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Post by Doc on Nov 22, 2006 1:36:21 GMT -5
www.youtube.com/watch?v=2z-Lr-L6SK8&mode=related&search=At the end, Ringo has a little voice-over. He says, "Let's all rock on", something like that. They cut to John, he says "Gary's still rockin' on." They cut to George, he says "Mark's still rockin' on." They cut to Paul(? Bill?), he says "Steve's still rockin' on." They cut to Ringo, he says "Ringo's still rockin' on." Meaning?
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Post by Doc on Nov 18, 2006 1:43:22 GMT -5
I haven't seen this till now. Nice tune---very Rubber Soul-like. www.youtube.com/watch?v=2z-Lr-L6SK8&mode=related&search=listen close at 2'09" where it almost sounds like: "It's a HIGH PAUL runnin' into a brick wall, all by yourself!" Double meanings, I guess. Oh, lol, right. "GIVE ME BACK THE BEAT" Living on the street tonight's A lonely place to be all right, oh lord The rhythm of the city, I don't find it pretty anymore Like I did before You walked out my door Give me back the beat Give me back the beat Give me back the only thing that makes my life complete If you come back to me I'll be dancing in the street I miss the two (misprint? "tune?") we had before That made me tap my feet That used to rock this boy asleep now that you're gone Give me back the beat and let's rock on I feel the pounding of your heart But I'm alone here in the dark, it's true Alleys filled with misery Shadows of your memories break thru I never knew How much I needed you Give me back the beat Give me back the beat Give me back the only thing that makes my life complete If you come back to me I'll be dancing in the street I miss the two we had before That made me tap my feet That used to rock this boy asleep now that you're gone Give me back the beat and let's rock on I won't sleep baby, I can't eat I'm in too deep It's a high fall running into a brick wall All by yourself But I know what will help Give me back the beat Give me back the beat Give me back the only thing that makes my life complete NOtice at 3'55" as John, George, and Paul are outside the train window, running to keep up, Paul is pointing at himself and saying "It's Me. I'm PAUL!" Hmmmm............. Must be the new special tea I 'm drinking........
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Post by Doc on Aug 25, 2004 2:26:54 GMT -5
I think FP has always behaved himself politely, adult-like on the forums. Differences in how we each interpret what we see and hear is honest and normal.
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Post by Doc on May 1, 2004 0:04:07 GMT -5
Well, his hair "part" is something I had noticed. I also have a left side part from the earliest times. Growing up, my barbers followed the natural "cowlick" or whorl (or whatever the word is) pattern in my growing hair. When I got to be a teen, I went thru a phase of HATING that very thing about my hair. When my hair was shorter, I tended to look like Little Lord Fauntleroy, or else Alfalfa from the Little Rascals (but not as "adorable?"). I would always get a few stupid few hairs that would poke up where the part kind of merges into the back of my hair like Alfalfa. When I hit high school, I let my hair long, like 95% of the male population at the school. Or, at least, as long as I could get away with with my parents not insisting on a trim. I tried to change my part, I tried to move it to the other side, I tried to obliterate it altogether, I tried to part my hair in the center like the lead singer for "America", I tried to put a body wave in it, I tried it blonder, I tried it darker, I tried to do a mullet (that was a disaster, the back of my hair would not grow long) tried to go without bangs (my big ugly forehead is too domelike to leave it that way) I tried to come it forward, backward, spray it down flat----everything. Nope, it always fell into the natural place it wanted to go. Part on left, pronounced cowlick, alfalfa sprig, Beatle bangs. Coudn't get away from it. I can spend $125 at a chic stylists, by their hair gel, etc, practice the new "cut". Later that day----back to square one. Anyway, its what it is. What has this got to do with Paul's hair? Well, forgive me for saying so, for there is not one feature at all that I have in common with Paul whatsoever----save the "cowlick" situation. I mean, no common face features, I'm a chubby, he was a slender man, etc. He was dark, I am pale with ash hair. He had dark brown eyes, I have light hazel. We have really NOTHING in common. Except------the "cowlick". I understand the torment of the "cowlick". It is hard to get around the "cowlick", and the persistent "part" that is associated with it. Some people spend the time and money to overcome its pervasive nature. I gave up. I was beaten by a "cowlick." So, did Paul win the "cowlick" challenge, or was there a new scalp in town? Only his hairdresser knows for sure...................................
