PID/PWR songs

[B]

No Longer Gone
(Meat Puppets)

Sorry - No music for this one.

Ice on the wings and we were flying
Sand in our eyes but we were seeing
Below us a crowd that wasn't buying
Watching us pass and not believing
No one else has seen the sights that crossed our eyes
Everything beyond these purple skies
No longer gone, we're back again
No longer gone, we were dead but now returned
No longer gone, though the tides are standing still
No longer gone, and our bridges are still burning
Marks on the floor where we were laying
Better explain what I'm saying
Put us to rest but we're not staying
Life is the price that we'll be paying
No one else has seen the sights that crossed our eyes
Everything beyond these purple skies
No longer gone, we're back again
No longer gone, we were dead but now returned
No longer gone, though the tides are standing still
No longer gone, and our bridges are still burning
Ice on the wings and we were flying
Sand in our eyes but we were seeing
Below us a crowd that wasn't buying
Watching us pass and not believing
No one else has seen the sights that crossed our eyes
Everything beyond these purple skies
No longer gone, we're back again
No longer gone, we were dead but now returned
No longer gone, though the tides are standing still
No longer gone
No longer gone, we're back again
No longer gone, we were dead but now returned
No longer gone, though the tides are standing still
No longer gone, and our bridges are still burning

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

ELO

From the album SECRET MESSAGES, comes...

Letter From Spain

"I read the papers this morning
I saw your photograph
You look good in the movie
It must be so much fun
Letter from Spain
From someone I once knew

I got a letter this morning
Postmark said it was from Spain
Your writing is so very strange
I guess it always was that way
Letter from Spain
From someone I once knew"

and

Bluebird

"The streets, the signs are pointing all one way
But you don't realize just what they say
You may fight, you may run, you may know what you've done
It makes me feel so sad to think what I might've had
I watch the stars, I watch the sun, now I watch for anyone
But it's only make believe

You work, you work, you work so hard and then
Someone, someone will come around again
You may think it's for real, but you know how you feel
The places that I go don't feel good anymore
I see it all rainbows in fall I see her face upon my wall
But it's only make believe

Fly away, bluebird fly away for me
To a place somewhere far across the sea
Fly away, far away, don't look back, go today
The waves that crash upon the sand
Another place, a far off land
And every day, I have to stay, but you are free
You could fly away-
But it's only make believe"

[B]

SECRET MESSAGES (cough)

Many ELO albums pertain.

Spain again....

bull fighters

(Elton John)
Daniel is travelling tonight on a plane
I can see the red tail lights heading for spain
Oh and I can see daniel waving goodbye
----------------------------------------------------
(Procol Harum)
I'm thinking of renting a villa in France
A French girl has offered to give me a chance
Or maybe I'll take an excursion to Spain
And buy a revolver and blow out my brains
---------------------------------------------------------
(Neil Young)
"This is a song I wrote about the beaches in Spain. I've never been to the beaches in Spain. It's just my idea of what it's like over there."
----------------------------------------------------------
(David Gilmour)
On an Island (near Spain)

[JoJo]

Only because Brian Ray released this cover a couple of months after the release of Chaos And Creation in the Back Yard, around the end of the tour. (Brian Ray is part of Sir Paul's band)

Tears of a Clown:

Now if there's a smile on my face
It's only there trying to fool the public
But when it comes down to fooling you
Now honey that's quite a different subject

But don't let my glad expression
Give you the wrong impression
Cos really I'm sad, Oh I'm sadder than sad
Well I'm hurt and I want you so bad
Like a clown I appear to be glad ooh yeah

CHORUS:

Well they're some sad things known to man
But ain't too much sadder than
The tears of a clown when there's noone around
Oh yeah, baby baby, oh yeah baby baby

Now if I appear to be carefree
It's only to camouflage my sadness
And honey to shield my pride I try
To cover this hurt with a show of gladness
But don't let my show convince you
That I've been happy since you
Cos I need to go, oh I need you so
Look I'm hurt and I want you to know
For others I put on a show ...CHORUS

Just like Pagliacci did
I try to keep my surface hid
Smiling in the crowd I try
But in a lonely room I cry
The tears of a clown
When there's noone around, oh yeah, baby baby
Now if there's a smile on my face
Don't let my glad expression
Give you the wrong impression
Don't let this smile I wear
Make you think that I don't care
Cos really I'm sad...

