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Post by lucy on Apr 6, 2013 22:34:31 GMT -5
Who put the video together? Never made the connection to Kenneth Anger, but that's not surprising looking at the parallels...
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Post by lucy on Apr 6, 2013 22:35:08 GMT -5
Did Anger have any connections to Charles Manson and Laurel Canyon people?
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Post by artemis on Apr 7, 2013 8:54:35 GMT -5
Yes, he had
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Post by lucy on Apr 8, 2013 13:15:08 GMT -5
That being said, much of the latter day F/eatles material ties in with that Laurel Canyon scene...he may have also been used as a Session player in the recordings of material like White Album...nothing would surprise me with that.
It may also have been a deliberate thing to use those characters as part of the paradigm shift from the "early" Beatles to the F/eatles of the latter part of the 1960's. They may have all been programmed to perform the same messages...which makes it seem as such because of the parallels of Anger's material to that of Paul...and they would have known about the replacements as well.
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Post by beatlies on Apr 19, 2013 13:54:46 GMT -5
There's also HOLDEN Caulfield, the narrator and main character of ex-US military intelligence officer J.D. Salinger's The Catcher in the Rye, written in the early 1950s after William Holden became famous. The book figures prominently in the Mark David Chapman supposed lead-up to the assassination of Fennon at the Dakota in 1980 (and also in John Hinckley's attempted assassination of President Ronald Reagan four months later)/ Holden Caul Field
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Post by beatlies on Apr 20, 2013 18:01:33 GMT -5
There's also HOLDEN Caulfield, the narrator and main character of ex-US military intelligence officer J.D. Salinger's The Catcher in the Rye, written in the early 1950s after William Holden became famous. The book figures prominently in the Mark David Chapman supposed lead-up to the assassination of Fennon at the Dakota in 1980 (and also in John Hinckley's attempted assassination of President Ronald Reagan four months later)/ Holden Caul Field Some other interesting tie-ins: William Holden's real name was William Franklin Beedle. Holden's best friend was Ronald Reagan. Beedle/Holden served as Best Man at Ronald Reagan's wedding to Hollywood actress Nancy Davis, the future USA First Lady. This followed Reagan's divorce to Jane Wyman, the Oscar-winning actress who disappeared down the Memory Hole---dropped out of history, fame, Reagan biographies and celebrity-hood---quite rapidly. Reagan's 1951 chimpanzee comedy "Bedtime for Bonzo" has a theme of scientific experimentation using primate-human models in the debate of nature vs. nurture for intelligence and behavior. The "Bonzo Dog Band" served as a vehicle for Vivian Stanshall, who impostered Paul McCartney in the Beatles, and perhaps other Bonzo dog members impostered other Beatles. The Bonzo the Dog character dates from 1922. This is officially the inspiration for the name Bonzo Dog Band. www.bonzo.me.uk/bzo.htm. Trailer for Bedtime for Bonzo: www.youtube.com/watch?v=t2opna3X5eA[youtube] www.youtube.com/watch?v=t2opna3X5eA[/youtube]
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Post by artemis on May 7, 2013 5:06:00 GMT -5
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Post by fauxster on Jun 18, 2013 17:24:04 GMT -5
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Post by lucy on Jun 23, 2013 23:40:40 GMT -5
I've discussed this on other forums and I have a difficult time thinking that one man could write the music for all the rock bands of the 6o's. The styles are so diverse and would be a genius to be capable of writing different hits and styles. I don't even think the most talented witch could conjure up different styles, even by using spells...
And a good point if he wrote for the Beatles all the way through, why did the style change after 1966?
I've seen videos of Coleman's and I didn't feel good about it...something seemed amiss for me...perhaps someone wanting to make money doing speaking engagements "revealing" things that people would be interested in hearing, but having nothing to back up his claims....
Disinfo agents...And I've seen enough that seem to be exposing the Illuminati...making it appear they are into exposing conspiracies...but are part of the system.
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Post by beatlies on Jul 1, 2013 10:56:45 GMT -5
That being said, much of the latter day F/eatles material ties in with that Laurel Canyon scene...he may have also been used as a Session player in the recordings of material like White Album...nothing would surprise me with that. It may also have been a deliberate thing to use those characters as part of the paradigm shift from the "early" Beatles to the F/eatles of the latter part of the 1960's. They may have all been programmed to perform the same messages...which makes it seem as such because of the parallels of Anger's material to that of Paul...and they would have known about the replacements as well. Kenneth Anger "Invocation of My Demon Brother" (1969); Mick Jagger/Fick officially wrote the music for this film, though the soundtrack in this youtube video may not ne that score, despite the "Mick Jagger" credit in the opening titles. Warning: offensive and disturbing scenes. Also note the glorification of the Nazi flag and Nazi swastika: www.youtube.com/watch?v=_IChJom3LWMThis video transcribes references to Kenneth Anger in the backwards masking on "Obladi Oblada" (the white album, 1968)--- www.youtube.com/watch?v=gE8cRNcn64A
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Post by beatlies on Jul 5, 2013 16:21:12 GMT -5
Interesting: This may be the first media exposure that the USA population had to the Beatles: a CBS (CIA media front) news report from November 21, 1963, one day before the assassination of another youthful 1960s cultural/sociopolitical icon, U.S. President John F. Kennedy,clearing the path for the Beatles: www.youtube.com/watch?v=UeolhjIWPYsNote how the CBS writers insistently repeat the word, hammering in the word "authentic" in describing some unnamed sources' take on the Beatles.
