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Getting To 'The Riff Stage'
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Curtis Eagal
Apr 24, 2022, 11:52:40 PM4/24/22
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The "Get Back" documentary focusing on the January 1969 sessions culminating in The Beatles' unannounced rooftop concert brought out a lot of issues that were not evident in the earlier "Let It Be" film. The creativity seems like chaotic playtime, with personalities clashing during decision-making in the process, and some reluctant admission that ego was intruding. While Ringo Starr reassures too much shouldn't be read into their being 'grumpy,' there is an exchange about (group) Divorce being brought up at a recent meeting as 'getting close' or impending - John Lennon wonders what would become of "The Children," apparently facetiously referring to their songs, to which Paul McCartney shrugs, offering the name of their music publisher, Dick James.
The band started the New Year with ambitious plans that involved avoiding extreme production with extensive overdubs for a live performance mode, eventually assisted by Billy Preston recruited for keyboard; some audio-visual presentation would be simultaneously done, televised or as a theatrical film. The director feels they need a contrived visual spectacle beyond the band itself, and the impressive Roman ruin of the Sabratha amphitheater in northern Africa is proposed, an idea that develops into cruising there with an English-speaking audience - George Harrison considered that lunacy, perhaps thinking about more than the expenses.
George Martin discusses how even though John and Paul no longer collaborate closely they remain a songwriting team, while George comprised his own team of one. Harrison would say Lennon often forgot work that had been done on his own songs, so he had to recall for him, which made him feel involved; conversely, McCartney would always offer great help, but George complained there would be '59 songs' of Paul's to get through before one of his tunes was even given a listen. Relinquishing the songwriting task to Lennon-McCartney in the early days was difficult to overcome once Harrison started seriously trying, getting the tip from Lennon that ideally an original composition should be completed all at once.
The lunchtime departure of Harrison, from the project and the group, arrives suddenly with no explosive outburst.
George leaves suggesting they replace him, obviously feeling devalued, and marginal to the collective effort; initial attempts to have him return fail. Candid audio between John and Paul reveals they never thought of The Beatles as 'the four people,' and they were trying to resolve the stylistic-aesthetic decision concerns at the heart of George's grievances.
There was a renegade objective, with McCartney suggesting musically storming Parliament, a step too far: anticipating some sort of beating, he was reminded of their unsavory experiences in Manila - and Memphis. The filmmakers wanting a stunning exotic locale clashed with group members' desire to stay home, honoring those closest to them. Ultimately the decision to do the rooftop concert was a deliberate attempt to be charged with disturbing the peace - Starr wondered if a better rooftop was nearby, only to be told that would compound the potential charges with trespassing.
Some very early Lennon-McCartney material was used to fill out the song quota of about fourteen. Lennon reporting progress described the tunes like a tailor preparing various suits: some 'ready to wear,' others 'made to measure' (reflecting levels of completion); John also spoke of getting to 'The Riff Stage,' which probably involved devising prominent musical bits, after the song was otherwise finished, with determined style, melody, lyrics, structure, harmonies, etc. Harrison spoke about perhaps needing to rework the tune after the riffs or hooks were included. At certain points communication by a sort of musical shorthand was used to convey what rhythms or chords or precise bits or other elements to alter, allowing the viewer a genuine version of the bogus banter about improving Ringo's drumming performance after "If I Fell" in their debut Lester film.
Starr explains the Twickenham studio was too spacious for their project, preferring the cozier feeling of the Apple location.
When the song "Let It Be" is undertaken, McCartney exclaims, "The true meaning of Christmas," which would involve a certain Pregnancy coming to full term about two thousand years ago; Paul's own "Mother Mary" offering the title advice in a dream was an inspiration. The slow, somewhat broken rhythm of a prominent recurrent musical passage troubled Paul, who described it as 'plodding' - but John reassures him that it was 'mournful,' and therefore effectively appropriate. The stilted instrumental phrasing could have been taken as intuitively foreshadowing the Passion suffering they had breezed through earlier in their song catalog, when they gave a tune the sardonic working title of "That's A Nice Hat," inferring The Crown of Thorns. That 1965 tune was ultimately titled "It's Only Love," corresponding with the Station of The Cross where Jesus falls for the third time - the riff there sounds like,
'Fell -
For The Third
Time'
John did not feel this was one of his best efforts, calling it a nicely packaged empty box. So having reached the Nativity circa 1969, the emergence of an elegiac tone was fitting. McCartney had taken the role of their late manager Brian Epstein out of necessity, realizing it was inappropriate with his creative colleagues. John being closely linked to Yoko during sessions probably mattered less to George than his being treated as superfluous to the ongoing project. Harrison had seen a film with waltzing on television, and composed "I Me Mine" in that genre; Lennon performed on slide guitar for George's original "For You Blue."
Even the retrospectively historic selection of the rooftop 'venue' for a phantom concert appears to have an advisory precedent in a quote from Jesus:
"What I tell you in the dark,
Speak in the daylight;
What is whispered in your ear,
Proclaim from the rooftop"
[Matthew 10:27]
The band started the New Year with ambitious plans that involved avoiding extreme production with extensive overdubs for a live performance mode, eventually assisted by Billy Preston recruited for keyboard; some audio-visual presentation would be simultaneously done, televised or as a theatrical film. The director feels they need a contrived visual spectacle beyond the band itself, and the impressive Roman ruin of the Sabratha amphitheater in northern Africa is proposed, an idea that develops into cruising there with an English-speaking audience - George Harrison considered that lunacy, perhaps thinking about more than the expenses.
George Martin discusses how even though John and Paul no longer collaborate closely they remain a songwriting team, while George comprised his own team of one. Harrison would say Lennon often forgot work that had been done on his own songs, so he had to recall for him, which made him feel involved; conversely, McCartney would always offer great help, but George complained there would be '59 songs' of Paul's to get through before one of his tunes was even given a listen. Relinquishing the songwriting task to Lennon-McCartney in the early days was difficult to overcome once Harrison started seriously trying, getting the tip from Lennon that ideally an original composition should be completed all at once.
The lunchtime departure of Harrison, from the project and the group, arrives suddenly with no explosive outburst.
George leaves suggesting they replace him, obviously feeling devalued, and marginal to the collective effort; initial attempts to have him return fail. Candid audio between John and Paul reveals they never thought of The Beatles as 'the four people,' and they were trying to resolve the stylistic-aesthetic decision concerns at the heart of George's grievances.
There was a renegade objective, with McCartney suggesting musically storming Parliament, a step too far: anticipating some sort of beating, he was reminded of their unsavory experiences in Manila - and Memphis. The filmmakers wanting a stunning exotic locale clashed with group members' desire to stay home, honoring those closest to them. Ultimately the decision to do the rooftop concert was a deliberate attempt to be charged with disturbing the peace - Starr wondered if a better rooftop was nearby, only to be told that would compound the potential charges with trespassing.
Some very early Lennon-McCartney material was used to fill out the song quota of about fourteen. Lennon reporting progress described the tunes like a tailor preparing various suits: some 'ready to wear,' others 'made to measure' (reflecting levels of completion); John also spoke of getting to 'The Riff Stage,' which probably involved devising prominent musical bits, after the song was otherwise finished, with determined style, melody, lyrics, structure, harmonies, etc. Harrison spoke about perhaps needing to rework the tune after the riffs or hooks were included. At certain points communication by a sort of musical shorthand was used to convey what rhythms or chords or precise bits or other elements to alter, allowing the viewer a genuine version of the bogus banter about improving Ringo's drumming performance after "If I Fell" in their debut Lester film.
Starr explains the Twickenham studio was too spacious for their project, preferring the cozier feeling of the Apple location.
When the song "Let It Be" is undertaken, McCartney exclaims, "The true meaning of Christmas," which would involve a certain Pregnancy coming to full term about two thousand years ago; Paul's own "Mother Mary" offering the title advice in a dream was an inspiration. The slow, somewhat broken rhythm of a prominent recurrent musical passage troubled Paul, who described it as 'plodding' - but John reassures him that it was 'mournful,' and therefore effectively appropriate. The stilted instrumental phrasing could have been taken as intuitively foreshadowing the Passion suffering they had breezed through earlier in their song catalog, when they gave a tune the sardonic working title of "That's A Nice Hat," inferring The Crown of Thorns. That 1965 tune was ultimately titled "It's Only Love," corresponding with the Station of The Cross where Jesus falls for the third time - the riff there sounds like,
'Fell -
For The Third
Time'
John did not feel this was one of his best efforts, calling it a nicely packaged empty box. So having reached the Nativity circa 1969, the emergence of an elegiac tone was fitting. McCartney had taken the role of their late manager Brian Epstein out of necessity, realizing it was inappropriate with his creative colleagues. John being closely linked to Yoko during sessions probably mattered less to George than his being treated as superfluous to the ongoing project. Harrison had seen a film with waltzing on television, and composed "I Me Mine" in that genre; Lennon performed on slide guitar for George's original "For You Blue."
Even the retrospectively historic selection of the rooftop 'venue' for a phantom concert appears to have an advisory precedent in a quote from Jesus:
"What I tell you in the dark,
Speak in the daylight;
What is whispered in your ear,
Proclaim from the rooftop"
[Matthew 10:27]
Curtis Eagal
Apr 25, 2022, 1:16:48 AM4/25/22
to
geoff
Apr 25, 2022, 2:49:47 AM4/25/22
to
geoff
Curtis Eagal
Apr 25, 2022, 3:41:20 AM4/25/22
to
The evidence that I can be correct is evident now in the Ukrainian situation, from a conjecture I posted elsewhere on 11 October 2006 - late January 2022 was figured for the time of a lethal military action amidst a pandemic with supply-chain problems:
https://groups.google.com/g/alt.prophecies.nostradamus/c/ymn92thMWss/m/2o3l_eEqR0QJ
<< Faux à l'étang joint vers le Sagittaire
En son haut AUGE de l'exaltation
Scythe at the pool joined towards Sagittarius
In the highest INCREASE of the exaltation
I noted the emphasis on the concept of "increase" for the location
and correctly interpreted this as around the mid-point of the
constellation, since past this point it would be leaving the sign. I
can conclude it was correct, since I have discovered the likeliest time
for fulfillment: when Saturn reaches the midpoint of Aquarius (the
pool, its symbol being water), it will aspect with the Moon in
Sagittarius - the exact location for the sextile is 15 degrees 3
minutes, and this will happen 28 January 2022. The rest of the verse
predicts the approach of renovation, perhaps after the pestilence,
famine and death by military hand referred to in the third line. >>
The Russian troops were massing at the Ukraine border circa 28 January 2022, but had retreated before, and the US intelligence that an invasion would indeed take place was even doubted by the Ukrainian president; of course that invasion horrifically occurred about a month later.
Curtis Eagal
Apr 25, 2022, 4:35:56 AM4/25/22
to
On Sunday, April 24, 2022 at 11:49:47 PM UTC-7, geoff wrote:
It's also from common knowledge available in several online articles -
https://www.goldradiouk.com/artists/the-beatles/rooftop-concert-abbey-road-let-it-be-libya-roman-sabratha/
Lennon called The Beatles a Christian band in 1969 during a Canadian interview; in 1971 he told an inquisitive Tom Snyder "All our music is subliminal"; similar quote about making his guitar talk. "We're trying to make Christ's message contemporary" was another helpful comment. They could not score music, but could whistle for someone who could. At each stage they dropped subtle clues, like being photographed mid-jump in 1963, or talking about washing and cooking circa 1966.
The subliminal essence from the musical hooks are what Lennon said the listener would have to drop their mental barriers to perceive. Starting from the debut stage is easier than jumping into the psychedelic middle without having learned the general format and communicative tendencies. Every element that is key to a new level of aural comprehension is present from the beginning, like Lennon said later they were "just done up differently."
The part in "Ask Me Why" where the lyric "I can't conceive of any more" is followed by a brief pause filled by three powerful guitar strums suggests to me simply by listening the interjection of the phrase '- Quite Enough!' -' to be finished by the vocal resuming with "...Misery." That sort of instrumental-vocal substitution-crossover is exactly what Lennon was hinting at, which opens up untold possibilities for cerebral technically capable recording artists.
Norbert K
Apr 25, 2022, 6:35:08 AM4/25/22
to
Norbert K
Apr 25, 2022, 6:40:26 AM4/25/22
to
He also fell under the spells of various Christian televangelists. He was all over the map. Nothing he said should be taken as reflecting a firm view -- especially if it was uttered during one of his heavy drug or Yoko-promotion phases.
geoff
Apr 25, 2022, 7:33:33 AM4/25/22
to
something trivial and weaving some great meaningful story around it.
Totally in error.
geoff
RJKe...@yahoo.com
Apr 25, 2022, 3:10:09 PM4/25/22
to
On Monday, April 25, 2022 at 1:16:48 AM UTC-4, eagali...@gmail.com wrote:
Curtis Eagal
Apr 25, 2022, 3:12:36 PM4/25/22
to
The two anvil strikes arrive at the end of an instrumental passage to emphatically accent the final two syllables in a phrase - it depends which tangent you are following to transcribe the full phrasing - for the Christ tangent those two notes correspond with "HER SON!' All these sorts of things collected together would amount to a pamphlet rather than a book, so I made the decision to have the full disclosures in my book series, where a more complete context could be established with the stories of the original idea, arrangement approaches during recording, structural musical analysis, and so forth before finally revealing how the hooks function thematically.
In an interview John compared the song "God" to "Girl" from Rubber Soul, the aspect of trusting that earthly pain leads to pleasure in the afterlife, which he saw as a economic-social trick oppressors use with religion; the song was the result of the final exercise, which was reviewing your latest work objectively. For John that meant watching the film "Let It Be," and he realized no one might ever take away from it what they were trying to get across. He explained the list of things being denounced was like a game where anything would fit, since in the end there is the practical admission that only those closest to use, like life partners, should be where we place our day-to-day faith. John said of his group, "We believed... Suddenly, we didn't believe."
The song "Imagine" resulted from discussing a book about prayer with Dick Gregory - I have a family member who insists the line about "no religion" proves he was promoting heathenism, while my opinion is the theme follows the "Our Father" prayer: the best way for God's Will to be done on Earth as it is in Heaven is to stop arguing about prejudices and possessions, manifest a rational society in the here and now. The full Maureen Cleave article from 1966 noted that two of John's favorite possessions were a Bible and a Crucifix; but wife Cynthia's gift of mechanized caged singing bird struck him as offensively bourgeois and partially inspired "And Your Bird Can Sing" - "when your prized possessions start to bring you down" is a similar anti-materialistic theme as "Can't Buy Me Love."
In his 1980 Playboy interview John expressed a desire to fathom the meaning of Christ's parables, and on occasion proclaimed himself "One of Christ's biggest fans." The Beatles made their craft appear effortless, but that doesn't mean no effort went into it. Harrison said like pebbles make ripples on the surface of water, they knew they had thrown in boulders and were anticipating the eventual consummation of conscious awareness.
Curtis Eagal
Apr 25, 2022, 6:03:46 PM4/25/22
to
<< "The anvil symbolizes the primordial forging of the universe...In Christian symbolism, the anvil is an attribute of St. Eligius, the patron saint of blacksmiths." >>
*
<< Hephaestus, Greek Hephaistos, in Greek mythology, the god of fire. Originally a deity of Asia Minor and the adjoining islands (in particular Lemnos), Hephaestus had an important place of worship at the Lycian Olympus. His cult reached Athens not later than about 600 BCE (although it scarcely touched Greece proper) and arrived in Campania not long afterward. His Roman counterpart was Vulcan. >>
*
The "Forge Of God" concept is parallel. Remember the ultimate title used for the project was "Let IT Be," as follow-up from the double album whose white cover suggested pure Light, putting 'Let There Be Light' into regression. While the "Abbey Road" cover image seems cleverly devised in a minimalist fashion, the White Album had a New Testament format matching "Why Don't We Do It In The Road" with a Pauline Epistle including a verse about 'walking with God' (it also has a shocking vocal trick referencing a specific story from Christ's Infancy). Before the Creation of Light, God 'hovered over the waters,' with the visible part of the white zebra crosswalk markings looking unlike the solid paved earth of the roadway.
Starting from the first cover, unequivocally set in modern-day architecture, the 'Temple Of God' tangent makes vast temporal regressions. With the shadowy Stygian 'hue of dungeons' for the "With The Beatles" cover image the Medieval Dark Ages was implied.
Then an allusion to the historically brief appearance of Christ Himself, partially fulfilling Messianic prophecy through His Crucifixion during the Daytime darkness of a Total Solar Eclipse (24 November Year 29) and emergence of Jordan-baptized glowing souls released from Hades illuminating that Night, as "A Hard Day's Night."
The inference of slavery in the "Beatles For Sale" title would be pre-Christian. These visual-conceptual tangents are not discernible in the music, and seem to summarize various eras objectively in a rapid time-reversal.
The encompassing white snow of the "Help!" cover counters that enslaved concept, implying the Old Testament Hebrew Prophets receiving the providential assistance of Divine Enlightenment.
On the "Rubber Soul" cover the family of Noah landing after the Deluge could be deduced, John as Noah staring into the camera, with his three 'sons' looking off ready to re-populate the re-greening world.
"REVOLVER" includes the nautical fantasy "Yellow Submarine" for experiencing the Deluge itself in Noah's Ark, which someone proposed built by Biblical specifications would spin instead of capsize. The mesmerizing cover art uses depictions of hair suggesting smoke rising from the barrel of a pistol, which also has a wavy oceanic appearance.
That would make "Sgt. Pepper's Lonely Hearts Club Band" correspond with the pre-Diluvian world, perhaps in this context the bust of Sergeant Pepper Himself satirizes pagan idolatry.
There are no human faces on the "Magical Mystery Tour" cover, suggesting Mankind has not yet been created: also there is a strange vertical arcing version of a rainbow, which should appear after the Flood, when Noah is told it is the sign of divine covenant (a related message can be heard as the Maori finale from "Hello Goodbye").
Then the Bright Light of Creation, and further back - so the 'Divine Forge' symbolism of the Anvil is compatible.
Also the Egyptian Scarab Beetle Kefra mythology reflects the life cycle (including afterlife) in forward mode.
The orgasmic ascent of "Twist And Shout" segues into the dark-lit gestation period; the hard work insinuation implies the Labor of birth.
The double-time waltz "Baby's In Black" was based on a children's rhyme, and the sleeve visuals utilized a subliminal Humpty Dumpty.
The cover of "Help!" against the encompassing whiteness then implies the shock of puberty.
The accidental slipping of a projection surface distorted the "Rubber Soul" image diagonally, so the band then seems to be a group of adult parents, with one looking down knowingly and the others preoccupied above our sphere of influence.
That's where the Death Trip starts, between the 'life flashing before your eyes' REVOLVER front collage, and the dark studio photo on the back - the latter suggestion is that the soul has 'rolled out' of the body into a blackout. Ancient Egyptians inscribed a gold scarab beetle with a phrase meaning 'To Revolve' to replace hearts from mummified corpses.
In "Paperback Writer" the added reverb introduces a new tangent by changing the primary twist with an extra syllable; and breaking the "Frere Jacques" harmonic backing down into tonal approximates provides another surprise.
My question is, since this veered into a discussion about how a song could play into the idea of martyrdom, should I provide the real answer? I can't think of anything more important, but the transcription along that tangent would likely be disturbing.
Curtis Eagal
Apr 25, 2022, 6:10:23 PM4/25/22
to
Same day in 1967 that the "Hammer Into Anvil" Prisoner episode was first broadcast!