[mommybird]

Letter B, a dear friend of ours lives in Scotland. She is now in Spain on vacation with her family. Maybe all of the references to Spain are just random references to it because it is a popular European vacation spot ?

[faulconandsnowjob]

This could be about Syd Barrett. I personally think it could be about the Beatles...

So, so you think you can tell Heaven from Hell, > reference to death
blue skies from pain. > losing Paul was defnitely painful
Can you tell a green field > maybe a cemetery
from a cold steel rail? > reference to a train [see American Pie & Lucy in the Sky for other train references]
A smile > Smile - wasn't that going to be the title for Sgt Pepper?
from a veil? > death reference or veil of illusion
Do you think you can tell? > you think you can tell the difference btw all of these things, but can you? What about the difference btw Paul & Faul? Hmmm...?

And did they get you to trade your heroes for ghosts? > wasn't Paul a hero?
Hot ashes for trees? > cremation?
Hot air for a cool breeze? > Ha - maybe Faul is full of hot air! He's definitely not as cool as Paul...
Cold comfort for change? > didn't it comfort people to think Paul was alive & well?
And did you exchange a walk on part in the
war for a lead role in a cage? > someone else pointed out that this is probably Faul accepting the part as Paul (at the time of Sgt Pepper, which is assoc w/ military/war), but this part ended up imprisoning him his whole life. It's also been interpreted as referring to John (How I Won the War), then getting stuck in the lie.
How I wish, how I wish you were here. > Paul
We're just two lost souls > this could be a reference to Paul's soul, or Faul's lost soul
swimming in a fish bowl, > fish bowl - a reference to the public life
year after year,
Running over the same old ground. > status quo
What have we found? > people still haven't figured it out!
The same old fears. > afraid to see the truth
Wish you were here.

[faulconandsnowjob]

Sunrise doesnt last all morning > Paul died at dawn (or they found him then)? Plus, I think the sun represents Paul at some level (Sun King/Apollo)
A cloudburst doesnt last all day > wasn't there supposedly a storm that night?
Seems my love is up and has left you with no warning > Paul left w/ no warning?
Its not always going to be this grey

All things must pass
All things must pass away

Sunset doesnt last all evening > sun/Paul "set"?
A mind can blow those clouds away > he blew his mind out in a car...
After all this, my love is up and must be leaving > Paul left him
Its not always going to be this grey

All things must pass
All things must pass away
All things must pass
None of lifes strings can last > trying to let go of his attachment
So, I must be on my way
And face another day > & get on w/ his life

Now the darkness only stays the night-time
In the morning it will fade away
Daylight is good at arriving at the right time > it's starting to get a little easier
Its not always going to be this grey

[faulconandsnowjob]

Back then long time ago when grass was green > when things were good
Woke up in a daze > shock from the news that Paul had died
Arrived like stangers in the night > who is this new "Paul"?
Fab - long time ago when we was fab
Fab - back when income tax was all we had > that was all they had to worry about

Caresses fleeced you in the morning light > Shepherd/Shears
Casualties at dawn > Paul died or was found at dawn?
And we did it all > & they went along w/ the ruse
Fab - long time ago when we was fab
Fab - you are my world you are my only love

And while youre in this world
The fuzz gonna come and claim you > allusion to police taking Paul's body
But you mo better wise
When the buzz gonna come and take you away
Take you away
Take you away

The microscopes that magnified the tears > Being scrutinized intensified their grief
Studied warts and all
Still the life flows on and on > Within You Without You is supposedly George's tribute to Paul
Fab - long time ago when we was fab
Fab - but its all over now baby blue > Paul was blue?
Fab - long time ago when we was fab
Fab - like this pullover you sent to me > reference to "pulling one over"

Fab
And youve really got a hold on me
Fab - long time ago when we was fab

[iameye]

Caresses fleeced you in the morning light



there's nothing you can see that isn't shorn ;D
nuk nuk nuk
www.youtube.com/watch?v=AKtwlHV1-O8

[B]

faulconandsnowjob wrote:
"Can you tell a green field > maybe a cemetery
from a cold steel rail? > reference to a train ..."

I think the "cold steel rail" is a reference to a bar in a jail cell. There are a number of clues suggesting Paul was jailed.

(Note the Beatle in jail)

[faulconandsnowjob]

"I think the "cold steel rail" is a reference to a bar in a jail cell. There are a number of clues suggesting Paul was jailed."

