for anyone claiming Memoirs is just nonsense please bear in mind how on top of copyright the Beatles org. are... you try writing a book like that and see if you can even get one page published without receiving a writ
@@vagabondvibes2578 yes, that channel also is, i suspect, an apple org as they post all sorts... ive been subbed to it for near enough a decade now lol
@@frogscotch19 Correct. Even just publishing the lyrics to Beatles songs without permission would get an author sued, never mind suggesting that the whole Beatles act was a psyop.
So interesting - thanks! I also had that 'baroque' suspicion since I was a kid - the little vignettes were clearly shards of mature high culture that these teenagers would not be capable of in any universe without the long training needed. I was good at classical music and ended up writing music & songs, producing & engineering. So much of my life path was affected by Beatles studio music as I grew up at a core level. But later, of course, one realises just how much toxic culture load was in all of it. I sensed Lennon also felt utterly cheated and self-disgusted at the trap he was in by the time of his death - those Wenner tapes are fascinating. And that sea voyage out of Miami where everyone got sick and Lennon somehow was okay and steered the ship to safety (yeah sure! or maybe it was real ). People here might like Jasun Horsley's book 'Seen & Not Seen' - and his other stuff is awesome - but that one deals with movies.
Thank you for this video, and I'm very excited for the upcoming series! When Mike identified traces of an old italian opera song in "Yesterday" I was struck by the sophistication inserted into the Beatles songs, and realized that's why they are so beautiful, however subtly they were placed in. So your upcoming breakdowns will be very interesting to dissect. Also, Jimi Hendrix has always been my favorite guitarist, and it also pains me to hear he was in the laurel canyon scene, but it doesn't surprise me. I was aware he was in the Navy and in the Navy band, and his father may have been naval intelligence, so it seems likely he would be groomed for a big role in the psychedelic movement. The only difference with him was that he was immensely talented, in my opinion. I'm not sure if it's been done already but a deep dive into Jimi and his background/role in the cultural revolution would be very interesting. Thanks again!
Adorno was supposed to have reworked old classical Neapolitan songs to produce the Beatles hits. There is a very good website online detailing which songs were changed to what. I told Mike Williams about it before he ‘suddenly’ discovered it for himself, but I didnt tell him about the large number of songs rewritten, so therefore he doesn’t know about them because it wasn’t his research.
@@supernaturalbeatles yes that’s the one. I’m not any sort of expert, but some songs did sound very similar. Do you think that there is some truth in that? I’m new to your channel and am really impressed and interested in your work, thank you for sharing it. Just to add a tidbit you might not know, ai found a newspaper article from the time the premiere of hard days night film in Lpool. It said that a percentage of the proceeds were going to a private school (I can’t remember the name just now), but it was the same one that Adorno was teaching at. Why would lads from working class city give money to an elite rich boys private school I wondered. Maybe Adornos share for writing songs? Thanks again for your work.
I haven’t looked too deeply into the songs comparisons, but they seem a bit of a stretch at first glance. I’ll give it some more thought though. Dr John Coleman suggested that Adorno worked for the British Royal family at Gordonstoun School (in Scotland, where Crowley’s son Randall attended). It’s an interesting thought but I can’t find any evidence to back it up. Also, it is a co-education school, not a boys’ school. Adorno was working at Princeton around the time that he was supposedly working at Gordonstoun School. That school was set up in 1934 by Kurt Hahn - a guy that I can’t image working with Adorno because of their obvious personality clashes, and being opposite ends of the political spectrum. I’ve love to see the newspaper article that you mentioned.
There are supposed to be 2 current McCartney doubles Billy and Eddie. Eddie made appearances from very early on quite a while before Billy. Think the song ‘There you go Eddie’, is about him.
I think the biggest giveaway regarding the music INDUSTRY/BUSINESS is the fact that all the 'stars' are so young. Musicians typically - and logically - get *better* with age (i.e., with more practice) and songwriters *mature* with age, yet all the 'stars' - no matter what the genre, i.e., pop, rock n roll, punk, grunge, etc., etc. - are all so young! It's utter nonsense! Do people really think a pair of 21- or 22-year-olds could have written songs (and instant classics/standards) such as And I love her, Here, there, and everywhere, Michelle, Yesterday, Norwegian wood, In my life, Girl, Eleanor Rigby, For no one, etc., etc.? Really....?!?!?!! Anyway, there is - in my view - no way songs such as Yesterday and For no one - let alone Eleanor Rigby - were written by two guys (of any age) strumming on guitars! These songs would have to have been composed on the piano. Even a tune such as You've got to hide your love away would have to have been composed on the piano and/or violin, as rapidly becomes apparent when an orchestra plays the song (you really hear the 'musicality' of the songs credited to the Beatles when played by orchestras, and, interestingly, marching/military/ brass bands). Interestingly, in Memoirs the author makes a point of mentioning that he invariably likes any arrangement of a Beatles song when performed by a military marching band.
What a great video! Looking forward to the next ones with the musical breakdowns! I agree with you about Adorno - that he was more the director or architect of the concept. Also - very interesting about "Love Me Do" being his creation. It's as if he is creating a formula/template/directions of how to do "it" going forward - more sophisticated melodies/chord changes along with the messages to communicate. I am sure in the beginning they wanted innocuous lyrics or that may have been what the early writers were used to doing. I also think the question about Beatles writing contribution is right where you have it. One thing I have proposed is that prior to Billy's arrival, George may have been the most developed or gifted songwriter. I say this based on the lunchroom recordings where George is referenced as being surprised and upset by the final mix of his songs on Revolver I think. If he didn't write them why would he care that much? On Ringo - I look at the drumming on Revolver - She Said She Said which in no universe is Ringo. Peppers has some simple songs I could see maybe Ringo but that was probably Bill or other session folks. Cheers and looking forward to the next!
@@supernaturalbeatles I've just read your community posts Cat and also would like to extend my very best wishes to yourself and your mother, I have been there myself and it's terribly hard...hope you both continue to improve now
George Martin may have known nothing about rock and roll. But in 1961 he was producing a new signing to the Parlophone label before his association with the Beatles. Martin produced two singles, "Walk on Boy" and "Tower of Strength", but neither sold very well, and Gadd's recording career as Paul Raven stalled. We'd later know the artist as Gary Glitter - 70s Glam Rock star and infamous child sex abuser.
@@boomerblacksheep That’s an interesting bit of information, Boomer. The recordings from 4th September 1962 were really produced by Ron Richards, with George Martin only loosely associated to them. That’s why George Martin was ordered to work with the Beatles directly, in order to improve the recordings made a week later on 11th September for the Beatles’ first single. George did have a few small hits before the Beatles, I know, but I don’t think any of them sounded like the rock and roll he would later be associated with. George even had a few hits with some of his own compositions, for example, “Double Scotch”.
@@supernaturalbeatles No, Paul Raven's/Gary Glitter's record "Tower of Strength" could hardly be called rock and roll - the string was done by Bill Shepherd. The same guy who worked with the Bee Gees which Memoirs readers believe to be Billy. Despite Shepherd's son stating otherwise! th-cam.com/video/keg4byBMpYE/w-d-xo.html
The Tavistock branch they worked for in Shoreditch was in the exact same area they filmed the Penny Lane backstreet 'meet up' segments in the video. When Billy gives John the shades and they walk past the alley. Those bits are all East London backstreets.
...however the bit with John walking alone is in West London. Near King's Road -- where the shop 'SEX' would be opened by Malcolm McLaren a few years later where he recruited the Sex Pistols members.
Also worth noting is that at the time Penny Lane was filmed in East London all film-makers were required to get permission from the Kray Twin gangsters. In '66 the Krays very much loomed large. And remember what Reggie said about that one murder he regretted?!... (I guess the one or 2 scenes were already in the can by the time Ron & Reg caught wind of it. But full length feature film-makers? Phew, different story there...)
Dear Cat, I’m not sure if you come back to these older videos but I have a couple of questions for you if you can be bothered to answer them. Number one) if Tavi stock were planning to do a massive psyop, why wouldn’t they hire a really good band rather than one that can barely play? Number two) since most artists had their songs written for them by someone else such as Tinpan Alley or the Brill building, why was it necessary to pretend the Beatles wrote all their own songs? Number three) I’ve been watching footage of the Beatles in 1963 and 64 and they’re actually playing the same chords and riffs and drum patterns and bass notes as those that are on the Recording. So I believe they did play on a lot of the songs. What do you think about that?
@@1DaTJo The psyop doesn’t start with Tavistock, they just directed it. It starts with the occultists. Paul’s birthday is the most important aspect of the whole story. According to Aleister Crowley, Osiris would return incarnate as someone born at 2pm on 18th June 1942. So that’s where they started, by searching for men with that birthday. Once they found a suitable man, he also had to have the other necessary attributes: being handsome, charming, popular, a musician etc. With Paul they also realised that he looked enough like Billy that he could be replaced too, so that meant the next stage of the occultists’ plan - Osiris being killed and rising again in Horus - was also possible. The Beatles being an average band but pretending to be a great one was a far easier problem to deal with. The occult aspects were the most important, so they had to start with those. Most bands and groups at that time performed songs written by other people. That was normal. In fact, that’s exactly how the Beatles started. Later on, they learned to play a selection of the songs attributed to them in concert. That’s why the Beatles “bootcamp” in Hamburg was so important to their development as a live act. Tavistock needed to know that the Beatles could play live when called upon to do so. I never said they couldn’t play. The Beatles were competent musicians, they just weren’t amazing, world-class ones. It’s a question of scale: A session player could learn a new song from sheet music in 10-15 minutes; the Beatles, by contrast, needed a week to learn a new song by ear. I think both Tavistock and the occultists intended to wait until the Beatles had improved to the point that they wouldn’t need assistance from session players, since ‘loose lips sink ships’, and it would have been better for secrecy’s sake to not involve more people in the psyop than absolutely necessary, but the whole psyop got moved forward prematurely when Brian Epstein started interfering with the expected timeline. In the early 60s, it was normal for session players to perform on albums, regardless of whether or not a band could play on their own album, so I’m always surprised when the general public do not realise this. There is nothing special about the idea of the Beatles using session players. Time is money, and record companies are only interested in streamlining the process of putting a record out, in order to spend as little money on its production as possible. They were risk adverse, so it’s easier to stick with hiring session musicians with a proven track record than ask newly signed artists to perform on their own album. The record company just needed the artist to provide the vocals. Most chart pop music now is created with technology, so they don’t even need musicians, except to provide sample loops. In order for the Beatles to seem super talented, it was important that their audience believed they could write and play better than everyone else, without formal training. That’s what inspired Beatlemania. Their performances and songwriting skills seemed supernatural in origin. Miraculous, in fact, which is an excellent way to inspire a new religion. They were change agents, albeit largely unwittingly at first. One of their primary objectives was to subtlety help move their younger audience members away from Christianity, which was to be replaced with a new one world religion, far into the future. That’s why the Beatles sign is written with a Tau cross (for the ‘t’) and why they are called the Beatles. Their name is a reference to the sacred Egyptian scarab beetle, which ties back into the occult practices led by Aleister Crowley. If you haven’t read “the Memoirs of Billy Shears” by Thomas E. Uharriet, I encourage you to do so. It will ask many questions for you and inspire you to do your own research into this psyop and many others.
Thanks for the work that went into this presentation. As a composer and performer of "classical" music, I'd be much more interested in hearing you analyze the music credited to the Beatles and explaining where you find baroque elements, or overly sophisticated material, how you see the music develop over time, etc., simply from a musician's perspective and without relying on Memoirs. Have you done any presentations of this sort?
@@hb3801 I’m planning a whole series of videos of that exact nature: analysing the Beatles music. This video was just an introduction to them. The next video will discuss the songs on their first UK album, “Please Please Me”.
Another tell-tale sign is how often Lennon used to 'forget' the lyrics to songs! I don't think I have ever heard a live version of Help! in which he did not fluff the words! 1 month after writing and recording the song.......? Billy often does not know the words to songs Paul is meant to have written, but that is easy to do when you did not write or record the song! th-cam.com/video/kYqIoHf-wgU/w-d-xo.htmlsi=MPopl8FjzlRnnyVC
It's lovely to hear you again! Fascinating topic. I hope you get into the guitar work we hear throughout the Beatles albums. Who really played it? As a youth (and young guitarist) I purchased the "Live at Bangladesh" album by GH, and was very disappointed that one of the worlds finest guitarists played NO solos during the concert. Now...back to your presentation. Thank you for sharing all you astute observations. Oh...question: I have the Nine after 909 edition, which does not correlate exactly with your presentation. Do I need to get a different copy?
@@tomjones2348 There are many editions of Memoirs. I was using the 2023 edition for my presentation. Tom E. Uharriet says that he is working on another new edition with more “whisper messages”, which will be available soon, so hold off from buying a new copy just yet.
