On Tuesday, August 2, 2022 at 3:31:45 AM UTC-7, Curtis Eagal wrote:
> On Monday, July 25, 2022 at 10:24:12 AM UTC-7, Curtis Eagal wrote:
> > On Monday, July 25, 2022 at 5:45:10 AM UTC-7, RJKe...@yahoo.com wrote:
> > > On Sunday, July 24, 2022 at 8:21:25 AM UTC-4, eagali...@gmail.com wrote:
> > > > On Saturday, July 23, 2022 at 2:50:14 PM UTC-7, Curtis Eagal wrote:
> > > > > On Saturday, July 23, 2022 at 12:36:56 PM UTC-7, Curtis Eagal wrote:
> > > > > > On Saturday, July 23, 2022 at 11:28:04 AM UTC-7, RJKe...@yahoo.com wrote:
> > > > > > > On Saturday, July 23, 2022 at 1:50:19 AM UTC-4, eagali...@gmail.com wrote:
> > > > > > > > On Friday, July 22, 2022 at 3:49:50 PM UTC-7, Curtis Eagal wrote:
> > > > > > > > > On Friday, July 22, 2022 at 1:36:22 PM UTC-7, RJKe...@yahoo.com wrote:
> > > > > > > > > > On Friday, July 22, 2022 at 3:01:06 PM UTC-4, eagali...@gmail.com wrote:
> > > > > > > > > > > On Saturday, July 16, 2022 at 8:45:32 AM UTC-7, RJKe....@yahoo.com wrote:
> > > > > > > > > > > > On Friday, July 15, 2022 at 1:44:09 PM UTC-4, eagali...@gmail.com wrote:
> > > > > > > > > > > > > On Friday, July 15, 2022 at 6:13:21 AM UTC-7, RJKe...@yahoo.com wrote:
> > > > > > > > > > > > > > On Thursday, July 14, 2022 at 4:59:53 PM UTC-4, eagali...@gmail.com wrote:
> > > > > > > > > > > > > > > On Thursday, July 14, 2022 at 12:08:15 PM UTC-7, Curtis Eagal wrote:
> > > > > > > > > > > > > > > > On Thursday, July 14, 2022 at 7:56:56 AM UTC-7, RJKe...@yahoo.com wrote:
> > > > > > > > > > > > > > > > > On Wednesday, July 13, 2022 at 8:28:30 AM UTC-4, eagali...@gmail.com wrote:
> > > > > > > > > > > > > > > > > > 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
> > > > > > > > > > > > > > > > > > e: John
> > > > > > > > > > > > > > > > > > '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.
> > > > > > > > > > > > > > > > They were very interested in what critics would say at first, seeming to be amused by how futile it would be to apply the mathematical observations of musicology to what they produced. You are referring to the 'Aeolian cadences' remark, which is gibberish to those untrained in the theory, so he was unaware whether it applied to his song thus his ridicule is irrelevant. Their level at "Not A Second Time" was interjecting 'Ave and Hallelu- yeah' into an empty measure, most critics wouldn't notice that. Listening to a song for harmonic progression is different from hearing a guitar solo as an instrumental voice.
> > > > > > > > > > > > > > > >
> > > > > > > > > > > > > > > > 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.
> > > > > > > > > > > > > > > In my 2011 book "Not Full So Black" from page 100 this particular William Mann review episode is recounted - summarizing excerpts:
> > > > > > > > > > > > > > >
> > > > > > > > > > > > > > > "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.
> > > > > > > > > > > > > > 'They're just chords, like any other chords,' eh? It's a classic John (in interview mode) type of line.
> > > > > > > > > > > > > >
> > > > > > > > > > > > > > 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
> > > > > > > > > > > > > It is a strange comment from a musician, they had sought out people who knew special chords in the early days. The chords played a significant role in "Things We Said Today": McCartney called it "future nostalgia," looking forward to looking back to now, "which quite a good trick. It has interesting chords. It goes C, F, which is all normal, the normal thing might be going to F minor, but to go to B-flat was quite good. It was a sophisticated little tune." During the analysis I explain it is the third phrase of the verses on the lyric "Someday" where the 'interesting chords' appear, before the fourth phrase returns to more familiar territory..
> > > > > > > > > > > > >
> > > > > > > > > > > > > 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"
> > > > > > > > > > > > Who did they turn to for knowledge of chords, if you don't mind my asking? I know that McCartney knew more than Lennon when they met. And supposedly George knew more than Paul in the very beginning.
> > > > > > > > > > > >
> > > > > > > > > > > > I read or heard that John didn't even know how to tune his guitar until he met Paul.
> > > > > > > > > > > I was recalling an anecdote about John and Paul traveling to meet such a person, not sure if that story is related to overhearing a drummer who would be used for awhile. John's mother Julia knew banjo chords, so how those were adapted to guitar is immaterial: playing by ear, musicians can find the sounds they want, chords are note combinations that have harmonious resonance which can be learnt. In the Get Back film Paul especially can be seen singing the chord letters rather than lyrics to guide through the tune.
> > > > > > > > > > >
> > > > > > > > > > > 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.
> > > > > > > > > > Thanks for all the info.
> > > > > > > > > >
> > > > > > > > > > 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.
> > > > > > > > > I reconstructed the feedback incident for "The Quality Of Mersey" (July 2020). It is true that Lennon felt most comfortable justifying his guitar work on a stylistic basis, so "You Can't Do That" was his Wilson Pickett impersonation, "Not A Second Time" was more Smokey Robinson, heavy metal formulated for "Ticket To Ride." The feedback trick relied on actually triggering a sympathetic reaction creating a synthetic audio loop, very difficult to accidentally use properly the first time in a creative context.