That's definitely a possibility. It's hard to know w/o all the facts. Hermeneutics (interpretation theory) is definitely not an exact science!

[faulconandsnowjob]

Maybe something in these Rutles lyrics, maybe not. I thought it would be something to check out at least.

Get Up And Go
Cruising down the highway doing sixty-five
in the middle of the double white line
His foot down on the gas and his head in the clouds
He didn't see the one-way sign

(We are left to assume that Joe had a car crash...)

Another Day
At times like these when enemies can number more than friends
A friend indeed is what I need, not someone who pretends...

(A pretend friend. I wonder who that could be? :-P)

Another day, I know they say that all the world's a stage
I'll play the fool, but as a rule I'd rather act my age...

Good Times Roll
or dreams in the cold light of day
The children of rock 'n roll
never grow old
They just fade away
Drifting along on a cotton wool cloud

(pulling wool over someone's eyes)

dreaming of drum majorettes

(Sgt Pepper - marching band)

Swastika nightingales croon tongue in cheek

("Blackbird" sings tongue in cheek - not authentic)

an elephant never forgets

Piggy in the Middle
I know you know what you know
but you should know by now that you're not me

[B]

The songs faulconandsnowjob references above are all from The Rutles.

Not knowing that, I came upon these lyrics from Teen Idles:

GET UP AND GO
Cries of anarchy, cries of freedom
Cries of fury in the United Kingdom
Started out loud, started out young
Started out poor and just for fun

Tales of youth fighting back
Just another load of crap
The clothes you wear have lost their sting
So's the fury in the songs you sing

Walking with a goose-step, rose up high
Making sure you're seen in the public eye
You're acting mean, you're acting tough
You shoud have been happy with just enough

A loaded pistol at your head
You won't be satisfied 'til you're dead
Playing your game, apparent cheap thrills
An image to live by, an image that kills

There goes your fury, out the door
Don't expect our respect anymore

[B]

Full versions of Piggy In the Middle and Another Day from The Rutles:

ANOTHER DAY
At times like these when enemies can number more than friends.
A friend indeed is what I need, not someone who pretends.
I'm on my way, I cannot stay another day.

You're such a pain. Must I explain my every meaning to you?
It's such a drag the way you nag at me and make me feel blue.
I'm on my way, I cannot stay another day.

You're so pusillanimous, oh yea. Nature's calling and I must go there.

A glass of wine with Gertrude Stein I know I never share.
But I don't mind. That's just the kind of cross each man must bear.
I'm on my way, I cannot stay another day.

Another day. I know the say that all the world's a stage. 1.
I'll play the fool, but as a rule, I'd rather act my age.
I'm on my way, I cannot stay another day.

------------------------------------------------------

PIGGY IN the MIDDLE
I know you know what you know
but you should know by now that you're not me
Talk about a month of Sundays
Toffee nosed wet weekend as far as I can see
Hey diddle diddle
The cat and the fiddle
Piggy in the middle
Doo-a-poo-poo

Bible punching heavyweight
evangelistic boxing kangaroo
Orangutang and anaconda
Donald Duck and Mickey Mouse
even Pluto too 2.

Hey diddle diddle
The cat and the fiddle
Piggy in the middle
Doo-a-poo-poo

(Stig is dead, honestly)

One man's civilization
is another man's jungle, yeah 3.
They say revolution's in the air
I'm dancing in my underwear
'cause I don't care

Hey diddle diddle
The Cat's in the fiddle
Piggy in the middle
Doo-a-poo-poo
Doo-a-poo-poo

[The following four lines can be heard in Rutles bootlegs,
but do not appear on the released recording]

Civilizing jungle bunnies
guinea pigs including me and you
Talk about a knock-kneed frog
Second cousin to a nun living in the zoo[/u] 4. An astonishing bit of information! (Comments later.)

Walky talky man says hello, hello, hello
with his ballerina boots
you can tell he's always on his toes
Hanging on a Christmas tree
Screaming like a bogey man
getting up my nose

Hey diddle diddle
The cat and the fiddle
Piggy in the middle
Doo-a-poo-poo
a-poo-poo-poo

This little piggy went to market
This little piggy stayed home
This little piggy had roast beef
and this little piggy had none
This little piggy went
Woooo!
All the way home
---------------------------
There are some interesting lyrics here. I'll comment shortly.

[iameye]

Aug 7, 2008 9:57:48 GMT -5 B said:

The songs faulconandsnowjob references above are all from The Rutles.

