Showing posts with label Astrid Kirchherr. Show all posts
Showing posts with label Astrid Kirchherr. Show all posts

Thursday, September 5, 2024

Meet His Father








”Mum said to me on the way to see the film that tonight I was going to meet my dad. I was blown away by it.”
Julian, 1994

 Cynthia and Julian at the Backbeat premiere in March of 1994, London. Astrid Kirchherr and Pattie Boyd also attended. The film starred Stephen Dorff, Ian Hart, and Sheryl Lee as Stuart Sutcliffe, John Lennon, and Astrid. Jennifer Ehle appeared in the film as Cynthia. Cynthia brought along Julian so he could "meet" his father. I'll dive more deeper in Backbeat in the near future, but for now enjoy these pictures from the premiere.

Wednesday, January 4, 2023

Time With U2

Vienna Steps
During a concert on August 30, 2010
Photographed by Julian Lennon

Julian and the band, U2 (members: Bono, The Edge, Adam Clayton, and Larry Mullen, Jr.) met in 1997.

"To be honest, I couldn’t tell you the first time … it could have been at the Formosa Cafe in L.A. about 30 years ago. We kept bumping into each other until eventually they asked me if I’d like to come to one of their shows, and I think the first time I went was because we had a security guard in common, Jerry Mele, who used to work for me, but was now working for them. I recall Oasis were their opening act, it was in the U.S. many, many moons ago … but I have a terrible memory, so can’t be sure."
Julian, 2018

Julian sang background vocals for Red Flag Day from their album Songs of Experience, released in 2017.

"I went to visit U2 whilst they were working on the track, whilst they were still playing with the vocal arrangements, and B just said, 'Jules, try this melody, it’s more suited to your tonal range,' and that was it, I just sang along. Sometimes with Bono and Edge, sometimes solo, and my voice was blended into their background vocal tracks. I can’t really hear myself in there, but hey … happy to be part of it, regardless."
Julian, 2018

"Well, I’d hardly say I was working with them, as such, it was more like a little bit of fun for 5 minutes … The Boys are pretty low key when recording, and don’t often like having people around, so it’s always a pleasure to get the odd invite, if we’re in the same city, to hang out, talk about the World, and music, etc. etc."
Julian, 2018

"I play them the odd song, here and there, listen to what they have to say … I think we’re both quite particular in our approach to songwriting, but never say never … who knows?"
Julian, 2018

Paperback Writer (The Edge)
Photographed by Julian Lennon

Disheartened (Bono)
Photographed by Julian Lennon

Pensive (Larry Mullen)
Photographed by Julian Lennon

Balance (Adam Clayton)
Photographed by Julian Lennon

“The Edge came to me and said ‘Please take some pictures.' To a degree, it’s a side of the boys that hasn’t been seen before … I just didn’t want to get in the way. The moment I thought there was any heavy air, I would clear out.”
Julian, 2010

Fretless (Adam Clayton)
Photographed by Julian Lennon

Hands Of Time (Larry Mullen)
Photographed by Julian Lennon

Moment Of Peace (Adam Clayton)
Photographed by Julian Lennon

Strummer (Bono)
Photographed by Julian Lennon

Vignette (Bono)
Photographed by Julian Lennon

Someone To Look Up To (Bono)
Photographed by Julian Lennon

“Initially, I called it a Lennon sandwich. Now I call it Someone To Look Up To. Bono was there, and I look up to him, and he looks up to dad.”
Julian, 2010