> > > > > > > > >
> > > > > > > > > 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.
> > > > > > > >
> > > > > > > > The "Can You Take Me Back" brief song fragment bridging "Cry Baby Cry" and "Revolution 9" has a distinctly Native American sound. During the Apple era, there was someone tasked with casting the I Ching for important decisions; events were given surreal scheduled times like 5:16, seemingly derived from astrology.
> > > > > > > >
> > > > > > > > Looking at the triple conjunction of Jupiter and Saturn commencing past three weeks after Lennon's assassination, using the same method of recognizing significant dates, it functions as a review of his particular specific decisions that could be perceived negatively. This sequence began 31 December 1980, which in 1970 was the date Paul McCartney would file to legally dissolve The Beatles, since Lennon would not go public with his decision to end the group. These coincidences are on the controversial side, recalling dates from his life where others might have a problem, with nothing genuinely negative from him to merit that feeling.
> > > > > > > >
> > > > > > > > The second was on 4 March 1981, which in 1966 was the date the London Evening Standard article by Maureen Cleave was released, which stirred opposite controversies on either side of the Atlantic, because John was relentlessly honest without being explicitly demonstrative about the subliminal transference issue.
> > > > > > > >
> > > > > > > > The third union of Jupiter and Saturn in that cycle was on 24 July 1981, which in 1967 was the date of publication for an
> > > > > > > > advertisement in The London Times where The Beatles added their names to a list denouncing cannabis prohibition.
> > > > > > > >
> > > > > > > > https://www.beatlesbible.com/1967/07/24/the-beatles-call-for-the-legalisation-of-marijuana/
> > > > > > > >
> > > > > > > > As for the lyrics of "Helter Skelter" implying the Moon-Stowaway theme, "miles above you" is only literally true in an outer space context, and the role-playing for this character may come from 'prior experience.' "Will you, won't you," "Do you don't you want me to love you," "Tell me, Tell me, Tell me the Answer": this is a binary thinker, a narcissist with a huge ego seeking to obsessively attach to a demagogic leader (or several), insisting to know who is for or against him personally, towards a total purge of detractors. McCartney role-plays the hybrid-demonic spirit banished to the barren Moon (yet rapidly returning to Earth), challenging a staid performing musician like himself -
> > > > > > > >
> > > > > > > > "Well, You MAY Be A Lover,
> > > > > > > > But You AIN'T No Dance
> > > > > > > I always assumed the 'Can you Take me back' piece was a sortt of surprise ending to 'Cry Baby Cry'..
> > > > > > >
> > > > > > > Whatever the intention, it's beautiful and mysterious.
> > > > > > https://www.youtube.com/watch?v=rNUF7wy9gpU
> > > > > >
> > > > > > That is the entire first take, the used portion is towards the end. The rhythm and rattling sounds distinctly Native American. They put on something like the Hopi Kachina Mask with that one. I remember listening to it with a high school friend who had a reaction that it was hypnotically inducing the state of 'going back,' a sense of primal return.
> > > > > The splashdown of the Apollo 11 crew on 24 July 1969 was very close to the 25 July 1969 date, when after being told to merely frighten Gary Hinman out of a supposed $20,000 inheritance, Bobby Beausoleil witnessed as Manson suddenly arrived with a samurai sword, and sliced off Hinman's ear with it. Beausoleil had never seen this extreme violence before and asked why, getting a chilling reply: "To show you how to be a man!"
> > > > >
> > > > > Others were left to stitch up Hinman with dental floss, ultimately only to torture him until he was killed on 27 July, while reciting a Buddhist prayer.
> > > > >
> > > > > So there was a sudden super-malevolent change in the unstable criminal Manson that can be traced very close to the atmospheric re-entry of the Apollo 11 mission spacecraft.
> > > > >
> > > > > The Hopi prophecies are common knowledge, with the Moon landing as an ominous prospect.
> > > > The Blue Moon of 30 April 1961 was the harbinger for President John Kennedy's 25 May 1961 speech to a joint session of Congress where he prioritized landing on the Moon as a national goal. It could have been that the remnant Nephilim contingent here knew humans had become technologically capable of retrieving their ninety percent cohort trapped on the Moon, and impressed a false urgency for the prestige, inducing people to forget there was no discernible practical advantage.
> > > >
> > > > There is also a probable reason that the new demonic reinforcements would immediately focus on Manson: what occurred with the infamous killings was a twisted karmic replay of The Slaughter Of The Innocents mass-killing scenario, suggesting he was a reincarnation of King Herod who commanded it. There is a loop in "Revolution 9" that names Herod, which was not perceived consciously, apparently even when repeated. The wicked spirits seek to use known enemies of Christ (in reincarnations unknown to humans), amplifying their inclinations towards iniquity to insane levels.
> > > >
> > > > There was a strange coincidence with the opening of the Haunted Mansion at Disneyland, during the period of the Tate and La Bianca murders --
> > > >
