On Tuesday, July 12, 2022 at 3:14:29 PM UTC-7, RJKe...@yahoo.com wrote:
> On Sunday, July 10, 2022 at 11:01:21 PM UTC-4, eagali...@gmail.com wrote:
> > On Sunday, July 10, 2022 at 6:36:46 PM UTC-7, Curtis Eagal wrote:
> > > On Sunday, July 10, 2022 at 2:11:09 PM UTC-7, Curtis Eagal wrote:
> > > > On Saturday, June 25, 2022 at 8:02:40 AM UTC-7, RJKe...@yahoo.com wrote:
> > > > > On Wednesday, June 22, 2022 at 1:32:24 PM UTC-4, eagali...@gmail.com wrote:
> > > > > > On Wednesday, June 22, 2022 at 6:52:57 AM UTC-7, RJKe...@yahoo.com wrote:
> > > > > > > On Tuesday, June 21, 2022 at 6:28:20 PM UTC-4, eagali...@gmail.com wrote:
> > > > > > > > On Saturday, June 11, 2022 at 7:44:26 AM UTC-7, RJKe...@yahoo.com wrote:
> > > > > > > > > On Friday, June 10, 2022 at 5:09:35 PM UTC-4, eagali...@gmail.com wrote:
> > > > > > > > > > On Saturday, June 4, 2022 at 10:35:05 PM UTC-7, Curtis Eagal wrote:
> > > > > > > > > > > On Saturday, June 4, 2022 at 9:25:13 PM UTC-7, Curtis Eagal wrote:
> > > > > > > > > > > > On Saturday, June 4, 2022 at 9:14:41 PM UTC-7, geoff wrote:
> > > > > > > > > > > > > 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
> > > > > > > > > > > > > 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.
> > > > > > > > > > > > > No , it is simply that you are delusional. Harmless I guess, to anyone
> > > > > > > > > > > > > but yourself.
> > > > > > > > > > > > >
> > > > > > > > > > > > > geoff
> > > > > > > > > > > > It's already been established you will ignore whatever they said that is not to your liking, and substitute your own prejudices without concern for rational sense.
> > > > > > > > > > > >
> > > > > > > > > > > > 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.
> > > > > > > > > > > You get one part of a song where John was playing 'anything can be on the list' and said so, and want that to color everything before and after, which is the sort of indoctrination false religious institutions have been guilty of. Since there are paranormal things that cannot be explained, it is ridiculous to expend effort arguing over the unknowable as if it could be determined without prophecy being fulfilled, taking that off the table at the outset.
> > > > > > > > > > >
> > > > > > > > > > > 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.
> > > > > > > > > > John Lennon also role-played Judas Iscariot in "Run For Your Life," so it was not a personal admission of being a "wicked guy" in real life: and for the "Rubber Soul" back cover, the only full-body image was George Harrison dressed as a cowboy gunslinger, as the visual representation of Judas, ready to strike with his weapon of choice. The front cover suggests omniscient Christ with His main three Apostles, Simon, James and John.
> > > > > > > > > >
> > > > > > > > > > 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"
> > > > > > > > > Yeah, he sings that in "Nring On The Lucie." What does he mean? Who's he singing to? And WTF is "The Licie"?
> > > > > > > > >
> > > > > > > > > "Free the people" from WHAT? WHICH killing is he telling some mysterious being to stop?
> > > > > > > > I can only think of the song from Pepper for Lucie, and if you notice the acronym of that song is actually LITSWD, which when extracting the psychedelic nickname leaves an anagram for 'WIT' - so it could be a Hippie joke on the term for being ascerbic, 'acid wit.' The rhymes in Bring On The Lucie are about slipping down a hill on the blood of people you killed, while you still have to swallow your pill.
> > > > > > > >
> > > > > > > > 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 . . . ”
> > > > > > > That was his last batch of great songs, so he gets points for self awareness on that. Why was he suicidal at the Maharishi's camp? I can see him having trouble sleeping if he was meditating all day and not doing anything that would eventually invite fatigue. But suicidal? Was he going through some sort of drug withdrawal?
> > > > > > > > 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.
> > > > > > I do not try to delve too deeply beyond the known history, but we have John disclosing to his wife Cynthia numerous affairs, and the subsequent events culminating in their divorce. Lennon probably wanted Yoko with him on the India trip but that was impossible. The Maharishi called them angels but wanted a tenth of their income in perpetuity. Performing in front of an audience, which John loved, had not been possible despite continuing success with records.
> > > > > >
> > > > > > 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.
> > > > > Fortunately, he didn't carry out that impulse.
> > > > >
> > > > > 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.
> > > > John wanted to see they were reaching people, and set the tone of how they were presenting themselves. I would take it back to his relationship with mother Julia, whom he respected as a performer in the style of Kay Starr: she coached the earliest form of the band, when they adapted the banjo chords she knew. While Aunt Mimi would have prevented it, Julia offered her address for the delivery of the guitar he would perform with in the earliest days.
> > > >
> > > > 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.
> > > Also in "Yer Blues" the 'suicidal' lyrics include a Mother of the Sky and Father of the Earth, producing himself as Child of the Universe, again a Messianic implication. The 'black cloud' and 'blue mist' are in the realm of cosmic role-playing, fueled perhaps by an isolated feeling without Yoko at the ashram. The band reminisced fondly of performing on the roof in India with acoustic instruments, as if it had been the early days in Hamburg or Liverpool.
> > >
> > > 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.
> > Checked John Lennon's parents natal charts, and there is a strange correlation with the lyrics of "Yer Blues":
> >
> > 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.
> That's interesting, but is it coincidence or was John personally researching these things before inserting them in his lyrics?
>
> 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.

John tried to reach Julia with a seance after her death, there was a lot of interest in astrology during the 'Sixties, so it is not inconceivable that he would enlist an astrologer to piece together what happened to his family.

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...'