"U2 were recording some demos at my house in France in 2010 and allowed me to take some photographs of them. It was a hot, close summer: one of those ones where you just cannot breathe. I knew it was a great opportunity, but I didn't want to be in their faces too much – as a recording artist myself, I know how annoying it can be when someone is sitting in the corner clicking away with their camera when you're trying to work. So I just popped in for 20 minutes now and again and took a few shots. One afternoon, everybody except Bono had cleared out of the studio. I was lazing about on the floor and, as I looked up, I saw Bono with the photograph of Dad in the background. I thought: 'That's what I've been looking for.' And so I took the shot. This is one of the pictures that changed my way of thinking as a photographer. It's a piece of history in many respects. I call it Someone to Look Up To. It's a truly appropriate title as far as I'm concerned: Bono is a huge John Lennon fan, and I'm a huge fan of both of them, of course. The picture of Dad was taken by Astrid Kirchherr in Hamburg, when he was about 17 years old. He has a pensive look – he's not giving too much away, but the mind is ticking. And I think the same goes for the emotion on Bono's face: it's almost identical, like a later version of Dad in many respects. Bono has become one of the best in the world at what he does; I'm happy I was able to capture him in such a reflective mood. Photography and music are working in parallel for me right now. I love the music, but regardless of how I am interviewed by most people, it always comes back to Dad and the Beatles, which is understandable but a little frustrating. The only recollection I have of Dad taking any photos was when he would muck around with the Polaroids, more for fun than anything else. I guess that inspired me, but I only got serious when I met and worked with Timothy White. What excites me about photography is that you never know what kind of project is going to come knocking. It's always challenging and it's always different, whether it's U2 or Princess Charlene of Monaco 10 minutes before her wedding. Photography is the thing that makes me happiest, no question about it."
Julian, 2013

Wake Up And Dream (The Edge)
Photographed by Julian Lennon

"I was staying at a house, and the U2 boys were looking for a place to write and possibly record, and I was leaving for NYC for my first ever photography exhibition, at the Morrison Hotel Gallery, formerly CBGB’s. So, I suggested they use the house, as it had some great sounding rooms. They did! But after we agreed, I found out my exhibition was delayed… So, I moved in with a friend next door, until I could leave for the exhibition. In the meantime, I’d popped over to see The Boys and Edge (knowing I was an up and coming photographer) said, 'I know you’d like to take a few pics, let me talk to the others and I’ll let you know'. The next day, Edge said, 'It’s all good…' I was overjoyed, but very nervous, as I didn’t want to get in their way, and didn’t know them so well at that point. So, I went over, camera in hand, but they also had in-house photographers there, shooting video too, so it was a fairly busy landscape. Trying to not distract, I only popped in on a few occasions, as I didn’t want to disturb them. But the first time I went over and snapped away, I came back and looked at the images on my laptop, and thought they looked terrible, not the band, the pictures. Like quick holiday snaps. But I was fortunate enough to be chatting to Bono one early evening, and it was very chilled and relaxed, and I was literally just laying on the floor, looking up at Bono, who was sitting on a chair, staring out of the window, but low and behold, there was a picture of Dad, up high on the wall behind him… And so, just took a snap, then and there, and thought, 'That’s it!' What transformed me right then and there, was that I was shooting most earlier pictures “head on”…and what inspired me about this particular shot was the angle. Without that particular angle that I was at, laying on the floor, looking up at a hero of mine, who was sitting underneath a picture of one of his heroes… Well, it just wouldn’t have happened, and that made me realize, that we should all look at things from time to time from a different perspective, as that may just give us a better understanding of the situation around us, or the situation we’re in. It was because of that particular photo that my understanding of photography and communication through imagery changed forever, and I’ve never looked back since. It continues to remain one of my favorite images, alongside Wake up and Dream which is of Edge walking by a whiteboard, with that exact title, but he’s walking away, so you cannot see his face, but you know it’s him. And because of that time with them, and with their agreement that I was able to use these images at my first ever exhibition, between some Rock ’n’ Roll images and the fine art photography of clouds and landscapes that I had originally intended for the exhibition."
Julian, 2021

"Then I went to look at them. And I went, 'Shit. They look like fucking holiday photos."
Julian, 2012

Sky's The Limit (The Edge)
Photographed by Julian Lennon

Smoke and Mirrors (Bono)
Photographed by Julian Lennon

Stage Struck (Bono)
Photographed by Julian Lennon

Strut (Bono)
Photographed by Julian Lennon

Respire (Bono)
Photographed by Julian Lennon

Julian saw U2 in concert at Ernst Happel Stadium in Vienna on August 30, 2010 

“They’re mates, so if they’re on the road and I’m in the neighborhood, I’m there.”
Julian, 2010