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Post by Doc on Feb 21, 2006 22:31:56 GMT -5
Can't be that the "actual Paul" is Charles and another double (perhaps the SFF/PL one) was Bill? I have thought about this. Paul, if he lived, would need a new identity as well, a new name. Whoever that is, on the Blackbird audio, IMO, is the exact same person being Paul on the audio where they are doing the back up harmonies of "Think for Yourself." Listen to Paul on that one, where he says to John "So, everytime we came to there, you pointed down there...etc." or where he sings mockingly, "Great big Be-O-derant, great Big B. O. derant" to John whenever John was confessing how bad he stank at the studio that day... The throaty, deep quality of the voice on those spots is like Paul or whoever this is in this Blackbird audio---- where he is responding to John after John calls him Charles....
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Post by Doc on Feb 21, 2006 21:23:27 GMT -5
Well, no I guees not. She was a noted photographer, though. In the most general way, both are artists. Um, yea, pretty different, apple and an orange. Well, OK, maybe there is no connection. A Charles and a Bill that both (mumble-mumble) Paul. That much is clear on the recording. At least, to my ears. I will talk to Jojo about possibly posting the excerpt if he has time........Group ears are better than my single pair......I may be biased..........I will leave it to the group.
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Post by Doc on Feb 21, 2006 20:09:30 GMT -5
Nagra 126A has the
Ringo/Lindsay-Hogg exchange--"It depends on how liquid the situation is, if we can tell it like it is, baby, sock it to 'em, baby"
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Post by Doc on Feb 21, 2006 20:06:49 GMT -5
Yes I remember this, I'll try to dig this up, but if you find it first, please direct me to the correct clip. It's a Nagra Roll on the shoebox, one of the 5 or 6 on the general shoebox listing....
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Post by Doc on Feb 21, 2006 19:51:37 GMT -5
There was something interesting on another rehearsal cut, someone pointed this out to me a while ago, and I just heard it again, anyway.. About 57 seconds into this version the following conversation takes place between someone (I think I know who, more in a minute) in the control room, and Bill. Control Room Guy: That's great Charles, just try it once more. Bill: Well sure CRG: I mean you're going really great. B: Yeah - I think I'm in the right direction. CRG: You're getting in the right direction. B: I thinks so, sure, It feels as though it's going in the *right* (emphasis mine) way CRG: You're getting it up (head high?) B: Groovy, groovy.... After a few listens, I'm pretty sure the control room guy was John. Now, John seems to be goofing around, calling him Charles, I don't think his name is really Charles. Then again, who knows. One thing that occurred to me, John could be making a sideways sarcastic remark, or an inside joke, like he was saying Bill is like Prince Charles or something. Also, on was it NAGRA ROLL 126A or 127A near the beginning, I forget, is it Michael Lindsay-Hogg?, anyway the conversation runs like this: GIANT PARAPHRASE Nagra 126A I think near beginning: PERSON 1: Yes, I really like Charles, of all the guys who (voice lowers to mumble.....indistinct...) are doing? Paul..(indistinct), he is the most down to earth. PERSON 2: Yes, he's.........rather self-contained (sound of lighting up and smoking cigarette) He doesn't need.......anyone else. He just does it... PERSON 3: Yes, yes (etc.) also (indisinct) also a lot like Bill. But all Bill thinks about is his wife, his farm, his art collection... PERSON 2: Yes. And his wife--- she's a scultor? PERSON3: A sculptor.. PERSON 2 Marvelous. Something like that, Ill try to find. Also, when Lindsay-Hogg is talking to Ringo on 125A I think it is, and they are talking about the "project" at hand, Ringo asks him how the footage is, how good will the product be, and the director guy says something like "It's great footage. It all depends on if we are going to be able to be tell it like it REALLY is, be----revelatory, or if we are going to have to sort of........"hide", oh, I hate to use that word......" Ringo laughs, I think, and says something, I forget, then the director wryly comment, "Instead of an "Apple Core", it'll be like an Apple.............(after some thinking) rind." They giggle. Then he says, "pit". They snicker....... So, it is as if they were waiting to find out which way it was going to go; reveal the "secrets", or keep things under wraps. So-------the other man in the mix, the other Paul, perhaps? This might explain why I sense the presence of two Paul's in the force...... One down, 2 alive. Or-----maybe three alive.................3 Paul's in the gumbo.........or 3 stand-ins working different aspects...... "One and one and one is three". Hmmmm. Just maybe. MAYBE----Not 3 other Beatles. MAYBE----The number of new "Pauls"? "Got to be good looking 'cause he's so hard to see"......... A person has to look very carefully in order to isolate the original one out of the mix........ "Come Together"---it took 2 or 3 guys to make the illusion work in the beginning?