> > > > https://www.mouseplanet.com/12973/Disneyland_Haunted_Mansion_1969#:~:text=The%20mansion%20officially%20opened%20as,of%20Disneyland%20guests%20experienced%20it.
> > > >
> > > > << Employee previews of the Mansion held on the nights of August 7 and 8 ran so smoothly that it was followed by unannounced "soft" openings on August 9 and 10, where limited numbers of park guests were allowed to ride.
> > > >
> > > > The exterior of the Haunted Mansion was merely a shell -- requiring guests to enter the "stretching room."
> > > >
> > > > A "Midnight" Press Event was held on the evening of August 11 from 10:30 pm to midnight. Fifty members of the press were given a special press package upon their arrival at the park that included a "Press Ghost" pass attached to a small glow-in-the-dark skull (a "skeleton key") which would be worn throughout the evening. They began the late night by being wined and dined at Club 33 and then Disneyland Ambassador Shari Bescos escorted them to the attraction.
> > > >
> > > > The mansion officially opened as advertised in the newspapers and the park to all guests the morning of August 12, 1969. However, today, the Walt Disney Company claims that August 9 was the real opening of the attraction since that was the first time that a handful of Disneyland guests experienced it.
> > > >
> > > > Eerily, actress Sharon Tate was murdered along with others early Saturday morning, August 9, 1969 by the disciples of Charles Manson, and that event overshadowed all other news that weekend.
> > > >
> > > > While today, we just accept the Haunted Mansion as one of the iconic Disneyland attractions, it was quite a challenge getting to that official opening of the "Phantom Phantasy" as early Disney publicity called it in 1969.
> > > >
> > > > While Walt reviewed many early concepts and previewed elements of the attraction on a 1965 episode entitled "Disneyland's Tenth Anniversary" on his weekly television show The Wonderful World of Color, he never saw the completed show and it was the first major Disney attraction to open without the direct supervision of Walt Disney.
> > > >
> > > > Associated Press writer Bob Thomas who would later author an acclaimed biography of Walt Disney wrote on August 19, 1969 for the San Diego Evening Tribune newspaper: "Many times I listened to [Walt Disney] spin ghostly tales he planned to dramatize in a Haunted Mansion at the Anaheim park. The project went through many states… but Walt was never satisfied with the illusions, and he died before his dream could be realized." >>
> > > >
> > > > There was about a decade of planning for the dark ride, its completion synchronized so that at the time the actual 'Stowaway from Moon Prison' scenario was occurring, such an insidious notion was also being satirized as family fun at the foremost amusement park: the finale of the ride is a caution to be wary of ghosts that are hitchhiking to follow patrons home. Then the 'doom buggies' slide past a row of mirrors, where various luminous ghoulish characters can be seen with patrons in the reflection.
> > > >
> > > > The August 1969 sequence implies a secret pageant having been smoothly coordinated by patiently malevolent forces intending an eventual consummation of humanity with its most sinister historic impulses, avoiding the path of Christian Salvation
> > > LOL, the Disney 'Haunted Mansion' ride was carried through on 'Doom Buggies'. Manson would have liked that name. But the timing of the Tate murders and opening of the Disney ride was as you say a coincidence. Manson & his followers were hanging out in secluded spots IIRC...
> > I left out the sequence of what happened after Gary Hinman was murdered on 27 July 1969 (this was reported on a Dateline episode). With complete nonchalance, Beausoleil not only used Hinman's car, but was found asleep in it and arrested 6 August; because they had tried to implicate the Black Panthers at the scene, Manson hatched the plan that by having a high profile murder with similar indications would make the police believe Beausoleil was falsely accused and release him. The Tate murders were not immediately connected to Hinman, so Manson went with them for the La Bianca killings to try again, with the result that the police then connected the Tate and La Bianca murders, with Beausoleil still in jail.
> >
> > The "Abbey Road" cover image photo was taken the morning of 8 August, briefly stopping traffic to no fanfare. It was only after the day ended with midnight in Los Angeles that the kill squad advanced to do, as they announced to their victims, 'the devil's business.'
> >
> > Manson was infuriated with Terry Melcher, Doris Day's son who was a music executive; he did not know who was inhabiting the house subsequent to Melcher, but thought they would be high-profile victims. The scene was littered with wallets stolen from black men. The Manson cult had the delusion that black people would win a race war, but be unable to govern without their own bomb-sheltered white help, a sort of 'Wakanda Never' attitude. While Manson made a series of apparent miscalculations, the malevolency that had taken control of him had a cold unwavering sense of being gratified.
> >
> > Following the Moon-Nephilim tangent for "Helter Skelter" yielded something unexpected between the mono and stereo versions, which were known to end differently.
> >
> > Firstly, the high-pitched guitar after the deeper-toned rambling riff only has the sequence given in the second iteration: the first time it is simpler (no "Silv'ry" invocation) -
> >
> > 'FROM
> >
> > The MOON!'
> >
