A clip from "Imagine"

[il ras]

revolver said:

someone posted an unedited cut of that scene from Imagine. It appears that George's "Beatle Bill" remark was more likely "Beatle Phil"

Ok, could he speak of Phil Ackrill?

[stevenchrist]

revolver said:

I think some parts of the song were directed to Paul rather than to Faul. The bit about "the only thing you done was Yesterday and since you're gone you're just another day..." sounds like he's talking directly to Paul - Faul hadn't gone anywhere. The rest of the song is mostly directed to Faul IMO.

You're exactly right. He was talking to Paul, or the new Paul to be exact, me.


So sgt. pepper took you by surprise
You better see right through that mothers eyes
Those freaks was right when they said you was dead
The one mistake you made was in your head
Ah, how do you sleep?
Ah, how do you sleep at night?
You live with straights who tell you you was king
Jump when your momma tell you anything
The only thing you done was yesterday
And since youre gone youre just another day
Ah, how do you sleep?
Ah, how do you sleep at night?

Ah, how do you sleep?
Ah, how do you sleep at night?

A pretty face may last a year or two
But pretty soon theyll see what you can do
The sound you make is muzak to my ears
You must have learned something in all those years
Ah, how do you sleep?
Ah, how do you sleep at night?

[horseloverphat]

Adorno....did research into 'the me' factor in musical recordings.

'the me' factor...as in the listener.

In 1963, the Beatles arrived in the United States, and with their decisive airing on the Ed Sullivan Show, the "British sound" took off in the U.S.A. For their achievement, the four rocksters were awarded the Order of the British Empire (I thought it was MBE's tbh) by Her Majesty the Queen. The Beatles and the Animals, Rolling Stones, and homicidal punk rock maniacs who followed were, of course, no more a spontaneous outpouring of alienated youth than was the acid culture they accompanied.
The social theory of rock was elaborated by musicologist Theodor Adorno, who came to the United States in 1939 to head the Princeton University Radio Research Project.17 Adorno writes: "In an imaginary but psychologically emotion-laden domain, the listener who remembers a hit song will turn into the song's ideal subject, into the person for whom the song ideally speaks. At the same time, as one of many who identify with that fictitious subject, that musical I, he will feel his isolation ease as he himself feels integrated into the community of "fans." In whistling such a song he bows to a ritual of socialization, although beyond this unarticulated subjective stirring of the moment his isolation continues unchanged . . . The comparison with addiction is inescapable. Addicted conduct generally has a social component: it is one possible reaction to the atomization which, as sociologists have noticed, parallels the compression of the social network. Addiction to music on the part of a number of entertainment listeners would be a similar phenomenon."18

The hit parade is organized precisely on the same principles used by Egypt's Isis priesthood and for the same purpose: the recruitment of youth to the dionysiac counterculture.
In a report prepared for the University of Michigan's Institute for Social Research, Paul Hirsch described the product of Adorno's Radio Research Project.19 According to Hirsch, the establishment of postwar radio's Hit Parade "transformed the mass medium into an agency of sub-cultural programming. Radio networks were converted into round-the-clock recycling machines that repeated the top forty hits." Hirsch documents how all popular culture -- movies, music, books, and fashion -- is now run on the same program of preselection. Today's mass culture operates like the opium trade: The supply determines the demand.

The "Radio Research Project"
As Lippmann was writing, the radio, the first major mass media technology to invade the home, was coming into prominence. Unlike the movies, which were viewed in theaters by large groups of people, the radio provided an individualized experience within the home, and centered on the family. By 1937, out of 32 million American families, some 27.5 million had a radio set--a larger percentage than had cars, telephones, or even electricity.
That same year, the Rockefeller Foundation funded a project to study the effects of radio on the population. [8] Recruited to what became known as the ``Radio Research Project,'' headquartered at Princeton University, were sections of the Frankfurt School, now transplanted from Germany to America, as well as individuals such as Hadley Cantril and Gordon Allport, who were to become key components of Tavistock's American operations. Heading the project was the Frankfurt School's Paul Lazerfeld; his assistant directors were Cantril and Allport, along with Frank Stanton, who was to head the CBS News division, and later become its president, as well as chairman of the board of the RAND Corporation.