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Post by Doc on Dec 27, 2005 12:16:30 GMT -5
I know the version of Penny Lane of which you speak, and completely agree that John is tracked in there in spots. The main voice is.. I dunno, but I had a hunch, and of course it's just a hunch but.. Harry Nilsson's name has come up as a vocal imitator, and the high notes in PL made me think of that TV theme song he did way back, it was on when I was a kid, "The Courtship of Eddie's Father". www.sitcomsonline.com/eddiesfatherthemesong.htmlAn idea to consider. I gave the Eddie theme a listen, there is a similarity of timbre. Actually, on "Nillson Schmillson", Nillson manifested a real versatile voice. There are a lot of "colors" vocally across that album----one thing that makes it wonderful. (I like it from listening only recently.) Good commercial versatility, good clean voice, good range of styles. Power and restraint when needed. But Penny Lane? I will put that in my listening cap. OK, I'll renew.
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Post by Doc on Dec 27, 2005 12:12:25 GMT -5
As far as you hearing those things, it goes along with what I've already said. The boys played around with the material that they had recorded of Paul's. They did things to it to try to blend the two voices together. So that it would be more difficult to differentiate between the two. It's insidious ! Thank you for this post. That helps to re-think it that wait. Makes sense.
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Post by Doc on Dec 27, 2005 10:42:26 GMT -5
I find it maddening sometimes, trying to distinguish their voices. The boys played with the vocals to try to get Bill's voice as close to Paul's as possible. I'm pretty sure that is adding to the confusion. It's definitely Paul singing She's Leaving Home and Penny Lane. I dont know---there is a bootleg version of Penny Lane that I have heard having a different sounding mix that for the life of me sounds like John is tracked along in there too. And sometimes I hear a hint I said just a hint of William on She's Leaving Home. What am I to do. And now Her Majesty is like, to my hearing, totally Sir Paul. I don't know if I was righter then, or wronger now. It's embarrassin'. My ears are turning to mushola. I'm going to have to turn in my "Listen and Guess Who Permit" when this year's fees run out. No renewals for me. lol From now on, if anyone asks me, "say DrRob who do you think sings this?" I'm simply replyin'..."The Beatles." That about covers it. About.