Sunday, February 23, 2020

From Liverpool to London

13 Emperor's Gate
Flat 3
Kensington, London
Cynthia and John outside their apartment home for the last time while moving into their new Surrey home in the Summer of 1964

"It was beautiful. We moved from Liverpool, actually Hoylake where I was staying with Mum. John had just started touring, we moved to a maisonette near Cromwell Road and I had Julian. There wasn't a lift and we had to go up and down stairs. Eventually there were always crowds of people outside when we went out so we both agreed we ought to do the proper thing and go and buy a mansion in Weybridge. That was in 1964 and the mansion cost £19,000." 
Cynthia, 1988

John was starting to be in London more often in 1963. It was getting very clear that they would have to move down South. Paul McCartney moved into his girlfriend Jane Asher's family home; her mother Margaret took pity of him living the hotel life and he had his own room… Unlike Cynthia's denials that she and John didn't do anything while living with his Aunt Mimi during their dating years, Paul and Jane certainly took the chance of hanky panky! Her brother Peter recently said he realized that Paul and Jane were together by the 'shaking of the walls'. George Harrison and Ringo Starr got an apartment together, as did Brian Epstein. I recall hearing that John bunked with George and Ringo until he found out from Robert Freeman (a photographer) that there was a vacant furnished apartment (Cynthia described it as a mansionette- probably like a condo) above his own apartment. John took it, and by November of 1963, Cynthia and Julian moved to London to join John. It was very exciting for Cynthia and John. It was really the first time they had something that was theirs- prior to that, they lived in Brian's apartment, Mimi's home, Lillian's home, but not their own. Cynthia got to decorate their home, shopping in major department stores, and explored London like a tourist. Cynthia has been in London before as a teenager but this time around, she really got around. The Lennons used a pseudonym Hadley on the mailbox to fool fans (needless to say it didn't work).
It wasn't long until they found a flaw of their home. For starters, there was no elevator. They had to take six flights of stairs. Imagine that with a stroller, a baby, shopping bags, the lot. Soon, fans discovered where John lived and started to camp out. He would arrive home all battered and bruised from getting mobbed. Fans would also stick their gum in the lock to prevent them from entering home. Fans also managed to go cross the street to another building that can see into their home; the curtains became permanently closed. Life got tough. John and Cynthia decided to look for a home further away in the Country where they can have privacy. Enter Weybridge.
But hold your horses! Despite the glaring flaws of the apartment, so much happened during their stay: The Beatles Christmas Show, First United States visit, A Hard Day's Night, Julian's first birthday, and In His Own Write happened in that apartment. 


"When Brian, who always did the right thing, learned from somewhere about the conditions Cynthia had been living in, he was very worked. 'I don't think John sees how it looks,' he said. 'If the papers find out that he is married with a baby son and then they find out that his wife and son are living in a slum in Liverpool while John is in a luxury flat in London, it could cause a great scandal. She'll have to come to London and I'll find them something nice.' John wasn't all that happy with his bachelor freedom being curtailed. He pointed out that recently Cynthia and her mum had moved back to the family home in Hoylake, a nice middle-class district where Cynthia had been brought up, but Brian was insistent she'd been practically hung out to dry. The boys were his family and by extension so were Cynthia and John's son. Before he could do anything, the cat was out of the bag. One morning Brian opened his daily newspaper and saw photographs of "Beatles' wife" Cynthia pushing a baby to the shops in a big Silver Cross pram. Instantly, Brian arranged a delayed honeymoon in Paris for John and Cynthia and on their return, flew them to London for official photographs that would present this happy and ideal family group to the world. As he snapped away, the Beatles' photographer, Bob Freeman, mentioned that a top-floor flat was available about his own flat not far from Brian's block at Emperor's Gate in Knightsbridge. John had so little interest in where they lived that he took the flat sight unseen in November 1963, while Cynthia returned home to pack up and fetch Julian. Very quickly she discovered that having a baby and a large pram on the fourth floor of a building with no lift was a mistake, that living in the heart of London with fans camping on her doorstep was a bigger mistake, but she stuck it out for nine exhausting months. During the months they lived in London she and John did go out around town, but Cynthia always felt out of her depth."
Tony Bramwell