Hi cat great informative video as usual so sorry 2 here about you and your mum i cared for mum who was in wheelchair for many years so I know what your going thru an how hard it can b physically an mentally on you stay strong girl an look after yourself as well glad u back doing your vids 💪🏻❤
Bless ya I know how much struggle it can b an effect your own health an mind u have 2 b strong my mum has passed 2years now she had Alzheimer's 13 years
Again good wishes to you and your mother Cat. This is going to be a very interesting series, with many deep dives and excellent questions raised. The Beatles being given such free reign by The White Album is remarkable and I agree cannot be such a simple switch. Off-topic but have you looked at Coldplay much? They got as far as they could as a rock band and almost self-destructed, but Brian Eno took them under his wing for a Beatles style makeover, production and co-writing (including colourful military outfits) with different music types etc on 2008's Vida La Vida. It is very timely I think because there are two singles from it (plus the cover art) that refers to what we are seeing now with the French Olympic rituals, all the civil unrest, the wars and terrorism, the religious tension, the revolutionary atmosphere in the States (and our election was on their Independence Day) as well as lots of occult stuff (possession, ghosts, mind control). First single Violet Hill (road off Abbey Road) - lyrics, it also has two music videos. The 'dancing politicians' one is pretty disturbing imo. Then Viva La Vida (also the lyrics) also has two videos, the first for Apple has CGI of Delacroix's Liberty Leading the People (like the Trump event?) and at the end the band dissolve into rose petals. The second video (about a fallen king) was a 'tribute' to Anton Corbjin (notable name!)'s video for Depeche Mode's Enjoy the Silence (from the album Violator, which has a rose on its cover). Enjoy the Silence also has two videos (all these two into ones!) with the other being filmed on top of the WTC. Sorry it may not sound very compelling the way I've written it, but the lyrics, videos and album artwork are worth a look imo. I wouldn't be surprised if they play the Olympics closing, and sadly expect a rise in religious tensions and war. They have been used for social programming/spellcasting for decades now imo. Cheers!
Yes, like Blur, Oasis, The Spice Girls, and Radiohead, Coldplay are a classic Tavistock fake contrivance. Any group that rises rapidly on a wave of huge publicity is suspicious
@@thomridgeway1438 Never heard that about Radiohead! My friend went to uni with Coldplay and said even before they formed a band everyone knew Chris was going to be a star, definitely lined up for and groomed for it imo. And a very, very occult band that no-one picks up on for some reason! Their first ever gig was at The Laurel Tree, Camden, which reminds me a bit of the Cavern Club and Plato's Cave.
@@supernaturalbeatles Those two videos and songs (lyrics) should be enough for starters Cat as to what is happening and going to continue to happen, in the UK, US and France. I guess everyone writes them off as soppy pop, and the singer is such a nice guy, but their stuff is so obvious. I'm very suspect, let's say, of certain famous commentators on the occult in music who will not say a word about them. For example, just look at the cover (again there are two, two into one, just like the WTC towers) of their album cover Mylo Xyloto. The third line down on the cover is OTO! And from that album surely Paradise is one of the most obvious MK songs ever written. I could write a big on them tbh but, just like the Beatles, it doesn't seem that people really care as long as they are entertained :(
There seems to be a hidden hint in Rosemary's Baby. It's an early outdoor scene that features a Beatles line, a Monkees line, ( in the dialogue), and a Volkswagen Beetle covered in blood. The story is set in 1966.
@@vagabondvibes2578 The end of Rosemary's friend, who jumped out a window after a ritual. " Get back " ( said 3 times ), then "Here they come" . The numberplate is blacked out but 927 is nearby because it's the value of the phrase "supernatural magic".
So lovely to have you back. Captivating content, as usual. I cant pretend to have read The Committee of 300. My thought having listened to your content: the Beatles, Stones, Adorno, Billy, Martin, Epstein.........where were the women? Is the world truly designed by men. It would explain a lot, but is deoressing , none the less.
Hey Kat, lovely to hear your voice. Hope things are better at home and that mom is feeling better. Some thoughts. I can see how John might have wrote beyond 1st line of Eleanor Rigby; In one interview he said he asked what are we supposed to be doing here? The answer was "destroying Christianity." Last line of song..."No one was saved." Maybe he didn't know of Paul's planned death but our savior failed them? Of course that doesn't mean he wrote it. Anyway thank you as always for your well thought out analysis. ❤
Thank you for creating these videos. Without any prior knowledge, my thoughts are that there is a significant shift in music style and lyric content which is clear to see and hear in the 1965/66 period. I had always suspected that the present "Paul McCartney" was central to the break-up of the band. I notice the 11 references such as 5/11 and 9/11 in The Beatles history. If we look at the group name, I see in this Be Atles, allowing for the vowel-shift, implies Be Atlas: taking on the worries of the world. In recent years, I gave seen a Ringo Starr interview and he just comes across as totally arrogant. Even this stage-name alludes to running rings around a star, Saturn worship perhaps? On an unrelated topic, I would love to hear your opinion about a lesser known composition, the Piano Sonata in g by Anton Bruckner. In fact Bruckner and Liszt would make for very interesting investigation, not least the ADMG connections! Thank you for this excellent channel.
So we are now, though stealth and digging, gradually acquiring who actually wrote the Library of Beatles Songs and then signed Non Disclosure Agreements. They are primarily George Martin, William Shepherd, Theo Adorno, Patrick MacKenzie, Donovan Leitch, Neil Innis, any more? I can't help thinking there were some major American writers involved too after 1963. The likes of Harry Nilson, Burt Bacharach, Neil Diamond, Neil Sedaka, Paul Williams. Money for the best writers was clearly not a problem.
Theodore Adorno was a Marxist philosopher of the Frankfurt School and a composition student of avant-garde composer Arnold Schoenberg. I can understand his being interested in the project to demoralize the West, and he was certainly an expert on music. I agree with you that he himself was not involved in the actual writing of the Beatles' music, which was radically different from his own. but he could have been a guiding light for where to go philosophically with popular music in the 1960s.
I loved the Beatles....when America came out, they had a very Beatlesque quality, and I really liked them also!! Then I was awakened, and realized George Martin was also their producer!! Makes so much sense!
The development of Other Artists using L&M songs like Cilla & Mary Hopkin etc, would have been a Way of making them appear Credible as a writing team - Tavistock go Very Deep!..
Very possible that they had some dirt on Adorno or he was made an offer he couldn't refuse, so to speak. Also it's sad to remember but Jimmy Savile was in and around the band a lot in the early years and in control of everything from the BBC down to local discos and dance halls, so a lot of people were compromised. I think the charts worked a bit differently back then. You could only buy what was in the shops, so the labels and distributors were effectively gatekeepers. This was true of even 'alt' rock labels into the late 90s. I'd imagine that at the time it was harder to rig physical sales, but you only had a pick of a small selection at each shop, so my guess is that the same people who would buy the Beatles would also likely pick up Cilla etc. Also I'd guess that the market share at the time would put most of these chosen records into the top 20 to 40. This obviously increased during the decade, especially for the band in question when Beatlemania was whipped up!
Data on sales were only taken from a few 'representative' shops, and that was 'projected' nationwide. All they had to do was find out which shops data were being taken from and buy up all the copies of Beatles records in said shops. A 'number 1 hit' would be guaranteed!
@@vagabondvibes2578 Thanks, sounds correct! I remember hearing one manager saying how in the 80s or 90s he went round certain shops buying up all his band's records. It's all fake, fake, fake! Another example reminiscent of the Beatles versus Stones nonsense was the manufactured Britpop 'scene' in the 90s. Blur vs Oasis, a complete PR and media invention!
Great video. I must admit, you make some good (and original, I think) points about the skill set of the Beatles. They were not studio/recording quality, but could rock a number on stage with thousands of girls screaming. But isn't that why they were selected? For their 'presence' on stage? For their 'magic', their chemistry, their wit, their personalities, their live shows? Also, did they sometimes use pre-recorded backing tracks and/or session musicians who were behind the curtain or under the stage? Mike Williams seems to have found examples of the riffs in If I needed someone and Day tripper being played on stage but both John and George are playing rhythm guitar. (Correct me if I am wrong here.) Regarding the puzzle about Love me do and other songs which went on to have greater commercial success, we will have to add that to the ever-growing mountain of Beatle-related enigmas! It is one big mystery! Perhaps the controllers were still experimenting, trying to find out what exactly would work for the Beatles?
Very good points! Yes I would expect that the Beatles mimed to some extent and instruments were played off stage or even just recordings they played over. Pretty much everything that is now accepted as 'usual'. My guess is that the timing of their major rise was very carefully planned, and the feeling that they were organic and exploded from Liverpool to then conquer the world was an important part of the mythos. Perhaps there was also an element of testing them out to see how they'd handle the rise. Another example of exceptional timing for them is that they broke America in the wake of the JFK assassination when America was in shock and needed something to be positive about!
Jimi Hendrix "trained" on the road with Little Richard and the Isley Brothers, among others. He stayed in Laurel Canyon when he played gigs in LA or had time to hang with friends, like Peter Tork. He was already "trained" before eventually buying a house Likely after the Experience in England.
I agree . I like this girl's theories . But she is way wide of the mark . I've been expecting the demolition of the sixties revolution . And here it is .
@@chasleask8533 She demolished nothing but provided what you want to hear. All of her arguments are based on innuendo and hearsay, not facts. Sorry you can't believe there were some really talented songwriters, a new genre of music and a whole new electric sound. Ever wonder why 60's rock is still popular? It's called posterity and it's a rare thing.
@@revspinnaker1932 Well we can't have working class lads changing the world can we ? Especially not for the better . And certainly not Northerners from Liverpool . I mean . . . . they might be Catholics !!!
I didn’t censor either of you. I don’t think you know what that word means. You are free to disagree with me, but not insult me. Especially as you know nothing about me.
Trying to play your music to a crowd of screaming girls is the equivalent of a comedian performing before a room full of hecklers. When I first heard "Live from the Hollywood Bowl" I joked about them streaming the sound of jet air planes through the loud speakers. Now I wonder if there was truth behind that joke. I used to get into arguments with a friend of mine who was into the celebrity side of pop music over recorded live performances. He was enamoured by them but I would say the recordings sounded like crap. Id say that good live recordings didnt really begin until the mid-70s because of technology but never in my wildest dreams did I think the bands themselves couldn't play. And given the narcissistic nature of musicians I can just hear the ones in the know bitching about how the f#*king Beatles can't even play...
Look today at all the groups sheepishly admitting to using “backing tracks” and the prospect of it having all been fake all this time is even more likely. I trust none of it at this point
Sorry to inform you all but 'Tip Of My Tongue ' was a complete failure as was the follow up to Peter and Gorden's 'A World Without Love ' also by McCartney! And they refused that #1 offered to them for instead "Love Me Do" (their own song)! 😹
Pink Floyd start their career with very naive childlike songs too... which to me, if its a similar story to the Beatles, is more upsetting than both Hendrix at Laurel Canyon or the Beatles tavistock training .....
I get upset about Floyd because their three biggest albums are all somewhat based on Syd (a ritual imo). The Dark Side of the Rainbow 'theory' is a really crazy one. There is also a very interesting video called George Floyd is the Capstone by Finis Temporis on here that somewhat features them.
not sure why that should be more upsetting, but however... the songs arent childish nor naiv, they are coded! Apples and Oranges -> alpha & omega Arnold Layne -> penny and danny lane reference Astronomy Domine + Interstellar Overdrive -> star and saturn worshipping Lucifer Sam -> bastet Matilda Mother -> MM = master mason Careful with That Axe, Eugene -> take care while handling axes, eugenicists Corporal Clegg -> CC=33 -> war song, ordofollowing See-Saw -> SS Set the Controls for the Heart of the Sun + The Nile Song -> egyptian references Quicksilver -> mercury Atom Heart Mother -> ad... hit... mason Come In Number 51, Your Time Is Up -> 51 -> walpurgis night Embryo (Corrosion In The Pink Room) -> adreno reference Fat Old Sun -> black sun saturn One of These Days (I am going to cut you into little pieces) -> osiris ritual reference Mudmen + Vegtable Man -> degeneration of humanity Obscured by Clouds -> chemtrails Brain Damage (and dark side of the moon in general) -> MK ultra, cults like money; time -> chronos reference and so on and so on... I think I can stop here or do you need more? I easily could go on with animals, diamond, wall and so on and so on... The Piper at the Gates of Dawn -> hameln, child stuff, billy shears reference, alice in wonderland and so on and so on... A Saucerful of Secrets -> society which have a lot of secrets. sublime instrumental song with its final called celestial voice questions?
@@AnoNym-he1yv Very good but sad to hear as I always loved their stuff but have been very suspicious of them for about a decade now :( Do you know what Pink Floyd actually means? I did hear it before but have forgotten. My father went to their early gigs and it was just a dark room with a dazzling lightshow and everyone sat around tripping balls. Imagine the mind control and ritual possibilities :( Hearing you explain the old lyrics I am pretty sure we could say it wasn't just the psychadelics that led to Syd's problems, that's some very dark stuff :( Check out the video I mentioned and as well as drummer Mason we have Roger Waters real (occulted) name George. George Floyd if you like (as per that video).
doesn't THE FACT that Adorno stopped writing music before the Beatles' era shows that when the Beatles began he probably had switched to doing that? Songs of classical nature like Strawberry Fields and I am the Walrus need some classical composer's touch .