The project was presaged by theoretical work done earlier in the studies of war propaganda and psychosis, and the work of Frankfurt School operatives Walter Benjamin and Theodor Adorno. This earlier work had converged on the thesis that mass media could be used to induce regressive mental states, atomizing individuals and producing increased lability. (These induced mental conditions were later dubbed by Tavistock itself as ``brainwashed'' states, and the process of inducing them called ``brainwashing.'')

In 1938, at the time he was head of the music section of the Radio Research Project, Adorno wrote that listeners to radio music programs:

'' fluctuate between comprehensive forgetting and sudden dives into recognition. They listen atomistically and dissociate what they hear.... They are not childlike, but they are childish; their primitivism is not that of the undeveloped, but that of the forcibly retarded.''
The Radio Research Project's findings, published in 1939, backed up Adorno's thesis of ``enforced retardation,'' and serve as a brainwashers' handbook.

In studies on the serialized radio dramas, commonly known as ``soap operas'' (so named, because many were sponsored by soap manufacturers), Herta Hertzog found that their popularity could not be attributed to any socio-economic characteristics of listeners, but rather to the serialized format itself, which induced habituated listening. The brainwashing power of serialization was recognized by movie and television programmers; to this day, the afternoon ``soaps'' remain among the most addictive of television fare, with 70% of all American women over 18 watching at least two of these shows each day.

Another Radio Research Project study investigated the effects of the 1938 Orson Welles radio dramatization of H.G. Wells's The War of the Worlds, about an invasion from Mars. Some 25% of the listeners to the show, which was formatted as if it were a news broadcast, believed that an invasion was under way, creating a national panic--this, despite repeated and clear statements that the show was fictional. Radio Project researchers found that most people didn't believe that Martians had invaded, but rather that a German invasion was under way. This, the researchers reported, was because the show had followed the ``news bulletin'' format that had earlier accompanied accounts of the war crisis around the Munich conference. Listeners reacted to the format, not the content of the broadcast.

The project's researchers had proven that radio had already so conditioned the minds of its listeners, making them so fragmented and unthinking, that repetition of format was the key to popularity. [9]

[/size][/size]



After listening all day..... to the 'top forty'....I now, can't wait for the next installment of 'Eastenders'.

Bring it on.....





;D ;D ;D

[stevenchrist]

of course! that explains everything - thank God.

[P(D)enny La(i)ne]

Mar 22, 2004 17:21:30 GMT -5 JoJo said:

That's interesting, the Beatle Bill then Beatle Ed thing. One possibility, they realized that saying "Bill" was a little too close to the truth, and changed it to "Ed". Although..... what if it's a play on words, Beatle Ed, means: "Beatled", making beatle a verb and then making it past tense, meaning Bill was "beatled". ;D

As for number 5 in Sweden, who knows. This was filmed sometime in 1970, so this was 2 years before the drug bust with Wings in Sweden. (just one thought I had) Could be another play on words, but I'm stumped. [img src="http://galeon.hispavista.com/akostuff/img/Dunno2[1].gif"]

JoJo,

Imagine was recorded from June 23, 1971 – July 5, 1971, so I'd imagine ;D that the the movie footage was filmed then as well.

The reason I point this out is because I've always been intrigued by Lennon's lyric:

The only thing you done was YESTERDAY
And since you're gone you're just ANOTHER DAY

Why those two songs?

Could it be because JPM left earlier than everyone thinks?

Could it be that JPM's only great accomplishment with the Beatles was, in fact, Yesterday, and that the Paul who released the "McCartney" album, was actually JPM? This does make chronological sense, in that Another Day was the first Paul McCartney single released ahead of "McCartney", in February of 1971. This release date means that it had been out plenty long enough for Lennon to have referenced it in "How Do You Sleep?"