Norbert K
Apr 26, 2022, 7:08:26 AM4/26/22
to
On Monday, April 25, 2022 at 3:12:36 PM UTC-4, eagali...@gmail.com wrote:
>
> The song "Imagine" resulted from discussing a book about prayer with Dick Gregory - I have a family member who insists the line about "no religion" proves he was promoting heathenism, while my opinion is the theme follows the "Our Father" prayer: the best way for God's Will to be done on Earth as it is in Heaven is to stop arguing about prejudices and possessions, manifest a rational society in the here and now. The full Maureen Cleave article from 1966 noted that two of John's favorite possessions were a Bible and a Crucifix; but wife Cynthia's gift of mechanized caged singing bird struck him as offensively bourgeois and partially inspired "And Your Bird Can Sing" - "when your prized possessions start to bring you down" is a similar anti-materialistic theme as "Can't Buy Me Love."
Your family member has a point; Lennon did occasionally purport to be a "born-again pagan." He had Christian phases, too -- one of which Yoko squelched because she feared it would prevent her from controlling him through the occult. Which brings up the point that he went along with Ono's occultism. And we know that John also had a soft spot for gurus. Like I said before, he was all over the map; he did not subscribe to any one belief system for too long.
>
> The song "Imagine" resulted from discussing a book about prayer with Dick Gregory - I have a family member who insists the line about "no religion" proves he was promoting heathenism, while my opinion is the theme follows the "Our Father" prayer: the best way for God's Will to be done on Earth as it is in Heaven is to stop arguing about prejudices and possessions, manifest a rational society in the here and now. The full Maureen Cleave article from 1966 noted that two of John's favorite possessions were a Bible and a Crucifix; but wife Cynthia's gift of mechanized caged singing bird struck him as offensively bourgeois and partially inspired "And Your Bird Can Sing" - "when your prized possessions start to bring you down" is a similar anti-materialistic theme as "Can't Buy Me Love."
Didn't Lennon explain somewhere that by "Imagine no religion" what he meant to say is that there should be no "one religion" that excluded others?
I expect we'd agree Lennon did not wish for an *absence* of religion any more than he wished for an absence of possessions.
Did anyone ever discover the title of the book gifted to Lennon by Dick Gregory?
Message has been deleted
Curtis Eagal
Apr 26, 2022, 5:30:15 PM4/26/22
to
Paul made it clear none of that discussion involved the actual teachings of Jesus: "Believe it or, we're not anti-Christ." Then Ringo qualified that with, "Just anti-pope and anti-Christian." So there was agnosticism, leaning pro-Christ - but righteously anti-Christian, shared by the entire group.
So the song "God" uses the title word to address the typical cultural perception, the concept that placates pain and suffering with the dubious promise of eternal happiness once everything is over. It could not be about Lennon's own personal conclusion that God does not exist, since he described in a 1968 interview that through drugs, diet and meditation he had sensed a Higher Power. What is being disbelieved in "God" is resorting to the victim mindset that effectively allows the oppressor minimal resistance. The idea is the more pain you have, the more God you need psychologically as a coping mechanism, usually for something that shouldn't be happening in the first place. Think of the 'Negro Spiritual' songs borne of suffering in slavery. Pie in the sky when you die by and by.
At the time John was completing primal therapy with Arthur Janov, who considered religion madness, and Lennon later admitted the attempt to purge it from his psyche failed. He called himself "a most religious fellow." Even in childhood, John would point upwards and say "Somebody's watching" when he detected mischief; once he walked in announcing he had just seen God. John spoke of other religious figures who were advanced spiritually like Jesus, with admiration for their simple rational philosophies that few seem to grasp. An interviewer brought up the rumor he proclaimed he WAS God, receiving the reply he had not meant he was "A God or THE God," but shared a fragment of divinity: "We have all things within us," the option of being evil or righteous through exercise of free will. He said the recurrent dichotomy of moral extremes was summed up in the Christ-versus-Hitler contrast.
Religion should be a means to an end, and the aggregate thematic complexity of Christ's parables suggests a long and winding narrow path. Harrison spoke about the necessity of 'God perception' - with that, an organized religion with a vicar as intermediary would be obsolete. In Revelation the ultimate Paradise has no Temple, illuminated by the divine beings Themselves instead. So "No Religion" could be what getting religion right looks like. I don't recall ever hearing a discussion about a single world religion, sounds ominously Apocalyptic.
I would also like the title of that book about prayer.
Interest in the occult is not incompatible with Christianity; John was working on some I Ching artwork that was not completed. And there was an interest in isolated printings of particular Bible verses.
The issue of possessions is nuanced, John must have considered his own material requirements when changing the lyric in a live performance to,
"I wonder if WE can"
In the documentary there were song catalog acquisitions by Northern Songs which Starr was observing; when Harrison arrives Ringo asks whether there's interest in what George now owns a quarter of one percent share - 'possessing something' can be an abstract notion.
Curtis Eagal
Apr 26, 2022, 7:36:54 PM4/26/22
to
The hero secret agent knew too much to retire, abducted to a placid resort Village and designated Number 6. He has witnessed a death he blames on the current, frequently-replaced, warden-interrogator Number 2, and seeks retribution. Number 2 quotes Goethe,
'You must be hammer or anvil'
Number 6 then asks,
"And you see me as the anvil?"
The question hints at an Orwellian line that is unspoken -
['It is always the anvil that breaks the hammer,
Never the other way about']
In the conceit of his power Number 2 gloats,
"Precisely.
I am going to
hammer
you."
Scheduling this initial broadcast on the feast day for the patron of blacksmiths by random coincidence is unlikely.
Number 6 carries out his mission of vengeance by enacting his spy communication tricks involving unknowing prominent denizens of the Village, so Number 2 becomes subdued by paranoia about a supposed internal operation focused on himself. It was the winning role to be The Anvil, the object so heavy as to be thought immovable, absorbing the strikes of the over-stressed Hammer - so the allegory with Christian Martyrdom, enduring persecution through selfless Faith, seems close.
The clear lyrical reference to being possibly Crucified, in "The Ballad Of John And Yoko," gets treated with a brief instrumental coda that has a sort of Mariachi flavor, where I hear (in excerpt)
'...a Christian martyr,
Instead of being
A Roman...'
Also, "Carry That Weight" in reverse provides garbled vocalization of a complete statement about martyrdom that had to be devised during composition.
There is a discernible message about martyrdom in "Maxwell's Silver Hammer," as a tangent for the synthesizer part - but this is strange, since it appears too esoteric to be conscious, despite the curious choice of the Anvil as an instrument. Remember, a celesta was used on "Baby It's You," which represents Heaven, chiming brightly to match Harrison's heavy-sounding guitar solo (in twin-track mono); there were many significant arrangement decisions like that, from African drum to exotic Latin percussion. There were even two sets of pigs brought in separately for the mono and stereo overdub sessions for "Piggies."
Revelation puts Heaven's Martyrs into white robes at breaking of the Fifth Seal; then a vast multitude appears in white robes, completing the total number. The text offers a scenario where a tattoo (worshipping a human monster) will be required to transact any business, and whoever will not comply will be executed; awareness that eternal damnation would result provokes a large proportion to choose death, thereby attaining salvation. The Higher Powers wait until the dust settles, the wicked turning on each other after the righteous - then only the defiant righteous ones are awoken for a thousand years of peace.
The whooping done by Paul near the end sounds like,
'One More Woe!'
Then the synthesizer implies what cannot be easily known, and speaks to an over-layered agenda -
'WHEN You Are -
FREE From Error,
Re-MAINS To Be Known:
Will You
Sur-
Ren-
Der
YOUR
LIFE?!'
An alternate Marian tangent is believable as deliberate, but seems to be unconsciously 'carrying' this sound-parallel tangent somehow.
"The miracle today is
Communication"
--JL
Norbert K
Apr 27, 2022, 12:03:04 PM4/27/22
to
On Tuesday, April 26, 2022 at 5:30:15 PM UTC-4, eagali...@gmail.com wrote:
> On Tuesday, April 26, 2022 at 4:08:26 AM UTC-7, Norbert K wrote:
> > On Monday, April 25, 2022 at 3:12:36 PM UTC-4, eagali...@gmail.com wrote:
> > >
> > > The song "Imagine" resulted from discussing a book about prayer with Dick Gregory - I have a family member who insists the line about "no religion" proves he was promoting heathenism, while my opinion is the theme follows the "Our Father" prayer: the best way for God's Will to be done on Earth as it is in Heaven is to stop arguing about prejudices and possessions, manifest a rational society in the here and now. The full Maureen Cleave article from 1966 noted that two of John's favorite possessions were a Bible and a Crucifix; but wife Cynthia's gift of mechanized caged singing bird struck him as offensively bourgeois and partially inspired "And Your Bird Can Sing" - "when your prized possessions start to bring you down" is a similar anti-materialistic theme as "Can't Buy Me Love."
> > Your family member has a point; Lennon did occasionally purport to be a "born-again pagan." He had Christian phases, too -- one of which Yoko squelched because she feared it would prevent her from controlling him through the occult. Which brings up the point that he went along with Ono's occultism. And we know that John also had a soft spot for gurus. Like I said before, he was all over the map; he did not subscribe to any one belief system for too long.
> >
> > Didn't Lennon explain somewhere that by "Imagine no religion" what he meant to say is that there should be no "one religion" that excluded others?
> >
> > I expect we'd agree Lennon did not wish for an *absence* of religion any more than he wished for an absence of possessions.
> >
> > Did anyone ever discover the title of the book gifted to Lennon by Dick Gregory?
> John called his period circa 1969 "Christian Communist," recognizing it as a phase. We think of him pushing people's buttons on controversial issues, but in my book on the "Beatles For Sale" era ("The Quality Of Mersey") the whole group is being interviewed together, and they projected a unified religious perspective ("more agnostic than atheistic" was Lennon's assessment), with Paul and Ringo making some provocative remarks. Paul said, "We probably seem antireligious because none of us believe in God"; Harrison declared, "John's our official religious spokesman." John said that's how most people really feel, with Ringo agreeing, "It's better to admit it than be a hypocrite." Lennon saw hypocrisy in the clergy lamenting the conditions of the poor without being charitable to them. McCartney mentioned the cost of a single bronze door in the Vatican.
>
> Paul made it clear none of that discussion involved the actual teachings of Jesus: "Believe it or, we're not anti-Christ." Then Ringo qualified that with, "Just anti-pope and anti-Christian." So there was agnosticism, leaning pro-Christ - but righteously anti-Christian, shared by the entire group.
>
> So the song "God" uses the title word to address the typical cultural perception, the concept that placates pain and suffering with the dubious promise of eternal happiness once everything is over. It could not be about Lennon's own personal conclusion that God does not exist, since he described in a 1968 interview that through drugs, diet and meditation he had sensed a Higher Power. What is being disbelieved in "God" is resorting to the victim mindset that effectively allows the oppressor minimal resistance. The idea is the more pain you have, the more God you need psychologically as a coping mechanism, usually for something that shouldn't be happening in the first place. Think of the 'Negro Spiritual' songs borne of suffering in slavery. Pie in the sky when you die by and by.
>
> At the time John was completing primal therapy with Arthur Janov, who considered religion madness, and Lennon later admitted the attempt to purge it from his psyche failed. He called himself "a most religious fellow." Even in childhood, John would point upwards and say "Somebody's watching" when he detected mischief; once he walked in announcing he had just seen God. John spoke of other religious figures who were advanced spiritually like Jesus, with admiration for their simple rational philosophies that few seem to grasp. An interviewer brought up the rumor he proclaimed he WAS God, receiving the reply he had not meant he was "A God or THE God," but shared a fragment of divinity: "We have all things within us," the option of being evil or righteous through exercise of free will. He said the recurrent dichotomy of moral extremes was summed up in the Christ-versus-Hitler contrast.
I remember an interview with Lennon in which he pronounced vaguely that "God is an energy, a power source," but that "I never believed it was any one thing."
> On Tuesday, April 26, 2022 at 4:08:26 AM UTC-7, Norbert K wrote:
> > On Monday, April 25, 2022 at 3:12:36 PM UTC-4, eagali...@gmail.com wrote:
> > >
> > > The song "Imagine" resulted from discussing a book about prayer with Dick Gregory - I have a family member who insists the line about "no religion" proves he was promoting heathenism, while my opinion is the theme follows the "Our Father" prayer: the best way for God's Will to be done on Earth as it is in Heaven is to stop arguing about prejudices and possessions, manifest a rational society in the here and now. The full Maureen Cleave article from 1966 noted that two of John's favorite possessions were a Bible and a Crucifix; but wife Cynthia's gift of mechanized caged singing bird struck him as offensively bourgeois and partially inspired "And Your Bird Can Sing" - "when your prized possessions start to bring you down" is a similar anti-materialistic theme as "Can't Buy Me Love."
> > Your family member has a point; Lennon did occasionally purport to be a "born-again pagan." He had Christian phases, too -- one of which Yoko squelched because she feared it would prevent her from controlling him through the occult. Which brings up the point that he went along with Ono's occultism. And we know that John also had a soft spot for gurus. Like I said before, he was all over the map; he did not subscribe to any one belief system for too long.
> >
> > Didn't Lennon explain somewhere that by "Imagine no religion" what he meant to say is that there should be no "one religion" that excluded others?
> >
> > I expect we'd agree Lennon did not wish for an *absence* of religion any more than he wished for an absence of possessions.
> >
> > Did anyone ever discover the title of the book gifted to Lennon by Dick Gregory?
> John called his period circa 1969 "Christian Communist," recognizing it as a phase. We think of him pushing people's buttons on controversial issues, but in my book on the "Beatles For Sale" era ("The Quality Of Mersey") the whole group is being interviewed together, and they projected a unified religious perspective ("more agnostic than atheistic" was Lennon's assessment), with Paul and Ringo making some provocative remarks. Paul said, "We probably seem antireligious because none of us believe in God"; Harrison declared, "John's our official religious spokesman." John said that's how most people really feel, with Ringo agreeing, "It's better to admit it than be a hypocrite." Lennon saw hypocrisy in the clergy lamenting the conditions of the poor without being charitable to them. McCartney mentioned the cost of a single bronze door in the Vatican.
>
> Paul made it clear none of that discussion involved the actual teachings of Jesus: "Believe it or, we're not anti-Christ." Then Ringo qualified that with, "Just anti-pope and anti-Christian." So there was agnosticism, leaning pro-Christ - but righteously anti-Christian, shared by the entire group.
>
> So the song "God" uses the title word to address the typical cultural perception, the concept that placates pain and suffering with the dubious promise of eternal happiness once everything is over. It could not be about Lennon's own personal conclusion that God does not exist, since he described in a 1968 interview that through drugs, diet and meditation he had sensed a Higher Power. What is being disbelieved in "God" is resorting to the victim mindset that effectively allows the oppressor minimal resistance. The idea is the more pain you have, the more God you need psychologically as a coping mechanism, usually for something that shouldn't be happening in the first place. Think of the 'Negro Spiritual' songs borne of suffering in slavery. Pie in the sky when you die by and by.
>
> At the time John was completing primal therapy with Arthur Janov, who considered religion madness, and Lennon later admitted the attempt to purge it from his psyche failed. He called himself "a most religious fellow." Even in childhood, John would point upwards and say "Somebody's watching" when he detected mischief; once he walked in announcing he had just seen God. John spoke of other religious figures who were advanced spiritually like Jesus, with admiration for their simple rational philosophies that few seem to grasp. An interviewer brought up the rumor he proclaimed he WAS God, receiving the reply he had not meant he was "A God or THE God," but shared a fragment of divinity: "We have all things within us," the option of being evil or righteous through exercise of free will. He said the recurrent dichotomy of moral extremes was summed up in the Christ-versus-Hitler contrast.
Under Janov's influence, Lennon asserted that "God is a concept by which we measure our pain."
Then there were his televangelist phases, during which he presumably accepted the god of Christianity.
And the "born-again pagan" identification came in 1979, IIRC.
Again, I see a guy whose beliefs fluctuated wildly depending on what drugs he was on, what TV he was watching, and who he was hanging out with.
> Religion should be a means to an end, and the aggregate thematic complexity of Christ's parables suggests a long and winding narrow path. Harrison spoke about the necessity of 'God perception' - with that, an organized religion with a vicar as intermediary would be obsolete. In Revelation the ultimate Paradise has no Temple, illuminated by the divine beings Themselves instead. So "No Religion" could be what getting religion right looks like. I don't recall ever hearing a discussion about a single world religion, sounds ominously Apocalyptic.
>
> I would also like the title of that book about prayer.
>
> Interest in the occult is not incompatible with Christianity; John was working on some I Ching artwork that was not completed. And there was an interest in isolated printings of particular Bible verses.
>
> The issue of possessions is nuanced, John must have considered his own material requirements when changing the lyric in a live performance to,
>
> "I wonder if WE can"
geoff
Apr 27, 2022, 6:56:31 PM4/27/22
to
On 28/04/2022 4:03 am, Norbert K wrote:
> On Tuesday, April 26, 2022 at 5:30:15 PM UTC-4, eagali...@gmail.com wrote:
>> On Tuesday, April 26, 2022 at 4:08:26 AM UTC-7, Norbert K wrote:
>>> On Monday, April 25, 2022 at 3:12:36 PM UTC-4, eagali...@gmail.com wrote:
>>>>
>>>> The song "Imagine" resulted from discussing a book about prayer with Dick Gregory - I have a family member who insists the line about "no religion" proves he was promoting heathenism, while my opinion is the theme follows the "Our Father" prayer: the best way for God's Will to be done on Earth as it is in Heaven is to stop arguing about prejudices and possessions, manifest a rational society in the here and now. The full Maureen Cleave article from 1966 noted that two of John's favorite possessions were a Bible and a Crucifix; but wife Cynthia's gift of mechanized caged singing bird struck him as offensively bourgeois and partially inspired "And Your Bird Can Sing" - "when your prized possessions start to bring you down" is a similar anti-materialistic theme as "Can't Buy Me Love."
>>> Your family member has a point; Lennon did occasionally purport to be a "born-again pagan." He had Christian phases, too -- one of which Yoko squelched because she feared it would prevent her from controlling him through the occult. Which brings up the point that he went along with Ono's occultism. And we know that John also had a soft spot for gurus. Like I said before, he was all over the map; he did not subscribe to any one belief system for too long.
>>>
>>> Didn't Lennon explain somewhere that by "Imagine no religion" what he meant to say is that there should be no "one religion" that excluded others?
>>>
>>> I expect we'd agree Lennon did not wish for an *absence* of religion any more than he wished for an absence of possessions.
>>>
>>> Did anyone ever discover the title of the book gifted to Lennon by Dick Gregory?
>> John called his period circa 1969 "Christian Communist," recognizing it as a phase. We think of him pushing people's buttons on controversial issues, but in my book on the "Beatles For Sale" era ("The Quality Of Mersey") the whole group is being interviewed together, and they projected a unified religious perspective ("more agnostic than atheistic" was Lennon's assessment), with Paul and Ringo making some provocative remarks. Paul said, "We probably seem antireligious because none of us believe in God"; Harrison declared, "John's our official religious spokesman." John said that's how most people really feel, with Ringo agreeing, "It's better to admit it than be a hypocrite." Lennon saw hypocrisy in the clergy lamenting the conditions of the poor without being charitable to them. McCartney mentioned the cost of a single bronze door in the Vatican.
>>
>> Paul made it clear none of that discussion involved the actual teachings of Jesus: "Believe it or, we're not anti-Christ." Then Ringo qualified that with, "Just anti-pope and anti-Christian." So there was agnosticism, leaning pro-Christ - but righteously anti-Christian, shared by the entire group.
>>
>> So the song "God" uses the title word to address the typical cultural perception, the concept that placates pain and suffering with the dubious promise of eternal happiness once everything is over. It could not be about Lennon's own personal conclusion that God does not exist, since he described in a 1968 interview that through drugs, diet and meditation he had sensed a Higher Power. What is being disbelieved in "God" is resorting to the victim mindset that effectively allows the oppressor minimal resistance. The idea is the more pain you have, the more God you need psychologically as a coping mechanism, usually for something that shouldn't be happening in the first place. Think of the 'Negro Spiritual' songs borne of suffering in slavery. Pie in the sky when you die by and by.