@@shoneyis Do you mean “fact”? No, not really. Adorno spent most of his life writing about music, rather than actually writing music. He was busy writing dozens of books whilst the Beatles were popular.
@@supernaturalbeatles YEAH I spelled face instead of fact by mistake ( btw the capital letters are because I transfer languages, I write in Hebrew,). Well about Adorno you checked it, I don't know. But did he write music before the Beatles and at about the time of them emerging he stopped? if that's the timeline it's possible that he put all his creative musical efforts into the Beatles. We think that writing their songs is less hard or less significant for a calssical composer, but that might not be true. Perhaps he was very proud of this musical work with the Beatles , and didn't need to put out more classical work. (as well he should be)
During the Beatlemania years, Adorno spent his time as a full time university professor, writing books about music, sociology and politics. He didn’t have time to write the Beatles’ music, even if he had wanted to. Adorno hated rock music, as he hated all forms of popular music, including jazz. He also spent his final years in poor health and died about 10 months before the Beatles broke up. Adorno’s own music stopped for the same reason his hero Schoenberg’s music stopped. They both wrote 12-note row music, which is a dead-end for everyone that tries to make it work. Everyone abandons it in the end because it sounds terrible and it is merely ‘music by numbers’.
@@supernaturalbeatles I know about the 12 row music and how it sounds . ha ha ha. it is an interesting idea and it does sound awful . I think that your reasoning though is a bit problematic. your first reason was that he stopped writing music so he couldn't have written the music for the Beatles. Well officialy he stopped ,we don't know if that's the case. Then you say he was sick and busy and didn't have the time so that's in contradiciton to him stopping to write music. it's either this or that. I don't know much about Adorno . I know about from Mike Williams about his passion for changing society . I think it's possible that he could fill the hole created in his life by stopping to create music in the secret creation of Beatle music. You say he hated Rock, but the Beatles changed Rock, and I can imagine him being very satisfied in this achievement , although he was not given any credit. Lastly, regarding this psyop , you shouldn't take any official reasoning as the truth . If Adorno wrote this music , of course the official version would be that he hated Rock and Jazz. The more those reasons work aginst the secret the more you can assume that the opposite is true. For him , and this is a feeling , I think writing the Beatles music was kind of a guilty pleasure. like having your cake and eating it too. He didn't have to bother with adhiring to strict 12 notes row rules , did not have to compete with classical composers and still musically be on top of the world, and musically and sociallly. He probably fancied himself as a secret MARX. I guess when the Beatles started coming with more original stuff in the White album , that's what probably killed him. No guys, let's do another Strawberry fields! and they only let him have Piggies or Long long long.... lol
If you want argue that The Beatles did not write their own songs here's a thought experiment you can try. Listen to some songs credited to John Lennon, for example. Let's say 'I'm a Loser', 'Help', Norwegian Wood' and 'In My Life'. Ask yourself the question: were these songs really the work of some anonymous hack working for a paycheque; or are they the heartfelt and deeply personal musings of a genuine artist examining his inner self and his place in the world through the medium of song? To my mind, these songs, and many more by Lennon, positively exude authenticity. This same introspective authenticity can also be found in most of Harrison's songs. For this reason I find it hard to accept that Lennon (and Harrison) are simply taking the credit for someone else's work.
@@philosophyweb That’s a terrible thought experiment, and one loaded with assumptions from the start. Firstly, professional songwriters are rarely hacks. The clue is in the word “professional”. They would be far more capable of writing good songs than untrained cover band members. Secondly, the Beatles psyop was far too important to leave anything to chance. Everything about the narrative was planned. Why do you think that society changed so much in just one decade? Did you think that was an accident? The Beatles played their role, and so did many others in the counter-culture movement. The acceptability of drug-taking, especially LSD, was one of their greatest achievements for the deep state. Lastly, you are rather jumping the gun. My video ONLY concerned itself with the songs from their first album. I didn’t say they never wrote or played on later songs, or at least had a hand in their creation.
@@supernaturalbeatles My intuition is that virtually all the songs written by John Lennon after 1964 positively reek of the authenticity of a true artist examining his soul and are not the work of ghost writers. Most ghost writers are hacks, by the way. Think about it. If you could come up with song of the calibre of Yesterday would you really be content to remain anonymous for the rest of your life while someone else took the credit? Another point I feel I should mention. At 28 mins you mention a small newspaper clip from Merseybeat, September, 1962. You and Mike Williams seem to regard this silly little clip as a kind of Rosetta Stone, or smoking gun, that proves your case beyond any doubt. Let me assure you, it is nothing of the kind. It merely states that The Beatles would be going to London to record some songs written for them. So what? That was standard practice at that time. It's what everyone expected in 1962. The clip could easily have said that Gerry and The Pacemakers were off to London, or Cilla Black was off to London, or The Searchers were off to London where they would be recording songs that had been written for them. It's that simple. Or do you really think that the editor of this provincial rag knew all about the Tavistock project and wanted blow the whistle. HOW ? How could he have known? It merely states what was the standard practice at that time. To see any more significance than that is, quite frankly, embarrassing. Don't get me wrong. I don't want to be disrespectful here. I've seen all your videos and I mostly like them, especially your treatment of the Beatles' films; but if you want to be taken seriously as a researcher you really need to drop this angle on the Merseybeat clipping. It has ZERO significance, believe me.
Your thought experiment reasoning: Opponent's hypothesis: Beautiful, profound, immortal and wonderfully brilliant songs like Yesterday, Norwegian Wood, In My Life, Help, L0s3r etc were written by professional songwriters other than the artists who sang them and are credited as the writers. Your conclusions: If so, the people who wrote them were hacks. Yep...logic checks out :D Also, if you go through all the number 1 hits of the last 60 years and pull out all the ones written by "ghost writers", youll have probably at least half of the total amount, maybe less. THese are the greatest songs ever composed & recorded, created by the most talented songwriters to have lived. So naturally, according to your experiment's logic, they are all hacks. Great stuff :)
@@philosophywebhint for next time: if you want to make rebuttal, have an actual argument, not just a triggered emotional outburst. Sure it may seem like a trivial detail, but trust me, it makes all the difference in the world. Better luck next time!!
@@neilsun2521 Maybe. Although I always assumed that “Beatle Ed” was one of the better Paul doubles, maybe even a code name for Billy. Who knows!? You could be right.
@@supernaturalbeatles I always assumed there was no Beatle Ed, personally. Just John and George realising they'd spoken openly about Billy on film and so had to get an alternate take that was 'safer'. (The Ed version is much less naturally spoken by them.)
Could Ed be the way John and George shortened the word head. In a Liverpool accent it’s a possibility. Beatle ( he ) Ed could be a reference to what happened to Paul or maybe slang for William putting on his Beatle Head. So many questions, great video and it’s good to have you back !
On the supposition that Memoires is an insider book, why trust it? It could designed as much to conceal the truth as to selectively reveal it. What is its actual purpose?
Much of what is written in Memoirs is verifiable outside of the text. I think after many decades of pretending, Billy Shears/Shepherd just wanted to be recognised for his part in history. People get reflective as they get to the end of their lives. If I was 87 and I thought I might go to my grave without anyone noticing all the “achievements” I had made, I might secretly release a book to set the record straight too.
@@supernaturalbeatles, Interesting. I don't know if you are familiar with the theory that Shakespeare was the 17th Earl of Oxford. But I think that something like this happens in Hamlet. The author is telling us who he is. "Horatio, out of love for Hamlet, reaches for the cup of poisoned wine, so that he can follow Hamlet in death. With his last strength, Hamlet wrests the cup away from Horatio and exclaims, "O good Horatio, what a wounded name, / Things standing thus unknown, shall live behind me!" (5.2.344-345). Presumably, Hamlet doesn't want to be thought of as a murderer and traitor, but perhaps there is more that he could say if he had time."
As soon as I heard that the Beatles couldn't even read or write music I knew there was no way they could write and play Sgt Peppers. And where would they get intros to 16th century hymnals? Sage of Quay has played clips of the Beatles from live performances and they were absolutely terrible.
There are people, who are quite good at learning and who can also produce art intuitively, by instinct. The Beatles were a pretty good live band, really hot on good days, with a period of increasing listlessness due to the circumstances of Beatlemania, starting in the course of 1965 and ending the tours in 1966.
@braudabo not in the clips I've heard they sound terrible. And no what you are purposing is impossible to create an album like Sgt Peppers you would have to have taken university level music theory. Sadly I have come to the realization that the entire rock and roll blah, blah blah, was all a military psyop.
@@elijahjames8837 It's very sad, that you believe all this nonsense. And maybe you don't know enough about the music of that time, to judge whether the Beatles' live stuff is "terrible." It's possible, that it comes from an antipathy you have towards the Beatles, which I can't judge further since I don't know you. It's by no means impossible, that the Beatles developed to the point of Sgt. Pepper. They were curious, playful, developed an abundance of ideas, and of course had an experienced producer in George Martin, who helped them to implement ideas. Yes, they used studio musicians for songs, for example Within you, without you is more of a George Harrison solo track with Indian studio musicians, but they didn't compose the thing. In general, if you look at the 20th century, it's almost inevitable, that unbelievably rapid development was possible in modern popular culture, as in all areas, technology, medicine, science, etc. There's some calculation, that compares the speed of developments in the 20th century with those of previous centuries. The pace is immense and continues to this day.
@braudabo sorry but it is you who believes the nonsense. I quarentee you I have researched this way more than you have. And I trust my ears they sound like crap in live performances. Listen, they had no musical training, they couldn't read music, and you are telling me they could create an album like Sgt Peppers? Impossible and ridiculous. Plus Sage of Quay proved beyond a shadow of a doubt that the cover story to Rubber Soul is ridiculous. The Stones are fake, the whole music industry is fake. George Harrison has admitted he doesn't even like to practice. You can not play at the level they supposedly do without practicing. It was the Wrecking Crew who recorded all that hippie music from Laurel Canyon.
@elijahjames8837 why would you need a university level musical training? The chords are fairly basic, the melodies come from the being instinctively talented and from writing many songs previously. It's not hard to tell George Martin you want to hear the sawdust, leaving for the day and letting him write the orchestral overdubs etc. The raw songwriting is very basic and the embellishments are either from an instinctive musician (Paul) or a trained composer (George Martin).
Far easier to manage and keep control of just one element in this day and age I would guess, and less need to pretend to be a competent, cohesive group in the studio and live, as well as the media.
@@kimchi_bYeah, my thoughts exactly. All the new 'acts' are solo 'artists'! Madonna, Beyonce, Adele, Jennifer Lopez, Rihanna, Lady Gaga, Katy Perry, Miley Cyrus, and now Taylor Smith. They all come and go. It's the same with male artists, too! They are all solo acts (which 'act' being the operative word)!
@@vagabondvibes2578 Yes and many seem to be famous/infamous now before they've even hit it really big - obviously chosen in advance! Billie Eilish, Ariana Grande and Dua Lipa are three recent ones that come to mind. (One of the original ones) Whitney's death was 'very suspicious' to say the least, and we know of Britney's famous problems, they seem to manage the production line a lot better now!
Super, as ever. I like your pet theory a lot. You know, as a highly talented musician yourself, that trying to play badly in a realistic way is very difficult, if indeed not harder than following the sheet. And as for session musicians playing in front of hordes of screaming teenagers, you’d have to pay them well. I don’t think it would be worth the effort otherwise. Thanks for your work, I’ve quite a few of your b’ videos to catch up with 😊 Ian
It's also worth mentioning that the Beatles didn't always play to screaming girls . The Royal Command Performance was fairly cogent performance despite the attentions of theatre and television sound engineers .
@@chasleask8533 Hi, for sure there are some very good recordings of the Beatles without the audience noise, Stockholm, Japan, but they are playing the very simple songs (and they often have to look at their fingers during chord changes etc) and often you can’t even hear the audience clapping along with the songs. It does make me wonder about the actual soundtrack. The whole Beatles story just doesn’t add up but I’m sure they were able to at least play four or five simple songs on a stage. Their gigs never lasted more than 30 minutes anyway generally.
@@bugler75 What a peculiar take on what was so obviously a set of musicians streets ahead of everyone else . The idea that a bunch of dusty old duffers could suddenly drag popular music out of the doldrums that they , themselves created is utterly risible . Only someone with zero understanding of the mechanics of band life could contemplate such a mad proposition .
To me it sounds like an attempt to destroy a positive time in British working class history . The events she cites are exaggerated beyond reason . I've been expecting this .
@@chasleask8533 I agree, she's catering to the naysayers who weren't there for all the creative growth that occurred with all the musicians back then. Especially in England.
Memories says Macca invented Stanshall, who's wasn't real. I know Stanshall was real How do you get out of that? And I was flamed by Williams for pointing out this fact, rather than thanked. What does that say about the desire for truth?
