John and George visiting Stuart Sutcliffes room. Photographed by Astrid Kirchherr.
“After Stuart’s death, John and George really cared about me. They used to come and see me in my home. It was actually John’s suggestion. John said, ‘Can I see where he used to paint?’ So I said, ‘Of course, you can.’
“In that moment, I had to take a picture of them. I just grabbed this old chair and put it there. And John was so full of emotion, being in the same room where his friend was just painting, that he nearly burst out in tears. And George was all a bit worried. So I just said to George, ‘Well, stand behind him.’ You could see how quickly George understood what it was all about, death and being alive.
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"I had [John] down as a coffee-boy layabout, as I used to call him, and thought he was rather arrogant. But when I got to know him – it's quite tragic really. I had an unhappy childhood, too, so there was a bit of an understanding there, although we never talked about it. I remember Stuart Sutcliffe saying that he once saw John at the top of the stairs at art school, crying on his own. That, to me, was the real John, but on stage, of course, he was arrogant."
Allan Williams, (link to article)
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Years later, after John composed the first of his truly poignant and heartfelt Beatles songs, "In My Life"—with its lines about "friends I still can recall/some are dead and some are living"—he revealed to me that the two people he had had uppermost in mind were myself and Stuart Sutcliffe. And then he stunned me with a statement that I'd never heard him address to anyone—least of all to another man.
"You know, Pete," he said softly, "I do love you. But," he quickly added, "I loved Stuart as well."
Pete Shotton, Nicholas Schaffner, John Lennon: In My Life
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Rare photos
May 23, 1957. The Liverpool band Eric Clayton's Skiffle Band performs. This is the first shot of Ringo playing the drums (far left).
The photo on July 6, 1957 (the day John met Paul), where Lennon sings standing on an open truck, has become a textbook and is found in many books and websites. And this picture, taken a little later in the day, is not well known to many people.
The bassist and an important member of the early line-up of the band was Stuart Sutcliffe, who unfortunately passed away early. In all his short life, only one color shot of him was taken, this one, where he is captured with singer Tony Sheridan. Stewart is on the right.
Most likely, you don't know who it is. Meanwhile, this man turned the history of world music around. This is Kurt Raymond Jones, the same customer who came into the store and asked for the Beatles record My Bonnie, which is why Brian Epstein first heard about the band, began looking for them and eventually turned into a manager. For a long time it was believed that there was no Raymond Jones. Like, it's just a character invented for the convenience of telling a story. However, here he is!
The only shot where you can see drummer Pete Best, who will later be fired, and Ringo Starr, who will take his place, together.
The Beatles are on the verge of fame performing in Liverpool. As you can see, they have someone else's drum kit, left on stage after the previous band.
Have you ever seen John's mother-in-law? Here she is, the mother of his first wife, Cynthia, next to him.
The only picture where Brian Epstein holds a musical instrument in his hands and seems to extract sounds from it.
This is a giant shoe from the movie "Help!", which was needed to shoot a scene where the Floor shrank in size. As the photo shows, this piece of props later became a decoration in the garden near Lennon's house.
The Beatles in a hippie look ride in an ordinary subway car, and no one recognizes them? How can this be? This is 1967, the picture was taken in Greece, where a harsh political regime reigned at that time and the group was not so well known.
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So whats like the general consensus about Stu and John? Do we think they ever messed around or not?
Ooooh, I won't burn and scar my typing fingers on anything like "general consensus," and my cop-out answer is: depends on who you ask. I mean, if you're living in a world where 'a man being with a woman' = straight, or 'a man who never came out unequivocally as queer' = straight, then John and Stu very much never messed around, and, more importantly, didn't feel the desire to.
But I think if you look at it with an open mind, without being afraid of the possibility, you'll see it's more likely they did than that they didn't.
First, you have John, with his life-long romantic idea of being in love with your creative partner (see: his comments on Yoko and Paul)—an idea that fits Stu seamlessly, and perhaps even started with him. In the Hunter Davies bio, John (in '67) calls Stu Paul's predecessor in the 'my trusted partner in art' role.
There is also this conversation with Stu's girlfriend, Astrid Kircherr, as related by Backbeat director Iain Softley:
Paying tribute to Astrid this week, film director Iain Softley revealed her moving words from his interviews with her when he made 1994 movie Backbeat about her and Stuart’s romance.
They hint at a complex relationship between her, Stuart and John. She said it was only after Stuart died that she and John “took a load of pills” and talked for 12 hours about “all the things on our minds about Stuart”. “‘He was jealous when Klaus and I fancied Stuart more, and took him home and left John out,” she told Iain.
“He told me he really loved Stuart, but was afraid of the feeling.”
Iain adds: “I think she thought he meant as a friend, I don’t think there was any suggestion they were in a relationship. But Stuart had always been John’s best friend, they shared a flat in Liverpool. John would write to Stuart as ‘Jesus Christ to John the Baptist’, in the sense Stuart was showing him the way. He looked up to him.
“There was a sense John didn’t want Stuart taken away from him, he didn’t want Stuart to stay in Hamburg.
“At the same time he was very fond of Astrid, but I think there was a conflict there.”
If John was afraid of the feeling, then I'm thinking he felt something that, at the time, and probably still today, was a scary thing to feel. I'll leave it at that.
Also, they were, what? 18, 19, 20 years old? At that age, odds are you do fool around, even if you regret it afterwards. Nothing wrong with that.
Look at this picture of Stu (r.) with Astrid and Astrid's ex, Klaus Voormann. Klaus, who later said he and Astrid didn't work as a couple because she wanted him to be exactly like her image of him, and whose marriage (to a woman) was a platonic marriage of convenience, according to himself. We have now reached the beautiful stage of come onnn! "Straight" was at the party, but so were many others. These relationships were messy! That's awesome!
And how do we feel about John feeling up Gene Vincent, while Paul and George look on knowingly, and Pete Best blanks out? We feel joyous and unsurprised.
A word about Paul vs. Stu, since we're (sort of) at it.
It's possible (what an understatement) to think of their rivalry as sexual rivalry. This is, once more, hinted at in Backbeat, where Stu is more or less giving away John to Paul.
And yet. I think it was more than that. I think everyone, back then, was fighting for more than a bed-partner. They were fighting for their future, for a life unlike their parents'. Paul was fighting for the band, Stu was fighting for John to join him on his artist's way (even giving 'rock'n'roll' a try), and John..
John was, on the one hand, the person either of the others felt he needed in order to realize his dream. But on the other hand, he was the least decided of the three. He may have perceived that, within the trio, he had the fewest fall-back options: Stu had his obvious, much-mentored artistic talent. Paul had a possible academic future bwxt to his musical talent, plus a clear determination to make it in music. John had talent in spades, but perhaps less of a clear-cut idea of where and how to apply it. So he tried keeping both of them close...?
With fun scenes like these as a result:
John sure is feeling campy/cuddly, while Paul is incandescent with rage. A hot look for both of them.
In the end, we don't know if they ever did fool around. My usual reply in those cases is: I hope they did, if they both wanted it. I hope it was good.
I need to check out this book:
John and Paul look happy.
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