>>
>> At the time John was completing primal therapy with Arthur Janov, who considered religion madness, and Lennon later admitted the attempt to purge it from his psyche failed. He called himself "a most religious fellow." Even in childhood, John would point upwards and say "Somebody's watching" when he detected mischief; once he walked in announcing he had just seen God. John spoke of other religious figures who were advanced spiritually like Jesus, with admiration for their simple rational philosophies that few seem to grasp. An interviewer brought up the rumor he proclaimed he WAS God, receiving the reply he had not meant he was "A God or THE God," but shared a fragment of divinity: "We have all things within us," the option of being evil or righteous through exercise of free will. He said the recurrent dichotomy of moral extremes was summed up in the Christ-versus-Hitler contrast.
>
> I remember an interview with Lennon in which he pronounced vaguely that "God is an energy, a power source," but that "I never believed it was any one thing."
>
> Under Janov's influence, Lennon asserted that "God is a concept by which we measure our pain."
>
> Then there were his televangelist phases, during which he presumably accepted the god of Christianity.
>
> And the "born-again pagan" identification came in 1979, IIRC.
>
> Again, I see a guy whose beliefs fluctuated wildly depending on what drugs he was on, what TV he was watching, and who he was hanging out with.
More than that, comments not intended to indicate any genuine belief,
> On Tuesday, April 26, 2022 at 5:30:15 PM UTC-4, eagali...@gmail.com wrote:
>> On Tuesday, April 26, 2022 at 4:08:26 AM UTC-7, Norbert K wrote:
>>> On Monday, April 25, 2022 at 3:12:36 PM UTC-4, eagali...@gmail.com wrote:
>>>>
>>>> The song "Imagine" resulted from discussing a book about prayer with Dick Gregory - I have a family member who insists the line about "no religion" proves he was promoting heathenism, while my opinion is the theme follows the "Our Father" prayer: the best way for God's Will to be done on Earth as it is in Heaven is to stop arguing about prejudices and possessions, manifest a rational society in the here and now. The full Maureen Cleave article from 1966 noted that two of John's favorite possessions were a Bible and a Crucifix; but wife Cynthia's gift of mechanized caged singing bird struck him as offensively bourgeois and partially inspired "And Your Bird Can Sing" - "when your prized possessions start to bring you down" is a similar anti-materialistic theme as "Can't Buy Me Love."
>>> Your family member has a point; Lennon did occasionally purport to be a "born-again pagan." He had Christian phases, too -- one of which Yoko squelched because she feared it would prevent her from controlling him through the occult. Which brings up the point that he went along with Ono's occultism. And we know that John also had a soft spot for gurus. Like I said before, he was all over the map; he did not subscribe to any one belief system for too long.
>>>
>>> Didn't Lennon explain somewhere that by "Imagine no religion" what he meant to say is that there should be no "one religion" that excluded others?
>>>
>>> I expect we'd agree Lennon did not wish for an *absence* of religion any more than he wished for an absence of possessions.
>>>
>>> Did anyone ever discover the title of the book gifted to Lennon by Dick Gregory?
>> John called his period circa 1969 "Christian Communist," recognizing it as a phase. We think of him pushing people's buttons on controversial issues, but in my book on the "Beatles For Sale" era ("The Quality Of Mersey") the whole group is being interviewed together, and they projected a unified religious perspective ("more agnostic than atheistic" was Lennon's assessment), with Paul and Ringo making some provocative remarks. Paul said, "We probably seem antireligious because none of us believe in God"; Harrison declared, "John's our official religious spokesman." John said that's how most people really feel, with Ringo agreeing, "It's better to admit it than be a hypocrite." Lennon saw hypocrisy in the clergy lamenting the conditions of the poor without being charitable to them. McCartney mentioned the cost of a single bronze door in the Vatican.
>>
>> Paul made it clear none of that discussion involved the actual teachings of Jesus: "Believe it or, we're not anti-Christ." Then Ringo qualified that with, "Just anti-pope and anti-Christian." So there was agnosticism, leaning pro-Christ - but righteously anti-Christian, shared by the entire group.
>>
>> So the song "God" uses the title word to address the typical cultural perception, the concept that placates pain and suffering with the dubious promise of eternal happiness once everything is over. It could not be about Lennon's own personal conclusion that God does not exist, since he described in a 1968 interview that through drugs, diet and meditation he had sensed a Higher Power. What is being disbelieved in "God" is resorting to the victim mindset that effectively allows the oppressor minimal resistance. The idea is the more pain you have, the more God you need psychologically as a coping mechanism, usually for something that shouldn't be happening in the first place. Think of the 'Negro Spiritual' songs borne of suffering in slavery. Pie in the sky when you die by and by.
>>
>> At the time John was completing primal therapy with Arthur Janov, who considered religion madness, and Lennon later admitted the attempt to purge it from his psyche failed. He called himself "a most religious fellow." Even in childhood, John would point upwards and say "Somebody's watching" when he detected mischief; once he walked in announcing he had just seen God. John spoke of other religious figures who were advanced spiritually like Jesus, with admiration for their simple rational philosophies that few seem to grasp. An interviewer brought up the rumor he proclaimed he WAS God, receiving the reply he had not meant he was "A God or THE God," but shared a fragment of divinity: "We have all things within us," the option of being evil or righteous through exercise of free will. He said the recurrent dichotomy of moral extremes was summed up in the Christ-versus-Hitler contrast.
>
> I remember an interview with Lennon in which he pronounced vaguely that "God is an energy, a power source," but that "I never believed it was any one thing."
>
> Under Janov's influence, Lennon asserted that "God is a concept by which we measure our pain."
>
> Then there were his televangelist phases, during which he presumably accepted the god of Christianity.
>
> And the "born-again pagan" identification came in 1979, IIRC.
>
> Again, I see a guy whose beliefs fluctuated wildly depending on what drugs he was on, what TV he was watching, and who he was hanging out with.
but merely an off-the-cuff comments intended to rankle the other party,
or to engender controversy for controversy’s sake.
An approach which certainly seems to have worked extremely well with
some fanatics !
geoff
Curtis Eagal
Apr 27, 2022, 8:16:06 PM4/27/22
to
When Paul continued, "We're not anti-Christ," one of them added, "Just anti-pope and anti-Christian" - that was Ringo Starr.
McCartney expressed outrage that there was a societal stigma against atheism. Lennon compared the negative reaction to their agnosticism in America to the reaction in Australia over their not being sports fans.
At the time evangelists were picketing Beatle concerts with signs about "Beatle Worship"; young people who were crippled would be given front row seats like it was a faith healing show.
The counterculture odyssey of the 'Sixties was not about knowing who you were and sticking to it, rather it was a discovery of oneself as part of a greater Over-Ego consciousness, so views on religion, which has dogmatic and theological aspects, can change through experiences.
The Harrison who sarcastically called Lennon the band's 'official religious spokesman' in 1964 would four years later be discussing in his solo interview the importance of perceiving God for oneself.
John was very clear the denouncement of God as 'a concept measured by pain' was about the theme from "Girl," that religion teaches to suffer pain for later pleasure, and reflexively those suffering will reach out for God's help. When you hear John thoughtfully talking about his sense of a Higher Power, and the nature of theosophical teachings such as Heaven being within, the argument he was being capriciously provocative on serious spiritual issues falls apart.
It is more likely the agnostic projection was dubious, since they were two choirboys, one initiate seeking to confirm his faith in the real world, and another who lived role of Little Drummer Boy. The religious inferences in the music were there from the beginning, but in 'irreverent' forms that could not be touted as a testament of devotion. The working title of "And Your Bird Can Sing" was "You Don't Get Me," applying simultaneously to Cynthia for her gift of a mechanized caged singing bird, and the fans who could not hear his musical intentions towards subliminal communication, which could bring awareness of the Seven Ancient Wonders tangent thrown in lyrically.
"We tell the truth, but only an eight of it," was a McCartney quote. The lesson is to trust your ears, and filter through that auditory experience which remarks are genuinely useful. I knew when an interviewer asked John to explain where the three "Yeahs"s came from in "She Loves You" it backed him into a corner - he couldn't give the secret away simply because someone asked, so he muttered about not remembering. Paul's father had asked why not use proper English and have three "Yes"es instead - and the reply was that Jim was not getting it. They had another struggle with George Martin with the added sixth harmony, where he objected over the 'Andrews Sisters' sound. An engineer looking at the lyrics thought it would be awful, then felt enthused at the performance. By the time they figured out a critic calling it 'banal' was not a compliment, the critic was having to backtrack about what he 'really' meant. The songs are not simply lyrics set to a melody once fully arranged, there is a vocal-instrumental interplay that is unexpected.
Norbert K
Apr 28, 2022, 7:10:02 AM4/28/22
to
Norbert K
Apr 28, 2022, 7:11:37 AM4/28/22
to
Curtis Eagal
Apr 28, 2022, 9:21:14 AM4/28/22
to
Anyone can now hear the pro-religion single minute from John Lennon's interview with David Wigg (10:07 to 11:08 in the link below):
https://www.youtube.com/watch?v=db0Y4ul32U8
For those who do not want to be bothered listening to this rare, intriguing interview, here is brief transcription --
DW: "John, on one broadcast in France, you said that you were God. Were you serious about that? Do you really FEEL you are God?"
JL: "We're all God. Christ said The Kingdom of Heaven is within you, and that's what it means. And the Indians say that, and the Zen people say that: It's a basic thing of religion - We're All God. I'm not A god, or THE God - NOT THE God! - But we're all God, and we're all potentially divine, and potentially evil. We all have everything within us, and The Kingdom of Heaven is nigh, AND within us. And if you look hard enough, you'll see it."
DW: "Do you then believe in life after death?"
JL: "I do. Without any doubt I believe in it."
DW: "Have you had any special experiences that make you believe so convincingly?"
JL: "In meditation, on drugs, on diets, I've been aware of a Soul, and been aware of The Power."
*
Even the infamously controversial Maureen Cleave interview involved discussion of a book about Christ's Disciples, "The Passover Plot."
Norbert K
Apr 28, 2022, 10:00:38 AM4/28/22
to
Curtis Eagal
Apr 28, 2022, 2:50:42 PM4/28/22
to
"In America, they're fanatical about God. I know somebody over there who said he was an atheist. The papers nearly refused to print it because it was such shocking news that somebody could actually be an atheist... yeah... and admit it."
Then JL made the comparison with Australia and not being sports fans. There might be more in the full text, but basically McCartney thought it was outrageous that such a self-declaration would be censored. As I said the conversation rambled.
Norbert K
Apr 28, 2022, 4:12:22 PM4/28/22
to
Curtis Eagal
Apr 28, 2022, 5:18:43 PM4/28/22
to
"...wild, ravening multitudes, hundreds of policemen, mad rushes through the night in a black Austin Princess to a carefully guarded inn or chalet for a few fitful hours of sleep.
And then the cycle started all over again"...
"...a gang of convicts executing a well-rehearsed and perfectly synchronized prison break"...
Shepherd wrote the embedding was like being the "terrified hostage" of "four hunted fugitives"; as he observed their makeshift domesticity, "somewhere off beyond the walls of the theatre came the faint, eerie wailing of their worshippers, like the sea or the wind."
So while they projected agnosticism like it had been a pre-arranged stance (they were not church-goers, Donovan with the daily visiting of the temple within would get a reference later), Shepherd had already decided from witnessing the hysteria that extreme language was appropriate.
"They were mythical beings, inspiring a fanaticism bordering on religious ecstasy among millions all over the world...
I began to feel that they were the catalyst of a sudden world madness" that was independent of the group itself, and had to arrive then -
"If The Beatles had never existed,
We would have had to invent them."
The feeling had been reinforced in the short time he shared their "vast cloud of fantasy," through which they "managed somehow to remain remarkably human." --
"Night after night, phalanxes of journalists would stand grinning, groveling, obsequious, jotting down The Beatles' every word.
In city after city the local mayor, countess, duke, earl and prelate would be led in, bowing and scraping, to bask for a few fleeting moments in their ineffable aura.
They don't give interviews;
They grant audiences."
I only presumed Harrison was being sarcastic about Lennon as official religious spokesman (in the book 'prophetic'), since just before that John appended a statement with a declaration that he was speaking for the entire group, not just himself (regarding "more agnostic than atheistic"). Then Paul added, "We all feel roughly the same," as there were no objections to unanimity on the subject.
Lennon had lost his Uncle George, who gave him his first harmonica, and access to an impressive library in his childhood. Then Paul lost his mother Mary, praying that God would bring her back, then resorting to playing the guitar she had bought him. Then Paul gave guitar tips after watching John perform. When John's mother Julia was finally able to re-enter John's life in his late teens to help guide and support his band (after assisting his purchase of a guitar when Aunt Mimi would not), she was killed by a drunk driver - John tried a seance to contact her. Ringo had a series of adverse health incidents in his childhood. Harrison was skeptical of institutional authority figures, choosing to engage in a self-Confirmation. The promise of Christianity being real would not have been apparent to any of them, based on some life experiences.
Harrison later reflected on that period as looking for a Sign, then it years later ultimately struck him that
"The Whole Thing Is A Sign"
geoff
Apr 28, 2022, 5:29:12 PM4/28/22
to
those lines. Imagine the things he would be saying in this era to mock
the conspiracy/trump/etc rabble !
geoff
Curtis Eagal
Apr 28, 2022, 6:35:11 PM4/28/22
to
Religious beliefs and institutions foster submission to pain and resorting to false hope, that's a song basis. We could make Earth into Heaven if we lived the moral essence of religion rather than practice its dogma, that's another. Those didn't emerge from the same circumstances, but that does not make one the witness against the other, they are both genuine for their respective times.
The genius of Lennon is in how he used sound to process what Christian society professes to revere into a captivating format, so his group was monitoring the unprecedented feedback, while they were picking up on various trends to infuse their productions. It was known at the outset the enterprise could only be protracted to a finite series of stages, so it was never his belief that mattered - it was a test of our Faith collectively. Once the subliminal becomes conscious it frequently is a sound-dramatization of the Christ story, gospel facts over which there is no possible debate.
The basis for "Baby's In Black" was not only a children's rhyme: the colors black and blue in the lyrics obviously suggest bruising. The guitar riff ends with a deep note that approximates the word 'Bruise'; the hidden subtext is the passage in Isaiah where the Messiah is foretold as One who would heal through His bruise - and the variations of the riff become alternated in the instrumental middle section with a unique few bars tonally suggesting,
'...According to Isai-ah,
A He-brew
Pro-phet...'
The two instrumental breaks in the slow ballad "If I Fell" progress from a stilted "Cho-sen Few' to the final ascent implying,
'I Need A
Cho-sen
FEW'
In the film "A Hard Day's Night" John pretends Ringo's drumming could be improved, offering nonsense advice, with Paul offering a ridiculously fast example on bass guitar, whose heavy rhythm conveys,
'EVEN THOUGH
THE MANY
ARE CALLED!'
It is like a mismatched flamenco style, a tonal hidden message for posterity that only further restates what Jesus prophesied.
Norbert K
Apr 29, 2022, 7:27:02 AM4/29/22
to
John wasn't thinking straight.
geoff
Apr 29, 2022, 9:09:08 PM4/29/22
to
anybody was anything that would shock or be controversial - whether he
actually believed it or not. Not only during that phase, but pretty much
any time.
geoff
Norbert K
Apr 30, 2022, 7:25:42 AM4/30/22
to
I still think John had a lot more sense in his pre-LSD, pre-Yoko, pre-heroin-and-methadone existence.
It would have been interesting if John were talking to someone who had a basic education (which includes biology) and who wasn't awestruck by wealth & fame -- somebody who could challenge John's loopier assertions. John needed a cohort who could challenge him -- not Yoko with her superstitions or Mintz with his sycophantism.
One of the Fox News idiots once asked Richard Dawkins why monkeys weren't transforming into people, and Dawkins was outraged. "That question is spectacularly stupid! You might as well as why people aren't turning into monkeys!"
geoff
Apr 30, 2022, 8:42:55 AM4/30/22
to
Trump's equivalent would not have been.
geoff
Norbert K
Apr 30, 2022, 9:22:01 AM4/30/22
to
I live in a part of the country where the public school systems aren't any good. A lot of people embrace Trump as their role model and devote their lives to false bragging and paranoid delusions.
RJKe...@yahoo.com
May 2, 2022, 10:12:27 AM5/2/22
to
On Thursday, April 28, 2022 at 9:21:14 AM UTC-4, eagali...@gmail.com wrote:
Dennis Rowan
May 2, 2022, 10:58:03 AM5/2/22
to
Curtis Eagal
May 4, 2022, 10:26:33 AM5/4/22
to
So bearing a fragment of divinity carries responsibility that one's lifetime(s) might not manifest as righteous acts.
Any religious statement will be controversial until the soul separation (Reaping) events make the esoteric explicit - but of course then it will be too late to repent and convert.
Remember that JL from 1964 was saying The Beatles were not show business, it was a task that once performed would be finished, there could be no gimmicks or tricks to keep things going (despite what people thought), and that the project should be completed in about five years (i.e., circa 1969). In 1980 he quoted the Bible that there is nothing new under the sun, so an existing story as subtext source was being insinuated.
"If you want to use The Beatles or John and Yoko, people are expecting us to do something FOR them - that's not what's gonna happen: because THEY'RE the ones that didn't understand ANY message that came before anyway, and they're the ones that will FOLLOW Hitler, or follow the Reverend Moon, or whatever. FOLLOWING is not what it's about."
More to your issue: "I think the idea of leadership is that old Judao-Christian idea of the separateness of God - FROM us, as being OUTSIDE of us - the Other. We ARE The Other: there is only One. So therefore, people kind of expect more from us than they expect from themselves... We take responsibility for the WHOLE THING, because we're ALL responsible for the whole thing."
A reunion of his former band suggested the crowd would be "expecting God to perform."
The rooftop concert controlled the elements of their actual concerts: they could not be shouted down, their personas and movements were not a distraction from the music, and the excuse the fans already had the records since the material was new.
Canonical texts attributed to Henoch include a dream involving animals that forecast the entire course of human history, from Cain killing Abel to the Apocalyptic period. It has correct chronology and scenarios about the ascension of Elijah, Christ and His disciples, Constantine's three sons, etc. leading into the Nazi Holocaust: the next passage could be the first instance of Isaiah 6, regarding an inability to properly process audio-visual material, which Jesus reiterated. The story has one of the eyes-open sheep group being killed, then someone represented as ram also opens his eyes and sprouts a horn of Faith, which many try to break. Ultimately an Abyss opens in the physical and astral dimensions simultaneously, into which the 'blind sheep' are thrust with their unrighteous leaders, along with the demons who were actually guiding them.
The open eyes signify awareness of the subliminal aspects, to which the blind sheep remain oblivious.
The old tunes brought out for 1969 had some musical communication that was too fast and unfamiliar to expect conscious comprehension by the people in the street. The opening of "Dig A Pony" just seems like a rapid rambling guitar passage that repeats - but without giving away the startling whole message, the first portion sounds like,
'Jesus was a Leader -
THE Apostle Leader -
But without...'
The next five transcribed words completing that musically hidden remark is essentially dismissive of those thinking declaring themselves a follower is all that was required.
George Harrison in "Something" with the line, "You know I believe, and how," was announcing his self-confirmation was complete - certainly enough had occurred to reinforce his faith. Yet with John's "God" we have the contrasting, cynical view, actually a 'Crisis of Faith," which takes into account the public reaction in a more practical way - yes, there was a big reaction, but not the one that was anticipated, of clarity with conceptual esotericism. John knew that although his band was intellectual, that was not their appeal.