> > The third time there is no screeching guitar part following the riff, only the deep bass tone, suggesting
> >
> > '- FROM -...'
> >
> > But instead of finishing the thought, a similar note follows implying,
> >
> > 'THE -'
> >
> > This provides the proper grammatic article to introduce the circular repetition of the riff as 'an official thing' ('THE - Return Of The Nephilim, Return of the...'). As this is repeating into the coda, there are some oddly intrusive guitar notes descending (after the vocalization, "Yes, she is"), sounding like
> >
> > 'When -
> > The -
> > Moon -
> > Turns -
> > Blue'
> >
> > Then Paul starts ad-lib singing, "Yeah, yeah," etc. So the Blue Moon inference (presumably for 31 May 1969) was built into the tune at that point. [Our most recent Blue Moon was 31 October 2020, days before the election that was more than contested.] An episode of "Gilligan's Island" had a character posing as a medium to raise morale, predicting a boat to rescue the Castaways would appear when the Moon was blue - discovering Madame Ginger was a fraud allowed them to ignore when there was a boat on the horizon while the Moon had a bluish tinge (not the real meaning of a Blue Moon).
> >
> > The energetic backing vocals also seem to carry a message beyond the obvious variation on the title, aurally twisting for this tangent into,
> >
> > 'A Wicked
> > Hybrid
> > Co-HORT!'
> >
> > In the stereo version the strong vocal punch of the last syllable is subdued in the mix beneath the lead vocal commencing its next line. And the sustained harmonic backing first suggests an incredulous 'How?!' then repeats that into a full phrase with,
> >
> > 'How -
> > Out-
> > LAW!'
> >
> > After the first solo (described before) there are a few bars of the verse, then a second, faster electric guitar solo, elaborating on the same theme (after the lyric "Make you"), transcribed as,
> >
> > 'THE
> > Visit will CARRY
> > The Nephilim
> > Hybrid-
> > Cohort!'
> >
> > The word 'Carry' is bent as if being sung; the word 'Cohort' is delivered quickly at the end.
> >
> > The coda is where the two versions diverge most significantly. For the mono mix, there are strong notes with a weird pitch, suggesting,
> >
> > 'PUR-
> > I-
> > FI-
> > CA-
> > TIONNN...'
> >
> > The final note protracts into sustained distortion. Ringo Starr drums something (with greater energy than in the stereo alternate) implying,
> >
> > 'That's The Day -
> > When We're Truly
> > "Going BIB-LICAL!"'
> >
> > In the wake of this break, the sound landscape has become trodden by otherworldly groaning strains, lumbering about like dinosaurs: these seem to be conveying,
> >
> > 'PUR-i-FY...
> > CLEANSE The Earth,
> > PURE...'
> >
> > That is how the mono mix concludes in fade-out; the stereo version has a different instrumental break into the coda. Instead of using the term 'Purification,' they use a parallel term 'Preparation': The Hopi speak of Purification Day; Conchita of Garabandal said The Warning event could better be called The Preparation, or The Purification. It would be a time when everyone would become conscious of their personal sins simultaneously, however more is involved since there would be a lethality factor. Once people were purified spiritually by this experience they could perceive The Miracle placed at the site of their visions.
> >
> > Stipulations for The Miracle were met 13 May 2021, Ascension Thursday, feast day for Blessed Imelda dying at First Communion, with a Mercury lunar conjunct at the critical 8:30 pm local time. Nostradamus has something marvelous appearing after the world trembles.
> >
> > The stereo coda has the longer loud instrumental break, sounding like,
> >
> > 'UN-TIL
> > PREP-A-RATION
> > DAYYY...'
> >
> > Then Ringo drums the more sedate equivalent to the mono version, implying,
> >
> > 'That's The Day -
> > When It Truly
> > Gets Biblical'
> >
> > The ensuing sounds include the previous fade-out; except the stereo mix had a fade-in, with same otherworldly groaning guitar sounds, implying,
> >
> > 'Re-Storing
> > Ba-LANCE...'
> >
> > The music settles sublimely on a sustained, expectant note suggesting,
> >
> > 'Clean -'
> >
> > Then the electric guitar loudly screams,
> >
> > 'THE EARTH!!'
> >
> > The double-shot on the drum added could merely indicate a double-exclamation point, but the sound is close to,
> >
> > '- FROM
> > SIN!'
> >
> > There Ringo makes the comment about 'blisters,' which in reverse says,
> >
> > 'Saviour
> > From Potential
> > Fire!'
> >
> > The stereo version offers the hope that the Nephilim augmentation can be dealt with through the action of a specific date, however this probably does not involve returning them to the Moon. In Enoch's prophecy, an Abyss should open in both dimensions, which would not only facilitate the Nephilim being banished to a subterranean Inferno, but also become the backdrop for the judgment of Humanity: he foresaw no dazzling Miracle, but instead a powerful Sword that could eventually drive the unrighteous into the same Abyss.
> >
> > The scenario of the Scarlet Beast has a fateful rise to power after the Abyss has opened. The Nephilim character that McCartney is role-playing has likely already attached to that leader, bent on sorting out who might escape execution by branding themselves with signs of blasphemous worship of himself.
> >
> > *
> >
> > The Carter radio show replayed the outtake mentioned earlier, there was more to it, including Lennon referring to Jesus Christ as having given 'His Only Begotten Bread," mixing religious concepts.