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Post by Doc on Dec 20, 2005 18:20:21 GMT -5
At a later point in your recent combined clip, jojo, William begins to sing "Congratulations" by Cliff Richard: CONGRATULATIONS - 10/04/1968 2 weeks at #1 - 13 weeks on chart Congratulations and celebrations When I tell everyone that you're in love with me Congratulations and jubilations I want the world to know I'm happy as can be Who would believe that I could be happy and contented I used to think that happiness hadn't been invented But that was in the bad old days before I met you When I let you walk into my heart Congratulations and celebrations When I tell everyone that you're in love with me Congratulations and jubilations I want the world to know I'm happy as can be I was afraid to think that you thought you were above me That I was only fooling myself to think you'd love me But then tonight you said you couldn't live without me That round about me you wanted to stay Congratulations and celebrations When I tell everyone that you're in love with me Congratulations and jubilations I want the world to know I'm happy as can be Congratulations and jubilations I want the world to know I'm happy as can be Hmmm., October 1968. This webpage: www.upv.es/~ecabrera/white.htmlgives us this as the dates in which the White Album was recorded: * The Beatles (White Album) * Recording Dates May 30th 1968 - October 13th 1968 * Release Date: November 25, 1968 The Rough Guide to the Beatles gives the recording date for Blackbird as June 11, 1968. According to this: www.eurosongonline.com/2005/oct05/50_show.htm"Congratulations" missed winning the EuroSongContest by merely one point back in 1968. That same song opened this past year's awards celebration. (It appears from reading.) So, did Cliff Richard play the song for William, or Paul, before June 11, 1968? Did William...or Paul...."ghost" write it? Was Cliff Richard about in the studios at a similar time? Were he and Paul/William pals? Are these song dates all wrong on the internet? Either "Billboard" or a European equivalent would have the answer to when "Congratualtions" was recorded and released. Point is, it seems that William was "spoofing it" in the studio four or five months before it was on the radio in Britain......
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Post by Doc on Dec 20, 2005 4:41:26 GMT -5
Just a thought.. The story goes, as Sir Paul has told it a few times, that he wrote this about the civil rights struggle for blacks after reading about race riots in the US. I had another thought after seeing this site. The "tower ravens" occupy the tower of London, and there must be at least six there at all times, lest both Tower and Monarchy fall. To prevent the birds flying away one of their wings is clipped by the Raven Master. This does not hurt the raven nor does it harm them in any way. By unbalancing their flight it ensures that they don't stray too far from the Tower.Blackbird singing in the dead of night Take these broken wings and learn to flyJust speculation of course, but his book of poetry is called "Blackbird Singing", it must have some important meaning to him, perhaps beyond what has been said. I think of the tower as representative of the monarchy's control, and one could perhaps see the ravens (blackbirds) as its prisoners in a symbolic way. Free as a bird? Wings? Paul McCartney AND Wings? I have an occasional dream tha has had a wierd, archetypal symbol in it. It even has a name, in my dreams, in the past. I don't seem to dream about it anymore. It's a dark and foreboding location, in some rugged countryside, a kind of place like Colorado or Wyoming, in my imaginative dreams. In my dreams, it was called, "Nespin's Tower." A mountain, jagged, angular, tall, with a spirelike rock projection on top. I have even googled it and of course it does not exist. Nespin's Tower. Home to vultures and jackyls and the like. Visible for miles around. A sort of pinnacle of gloom. Any thoughts? I guess that's just a private quirk.......I'll get over it........
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Post by Doc on Dec 20, 2005 4:31:35 GMT -5
Speaking of Blackbird, (the song) I have a bootleg with a number of rehearsals for the song, and I strung together pieces of three of them. The reason is, Bill says "take these broken wings" or take these sunken eyes", followed by on my life. There's something interesting in the end too.. Most of the rehearsal clips have the usual wording, but does this make the meaning more clear perhaps? BlackbirdSir Paul is a madcap in the comic stream of Peter Sellers. At times. At the top of your clip Jojo (thanks) it sound to me like SirPaul is singing these words :"whoever's singing in the dead of night?" It's "whoever's", not "blackbird", that first time........ Well, I enjoyed those duets of Blackbird. Clearly two guitars, maybe one pre-taped........two singers, or one pre-taped.... Or in the room at the same time............unmixed playback....overlapped on occasion...... William, in these extemporaneous musical flights can really send me into bouts of giggles*........good gracious, what must he launch into when they turn OFF the mics?...... *Which have helped to lower my blood pressure and increase my mood index. Who needs Paxil when you've got the Nagra rolls? I listened to some of those one night, and it got me all laughing and cheery at work for a couple of days. A co-worker asked me what got into me, why was I being so jolly? Knowing it would mean zilch to anyone else, I said, "It was the Nagra Rolls." Blank stare. After a moment she says, "Is that sushi?" "Not exactly, but you might not enjoy them. They're more of an acquired tapes." "But what's in 'em?" "Read the package." Days pass. "No, really. What's in 'em?" "Bits of everything, a real variety plate. Scraps, pieces, raw and unprocessed." "But is it like, fish, or chicken? That's all I wanna know. Is it fish or fowl or pork or what? It's not dog is it? "Not it's not dog. They're made of acetate." "Ooh. That doesn't sound too good." "You wanted to know. But they sound really cool." "Huh?" Don't tell 'em everything. Leave 'em beggin' for more.