John proverbially described how The Beatles were in the crow's nest or at the masthead, but we are all in the same boat.
Curtis Eagal
May 4, 2022, 12:44:56 PM5/4/22
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However I noted when Yoko drifted in herself, she said something very strange about her husband's former band:
"They were like mediums.
They weren't conscious of all they were saying,
But it was coming through them."
This implies John had told her about something meant to be heard one way that inadvertently had a parallel audio transcription manifest, perhaps several instances. When an interviewer asked John if he was upset about people reading things into his work that were not there he replied,
"It IS there.
It's like abstract art, really."
In 1967 Paul McCartney told David Frost,
"Everything has a message -
But you can't just pick out one little thing and say,
'Is THAT their message?'
Everything we do is never intended to have a great deep message -
But it HAS."
It was PM who made a distinction about the passage of time affecting perception of JL's controversial Cleave interview.
"Was it a mistake?
I don't know.
In the SHORT term, yes.
Maybe not in the LONG term."
Harrison thought Christians feeling they had a franchise on Jesus could be false representatives, indoctrinating him from an early age; but the view in India was to withhold belief from ANYTHING unless you have direct perception. So George embraced the notion of discovering esoteric truth for himself through books and mystics.
The messages and sequencing from the second side of the "A Hard Day's Night" album demonstrate that Lennon was acutely aware of the intricacies of Mary Magdalene's encounter with the Risen Christ at the tomb, where when she attempted to touch Him, Jesus basically responded, "You Can't Do That"! John in the middle plays guitar in the style of Wilson Pickett, subliminally elaborating that Ascension to the Father was required before He could be physically touched. And there is the vocal line, "If they'd seen you talking that way they'd laugh in my face," that transmutes the ending into "...they'd laugh at my Faith."
The vocalists in some tunes have lyrics that allow for role-playing, sometimes as inanimate objects - the next stage in my book series covers the "Help!" phase, and "Another Girl" seems to be from the point of view of The Cross itself, temporarily carried by Simon of Cyrene, yet with a destiny linked to the Lord. Cyrene is known for ruins very similar to those used for the song scene in the Bahamas portion of the film.
Lennon was extremely lucid regarding his group's collective accomplishments.
"With The Beatles, the records are the point,
NOT The Beatles as individuals.
You don't need the package,
Just as you don't need the Christian package or the Marxist package to get the message.
People always got the image I was an anti-Christ or anti-religion.
I'm NOT.
I'm a MOST religious fellow.
I was brought up a Christian and I only NOW understand SOME of the things that Christ was saying in those parables...
The people who are hung up on The Beatles and the 'Sixties dream MISSED the whole point when The Beatles and the 'Sixties dream BECAME the point."
The best evidence that Paul McCartney wants people to reach that enlightened level is the subliminal content of "Old Siam Sir" from the "Back To The Egg" (the last for Wings). The manic opening suggests a repetition of,
'Broke up, Broke up!'
As that is going a single note intrudes, implying,
'...But -'
Then the drums seem to finish that thought -
'BUT NOT -
SETTLED!'
Then a vaguely Oriental theme chimes in, yet the tonal melody suggests,
'When The Beatles Are Consummated,
They'll Be Known As
"A Band Subliminal"'
This follows the vocal line melody and repeats frequently.
A powerful guitar riff quasi-vocalizes,
'REAP What's Sown By "The Legend"!'
This repeats until undergoing a variation -
'REAP What's Sown By The -
Sown By "The Myth"!'
The drum sequence also has a variation in the middle when the opening bit repeats, to imply instead,
'BUT NOT -
CON-SUMMATED!'
The mood cools in a few quietly played guitar chords, suggesting,
'One Step Away...'
And the guitar flourish afterwards seems to append,
'...From Consummating'
This appears deliberate, a belief that the "long term" enlightened perspective would emerge eventually, because The Beatles' collection of songs already efficiently planted something to be discerned later.
curtis...@gmail.com
May 4, 2022, 3:11:08 PM5/4/22
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Norbert K
May 5, 2022, 7:24:46 AM5/5/22
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Yeah, there are "modernized" versions of creationism which try to rationalize that each "day" really refers to a billion years or somesuch. The only problem is that there is nothing in the original creation myth to indicate such symbolism.
> However I noted when Yoko drifted in herself, she said something very strange about her husband's formernd:
>
> "They were like mediums.
> They weren't conscious of all they were saying,
> But it was coming through them."
>
> This implies John had told her about something meant to be heard one way that inadvertently had a parallel audio transcription manifest, perhaps several instances. When an interviewer asked John if he was upset about people reading things into his work that were not there he replied,
>
> "It IS there.
> It's like abstract art, really."
You're giving Yoko a lot more credit than I am willing to give her. Yoko didn't witness the Beatles at work until 1968, and even then she appears to have sat there resentfully, feeling she was the one who belonged in front of the microphone. She didn't know or care about their creative processes. She was out to promote herself.
> "They were like mediums.
> They weren't conscious of all they were saying,
> But it was coming through them."
>
> This implies John had told her about something meant to be heard one way that inadvertently had a parallel audio transcription manifest, perhaps several instances. When an interviewer asked John if he was upset about people reading things into his work that were not there he replied,
>
> "It IS there.
> It's like abstract art, really."
Yoko's talk about the Beatles being "mediums" makes me cringe. It's on par with her admission that she bought Egyptian artifacts for their "magical powers," or her having the interviewer (David Sheff) vetted by her astrologers. She was mired in superstition and not of sound mind.
RJKe...@yahoo.com
May 7, 2022, 2:07:39 PM5/7/22
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That's one of Paul's most underrated albums.
Curtis Eagal
May 16, 2022, 3:16:39 PM5/16/22
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Despite writing a series of prophecies, Nostradamus did not want to be called a prophet.
I think what the Foursome collectively achieved during that precise period in that exact way, particularly with the timing of Jerusalem being returned to Israeli control from Jordan as a result of the Six-Day War mid-1967, if all resources are utilized, plays into a conglomeration of prophecies that do not require the protagonists to do anything as mundane as mystic channeling. These are end-times inferences regarding the confirmation of a divine covenant where Daniel's Seventy Weeks prophecy dovetails with Revelation 11 for the final week, a seven-year period broken into two nearly equal parts.
The transcription I gave for the synthesizer part in "Maxwell's Silver Hammer" that seemed to challenge with martyrdom does not seem to have been a conscious message, but inexplicably co-existing as audio-parallel with what they were intentionally trying to get across. A true testimony to Jesus would assimilate the spirit of prophecy. Nostradamus obviously picked up their future influence in I.14, the assassination of John in I.57, the knife attack on George in I.52 and II.98; but there are even more subtle references, like VI.20 where a 'make-believe union' lamentably only has a short duration, inducing limited personal change yet a broader sense of cultural reform. Remember, The Beatles refused to play to segregated audiences, there was the ongoing civil rights movement.
I should mention this recent total lunar eclipse (15 May 2022) could be immediate precursor for something unprecedented: the 21 May Mercury solar conjunct will precede by 12 hours a lunar adjacency with Neptune, then conjunction with Saturn five minutes later. The scenario of a Great Shaking has these elements associated separately, like disjointed puzzle pieces. The Third Secret of Fatima outlined a papal ambush consistent with V.22, whose enumeration matches 22 May, feast day for Saint John of Parma (mentioned as a location) - the 'two reds making cheer together' could be Mars with Jupiter (and its Giant Red Spot) on 29 May.
The I.16 quatrain I deduced to predict military killing of civilians from 28 January 2022 (in August 2006) has a last line that parallels Revelation 18:8, where God has commanded three punishments - a plague that causes mourning, famine shortages, and death, illuminated in I.16 to mean 'by military hand.' There was a further order for a double cataclysm, while being 'remembered before God.'
It is only those who learn a New Song (probably a collaboration between 'Moses and The Lamb') on an esoteric level who will comprise the first group of 144,000 to inherit the divine orders lost by the dark forces. As McCartney said, "Music is very mystical."
Although far from that stage in my series, I can say not all of the "Let It Be" period songs concerned the Nativity subliminally. Harrison's approach seemed very close to Lennon-McCartney until the Eastern instrumentation allowed his theological knowledge to explode into extremely sophisticated concepts that were far advanced from the more basic idea-representations that were the typical format. Neither of his songs then were focused on the pregnancy of Mary, and the lyrics only obliquely relate to the musically constructed messages (Lennon does this with slide guitar in "For You Blue"). But if one were to get a parallel message that had a genuine prophetic meaning, that could be a cosmic consequence.
The descending guitar part from "I've Got A Feeling" that got special attention is where Harrison got the spotlight for the Nativity element, played with an ending like,
'...The Virgin Maid!'
The project had them all contributing to a unified audio performance to get these ideas across, George was struggling to remain a relevant participant in providing his unique skills. Any acknowledgment of prophetic fulfillment would have been of limited use towards completing the multitude of steps the overall task required. George offers the opinion whatever they do would work out, trusting in serendipity to make things right, as it seemed to before.
Curtis Eagal
May 16, 2022, 3:35:21 PM5/16/22
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There was a sad growing apart with Cynthia, evident in the song whose working title was "You Don't Get Me," emerging months before John met Yoko in 1966. Yoko gave John a mental workout he compared to his collaborating with Paul. I am looking at the timing of their meeting on 8 November 1966, against the final Beatle album release date of 8 May 1970: that is exactly 3.5 years to the day, timing of the second half of the critical seven-year period, given as 1260 days. The first half for 'sacrifice and oblation' was forty two months, matching the debut album month of March 1963 continuing through the end of August 1966 (i.e., the touring period as published artists).
Yoko did not have to be known for her vocal modulation, but instead there are implications consistent with Bag Productions, white clothing, wrapped in sackcloth events etc., and the mission of peace signified by olive trees. And that association emerged in the latter half of the period, just as foretold. So the very thing that people thought was tearing the band apart was a sign the second stage was underway.
Curtis Eagal
May 16, 2022, 4:17:39 PM5/16/22
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Ultimately Ringo had a contracted film schedule that would not allow for much wavering on those plans. John thought the visual component could be liberating: "It takes all the weight of 'Where's the gimmick? What is it?' out of it, 'cause you just, you know -
God's the gimmick."
However, Lennon had a vision placing a lot of pressure on a single moment: John wanted to synchronize a certain part of a certain song with the arrival of dawn, likely using the start of a new day as a metaphor for Christ's emergence into the world.
"I'd be thrilled to do it, you know,
Just timing it so's the Sun came up -
{snaps fingers}
...Right on the middle eight."
Curtis Eagal
May 16, 2022, 6:25:01 PM5/16/22
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The BTTE inner sleeve had the dome of Chapel where the Holy Shroud resides in Turin, designed by Guarino Guarini.
RJKe...@yahoo.com
May 18, 2022, 11:01:32 AM5/18/22
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What do you think, is it a solid album? I remember that the critics were vicious.
RJKe...@yahoo.com
May 21, 2022, 4:45:47 PM5/21/22
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What was up with the reviewers and McCartney in the 70s? Were they angry that he wasn't the Beatles? He sure came closer than Lennon ever did as a solo artist!
Message has been deleted
Curtis Eagal
May 22, 2022, 1:36:21 PM5/22/22
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'Virgin Has A Sacred Body...'
The supergroup performs the "Rockestra Theme," mostly an instrumental, and there was recently a radio show offering a prize for the vocal refrain, which somebody won by saying it was about not having 'any dinner' - but even if that were technically true, I still hear something about God never having any dealing with the devil (which could be deliberately close-sounding to what what actually sung).
Critics generally care about how music makes listeners feel as representative of certain genres; The Beatles turned that around by shifting between and inventing genres, while building some hidden message itself into the various musical structures, which in aggregate induces a sustained subconscious satisfaction. So the average reviewer lacks the observational tools to evaluate the tunes on a comprehensive esoteric level, doing better by considering the cultural stylistic implications, which is highly subjective.
Remember, after "Back To The Egg" McCartney had nowhere to go with the Christian format but to return to the beginning, which was actually the conclusion, i.e., The Ascension of Jesus - and the follow-up was "McCartney II," which featured the hit "Coming Up," whose obsessively repeated lyric obviously suggests a rising or ascending.
geoff
May 22, 2022, 9:02:08 PM5/22/22
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On 23/05/2022 5:21 am, Curt Josephs wrote:
> I've processed a lot of what the critics focus on, and it does not mesh with their intentions. The Nativity element appears in the last track, "Baby's Request," done for the Mills Brothers, with the instrumental bit starting,
the bizarre religio-maniacal fanaticism that is totally in your own mind
and not based on anything real.
Whichever of your 3 or 4 (at least) names you use to carry out your
masturbatory one-self 'discussions", please give it a rest.
geoff
>
> 'Virgin Has A Sacred Body...'
>
> The supergroup performs the "Rockestra Theme," mostly an instrumental, and there was recently a radio show offering a prize for the vocal refrain, which somebody won by saying it was about not having 'any dinner' - but even if that were technically true, I still hear something about God never having any dealing with the devil (which could be deliberately close-sounding to what what actually sung).
>
> Critics generally care about how music makes listeners feel as representative of certain genres; The Beatles turned that around by shifting between and inventing genres, while building some hidden message itself into the various musical structures, which in aggregate induces a sustained subconscious satisfaction. So the average reviewer lacks the observational tools to evaluate the tunes on a comprehensive esoteric level, doing better by considering the cultural stylistic implications.
> 'Virgin Has A Sacred Body...'
>
> The supergroup performs the "Rockestra Theme," mostly an instrumental, and there was recently a radio show offering a prize for the vocal refrain, which somebody won by saying it was about not having 'any dinner' - but even if that were technically true, I still hear something about God never having any dealing with the devil (which could be deliberately close-sounding to what what actually sung).
>
>
> Remember, after "Back To The Egg" McCartney had nowhere to go with the Christian format but to return to the beginning, which was actually the conclusion, i.e., The Ascension of Jesus - and the follow-up was "McCartney II," which featured the hit "Coming Up," whose obsessively repeated lyric obviously suggests a rising or ascending.
You idiotic nym-shifting conversation with yourself is only surpassed by
> Remember, after "Back To The Egg" McCartney had nowhere to go with the Christian format but to return to the beginning, which was actually the conclusion, i.e., The Ascension of Jesus - and the follow-up was "McCartney II," which featured the hit "Coming Up," whose obsessively repeated lyric obviously suggests a rising or ascending.
the bizarre religio-maniacal fanaticism that is totally in your own mind
and not based on anything real.
Whichever of your 3 or 4 (at least) names you use to carry out your
masturbatory one-self 'discussions", please give it a rest.
geoff
Curtis Eagal
Jun 2, 2022, 2:00:08 AM6/2/22
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Take "Yes It Is," for one example. The lyric, "Scarlet were the clothes She wore/ Ev'rybody knows, I'm sure" comes directly from Matthew 27:28 '"They stripped Him and put a scarlet robe on Him," that's why the opening with volume pedal control on the guitar was played to sound like,
'A
King's
Robe'
It simply does sound that way because they made it so, and the coda is a variation on that theme.
Your being willing to deny it all, piece by piece, does not make it go away: I have perceived it, and you cannot make that 'unhappen.' While I was doing the task, I thought it could never be done by a huge think-tank even over decades, because they would second-guess themselves.
Consider the riff in the first track on the first album, "I Saw Her Standing There": it sounds like (and that's a phrase that should be used frequently),
'Approaching Two Thou-'
Then in the coda it gets the complete message in variation:
'Christ Jesus Is
Approaching Two Thou-
SAND!'
The rambling guitar solo there actually gives the Creed:
'After preaching three years in public,
Romans had Him executed...'
Even the image of two cards being held up before Ringo's face at the end of "I Should Have Known Better" in "A Hard Day's Night" plays into the subliminal agenda.
Peter Fonda upset George Harrison further instead of calming him down in Benedict Canyon, infuriating Lennon, who later used Fonda's referring to his near death experience - but the lyrical phrasing of making someone feel like they had never been born is straight from Jesus speaking of His betrayer doing better by never being born, in the album "REVOLVER," which is a synonym for "BETRAYER."
If you chose to disregard what Lennon said of his own music, there is little I can do to set you on the right path.
Things are not as simple as fans presume, it was probably George Harrison who instigated the avant-garde experimental music collaboration with John and Yoko on Revolution 9, which McCartney tried to have eliminated from the White Album while knowing it truly belonged there.
Curtis Eagal
Jun 2, 2022, 3:33:24 AM6/2/22
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'HIDE
THE
SEEKER!'
The subliminal resolution of that scene is in Harrison's "Long Long Long." Those apocryphal stories explain the expansive, stark format for the White Album: making the parallels is simple with close listening - McCartney accomplishes a vocal marvel in "Why Don't We Do It In The Road?" by suddenly paraphrasing a rather shocking passage of the Infancy texts. The gibberish exhortation to "Take Ob-La-Di-Bla-Da" is meant to be taken for what it sounds like instead of what it actually says, just like "Beep Beep, mmm, Beep Beep, Yeah" is not meaningless onomatopoeia: the genius is how close it sounds to what they apparently intended to convey.
The consensus impression is that Prudence Farrow was the inspiration for "Dear Prudence," the sister of Mia Farrow who seemed to go overboard on meditation in the Indian ashram: however the riff subliminally invokes an obscure story prior to Christ leaving for His Mystery Trip. The acoustic guitar picking technique they had learned from Donovan in India became a major motif of the songs, with some incidental orchestration in various tunes. The Beatles were presenting George Martin with a let-down from the musical peak he had been exhilarated by with tracks like "Strawberry Fields Forever" and "A Day In The Life."
Having begun with the superficial level of Ascension and Resurrection mechanics (even the "week or two" from "Do You Want To Know A Secret" has a gospel derivation), they peaked with the Ministry, then after the Lost Seventeen Mystery Years (when Jesus toured India), The Beatles yearned to find the purity that could evoke the Infant Lord, guided by obscure texts whose critical points notably emerge. The working title was "Music From A Doll's House," concentrating on the childlike regression theme - so it was not surprising a track would refer to a playground slide (Helter Skelter).
I saw a short film of the White Album sessions when "Let It Be" was first released; they spoke a plan to film those before the Get Back sessions. They were wearing their brown shirts as in the end of the "Yellow Submarine" animated film. By then they actually recorded around the clock in the studio.
The first song The Beatles recorded on a Sunday was the Lennon-McCartney tune given to Harrison, "I'm Happy Just To Dance With You" - the final backing chorus suggests,
'Lord Of -
Lord Of -
HOSTS!'
In the 1964 film, the hinting banter after the song includes expressive use of the interjection 'HO!--'
Lennon as a disc jockey playing his band's old songs introduced one as being designed to be interesting well into the next century.
McCartney said if people did not understand their psychedelic music then, in about fifty years someone might figure it out.
Message has been deleted
Curtis Eagal
Jun 2, 2022, 5:34:50 AM6/2/22
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In an interview about "Revolution 9" an interviewer asked John if it was about death, although he had implied it was apocalyptic - Lennon's answer was if it meant that for them, that was what it meant for them. They would say they knew what they meant by their songs, and people usually thought they got things out of their music that were not there. while missing what was deliberate.
I am trying to present not only what the music subliminally suggests (as already comprehensively determined), but also the conditions under which it was produced, where the itinerary was incredibly arduous during the touring years, as well as contentious public reaction and notoriety. How people reflected their energy is part of the story, the subliminal analysis is empirical (meaning actually experienced), within a broader musicological exploration, including lyrical intersections. At every stage key words force the conscious mind to a minimal level of comprehension.
The operative word 'up' from the Isley Brothers' "Twist And Shout" for the Ascension.