Not knowing that, I came upon these lyrics from Teen Idles:

GET UP AND GO
Cries of anarchy, cries of freedom
Cries of fury in the United Kingdom
Started out loud, started out young
Started out poor and just for fun

Tales of youth fighting back
Just another load of crap
The clothes you wear have lost their sting
So's the fury in the songs you sing

Walking with a goose-step, rose up high
Making sure you're seen in the public eye
You're acting mean, you're acting tough
You shoud have been happy with just enough

A loaded pistol at your head
You won't be satisfied 'til you're dead
Playing your game, apparent cheap thrills
An image to live by, an image that kills

There goes your fury, out the door
Don't expect our respect anymore

i think they are actually probably talking about the sex pistols maybe

[B]

That's a good fit. I would agree.

[mommybird]

Faulcon, When We Were Fab is all about what happened to Paul & how it impacted their lives.

Caresses fleeced you in the morning light

Can this be in reference to what happened to Paul's body after he was killed ? That those close to him removed things from him that could identify him ? Such as his gold ID bracelet given to him by Jane Asher.
I have to wonder who has that bracelet now

Great thread. ;D

[iameye]

Aug 6, 2008 12:51:20 GMT -5 @faulconandsnowjob said:

Back then long time ago when grass was green > when things were good
Woke up in a daze > shock from the news that Paul had died
Arrived like strangers in the night > who is this new "Paul"?
Fab - long time ago when we was fab
Fab - back when income tax was all we had > that was all they had to worry about

Caresses fleeced you in the morning light > Shepherd/Shears
Casualties at dawn > Paul died or was found at dawn?
And we did it all > & they went along w/ the ruse
Fab - long time ago when we was fab
Fab - you are my world you are my only love

And while you're in this world
The fuzz gonna come and claim you
But you mo better wise
When the buzz gonna come and take you away
Take you away
Take you away

The microscopes that magnified the tears > Being scrutinized intensified their grief
Studied warts and all
Still the life flows on and on > Within You Without You is supposedly George's tribute to Paul
Fab - long time ago when we was fab
Fab - but its all over now baby blue > Paul was blue?
Fab - long time ago when we was fab
Fab - like this pullover you sent to me > reference to "pulling one over"

Fab
And youve really got a hold on me
Fab - long time ago when we was fab

And while you're in this world
The fuzz gonna come and claim you
But you mo better wise
When the buzz gonna come and take you away
Take you away
Take you away


hey, fuzz could be mold as in death is an earthly certainty.
and buzz could be a few things, and it's nice that it can take you away.

[mommybird]

Concerning Up Against It by Joe Orton:

The Vision of Joe Orton

The missing piece in the Beatles’ movie puzzle, the wild card in their deck, is Joe Orton. This enfant terrible of the British theater, in between epatering the ‘60s bourgeoisie with the likes of Entertaining Mr. Sloane and Loot, wrote a screenplay for the Beatles at the commission of producer Walter Shenson. Adapted from an early, unpublished novel and suggestively titled Up Against It (Brit-speak for “under the gun”), the script was violent, sexually transgressive, defiantly sui generis: part Fellini freakshow, part black Ealing Studios farce, part prophecy of every late ‘60s anti-establishment decadence-and-destruction fantasy from How I Won the War to If . . . to The Damned — not to mention a sulfurous omen of England herself under Margaret Thatcher.

Up Against It begins with the expulsion from a provincial town of two young men of no fixed ambition, Ian McTurk (imagine Paul McCartney in the role) and Christopher Low (perhaps played, in alternating scenes, by both George Harrison and Ringo Starr — like the heroine of Buñuel’s That Obscure Object of Desire, who was portrayed, for no obvious reason, by two actresses). Ian is a sexually profligate charmer, Low quixotic and pure of heart. They are banished because Ian has deflowered Rowena Torrence (imagine Julie Christie at full Darling pout), niece of the local high priest, Father Brodie (say, Richard Attenborough?); present to see them off are the amiably opportunistic Mayor (Dirk Bogarde!), sexually dangerous police official Connie (Claire Bloom!), and plain-Jane secretary Miss Drumgoole (Rita Tushingham!), who is desperately in love with Ian.