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Post by Doc on Nov 14, 2005 0:04:01 GMT -5
Just a thought.. The story goes, as Sir Paul has told it a few times, that he wrote this about the civil rights struggle for blacks after reading about race riots in the US. I had another thought after seeing this site. The "tower ravens" occupy the tower of London, and there must be at least six there at all times, lest both Tower and Monarchy fall. To prevent the birds flying away one of their wings is clipped by the Raven Master. This does not hurt the raven nor does it harm them in any way. By unbalancing their flight it ensures that they don't stray too far from the Tower.Blackbird singing in the dead of night Take these broken wings and learn to flyJust speculation of course, but his book of poetry is called "Blackbird Singing", it must have some important meaning to him, perhaps beyond what has been said. I think of the tower as representative of the monarchy's control, and one could perhaps see the ravens (blackbirds) as its prisoners in a symbolic way. Very interesting. I have always thought of a "tower" in terms of it being a dark, medieval archetype symbolizing either control, defense, strategy, or detainment. The Rook.
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Post by Doc on Apr 7, 2004 0:39:10 GMT -5
Well, I just thought naked meant being carnally uncovered (the "private areas" in context. Or, euphemistically, you are naked without some kind of cover. You are exposed in some way that might cause shame. Or, simply that one is out on the open.
Yoko said those words, though, and my take on her view of "naked" is that she would see it as a release, a kind of freedom, a "back to nature" zen kind of condition. Stripped of pretense, honest, open. Recall the pics of her with John a la naturelle. I think it may have been a flower power connotation at that time to them.
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Post by Doc on Mar 31, 2004 2:28:14 GMT -5
Well, as far as learning a voice, it helps I think to have a good number of clear samples, and listen repeatedly to them. It might help to have excellent sound eqiupment, it helps if the samples aren't EQ'd oddly, or chorused, or buried in other music or sounds. A good number of clearly recorded, exposed samples of good enough duration. And a variety---speaking while relxed, speakingg slow, speaking fast, speaking directly into a low impedence mike.
Repetition will allow you to have recall of the samples by just imagining them. Concious discernment of pitch modulation, accent, vowel formations, nasality, or lack of, etc. By focusing on certain qualities deliberatly while listening, you can isolate components of a persons speech "style" and naturally born resonating "type" that help to identify.
Knowing what lifting the palate sounds like, sending through the nose, or mask, opening the throat or closing it off, pitching the speaking voice in a slightly different register, head resonance, chest resonance, all these little factors help us form a mental sound file of a voice. But nobody's perfect.
For instance, my most recent idiocy. I was at a friends house. We were talking and the radip was on in the background. The song "I've Got My Mind Set on You" came on the radio. Well, O know ALL of you know who wrote it. I paid no attention to it in the 80's. I did not know. She asked me who it was. I listened for a minute, and something in the overall tracks of the song made me stupidly arrive at, and I actually said it out loud, "Why, it's Hall and Oates, of course!"
I hear the Jeopardy buzzer going off all over Proboards at this moment.