The Homecoming theme for the Risen Christ visiting the Apostles, using double-tracked vocals for a spectral effect.
Mary Magdalene being told "You Can't Do That" when attempting to touch the Risen Christ at the Tomb; they performed a tomb scene from "A Midsummer Night's Dream" at the same stage.
The black and blue color juxtaposition of "Baby's In Black," for bruised Christ in the Sepulcher.
"Yes It Is" in the next cycle invoking Jesus mocked with regal scarlet attire at His Crucifixion; and angular arm positions on the "Help!" album cover.
Shrubbery of the Gethsemane Garden visualized for "Rubber Soul" (shot at John's home), the British fourteen-song version providing the full-spectrum representation of the Agony, where the Lord's sweat became as blood. A schoolmate in the 'Seventies relayed the rumor the underlying concept was the Zodiac, which I figured had an opening and closing tune to make up the quota. Each song serves a fully realized purpose, even "Wait," a holdover from the prior "Help!" sessions. The "Beep beep" nonsense phrasing from "Drive My Car" subtly uses 'Pete' as the name of Apostle Simon, so the subconscious jolt is a discourse on his wavering during that critical period, similar to the treatment in "Day Tripper," where an apostolic falling away from the teachings was reported at Christ's arrest.
"Doctor Robert" has the lyric, "Take a drink from His special Cup," for the Holy Grail of the Last Supper.
The Beatles transfigured themselves reborn into Sgt Pepper's LHCB, the consequence of feeding the multitudes is dealt with in "When I'm Sixty-Four," i.e., as according to scripture the song relates to a movement to make Christ King afterwards ("Will You Still Feed Me?"), which was problematic under Roman occupation.
Each successive project had a new impetus and was subjected to new approaches, and the results have astounded the world for good reason. McCartney explained they would have to write songs to fill in gaps, which did not necessarily make them musically inferior. Since it is the arrangement that comprises the subliminal content, in tandem with vocal material, they could adapt cover versions to particular purpose; the debut stage only seemed innocuously primitive with various scatting, listening again with the proper transcriptions could be an eye-opening, jaw-dropping experience.
As Lennon was earlier quoted, some people are geared towards not acknowledging certain things, even if they appear self-evident.
Norbert K
Jun 2, 2022, 7:48:49 AM6/2/22
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> Take "Yes It Is," for one example. The lyric, "Scarlet were the clothes She wore/ Ev'rybody knows, I'm sure" comes directly from Matthew 27
> Peter Fonda upset George Harrison further instead of calming him down in Benedict Canyon, infuriating Lennon, who later used Fonda's >referring to his near death experience - <snip>
George was having a bad acid trip on this occasion; he thought he was dying.
Peter Fonda tried to calm him down by telling him that death was not to be feared. My understanding is that *Lennon* overheard parts of what Fonda was saying to Harrison and misunderstood it; Lennon was disturbed by it. He demanded of Fonda: "Who put all this sh*t in your head?" If he had given the young actor a fair listen, he'd have known that Fonda was speaking from personal experience.
I have no heard before that Fonda's statements made Harrison more upset. Can you support that?
Lennon's and Harrison's LSD experiences seem to have been bad as often as not. So why, I wonder, did they keep taking the drug? Did they assume it would be the source of some sort of mystical insight? I suspect so.
Curtis Eagal
Jun 2, 2022, 12:07:10 PM6/2/22
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Long after 'Bicycle Day' that compound was over-purchased by a government agency seeking a brainwashing medium; following a variety of experiments on various subjects, it was determined useless for the intended purpose, since people were essentially 'brainwashing' themselves. Currently there has been allowance for the terminally ill to come to terms with death through the psychedelic experience. The effect allows parts of the brain that do not usually communicate to interact, so that sounds can be seen, and colors can be heard, etc. A musician might consider such a phenomenon life-changing.
On the paranormal program "One Step Beyond" the host tried ESP tests before and after ingesting 'sacred mushroom': before, he failed like a normal person; after, a strobe light flashed incredible images behind closed eyes, and the previous tests were passed without explanation - it was as if he could somehow feel the correct answers.
The radio guest described how they had sugar cubes wrapped in foil, and Harrison had taken more than others were advising; it was also the only instance known when Starr ingested the substance. McCartney refused it when Harrison offered, later explaining he was taking a couple years to think about it; then an interviewer asked about it, and he could not hold back from making his admission.
Two of the Rolling Stones had been arrested at a party Harrison attended, after George left, because the British police did not want to bust the charismatic Beatles before the threatening Stones: that was the meaning of the line from "I Am The Walrus," that goes, "Semolina Pilchard, climbing up the Eiffel Tower," ridiculing the constable in charge of the pop-star-sting, a Sergeant Pilcher.
Curtis Eagal
Jun 2, 2022, 3:11:04 PM6/2/22
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McCartney has said "Got To Get You Into My Life" was somewhat about cannabis. One of the few Beatle tracks with questionable participation from him is "She Said She Said." I remember from the era (before tv was in color) a news clip of the group seated in a room (with a few women, could have been fans or wives) performing the song - if it could be reviewed, my guess is someone male stands and exits in the full clip, from the derived song subtext.
The lyrical lines, "I know that I'm ready to leave/ 'Cause you're making me feel like I've never been born," indicates John is singing from the point of view of Judas Iscariot, while leaving the Last Supper to betray Jesus. Even though the lyrics seem basic, the REVOLVER sessions was the start of playing back each track in reverse: the fade-out heard backwards has their voices coherently incanting,
'Most people say they know enough...
Most people say they know enough...
I think there's few who know enough...
I think there's few who know enough"
Curtis Eagal
Jun 2, 2022, 4:16:39 PM6/2/22
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The thirty pieces of silver bounty was foretold in Hebrew prophecy. In the "Help!" era, on the flip side of a single, "I'm Down" is their musical picture of the ignominious end to Judas Iscariot - without giving away the shocking details that are instrumentally articulated, compiled for Book 6 (title, full outline and artwork completed), a brief flourish on electric piano as the rocking tune is winding down paraphrases a gospel passage -
'Buried in a FIELD -
For the POTTER!...'
Among the available sources is Matthew 27:5-10 -
<< So Judas threw the money into the temple and left. Then he went away and hanged himself.
6 The chief priests picked up the coins and said, “It is against the law to put this into the treasury, since it is blood money.” 7 So they decided to use the money to buy the potter’s field as a burial place for foreigners. 8 That is why it has been called the Field of Blood to this day. 9 Then what was spoken by Jeremiah the prophet was fulfilled: “They took the thirty pieces of silver, the price set on him by the people of Israel, 10 and they used them to buy the potter’s field, as the Lord commanded me.” >>
The Beatles knew how to stick with The classic story.
Curtis Eagal
Jun 2, 2022, 8:21:09 PM6/2/22
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"When I was a BOY,
Ev'rything was right..."
One of the Infancy stories had Child Jesus called upon to exorcise the devil from a boy near His own age, named Judas Iscariot. Things went awry, and Jesus was bitten where the lance would later pierce. So while the lyric sounds innocuous, it serves to insinuate a sinister yearning; the aural depiction of the failed exorcism episode appears to be the western tune "Rocky Raccoon," where the hero takes a gunshot from the villain Dan, the tribe of Israel said to be related to the Antichrist. That this could be foreshadowed in the 1966 track demonstrates extensive research beyond the particular phase being recorded.
There is a sarcastic tone to the line, "Even though You know what You know," dispensing with anything The Lord could teach him. There was an opportunity to trade The Master for a bag of coins that Judas found irresistible.
The solar eclipse during the Crucifixion surfaces in the line from "Yesterday," "There's a shadow hanging over me."
The nomadic existence Jesus lived during His Lost (Mystery Tour) Years was neatly summarized in "Hello Goodbye."
But when the Nativity period was reached in April 1968, a Marian apparition began being witnessed in Zeitoun, Egypt, at the Coptic church built where it was traditionally believed The Holy Family had moved to evade Herod's ordered slaughter of young males, warned by Saint Joseph's dream. The Marian manifestation continued for a lengthy period, witnessed on many evenings by huge mainly Muslim crowds, and was photographed. The pleasant visualizations were in contrast to the terrifying Miracle Of The Sun that had climaxed the Fatima apparitions of 1917 (child visionaries had earlier been threatened with being boiled in oil to force recantation).
Curtis Eagal
Jun 3, 2022, 1:05:22 AM6/3/22
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There was an interesting discussion in the Get Back documentary regarding sheet music generated from their recordings; comments were made the chords were apparently wrong, questions about which department was generating it, why there would be any demand, etc. Classical notation is a rather poor method for conveying the precise articulations of various prodigious instrumental performances - Beethoven's scores were notoriously idiosyncratic.
If people say the most fantastic artistic accomplishment in the history of western culture can be dismissed for being subliminal-conceptual, they are telling me who they are, and I believe them. Obviously I could reveal major details here that would simply be shrugged off as unsolicited opinions. Being determined to remain oblivious to what was subliminally hidden in the music does not protect its legacy: the music has a great legacy because its destiny is tied to its subject.
Norbert K
Jun 3, 2022, 7:37:06 AM6/3/22
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The best thing I can come up with is that Lennon's implying he never had to worry about such stuff when he was a boy because he never encountered anyone who made such claims.
Message has been deleted
Curtis Eagal
Jun 3, 2022, 1:04:35 PM6/3/22
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This is one case where the lyrics are straightforward, the wording of the Fonda statement simply inspired a certain take on what was already scheduled.
The strong opening riff is unique, the main riff is a variant, and there is a unique guitar part played more quietly leading into the vocals entering. Since the strong riffs would be redundant to what the lyrics are already saying, I can reveal instead the quieter parts that demonstrate the esoteric depth.
The first quiet part in the opening, after the louder bit, like a jangly rhythm suggests,
'He ate The Morsel -
And left The Supper'
Jesus had been speaking about one of the Apostles betraying Him - the version with the full scenario is in John 13:21-30:
<<
21 After he had said this, Jesus was troubled in spirit and testified, “Very truly I tell you, one of you is going to betray me.”
22 His disciples stared at one another, at a loss to know which of them he meant. 23 One of them, the disciple whom Jesus loved, was reclining next to him. 24 Simon Peter motioned to this disciple and said, “Ask him which one he means.”
25 Leaning back against Jesus, he asked him, “Lord, who is it?”
26 Jesus answered, “It is the one to whom I will give this piece of bread when I have dipped it in the dish.” Then, dipping the piece of bread, he gave it to Judas, the son of Simon Iscariot. 27 As soon as Judas took the bread, Satan entered into him.
So Jesus told him, “What you are about to do, do quickly.” 28 But no one at the meal understood why Jesus said this to him. 29 Since Judas had charge of the money, some thought Jesus was telling him to buy what was needed for the festival, or to give something to the poor. 30 As soon as Judas had taken the bread, he went out. And it was night.
>>
The theme of the quieter motif recurs bass-heavy during the 'boy' sequence, thusly -
"When I Was A BOY -"
{'The Morsel
SWALLOWED DOWN'}
"Ev''rything was ri-ight...'
{'Had
SWALLOWED DOWN'}
"Ev'rything was ri-ight..."
So the subtlest part is to bring in the concept from John 13:26-27 about the morsel that allows Judas to be re-possessed by Satan, so the throwback to the exorcism from their childhoods is apparent subtext.
Punctuate the lyrics properly -
"SHE said, 'You don't understand what I said -'
I said, 'No, no, no -
You're WRONG!'"
It is Judas cutting Jesus off from providing any explanation, the time for discussion is over as far as he's concerned. It is expressing through role-playing the contempt Judas had for the Lord at the time of betrayal.
"SHE said, 'I know what it's LIKE to be dead,'
'I know what it IS to be sad' -
And SHE's making me feel like I've never been born!"
It is a musical dramatization of Iscariot mocking the Savior's most controversial teachings, as Satan is entering him to perform the damnable task of the actual betrayal. John Lennon spoke about how concerned they were with song sequencing on albums, closing and opening sides with strong material. The next song opening Side Two is "Good Day Sunshine," where the piano bit in the middle deftly continues the story with how some other Apostles had not caught the betrayal hint, and believed Judas had departed to make preparations for another supper at a later date.
geoff
Jun 3, 2022, 9:44:00 PM6/3/22
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medical insurance.
geoff
Curtis Eagal
Jun 4, 2022, 1:36:43 PM6/4/22
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Perhaps I'm just so far ahead that it is impossible for someone like yourself to appreciate anything that presents as so complex, which was the trick of The Beatles, concealing their advanced intellect into something accessible. This is the deconstructing of that, so it is a cerebral approach to demystify the creative process. It is highly disingenuous to discard a perfect solution capriciously and with malice - if all we need is Love, that is not it.
I left out what the riff is actually saying, at a couple of points it matches the vocal line, but carries a different message.
The band was being criticized for meaningless platitudes, superficial romantic scenarios, and general noise: of course you would object to the set of facts that turns that around, and puts the onus on the audience to recognize what many collectively own as their Faith, because most obviously could not.
Being ahead of the curve with musical analysis is subjective, but doing so with prophecy is more conclusive. I did not realize it, but I focused on a quatrain with a line about the recent school shooting in Texas, in late November 2020.
23 November 2020
https://groups.google.com/g/alt.prophecies.nostradamus/c/AfnDRGPJxeg/m/D02MdlD3AwAJ
Le gouverneur du regne bien savant
Ne consenter voulant au fait Royal
Mellile classe par le contraire vent
Le remettra à son plus déloyal
The thoroughly crafty governor of the realm
Not intending to consent to the Royal deed;
Melilla fleet through the contrary wind
Will consign him to his most disloyal
<<
Despite a document newly advancing superficial features of a transition, it is no secret efforts to overturn the result of the recent election remain underway; apparently a concession would be the Regal move that is being avoided according to line 2, which would uphold the tradition of a peaceful transfer of power as performed by prior temporal 'kings,' whereas the alternative bears an unseemly tyrannical aspect. The latter portion of VI.45 suggests a karmic response. Melilla is an autonomous Spanish city on the northern coast of Africa, bordering Morocco; its name derived from the Latin word for honey ('mel') reflects the location being known for beekeeping – two ancient coins minted in the city depict a bee, with inscriptions RSADR and RSA, both for its earlier name Rusadir, when it was a Punic and Roman territory. Rusadir can be translated as 'Cape of the Powerful One,'...
>>
The untranslated word 'classe' oddly fits better than switching to 'fleet' with Latin; Uvalde is known as a major producer of honey. When the shooting occurred, asteroid Lilith, named for a Wind Succubus, was about half a degree from a conjunction, which happened in the aftermath on 26 May 2022. I was thinking of an opposition which was not the meaning, many months early: but the collection of elements, a town associated with honey, a classroom setting, the timing with the Lilith celestial wind character - if you calculated probabilities instead of how to gather a mob you'd understand the highly unlikely coalescing of these various elements could constitute fulfillment.
It is the same with The Beatles: I have presented a clear confluence with a detailed musical contemplation on each stage of the Christian story given in reverse order, which to be coincidental would be astronomically improbable; that each song can be further illuminated to demonstrate that is the genuine theme may be infuriating, but if it could not be done by someone else then their invented form of communication actually would have failed.
Curtis Eagal
Jun 4, 2022, 3:54:08 PM6/4/22
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The key is knowing about the spider character Shelob, so the refrain resembles,
'Shelob Grew -
A
GREAT
PAIR
Shelob Grew -
A
GREAT
PAIR
Shelob Grew -
A
GREAT
FANG
-PAIR!'
The shifting tonality resets how the mind would perceive the verbalization. In a special that never aired McCartney said he liked to be doing two things at once in his music.
Each musical element that I've ascribed to an incident towards the end of John's gospel has a parallel transcription along the fantasy secular tangent. The three guitar chords struck distinctively suggest,
'From -
TOL -
Kien'
And the brief growling passage played between verses by George Harrison sustains the sinister mental picture, articulated like,
'GI-ant
Ta-RAN-tula!'
The song was always constructed with those features, my pointing it out is merely a superfluous consequence.
"Therefore speak I to them in parables: because they seeing see not; and hearing they hear not, neither do they understand."
(Matthew 13:13)
Curtis Eagal
Jun 5, 2022, 12:10:22 AM6/5/22
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In the Get Back documentary they spoke about possibly re-creating some version of the "Around The Beatles" television special, which was done at the time of Shakespeare's four hundredth birthday in April 1964; playing Pyramus, Thisbe, Moonshine and Lion, The Beatles enacted a scene from "A Midsummer Night's Dream" for a live audience in-the-round. For a cover to the "A Hard Day's Night" era material installment in my book series, my homage depicted the band as pages from another scene (with Ringo in French courier garb), including the authentic casting of a spotlight on an orange-ish wall (using a color photo) that lightened it to a large yellowish spot. The book was published on 28 March 2012. Showing where that fits in the Nostradamus quatrains is simple as 1-2-3: Century I, Quatrain 23.
At the third month the Sun rising;
Boar, Leopard, set for combat at the field of Mars;
The tired Leopard extending his gaze heavenward
Would see an Eagle frolicking around the Sun
Throughout the writings there is an 'Aigle' character, mysterious personage of the seer's future, translates to 'Eagle,' which could mean Eagal. The book with the inadvertent Sunrise imagery did emerge just before third month March ended in 2012, but the second line is about 2005.
The Boar became Pope Francis I, and the Leopard as Pope Emeritus Benedict XVI: their 'combat' for the papacy was in the conclave of 2005. John Paul II died 2 April 2005, and there was an interregnum period between then and the first conclave on 18 April 2005 - but during that period on 13 April 2005 there was a conjunction of Mars with Neptune. This is the subject of IX.50 line 3:
The red one pales, the male (symbol) at the interregnum
Notice only Mars is mentioned, Neptune is not given as the cause of Mars going pale.
The jump back from 2012 to 2005 for identification is understandable if one considers the papacy in 2012: on 30 May 2012 Benedict made a public address concerning the Vatican leaks scandal; and 28 February 2013 Benedict (who had been the subject of an article titled, "Can This Leopard Change His Spots?") resigned the papacy.
My more recent book, regarding the "Beatles For Sale" era, strangely was attended by strong winds during the writing process. Its characters had been ruined to gibberish through some glitch, so recovery was a problem; it existed in two parts, one history, the other musical analysis, until they were combined and published on 13 June 2020, simultaneous with a conjunction of Mars and Neptune (again).
A window into that phase is given in IV.100.
With celestial fire at the Royal edifice
When the illumination of Mars will flicker
Seven months of conflict, people dead through malfeasance;
Rouen, Evreux at the King who will not waver
It all seems very cryptic and gobbledygook, but it made sense in 2020. The 'celestial fire' was a penumbral lunar eclipse, turning the Moon a fiery reddish color, on 5 July 2020. The Moon was then very near the asteroid Pallas (with 'Palace' sound-alike wordplay) and Jupiter (king of the planets, like Zeus) - so that was the 'Royal edifice.'
Mars had its light pale or flicker by conjunction with Neptune on 13 June 2020, for line 2.
This was the time of the protests after the Floyd murder, which lasted about seven months, and focused on justice for a list of names of people said to have died through malfeasance - that's line 3.
The final line is something no newscaster could endorse, because it departs from rational logic into encoding. Rather than actually speaking of the locations in France, they are referencing saints associated with those places, whose feast days fall at events of concern - this is how timing was obscured.
For Rouen, there is Saint Medard of 8 June, which in 2020 was the day I found myself on a tangent about The Holy Shroud, from the subliminal content of "I Don't Want To Spoil The Party," which corresponds. I determined, as heard from a guest recently on radio, that the Catholic Church refused to allow three separate samples, and forced scientists to take one sample from a place already used, that was thought to be an over-worn corner the Savoy family repaired with expert reweaving techniques, so the carbon-dating tests from a single bad sample, against scientific protocols, were all useless. The actual image is caused by radiation that cannot be duplicated, creating a photographic negative before such a thing technically existed. The style of fabric, spores, accurate anatomy for the scriptural depiction of The Crucifixion, and blood with high bilirubin content all point towards authenticity.