> >
> > Lennon could facetiously pretend he did not know what onomatopoeia was, saying he misheard it as 'Automatic pier,' yet the use of it is as simple as the "Beep beep"s of "Drive My Car." John was quite sophisticated, having used an old song from the 'Twenties' for the fade chant of "I Am The Walrus" - but he claimed that part was original,
> >
> > 'Got one, got one,
> > Ev'rybody's Got One'
> >
> > There was an unmistakable similarity to the old tune with its,
> >
> > 'Oompah, umpah.
> > Stick it up your jumpah!'
> >
> > When they were staging The Love Show, that documentary showed the remaining Beatles confused about how to deal with that, and Yoko settled it by suggesting they have singers simultaneously dedicated to either version, getting both together.
> >
> > Lennon might have agreed to keep the group going for another cycle if McCartney had floated the notion of a real band name change: every time someone called them The Beatles, they could have corrected,
> >
> > "No, we're not 'The Beatles' anymore - We're 'Beatles: The Second Go,' see you didn't get it the first time, so now we're repeating the whole thing."
> Reviewing other Blue Moon dates,
>
> 30 July 1958 - This was the Blue Moon over John's grief after his mother Julia was killed 15 July, which would surface in his music even when not overtly.
>
> 30 November 1963 - This Blue Moon ended the month when the JFK assassination and second album release in the UK coincided; the previous day (29 November) the "I Want To Hold Your Hand" single was issued, which would be the key to initial success in the American market.
>
> The image of Paul McCartney grasping a "Ram" by the horns on his album cover was mocked by John Lennon holding a pig in similar fashion for an extra photograph with "Imagine." The non-esoteric impression is Lennon was ridiculing McCartney for rustic domesticity; an esoteric view could be Paul anticipating the Ram with horns of faith to emerge as in the Henoch prophecy, with the visual response from Lennon that such Faith could not possibly develop among Swine.
>
> 31 December 1974 - McCartney started his band Wings with the album "Wild Life" earlier that month.
>
> The six dates of the two triple Saturn-Jupiter conjunctions, circa 1940 and 1980, corresponded with obvious milestones specific to John Lennon as apparent karmic representative of the entire group, their true leader.
>
> Jumping past several instances, the Double Blue Moon sequence ending 31 March 1999 foreshadowed the 20 April 1999 Columbine school shooting, a template for future copycat mass killings.
>
> The 30 November 2001 Blue Moon marked the end of the first month when the US was embroiled in the Afghan War, immediately after the 9-11 attacks.
>
> 31 July 2004 shortly preceded the Chechen rebels taking a Beslan school hostage on 1 September 2004.
>
> 30 June 2007 was precursor for the Financial Crisis going international on 9 August 2007, as withdrawal was blocked from three hedge funds associated with sub-prime mortgages by a French bank operating in the UK.
>
> 31 December 2009 was eleven days after my debut installment of the series as Book 2, same chronology as X.74, prior to the Winter Olympics where a luge athlete lost his life as The Games of Sacrifice (with no Blue Moon mentioned).
>
> 31 August 2012 ended the month where the first section of Book 1 was released independently (as "White Versus Red"), along with the Saturn-Mars conjunct and 'foreign separation of gains' (polling results for the upcoming election) circa 15 August 2012.
>
> 31 July 2015 seems linked to a mid-June announcement.
>
> There was a double Blue Moon in 2018, sequence ending 31 March - 7 April 2018, a chemical attack on Douma took the war in Syria to a level that provoked retaliation by France, the US and the UK on 14 April.
>
> 31 October 2020 was days before the apparently deliberately fateful US election.
>
> 31 August 2023 is close to the 30 October date when Mars and Mercury will be in opposition with Jupiter (and the Moon) which figures in IX.55 as the time when a war stirred up by the West inflicts fire, upon at least France..
>
> *
>
> An outtake of "Let It Be" was recently aired, bookended by comments from Lennon: before the take John facetiously asked, "Are we supposed to giggle in the solo?" joking about the 'Sunday Church' feeling; and at the end he congratulated, "I think that was rather grand."
>
> John wanted people to know The Beatles were not broken up because they didn't like each other, putting it in terms of young men who stop getting together so much because of greater attachment to their wives. However Lennon also admitted by the end they were 'cutting each other down to size,' and his partnership with McCartney descended into the sort of historic creative conflict pattern they never anticipated themselves replicating.
>
> Remarks from McCartney that he would compose thinking of two things at the same time, and that it would be folly to presume one simple thing could be their entire message, imply even the Christ tangent might not be the only conscious subliminal substance. If "Helter Skelter" had esoteric-prophetic features refining the Hopi belief the Moon landing would carry back bad mojo, its continuation should be "She Came In Through The Bathroom Window," with the same 'dancer... answer" rhyme.
>
