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Post by TotalInformation on Apr 1, 2008 8:00:21 GMT -5
Your mistake is taking any of this iamaphoney crap seriously. Concentrate on the word games of someone relevant, like Lennon. I am no where near as smart as the uber-gods on this forum. Thats"WHY I FAILED". Words are your game. I respectfully decline to play this shit any longer
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Post by TotalInformation on Mar 31, 2008 23:18:08 GMT -5
More ridiculous bullshit.... most of Double Fantasy / Milk & Honey was recorded at night in the first place.... youtube / On September 11, 1980 John Lennon had begun work on a double-EP that he tentatively called The Right Album. While Milk and Honey was recorded and mastered at Hit Factory, A & R Studios, and Sterling Sound---all proper studios based in New York City--it was in his own home studio, arranged out of somewhat outdated equipment, that he would dedicate the evening hours to work on this "pet project" of his. Side One would have been made up of avant garde sound collages
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Post by TotalInformation on Jul 3, 2006 9:25:24 GMT -5
Once they patented the name "The BEATLES", the patent defined the group as consisting of Richard Starkey, John Winston Lennon, George Harrison, and James Paul McCartney.
When was this?
This was part of the reason why after JPM died, the PAUL MCCARTNEY corporatin had to go on...
BTW, has it been pointed out yet how Sir FAUL's coat of arms looks like a beetle?
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Post by TotalInformation on Jul 2, 2006 16:57:39 GMT -5
Idiomatically, "Love is all you need" or more roughly "there is only need of love." Opus est "there is need of" takes an ablative of means. )Opus est: literally "there is work" + the ablative of that by which the work is to be performed.)- *Amore (love) is in the ablative and solum (only, sole) is nominative singular modifier of opus.
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Post by TotalInformation on Aug 6, 2005 12:56:52 GMT -5
That's interesting about Kilgallen. For those who don't know, she died mysteriously in November 1965 just as she was about to publish the details of her interview with Jack Ruby. ( www.jfkresearch.com/morningstar/killgallen.htm ) If Asher's father was a "handler" of the Beats, it makes sense that he would want them under his roof as much as possible. And he would have had considerable sway over the estate if Jane & JPM had been married and Jane was widowed before the age 21. (The other reporter was Walter Winchell, but he reported the marriage in early-mid 66.)
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Post by TotalInformation on May 11, 2004 21:20:01 GMT -5
I have been reading many interesting things about Jane and Peter Asher.
Does anyone know the names of any other members of the Asher family? Or any good reference for more about these people?
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Post by TotalInformation on Mar 20, 2005 11:21:20 GMT -5
Besides, I One I X.
Although, later, John did sing: 1 and 1 and 1 is three; perhaps to unlock the drum head.
III X is October [3rd].
This is a pretty good case for Oct. 3. I think one reason why I've been biased toward Sept. 11 is that MMT filming started Sept 11 1967...
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Post by TotalInformation on Feb 21, 2008 1:44:22 GMT -5
His most celebrated article is "... wie die Zeit vergeht ..." (". . . How Time Passes . . ."), first published in the third volume of Die Reihe (1957). In it, he expounds a number of temporal conceptions underlying his instrumental compositions Zeitmaße, Gruppen, and Klavierstück XI. In particular, this article develops (1) a scale of twelve tempos analogous to the chromatic pitch scale, (2) a technique of building progressively smaller, integral subdivisions over a basic (fundamental) duration, analogous to the overtone series, (3) musical application of the concept of the partial field (time fields and field sizes) in both successive and simultaneous proportions, (4) methods of projecting large-scale form from a series of proportions, (5) the concept of "statistical" composition, (6) the concept of "action duration" and the associated "variable form", and (7) the notion of the "directionless temporal field" and with it, "polyvalent form".
Other important articles from this period include "Musik im Raum" ("Music in Space", 1958, Texte 1,152–75), "Musik und Graphik" ("Music and Graphics", 1959, Texte 1, 176–88), "Momentform" (1960, Texte 1, 189–210), "Die Einheit der musikalischen Zeit" ("The Unity of Musical Time", 1961, Texte 1, 211–21; Stockhausen 1962), and "Erfindung und Entdeckung" ("Invention and Discovery", 1961, Texte 1, 222–58), the last summing up the ideas developed up to 1961. Taken together, these temporal theories
suggested that the entire compositional structure could be conceived as "timbre": since "the different experienced components such as color, harmony and melody, meter and rhythm, dynamics, and form correspond to the different segmental ranges of this unified time" [Texte 1, 120], the total musical result at any given compositional level is simply the "spectrum" of a more basic duration—i.e., its "timbre," perceived as the overall effect of the overtone structure of that duration, now taken to include not only the "rhythmic" subdivisions of the duration but also their relative "dynamic" strength, "envelope," etc. . . . Compositionally considered, this produced a change of focus from the individual tone to a whole complex of tones related to one another by virtue of their relation to a "fundamental"—a change that was probably the most important compositional development of the latter part of the 1950s, not only for Stockhausen’s music but for "advanced" music in general.