Wandering the woods outside of town, Christopher meets and winds up at the mansion of eccentric millionaire Bernard Coates (Victor Spinetti, who else); also present at the mansion is the sinister Connie, who frightens the innocent Low into sexual slavery. Meanwhile Ian has fled the scene, enraged by Miss Drumgoole’s revelation that Rowena is to marry Coates. He comes upon a group of anarchists led by Jack Ramsay (John Lennon), a rootless troublemaker whose plan is to assassinate the new (female) Prime Minister. Also in Ramsay’s ragged cadre are the deposed Mayor, embittered kept boy Christopher, and Miss Drumgoole, now a government clerk out to commit sabotage.

Jack, Ian, and Christopher affect female drag to gain entrance to the Royal Albert Hall, where Jack guns down the PM. They escape. Later, Jack disrupts the Prime Minister’s funeral march with a speech in favor of public debauchery and an end to private perversion. The crowd finds this notion not merely sensible but appealing. A riot ensues, and the three hide out in the newsagent’s shop of Jack’s wizened anarchist father. Ian is lured away by the treacherous Rowena, and captured; Jack and Christopher are cornered by police and shot down.

For the next ten years Ian languishes in prison — before being liberated by the miraculously still-living, and patiently tunnel-digging, Jack. They make their escape through a sewer and into the sea, where they are pulled into a luxury yacht attended by — guess who? — Christopher Low: seems he is cabin boy to Rowena and Coates, who are now married. A mad tea party follows, attended by all three heroes, Rowena, Coates, the Mayor and his wife, and Miss Drumgoole. Ian again tries and fails to seduce Rowena; while Miss Drumgoole, still in love with Ian, throws herself overboard when he rejects her. Before they can be arrested, Jack, Ian, and Christopher abscond in the lifeboat; they find Miss Drumgoole adrift, whereupon they are caught in a storm.

Ian awakens on a beach and is taken to a hospital, where Connie reappears to draft him into the war now being fought between government and rebel forces. At the recruitment center he reunites with Jack and Christopher; they convince him to go over to the rebels. The three go off to battle, where Ian is wounded and they again cross paths with Miss Drumgoole. The Mayor turns up, as does Jack’s father; sides are switched again, and still again. Finally the bickering crew crash their stolen ambulance into a lorry carrying wounded — and in an epic disaster scene, a series of escalating conflagrations climaxes in the opening of the earth itself to swallow the dead, the dying, the wounded, and even their scurrying medics. At which point Father Brodie materializes, surrounded in sepulchral procession by the chants and prayers of the faithful, to bless the hellish battlefield. Ian sobs, Christopher kneels in spiritual surrender, and Jack loses his mind.

All are taken prisoner — only to be given medals and honored as heroes: their initial ambulance crash, it seems, resulted in the winning of the war and defeat of the rebels. Jack’s anarchist father is now a decorated general; the Mayor has been restored to power; and Christopher is engaged to Connie. But in a welter of last-minute reversals, the world is set off-balance yet again. Christopher, appalled once too often by Connie’s virulent sexism, calls off their engagement; Jack’s father finds himself demoted to hotel bellhop; and Ian, though he still loves Rowena, offers himself to the faithful Miss Drumgoole. (“My heart is broken, but everything else is in working order.”) She accepts the proposal of marriage — to all three heroes. Ian, Jack, and Christopher wed Miss Drumgoole in a mass officiated by Father Brodie and attended by the whole happy cast, and the screenplay ends with bride and grooms in polygamous morning-after intimacy, disappearing with squeals of delight under the conjugal sheets.

* * *

Whole chunks of Up Against It are lifted from The Vision of Gombald Proval, a long-unpublished novel Orton wrote in 1961. (It eventually appeared in 1971 under the title Head to Toe.) So the screenplay incorporates Orton visions that long predated his knowledge of the Beatles, or perhaps even their existence. It’s arguable to what extent he felt these long-held visions applied specifically to the Beatles, and to what extent he was simply recycling ideas he thought were too good to waste. It’s arguable even to what extent Orton felt Up Against It was a legitimately filmable screenplay, in the context of the time and (particularly) of the Beatles as subjects and objects of fame.

But whatever its provenance, the material of Up Against It was formalized in Orton’s mind and set down for sale and consumption (fat chance) as a Beatle product: a Beatle fantasy, if you will, which Orton hoped to set loose as an agent of commerce. And it is certainly among the most winning, imaginative, and unclassifiable Beatle fantasies of all. It is hallucinatory delight to filter Orton’s puckish outrages through a skein of Beatle imagery: the two mesh with a logic not altogether shocking, and the humor gains a dimension when read as satire of the Beatles’ fame.