Well, she didn't know. I leave her house. She calls me later the next day to tell me that when she awoke the next AM to continue packing (as she is moving), she stumbled across a tape she did not know she had. It is in a box two feet from where we were sitting, and on the top. In plain view. Another friend of hers had given her a few tapes and it slipped her mind. It turns out to be a cassette tape single of a certain George Harrison song from the 80's.
One guess as to which one it was. ".....set....on......you...."
Barrrhhhn Barrrrrhn. I just don't have a real complete aural picture of Harrison's voice...............
Sometimes I am real alert, and sometimes I think I'm just set on screen saver.
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RAOB
Dec 1, 2006 22:46:11 GMT -5
Post by Doc on Dec 1, 2006 22:46:11 GMT -5
So, then, the RAOB is possibly one more element that inter-played into the Beatles lives during that time period? I wonder if many of the people shown on Pepper are linked to the RAOB in some way as well? That seems feasible for al of the acting/Hollywood/performing people shown. I see no ties E.A.Poe, Ghandi, or Stu Sutcliffe, for instance, but they have other logical links to the Beatles as persons known(Stu) or admired (the other 2) by Paul.
Just one example: in "Gotta Sing, Gotta Dance", Bill's performance is, to my way of seeing things, a solid indicator of much prior professional stage experience.
Where in JPM's background did he ever take a turn at being featured in a glitzy tap-dancing spectacle? Not that that matters one whit in the final analysis........JPM and William were/are both great with or without any dancing. Isn't the idea of "The Tap Dancing Beatles" a little unexpected? Imagine Ed Sullivan:
And now, ladies and gentleman, our TV audience at home, please welcome to the stage, THE TAP-DANCING BEATLES!
Hmmmm......it MUST have been William that got them to do "Your Mother Should Know" as a Busby Berkely-styled production number centered on the Fabs strutting down a grand staircase in white tails. Doesn't seem like a George Harrison concept, somehow......I enjoyed that number. I enjoyed the Gotta Sing number a lot, too. I enjoyed the whole darn TV special.
Anyone notice the part in the pub where that older lady who looks like John Lennon in drag gives William a peck on the cheek?.....lol......I must be seeing things.....
The concert sequences of Wings are terrific in that show as well.
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Post by Doc on Dec 14, 2005 3:54:05 GMT -5
And why do they play an instrumental "Greensleeves" after Faul says "yesterday" ? Alas, my love you do me wrong to cast me off discourteously for I have loved you so long delighting in your company. I have been ready at your hand to grant whatever your would crave and I have waged both life and land, your love and good will for to have. Greensleeves was all my joy. Greensleeves was my delight. Greensleeves was my heart of gold and who but my lady Greensleeves. Thou couldst desire no earthly thing but still thou hast it readily. Thy music for to play and sing and yet thou would not love me. Greensleeves was all my joy. Greensleeves was my delight. Greensleeves was my heart of gold and who but my lady Greensleeves. I would my love entreat you still that thou my constancy may see. For I remain thy lover true come once again and love me Greensleeves was all my joy. Greensleeves was my delight. Greensleeves was my heart of gold and who but my lady Greensleeves. Well, from this smaple of the 80 million verses attributed to "Greensleeves", it mentions unrequieted love, or at least, a mistress or lover who won't commit to the one who loves........... That's a miserable situation to be in. Oh, not that I personally would know such a thing. I am, after all, the Romance King of All Time. I have never known tender rejection. Oh, no, not me. Call me Casa Nova, call me Don Juan. I make them beg. On all fours, panting, howling for more. Every rover I run across tries to paw me like a cheap so and so, like a wanton animal. I have many amorous followers. Wild, uninhibited, not always socially well graced. They 're beasts, no animals, I tell you, absolute animals. No, I mean they are really --animals. Actually 4 legged beasts, pets, for cryin' out loud. You see, it's my cologne that drives them wild. It's called "M'Eau de Launne". It smells like wet grass after a Spring rainstorm. Hints of dandelions and wild onion. A little unorthodox, a titch pungent, perhaps, but I choose to avoid all the popular male colognes lately 'cause they're so fruity that all you attract are fruitbats. So now, instead, I attract every feral cat and wild dog for blocks and blocks around. True, they're sniffing me up for a dainty snack; a milkbone, some Alpo, leftover steak, Catnip! Or maybe----just looking for a soft, grassy patch to slither down into to pick at fleas and such. But cats, and dogs, and birds, gerbils, hamsters, I find, are so great. They'll eat out of your hand and not bite it......(so far)... and unlike people, they don't saddle you down with a big conditional agenda. No need for a chaperone, either, as heavy petting isn't permissable. I searched a long time for a good, subtle, animal friendly colgne. There was "Nikkey's Astral Aroma Therapy and Wig Hut" on the edge of town. THe very edge. I went inside and explored the aisles. Soon I stumbled across great ones, llike "Eau de Manne", "Eau de Bills", and something quixotically named, "Eau de Sredding". But, I ended up buying "M'eau de Launne" because I just thought it was what I "Eau de Do". Eau de pain. -----Beaudelaire.