So glad things are on the up now . I have always thought that the early songs didnt match the 4 young men and then wondered why these young men had suddenly matured from holding hands to having shadows hanging over me. Love the way your mind works .Thankyou ❤.
I'm as keen as the next fellow on the subject of conspiracy theories . Speaking as someone who had just turned 12 when the Beatles arrived , and as someone who has played in the modern music field for over 60 years , I have to tell you that your theory has too many holes to be taken seriously . While I'm aware of the Globalist agenda and who is involved in it , I'm of the opinion that the music and the stars involved were recruited to counter the affect that the Beatles had made on teenage society . They were put in , in fact , to kill the culture off . The introduction of Radio 1 by the BBC was a mortal blow to British rock . I'd cite terrible tripe like the Rolling Stones , and Led Zeppelin , amongst others as an example of what I mean . I'm putting this idea in the same box as 'Shakespeare wasn't posh enough to write good plays' . I may be wrong , but it would be the first time .
TWO things I think you're missing here. Of course Beatlemania was intended to make the Beatles gods and promote the Agenda , but the "racket" was also a tool to hide how bad of a musicians they were. Nobody would judge them for playing badly through that . Secondly , Let it Be was another psyop to convince the crowds that they could play decently , that they could compose songs quickly ,which is probably a lie too. It was acting , the pretended to come up with Get Back or missing words from Something ,and the advantage of a ducumenty is that the more believalbe bits could be cut in , the others taken out
this pattern is common. think of hulkamania. god like figure who was actually a very bad wrestler. the connections between, politics, secret services, mind controll, wrestling and the common entertainment (MTV) industrie I hopefully dont need to mention.
You realize "footnotes" are references to actual documentation of these BS theories. I have yet to see solid evidence, as in a footnote of an actual song written by Adorno or his hired writwers
no no no. Love me do is more commercial then the others. I don't know about sophistication, I believe the other songs are lacking in flow and sparkle. A new band should start with a simple commericial hit. The object was no where near Strawberry fields, no ART needed. So there is no question about it. As for the success of the songs, after the Beatlmania started you can attribute their success to the fact it was known they were written by the Beatles, this kind of special secret of a new song by the fab four gave snobs the opportunity to say that they know some Beatles song that you don't. And if could be organic , made by the crowd or manufactured. Meaning that "a secret" true or false can elavate its subject.
Your questioning of how the professionals recording the Beatles were on the same learning curve as they were belies your ignorance. Everyone knew at the time George Martin had never recorded a musical record in his life. His recording experience was limite to comedy, particularly the "Goonies."
Actually George Martin had a few small time hits before he met the Beatles. Both as a music producer and as a writer. He usually wrote under a pseudonym.
i could put any of my 5 years students up and a stage and they would wipe the floor with any beatle in terms of playing ability.. there were nothing but cowboy chord playing hacks
I think the real reason Jimmy Nichols was brought in to drum on the '64 Australia tour was because the Australians hadn't been taught to scream hysterically enough to drown out the music. Like had been done in America with the NY Bronx girls paid $20 each to scream. Tavistock couldn't risk a quiet audience witnessing a sloppy sound -- so Jimmy kept a tight precise and punchy beat going. (Ringo's 'flu' story looks more goofy every time I look at it --with those pic's of him in bed in his PJs.)
@@chasleask8533 Well, Ringo's never drummed solo on camera in his life and didn't drum on any of the first 7 Beatle albums so it's hardly a stretch to assume he wasn't up to scratch for the Oz tour.
Sorry, but I would be here all day critiquing this presentation. Overall, an interesting subject, increasingly subject to obfuscation, conjecture, assumption, redaction of known facts, until all that's remains is a chaotic soup of agenda driven revisionist history. You don't need a degree in music or a grade 8 cert to be creative. If it were so, everyone that attains such would be Mozart. If you listen to enough music, and have good taste & natural ability , it's amazing what can be achieved. Of course it helps if you move in with your girlfriends parents, and the mother is classically trained music teacher, and you have the vast resources of EMI and some of the finest musicians in the country at your disposal, it certainly takes things to another dimension. re: people making things up as they went along and recording quality being crap, then I suggest you educate yourself on the equipment they had available, and the advances in recording & playback systems occurring at the time. (4 track to 8 track, stereo mixing etc). Of course they were making it up as they went along! It was new. Such is life on the cutting edge of technology.
The Beatles used lots of other musicians, that's a known fact. Orchestra loads of them! Also Billy Preston, Eric Clapton , soloists and who ever else. In the 1960's recording studio time was precious & expensive (as was the recording tape used to make the recordings). Schedules & budgets were strictly adhered to. If a recording need some finagling to get it out the door on time, studio musicians were brought in. This was standard industry practice. The UK had its own core of session guys, in the USA look at The Wrecking Crew. They played on everyone's songs of the period. Lennon & McCartney have been very open about stealing ideas from other songs and tastefully altering them. (Blackbird being an example, derived from Bach). George Martin also contributed ideas and did a lot of arranging & scoring of parts. Post 1966 when they retired from touring, the Beatles had the gravitas to have unlimited access to studios, free of any budgetary constraint. All they did was create. Songs weren't going to be performed live, so the arrangements could be very elaborate. There appears to be no discussion on these forums which is a shame. Critical thinking is absent. Wild claims & imaginings devoid of any proof to back them up are the norm. Shame really.
@@iamnoone6363 You are aware that when I was discussing the quality of the recordings, I was referring to the ones made one week apart, on the 4th and 11th September 1962. I don’t think the technological differences would be that different in just one week! Yet, the recording of “Love Me Do” from 11th September was so much better than the 4th. Clearly the technical team at Abbey Road had done their homework in the days between the two.
How Do You Do It? was not a "demo" created for the Beatles by the Dave Clark Five. It was an acual hit record the Beatles were doing a cover of. Just like the Beatles didn't provide a "demo" for the Rolling Stones of "I Wanna Be Your Man." Maybe they sat down and played it for them, but the Stones nailed it with the baseline and Brian Jones phenomenal steel guitar lead. You don't have the talent for any of that., writing, interpreting and playing. That's why you're a schoolteacher hawking conspiracies demeaning those who had talent like you could never concieve.
I agree . 'How do you do it 'was offered to the Beatles and they refused . It's one of a dozen or so half truths , and inaccuracies that forms this lasses theory . I believe the Tavistock posh boys got involved ,but not with the Beatles . -With their 'rivals' .
@@chasleask8533 The American CIA had a great deal of control over the arts, and to a lesser extent pop music. They were social engineering just like Tavistock. They may have influenced musicians, but they didn't write their music. They needed the talent to influence. So the dentist who gave John and George LSD without them knowing were probably MI-6 and got the acid from the CIA. Drugs they could provide, songs no. No talent. They have to leach off the real talent.
@@chasleask8533 She censored my first reply to you comparing the Tavistock to the CIA. They influenced but didn't have talent to write songs. I'm sure she took that personally. I do wonder who provided the dentist the LSD he gave to John and George without their knowledge. Wouldn't doubt he was MI-6 providing CIA LSD. She'll probably censor this too.
Well, by artists of the Beatles' caliber, it's part of the game, that some people comment on idiotic theories with pseudo-evidence or simple misinterpretations of coincidences as the "dark side of the Beatles." Can one still make money with this crap? I mean, the Beatles' position in (music) history isn't going to change anyway. I fear, however, that these people, who consider this nonsense to be reality, may have a tendency towards paranoia or may even be seriously ill.
"No band ever changes that much after eight years." Ever hear of Robert Fripp? His band changed exponentially between albums, let alone ove years. His work is even the basis of an incredible ballet called "Caught," by David Parson's. Just because you don't have that kind of range i.e. talent, doesn't mean anyone who does is somehow "engineered." Lame, talentless and bitter, but enough about you. I'm outta here.
@@revspinnaker1932 You know nothing about me. I’ve played the piano since the age of 3. If someone sang a tune to me, I could play it straight back. I didn’t have lessons at that point, I simply played by ear until I was 7, which is when I began to teach myself to read music. I finally had lessons from the age of 8. 6 years later, I finished my grades and started to play a series of woodwind instruments. I hold diplomas from 3 music colleges, including the Guildhall, where George Martin studied. You seem very angry and incredibly rude. I really don’t know why.
@@supernaturalbeatles Great, I know several people who are excellent musicians that haven't written a note because songwriting is its own talent. What hit songs have you written? Also you censored my questions of actual documentation of any of this. Any paper trail, studio snippets, scribbled songs by anyone? THAT'S what "footnotes" are supposed to provide. You know, proof. How many of my comments did you actually cut out, three? Testament to your lack of proof.
You’ve written nearly a dozen comments. Do you really need me to answer all of them? Again, why are you so angry? Is it because the Beatles’ friend, Bill Harry, wrote just after the Beatles were signed to EMI, that their songs would be written for them? Or that Dr John Coleman gave the game away in his book back in the early 90s?
What is the acual PROOF that "Teddy Boy was a song written by Billy?" where is the hard evidence in your "footnotes?" You sound like a talentless schoolteacher cashing in on lame conspiracies. I'll bet you think Paul is dead too.
@@revspinnaker1932 You do realise that my channel is a PID channel? Also, why are you so angry, just because I have a different point of view? There are hundreds of Beatles fan channels, I never comment on them as a courtesy to them, despite the fact that I disagree with them. It’s funny how the same courtesy is never extended back to me or anyone in the PID community.
@@supernaturalbeatles You disagreed with me, so you censored me rather than respond with a valid argument. You claim I'm so angry but censor any proof of that. PID, anything like MI-6. Don't doubt the dentist that gave John and George LSD without their knowledge was CIA or MI-6.
for anyone claiming Memoirs is just nonsense please bear in mind how on top of copyright the Beatles org. are... you try writing a book like that and see if you can even get one page published without receiving a writ
Yep, and what about the YT channel, Iamaphoney.........?
🎯
Consider also who ultimately owns all the major publishing houses, distribution and marketing.
@@vagabondvibes2578 yes, that channel also is, i suspect, an apple org as they post all sorts... ive been subbed to it for near enough a decade now lol
@@frogscotch19 Correct. Even just publishing the lyrics to Beatles songs without permission would get an author sued, never mind suggesting that the whole Beatles act was a psyop.
❤ Glad to hear that calming voice again. Hope you're coping well .This is a really interesting piece on a subject matter I can never get tired of.. 👍
So interesting - thanks! I also had that 'baroque' suspicion since I was a kid - the little vignettes were clearly shards of mature high culture that these teenagers would not be capable of in any universe without the long training needed. I was good at classical music and ended up writing music & songs, producing & engineering. So much of my life path was affected by Beatles studio music as I grew up at a core level. But later, of course, one realises just how much toxic culture load was in all of it. I sensed Lennon also felt utterly cheated and self-disgusted at the trap he was in by the time of his death - those Wenner tapes are fascinating. And that sea voyage out of Miami where everyone got sick and Lennon somehow was okay and steered the ship to safety (yeah sure! or maybe it was real ). People here might like Jasun Horsley's book 'Seen & Not Seen' - and his other stuff is awesome - but that one deals with movies.
Thank you for this video, and I'm very excited for the upcoming series! When Mike identified traces of an old italian opera song in "Yesterday" I was struck by the sophistication inserted into the Beatles songs, and realized that's why they are so beautiful, however subtly they were placed in. So your upcoming breakdowns will be very interesting to dissect.
Also, Jimi Hendrix has always been my favorite guitarist, and it also pains me to hear he was in the laurel canyon scene, but it doesn't surprise me. I was aware he was in the Navy and in the Navy band, and his father may have been naval intelligence, so it seems likely he would be groomed for a big role in the psychedelic movement. The only difference with him was that he was immensely talented, in my opinion. I'm not sure if it's been done already but a deep dive into Jimi and his background/role in the cultural revolution would be very interesting. Thanks again!
Adorno was supposed to have reworked old classical Neapolitan songs to produce the Beatles hits. There is a very good website online detailing which songs were changed to what. I told Mike Williams about it before he ‘suddenly’ discovered it for himself, but I didnt tell him about the large number of songs rewritten, so therefore he doesn’t know about them because it wasn’t his research.
Are you talking about this sort of thing?: forum.tfes.org/index.php?topic=4327.0
@@supernaturalbeatles yes that’s the one. I’m not any sort of expert, but some songs did sound very similar. Do you think that there is some truth in that? I’m new to your channel and am really impressed and interested in your work, thank you for sharing it. Just to add a tidbit you might not know, ai found a newspaper article from the time the premiere of hard days night film in Lpool. It said that a percentage of the proceeds were going to a private school (I can’t remember the name just now), but it was the same one that Adorno was teaching at. Why would lads from working class city give money to an elite rich boys private school I wondered. Maybe Adornos share for writing songs? Thanks again for your work.
@@julesrox7538I think the song writers - whoever they were - would have got a lot more than that!