Again and again, the action of the screenplay invokes real Beatle life — or at least its familiar film representation — only to twist it perversely. A scene of the heroes fleeing a crowd of women sounds awfully familiar, until we remember the boys are wearing drag and the women are bloodthirsty middle-aged politicos — Mrs. Thatcher’s forerunners. Many of Miss Drumgoole’s devotions to Ian (“I understand how he sets all hearts aflame!“) are obvious parodies of fan-rag gush. From a slightly longer perspective, there is truth as well in the screenplay’s spectacle of wild ambiguity — sexual, political, moral — swirling around a band of protagonists who, despite all changes in fashion and ideology, remain essentially unmoved in character and commitment. Up Against It is frequently hilarious (“He’s been wrestling all afternoon with his conscience.” “Who won?”), and probably reads better than it would have filmed — though a director with a free hand and combining the gifts of Godard, Lester, and Buñuel at their peaks might have produced one of the cracked masterpieces of all time, a grand folly on the order of The Loved One or Fitzcarraldo. (What are movies for, if not to inspire such fancies?)

But in any case the film was not made; Brian Epstein’s office returned the screenplay without comment. Clearly the material was found irremediable, though Orton’s petulance at not being treated like a rajah may have played its role in queering the deal. He gave evidence of extreme bitterness over the misbegotten affair: in Prick Up Your Ears (1987), the film of Orton’s life based on John Lahr’s biography, scenarist Alan Bennett imagines the playwright’s extreme anal revenge upon the boys in the band. “What I would like to do at this moment,” grumbles Gary Oldman as Orton, “would be to ease down their Liverpudlian underpants, and ram my Remington up their arses.” (His typewriter, not his revolver.)

But that was another vision destined to go unfulfilled. Orton was found murdered a few months later, beaten to death by his lover, Kenneth Halliwell, who then committed suicide; as Philip Norman notes in Shout!, “A Day in the Life” was played at Orton’s funeral. Up Against It was eventually briefly mounted, by Todd Rundgren, as an off-Broadway musical, and was not a roaring hit. Today this dream of Beatle-image auto-destruction is reprinted, along with the novel that was its foundation, as Head to Toe & Up Against It: A Novel and a Screenplay for the Beatles (Da Capo, 1998), with an introduction by Lahr that draws liberally on Orton's diary entries. It is well worth reading, and gaping at.

heydullblog.blogspot.com/2008/03/vision-of-joe-orton.html

en.wikipedia.org/wiki/Joe_Orton

HMMMMMM....

Orton took Ramsey rather than Halliwell to the Evening Standard awards ceremony. Three letters were waiting for Orton at her office, one of them informing Orton Loot had won Plays and Players best play in the critics annual poll. Orton was on a roll.

The papers were filled with stories of Orton selling the Loot film rights for a wildly exaggerated £100,000 (the figure was actually £25,000) and the box office increased for Loot now the award had conferred legitimacy and people had been told ‘it was ok to like it’. Orton’s good fortune continued when he was contacted by The Beatles management who wanted him to write a script for their next film.

‘Basically the Beatles are getting fed up with the Dick Lester type of direction. They want dialogue to speak … Difficult this, as I don’t think any of the Beatles can act in any accepted sense.’ Orton's Diary 15th January 1967.
Orton was not convinced that the film would ever be made so he reworked one of his old novels, The Vision of Gombald Proval, into a script.

‘I began the first page or two of the film which I’m calling Up Against It’. I’m not bothering to write a character for them. I shall just do all my box of tricks – Sloane and Hal on them. After all if I repeat myself in the film it doesn’t matter. Nobody who sees the film will have seen Sloane or Loot’. Orton’s Diary 16th January 1966.

Orton was a big Beatles fan and met with Paul McCartney to discuss the film, recorded in some detail in his diary. The script was however rejected by the Beatles management with no reason given. Perhaps because their characters were adulterous cross-dressing murderers may have had something to do with it. Orton’s response was a succinct ‘Fuck them’. Lewenstein liked the script and two days later bought it for £10,000 and 10% of the profits, though it was never actually filmed.

www.joeorton.org/Pages/Joe_Orton_Plays15.html

The question is, which date is correct ? The 1966 date, or the 1967 date ? Which "Paul McCartney " did Mr. Orton meet with

I'm still looking into this... I want to see if I can get a gander at Mr. Orton's diary...
The reason that I've gone so far into this is because I'm far from convinced that the "Beatle in the jail cell " has anything at all to do with Paul. It could very well have been part of the original play.