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Post by Doc on Dec 12, 2005 23:39:55 GMT -5
SAMU (Service d'Aide Médicale d'Urgence) en.wikipedia.org/wiki/Emergency_medical_serviceCould the French have lent a hand in treating an injured JP back in 1966? Is this why the Marsellaise is played at the top of "All You Need is Love?"
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Post by Doc on Mar 5, 2005 3:13:02 GMT -5
Well, if it's a pint of Bailey's Irish Creme, I don't see any problem
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Post by Doc on Apr 9, 2004 2:56:57 GMT -5
Well, that style of composite overload a la LSD trip was ubiquitous in those years. It could be that Mr. Lester was going through a phase of playing with that approach, and just HAD to contrive a way to work it into his current project, MMT. He may have had a creative urge from the cosmos, he may have been fooling around with multiple exposures and such. Maybe he by chance captured Auntie What'sherface nodding off and making those disturbed faces, and in the "daily's" later that night, conceived the BRILLIANT!! idea of a "bad-dream-morbid-psychosis-montage" hoping for some enthused mention from the cogniscenti critics in the London rags.
It is consistent with "theatre of the absurd" juxtapositions. Monty Python and such grew from and out of these earlier streams.
So, really, it could be just, "ART" in all of its creative innocence.
Or, its part of a plot to clue us to death.
Maybe it was John wanting us to sunconsciously see James Paul's miserable end, a thing that, if true, no doubt would have left him traumatized for life. Now, how he would have cornered Lester and the scriptwriter into such a move is beyond me. But, maybe there were discreet understandings along these lines from day one. Maybe what screwed John up in the end was the fragility of his emotions. We'll never know. One thing hinges on another, and the links are sketchy to the maximum.
Maybe I'll watch the whole hour of it again to see if the images are alluded to in a earlier scene. I wasn't LOOKING for clues such as those, so, I missed em. I have to find a better print. The one I found to rent (and I searched) looks like a 9th generation indirect print of a kinescope. It is almost colorless in spots and washed out. Hard to find in this town. Maybe I'll have to rent the whole Anthology. That is available here.
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Post by Doc on Apr 9, 2004 1:31:58 GMT -5
I percieve it to be made from composites. I think at least 5 layers. The large eye(whethere its horse or human), the skull overlapping Auntie's face, the other eye and forehead with light brown hair just above the big eye, the hypodermic that would be injecting the horses mouth, if that's what it was, and the "snout of the horse" which I percieve more as an arm's cross-section. She's having nightmares. Dream images can be horrible and jumbled.
She may have indigestion.
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Post by Doc on Mar 17, 2004 22:10:54 GMT -5
Today I am more rested, so its lookin' just like an ailing equine, or donkey, or even a rocking horse head from the fixed look of it. Just some jumbled and strange composites. I am NOT , today, seeing corpse-flesh or grotesque-ittude.
Sleep is good. Ja.
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