While the lyrics of what is presented as the final song from The Beatles, "Now And Then," emotively emphasize the interpersonal dynamic between the main compositional songwriting team of John Lennon and Paul McCartney, John's lyric, "If we must start again," recalls the meeting where Paul's idea to start again "from Square One" was rejected, with Lennon preferring to have the group disbanded, later saying the collective enterprise was like a beautiful temple that had to be destroyed to be preserved. That John intended the demo for Paul indicates new openness to the idea that arrived too late, with George Harrison first becoming aware of its existence in a 1994 conversation with Yoko Ono; after attempts by the surviving three band members in 1995 to utilize the recording as the basis for a new Beatles track, it was determined to shelve the project until technology could allow John's voice to become separated from his piano self-accompaniment - that advance became available in 2022 during the "Get Back" documentary project, so Peter Jackson was able to achieve the pristine isolation of Lennon's vocal, which was then subjected to various overdubs for the finished song released 2 November 2023.

Harrison's attempts at a slide guitar solo were given a tribute variation, emerging as an ethereal lamentation their powerful united mystique had never manifested in such an advanced endeavor; Ringo Starr added a drum part suggesting it was 'An undone job' around the one-minute point, recurring without his percussive accent about a minute later. McCartney collaborated on scoring the orchestral elements, which were recorded at Capitol Studios without the musicians being made aware of the nature of the project.

McCartney had demonstrated in his final album with Wings, "Back To The Egg," that a regression into the conclusion could be recognized, even when restarting with "Coming Up" from the "McCartney II" LP, however Lennon's concern that a 'Square One' reboot of The Beatles themselves might have been difficult to be perceived. The human psyche was thus never subjected to a secondary pass at what the legendary group had been trying to convey through their approximately seven-year historic run: it should have been astounding and justifiably enormously popular, yet also perhaps again perceived as aural cotton candy, aesthetically enthralling while consciously taken as somewhat lacking in substance, by those unaware of the instrumental and vocal substantive content. Their prior technique involved picking up on prevailing social trends, so presumably they would have done that again, obliquely mirroring a very different later culture. And each case would have likely presented an entirely different piece of the overall puzzle.

Lennon's interest in social transformation and the influence of religion should have been foremost in his notions of obligatory relevancy, and his outspokenness on those issues was frequently controversial: his song "Imagine" used in the final scene of "The Killing Fields" was a perhaps unintended reminder that the forcible obliteration of religious ideas would not necessarily result in any sort of human brotherhood. John had expressed the goal of making Christ's message contemporary.

The vinyl pairing of "Now And Then" with their original release "Love Me Do," then mistakenly using the version where Starr played drums instead of the remake with Andy White drumming (where Ringo merely shook a tambourine), was newly rendered in stereo, bringing into spotlight how the "Then" effort commenced, never to have its 'Now-ish' corollary. Midway between the 1995 era when "Now And Then" was shelved, and the consummated 2023 release, I began my series about the group with Book 2 in late 2009 (Book 1 was done later), starting the story when they entered EMI Studios to record "Love Me Do," offering subliminal transcriptions of both versions, noting variations in the respective harmonica parts played by Lennon - the Ascension was then inferred with the breezy riff proclaiming alternately, 'He flew into Heaven... The Saviour flew up into Heaven,' introducing a variation for the middle section using different syntax for a related concept that tied into the scatting and invocation of the title.

The timing of the "Now And Then" release has esoteric implications, arriving during the long cycle of Saturn reigning in Pisces (from 24 October to 8 November 2023), just before its return to direct motion from its retrograde phase, given as fateful late in the interval, repeating that lateness feature also present with the prior iteration in Aquarius coinciding with the 6 January 2021 Capitol riot. The entry of Venus in Libra concluding the 2023 Piscean interval was also indicated. Since the ominous 3 June 2023 Venusian Lunar Grand Trine configuration was observed closely coinciding with train derailments in India, a further one involving Saturn was found mid-September, which as predicted arrived with a massively lethal Moroccan quake, and flooding in Libya. The intense emotional reaction fans have had from the final Beatles song also appears foretold in association with the recurrence of the long cycle for Saturn ("What emotions!"); the elusive Lombardy reference became apparent via the 8 August onset of the Maui wildfires, occurring on the death date for Saint Eusebius bishop of Milan (in the Lombard region), synchronized with the conjunction of Mercury and Pallas, which shared the constellation with Mars having its lunar opposition at the fifteen-degree midpoint circa 4 August 2023, presenting the 'Balance' concept. The final notable Grand Trine configuration in 2023 involves Jupiter with Mercury and Lilith circa 7 to 11 December.