I haven’t looked too deeply into the songs comparisons, but they seem a bit of a stretch at first glance. I’ll give it some more thought though. Dr John Coleman suggested that Adorno worked for the British Royal family at Gordonstoun School (in Scotland, where Crowley’s son Randall attended). It’s an interesting thought but I can’t find any evidence to back it up. Also, it is a co-education school, not a boys’ school. Adorno was working at Princeton around the time that he was supposedly working at Gordonstoun School. That school was set up in 1934 by Kurt Hahn - a guy that I can’t image working with Adorno because of their obvious personality clashes, and being opposite ends of the political spectrum. I’ve love to see the newspaper article that you mentioned.
@@supernaturalbeatlesBut many of the songs 'paired up' there do not sound similar at all.
Such a brilliant presentation and lovely voice. I could listen to you for hours. In fact, I have! Thank you.
Glad to see you’re back, keep up the great work. Many thanks 🙏
Great video, presentation & analysis as always…very interesting & informative, appreciate your commentary, Thanks Kat
Bill and Ted's excellent adventure - William and Theodore
I heard the reference in there too, very well placed!
That Caught my Ear too, and I thought Noh! Really? But as we know, there are No Coincidences
There are supposed to be 2 current McCartney doubles Billy and Eddie. Eddie made appearances from very early on quite a while before Billy. Think the song ‘There you go Eddie’, is about him.
@@donniblanco5239 Do we “know” that? HOW do we “know” that?
I think the biggest giveaway regarding the music INDUSTRY/BUSINESS is the fact that all the 'stars' are so young. Musicians typically - and logically - get *better* with age (i.e., with more practice) and songwriters *mature* with age, yet all the 'stars' - no matter what the genre, i.e., pop, rock n roll, punk, grunge, etc., etc. - are all so young! It's utter nonsense!
Do people really think a pair of 21- or 22-year-olds could have written songs (and instant classics/standards) such as And I love her, Here, there, and everywhere, Michelle, Yesterday, Norwegian wood, In my life, Girl, Eleanor Rigby, For no one, etc., etc.? Really....?!?!?!!
Anyway, there is - in my view - no way songs such as Yesterday and For no one - let alone Eleanor Rigby - were written by two guys (of any age) strumming on guitars! These songs would have to have been composed on the piano. Even a tune such as You've got to hide your love away would have to have been composed on the piano and/or violin, as rapidly becomes apparent when an orchestra plays the song (you really hear the 'musicality' of the songs credited to the Beatles when played by orchestras, and, interestingly, marching/military/ brass bands). Interestingly, in Memoirs the author makes a point of mentioning that he invariably likes any arrangement of a Beatles song when performed by a military marching band.
Military Tavistock complex -
"marching the cattle *us* t
to the🧠slaughter
👎🏁🤺 *NO* *QUARTER* ♾️
-
ice to hear your voice 😊👍❤️🔥&🙏
*Nice* 😊
@cushyglen4264Yes, that's a good Stones example. I think all these bands had ghost writers. Have you seen Under Silver Lake?
You know John and Paul knew how to play the piano and composed songs on it too?
That was an interesting presentation. Welcome back.
Always enjoy your analysis of this topic. You always bring forward theories and ideas that have been overlooked by other PID presenters.
I absolutely love your videos, great work Cat keep it up 👍🏼
What a great video! Looking forward to the next ones with the musical breakdowns! I agree with you about Adorno - that he was more the director or architect of the concept. Also - very interesting about "Love Me Do" being his creation. It's as if he is creating a formula/template/directions of how to do "it" going forward - more sophisticated melodies/chord changes along with the messages to communicate. I am sure in the beginning they wanted innocuous lyrics or that may have been what the early writers were used to doing. I also think the question about Beatles writing contribution is right where you have it. One thing I have proposed is that prior to Billy's arrival, George may have been the most developed or gifted songwriter. I say this based on the lunchroom recordings where George is referenced as being surprised and upset by the final mix of his songs on Revolver I think. If he didn't write them why would he care that much? On Ringo - I look at the drumming on Revolver - She Said She Said which in no universe is Ringo. Peppers has some simple songs I could see maybe Ringo but that was probably Bill or other session folks. Cheers and looking forward to the next!
I wonder when they began to realize how deep they were into it. After posing for the Help! album cover they had to have a good idea.
So glad you are back Kat. Sorry to hear of your situation. No pressure your content is so good, it is worth waiting for ❤
Thank you so much!I really appreciate that!
@@supernaturalbeatles I've just read your community posts Cat and also would like to extend my very best wishes to yourself and your mother, I have been there myself and it's terribly hard...hope you both continue to improve now
George Martin may have known nothing about rock and roll. But in 1961 he was producing a new signing to the Parlophone label before his association with the Beatles. Martin produced two singles, "Walk on Boy" and "Tower of Strength", but neither sold very well, and Gadd's recording career as Paul Raven stalled. We'd later know the artist as Gary Glitter - 70s Glam Rock star and infamous child sex abuser.
@@boomerblacksheep That’s an interesting bit of information, Boomer. The recordings from 4th September 1962 were really produced by Ron Richards, with George Martin only loosely associated to them. That’s why George Martin was ordered to work with the Beatles directly, in order to improve the recordings made a week later on 11th September for the Beatles’ first single. George did have a few small hits before the Beatles, I know, but I don’t think any of them sounded like the rock and roll he would later be associated with. George even had a few hits with some of his own compositions, for example, “Double Scotch”.
@@supernaturalbeatles No, Paul Raven's/Gary Glitter's record "Tower of Strength" could hardly be called rock and roll - the string was done by Bill Shepherd. The same guy who worked with the Bee Gees which Memoirs readers believe to be Billy. Despite Shepherd's son stating otherwise! th-cam.com/video/keg4byBMpYE/w-d-xo.html
@@boomerblacksheep I made a video about that connection!!!
The Tavistock branch they worked for in Shoreditch was in the exact same area they filmed the Penny Lane backstreet 'meet up' segments in the video. When Billy gives John the shades and they walk past the alley. Those bits are all East London backstreets.
...however the bit with John walking alone is in West London. Near King's Road -- where the shop 'SEX' would be opened by Malcolm McLaren a few years later where he recruited the Sex Pistols members.
Also worth noting is that at the time Penny Lane was filmed in East London all film-makers were required to get permission from the Kray Twin gangsters. In '66 the Krays very much loomed large. And remember what Reggie said about that one murder he regretted?!... (I guess the one or 2 scenes were already in the can by the time Ron & Reg caught wind of it. But full length feature film-makers? Phew, different story there...)
Dear Cat,
I’m not sure if you come back to these older videos but I have a couple of questions for you if you can be bothered to answer them.
Number one) if Tavi stock were planning to do a massive psyop, why wouldn’t they hire a really good band rather than one that can barely play?
Number two) since most artists had their songs written for them by someone else such as Tinpan Alley or the Brill building, why was it necessary to pretend the Beatles wrote all their own songs?
Number three) I’ve been watching footage of the Beatles in 1963 and 64 and they’re actually playing the same chords and riffs and drum patterns and bass notes as those that are on the Recording. So I believe they did play on a lot of the songs. What do you think about that?
@@1DaTJo The psyop doesn’t start with Tavistock, they just directed it. It starts with the occultists. Paul’s birthday is the most important aspect of the whole story. According to Aleister Crowley, Osiris would return incarnate as someone born at 2pm on 18th June 1942. So that’s where they started, by searching for men with that birthday. Once they found a suitable man, he also had to have the other necessary attributes: being handsome, charming, popular, a musician etc. With Paul they also realised that he looked enough like Billy that he could be replaced too, so that meant the next stage of the occultists’ plan - Osiris being killed and rising again in Horus - was also possible. The Beatles being an average band but pretending to be a great one was a far easier problem to deal with. The occult aspects were the most important, so they had to start with those.
Most bands and groups at that time performed songs written by other people. That was normal. In fact, that’s exactly how the Beatles started. Later on, they learned to play a selection of the songs attributed to them in concert. That’s why the Beatles “bootcamp” in Hamburg was so important to their development as a live act. Tavistock needed to know that the Beatles could play live when called upon to do so. I never said they couldn’t play. The Beatles were competent musicians, they just weren’t amazing, world-class ones. It’s a question of scale: A session player could learn a new song from sheet music in 10-15 minutes; the Beatles, by contrast, needed a week to learn a new song by ear.
I think both Tavistock and the occultists intended to wait until the Beatles had improved to the point that they wouldn’t need assistance from session players, since ‘loose lips sink ships’, and it would have been better for secrecy’s sake to not involve more people in the psyop than absolutely necessary, but the whole psyop got moved forward prematurely when Brian Epstein started interfering with the expected timeline. In the early 60s, it was normal for session players to perform on albums, regardless of whether or not a band could play on their own album, so I’m always surprised when the general public do not realise this. There is nothing special about the idea of the Beatles using session players. Time is money, and record companies are only interested in streamlining the process of putting a record out, in order to spend as little money on its production as possible. They were risk adverse, so it’s easier to stick with hiring session musicians with a proven track record than ask newly signed artists to perform on their own album. The record company just needed the artist to provide the vocals. Most chart pop music now is created with technology, so they don’t even need musicians, except to provide sample loops.
In order for the Beatles to seem super talented, it was important that their audience believed they could write and play better than everyone else, without formal training. That’s what inspired Beatlemania. Their performances and songwriting skills seemed supernatural in origin. Miraculous, in fact, which is an excellent way to inspire a new religion. They were change agents, albeit largely unwittingly at first. One of their primary objectives was to subtlety help move their younger audience members away from Christianity, which was to be replaced with a new one world religion, far into the future. That’s why the Beatles sign is written with a Tau cross (for the ‘t’) and why they are called the Beatles. Their name is a reference to the sacred Egyptian scarab beetle, which ties back into the occult practices led by Aleister Crowley. If you haven’t read “the Memoirs of Billy Shears” by Thomas E. Uharriet, I encourage you to do so. It will ask many questions for you and inspire you to do your own research into this psyop and many others.
Another great video presentation!! Well done!!
Thanks for the work that went into this presentation. As a composer and performer of "classical" music, I'd be much more interested in hearing you analyze the music credited to the Beatles and explaining where you find baroque elements, or overly sophisticated material, how you see the music develop over time, etc., simply from a musician's perspective and without relying on Memoirs. Have you done any presentations of this sort?
@@hb3801 I’m planning a whole series of videos of that exact nature: analysing the Beatles music. This video was just an introduction to them. The next video will discuss the songs on their first UK album, “Please Please Me”.
@@supernaturalbeatles I'll look forward to it!!!
Another tell-tale sign is how often Lennon used to 'forget' the lyrics to songs! I don't think I have ever heard a live version of Help! in which he did not fluff the words! 1 month after writing and recording the song.......?
Billy often does not know the words to songs Paul is meant to have written, but that is easy to do when you did not write or record the song!
th-cam.com/video/kYqIoHf-wgU/w-d-xo.htmlsi=MPopl8FjzlRnnyVC
I have been looking forward to this series , and yes three sides to every story it would appear
It's lovely to hear you again! Fascinating topic. I hope you get into the guitar work we hear throughout the Beatles albums. Who really played it? As a youth (and young guitarist) I purchased the "Live at Bangladesh" album by GH, and was very disappointed that one of the worlds finest guitarists played NO solos during the concert. Now...back to your presentation. Thank you for sharing all you astute observations. Oh...question: I have the Nine after 909 edition, which does not correlate exactly with your presentation. Do I need to get a different copy?
@@tomjones2348 There are many editions of Memoirs. I was using the 2023 edition for my presentation. Tom E. Uharriet says that he is working on another new edition with more “whisper messages”, which will be available soon, so hold off from buying a new copy just yet.
There's a clip of "George" on some chat show in the 80s or 90s, and he has a guitar. The host asks him to play something and he's absolutely stumped.
Hi cat great informative video as usual so sorry 2 here about you and your mum i cared for mum who was in wheelchair for many years so I know what your going thru an how hard it can b physically an mentally on you stay strong girl an look after yourself as well glad u back doing your vids 💪🏻❤
@@marksmith2480 Thank you, you’re very kind! My mum has been in a wheelchair for years too. You’re right, it is physically and mentally exhausting.
Bless ya I know how much struggle it can b an effect your own health an mind u have 2 b strong my mum has passed 2years now she had Alzheimer's 13 years
Again good wishes to you and your mother Cat. This is going to be a very interesting series, with many deep dives and excellent questions raised. The Beatles being given such free reign by The White Album is remarkable and I agree cannot be such a simple switch.
Off-topic but have you looked at Coldplay much? They got as far as they could as a rock band and almost self-destructed, but Brian Eno took them under his wing for a Beatles style makeover, production and co-writing (including colourful military outfits) with different music types etc on 2008's Vida La Vida. It is very timely I think because there are two singles from it (plus the cover art) that refers to what we are seeing now with the French Olympic rituals, all the civil unrest, the wars and terrorism, the religious tension, the revolutionary atmosphere in the States (and our election was on their Independence Day) as well as lots of occult stuff (possession, ghosts, mind control).