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Post by TotalInformation on Mar 5, 2007 22:02:04 GMT -5
According to the Ultimate Beatles Recording Guide, on 3 March 1967, guitar tracks were laid down for the Pepper title track. Hendrix's bandmate Noel Redding's book Are You Experienced has a detailed list of recordings and gigs for the Jimi Hendrix Experience. There are 26 entries for Feb. 1967 and 29 for March. Nothing is listed for March 3. Two days after SPLHCB was released, Jimi opened his show at the Savile Theater with a note for note replay of the title track. BRIAN EPSTEIN set up up the gig and afterward BRIAN EPSTEIN and PAUL MCCARTNEY hosted a party welcoming Jimi to the big leagues. --------------------------------------------------------------------------- Hendrix chord From Wikipedia, the free encyclopedia The Hendrix chord is a name commonly used to refer to the Augmented 9th chord (7#9). The chord acquired this name as it was something of a signature chord used by guitarist Jimi Hendrix. Some examples of Jimi Hendrix songs in which the chord is used are "Purple Haze" and "Foxy Lady," from his 1967 album Are You Experienced?. As Jimi was a synaesthete [1], he saw this chord as a 'purple haze'; thus it is played under the word 'purple' in the song. Though the augmented 9th chord was a favorite of Jimi Hendrix, it was not his exclusively and was used in many other songs, including some from the same period. One example is in the opening of "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" from the Beatles' 1967 album Sgt. Pepper's Lonely Hearts Club Band. [...] ---------------------------------------------------------------------------
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Post by TotalInformation on May 10, 2004 22:14:32 GMT -5
New Musical Express magazine 10-05-2004: PHIL SPECTOR has accused police of aggressive behaviour during his arrest at his home in February 2003 at a hearing on Friday (May 7).. . . the famed producer spoke out at an impromptu press conference, despite attorney Leslie Abramson’s pleas to the contrary. . . . Abramson held a press conference in the hall, with Spector interrupting many of her claims. Speaking of his arrest, Spector interjected her speech, commenting: "Broken nose, two black eyes and 50,000 volts shot through me (Taser gun) after I invited the police into my home." He also spoke about the defence's key witness, Spector’s driver, who claims Spector said "I think I shot someone," as he left his LA home on the night of Clarkson’s death. "He is illegal," Spector said. "He is an illegal alien threatened with deportation." Abramson said that the driver has a poor grasp of English, and that she believes he has been given immunity from deportation through his co-operation . . . Sydney Morning Herald 07 May 2004 : A coroner's report - a forensic analysis prepared four days after the February 3, 2003 death of Lana Clarkson at Spector's Los Angeles home - found she was shot through the mouth with a .38-calibre Colt revolver, and had gunshot residue on both hands. . . . The gun had one spent round and five live rounds in the cylinder, it said. DNA analysis of blood found on the gun's exterior and inside the barrel was also found to match Clarkson's DNA. Autopsy drawings show that Clarkson had a broken acrylic fingernail on her right thumb, which defence lawyers are expected to argue came from firing the gun. Other reports in the coroner's file showed Clarkson had alcohol and the prescription painkiller Vicodin in her system when she died. Her purse, which still hung from her shoulder when police found her slumped in a chair in the foyer of Spector's mansion, contained over-the-counter cold and pain medications such as Tylenol . . . The dead girl showed up in Spector's pool right before Faul released his own new cut of Beatles album "Let It Be," excising not only Spector's strings but also Lennon's list of replaced celebrities in "Dig It," and snarky dialog line about Faul's "audition." www.libertythink.com/totalinformation/2004_05_09_archive.html#108424669988323649
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Post by TotalInformation on Apr 19, 2004 21:51:13 GMT -5
Ha. "Fair Isle sweater" is what I heard, but it ws so odd a phrase I overlooked googling it.
What a funny joke. A 30-year-old man doesn't look like a 25 year old man because of a sweater, but because of extensive plastic surgery and make-up. (And he seemed the most made up then, seemed to be near the begining of filming.)