The fourteen "Help!" album songs aligning with The Stations of The Cross would be the subject of the subsequent Book 6 in my series, perhaps the transcriptions from "Now And Then" will be included in an afterword, which could be dualistic, taking the final sustained note as both inferring 'NOW,' as well as a potentially timely 'NIGH' along a quite different parallel tangent.

https://groups.google.com/g/alt.prophecies.nostradamus/c/5Bwa2xAg6HU/m/UvOa_GliAAAJ

On Sunday, November 5, 2023 at 9:09:05 AM UTC-8, Curtis Eagal wrote:
> While the lyrics of what is presented as the final song from The Beatles, "Now And Then," emotively emphasize the interpersonal dynamic between the main compositional songwriting team of John Lennon and Paul McCartney, John's lyric, "If we must start again," recalls the meeting where Paul's idea to start again "from Square One" was rejected, with Lennon preferring to have the group disbanded, later saying the collective enterprise was like a beautiful temple that had to be destroyed to be preserved. That John intended the demo for Paul indicates new openness to the idea that arrived too late, with George Harrison first becoming aware of its existence in a 1994 conversation with Yoko Ono; after attempts by the surviving three band members in 1995 to utilize the recording as the basis for a new Beatles track, it was determined to shelve the project until technology could allow John's voice to become separated from his piano self-accompaniment - that advance became available in 2022 during the "Get Back" documentary project, so Peter Jackson was able to achieve the pristine isolation of Lennon's vocal, which was then subjected to various overdubs for the finished song released 2 November 2023.
>
> Harrison's attempts at a slide guitar solo were given a tribute variation, emerging as an ethereal lamentation their powerful united mystique had never manifested in such an advanced endeavor; Ringo Starr added a drum part suggesting it was 'An undone job' around the one-minute point, recurring without his percussive accent about a minute later. McCartney collaborated on scoring the orchestral elements, which were recorded at Capitol Studios without the musicians being made aware of the nature of the project.
>
> McCartney had demonstrated in his final album with Wings, "Back To The Egg," that a regression into the conclusion could be recognized, even when restarting with "Coming Up" from the "McCartney II" LP, however Lennon's concern that a 'Square One' reboot of The Beatles themselves might have been difficult to be perceived. The human psyche was thus never subjected to a secondary pass at what the legendary group had been trying to convey through their approximately seven-year historic run: it should have been astounding and justifiably enormously popular, yet also perhaps again perceived as aural cotton candy, aesthetically enthralling while consciously taken as somewhat lacking in substance, by those unaware of the instrumental and vocal substantive content. Their prior technique involved picking up on prevailing social trends, so presumably they would have done that again, obliquely mirroring a very different later culture. And each case would have likely presented an entirely different piece of the overall puzzle.
>
> Lennon's interest in social transformation and the influence of religion should have been foremost in his notions of obligatory relevancy, and his outspokenness on those issues was frequently controversial: his song "Imagine" used in the final scene of "The Killing Fields" was a perhaps unintended reminder that the forcible obliteration of religious ideas would not necessarily result in any sort of human brotherhood. John had expressed the goal of making Christ's message contemporary.
>
> The vinyl pairing of "Now And Then" with their original release "Love Me Do," then mistakenly using the version where Starr played drums instead of the remake with Andy White drumming (where Ringo merely shook a tambourine), was newly rendered in stereo, bringing into spotlight how the "Then" effort commenced, never to have its 'Now-ish' corollary. Midway between the 1995 era when "Now And Then" was shelved, and the consummated 2023 release, I began my series about the group with Book 2 in late 2009 (Book 1 was done later), starting the story when they entered EMI Studios to record "Love Me Do," offering subliminal transcriptions of both versions, noting variations in the respective harmonica parts played by Lennon - the Ascension was then inferred with the breezy riff proclaiming alternately, 'He flew into Heaven... The Saviour flew up into Heaven,' introducing a variation for the middle section using different syntax for a related concept that tied into the scatting and invocation of the title.
>
> The timing of the "Now And Then" release has esoteric implications, arriving during the long cycle of Saturn reigning in Pisces (from 24 October to 8 November 2023), just before its return to direct motion from its retrograde phase, given as fateful late in the interval, repeating that lateness feature also present with the prior iteration in Aquarius coinciding with the 6 January 2021 Capitol riot. The entry of Venus in Libra concluding the 2023 Piscean interval was also indicated. Since the ominous 3 June 2023 Venusian Lunar Grand Trine configuration was observed closely coinciding with train derailments in India, a further one involving Saturn was found mid-September, which as predicted arrived with a massively lethal Moroccan quake, and flooding in Libya. The intense emotional reaction fans have had from the final Beatles song also appears foretold in association with the recurrence of the long cycle for Saturn ("What emotions!"); the elusive Lombardy reference became apparent via the 8 August onset of the Maui wildfires, occurring on the death date for Saint Eusebius bishop of Milan (in the Lombard region), synchronized with the conjunction of Mercury and Pallas, which shared the constellation with Mars having its lunar opposition at the fifteen-degree midpoint circa 4 August 2023, presenting the 'Balance' concept. The final notable Grand Trine configuration in 2023 involves Jupiter with Mercury and Lilith circa 7 to 11 December.
>
> The fourteen "Help!" album songs aligning with The Stations of The Cross would be the subject of the subsequent Book 6 in my series, perhaps the transcriptions from "Now And Then" will be included in an afterword, which could be dualistic, taking the final sustained note as both inferring 'NOW,' as well as a potentially timely 'NIGH' along a quite different parallel tangent.
>
> https://groups.google.com/g/alt.prophecies.nostradamus/c/5Bwa2xAg6HU/m/UvOa_GliAAAJ