"The Beatles were now so successful it was obvious that we all needed to be based in the South, within easy reach of the studios and record offices of the capital. But our first attempt at a London home hadn't worked out. Bob Freeman, a photographer friend of John's, had mentioned that the maisonette above his own in Emperor's Gate, London, had become vacant. It was a good location, very comfortable and extremely reasonably priced at only £15 a week. Looking back, it seems ridiculous now that we were concerned about the rent but we still didn't realise how much the Beatles were worth or how long their popularity would last. We'd been brought up to be careful with money, to economise, and it hadn't yet occurred to us to change our ways. Anyway, we went to see the maisonette and we liked it. There was a kitchen, sitting-room and two bedrooms, all bright and clean and, best of all, Bob and his wife Sunny and their children lived downstairs, so I wouldn't be completely alone when John was away. We barely even noticed that there were six flights of stairs up from the front door - a killing when you're struggling with a baby, a pushchair and a couple of bags of shopping. We never gave it a thought. Impulsive and enthusiastic as ever, we took the maisonette and moved to London.It was a relief to get away from the fans to our new home in Weybridge.  Here we are having fun with some props for the first professional pictures taken after the move. Julian looks suitably serious! At first it was fine. I enjoyed myself furnishing our new home in simple Sixties style from Derry and Toms - always conscious that I mustn't be extravagant because the bubble could burst at any time. But it didn't matter. We'd never had a whole place to furnish before so it was fun. We settled in happily and John pursued his ever more hectic career. But it wasn't long before the problems started. The stairs became a chore but, far worse than that, the fans discovered our address. It had reached the stage where John couldn't walk down the street without being stopped or chased and now he wasn't even safe at home. By hook or by crook the fans got into the building. They'd wait outside all day until somebody opened the front door, then they'd rush in. They'd sleep on the stairs, and whenever I went shopping I had to step over bodies and push through 15 to 20 young girls to get out. Sometimes they were very sweet and would offer to help with the baby but somehow that didn't make it any better. Then they took to pushing chewing-gum in the keyhole so that John couldn't get in and as he fumbled with the lock they'd grab his scarf and pester for autographs. Often late at night, when I was alone, weirdos would come knocking on our internal front door and I'd lay there in the dark, heart racing, wondering if this time, they' might get into the flat. It was getting ridiculous. The last straw came when one night the air terminal nearby caught fire. It was absolutely terrifying. Police cars and fire-engines were racing past our door, flames were licking into the sky and the whole building, only 300 yards away, became a blazing torch. John, as usual, was away. I grabbed Julian from his bed and stood at the window, clutching him tight, staring out at the orange night. Any minute those roaring flames might change direction and we'd have to run. Fortunately, after a long struggle, the firemen got the blaze under control and we didn't have to be evacuated, but I think that finished it for me. "Enough's enough," I told John when he came home, and he agreed. he was getting fed up with the constant battle to get inside his own front door. What we needed, he said, was somewhere quiet, where the fans couldn't intrude. As it happened, at this point George had built a house in Esher, Surrey. It was a lovely leafy, peaceful area."
Cynthia, 1994