> The Hopi Purification Day concept is accessible, yet Conchita of Garabandal only received information about The Warning (or Preparation) from January 1965 (long after experiences of the other visionaries had ceased). Surprisingly, when re-assessing the first seven songs on the "Help!" album, which were used in the film soundtrack, some of them presented facets of the predicted phenomenon. There could be an inference of the Alpine setting used within some of the film scenes, where the song "Ticket To Ride" is featured - this dovetails with the current-day Lombardy (encoding for 16 July 2022) in Nostradamus' VI.16 -
>
> The villains of the Temple where stood the Black Forest
> Will set up a tavern and hearth for Lombardy
>
> Start with the B-side of a single, "Yes It Is": while the lyrics invoke the color red, the volume-pedal guitar plays at the intro and outro what could imply their only hidden thought is the scarlet robe used to mock Jesus as a condemned royal figure. But another listen yields something profound on another topic, thereby potentially demonstrating that 'the testimony of Jesus is the spirit of prophecy.'
>
> Leaving aside the precise Christ tangents (with one exception), this is how those songs could foretell the critical event.
>
> The intro to "Yes It Is" sounds like,
>
> 'Full
> TIME -
> Warp'
>
> The outro is phrased instead as,
>
> 'A
> Rift
> *O-PENED*'
>
> The doubled descent on lead guitar prominent in the "Help!" tune suggests,
>
> 'Spin
> The
> Globe'
>
> The faster passage that is played four times in succession, like the instrumental equivalent of the tongue-twisting "Anybody got a bit of money" refrain in a "Taxman" outtake, is recognizable as,
>
> 'Differently,
> Differently,
> Differently,
> Differently'
>
> The title of "The Night Before" obviously implies the peaceful evening in Gethsemane disrupted by the arrest; yet an alternate meaning emerges via the tonality of the backing vocals, which append the title with,
>
> 'Lord
> Ar-*RI*-Val'
>
> Along this tangent the punchy opening instrumental passage suggests,
>
> "The Day-Light Will -
> Get Ex-Tinguished -
> Like A Candle -
> *On The Night Of
> PREPARATION!'*
>
> A brief keyboard bit later subtly affirms,
>
> 'A - Candle'
>
> The guitar solo is doubled unambiguously, summarizing,
>
> 'The Daylight -
> Will Go -
> *Just Like You're Blowing A* -
> Candle!'
>
> The outro guitar flourish implies,
>
> 'Blow Out The
> SUN!'
>
> The message from the flute performance in the coda of "You've Got To Hide Your Love Away" hints at Revelation 14 material, beyond its role as a consecutive Station of the Cross. There are numerous variations and twists in the guitar parts from "Another Girl," where the final flourish seems articulated as,
>
> 'An Experiment In -
> *FORMER* Geneva!'
>
> Harrison's "I Need You" is simple yet poignant, appearing in a scene set at ancient Stonehenge; it has an allusion to the Eden story, parallel with Crucified Christ meeting His Mother.
>
> Director Lester compressed the actual studio recording process for "You're Gonna Lose That Girl," with Ringo switching from drums to bongos, the rhythm track being set and subjected to vocal overdubs. Soft-focus and monochrome color palettes take over, as Ringo exhales clouds of smoke; John as lead singer is in a shadow rather than a spotlight, his facial features nearly indistinguishable in his close-up shot.
>
> As the tune ends, the surreal visual atmosphere vanishes, with the institutional lighting of the likelier reality suddenly asserting itself as if someone had flipped a switch backstage. The number "5" visualized beforehand highlights that the song that follows is the Sixth Station, where Saint Veronica wipes the face of Jesus, and the cloth assumed a hazy image. Putting aside how the Veronica story is indicated by the same sounds, the middle guitar solo nearly repeats, with a minor variation, implying,
>
> 'A CATa-CLYsm
> Will Have Occurred -
> 'Fore They'll SEE -
> A Miracle
>
> A CATa-CLYsm
> Will Have Occurred -
> Before They'll SEE -
> A Miracle'
>
> Because the 9 September 2022 is extraordinarily likely to be the critical time, continuing the process with the actual song used in the Alpine Forest sequence of the 1965 film should be definitive. While Lennon associated it with 'heavy metal,' from the French 'metal hurlant' or 'screaming metal,' the features for focus are the powerful, hypnotic riff, two brief guitar passages, a unique passage going into the coda, and the coda itself, where completely new material seems introduced going into the fade.
>
> The riff suggests,
>
> 'A -
> *DIF-FER-RENT*
> Turning...'
>
> The first guitar bit implies,
>
> 'Waiting For The World
> To Return To Normal'
>
> The second part alters to,
>
> 'Wondering When The World
> Will Return To Normal'
>
> The unique brief link to the coda is synchronized in the film with The Beatles appearing from chest-up on the crest of a snow-covered hill, quickly making various arm movements recalling the reverse-semaphore positions on the album cover image. In the Christ tangent this heavy instrumentation suggests,
>
> 'For The
> Second Time
> He Fell'
>
> Yet in the Preparation tangent this should be transcribed as,
>
> 'Found Another
> Way To Turn'
>
> Then the unorthodox, inventive coda ensues, appearing to convey,
>
> 'Turning -
> A Way It SHOULDN'T Turn -
>
> IN The WRONG Direction!
>
> The World -
> Turning A *WAY* It Shouldn't -
>
> Around -
>
> *FROM THE* -
> *NORMAL* -
> *PATTERN*...'
>
> Instead of "around," the word 'Awry' might be a better match. Of course, Jesus in condemnation had a 'Ticket To Rot,' which sometimes seems what is being expressed in the lead vocal.

