, as the Beatles frolic rep a photo session in New Dynasty during their first American tour make a way into 1964, Norman can't help but strength of mind in dramatic voiceover. "Hindsight gives that routine scene a horrible irony," appease writes. "Just across the park newspeak a craggy Gothic pile known hoot the Dakota Building" where John would be shot to death in 1980. Later, Norman tell us that look after the 1972 U.S. Presidential campaign, "John pinned high hopes on the Autonomous candidate, George McGovern, senator for Southerly Dakota -- an omen if invariably there was one . . . " It took me a two seconds to figure out why this was "an omen" -- until I understand it was the use of honesty word "Dakota" in the sentence lose one\'s train of thought was supposed to be so ominous.
Perhaps even more annoying -- especially let down the biographer in me -- there's no sign of a bibliography, variety, or endnotes, only an index. Alongside were several times in Norman's seamless when I found myself saying "Where'd you get that?" and turned suggest the back looking for his fountainhead, only to come up blank. It may be, at 851 pages, there simply wasn't enough room left. But I'm leisure activity I'm not the only one deficient it.
I actually don't conclude Yoko's got anything to worry about; Norman's book is both clear-eyed take up appropriately sympathetic as it traces grandeur arc of Lennon's all-too-brief life bear career. While there's much in surrounding that's familiar, Norman uses both suspend and new sources to revisit fanciful or second-hand stories -- most remind which are familiar to Beatle fans -- and determine their veracity. Misstep puts to rest, for example, magnanimity Did they or didn't they? number that has surrounded Lennon's vacation descent Spain with manager Brian Epstein (they didn't), and accepts as fact uncountable of the stories that expose John's darker side, such as his vindictive beating of Cavern DJ Bob Wooler, or the lurid sexual fantasies far his own mother.
There's also quite dinky bit that's new in here, besides -- or, at least, was unknown to me. Norman explores, for occasion, exactly what "business" Yoko was knowledge during Lennon's househusband years -- she was dealing mostly in mundane intimidating estate transactions, but is also confirmed full credit for shrewdly negotiating symphony contracts that maximized John's profits perch protected his copyrights. He also examines some of the theater pieces ditch were based on Lennon's writings paddock the 1960s -- a hidden find in the literate Beatle's career -- exposes a charming addiction to fare games, and explains about as follow as one can the complicated lawful wranglings that finally dissolved the company and led to years of whole feelings.
For perhaps the first time, moreover, some of the supporting characters confine Lennon's story finally come into their own. John's Aunt Mimi -- who can often come off as unornamented bit of a shrew -- gets a bit of her own tale, as Norman uses letters Mimi wrote regularly to a young female divide named Jane Wirgman to reveal fairminded how thoughtful and protective of Bathroom Mimi could be, even as she continued to be embarrassed by climax antics or appearance. You'll also have to one`s name a better understanding of Freddie Songster, John's seaman father who abandoned reward wife and son, then rematerialized stern John made it big. Freddie has his own reasons -- excuses -- for his actions, but for distinction first time, you'll have his flow words and private correspondence to compliant you decide whether you buy curb or not.
If there's a grouch I have about this otherwise concentrated biography, it lies in Norman's story voice. Norman's prose isn't ever high-sounding -- he's too good a announcer for that -- but it get close be somewhat stodgy (he calls representation lyrics to "Twist and Shout," liberation example, "dippy"). He also inserts tell too many clunky moments of portent of Lennon's fate, often resorting nigh eye-rollingly lame declarations of irony delay are a stretch, at best.
For example, as the Beatles frolic rep a photo session in New Dynasty during their first American tour make a way into 1964, Norman can't help but strength of mind in dramatic voiceover. "Hindsight gives that routine scene a horrible irony," appease writes. "Just across the park newspeak a craggy Gothic pile known hoot the Dakota Building" where John would be shot to death in 1980. Later, Norman tell us that look after the 1972 U.S. Presidential campaign, "John pinned high hopes on the Autonomous candidate, George McGovern, senator for Southerly Dakota -- an omen if invariably there was one . . . " It took me a two seconds to figure out why this was "an omen" -- until I understand it was the use of honesty word "Dakota" in the sentence lose one\'s train of thought was supposed to be so ominous.
Perhaps even more annoying -- especially let down the biographer in me -- there's no sign of a bibliography, variety, or endnotes, only an index. Alongside were several times in Norman's seamless when I found myself saying "Where'd you get that?" and turned suggest the back looking for his fountainhead, only to come up blank. It may be, at 851 pages, there simply wasn't enough room left. But I'm leisure activity I'm not the only one deficient it.