"John, Cynthia, and Julian moved into a furnished apartment above me that had just become available, a temporary measure before looking for a home. And in fact the following year they moved to a large house on a country estate in Weybridge, an hour's drive from London. Emperor's Gate was a quiet residential cul-de-sac. Since Beatlemania was in full swing, Cynthia thought that a low profile area would spare them the attention of the fans. But it wasn't long before fans found out where they were living, despite the code name Hadley on the doorbell, and Cynthia's attempts at disguise with a black wig and dark glasses. It only needed The Beatles' limousine to draw up a couple of times, with the furtive figure of Lennon scurrying from doorway to car, to arouse suspicions. A small and devoted group of fans began to wait outside, writing messages on the door and the columns, hoping to see John come out, but happy to talk to Cynthia or admire baby Julian. Having to run this gauntlet each time Cynthia went out on an errand began to get on her nerves and the Lennons' decision to move to Weybridge was prompted by a need for privacy. It was a difficult time for John and Cynthia. Caught in the whirlwind of Fame, with attention from all kinds of people, they were beseiged by phone calls inside and the screams of the fans outside. The phone was mostly left off the hook and only necessary did they leave the house. Not that John wanted to leave that much anyway once he got home… With the temptations of sudden success, the big-city life, and the constant attention of the fans, being a married Beatle was not easy for John. In the early days, his marriage had been kept secret to enhance his appeal of the fans. This put pressure on both him and Cynthia. Coming home at the end of a long day, he'd slump wearily onto the sofa and let his mind go blank watching television or listening to his albums. Since the apartment was rented, it was sparsely decorated. Cynthia's mother was usually around, looking after Julian whose toys were scattered about the living room floor, many of them gifts from fans. Needing space to develop his ideas and write music, John felt hemmed in by this domestic situation. He played with Julian, but was not the kind of father to indulge a young child's needs."
Bob Freeman, Photographer
Beth Shotton, Cynthia, Nigel Whalley, Lillian Powell, John, and Pete Shotton during the Christmas holidays, December of 1963
Photographed by Pat Whalley

During the Christmas holidays in December of 1963, John invited Pete and Beth Shotton to stay over for a week while he was rehearsing and performing for The Beatles Christmas Show. During that week, they met up with childhood friends, Nigel and Pat Whalley. Cynthia and Pat knew each other for a long time before.

"'Why don't you come down with us, Pete?' John said impulsively. 'You can stay with me and Cyn through Chrimble, and catch all our shows at Finsbury Park.' The day after Christmas, Beth and I arrived, as promised, in London. Upon climbing the six flights of stairs to John's new Kensington flat, we were greeted by Cynthia Lennon, her mum, and baby Julian- whom I had never before seen. John, however, had already joined the other Beatles at Finsbury Park's Astoria Theater. 'He's been ringing up every ten minutes to see if you've arrived,' said Cyn. A moment later, the phone rang; sure enough, it was John. 'Pete! Terrific you made it!' he burbled. 'Did you meet Julian? Isn't he lovely?' 'He is beautiful, John, but it's strange to hear you say it!' Prior to Julian's arrival, John had never (to put it mildly) been exactly enamored of babies. After we exchanged a few more pleasantries, John insisted that I rush over to thet theaterw delay, lest I miss the Beatles' performance. Leaving Beth with Cyn- and at the tender mercies of Mrs. Powell- I sprinted back down the stairs to grab a taxi. After we got back to his flat, however, John fully recovered his high spirits. Nige had driven over in the company of his wife, Pat, who was sporting the most extraordinary beehive hairdo I'd ever seen. Nige's presence proved a great stimulus for both John and me, and we spent the rest of the night drinking, smoking, catching up on everybody's news, and mugging for Nige's camera. By the next evening, John's ankle [injured while jumping on Nigel's car] had so improved that we decided- after effecting our escape from the Finsbury Park Beatlemaniacs- to take our wives on the rounds of London's most fashionable watering holes. So thoroughly did we enjoy ourselves that, when the last after- hours club had shut down for the night, we still didn't want to go home. That magical week passed all too quickly. Each evening Beth and I attended the Beatles' performance, then looned about with John and Cyn until the wee hours. We generally went off sight-seeing during the afternoons, as our host's professional activities kept him extremely busy."
Pete Shotton, 1983

Cynthia reading and John playing his acoustic guitar in their Emperor's Gate apartment, 1964
Photographed by Astrid Kirchherr

While filming A Hard Day's Night, John invited Astrid over to his apartment but not her business companion, Max Scheler. 