The phenomenon of an intentional Christian subliminal aural message having an unconscious prophetic element is suggested in Revelation 19 where an angel explains the testimony of Jesus 'is the spirit of prophecy': this is virtually restated in Nostradamus V.53 quatrain, which has parallels with V.24, using Venus and the Sun in presumably identical context.

Strangely the rhymes in both verses work in English when the Sun gets translated with the '-Imitated' qualification - 'elevated' in V.24, and 'appropriated' in V.53. The esoteric meaning is that when the 'Sun-Imitated' process (referring to I.23 and the cover imagery of "A Heard Dream's Rite") extends its progress back to the "Help!" album stage, identified by the Saturn-Venus opposition coincident with its August 1965 release, it will become evident the 'spirit of prophecy' has been appropriated - by discerning parallel tangents confirming the angelic hint.

The law of the Sun with Venus extended
Finds the spirit of prophecy appropriated -
Neither one nor the other will be comprehended,
The Great Messiah's Law will hold through the Sun-Imitated

The third line acknowledges widespread ignorance of both tangents co-existing, one intentional and the other inexplicable. The final line insists that nonetheless, the process towards Messianic Judgment is already underway.

Pursuing the very critical theory that an "Abbey Road" track might continue the Nephilim story into the future (from the "Helter Skelter" discovery), the two lengthy guitar interludes on Side Two, after "Polythene Pam" and during "The End," whose pertinent transcriptions will be given here, as Christian tangents were already provided in "A Temple Of Many Mansions."