Anyways, that's something that's always gnawed at me...

[JoJo]

Well the story I heard or read, can't remember, is that when Lennon sang the "Yesterday" line, he wanted to add: "And I bet you pinched (stole) that bitch anyway". Ringo allegedly talked him out of it.. If this is true, then his anger seems to be directed at JPM, not any replacement Paul. Also, you may recall the story that Sir Paul tells over and over about how Yesterday came to him in a dream.. I don't know how far back that story goes, meaning did it start in 1965?

[mumrikusstarr]

Sept 24, 2007 13:10:02 GMT -5 il ras said:

revolver said:

someone posted an unedited cut of that scene from Imagine. It appears that George's "Beatle Bill" remark was more likely "Beatle Phil"

Ok, could he speak of Phil Ackrill?

Actually, i think he ment Phil Spector, as the camera moves directly to him after he said it.

[mumrikusstarr]

And about the "Beatle Ed" thing, when John first says it, George laughs, and the second time he says it he points at George, making me belive that "Ed" was just a stupid nickname John gave to George. Anyone who knows if George had anything at number 5 in sweden at that time? (I should know, because i'm actually swedish)

[mommybird]

Jo wrote:
Well the story I heard or read, can't remember, is that when Lennon sang the "Yesterday" line, he wanted to add: "And I bet you pinched (stole) that bitch anyway". Ringo allegedly talked him out of it.. If this is true, then his anger seems to be directed at JPM, not any replacement Paul. Also, you may recall the story that Sir Paul tells over and over about how Yesterday came to him in a dream.. I don't know how far back that story goes, meaning did it start in 1965?

Maybe Ringo talked him out of it because it was a thinly veiled reference to the fact that Faul/Bill had stolen ALL of Paul's accomplishments. It was too close to the truth to be allowed to be said. IMHO of course.
Another Day was written by Paul. It's most definitely his style. He just never had the opportunity to record it. Faul took it & made it his own. John could be saying just that. Again, IMHO.

[JoJo]

Jul 24, 2008 21:00:22 GMT -5 mumrikusstarr said:

And about the "Beatle Ed" thing, when John first says it, George laughs, and the second time he says it he points at George, making me belive that "Ed" was just a stupid nickname John gave to George. Anyone who knows if George had anything at number 5 in sweden at that time? (I should know, because i'm actually swedish)

Beatle Ed doesn't refer to George, pretty sure, pointing in that direction notwithstanding. Sounds like Beatle Ed is someone John is making thinly veiled verbal jabs at.. (that's Beatle Ed on the table, peeping Ed, head of EMI, etc.)

Or, "Beatle Ed is number five in Sweden.. very progressive"

So, riddle me this, why is Sweden very progressive if Beatle Ed is "number five" there?

[mumrikusstarr]

Jun 6, 2009 22:25:23 GMT -5 JoJo said:

Jul 24, 2008 21:00:22 GMT -5 mumrikusstarr said:

And about the "Beatle Ed" thing, when John first says it, George laughs, and the second time he says it he points at George, making me belive that "Ed" was just a stupid nickname John gave to George. Anyone who knows if George had anything at number 5 in sweden at that time? (I should know, because i'm actually swedish)

Beatle Ed doesn't refer to George, pretty sure, pointing in that direction notwithstanding. Sounds like Beatle Ed is someone John is making thinly veiled verbal jabs at.. (that's Beatle Ed on the table, peeping Ed, head of EMI, etc.)

Or, "Beatle Ed is number five in Sweden.. very progressive"

So, riddle me this, why is Sweden very progressive if Beatle Ed is "number five" there?

I think he was joking about Sweden a bit, maybe saying that the charts here don't matter as much

[ph0neyprophet]

Try "Beatle Phil" Spector. .