[faulconandsnowjob]

mommybird -

Caresses fleeced you in the morning light

Can this be in reference to what happened to Paul's body after he was killed ? That those close to him removed things from him that could identify him ? Such as his gold ID bracelet given to him by Jane Asher.

Yes, that is a definite possibility. Excellent!

But you mo better wise

I think this could be a cryptic way of saying "you're better off."

When the buzz gonna come and take you away

As we all know, George was into Eastern religion & philosophy. There's a theory that the universe emits a sacred sound - OM. I think this could be the "buzz" that he's referrng to. When someone passes, they will hear the sacred sound.

[B]

Iameye wrote:

"And while you're in this world
The fuzz gonna come and claim you
But you mo better wise
When the buzz gonna come and take you away
Take you away
Take you away


hey, fuzz could be mold as in death is an earthly certainty.
and buzz could be a few things, and it's nice that it can take you away."

"The fuzz" was a 1960s term for the police.
The buzz is most likely the buzz you hear when your soul leaves the body. People who do out-of-body/
astral projection report hearing a buzzing noise, like a bumble bee makes, when leaving the body.
So you're wiser when you die (or can astral project).

[faulconandsnowjob]

Letter B -

The buzz is most likely the buzz you hear when your soul leaves the body...So you're wiser when you die.


That could definitely be it!

[mommybird]

I think that's it too ! ;D

[B]

Thank you for the "Up Against It" article, mommybird.

Strawberry Letter 23 - Brothers Johnson
www.youtube.com/watch?v=JKJw1h4KQuw

Hello, my love
I heard a kiss from you
Red magic satin playing near, too

All through the morning rain
I gaze - the sun doesn't shine -
Rainbows and waterfalls run through my mind

In the garden - I see west
Purple shower, bells and tea
Orange birds and river cousins dressed in green

Pretty music I hear - so happy
And loud - blue flower echo
From a cherry cloud

Feel sunshine sparkle pink and blue
Playgrounds will laugh
if you try to ask
Is it cool?, is it cool?

If you arrive and don't see me
I'm going to be with my baby
I am free - flying in her arms, over the sea[/color]

Stained window, yellow candy screen
See speakers of kite - with velvet roses diggin' freedom flight

A present from you - Strawberry letter 22
The music plays, I sit in for a few

Ooh...ooh...ooh...ooh...ooh...

A present from you - Strawberry letter 22
The music plays, I sit in for a few

Ooh...ooh...ooh...ooh...ooh...


For what it's worth: the 22nd letter in the alphabet is V, the 23rd is W, hence VW
a common term for a Volkswagon "beetle".

[iameye]

Aug 7, 2008 13:00:07 GMT -5 B said:

Iameye wrote:

"And while you're in this world
The fuzz gonna come and claim you
But you mo better wise
When the buzz gonna come and take you away
Take you away
Take you away


hey, fuzz could be mold as in death is an earthly certainty.
and buzz could be a few things, and it's nice that it can take you away."

"The fuzz" was a 1960s term for the police.
The buzz is most likely the buzz you hear when your soul leaves the body. People who do out-of-body/
astral projection report hearing a buzzing noise, like a bumble bee makes, when leaving the body.
So you're wiser when you die (or can astral project).

or fuzz can be out of focus

woke up in a daze

www.youtube.com/watch?v=DET45Tr421s
Back then long time ago when grass was green
Woke up in a daze
Arrived like stangers in the night
Fab - long time ago when we was fab
Fab - back when income tax was all we had ;D

Caresses fleeced you in the morning light
Casualties at dawn
And we did it all
Fab - long time ago when we was fab
Fab - you are my world you are my only love

And while you're in this world
The fuzz gonna come and claim you
But you mo better wise
When the buzz gonna come and take you away
Take you away
Take you away

The microscopes that magnified the tears
Studied warts and all
Still the life flows on and on
Fab - long time ago when we was fab
Fab - but It's All Over Now Baby Blue
Fab - long time ago when we was fab
Fab - like this pullover you sent to me

Fab
And You've Really Got A Hold Me
fab - long time ago when we was fab





still life flows
that was a good one