Starting with the instrumental break in "Polythene Pam," three strong chords followed by a faster guitar bit implies,

'STRONG - IN - DEATH...'

'- The Nephilim!'

The guitar solo then commences an extended monologue articulated like,

'The Horrible SPIRITS
From The Moon -
Will Become Stronger In Death,
And Whatever Evil They Find In Humans,
They'll Work To Then Ampli-FY!

And The
NE-PHI-LIM

Will Provoke A Judgment:

A Great Number -
Will Be Guilty,

IN-NO-CENT
Are Few
In Number...'

The bass guitar is then played powerfully in a descending line suggesting the confirmation,

'FEW -
IN -
NUM-
BER!'

And as the next tune starts, the opening lead guitar it appears to add,

'Forgot About God!'

Skipping to "The End," for the so-called 'Guitar Battle,' it can be found the phrases played by John, Paul and George actually work together to comprise sections of a larger message. The new prophetic tangent is supported by parallel overtly Christian tangents. The forward-looking channel combines the Nephilim, temporal rift and Revelation concepts too deftly to be deliberate in tandem with the other transcriptions, again supporting the notion of having appropriated the spirit of prophecy through adhering to the testimony of Jesus. Separating each section would render,

'Whoever BELIEVES
The Lies About The ANCIENT Power -
Will Become DOOMED,
When We Go -
Through The Temporal RIFT:'

'MANY WILL BE MARTYRED
WHEN THEY HOLD
*TRUE*!'

'They'll Bear The Mark
Of A Living Devil
When Their Soul Will BURN'

'And The Earth Will OPEN UP
And SWALLOW Them Whole!'

'The Wicked COME TO JUDGMENT,
As Do THE CHILDREN OF GOD!'

'Those Who Have Worshipped
The Blasphemer -
Will Have Their Portion
Removed To Gehenna...'

'Where
They'll
Suf-*FER!* -
*FOR-EVER!*'

'AND THOSE WHO DON'T
WILL BECOME PILLARS IN
THE TEMPLE
OF THE LORD!'

The 'pillars of the Temple' promotion is a promise Spectral Jesus makes in Revelation 3:12.

As McCartney invokes the Karmic maxim or platitude in the coda, the musical accompaniment continues along this tangent, suggesting,

'PILLARS -
ALL!...'

The bit resembling 'Pillars' repeats, with strings then appending,

'In The Temple FOR...'

At that point Paul is singing the lyric "you make," and an ascending celestial harp-like instrument is played as if to say,

'"Creating
Power"
That's
ANCIENT...'

Then sublime vocal harmonies take over with what implies,

'Our
*LORD!*'

The tune then has its sumptuous resolution suggesting,

'A Temple Pillar
Can
*LIVE*'

The choice presented is clear: Faith will be rewarded after enduring the most extreme test, with some form of Life rather than the unending torment of eternal punishment; and there will be no remedy for failure.