So with Evreux we have Saint Leutfridis of 21 June, which in 2020 was the day of an annular solar eclipse - and it is the astronomical spectacle of solar eclipses that receive the designation of 'King' in the prophecies. I was also informed that the book was available in paperback version on 21 June 2020.
There are also a couple of lines from VIII.85 that seem parallel.
At the annex from Aquilon Turnip will remove light
Then people will be suffocating in bed lacking assistance
The word I replaced with 'turnip' is 'Nanar,' which transliterated to 'Navet,' for 'Turnip' - but a search for correlations brought out an old almanac instruction to plant turnips timed from the festival for Neptune. So there could be the missing reference to Neptune, then with Mars missing altogether because making things easy is not a priority. [Aquilon is possible encoding for the US.]
The 'annex' could mean simply another installment in a series, which it was. Of course the historic backdrop was the onset of the Covid-19 pandemic, explaining with gruesome accuracy the lethal affliction of the lower respiratory tract as a basic adverse effect.
How would the seer refer to a book divulging the esoteric secrets of the "Help!" era? The answer seems to be in VI.16 -
The villains of the Temple where stood the Black Forest
Will make an inn and fire of Lombardy
The Crucifixion phase would be populated with the 'villains of the Temple': and the cover image set in the Austrian Alps brings us very near the fabled Black Forest.
The first half of VI.16 already happened with the Aurora, Colorado theater shooting of 20 July 2012 -
That which will be ravished by the young 'Milve'
Through the Normans of France and Picardy
The word 'Milve' should be translated for 'Hawk,' but it is an anagram, missing one letter for 'Vilmer' (or Wulmar), the saint of Picardy with the 20 July feast day.
It is up to people to choose which path is more reckless, compiling facts that could dependably bring comprehension to what is actually transpiring, or mocking someone who has apparently done so.
geoff
Jun 5, 2022, 12:14:41 AM6/5/22
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On 5/06/2022 5:36 am, Curtis Eagal wrote:
> On Friday, June 3, 2022 at 6:44:00 PM UTC-7, geoff wrote:
>> Do you get professional help for this ? Should be covered if you have
>> medical insurance.
>>
>> geoff
>
> You should hear the outtake where John Lennon gets the group to rally in a session by reminding them the reason they are all there is Jesus Christ, albeit in a funny voice - it was played on the Carter radio show.
Jesus Christ was no more that a folk-tale or fairy story. The Beatles
> On Friday, June 3, 2022 at 6:44:00 PM UTC-7, geoff wrote:
>> Do you get professional help for this ? Should be covered if you have
>> medical insurance.
>>
>> geoff
>
> You should hear the outtake where John Lennon gets the group to rally in a session by reminding them the reason they are all there is Jesus Christ, albeit in a funny voice - it was played on the Carter radio show.
would waste their time on such idiocy as you suggest.
> Perhaps I'm just so far ahead that it is impossible for someone like
yourself to appreciate anything that presents as so complex, which was
the trick of The Beatles, concealing their advanced intellect into
something accessible. This is the deconstructing of that, so it is a
cerebral approach to demystify the creative process. It is highly
disingenuous to discard a perfect solution capriciously and with malice
- if all we need is Love, that is not it.
but yourself.
geoff
Curtis Eagal
Jun 5, 2022, 12:25:13 AM6/5/22
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John couldn't resist doing a cartoon of a pope who had died banging on Heaven's Gate, shouting, "But I'm The Pope I Tell You!"
I found my notes on that outtake, so I can quote it:
John Lennon: "Jesus Christ, our Lord and Saviour...
He's the reason we're all here;
There's more of them than there are of us -
That's why there's so few of us left!"
That's referencing the Great Harvest brought in by the few laborers, which The Beatles probably rightly perceived themselves as being, a uniquely Christian concept.
Curtis Eagal
Jun 5, 2022, 1:35:05 AM6/5/22
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People who think Man invented God using The Bible have not read those texts, which show people being fostered into belief through a series of events that could not be explained any other way; it was likely a battle between benevolent and malevolent spiritual forces, who could demonstrate their respective realities in various ways, to enlighten and deceive.
John's first press release for his band was a take-off on Revelation. There was a cartoon of Christ on the Cross with bedroom slippers beneath.
A letter reproduced in one book about the exchange with Stuart Sutcliffe, apparently when he wrote about memories of a previous incarnation as Jesus, there is the scribbled comment, "Jesus is a something, anyway."
When Stuart suffered his untimely death, there was a little drawing made (perhaps by Klaus Voormann) depicting Sutcliffe with the wings of an angel, ready to take him to Heaven. The harmonica parts in both versions of "Love Me Do" feature variations of a subliminal message where it is fancifully conveyed that Christ Himself did so.
The guitar part in the middle of "Twist And Shout," before the vocal ascent, seems like mere vamping, yet repeats to the receptive ear,
'Flew -
Before their eyes -
To Heaven'
One could listen to the orchestrated version of "Eleanor Rigby" with no vocals, and still have a complete theme suggested through a series of integrated familiar phrases, so common in their colloquialism as to be nearly cliche - and yet the awareness of it introduces a new dimension that has another sort of gratification without taking anything away, or preventing the initially-enjoyed experience.
Curtis Eagal
Jun 10, 2022, 5:09:35 PM6/10/22
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Lennon said he would play the last Beatles album to know where he left off to decide how to proceed into the next project sessions - there is a regression, but how far back in the story to jump was a critical decision.
The fantastic Klaus Voormann cover artwork for "REVOLVER" provides the answer (to the real weapon) in the peculiar way strands of hair were ink-drawn at the top of the Harrison iconic head: it must be viewed in a mirror, where the reflection reads a stylized letter 'K,' with an adjacent capital 'I,' then the curving strand merged with the small hand comprises letter 'S'; another strand arising to intertwine below John's ear provides the final letter 'S'; the small hand is aligned with spaghetti-like hair being extruded from the impression of a handgun barrel; and beneath a small photo of Paul seems to be blowing a piccolo like a trumpeting angel in Michelangelo's "Last Judgment" fresco.
The "Beatles For Sale" review posed a paradox: Lennon was supposedly influenced by Bob Dylan to be more introspective, as though "I'm A Loser" was autobiographical; yet he also wrote "Eight Days A Week," with basic lyrics taken as somewhat insipid. Paul McCartney would say, "All our songs are from our imagination," but George Martin caught a line in "Norwegian Wood" suggesting marital problems, before it was admitted to be about a secret affair. Key lyrics in "I'm A Loser" concern being upset about someone who should never have been 'Crossed,' weeping sorrowfully. The word 'love' is not merely being extended in "Eight Days A Week," but assists the suggestion of, 'I love [two missing words] ABOVE YOU!' Each song has its own evolution from some thought, choosing a stylistic version, and ultimately typically completing an initial recording with overdubs.
McCartney has said he and Lennon never got to the bottom of each others' souls, but were more like 'army buddies.'
Christian eschatology was evident in Lennon's "Bring On The Lucie," with lyrics like, "Six-Six-Six is your name" and,
"Your time is UP! You'd better know it -
But maybe you don't read The Signs"
A reversed refrain from "She Said She Said" sounds like,
'More religious than the POPE,
We THINK we are Mystic'
It is too clear and cogent to seem accidental, and part of a larger theme. Laurence Juber and his wife have recounted how Harrison spending a few moments with their infant daughter said something in Sanskrit that George claimed bestowed the gift of music on this new life.
John's 4 February 1971 issue interview for Rolling Stone covered a lot of topics; rather than seeming all over the place, the retreads are nearly redundant with later statements, there is consistency yet further articles are still lacking.
rollingstone.com/music/music-news/lennon-remembers-part-two-187100/
John claimed to write a substantial portion of the lyrics for "Eleanor Rigby." He instructed George what he wanted for the sitar riff in "Norwegian Wood," and it had to be overdubbed in sections. "Maybe it was hard for him sometimes because Paul and I are such ego-maniacs, but that's the game."
Lennon saw the band as a communication medium, with his interests being "concept and philosophy, way of life, and whole movements in history." For "Hold On John" he said, "I still had this 'God will save us' feeling about it [from India], that it's going to be alright." The song "God" had been assembled from sections of other songs, like "Happiness Is A Warm Gun," but the theme was similar to "Girl," where he explored the idea that "you have to be tortured to attain Heaven": Lennon considered that "a bit true, but not their concept of it... It just so happens."
John reiterated not believing in his former group, as in the song -
"Nobody is 'The Beatles': How could they be? We all had our roles to play."
He expressed some confusion over "whatever they were supposed to be," unclear what the myth they fostered actually portended, but as it stood then in history he was not persuaded by the legacy. John felt like he was 'being myself' on the White Album, although "Pepper was a peak alright."
Another interview with Ken Seymour, for Canadian Broadcasting Corporation done in 1969 during the Bed-In For Peace at Montreal, went unaired until it was purchased much later by National Museums Liverpool, and subsequently broadcast.
https://www.archbalt.org/in-interview-lennon-called-himself-one-of-christs-biggest-fans/?print=print
Lennon explained his inflammatory excerpted quote (about being treated as if 'bigger than Jesus') from the 1966 Cleave interview:
"It's just an expression meaning The Beatles seem to me to have more influence over youth than Christ. Now I wasn't saying that was a good idea, 'cause I'm one of Christ's biggest fans. And if I can turn the focus on The Beatles on to Christ's message, then that's what we're here to do..."
"If The Beatles get on the side of Christ -
Which they always were -
And let people know that,
Then maybe the churches won't be full,
But there'll be a lot of Christians dancing in the dance halls."
A further contemplation was that 'community praying' was probably 'very powerful,' yet there was disdain for "the hypocrisy and the hat-wearing and the socializing and the tea parties."
While John did not propose some astral construct for Paradise, he reiterated,
"The Kingdom of Heaven is within you:
Christ said that,
And I believe that.'
RJKe...@yahoo.com
Jun 11, 2022, 10:44:26 AM6/11/22
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"Free the people" from WHAT? WHICH killing is he telling some mysterious being to stop?
Curtis Eagal
Jun 21, 2022, 6:28:20 PM6/21/22
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It is broader than what is done in this life, about karmic baggage from past lives in violent eras being carried over into the modern era unless we break the chain. It seems similar to Harrison's songs about burning karmic ribbons.
Your time is up, you'd better know it
But maybe you don't read the signs
I go through some of these signs in Book 1 of my series, "A Temple Of Many Mansions," but continually find more. For John at that point past The Beatles, he had experienced strange phenomena along with the general public, most peculiarly from his point of view. When they returned to Hamburg, east of Liverpool, the Garabandal (south of Liverpool on the Spanish coast) apparitions started on a birthday of McCartney's; there were synchronicities with milestones in their development and key moments in the massive series of apparitions (the girls started walking backwards in unison, fast over rocky hills, on a 5 August pre-anniversary of the REVOLVER release).
Once they started making records, only Conchita of the four girls still had visions, which climaxed in 1965, ending during the final mixes for "Rubber Soul."
Also when Ringo first performed on British soil as a Beatle he was not official, but replacing an ill Pete Best: that evening was the Aquarius Stellium, with the major planets grouped during a total solar eclipse.
When they reached the Nativity stage in their subliminal revival, the protracted Marian apparitions at Zeitoun commenced.
Knowing about The Beatles as musical group is not the same as being conveyed via tandem-rotor reconditioned military helicopter to perform half an hour, causing fainting and emotional breakdowns among a crowd of over fifty thousand shrieking fans. From the inside of that cultural cyclone one could not help but consider what it portended, particularly if one knew it resulted from triggering an astral-subliminal transference reaction.
John Lennon admitted the "newspaper taxis" from the 1967 track was from Paul McCartney. John thought Paul put the group on the spot by talking about his drug use with a reporter, spinning it as being the reporter's responsibility whether it would be printed.
I found a John Lennon interview with Jann Wenner from December 1970, where he explains what he was thinking when he wrote the song "God."
https://www.johnlennon.com/music/interviews/rolling-stone-interview-1970/
<<
How did you put together that litany in “God”?
What’s “litany?”
“I don’t believe in magic,” that series of statements.
Well, like a lot of the words, it just came out of me mouth. “God” was put together from three songs almost. I had the idea that “God is the concept by which we measure pain,” so that when you have a word like that, you just sit down and sing the first tune that comes into your head and the tune is simple, because I like that kind of music and then I just rolled into it. It was just going on in my head and I got by the first three or four, the rest just came out. Whatever came out.
When did you know that you were going to be working towards “I don’t believe in Beatles”?
I don’t know when I realized that I was putting down all these things I didn’t believe in. So I could have gone on, it was like a Christmas card list: where do I end? Churchill? Hoover? I thought I had to stop.
Yoko: He was going to have a do it yourself type of thing.
John: Yes, I was going to leave a gap, and just fill in your own words: whoever you don’t believe in. It had just got out of hand, and Beatles was the final thing because I no longer believe in myth, and Beatles is another myth.
I don’t believe in it. The dream is over. I’m not just talking about the Beatles, I’m talking about the generation thing. It’s over, and we gotta – I have to personally – get down to so-called reality.
When did you become aware that that song would be the one that is played the most?
I didn’t know that. I don’t know. I’ll be able to tell in a week or so what’s going on, because they [the radio] started off playing “Look At Me” because it was easy, and they probably thought it was the Beatles or something. So I don’t know if that is the one. Well, that’s the one; “God” and “Working Class Hero” probably are the best whatevers – sort of ideas or feelings – on the record.
Why did you choose or refer to Zimmerman, not Dylan.
Because Dylan is bullshit. Zimmerman is his name. You see, I don’t believe in Dylan and I don’t believe in Tom Jones, either in that way. Zimmerman is his name. My name isn’t John Beatle. It’s John Lennon. Just like that.
Why did you tag that cut at the end with “Mummy’s Dead”?
Because that’s what’s happened. All these songs just came out of me. I didn’t sit down to think, “I’m going to write about Mother” or I didn’t sit down to think “I’m going to write about this, that or the other.” They all came out, like all the best work that anybody ever does. Whether it is an article or what, it’s just the best ones that come out, and all these came out, because I had time. If you are on holiday or in therapy, wherever you are, if you do spend time . . . like in India I wrote the last batch of best songs, like “I’m So Tired” and “Yer Blues.” They’re pretty realistic, they were about me. They always struck me as – what is the word? Funny? Ironic? – that I was writing them supposedly in the presence of guru and meditating so many hours a day, writing “I’m So Tired” and songs of such pain as “Yer Blues” which I meant. I was right in the Maharishi’s camp writing “I wanna die . . . ”
>>
John was trying to work through personal issues after The Beatles, since it apparently did not produce the desired effect. McCartney was quoted as saying they all thought when they finished they would ascend on a cloud and receive "envelopes with our stuff in it." There was a lot of artifice in The Beatles' manufactured dream, and such pretense was no longer something Lennon was willing to embody.
My subliminal analysis of the opening piano chords of "Imagine" has a bleak message that only humans can make hopeful: being alone here on planet Earth,
"...Until -
FOREVER"
Perhaps he realized the Kingdom Jesus spoke of is within our grasp, if we stop expecting the Master to return, and proactively discover Salvation is a do-it-yourself process.
But for the rooftop in early 1969, John singing gibberish in "Don't Let Me Down" appears to be reverse-singing, I heard it backwards as a confirmation the Christian subtext is out-of-sequence - the song thematically belonged on Pepper, but the devotion for Yoko overlapped nicely. Like George Harrison said, The Beatles was like being in a box. The electric guitar flourish Harrison provided at the end of "Everybody's Trying To Be My Baby" is unique among versions of the tune, conceptually tying together the entire album concept by subliminally invoking the curtain found ripped in the Temple, which had been stitched together much earlier by Christ's Mother, The Virgin Maid.
RJKe...@yahoo.com
Jun 22, 2022, 9:52:57 AM6/22/22
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RJKe...@yahoo.com
Jun 22, 2022, 9:57:17 AM6/22/22
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"Freda People" is obviously a "cutely" misspelled "Free the people" though I still don't know which people he's talking about.
Could "Lucie" be a similarly cute misspelling of "loosie," meaning a loose cigarette?
Curtis Eagal
Jun 22, 2022, 1:24:19 PM6/22/22
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So there is no given context for the strange actual title, but we had the overt cigarette lyrics in "I'm So Tired."
I would compare it with "Serve Yourself," Lennon's response to Dylan's "Serve Somebody": whether you believe in devils or saints, you will end up serving either the higher or lower powers, and should assume that personal responsibility.
One should not underestimate the anti-war movement that had developed against Vietnam, the idea of sending youth to kill for whatever motives was an odious concept to the counterculture, and Lennon was addressing that in his music more after The Beatles, because the group as a whole projected more mainstream standards.
Curtis Eagal
Jun 22, 2022, 1:32:24 PM6/22/22
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There is never a decent reason for suicide, those who survive say the answers to their other problems occurred to them after they had created the worst one.
RJKe...@yahoo.com
Jun 25, 2022, 10:57:28 AM6/25/22
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>
> One should not underestimate the anti-war movemelnt that had developed against Vietnam, the idea of sending youth to kill for whatever motives was an odious concept to the counterculture, and Lennon was addressing that in his music more after The Beatles, because the group as a whole projected more mainstream standards.
I just found out that "Lucy" is a slang term for LSD! Problem solved!
And the slang came from Lucy in the Sky, no less.
RJKe...@yahoo.com
Jun 25, 2022, 11:02:40 AM6/25/22
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Did John really love live performance? Serious question. He did very little live work after the Beatles, and what he did usually seemed under-rehearsed.
Also there's all the stuff about his having stage fright and needing "knee-tremblers" and-or drugs before facing an audience.
Curtis Eagal
Jul 10, 2022, 4:51:11 PM7/10/22
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The musical counterculture generally did not produce a plethora of masterpieces like Sgt Pepper. Many of the Beatle songs are rather basic in their use of instruments to subliminal effect, "Strawberry Fields Forever" was a more complex symphonic approach, where the phrases build subthemes towards the ultimate culmination - yet Lennon would say he could have improved all of his songs, while boasting of inventing the heavy metal genre with "Ticket To Ride." When asked about a Beatles reunion and overtly restating it as a potential rehash of events in the life of Christ, John was being pragmatic regarding what that would entail in ways a fan cannot fathom. McCartney said John, not Yoko, broke up the group, at the time when he was suggesting a Square One reboot, making unannounced appearances. Lennon realized when a story is over, you ought to stop telling it.
While Dylan's "Serve Somebody" is straightforward gospel territory, Lennon's "Serve Yourself" has issues that are not as mainstream.
<<
You say you found Jesus Christ;
He's the only one.
You say you've found Buddha,
Sittin' in the sun.
You say you found Mohammed,
Facin' to the East.
You say you found Krishna,
Dancin' in the streets.
Well there's somethin' missing in this God Almighty stew... >>
He was in a perfect position to know what was missing, since he was a major part of providing it: as an architect of the conceptual Temple, he knew no one was 'entering' it through acknowledgment.
<<
Well you may believe in devils, and you may believe in lords,
But if you don't go out and serve yourself, lad, ain't no room service here.
It's still the same old story,
A bloody Holy War,
A fight for love and glory.
Ain't gonna study war no more.
A fight for God and country.
We're gonna set you free,
We'll put you back in the Stone Age,
If you won't be like me, get it?
You got to serve yourself,
Ain't nobody gonna do for you... >>
What was expected from old is extremely radical if experienced, so 'nothing new' is a dubious idea. The confusing mix of patriotism, military power, religious faith, pacifism, xenophobia, etc, intrigued Lennon, without any easy resolution. George Harrison described The Beatles as a positive fantasy alternative to the darker energies of physical reality.