First single Violet Hill (road off Abbey Road) - lyrics, it also has two music videos. The 'dancing politicians' one is pretty disturbing imo. Then Viva La Vida (also the lyrics) also has two videos, the first for Apple has CGI of Delacroix's Liberty Leading the People (like the Trump event?) and at the end the band dissolve into rose petals. The second video (about a fallen king) was a 'tribute' to Anton Corbjin (notable name!)'s video for Depeche Mode's Enjoy the Silence (from the album Violator, which has a rose on its cover). Enjoy the Silence also has two videos (all these two into ones!) with the other being filmed on top of the WTC.
Sorry it may not sound very compelling the way I've written it, but the lyrics, videos and album artwork are worth a look imo. I wouldn't be surprised if they play the Olympics closing, and sadly expect a rise in religious tensions and war. They have been used for social programming/spellcasting for decades now imo. Cheers!
Yes, like Blur, Oasis, The Spice Girls, and Radiohead, Coldplay are a classic Tavistock fake contrivance. Any group that rises rapidly on a wave of huge publicity is suspicious
@@thomridgeway1438 Never heard that about Radiohead! My friend went to uni with Coldplay and said even before they formed a band everyone knew Chris was going to be a star, definitely lined up for and groomed for it imo. And a very, very occult band that no-one picks up on for some reason! Their first ever gig was at The Laurel Tree, Camden, which reminds me a bit of the Cavern Club and Plato's Cave.
@@kimchi_b Look up the writings of Miles Mathis for the real truth about Radiohead
@@kimchi_b I’d never really thought about Coldplay. I’ll have to look into it. Thanks for the suggestion.
@@supernaturalbeatles Those two videos and songs (lyrics) should be enough for starters Cat as to what is happening and going to continue to happen, in the UK, US and France. I guess everyone writes them off as soppy pop, and the singer is such a nice guy, but their stuff is so obvious. I'm very suspect, let's say, of certain famous commentators on the occult in music who will not say a word about them. For example, just look at the cover (again there are two, two into one, just like the WTC towers) of their album cover Mylo Xyloto. The third line down on the cover is OTO! And from that album surely Paradise is one of the most obvious MK songs ever written. I could write a big on them tbh but, just like the Beatles, it doesn't seem that people really care as long as they are entertained :(
There seems to be a hidden hint in Rosemary's Baby. It's an early outdoor scene that features a Beatles line, a Monkees line, ( in the dialogue), and a Volkswagen Beetle covered in blood.
The story is set in 1966.
What scene is that? What line(s)?
@@vagabondvibes2578
The end of Rosemary's friend, who jumped out a window after a ritual.
" Get back " ( said 3 times ),
then "Here they come" . The numberplate is blacked out but 927 is nearby because it's the value of the phrase "supernatural magic".
@@vagabondvibes2578
It's the Dakota building so it might be a reference to the death of the other Beatle.
@@Voyager...2But Rosemary's Baby was released in 1968.
@@Voyager...2Ah, the police man says, "Get back", but the film is from 1968, and Let it Be is 1969/1970.
It's funny how the Beatles are such a take off for all sorts of fantasy including THIS ! 😹🌈👁️👽🎱👹😎
The fans were encouraged to scream.....so the lack of musical skill wouldn't be noticed.
So lovely to have you back. Captivating content, as usual. I cant pretend to have read The Committee of 300. My thought having listened to your content: the Beatles, Stones, Adorno, Billy, Martin, Epstein.........where were the women? Is the world truly designed by men. It would explain a lot, but is deoressing , none the less.
Only men can be Masons.
Hey Kat, lovely to hear your voice. Hope things are better at home and that mom is feeling better. Some thoughts. I can see how John might have wrote beyond 1st line of Eleanor Rigby; In one interview he said he asked what are we supposed to be doing here?
The answer was "destroying Christianity." Last line of song..."No one was saved." Maybe he didn't know of Paul's planned death but our savior failed them? Of course that doesn't mean he wrote it. Anyway thank you as always for your well thought out analysis. ❤
Thank you for creating these videos. Without any prior knowledge, my thoughts are that there is a significant shift in music style and lyric content which is clear to see and hear in the 1965/66 period.
I had always suspected that the present "Paul McCartney" was central to the break-up of the band.
I notice the 11 references such as 5/11 and 9/11 in The Beatles history.
If we look at the group name, I see in this Be Atles, allowing for the vowel-shift, implies Be Atlas: taking on the worries of the world.
In recent years, I gave seen a Ringo Starr interview and he just comes across as totally arrogant. Even this stage-name alludes to running rings around a star, Saturn worship perhaps?
On an unrelated topic, I would love to hear your opinion about a lesser known composition, the Piano Sonata in g by Anton Bruckner. In fact Bruckner and Liszt would make for very interesting investigation, not least the ADMG connections!
Thank you for this excellent channel.
So we are now, though stealth and digging, gradually acquiring who actually wrote the Library of Beatles Songs and then signed Non Disclosure Agreements. They are primarily George Martin, William Shepherd, Theo Adorno, Patrick MacKenzie, Donovan Leitch, Neil Innis, any more? I can't help thinking there were some major American writers involved too after 1963. The likes of Harry Nilson, Burt Bacharach, Neil Diamond, Neil Sedaka, Paul Williams. Money for the best writers was clearly not a problem.
I think Donovon wrote You've got to hide your love away, and maybe Yellow submarine.
I think unless we were there personally to witness what happened first hand, we will never, ever know the truth.
👍 it's one deep rabbit hole... thats for sure 😳 and the more one does their own research, the wierder the whole scene appears. 😳
Theodore Adorno was a Marxist philosopher of the Frankfurt School and a composition student of avant-garde composer Arnold Schoenberg. I can understand his being interested in the project to demoralize the West, and he was certainly an expert on music. I agree with you that he himself was not involved in the actual writing of the Beatles' music, which was radically different from his own. but he could have been a guiding light for where to go philosophically with popular music in the 1960s.
I loved the Beatles....when America came out, they had a very Beatlesque quality, and I really liked them also!! Then I was awakened, and realized George Martin was also their producer!! Makes so much sense!
The development of Other Artists using L&M songs like Cilla & Mary Hopkin etc, would have been a Way of making them appear Credible as a writing team - Tavistock go Very Deep!..
Yes! 🎯
Very possible that they had some dirt on Adorno or he was made an offer he couldn't refuse, so to speak. Also it's sad to remember but Jimmy Savile was in and around the band a lot in the early years and in control of everything from the BBC down to local discos and dance halls, so a lot of people were compromised.
I think the charts worked a bit differently back then. You could only buy what was in the shops, so the labels and distributors were effectively gatekeepers. This was true of even 'alt' rock labels into the late 90s. I'd imagine that at the time it was harder to rig physical sales, but you only had a pick of a small selection at each shop, so my guess is that the same people who would buy the Beatles would also likely pick up Cilla etc. Also I'd guess that the market share at the time would put most of these chosen records into the top 20 to 40. This obviously increased during the decade, especially for the band in question when Beatlemania was whipped up!
Data on sales were only taken from a few 'representative' shops, and that was 'projected' nationwide. All they had to do was find out which shops data were being taken from and buy up all the copies of Beatles records in said shops. A 'number 1 hit' would be guaranteed!
@@vagabondvibes2578 Thanks, sounds correct! I remember hearing one manager saying how in the 80s or 90s he went round certain shops buying up all his band's records. It's all fake, fake, fake! Another example reminiscent of the Beatles versus Stones nonsense was the manufactured Britpop 'scene' in the 90s. Blur vs Oasis, a complete PR and media invention!
@@vagabondvibes2578yep they tell us what to like so we like, even if we really don’t. Psychological ops
Amazing interesting video!
Great video. I must admit, you make some good (and original, I think) points about the skill set of the Beatles. They were not studio/recording quality, but could rock a number on stage with thousands of girls screaming. But isn't that why they were selected? For their 'presence' on stage? For their 'magic', their chemistry, their wit, their personalities, their live shows?
Also, did they sometimes use pre-recorded backing tracks and/or session musicians who were behind the curtain or under the stage? Mike Williams seems to have found examples of the riffs in If I needed someone and Day tripper being played on stage but both John and George are playing rhythm guitar. (Correct me if I am wrong here.)
Regarding the puzzle about Love me do and other songs which went on to have greater commercial success, we will have to add that to the ever-growing mountain of Beatle-related enigmas! It is one big mystery! Perhaps the controllers were still experimenting, trying to find out what exactly would work for the Beatles?
Very good points! Yes I would expect that the Beatles mimed to some extent and instruments were played off stage or even just recordings they played over. Pretty much everything that is now accepted as 'usual'.
My guess is that the timing of their major rise was very carefully planned, and the feeling that they were organic and exploded from Liverpool to then conquer the world was an important part of the mythos. Perhaps there was also an element of testing them out to see how they'd handle the rise. Another example of exceptional timing for them is that they broke America in the wake of the JFK assassination when America was in shock and needed something to be positive about!
have you ever watche Top of the Pops in the UK. (weekly chart show back in the day) or any other tv show back in the day. Everyone mimed.
@@iamnoone6363Yeah, but everyone knew that. The bands did not pretend to play! They often had no instruments and/or chewed gum when 'singing'!
Excellent video, my friend! 🫶
Jimi Hendrix "trained" on the road with Little Richard and the Isley Brothers, among others. He stayed in Laurel Canyon when he played gigs in LA or had time to hang with friends, like Peter Tork. He was already "trained" before eventually buying a house Likely after the Experience in England.
I agree . I like this girl's theories . But she is way wide of the mark . I've been expecting the demolition of the sixties revolution . And here it is .
@@chasleask8533 She demolished nothing but provided what you want to hear. All of her arguments are based on innuendo and hearsay, not facts. Sorry you can't believe there were some really talented songwriters, a new genre of music and a whole new electric sound. Ever wonder why 60's rock is still popular? It's called posterity and it's a rare thing.
@@revspinnaker1932 Well we can't have working class lads changing the world can we ? Especially not for the better . And certainly not Northerners from Liverpool . I mean . . . . they might be Catholics !!!
@@chasleask8533 Agreed as usual. Now we'll see if she censors you.
I didn’t censor either of you. I don’t think you know what that word means. You are free to disagree with me, but not insult me. Especially as you know nothing about me.
Bambi traumatized the s t outta me to this day
Trying to play your music to a crowd of screaming girls is the equivalent of a comedian performing before a room full of hecklers. When I first heard "Live from the Hollywood Bowl" I joked about them streaming the sound of jet air planes through the loud speakers. Now I wonder if there was truth behind that joke.
I used to get into arguments with a friend of mine who was into the celebrity side of pop music over recorded live performances. He was enamoured by them but I would say the recordings sounded like crap. Id say that good live recordings didnt really begin until the mid-70s because of technology but never in my wildest dreams did I think the bands themselves couldn't play.
And given the narcissistic nature of musicians I can just hear the ones in the know bitching about how the f#*king Beatles can't even play...
Look today at all the groups sheepishly admitting to using “backing tracks” and the prospect of it having all been fake all this time is even more likely. I trust none of it at this point
And Winston Churchill had no problem with the genocide of indigenous prople.
Sorry to inform you all but 'Tip Of My Tongue ' was a complete failure as was the follow up to Peter and Gorden's 'A World Without Love ' also by McCartney! And they refused that #1 offered to them for instead "Love Me Do" (their own song)! 😹
Pink Floyd start their career with very naive childlike songs too... which to me, if its a similar story to the Beatles, is more upsetting than both Hendrix at Laurel Canyon or the Beatles tavistock training .....
They're all the same, my friend. No exceptions.
I get upset about Floyd because their three biggest albums are all somewhat based on Syd (a ritual imo). The Dark Side of the Rainbow 'theory' is a really crazy one. There is also a very interesting video called George Floyd is the Capstone by Finis Temporis on here that somewhat features them.
ARNOLD LAYNE - hä? hä? mind blowing, right?
not sure why that should be more upsetting, but however...
the songs arent childish nor naiv, they are coded!
Apples and Oranges -> alpha & omega
Arnold Layne -> penny and danny lane reference
Astronomy Domine + Interstellar Overdrive -> star and saturn worshipping
Lucifer Sam -> bastet
Matilda Mother -> MM = master mason
Careful with That Axe, Eugene -> take care while handling axes, eugenicists
Corporal Clegg -> CC=33 -> war song, ordofollowing
See-Saw -> SS
Set the Controls for the Heart of the Sun + The Nile Song -> egyptian references
Quicksilver -> mercury
Atom Heart Mother -> ad... hit... mason
Come In Number 51, Your Time Is Up -> 51 -> walpurgis night
Embryo (Corrosion In The Pink Room) -> adreno reference
Fat Old Sun -> black sun saturn
One of These Days (I am going to cut you into little pieces) -> osiris ritual reference
Mudmen + Vegtable Man -> degeneration of humanity
Obscured by Clouds -> chemtrails
Brain Damage (and dark side of the moon in general) -> MK ultra, cults like money; time -> chronos reference and so on and so on...