I have noticed from close listening to Beatles recordings that some things seeming innocuous, like screams going into mid-sections for solos, have unexpected intelligible meanings, noting with this final track that the count-in does not sound like "One, two" so much as a poignant "*WANT* to."

John Lennon as the group leader was perhaps also the mastermind dream-weaver keeping the format on track, abetted by Paul McCartney, while the emerging songwriting efforts of George Harrison were casually repressed, with producer George Martin eventually offering some belated apology. The Lennon-McCartney collaboration "Baby's In Black" lyrically juxtaposed the colors black and blue to suggest bruising, while the instrumental middle subliminally invoked the Hebrew prophet Isaiah, whose foretold of Christ with the phrasing, "By His bruises we are healed," whose variation may inform the riff; in a double-time waltz, the lyrics recalled a tune from a long-past era - this was sung in concerts, satisfying their artistic side without concern for whether it would be commercially accessible.

With unfortunate young people often crowded into front rows at concerts seeking faith-healing, the band members proclaimed themselves agnostic, however Lennon seemed increasingly frustrated with the notion he was making his guitar talk, with his group putting out messages that were unlikely to be perceived. Journalist friend Maureen Cleave included in her controversial article that John considered a Bible and Crucifix among his most cherished possessions, yet excerpts from her interview out of context were taken as sacrilegious in America, and holier-than-thou with full context in Britain. The other Beatles supported John when he attempted to clarify his views, without making the critical admission, declaring nothing better seemed to be replacing Christianity, while hinting eventually no gimmick could be devised to keep things going, as people might have supposed.

John and Paul experienced an unfortunate bond with the untimely loss of their mothers. McCartney sought to test prayer with his mother Mary's desired return, ultimately resorting to the guitar for solace. Someone listening to "Mother" from Lennon's primal therapy phase might think Julia had induced trauma by cruelly abandoning him, while he had some difficulty choosing between his parents when they separated: yet Julia's sister Mimi alerted the authorities to an inappropriate living situation to obtain custody. Julia had been a performer, and encouraged John to pursue doing so himself against the wishes of Mimi, becoming an early musical director for the band - it was a drunk-driving off-duty policeman fatally striking Julia that removed her from John's life.