<<
Well there's somethin' missing in this God Almighty stew,
And it's your goddamn mother you dirty little git, now.
Get in there and wash yer ears! >>
It is that last line about washing ears that gets at the underlying hostility of the treatment: John could hear how well he accomplished each of his musical attempts to make his 'guitar talk' or whatever, never with the intention of walking people through things clearly in impotent defeat.
With the sharp tones of the sitar, John instructed George as a neophyte player to perform the solo for "Norwegian Wood" so as to follow two thought-paths: one starts,
'Saint - Peter would say...';
and the other sounds like it begins,
'When - I got married...'
For Chuck Berry's "Rock And Roll Music," they stayed close to the original arrangement, only requiring the opening and closing passages to convey they meant the Rock sealing the Tomb to Roll away: the opening guitar lick suggests,
'LIGHTNING HIT IT!'
They took a loosely-strummed guitar bit from the 1957 version for the convulsive ending on piano implying,
'Lightning Hit!'
Percussion played a significant role in the "Beatle For Sale" tracks - the ending of "No Reply" suggests,
'Woken from
DEATH'
There is the African drum to produce a deep sound for the word 'GLOW'; and the timpani is double-struck, suggesting the word 'BOULDER.' Ringo Starr slapped his knees for subtle percussion on "I'll Follow The Sun." Paul's chauffeur provided the title for "Eight Days A Week," which Lennon took over in a double-tracked lead vocal, alternating as duet with Paul, including block harmonies with George; the fade-in could have been a Berry homage; the Eighth Day in scripture is associated with end-times ('a time of not counting time').
In the melancholy ballad "I Don't Want To Spoil The Party," Lennon brings up the 'drink or two' Jesus might have imbibed while on the Cross, with the guitar work telling the tale of the Holy Shroud. The opening and closing riffs are nearly the same (it is not simply a one-note difference), but the first iteration is more sprightly -
'They -
Wrapped Him UP -
In a big
PIECE
Of SHROUD
Cloth'
To the dismay of fans, The Beatles did not worship themselves in narcissistic idolatry, but were instead working out how to affect subtle shifts in tense and situation through musical arrangement. What Lennon let slip to Maureen Cleave, his fear that the transference would be complete, and religious faith suffer in the wake of their secular subterfuge, still appears an esoteric reality, with staunch resistance to ever becoming consciously aware of the obvious 'hidden theme.' Society would likely prefer to evade the poignancy of their role-playing the Christian story, and ad-libbed theological commentaries.
Lennon's impression from "The Passover Plot" book, that the disciples were inadequate to their daunting task, was fundamental to the format of the "Rubber Soul" album. The song "Wait," which had been refurbished from the previous sessions, had some volume-pedal guitar overdubs for completion in the later phase. Jesus had challenged Satan in the body of Judas Iscariot to enact the betrayal quickly: Emperor Tiberias (grandfather of Pontius Pilate's wife Procla) was ill, and had summoned the healer from Judea - it was only with the help of the Apostles in prayer that the Cup could pass. But the core three Apostles (Simon, James and John) all succumb to sleep instead. The song corresponds to the Zodiac sign Water-Bearer Aquarius, so the overdubbed bits (excluding the variation in the coda) simultaneously sound like,
'Drowsy'
and
'Water'
The Beach Boys had done "In My Room" in homage to "There's A Place" (using the title as opening lyrics) before the band was popular in the US; Ed Sullivan only booked them for his show because he witnessed the uproar they caused at an airport. The Byrds had a scriptural source for "Turn Turn Turn!" and Harrison dubbed them 'The American Beatles'; their jangly guitar style on "Bells of Rhymney" influenced the playing on "If I Needed Someone."
A song by The Rolling Stones that The Beatles said they wish they had written was "Satisfaction" from 1965. I hear the riff there, with the novelty of fuzz guitar, as saying
'BROKE BREAD -
For the
NEW
Communion'
When The Beatles got to that point, it seems to emerge in the riff for "I Want To Tell You," commencing like,
'He broke the bread,
And said, -...'
A musicologist compared a note sequence in "All You Need Is Love" to the vocalization of "Three Blind Mice," which is fair game, except there is a better transcription in the musical context.
Curtis Eagal
Jul 10, 2022, 5:11:09 PM7/10/22
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Julia might have been the one who suggested that music could have a verbal element subliminally. She did not abandon John, but since she never divorced Fred and was living with another man, Mimi attained custody through the authorities. Paul's father gave influence more as standards, which John would ridicule as 'granny music,' even retroactively for "Let It Be," which he obviously respected as 'mournful' in the clip.
He frequently lost his contact lenses, so a concert of screaming fans should have been terrifying. He said they were tribal rituals, yet they were trying to create a visual concert product with Get Back that had not naturally existed. They spoke about how the crowd in the "Hey Jude" film was a nice idea, but perhaps some had gotten too close. Musical performers typically like to receive feedback from their audience, which is exhilarating and relational, but in their case the response was so extreme such notions became irrelevant.
Lennon realized the true legacy was in the albums, the tours added to the mythical aspect he disliked, but the experience of The Beatles making music for a live audience was something extraordinary in show business history. They knew they could please audiences, and that usually in turn motivates performers.
Curtis Eagal
Jul 10, 2022, 7:00:16 PM7/10/22
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https://www.abebooks.com/Book-Beetles-Winkler-J.R-Spring-Books/30975858735/bd
Notice the word "BEETLES" on the cover is written in precisely the same font used in 1964 for the cover of the "A Hard Day's Night" album.
Lennon might have mocked Dylan for a name-change, yet never expressed outrage the Alice stories were not written by Charles L Dodgson. And he came up with some interesting alternate names himself, starting from Long John.
Reviewing album release date charts, the timing of "Help!" on 6 August 1965 matched the first half of V.24 -
Reign and law elevated under Venus
Saturn will have dominion over Jupiter
On that day, Venus was grouped with Ouranos and Pluto around 15 degrees Virgo, in opposition with Saturn near 16 degrees Pisces; Jupiter was further on the lunar aspect course list past 23.5 degrees Gemini. Third line returns to I.23 with 'Dawn Imitated.' This is probably too esoteric to have been considered in 1965.
The 24 June 2022 Supreme Court decision was delivered the day before the feast day for Saint Eurosia, who escaped an arranged marriage by hiding in a cave near the Pyrenees; IV.70 and II.17 in combination present a controversial document made official temporally contiguous with the 25 June Pyrenees date as a late-stage precursor to a fire-and-flood cataclysm. Consecutive lunar conjunctions with Saturn and Vesta following the 13 July 2022 Full Buck Moon (a Supermoon on the day of perigee) are outlined for explosive onset and shaky resolution, with the deluge portion commencing before the fire is extinguished. The current ominous Urn configuration of planets will degrade in August 2022. The second half of V.24 -
Law and reign through the 'Dawn Imitated'
The worst will be endured by those passing Saturn
Ellen Degeneres in bringing up IV.31 hit upon a fine point -
The Moon in fullness at night over the high mountain
It means nothing without proper cross-referencing: take it for Geneva (IX.44) - so that 'Saturnin' night (16 July, feast day for Saint Domnio of Lombardy) there is a false Midheaven at the Eleventh House cusp; and when the Moon reaches it, a transitory Grand Trine with Venus at one point, and Vertex-Fortune at another briefly. Since Venus conjoined the Node 10 August 1945 in the aftermath of the Hiroshima and Nagasaki bombings, it became mystical 'New Babylon,' which would be 'remembered before God' at the critical time.
There are not many scenarios where a flame plume can surpass the stratosphere (VI.70), with chunks of 'hail' each weighing one hundred pounds falling on a populace. That is clearly not a prediction of normal hail.
The astronomical underpinnings of V.24, linking the 1965 era with our further modern period, are evidence the seer was aware of the esoteric substance on a much deeper level than demonstrable in I.14 (number matching the fourteen-song quota for albums), where the reception of 'divine utterances' by idiomatically 'madcap jesters' had an ambiguous tone.
For working-class songs, anthems and standards,
Captives of Princes and Lords in prisons;
In the future such by madcap jesters
Will be received as divine orations
Curtis Eagal
Jul 10, 2022, 9:36:46 PM7/10/22
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The music in "Yer Blues" transposes this feeling of isolation and loneliness onto the young Jesus - because He is separated by being capable of subjecting His playmates to mischievous miraculous tricks during their playtime. That song is part of a suite subliminally establishing a particular disrupted game scenario from the Infancy text. The White Album has distinct mono and stereo versions of some songs.
The correct mixes have to be analyzed: the original LP release of "Tomorrow Never Knows" lacks the final phrase in the reversed guitar solo (American mono is ideal); the mono version of Sgt Pepper is necessary for correct transcription (which George Martin said fell together in mixing phase 'like automatic writing'), since the stereo version was rushed together by second-level engineers who proceeded without some edit pieces.
There is no problem with the individual members in their solo careers choosing to do something similar repeatedly, as a sort of endless cycle, however The Beatles was a powerful communication medium where the key might never be discerned if they attempted a restart that nobody comprehended either - endings are unpleasant, yet they establish a point from which to review the beginning and middle.
Curtis Eagal
Jul 10, 2022, 11:01:21 PM7/10/22
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While it does not correspond with the horoscopic Suns for Alfred and Julia, or their respective lunar positions, there is potential focus on one planet, Saturn:
When Julia was born 12 March 1914, Saturn had progressed to around 12 degrees Gemini, an Air sign (for the Sky),
From when Fred was born 14 December 1912, and Saturn was around 29 degrees Taurus, an Earth sign.
John himself being born when Saturn was 'Of The Universe' could reflect awareness of the Great Conjunction with Jupiter (around 13 degrees Taurus) concurrent with the 9 October 1940 date (a triple occurrence, as in 1980 and 6 BCE). Perhaps an astrologer had generated the charts and mentioned something like the lyrics, when describing the influence of Saturn on his immediate family. It could also imply Mary having the more celestial role in the Holy Family, with Joseph as the human stand-in for His real Father.
The lyric "And you know what that's worth" could mean an auspicious natal chart does not guide every moment of life.
RJKe...@yahoo.com
Jul 11, 2022, 6:24:59 PM7/11/22
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So who is responsible for their stopping touring? I say John. George and Ringo didn't have the clout to make su h a call.
RJKe...@yahoo.com
Jul 12, 2022, 6:14:29 PM7/12/22
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I've seen the interviews where he discusses his songs, both music and lyrics, and he gave the impression of treating it all in an 'off the cuff' manner. He never got deep into why he did what.
Curtis Eagal
Jul 13, 2022, 7:58:38 AM7/13/22
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McCartney was trying to sell Lennon on the idea they could 'restart' The Beatles conceptually by doing what he would later do with Wings, making unannounced appearances (which would have been noteworthy as an ex-Beatle's band), yet they had already become Sgt Pepper's Band, so the public would probably just perceive it as 'what The Beatles are doing next.' John realized what Paul was proposing was 'daft': there was no way the public could get the message 'It' was over, and 'restarting,' except by ending It. So John said the group was a beautiful Temple that could only be preserved by being destroyed. They could not start again from Square One in the eyes of the public, because that was a frame of reference known only to themselves.
Between the manufactured controversy over the Cleave article, bonfires of records, death threats, and waning ticket sales in large stadiums, there were a lot more issues with their performing publicly than whether they enjoyed it. Perhaps John felt some guilt that it was his nuanced comment twisted into ruining that aspect of their collective career, but Paul knew in the long-run his partner bravely guiding society into awareness would be proven the right decision. The subject of "Good Morning Good Morning" was essentially boredom from John's perspective, watching television shows like "Meet The Wife."
Their live concerts had involved stories in each instance, so they were living out intense dramas surrounding them at every venue, not simply performing for sedately appreciative audiences. The decision to stop touring is a specific story for the end of August 1966, it is not something Lennon tried to force on the others and finally succeeded.
Curtis Eagal
Jul 13, 2022, 8:28:30 AM7/13/22
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I spared everyone the complete listing of the natal charts, and distilled it down to the one thing he would have likely been told, regarding the positioning of Saturn - a further discussion is possible, but will lead to the same conclusion.
As in the excerpted interview, John said he was 'being myself' on the White Album, so including personal information would explain that statement. The song "Julia" is clearly to his late mother, using 'Ocean Child' for Yoko Ono.
But anyone feeling they could understand his music without doing as he advised, breaking down one's mental barriers to actually experience the sound-crafting he had achieved, allowing the instrumental factor to subliminally bridge the lyrical ideas into new clarity, could not attain that level of appreciation even with a series of explanations. It was the sort of cluelessness that frustrated him, because he could not walk people through his thought processes: to do so would be an admission his entire effort was a failure nobody could get on their own. But he and his group were repackaging the Christian story in an audio format nobody was expecting, or could easily recognize. He realized the job was done well enough to put the responsibility elsewhere.
That Lennon was not 'getting deep' about the songs should not be the take-away, but that he was suggesting we should. Sure, "It's Only Love" could be considered a weak effort from his point of view; but we respond to music without analyzing its subconscious import. The musical component of "Every Little Thing" resurfaced in the Get Back sessions, not because its message needed a reprise, but because of its haunting iconic quality. Sometimes the music and lyrics have close meanings, as with "The Inner Light," about the powerful Aura of Christ, with the coda music suggesting this illumination came
'From Within...
From Within...
From Within...'
RJKe...@yahoo.com
Jul 14, 2022, 10:56:56 AM7/14/22
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> 'From Within...
> From Within...
> From Within...'
Did John want his fans to take the songs seriously? I'm not sure. Didn't he tell the homeless guy (I'm thinking of that footage in the "'Imagine: John Lennon' film ) that one interpretation of the lyrics was as good as any other? Also I feel that John would have been scornful of any serious musical analysis. Remember the reference to 'exotic birds'? I think he wanted people to like his music. Or at least buy it. But not take it too seriously.
> From Within...
> From Within...'
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Curtis Eagal
Jul 14, 2022, 3:08:15 PM7/14/22
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The group collectively said they knew what they meant by their songs, eventually people would figure it out, but things take on millions of meanings in an incomprehensible process, and to elaborate further would be like hearing it their way for you. Lennon blurted out the 'subliminal' answer when Tom Snyder asked how such innocuous stuff as Beatles music could have so powerful a cultural effect.
George Harrison saying they had thrown boulders into the waters and were waiting for a tsunami-like ripple does not seem like a non-serious expectation. Lennon chided the others for saying good things about their own songs, calling them 'big-headed' about the tunes, prompting Harrison to protest that the interviewer merely asked if they liked their own songs. The results John wanted would not be forthcoming, and he soured on the artifice towards getting to the 'nitty-gritty.'
John seemed to believe in the power of rock and roll through The Beatles to advance Christ's real agenda, until the project was completed without the conscious acknowledgment: it was the message in the music together, a 'Remembrance of Him,' that could change things with avant-garde aural communication. But with transference the reaction was 'Who Needs HIM When We Have YOU?!' So John lashed out at Paul for 'granny music,' faced with a problem he could not fix. Harrison had said the group was always about various genres, not one type of music - it is the message that mattered, the mode was to create appeal.
Another story that has been told repeatedly on Carter's radio show is how Jesus attended a Beatles recording session.
McCartney had a visitor at his home claiming to be Jesus, Paul invited him to the session for "Fixing A Hole" at Regent Studios (not EMI), thinking he was a strung-out hippie. The session progressed to final playback, whereupon they wanted the opinion of 'Jesus' - but he was not seen again, by anyone, supposedly vanished from the studio without exiting. That was 9 February 1967, three years after their Ed Sullivan debut (when I first saw them), which was three years after their Cavern Club debut (switched from booking jazz bands). A total solar eclipse darkened Europe within a week of the 9 February 1961 Cavern debut.
John was born during the time of a triple conjunction of Jupiter and Saturn, which is extremely rare and signifies major social change - a previous instance was 6 BCE, associated with The Nativity. A similar condition existed circa 1980.
The three dates of the circa 1940 conjunctions would take on significance later.
August 8, 1940 at 14 degrees 27 minutes Taurus: 8 August 1969 was the date the "Abbey Road" cover photograph was taken.
October 20, 1940 at 12 degrees 28 minutes Taurus, both Jupiter and Saturn in retrograde - this was eleven days after the birth of John Lennon: 20 October 1969 was the release date of John and Yoko's "Wedding Album."
February 15, 1941 at 9 degrees 7 minutes Taurus: February 15, 1964 was the date The Beatles reached number one in the US album charts for "Meet The Beatles."
There is no omniscient personage beyond the Godhead, servants would play roles with relatively limited knowledge. Shakespeare warned us in "Macbeth" that outlandish prophecies should not be dismissed as impossible, because their equally outlandish fulfillments are inevitable if the augury is genuine.
Any Power that can orchestrate human events on a celestial schedule could also add into the mix foretelling whatever reactions are to manifest, in a pre-Judgment that is both perfectly fair and absolutely accurate. Whoever attains a higher level of insight would be consequently more accountable than when they were uninformed.
The resistance to the Beatle-Christ realization is motivated by the subconscious knowledge it would manifest The Great Mourning that precedes The Uplifting of the Second Coming Messiah, so persisting in that resistance is an attempt to stave off Salvation Itself, in favor of Oblivion.
Curtis Eagal
Jul 14, 2022, 4:59:53 PM7/14/22
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"I can't help having a quiet giggle when straight-faced critics start feeding all sorts of hidden meanings into the stuff we write" was a quote, while Lennon got the song wrong, thinking it was "It Won't Be Long" instead of "Not A Second Time." John wavered between insulting Mann with "He uses a whole lot of musical terminology, and he's a twit," and being grateful with "He made us acceptable to intellectuals - it worked, and we were flattered."
Probably for the song in question John's inspiration was the style of Smokey Robinson. Quoted passage:
<< The Aeolian observation regards a song that is in a major key resolving on the VI chord, the sixth harmonic step from the tonic; it has further been noted the song appears in G Major, while the bridge-like portion seems to be in the key of e minor, the vi chord in its minor mode. >>
There is nothing about the musicology, or lack thereof, that impacts the subliminal import of the song: an Aeolian cadence is merely a categorization based on a specific harmonic progression, which Lennon happened to use intuitively. Beyond the vocal twist, there is a piano solo by George Martin that is thematic predicate to the half-speed guitar solo of "A Hard Day's Night" - restatement of similar ideas presented on a different instrument is a completely new experience.
It was a tremendous feat for producer George Martin to include many double-tracked vocals while still using twin-track mono on their second album. John joked they nearly double-tracked themselves off the record, knowing it was for 'spectral' vocal-texture effect. But a quote like "It was just chords, like any other chords" implies it was never the chords, or even the beat, that was the dominant focus: those were part of the rhythm track structure for the intros, outros, hooks, solos, and of course riffs.
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Curtis Eagal
Jul 14, 2022, 6:37:08 PM7/14/22
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Jupiter is Zeus, Universal Ruler (John's Saturnin associate), belonging near his Palace, i.e., Pallas. For Ono Saturn-Pallas was in sextile (60-degree aspect) with the Sagittarian Moon.
Another noteworthy feature of the Ono natal chart is Neptune in Virgo with the South Node in opposition with Mercury in Pisces at the North Node. Since the Nodes are the Head and Tail of the Dragon, the Neptune-Mercury opposition thus aligned seems particularly auspicious.
Beyond an Aquarian Sun sign for Yoko being compatible with John's Libra for the air quality, there was a more subtle bond with John through the matching celestial bodies near their respective natal Saturn positions. The astrological evidence bears out what John was always saying, that he had found his soulmate in Yoko, being King-Palace Saturn twins.