"I was very friendly with Cynthia, John’s first wife, and used to visit them at their flat in London, where this picture was taken in 1964, during the filming of A Hard Day’s Night. John was always fiddling around on his guitar and drinking tea. John and my mother loved each other. None of the band liked German food, so when we were in Hamburg my mummy would cook them steak and mashed potatoes. John would rush into her kitchen and give her a big hug."
Astrid Kirchherr, 2013

"Max and I also visited The Beatles' homes. John wouldn't have Max come over to his place- it was not for the press- but he invited me over. He and Cynthia were in a flat that had been rented for them by Brian. They had moved into it furnished, which explains those horrible curtains in my photo! I remember they were keen to move out and get their own place, as soon as they had the time."
Astrid Kirchnerr, 2007

Saturday, April 13, 2019

A Hard Day's Night

Cynthia on the streets of London, Spring of 1964
Photographed by Astrid Kirchherr

The first film John was in. It started to film in the beginning of March and ended until the end of April. John played himself, but his movie character appeared to be not married as he flirted with a showgirl dancer. To be fair, Paul too was “seeing” a showgirl dancer, not Jane Asher. Not very much other than John was home in London so he was able to come home to Cynthia every night. Cynthia did visit him on the set, according to Victor Spinetti at one of the Beatles conventions Q&A.



“During our relatively short stay in Emperor's Gate so many marvelous things took place, the first being A Hard Day's Night, the Beatles' first film… John went through hell making that film, he had to be at the studios at a very early hour and John hated getting up early. He would be chauffeur-driven to the studio with the rest of the boys and return home at about seven at night exhausted, only to find the place in a stage of siege.”
Cynthia, from her 1978 book A Twist of Lennon

“Back in London we barely had time to draw breath before the boys started making their first film, A Hard Day's Night… John was excited about making a film: it was another creative medium to explore and he was fascinated by the whole process. But he hated having to get up at dawn to be driven to the studio. He wasn't home again until seven in the evening, by which time he was exhausted. The whole film was shot in the space of a few weeks. It went on to become the most successful pop spin-off film ever.”
Cynthia, from her 2005 book John

George Harrison and Pattie Boyd on the set of A Hard Day's Night, 1964


I suppose I could point out that George Harrison met and fell in love with Pattie Boyd. Pattie was a model that got casted as a school girl on the train by Richard Lester with other models as school girls after being in his commercial. George asked her out but got turned down! Pattie had a boyfriend; about two weeks later, the relationship was over. Pattie was then called back to the set. George casually asked how the boyfriend was and Pattie told him it was finished… George wasn't definitely sad about it and asked her out again and this time he got lucky! I don't know when exactly Pattie and Cynthia met, but it wasn't long. When Pattie first met John, she was a little scared of him and didn't ask for her autograph as she did with the other three (George gave her seven kisses X's under his name).

Astrid, Maureen, and Pattie at Scala Theatre watching the filming of A Hard Day's Night, 1964


Okay, getting sidetracked here. Let's reel it in and go back to A Hard Day's Night: Pattie wasn't the only thing that was happening! Maureen Cox came from Liverpool to visit Ringo Starr on the set, as did Astrid Kirchherr from Hamburg. Astrid came down with Max Scheler for a project, not only visiting the set but going their homes. But, John didn't want Max to his home- he barely knew that guy! So, Astrid came. I believe it was her first time meeting Julian, who was turning one year old.


"I was very friendly with Cynthia, John's first wife, and used to visit them at their flat in London..."
Astrid Kirchherr

John and George sword fighting in Ireland while Cynthia and Pattie were in hiding from the press


Over Easter weekend (March 27-30th), John, Cynthia, George, and Pattie decided to take a quick vacation to Ireland. This would be George and Pattie's first official vacation and their relationship was still very new. Worrywart Brian Epstein was trying to downplay the romance but it was starting to be impossible. They stayed at Dromoland Castle but the press found out and mobbed the place. John and George confirmed they were there to take a break, even hammed up to the press by putting on a sword fight and a game of croquet. But it got too much. The press was very much interested in the new girl that George was seeing. More about this later but needless to say, the vacation was cut short.