Anyway, how surreal yet profundly important is that? Kinda wipes the floor with even Gilliam's Brazil, when you think about it.
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Post by TotalInformation on Apr 19, 2004 21:25:47 GMT -5
thorough sweatery
Hmm. Regular saunas would no doubt be on his faulcare agenda between all the surgeries.
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Post by TotalInformation on Apr 19, 2004 20:26:26 GMT -5
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Post by TotalInformation on Mar 16, 2006 12:35:03 GMT -5
Or is the sacrifice for religious purposes an acception to the rule?
Google "Best friends animal shelter"
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Post by TotalInformation on Jun 27, 2006 23:30:54 GMT -5
And the fan mags made a point of Danelli's Paul-like looks.
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Analogy
Nov 9, 2006 22:00:09 GMT -5
Post by TotalInformation on Nov 9, 2006 22:00:09 GMT -5
Salieri:Mozart::John:JPM
(Also recalling that Mozart was a musical genius fed melodies by the Brotherhood later slain by same.)
After JPM died, Salieri and the court jester(:FAUL) played weekend-at-bernie's with Mozart's corpse and his old reel-to-reels.
Discuss.
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Post by TotalInformation on Jan 2, 2006 4:47:58 GMT -5
Ringo was always the biggest actor of the Fab Four; I would venture to say in more ways than one. He has definitely had the most formal filmic acting experience of those four.
Ringo was perhaps the closest to FAUL as he had been the "new guy" before FAUL was and shared that with him.
The soul of The Beatles died w/ Harrison, really.
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Post by TotalInformation on May 26, 2005 23:06:24 GMT -5
I messed up and didn't get this one recorded. I"m gonna try to obtain a copy another way.
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Post by TotalInformation on May 26, 2005 22:42:20 GMT -5
Glass Bottom Boat: Eunice butchers a few lines of Kappelhoff's classic "Que Sera Sera," singing it in a silly falsetto like faux-PAUL so often does with JPM tunes.
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Post by TotalInformation on May 23, 2005 19:34:53 GMT -5
all times EDT:
8:00pm The Glass Bottom Boat (1966) *** (NR), CC, DVS 10:00pm Billy Rose's Jumbo (1962) *** (G), CC 12:15am The Thrill of It All (1963) *** (NR) 2:15am Send Me No Flowers (1964) *** (NR), CC 4:00am My Dream Is Yours (1949) **+ (NR), CC 2:45pm Julie (1956) ** (NR), CC
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Post by TotalInformation on Dec 16, 2005 22:22:52 GMT -5
You can take a number of measures to make yourself less susceptible to cancers, but if it is induced via exotic weaponry you may find yourself screwed nonetheless.
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Post by TotalInformation on Nov 2, 2007 23:15:33 GMT -5
No, I bet she also got him to make some allusion to JPM on at least one of those phone calls... conniving . . . I wouldn't be so sure those tapes are safe if I were her...
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Post by TotalInformation on Mar 24, 2005 18:56:41 GMT -5
Yeah, that sounds like what I've read in Francie's posts on USENET and in May Pang's book. Anything else of interest in there? Sounds like a more informative piece than most of the stuff available about BEATLES on video.
It would be great if you could find a way to digitize it. Or just get JoJo a copy, he seems to be the best at manipulating media for us!
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Post by TotalInformation on Mar 19, 2005 12:57:06 GMT -5
Very interesting PL. Are you in the UK? I don't think anything like this was scheduled to run in the US. It would be great if you could get a copy to some of us researchers in the US.
I read somethiong a few months ago that someone in the UK was preparing a special about "Beatle bastards." I don't know if that turned into this special , or if there's still a bastard special in the pipeline somewhere.
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Post by TotalInformation on Mar 23, 2006 22:20:18 GMT -5
Ray Hunter Davies bio. (oops)
You had me excited, I was hoping for a hint R Davies had ghostwritten on 'White Album" or something. Actually, I wouldn't have been surprised if FAUL and R Davies were collaborating on Get Back at the time this went to press, given FAUL's remarks.
Hunter Davies picked up where BILLY SHEPHERD left off as creator/chronicler of official BEATLES history/fantasy.
Maybe someone at Rolling Stone knew all too well what John was talking about.
Not just someone, but Jann Wenner, who bid for the BILLY SHEPHERD gig by conducting the extended breakup interview with Lennon, and crawling up Yoko's ass for decades until this day.
Of course he knew. I give even odds that Lennon, a professional graphic artist, even signed off on Wenner's winking page layout.
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