I think I can stop here or do you need more? I easily could go on with animals, diamond, wall and so on and so on...
The Piper at the Gates of Dawn -> hameln, child stuff, billy shears reference, alice in wonderland and so on and so on...
A Saucerful of Secrets -> society which have a lot of secrets. sublime instrumental song with its final called celestial voice
questions?
@@AnoNym-he1yv Very good but sad to hear as I always loved their stuff but have been very suspicious of them for about a decade now :( Do you know what Pink Floyd actually means? I did hear it before but have forgotten. My father went to their early gigs and it was just a dark room with a dazzling lightshow and everyone sat around tripping balls. Imagine the mind control and ritual possibilities :( Hearing you explain the old lyrics I am pretty sure we could say it wasn't just the psychadelics that led to Syd's problems, that's some very dark stuff :( Check out the video I mentioned and as well as drummer Mason we have Roger Waters real (occulted) name George. George Floyd if you like (as per that video).
doesn't THE FACT that Adorno stopped writing music before the Beatles' era shows that when the Beatles began he probably had switched to doing that? Songs of classical nature like Strawberry Fields and I am the Walrus need some classical composer's touch .
@@shoneyis Do you mean “fact”? No, not really. Adorno spent most of his life writing about music, rather than actually writing music. He was busy writing dozens of books whilst the Beatles were popular.
@@supernaturalbeatles YEAH I spelled face instead of fact by mistake ( btw the capital letters are because I transfer languages, I write in Hebrew,). Well about Adorno you checked it, I don't know. But did he write music before the Beatles and at about the time of them emerging he stopped? if that's the timeline it's possible that he put all his creative musical efforts into the Beatles. We think that writing their songs is less hard or less significant for a calssical composer, but that might not be true. Perhaps he was very proud of this musical work with the Beatles , and didn't need to put out more classical work. (as well he should be)
During the Beatlemania years, Adorno spent his time as a full time university professor, writing books about music, sociology and politics. He didn’t have time to write the Beatles’ music, even if he had wanted to. Adorno hated rock music, as he hated all forms of popular music, including jazz. He also spent his final years in poor health and died about 10 months before the Beatles broke up. Adorno’s own music stopped for the same reason his hero Schoenberg’s music stopped. They both wrote 12-note row music, which is a dead-end for everyone that tries to make it work. Everyone abandons it in the end because it sounds terrible and it is merely ‘music by numbers’.
@@supernaturalbeatles I know about the 12 row music and how it sounds . ha ha ha. it is an interesting idea and it does sound awful . I think that your reasoning though is a bit problematic. your first reason was that he stopped writing music so he couldn't have written the music for the Beatles. Well officialy he stopped ,we don't know if that's the case. Then you say he was sick and busy and didn't have the time so that's in contradiciton to him stopping to write music. it's either this or that. I don't know much about Adorno . I know about from Mike Williams about his passion for changing society . I think it's possible that he could fill the hole created in his life by stopping to create music in the secret creation of Beatle music. You say he hated Rock, but the Beatles changed Rock, and I can imagine him being very satisfied in this achievement , although he was not given any credit. Lastly, regarding this psyop , you shouldn't take any official reasoning as the truth . If Adorno wrote this music , of course the official version would be that he hated Rock and Jazz. The more those reasons work aginst the secret the more you can assume that the opposite is true. For him , and this is a feeling , I think writing the Beatles music was kind of a guilty pleasure. like having your cake and eating it too. He didn't have to bother with adhiring to strict 12 notes row rules , did not have to compete with classical composers and still musically be on top of the world, and musically and sociallly. He probably fancied himself as a secret MARX. I guess when the Beatles started coming with more original stuff in the White album , that's what probably killed him. No guys, let's do another Strawberry fields! and they only let him have Piggies or Long long long.... lol
If you want argue that The Beatles did not write their own songs here's a thought experiment you can try. Listen to some songs credited to John Lennon, for example. Let's say 'I'm a Loser', 'Help', Norwegian Wood' and 'In My Life'. Ask yourself the question: were these songs really the work of some anonymous hack working for a paycheque; or are they the heartfelt and deeply personal musings of a genuine artist examining his inner self and his place in the world through the medium of song? To my mind, these songs, and many more by Lennon, positively exude authenticity. This same introspective authenticity can also be found in most of Harrison's songs. For this reason I find it hard to accept that Lennon (and Harrison) are simply taking the credit for someone else's work.
@@philosophyweb That’s a terrible thought experiment, and one loaded with assumptions from the start. Firstly, professional songwriters are rarely hacks. The clue is in the word “professional”. They would be far more capable of writing good songs than untrained cover band members. Secondly, the Beatles psyop was far too important to leave anything to chance. Everything about the narrative was planned. Why do you think that society changed so much in just one decade? Did you think that was an accident? The Beatles played their role, and so did many others in the counter-culture movement. The acceptability of drug-taking, especially LSD, was one of their greatest achievements for the deep state. Lastly, you are rather jumping the gun. My video ONLY concerned itself with the songs from their first album. I didn’t say they never wrote or played on later songs, or at least had a hand in their creation.
@@supernaturalbeatles My intuition is that virtually all the songs written by John Lennon after 1964 positively reek of the authenticity of a true artist examining his soul and are not the work of ghost writers.
Most ghost writers are hacks, by the way. Think about it. If you could come up with song of the calibre of Yesterday would you really be content to remain anonymous for the rest of your life while someone else took the credit?
Another point I feel I should mention. At 28 mins you mention a small newspaper clip from Merseybeat, September, 1962. You and Mike Williams seem to regard this silly little clip as a kind of Rosetta Stone, or smoking gun, that proves your case beyond any doubt. Let me assure you, it is nothing of the kind. It merely states that The Beatles would be going to London to record some songs written for them. So what? That was standard practice at that time. It's what everyone expected in 1962. The clip could easily have said that Gerry and The Pacemakers were off to London, or Cilla Black was off to London, or The Searchers were off to London where they would be recording songs that had been written for them. It's that simple. Or do you really think that the editor of this provincial rag knew all about the Tavistock project and wanted blow the whistle. HOW ? How could he have known? It merely states what was the standard practice at that time. To see any more significance than that is, quite frankly, embarrassing.
Don't get me wrong. I don't want to be disrespectful here. I've seen all your videos and I mostly like them, especially your treatment of the Beatles' films; but if you want to be taken seriously as a researcher you really need to drop this angle on the Merseybeat clipping. It has ZERO significance, believe me.
Your thought experiment reasoning:
Opponent's hypothesis: Beautiful, profound, immortal and wonderfully brilliant songs like Yesterday, Norwegian Wood, In My Life, Help, L0s3r etc were written by professional songwriters other than the artists who sang them and are credited as the writers.
Your conclusions: If so, the people who wrote them were hacks.
Yep...logic checks out :D
Also, if you go through all the number 1 hits of the last 60 years and pull out all the ones written by "ghost writers", youll have probably at least half of the total amount, maybe less. THese are the greatest songs ever composed & recorded, created by the most talented songwriters to have lived. So naturally, according to your experiment's logic, they are all hacks. Great stuff :)
@@UnlimitedHangout Pity YOUR logic doesn't check out. You've completely missed the point of my comment. Better luck next time!!
@@philosophywebhint for next time: if you want to make rebuttal, have an actual argument, not just a triggered emotional outburst. Sure it may seem like a trivial detail, but trust me, it makes all the difference in the world. Better luck next time!!
Well they didn’t write their songs, George Martin wrote a lot of them.
Maybe Ted is "Beatle Ed", as John Lennon says when 'fixing' his Beatle Bill conversation in the Imagine film....
@@neilsun2521 Maybe. Although I always assumed that “Beatle Ed” was one of the better Paul doubles, maybe even a code name for Billy. Who knows!? You could be right.
@@supernaturalbeatles I always assumed there was no Beatle Ed, personally. Just John and George realising they'd spoken openly about Billy on film and so had to get an alternate take that was 'safer'. (The Ed version is much less naturally spoken by them.)
Could Ed be the way John and George shortened the word head. In a Liverpool accent it’s a possibility. Beatle ( he ) Ed could be a reference to what happened to Paul or maybe slang for William putting on his Beatle Head.
So many questions, great video and it’s good to have you back !
Yep could be the head as one in charge head boy head teacher head beatle Billy @@archstanton3763
On the supposition that Memoires is an insider book, why trust it? It could designed as much to conceal the truth as to selectively reveal it. What is its actual purpose?
Much of what is written in Memoirs is verifiable outside of the text. I think after many decades of pretending, Billy Shears/Shepherd just wanted to be recognised for his part in history. People get reflective as they get to the end of their lives. If I was 87 and I thought I might go to my grave without anyone noticing all the “achievements” I had made, I might secretly release a book to set the record straight too.
@@supernaturalbeatles, Interesting. I don't know if you are familiar with the theory that Shakespeare was the 17th Earl of Oxford. But I think that something like this happens in Hamlet. The author is telling us who he is.
"Horatio, out of love for Hamlet, reaches for the cup of poisoned wine, so that he can follow Hamlet in death. With his last strength, Hamlet wrests the cup away from Horatio and exclaims, "O good Horatio, what a wounded name, / Things standing thus unknown, shall live behind me!" (5.2.344-345). Presumably, Hamlet doesn't want to be thought of as a murderer and traitor, but perhaps there is more that he could say if he had time."
As soon as I heard that the Beatles couldn't even read or write music I knew there was no way they could write and play Sgt Peppers. And where would they get intros to 16th century hymnals?
Sage of Quay has played clips of the Beatles from live performances and they were absolutely terrible.
There are people, who are quite good at learning and who can also produce art intuitively, by instinct. The Beatles were a pretty good live band, really hot on good days, with a period of increasing listlessness due to the circumstances of Beatlemania, starting in the course of 1965 and ending the tours in 1966.
@braudabo not in the clips I've heard they sound terrible. And no what you are purposing is impossible to create an album like Sgt Peppers you would have to have taken university level music theory. Sadly I have come to the realization that the entire rock and roll blah, blah blah, was all a military psyop.
@@elijahjames8837 It's very sad, that you believe all this nonsense. And maybe you don't know enough about the music of that time, to judge whether the Beatles' live stuff is "terrible." It's possible, that it comes from an antipathy you have towards the Beatles, which I can't judge further since I don't know you.
It's by no means impossible, that the Beatles developed to the point of Sgt. Pepper. They were curious, playful, developed an abundance of ideas, and of course had an experienced producer in George Martin, who helped them to implement ideas. Yes, they used studio musicians for songs, for example Within you, without you is more of a George Harrison solo track with Indian studio musicians, but they didn't compose the thing.
In general, if you look at the 20th century, it's almost inevitable, that unbelievably rapid development was possible in modern popular culture, as in all areas, technology, medicine, science, etc. There's some calculation, that compares the speed of developments in the 20th century with those of previous centuries. The pace is immense and continues to this day.
@braudabo sorry but it is you who believes the nonsense. I quarentee you I have researched this way more than you have. And I trust my ears they sound like crap in live performances. Listen, they had no musical training, they couldn't read music, and you are telling me they could create an album like Sgt Peppers? Impossible and ridiculous.
Plus Sage of Quay proved beyond a shadow of a doubt that the cover story to Rubber Soul is ridiculous. The Stones are fake, the whole music industry is fake. George Harrison has admitted he doesn't even like to practice. You can not play at the level they supposedly do without practicing. It was the Wrecking Crew who recorded all that hippie music from Laurel Canyon.
@elijahjames8837 why would you need a university level musical training? The chords are fairly basic, the melodies come from the being instinctively talented and from writing many songs previously. It's not hard to tell George Martin you want to hear the sawdust, leaving for the day and letting him write the orchestral overdubs etc. The raw songwriting is very basic and the embellishments are either from an instinctive musician (Paul) or a trained composer (George Martin).
Welcome back, you have been missed.
Why are the no BANDS in 'music' (read, muzak) today? Why is it all solo 'singers'/'artists'........?
Far easier to manage and keep control of just one element in this day and age I would guess, and less need to pretend to be a competent, cohesive group in the studio and live, as well as the media.
@@kimchi_bYeah, my thoughts exactly. All the new 'acts' are solo 'artists'! Madonna, Beyonce, Adele, Jennifer Lopez, Rihanna, Lady Gaga, Katy Perry, Miley Cyrus, and now Taylor Smith. They all come and go. It's the same with male artists, too! They are all solo acts (which 'act' being the operative word)!
@@vagabondvibes2578 Yes and many seem to be famous/infamous now before they've even hit it really big - obviously chosen in advance! Billie Eilish, Ariana Grande and Dua Lipa are three recent ones that come to mind. (One of the original ones) Whitney's death was 'very suspicious' to say the least, and we know of Britney's famous problems, they seem to manage the production line a lot better now!
Super, as ever.
I like your pet theory a lot.
You know, as a highly talented musician yourself, that trying to play badly in a realistic way is very difficult, if indeed not harder than following the sheet.