Lennon's primal therapy could only be considered successful if the madness of religion was renounced, a process he later deemed unsuccessful; the final stage was objectively reviewing his current work, which meant watching the original "Let It Be" film - John saw himself toiling in futility, not expecting anyone to ever glean what he sought to convey, and the result was his song "God," including a preamble where the basic premise was delivered by an angel. He conceived it as a progression from the theme of his song "Girl," questioning the Judeo-Christian notion that pain and suffering (as with martyrdom and self-denial) would bring the eventual pleasure of some spiritual reward; since only his actual relationship with Yoko was materially relevant, there was nothing else justifiable to believe in, so a list was generated, feeling it was a game, that included seeming renunciations of Jesus along with his famous group. John termed one of his phases with political focus as "Christian Communist."

On Sunday, November 5, 2023 at 9:09:05 AM UTC-8, Curtis Eagal wrote:
> While the lyrics of what is presented as the final song from The Beatles, "Now And Then," emotively emphasize the interpersonal dynamic between the main compositional songwriting team of John Lennon and Paul McCartney, John's lyric, "If we must start again," recalls the meeting where Paul's idea to start again "from Square One" was rejected, with Lennon preferring to have the group disbanded, later saying the collective enterprise was like a beautiful temple that had to be destroyed to be preserved. That John intended the demo for Paul indicates new openness to the idea that arrived too late, with George Harrison first becoming aware of its existence in a 1994 conversation with Yoko Ono; after attempts by the surviving three band members in 1995 to utilize the recording as the basis for a new Beatles track, it was determined to shelve the project until technology could allow John's voice to become separated from his piano self-accompaniment - that advance became available in 2022 during the "Get Back" documentary project, so Peter Jackson was able to achieve the pristine isolation of Lennon's vocal, which was then subjected to various overdubs for the finished song released 2 November 2023.
>
> Harrison's attempts at a slide guitar solo were given a tribute variation, emerging as an ethereal lamentation their powerful united mystique had never manifested in such an advanced endeavor; Ringo Starr added a drum part suggesting it was 'An undone job' around the one-minute point, recurring without his percussive accent about a minute later. McCartney collaborated on scoring the orchestral elements, which were recorded at Capitol Studios without the musicians being made aware of the nature of the project.
>
> McCartney had demonstrated in his final album with Wings, "Back To The Egg," that a regression into the conclusion could be recognized, even when restarting with "Coming Up" from the "McCartney II" LP, however Lennon's concern that a 'Square One' reboot of The Beatles themselves might have been difficult to be perceived. The human psyche was thus never subjected to a secondary pass at what the legendary group had been trying to convey through their approximately seven-year historic run: it should have been astounding and justifiably enormously popular, yet also perhaps again perceived as aural cotton candy, aesthetically enthralling while consciously taken as somewhat lacking in substance, by those unaware of the instrumental and vocal substantive content. Their prior technique involved picking up on prevailing social trends, so presumably they would have done that again, obliquely mirroring a very different later culture. And each case would have likely presented an entirely different piece of the overall puzzle.
>
> Lennon's interest in social transformation and the influence of religion should have been foremost in his notions of obligatory relevancy, and his outspokenness on those issues was frequently controversial: his song "Imagine" used in the final scene of "The Killing Fields" was a perhaps unintended reminder that the forcible obliteration of religious ideas would not necessarily result in any sort of human brotherhood. John had expressed the goal of making Christ's message contemporary.
>
> The vinyl pairing of "Now And Then" with their original release "Love Me Do," then mistakenly using the version where Starr played drums instead of the remake with Andy White drumming (where Ringo merely shook a tambourine), was newly rendered in stereo, bringing into spotlight how the "Then" effort commenced, never to have its 'Now-ish' corollary. Midway between the 1995 era when "Now And Then" was shelved, and the consummated 2023 release, I began my series about the group with Book 2 in late 2009 (Book 1 was done later), starting the story when they entered EMI Studios to record "Love Me Do," offering subliminal transcriptions of both versions, noting variations in the respective harmonica parts played by Lennon - the Ascension was then inferred with the breezy riff proclaiming alternately, 'He flew into Heaven... The Saviour flew up into Heaven,' introducing a variation for the middle section using different syntax for a related concept that tied into the scatting and invocation of the title.
>
> The timing of the "Now And Then" release has esoteric implications, arriving during the long cycle of Saturn reigning in Pisces (from 24 October to 8 November 2023), just before its return to direct motion from its retrograde phase, given as fateful late in the interval, repeating that lateness feature also present with the prior iteration in Aquarius coinciding with the 6 January 2021 Capitol riot. The entry of Venus in Libra concluding the 2023 Piscean interval was also indicated. Since the ominous 3 June 2023 Venusian Lunar Grand Trine configuration was observed closely coinciding with train derailments in India, a further one involving Saturn was found mid-September, which as predicted arrived with a massively lethal Moroccan quake, and flooding in Libya. The intense emotional reaction fans have had from the final Beatles song also appears foretold in association with the recurrence of the long cycle for Saturn ("What emotions!"); the elusive Lombardy reference became apparent via the 8 August onset of the Maui wildfires, occurring on the death date for Saint Eusebius bishop of Milan (in the Lombard region), synchronized with the conjunction of Mercury and Pallas, which shared the constellation with Mars having its lunar opposition at the fifteen-degree midpoint circa 4 August 2023, presenting the 'Balance' concept. The final notable Grand Trine configuration in 2023 involves Jupiter with Mercury and Lilith circa 7 to 11 December.
>
> The fourteen "Help!" album songs aligning with The Stations of The Cross would be the subject of the subsequent Book 6 in my series, perhaps the transcriptions from "Now And Then" will be included in an afterword, which could be dualistic, taking the final sustained note as both inferring 'NOW,' as well as a potentially timely 'NIGH' along a quite different parallel tangent.
>
> https://groups.google.com/g/alt.prophecies.nostradamus/c/5Bwa2xAg6HU/m/UvOa_GliAAAJ