By contrast Cynthia Lennon born 10 September 1939 had Saturn barely entered into Taurus near the South Node, carrying further ambiguity by being in retrograde heading back to Aries. John and Yoko had natal Saturns also in retrograde, yet neither was positioned at a cusp.
RJKe...@yahoo.com
Jul 15, 2022, 9:13:21 AM7/15/22
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But was that his attitude while forming and recording those chords? He'll, no! Otherwise why would there be so much innovation in the band's music?
John just liked to be irreverent in public
Curtis Eagal
Jul 15, 2022, 1:44:09 PM7/15/22
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John was nicknamed 'The Weird Beatle' by the press, undercutting pretentiousness was his hallmark. When a fellow art student was getting praise for abstract art, John completed a roomful of canvases overnight in a similar style: the instructor, thinking it was the work of his pet pupil, immediately praised the new artwork - until learning the identity of the actual artist. So even if an academic type were correct, Lennon would tend to challenge them. He was obviously overwhelmed by whatever Allen Klein had said about his group.
In a college auditorium class, a young woman sat next to me and struck up a unsolicited conversation about how much she hated John Lennon. He was a polarizing figure. But I think even people who actively dislike him have a least one song by him they absolutely love. People who otherwise are disinterested in The Beatles have told me their exceptions: the altruistic concept of "All You Need Is Love"; the elegiac tune "In My Life"; the danceable rhythm of "Ob-La-Di, Ob-La-Da"; the whimsically macabre nature of "Maxwell's Silver Hammer," and so on.
I had the experience of playing "Day Tripper" while showing my transcriptions to a now-late uncle who would go to Rome for the priesthood - the reaction was typically eyes widening and jaw dropping, which he exhibited, agreeing it sounded like what I had written. I have played "Here Comes The Sun" for a blind woman near death, and seen a look of delight on her face. I wish I could privately enlighten everyone in a way that is personal to them, and observe the physical reaction, but that is not practical.
There is a line in "Nobody Told Me" where John sings, "They're starving back in China, so finish what you've got" - I believe that was his way of saying The Beatles put a lot on our plate collectively, very little of which has been properly 'consumed' by adequate comprehension. We might presume Lennon also inquired about Ono's natal chart, and knew that their Saturn situations were a perfect match: he might have acknowledged that in his song "Woman" with the line,
"After all,
It is written in the stars"
RJKe...@yahoo.com
Jul 16, 2022, 11:45:32 AM7/16/22
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I read or heard that John didn't even know how to tune his guitar until he met Paul.
Curtis Eagal
Jul 22, 2022, 3:01:06 PM7/22/22
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McCartney did impress Lennon at their first meeting with knowing how to tune the guitar and playing through songs knowing all the words, but Lennon had to teach himself using a mirror, since Paul was left-handed. Paul and George were schoolmates, Harrison was interested in the guitar from an early age: so Paul tried to bring George in because of his instrumental prowess, but Lennon was reluctant at first because of George being so young at the time.
As his brother said, Paul's interest in the guitar began when his mother died from cancer (31 October 1956), since she had bought him one he had not used. Mary McCartney was a midwife who wore an official uniform that resembled a nun's habit.
Aunt Mimi's husband, George Toogood Smith, died of a liver hemorrhage in early June 1955. George Smith had given John his first harmonica. Lennon gave some of the clothes belonging to his late uncle to Harrison. (The post-1955 period was when my own family dynamic as one of three siblings was happening.)
Julia Lennon was the group's first musical director, following their bookings enthusiastically. On 15 July 1958, an off-duty drunk-driving policeman struck her in view of one of John's friends - Lennon was never told the exact place the incident occurred, since he was known to pass it often.
During the Garabandal 'Night of Screams' where the young girl visionaries were being shown something too horrific to describe, John was getting backstage advice on how to play the harmonica from someone who had impressed him on a favorite recording.
Chords are mathematical inventions, The Beatles were interested in sound-crafting, beyond normal instrumentation: the feedback opening of "I Feel Fine" was a discovery they experimented with before trying to pass off as spontaneous. In the Get Back film they become intrigued with a small electronic device that could be manipulated to produce various sounds, and George even attempts to play his own nose.
There is also the piano work, at first done by George Martin, then with McCartney flourishing, as when he provided incredible electric guitar solos for the others. That astonishing array of talent from McCartney is more prominent than any special chord. When critics called Sgt Pepper an album by producer Martin, Paul was quick to correct, "It's OUR album."
In "A Day In The Life," McCartney's section in the middle has the piano, seeming to add some ragtime tension for the hustle-and-bustle of reality - yet it is another subliminal bit, just like the expressive drum fills augmented by acoustic guitar. And when that final Chord is struck using three pianos, it still could only have a single-syllable transcription, with the harmonic depth carrying the resonant meaning: an utterable mono-syllabic word used with semantic ambiguity in the relevant gospel passage.
Curtis Eagal
Jul 22, 2022, 4:36:18 PM7/22/22
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<{< While in the Hopi prophecies the nuclear bombings in Japan of August 1945 was predicted as a 'Gourd of Ashes' being dropped, few have noted it occurred when the planets formed a Bowl like the May 2022 Urn configuration. From the excerpted texts at the linked page it can be seen the Hopi have a history that extends farther back than the Deluge, and were anticipating the progressive advances in transportation, from wagons to 'highways in the sky,' the shimmering face of the United Nations building as a 'House of Mica,' the Moon landing, specific cultural changes and so on.
Their prophetic source also warned the Hopi not to be too complicit with the temptation of technology, because it would be accompanied by life going out of balance with wars, lies and corruption, which would produce disruptive Earth changes ("earthquakes, floods, drought, fires, tornadoes") in consequence. Disaffected murderous youth was foretold. They believe that at the critical time outside assistance would arrive in a form they recognize, when humanity is faced with a binary choice between returning to harmony with Nature, or facing Oblivion. The Hopis spoke of a Great Purification Day, and the world turning over four times...
As for the Hopi claim that the Apollo 11 crew brought something back with them from the Moon in 1969, there is actually some esoteric support for that view. The astronauts were in quarantine after their return from 27 July 1969, but that was only for things like germs and microbes. During the seduction of Jared, a troop of demons copulated with human females to spawn the Nephilim, hoping to defile the righteous human family with the corrupt descendants of Cain: the result was the Nephilim, a giant race that cannibalized children. Angels appealed to God to control the Nephilim, and the Deluge command was made - but the Nephilim would be made to slaughter each other before the Flood. In the Book of Jubilees, the spirits of the Nephilim killed many people after the Deluge, until a resolution was reached where a tenth could remain under the direction of Satan, continuing to mislead humanity by whatever means. The remainder were to be sent to a place of punishment that was unnamed...
Perhaps the only way to banish the wicked spirits of the Nephilim was to anchor their etheric bodies to a strong gravitational field as the Moon would provide, so that return to Earth alone would be impossible for them. So Apollo 11 walking in on this Ghost Prison could have actually facilitated an escape via the bubble of their space capsule.
A Marian apparition identified 1864 as a year when Satan would be allowed to corrupt the Church: the rare Pluto-Node opposition occurred in 1864, symbolizing the Tail of the Dragon in Hades; the First Vatican Council commenced as an aspiration from that point, culminating in the controversial 1870 declaration of Papal Infallibility. When the Pluto-Node opposition recurred on 1 August 1969, it included the ominous quirk of the Moon being at the Node: so it was Pluto at the Tail of the Dragon, and the Moon at the Dragon's Head - thus it appears the Moon itself has released its wicked captives, to assist Satan in all his endeavors.
Review the course of 1968-1969. The Devil fathering his own anti-Messianic son was the theme of "Rosemary's Baby," whose star Mia Farrow found herself in India with The Beatles, who were meditating to develop material for the White Album. Since the group was regressing from the Lost Years of the "Magical Mystery Tour" into the Infancy period for Christ, the gospels took a back seat to apocryphal Infancy texts: so meditation-addict Prudence Farrow was exhorted to 'come out to play.' The childhood theme was carried throughout subliminally, so "Helter Skelter" is the British equivalent of a playground slide: still the message came through that something wicked was 'coming down fast.'
The visualization of the "Abbey Road" cover image on 8 August 1969 was like a matador waving a red cape in front of the Satanic Bull, and with his demonic cohort augmented by the recently-released Nephilim, the destructive action proceeded swiftly as scripture suggests. The Manson family, in its effort to stage a murder similar to what was done to Gary Hinman, so that Bobby Beausoleil in jail would be falsely presumed innocent, perpetrated the unbelievably heinous slaughter of the pregnant wife of the director of "Rosemary's Baby" (and others), after midnight ended the day of 8 August 1969 in the pacific time zone. Before the Apollo 11 astronauts were allowed to make contact with the general public, 10 August 1969, 'Helter Skelter' was found scrawled in blood at the horrific scene.
The immense counter-cultural gathering at Woodstock remaining peaceful despite problems was undercut; and the entire peace movement was smeared by the story of crazy hippies who would perpetrate civilian massacre that could even turn the stomach of the military (the My Lai massacre occurred the day "Lady Madonna" was released). But the real target was humanity attempting to acquire salvation through the vision of Revelation (the satanic goal is that not even one person be saved): the case would emerge the Manson cult fundamentally believed the peace and love espoused by non-Establishment people like The Beatles was an insidious lie, that they were secretly commanding a race war to be incited with every violence imaginable. It did not matter to them that McCartney said "Blackbird" was written in promotion of civil rights, or that The Beatles had refused to participate in any segregation practices on their US visits. Hatred can be so strong in some people that they naturally transfer their own prejudices onto whomever they admire.
Today's Hopi people are probably not aware that the seer has focused on the cover of my March 2012 book "A Heard Dream's Rite" for having imagery of the rising sun (I.23, V.24), which they were anticipating >}>
NEW RESEARCH(!):
The 18 July 1968 session for "Helter Skelter" slipped into a version of "Blue Moon" with extended duration.
https://kalender-365.de/blue-moons.php
A Blue Moon is a second Full Moon in the same month. The previous Blue Moon occurred on the day of The Beatles' last concert, 31 August 1966; the next would be on 31 May 1969, ending at the month when the Apollo 11 mission for the Moon landing was being prepared
https://www.beatlesbible.com/1968/07/18/recording-cry-baby-cry-helter-skelter/
<<The day’s second session began at 10.30pm and ended at 3.30am. The Beatles recorded three takes of ‘Helter Skelter’, which were essentially rehearsals; they lasted 10’40”, 12’35” and 27’11” respectively.
The last was the longest recording in the group’s career. An edited mix of take two, meanwhile, was released on 1996’s Anthology 3.
I made it clear to George Martin when we doing Anthology 3, that the fans are desperate to hear this and I urged him to listen to it, because I don’t think initially he was going to do so. He listened to it, and he said: “Well, why is this important?” I said forget the quality of the sound, or forget the fact that it’s not quite in tune or whatever, what a producer would normally be looking for, just respect the fact please that it is hailed as the most important outtake of them all, and the fans will go crazy if you don’t include this on the Anthology.
So he took all that on board, which George always does, and he’s very good at that sort of thing, he listens. But, the next time I went in there, they said: “Here it is,” and it was like five minutes, and they’d trimmed it right down. And in fact they didn’t use the 27-minute one, there was another one as well that was 12 minutes, which they used, and they’d trimmed it down to five minutes. They said: “This is all people will stand, they won’t stand the whole thing.” And I said: “Well, I think a lot of them will actually…”
Mark Lewisohn >>
<< At this stage ‘Helter Skelter’ was a blues-based jam, although most of the lyrics and chord changes were in place.
They recorded the long versions of ‘Helter Skelter’ with live tape echo. Echo would normally be added at remix stage otherwise it can’t be altered, but this time they wanted it live. One of the versions developed into a jam which went into and then back out of a somewhat bizarre version of ‘Blue Moon’. The problem was, although we were recording them at 15 ips [inches per second] – which meant that we’d get roughly half an hour of time on the tape – the machine we were running for the tape echo was going at 30 ips, in other words 15 minutes… The Beatles were jamming away, completely oblivious to the world and we didn’t know what to do because they all had foldback in their headphones so that they could hear the echo. We knew that if we stopped it they would notice.
In the end we decided that the best thing to do was stop the tape echo machine and rewind it. So at one point the echo suddenly stopped and you could hear ‘bllllrrrrippppp’ as it was spooled back. This prompted Paul to put in some kind of clever vocal improvisation based around the chattering sound!
These recordings featured two electric guitars, bass and drums all on the same track, and McCartney’s vocals on another. It is possible that Lennon played the bass on these recordings.
Following this session, The Beatles didn’t return to ‘Helter Skelter’ until 9 September 1968. >>
*
This is the chronology of the Apollo 11 mission, after the 31 May 1969 Blue Moon --
https://www.space.com/nasa-one-month-to-apollo-11-moon-landing.html
<< On June 11, Apollo 11's mission was finally set when Lt. Gen. Sam C. Phillips, the Apollo program director at NASA, formally announced that NASA intended to land on the moon a month later, assuming all preflight activities went smoothly.
Between June 14 and 16, Armstrong completed eight flights with the Lunar Landing Training Vehicle, which finished his training with the craft. (He had completed 12 simulated moon landings in the vehicle and its predecessor in previous months.)
Also on June 16, the astronauts simulated the arrival of the Mobile Quarantine Facility, an Airstream trailer that would house the returning crew members in isolation to ensure they didn't bring back any infections from the moon.
Between June 14 and 16, Armstrong completed eight flights with the Lunar Landing Training Vehicle, which finished his training with the craft. (He had completed 12 simulated moon landings in the vehicle and its predecessor in previous months.)
Also on June 16, the astronauts simulated the arrival of the Mobile Quarantine Facility, an Airstream trailer that would house the returning crew members in isolation to ensure they didn't bring back any infections from the moon.
...over 400,000, close to half a million people worked behind the scenes on just the Apollo 11 mission alone. From engineers to "human computers,” which included the three African-American women featured in the book and film "Hidden Figures," to scientists, administrators, cleaning crews and so many more, it took an enormous collaborative effort to actually complete this seemingly impossible task.
That work paid off on July 20, 1969, when an estimated 600 million people around the globe sat, glued to their television sets to watch the crew's historic first steps on the moon. >>
*
Ordinarily, I would find the transcription detected for "Helter Skelter" along this tangent to be far too esoteric to be conscious, however they did lyrically reference the Blue Moon phenomenon in the outtake version, suggesting perhaps a limit for divulging knowledge. While the basic level of insight involves Young Christ in a certain childhood game incident from the Infancy text, re-listening tells an entirely different story, which is so critical for Humanity that it will be provided here.
The riff in "Helter Skelter" is menacing and rambling, with the alternate transcription,
'Return Of The Nephilim'-
This gets repeated, until a strong bass note suggesting,
'FROM...'
Then there is the harshly-sounding electric guitar shrieking,
'The
SILV'RY
MOON!'
McCartney ad-libbed a warning into the solo,
"Look out! 'Cause here she comes!"
Then the guitar solo articulates with frightening clarity:
'When The -
MOON -
VISIT -
Carries A Stowaway BACK,
There'll Be A LOT Of
WOE'
They could not have known that the Apollo 11 mission would be conducted after the next year's Blue Moon, so the outtake is particularly strange. It is a lot to result from merely hearing about a very loud song by The Who (which turned out to be the comparatively sedate "I Can See For Miles") and wanting to outdo that.
As a character in "Casino Royale" said, the release of demonic entities after the Moon landing would explain a lot of things. But for the Hopi notion of Balance versus Oblivion, a better recommendation would be "Koyaanisqatsi," where time lapse imagery insinuates fateful industrial conflict with the processes of the natural environment: meaning "Life Out Of Balance," its depictions of modern living are presented as self-evident of impending Doom.
That same Balance, not the notion of the constellation Libra, but the Scales of Cosmic Justice, is the sense that Nostradamus apparently intended in Century V Quatrain 42, where the Aigle (Eagle for Eagal) name was used: the reference to Lombardy holds for 16 July 2022 (feast day for Saint Domnio), when the Indictment Grand Trine prodigy emerged for Geneva with the Moon at a Apex on the Eleventh House cusp - the other two points were Venus, and a union of the Vertex and Fortune.
The situation rearranges for 9 September 2022 as the Hopi "Purification Day," celestial trial of Venus as the Babylon Harlot (for the 10 August 1945 Venus-Node conjunct, aftermath of the Japanese nuclear bombings), featuring her in innocent Virgo with her counselor the Sun, whose trine is pointing at Ouranos (the Uranium source, implying an alternate indictment) with the Dragon's Head Node itself. A weird protracted Grand Trine persists throughout the proceedings. The Moon opposes Venus like a prosecuting attorney. Just before the Judgment Grand Trine has Juno (near the Moon, other points Lilith and South Node) meet the false Prime Vertical of the Eleventh House cusp Apex, the Verdict seems handed down by the Vertex-Venus sextile (16 July 2022 11:30 pm CEST [5:30 pm EDT]).
This initial fiery cataclysm is part of a double punishment that includes a great flood, with that material included in the conjectured schedule. It does not seem even abnormal climate changes are sufficient to produce all the predicted effects, and the location of the exotic physics experiments is specifically identified. Even the Part of Fortune making separate aspects with Saturn and Ceres at the critical time is included as the wings of Babylon, nicknamed Sadness and Misery (Ceres was in a convergence 11 January 2020 related to onset of the covid pandemic): in the August 1945 Bowl configuration, Saturn and Ceres were the end-bodies of a large grouping adjacent to Venus, like tips of opposing wings.
The 9 September timing is also during a Vestal conjunct phase, and coincides remembrance of Christian martyrs in Nagasaki, the Great Martyrdom having transpired in 10 September 1622. The wheels of Cosmic Justice take time to turn just as with human litigation, and the implied awareness of the events 400 years prior demonstrates this is not a one-sided exercise, despite the outcome being predetermined.
RJKe...@yahoo.com
Jul 22, 2022, 4:36:22 PM7/22/22
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Right. Lennon was proud of the feedback in 'I Feel Fine' even in the later interviews, pointing out that the Beatles incorporated feedback into a song before the Who or Hendrix.
Curtis Eagal
Jul 22, 2022, 6:49:50 PM7/22/22
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The purpose was to get a certain sound, in that case an 'O' long vowel sound, as part of an intro. The song had some sophistication, beyond the subliminal guitar riff and solo elements, as an urbane contrast to the rustic presentation of "She's A Woman" on the flip side of the single. John and Paul had an ongoing contest to compose the A-side of the next hit single, and Lennon prevailed with a tune written around the fast-paced riff. There were cryptic utterances in the opening as well, and a single dog barking at the end. So subtly introducing more than people would have expected, with the majority of the iceberg still below the surfacing of consciousness.
The dissonance and electronic distortion would be developed during the psychedelic era in some yet-unexplored ways, however precise further use of feedback specifically is not certain. Performances like McCartney's of "Taxman" and "Good Morning Good Morning" rival or surpass some of Hendrix's best electric guitar work in my opinion, with searing power under masterful control. There are parts of "Yer Blues" and "She's So Heavy" that are played in an extremely complex fashion, aside from more 'instrumentally comprehensible' portions.
Certainly they used the reverse technique more than feedback, abetted by George Martin, who was filmed in an early era explaining how sounds could be manipulated after they were recorded, saying this a cymbal, then asking have you heard it backwards. The way Martin edited the end of "Rain" indicated he not only comprehended what the reverse-lyrics were, but how to cleverly alter the message with a slight change of the backwards vocal track. John would mimic what his voice sounded like in the coda with that sound texture, while making sure to garble what the message really was into gibberish. Martin had done comedy records, he was familiar with sound effects as well as orchestral scoring.
The participation of Martin was crucial to "Strawberry Fields Forever," combining two takes in different keys and tempos, by finding they had a convergence point with the speed changed on each. There are reversed cymbals on that track.
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