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Post by lucy on Jul 5, 2013 20:26:33 GMT -5
They were that big in UK in Nov of '63? Really? Hmmm.
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Post by sherlok on Aug 15, 2013 0:06:08 GMT -5
Here is an article that might be of interest to those researching the Beatles replacement as it provides some scientific evidence. It is an article written by linguist Peter Trudgill regarding the pronunciation changes of British pop artists. Of particular interest is a chart showing pronunciation changes of both the Beatles and the Stones through the 60s and 70s: Note the marked change that occurred around 1966 with the Beatles. Anyway the article is located here: link************************************* Edit: The site linked above seems to be down at this moment. If you google for "Peter Trudgill pop music" you will find his articles on accent changes of British pop stars of the 1960s-70s.
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Post by artemis on Nov 7, 2013 16:33:34 GMT -5
"The Beatles: Pre-Lapsarian and Post-Fab
While the Beatles are known today for their prolific and creative recording career, to their earliest fans, they were also an exciting live act only a lucky few had a chance to see in close quarters.
There was one place, however, where the group performed live and was heard by millions during their earliest days (and beyond) — in the studios of Britain’s BBC Radio. On Nov. 12, Universal Music Group will release “On Air — Live at the BBC Volume 2,” a companion to the Grammy-nominated “Live at the BBC” issued in 1994. The latter also has been remastered and given a tune-up, taking advantage of both sources for some tracks as well as state-of-the-art mastering technology not available when the album was first released.
“On Air” grew out of a desire to provide additional material for fans upon remastering the first set for digital release. “At first, we were thinking of simply including a second disc of songs,” says historian Kevin Howlett. Adds colleague Mike Heatley: “But we didn’t like the idea of fans having to buy the first album again to get them.”
There was also a plentiful supply of alternate versions to create a complete second set.
The 2-CD package was produced and compiled by Howlett and Heatley, who spent 38 years with EMI Records. Howlett has been working with the group’s BBC material since the 1980s and is also the author of a new companion book, “The Beatles: The BBC Archives: 1962-1970” (Harper Design).
As Howlett’s book details, between March 1962 and June 1965, the Beatles appeared on 39 BBC radio shows, making 275 recordings of 88 individual songs (some recorded more than once), both of their own hits and classic — and not-so-classic — favorites.
“They were on a series called ‘Pop Go the Beatles’ for 15 weeks during the summer of 1963, and each program required at least six songs,” he explains. “At that time, they only had a small number of their own songs out on record,” forcing the group to delve into their stage repertoire for content.
That collection often included some rather obscure recordings. “On Air” includes a Paul McCartney-led version of “Beautiful Dreamer,” which the group drew from a rocked-up rewrite by Jack Keller and Gerry Goffin of the sentimental favorite.
“They really did enjoy coming along and experimenting at the BBC sessions; it was a kind of a refuge away from the madness,” says Howlett.
“Saturday Club” host Brian Matthew (whom John Lennon calls ‘Brian Bathtubes’) is often heard in a jokey “headmaster keeping the unruly schoolboys in order” on-air relationship with the band. But the host also delivers some strikingly honest and serious “Pop Profile” interviews with each Beatle on “On Air.” One such interview from December 1965 reveals a now-wealthy, almost jaded John Lennon discussing family life and his three-story house. “It’s absolutely amazing how quickly they changed, particularly after just hearing this excited, cheeky lad in recordings made just two years earlier,” Howlett notes.
The BBC did not keep an audio tape archive of the sessions, requiring Howlett and Heatley to pore over vinyl transcription discs and tapes borrowed from one of the original hosts, Bernie Andrews. The process allowed them to identify the highest-quality sources for each recording.
A drive loaded with the recordings was then handed off to Abbey Road mastering engineers Guy Massey and Alex Wharton and restoration engineer Simon Gibson.
The team spent months cleaning up the recordings, Massey explains. “The transcription discs were the most problematic, because of surface noise and crackles.”
Massey and Wharton then brought each track to its optimum, before creating the discs’ masters by adjusting equalization to allow them to match previous and following tracks. The result is a smooth-flowing experience. “The idea was to make it sound like a radio show,” says Howlett.
Heatley agrees: “You’ve got these amazing performances, with entertaining speech tracks in between every so often — so you can catch your breath before getting back on the roller coaster again.”
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Post by artemis on Nov 10, 2013 15:53:15 GMT -5
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