And as for session musicians playing in front of hordes of screaming teenagers, you’d have to pay them well. I don’t think it would be worth the effort otherwise.
Thanks for your work, I’ve quite a few of your b’ videos to catch up with 😊
Ian
It's also worth mentioning that the Beatles didn't always play to screaming girls . The Royal Command Performance was fairly cogent performance despite the attentions of theatre and television sound engineers .
@@chasleask8533 Hi, for sure there are some very good recordings of the Beatles without the audience noise, Stockholm, Japan, but they are playing the very simple songs (and they often have to look at their fingers during chord changes etc) and often you can’t even hear the audience clapping along with the songs.
It does make me wonder about the actual soundtrack.
The whole Beatles story just doesn’t add up but I’m sure they were able to at least play four or five simple songs on a stage. Their gigs never lasted more than 30 minutes anyway generally.
@@bugler75 What a peculiar take on what was so obviously a set of musicians streets ahead of everyone else . The idea that a bunch of dusty old duffers could suddenly drag popular music out of the doldrums that they , themselves created is utterly risible . Only someone with zero understanding of the mechanics of band life could contemplate such a mad proposition .
Do you think the term Teddy Boys comes from Adorno?
Is there any actual DOCUMENTATION for any of these "footnotes" you cite? That's what acual footnotes are supposed to provide.
To me it sounds like an attempt to destroy a positive time in British working class history . The events she cites are exaggerated beyond reason . I've been expecting this .
@@chasleask8533 I agree, she's catering to the naysayers who weren't there for all the creative growth that occurred with all the musicians back then. Especially in England.
Memories says Macca invented Stanshall, who's wasn't real. I know Stanshall was real How do you get out of that? And I was flamed by Williams for pointing out this fact, rather than thanked. What does that say about the desire for truth?
So glad things are on the up now . I have always thought that the early songs didnt match the 4 young men and then wondered why these young men had suddenly matured from holding hands to having shadows hanging over me. Love the way your mind works .Thankyou ❤.
Exciting
I'm as keen as the next fellow on the subject of conspiracy theories . Speaking as someone who had just turned 12 when the Beatles arrived , and as someone who has played in the modern music field for over 60 years , I have to tell you that your theory has too many holes to be taken seriously . While I'm aware of the Globalist agenda and who is involved in it , I'm of the opinion that the music and the stars involved were recruited to counter the affect that the Beatles had made on teenage society . They were put in , in fact , to kill the culture off . The introduction of Radio 1 by the BBC was a mortal blow to British rock . I'd cite terrible tripe like the Rolling Stones , and Led Zeppelin , amongst others as an example of what I mean . I'm putting this idea in the same box as 'Shakespeare wasn't posh enough to write good plays' . I may be wrong , but it would be the first time .
TWO things I think you're missing here. Of course Beatlemania was intended to make the Beatles gods and promote the Agenda , but the "racket" was also a tool to hide how bad of a musicians they were. Nobody would judge them for playing badly through that . Secondly , Let it Be was another psyop to convince the crowds that they could play decently , that they could compose songs quickly ,which is probably a lie too. It was acting , the pretended to come up with Get Back or missing words from Something ,and the advantage of a ducumenty is that the more believalbe bits could be cut in , the others taken out
this pattern is common. think of hulkamania. god like figure who was actually a very bad wrestler. the connections between, politics, secret services, mind controll, wrestling and the common entertainment (MTV) industrie I hopefully dont need to mention.
I feel John's uncle who died has something to do with all of this does anybody know
So the Beatles never played any of those concerts until 1966 when they stopped touring. Then who did?
I never said they didn’t play live. in fact, I said the opposite.
You realize "footnotes" are references to actual documentation of these BS theories. I have yet to see solid evidence, as in a footnote of an actual song written by Adorno or his hired writwers
no no no. Love me do is more commercial then the others. I don't know about sophistication, I believe the other songs are lacking in flow and sparkle. A new band should start with a simple commericial hit. The object was no where near Strawberry fields, no ART needed. So there is no question about it. As for the success of the songs, after the Beatlmania started you can attribute their success to the fact it was known they were written by the Beatles, this kind of special secret of a new song by the fab four gave snobs the opportunity to say that they know some Beatles song that you don't. And if could be organic , made by the crowd or manufactured. Meaning that "a secret" true or false can elavate its subject.
Is it called rock music then because of Be Rock? Baroque
Excellent - very funny!
The band refered to below is King Crimson. I'm sure you never heard of them.
@@revspinnaker1932 Yes, of course I know them.
check your ego, you may learn something.... @revspinnaker1932
My satanist mate in the 70s, liked the beatles, but not their music. Even back then, he could pick out aleister crowley etc.
Your questioning of how the professionals recording the Beatles were on the same learning curve as they were belies your ignorance. Everyone knew at the time George Martin had never recorded a musical record in his life. His recording experience was limite to comedy, particularly the "Goonies."
Actually George Martin had a few small time hits before he met the Beatles. Both as a music producer and as a writer. He usually wrote under a pseudonym.
Bonkers but slightly entertaining 😅
i could put any of my 5 years students up and a stage and they would wipe the floor with any beatle in terms of playing ability.. there were nothing but cowboy chord playing hacks
And that was when they were at their best and 'tight' sharpness! Watch their concerts at the Budokan (available on DVD). They are downright awful.
@vagabondvibes2578 they were a middle school talent show
Go on then . . . . .???
Maybe the bonzos were the writers
Crazy
Quite a trajectory/tragedy the experiment has had on our culture. .Much thanks for your work. WI. US
I think the real reason Jimmy Nichols was brought in to drum on the '64 Australia tour was because the Australians hadn't been taught to scream hysterically enough to drown out the music. Like had been done in America with the NY Bronx girls paid $20 each to scream. Tavistock couldn't risk a quiet audience witnessing a sloppy sound -- so Jimmy kept a tight precise and punchy beat going. (Ringo's 'flu' story looks more goofy every time I look at it --with those pic's of him in bed in his PJs.)
Go on son !! Ringo was murdered by aliens and a clone took 3 weeks to programme . It all makes sense now .
@@chasleask8533 Well, Ringo's never drummed solo on camera in his life and didn't drum on any of the first 7 Beatle albums so it's hardly a stretch to assume he wasn't up to scratch for the Oz tour.
@@neilsun2521 You live in a fantasy world . Have fun .
Sorry, but I would be here all day critiquing this presentation. Overall, an interesting subject, increasingly subject to obfuscation, conjecture, assumption, redaction of known facts, until all that's remains is a chaotic soup of agenda driven revisionist history. You don't need a degree in music or a grade 8 cert to be creative. If it were so, everyone that attains such would be Mozart. If you listen to enough music, and have good taste & natural ability , it's amazing what can be achieved. Of course it helps if you move in with your girlfriends parents, and the mother is classically trained music teacher, and you have the vast resources of EMI and some of the finest musicians in the country at your disposal, it certainly takes things to another dimension. re: people making things up as they went along and recording quality being crap, then I suggest you educate yourself on the equipment they had available, and the advances in recording & playback systems occurring at the time. (4 track to 8 track, stereo mixing etc). Of course they were making it up as they went along! It was new. Such is life on the cutting edge of technology.
"Known facts".......LOL! 😂
The Beatles had ghost writers and used session musicians.
The Beatles used lots of other musicians, that's a known fact. Orchestra loads of them! Also Billy Preston, Eric Clapton , soloists and who ever else. In the 1960's recording studio time was precious & expensive (as was the recording tape used to make the recordings). Schedules & budgets were strictly adhered to. If a recording need some finagling to get it out the door on time, studio musicians were brought in. This was standard industry practice. The UK had its own core of session guys, in the USA look at The Wrecking Crew. They played on everyone's songs of the period. Lennon & McCartney have been very open about stealing ideas from other songs and tastefully altering them. (Blackbird being an example, derived from Bach). George Martin also contributed ideas and did a lot of arranging & scoring of parts. Post 1966 when they retired from touring, the Beatles had the gravitas to have unlimited access to studios, free of any budgetary constraint. All they did was create. Songs weren't going to be performed live, so the arrangements could be very elaborate. There appears to be no discussion on these forums which is a shame. Critical thinking is absent. Wild claims & imaginings devoid of any proof to back them up are the norm. Shame really.
@@vagabondvibes2578 I reserve comment until your own highly researched book comes out.
@@iamnoone6363 You are aware that when I was discussing the quality of the recordings, I was referring to the ones made one week apart, on the 4th and 11th September 1962. I don’t think the technological differences would be that different in just one week! Yet, the recording of “Love Me Do” from 11th September was so much better than the 4th. Clearly the technical team at Abbey Road had done their homework in the days between the two.
How Do You Do It? was not a "demo" created for the Beatles by the Dave Clark Five. It was an acual hit record the Beatles were doing a cover of. Just like the Beatles didn't provide a "demo" for the Rolling Stones of "I Wanna Be Your Man." Maybe they sat down and played it for them, but the Stones nailed it with the baseline and Brian Jones phenomenal steel guitar lead. You don't have the talent for any of that., writing, interpreting and playing. That's why you're a schoolteacher hawking conspiracies demeaning those who had talent like you could never concieve.
I agree . 'How do you do it 'was offered to the Beatles and they refused . It's one of a dozen or so half truths , and inaccuracies that forms this lasses theory . I believe the Tavistock posh boys got involved ,but not with the Beatles . -With their 'rivals' .
@@chasleask8533 The American CIA had a great deal of control over the arts, and to a lesser extent pop music. They were social engineering just like Tavistock. They may have influenced musicians, but they didn't write their music. They needed the talent to influence. So the dentist who gave John and George LSD without them knowing were probably MI-6 and got the acid from the CIA. Drugs they could provide, songs no. No talent. They have to leach off the real talent.
@@chasleask8533 She censored my first reply to you comparing the Tavistock to the CIA. They influenced but didn't have talent to write songs. I'm sure she took that personally. I do wonder who provided the dentist the LSD he gave to John and George without their knowledge. Wouldn't doubt he was MI-6 providing CIA LSD. She'll probably censor this too.
Well, by artists of the Beatles' caliber, it's part of the game, that some people comment on idiotic theories with pseudo-evidence or simple misinterpretations of coincidences as the "dark side of the Beatles." Can one still make money with this crap? I mean, the Beatles' position in (music) history isn't going to change anyway. I fear, however, that these people, who consider this nonsense to be reality, may have a tendency towards paranoia or may even be seriously ill.
I love the BS narrative that this relevation stuff is done for money. you must be boostered quite few times girl!
What a load of rubbish.
It's amazing the complete nonsense people will believe as a means of passing the time.
"No band ever changes that much after eight years." Ever hear of Robert Fripp? His band changed exponentially between albums, let alone ove years. His work is even the basis of an incredible ballet called "Caught," by David Parson's. Just because you don't have that kind of range i.e. talent, doesn't mean anyone who does is somehow "engineered." Lame, talentless and bitter, but enough about you. I'm outta here.
@@revspinnaker1932 You know nothing about me. I’ve played the piano since the age of 3. If someone sang a tune to me, I could play it straight back. I didn’t have lessons at that point, I simply played by ear until I was 7, which is when I began to teach myself to read music. I finally had lessons from the age of 8. 6 years later, I finished my grades and started to play a series of woodwind instruments. I hold diplomas from 3 music colleges, including the Guildhall, where George Martin studied. You seem very angry and incredibly rude. I really don’t know why.
@@supernaturalbeatles Great, I know several people who are excellent musicians that haven't written a note because songwriting is its own talent. What hit songs have you written? Also you censored my questions of actual documentation of any of this. Any paper trail, studio snippets, scribbled songs by anyone? THAT'S what "footnotes" are supposed to provide. You know, proof. How many of my comments did you actually cut out, three? Testament to your lack of proof.
You’ve written nearly a dozen comments. Do you really need me to answer all of them? Again, why are you so angry? Is it because the Beatles’ friend, Bill Harry, wrote just after the Beatles were signed to EMI, that their songs would be written for them? Or that Dr John Coleman gave the game away in his book back in the early 90s?
@@supernaturalbeatles These guys SAID SO. That really is proof.
@@supernaturalbeatles
He is angry because it's your fault that his idols are made of straw.
What is the acual PROOF that "Teddy Boy was a song written by Billy?" where is the hard evidence in your "footnotes?" You sound like a talentless schoolteacher cashing in on lame conspiracies. I'll bet you think Paul is dead too.
@@revspinnaker1932 You do realise that my channel is a PID channel? Also, why are you so angry, just because I have a different point of view? There are hundreds of Beatles fan channels, I never comment on them as a courtesy to them, despite the fact that I disagree with them. It’s funny how the same courtesy is never extended back to me or anyone in the PID community.
@@supernaturalbeatles You disagreed with me, so you censored me rather than respond with a valid argument. You claim I'm so angry but censor any proof of that. PID, anything like MI-6. Don't doubt the dentist that gave John and George LSD without their knowledge was CIA or MI-6.
@@supernaturalbeatles brilliant reply to an obviously jealous trogladyte