Help me if you can, I’m feeling nauseous.
I’m unsure where, or why. All I know for sure is that in 1975 Cher teamed up with Tina Turner and what seems to be a young Dame Edna to produce a nightmarish rainbow clad beatle medley monstrosity, guaranteed to scar and terrify the entire family.
Warning – Don’t Watch! Continue reading
According to the bespectacled prophet of love, the song ‘Girl’ from Rubber Soul
I’ve been pouring over this masterpiece and have been having a bit of trouble making the connection. The best I can come up with is that he was trying to attack catholics by forcing them to listen to one of the worst guitar breaks in history. I suppose the two guitars used in this section might represent good, and the playing might represent bad, thus thrusting a satanic world view onto unsuspecting youth, instigating and propelling chaos and disorder…but I think thats giving it a little too much credit.
The reason for mentioning this song is a little more sinister. Prior to McCartney’s Hey Jude debacle, this was another irresponsibly disastrous moment in widespread media manipulation. It was with this song the the FF single-handedly breastified the world.
Harken back to a happier time, a time when cheerful youth clubs like the Edwardians, the Mods and the Rockers played in the carefree streets of the 50’s and 60’s, out for a laugh and a some fun. ‘Golly Gee’ and ‘Jeepers’ they would yell at each other while playing catch with their pocketknives and bike chains.
Suddenly, all that changed. The streets turned ugly and so did the language. One day the knife was no longer a fun toy, but a dangerous weapon. By the early 70’s it was all a distant memory. Children began turning against their parents, chaos ruled the night and golly gee turned in to I’m gonna fucking kill you!
Ever wonder what happened? It can all be traced back to a singular event, in 1968 on August 28 in North America and August 30 in the UK, the beatles released the single Hey Jude. It snaked instantly into the charts and remained there for sixteen weeks, spending two in the number one position (before getting knocked out by Mary Hopkin’s eerily prophetic ditty, Those Were The Days).
This cheerful little six minute dirge contained enough subliminal debauchery to castrate the common decency of every god-fearing human that heard it. The hypnotically boring, mantra-like outro served as the mallet which hammered its spiked message into the consciousness of a generation.
This concealed directive occurs at approximately 2:55 in the song, briefly into the third verse between the lines The minute you let her under your skin and, then you begin. Right as the word begin is sung you’ll hear an Paul say, ‘Fucking Hell.’ Listen closely:
To prove this isn’t a doctored recording go and listen to the album. If you don’t have seventeen copies already go buy another one, drop another donation in the church of beatleology
Further Reading:
For a deeper look into the horrid dungeon of filth, evil and despair that comprised the beatles recording sessions from Revolver in ’66 to the White Album in ’68, take a look at the memoirs of Geoff Emerick, a poor soul unfortunate enough to have suffered through these dark days as a recording engineer. His mind has obviously been bent and warped out of shape from the trauma of these years, in fact I’m surprised he’s not a drooling idiot at this point and is still coherent enough to spit frenzied words at some beatle apologist hungry to make his quota of FF
1. Somebody else would have done it.
2. They might not have been brave or strong enough to stay alive and report the Hey Jude incident.