I have noticed from close listening to Beatles recordings that some things seeming innocuous, like screams going into mid-sections for solos, have unexpected intelligible meanings, noting with this final track that the count-in does not sound like "One, two" so much as a poignant "*WANT* to."

John Lennon as the group leader was perhaps also the mastermind dream-weaver keeping the format on track, abetted by Paul McCartney, while the emerging songwriting efforts of George Harrison were casually repressed, with producer George Martin eventually offering some belated apology. The Lennon-McCartney collaboration "Baby's In Black" lyrically juxtaposed the colors black and blue to suggest bruising, while the instrumental middle subliminally invoked the Hebrew prophet Isaiah, potentially foretelling Christ with the phrasing, "By His bruises we are healed," whose variation may inform the riff; in a double-time waltz, the lyrics recalled a tune from a long-past era - this was sung in concerts, satisfying their artistic side without concern for whether it would be commercially accessible.

With unfortunate young people often crowded into front rows at concerts seeking faith-healing, the band members proclaimed themselves agnostic, however Lennon seemed increasingly frustrated by the notion he was making his guitar talk, with his group putting out messages that were unlikely to be perceived. Journalist friend Maureen Cleave included in her controversial article that John considered a Bible and Crucifix among his most cherished possessions, yet excerpts from her interview out of context were taken as sacrilegious in America, and holier-than-thou with full context in Britain. The other Beatles supported John when he attempted to clarify his views, without making the critical admission, declaring nothing better seemed to be replacing Christianity, while hinting eventually no gimmick could be devised to keep things going, as people might have supposed.

John and Paul experienced an unfortunate bond with the untimely loss of their mothers. McCartney sought to test prayer with his mother Mary's desired return, ultimately resorting to the guitar for solace. Someone listening to "Mother" from Lennon's primal therapy phase might think Julia had induced trauma by cruelly abandoning him, while he had some difficulty choosing between his parents when they separated: yet Julia's sister Mimi alerted the authorities to an inappropriate living situation to obtain custody. Julia had been a performer, and encouraged John to pursue doing so himself against the wishes of Mimi, becoming an early musical director for the band - it was a drunk-driving off-duty policeman fatally striking Julia that removed her from John's life.

Lennon's primal therapy could only be considered successful if the madness of religion was renounced, a process he later deemed not sustained; the final stage had been objectively reviewing his current work, which meant watching the original "Let It Be" film - John saw himself toiling in futility, not expecting anyone to ever glean what he sought to convey, and the result was his song "God," including a preamble where the basic premise was delivered by an angel. He conceived it as a progression from the theme of his song "Girl," questioning the Judeo-Christian notion that pain and suffering (as with martyrdom and self-denial) would bring the eventual pleasure of some spiritual reward; since only his actual relationship with Yoko was materially relevant, there was nothing else justifiable to believe in, so a list was generated, feeling it was a game, that included seeming renunciations of Jesus along with his famous group. John termed one of his phases with political focus as "Christian Communist."