Julian, around his first birthday
John's handwritten lyrics of A Hard Day's Night in back of Julian's birthday card (from who? I wonder)


And yes, as just mentioned, Julian turned one year old! John was home for the big milestone! I don't know if there was a birthday party or anything… During that day, filming was halted when fans managed to break into Twickenham Studios. Other than that, nothing else in a lot of Beatles’ chronology books… I am hoping that John spent most of the day with Julian and Cynthia. The film needed a lead song, so Richard Lester asked John and Paul to write one. John must have had a flash of idea that he grabbed whatever was nearby and writable: the back of Julian's birthday card. He wrote A Hard Day's Night on it. It became the title of the movie. Personally, I do believe the lyrics do have Cynthia as a muse (more on that momentarily). During the filming, The Beatles also recorded the soundtrack album, A Hard Day's Night.

John and Cynthia at the Dorchester Hotel for his In His Own Write luncheon


Another big moment for John in April was his first book release, In His Own Write. On April 23, 1964, John was the guest of honor for the Foyle's Literary Guild luncheon at Dorchester Hotel; he missed the day of filming of A Hard Day's Night with The Beatles with the running/playing around in the courtyard during Can't Buy Me Love sequence. John and Cynthia were suffering hangovers from partying the night before after going to dinner with friends and went to the Ad Lib club with only four hours of sleep. John and Cynthia ended up sitting apart with John being the center of attention while Cynthia enjoyed the company of Earl of Arran Arthur Gore and Marty Wilde. I'll get more into In His Own Write in its own individual post as I want this to be about A Hard Day's Night.
John and Cynthia at the premiere of A Hard Day's Night


A Hard Day's Night premiered at London Pavilion on July 6, 1964, followed by a party at the Dorchester Hotel. Before the event, an excited Cynthia combed through just about every dress shop to find the right evening gown for the event. She found it, but unfortunately it needed to be fitted and would be ready on the day of the premiere; Lillian went to pick up the dress. Cynthia went with John, Paul, George, and Ringo, walking on the red carpet with her husband's arm around her; she felt like a Princess. She also met a real Princess, Princess Margaret (sister of Queen Elizabeth II) introduced by John… I don't think the Princess was all that interested other than talking to the Beatles, Richard Lester, and producer Walter Shenson but Cynthia was still rather starstruck of meeting royalty.
The only thing that bothers me is that Cynthia always described the wrong dress for A Hard Day’s Night premiere… she always confused it with the Help! premiere outfit. It feels like no one ever bothered to correct her when it was obvious.


A Hard Day's Night 1964
It's been a hard day's night, and I've been working like a dog
It's been a hard day's night, I should be sleeping like a log
But when I get home to you I'll find the things that you do
Will make me feel alright
You know I work all day to get you money to buy you things
And it's worth it just to hear you say you're going to give me everything
So why on earth should I moan, 'cause when I get you alone
You know I feel ok
When I'm home everything seems to be right
When I'm home feeling you holding me tight, tight, yeah
It's been a hard day's night, and I've been working like a dog
It's been a hard day's night, I should be sleeping like a log
But when I get home to you I'll find the things that you do
Will make me feel alright
So why on earth should I moan, 'cause when I get you alone
You know I feel ok
When I'm home everything seems to be right
When I'm home feeling you holding me tight, tight, yeah
Oh, it's been a hard day's night, and I've been working like a dog
It's been a hard day's night, I should be sleeping like a log
But when I get home to you I'll find the things that you do
Will make me feel alright
You know I feel alright
You know I feel alright


Why do I think why Cynthia is part of being a muse of the song? Well… who else would be in John's home? Who else would he get her money to buy things? Who else would be holding him? … or I am wrong and it's really about Sonnie Freeman, their downstairs neighbor John was cheating with? My money is on Cynthia. I don't think Sonnie ever spent a penny of John's money.