better read this, ALL......................

rebirth

spacestation '76film
Apr 11, 2004
2,893
5
38
hell
HIGH COURT
(The Five Judges)
(Judge T., Judge B., Judge S., Judge M. and Judge K.)


1st VERDICT

"The Beatles caused the disintegration of mankind"


The Rock revolution happened in the Sixties (6, number of the Beast).
It came from Liverpool, which was the port base to the Titanic,
destroyed by God because of the arrogant insult of Captain Smith (also
from Liverpool): "Not even God can sink my ship" (not only the
Captain, but also the rest of the crew and even the orchestra playing
at the Titanic were from Liverpool). The Rock revolution came from the
nation that allows a church to be changed to a pub or to a dance hall
or to a recording studio full of drug addicts, homosexuals and
lunatics (as that of George Martin, ally of the Beatles).
It came from the nation whose king Henry VIII adulterated the Bible so
that divorce could be allowed, and in this way be able to give loose
rein to the many divorces from his wives and subsequent murdering of
the same ones, and to whom God provided a wife with six fingers as
abomination (Anne Boleyn)...once again 6, number of the Beast....
It is interesting to observe that this nation is nicknamed "the
Devil's Island" (as they themselves call it). As the epithet of the
government of Satan on that nation, the center of London, the so
well-known Piccadilly Circus, takes it's name from an old brothel (the
"Piccadilla House" which means "The House of Sin"), disappeared
nowadays.

Antichrist John Lennon, one of the Devil's main puppets to destroy
family, social and moral values and to begin the disintegration of
mankind, did hit Stuart Sutcliffe (the first bass player of the
Beatles) repeatedly in the head with a club in Hamburg. Some months
later Sutcliffe died from brain haemorrhage because of John Lennon's
bruises. John Lennon entered stardom being a murderer.
The same demons that made Captain Smith say "Not even God can sink my
ship" spoke from antichrist John Lennon (from Liverpool, base port to
the Titanic) saying: "Christianity is on the go. It will vanish and
shrink. We are more popular than Jesus and Pope".... That was the day
that GOD'S CURSE fell upon the Beatles and upon the world of Rock.
One week after that statement, ONLY ONE WEEK LATER, Brian Epstein,
forger of the Beatle farce, died from an overdose. From then on, the
Beatles began to get involved in false religions and beliefs and
started to preach them to the world.
John Lennon's divorce followed, as well as his entering the world of
black magic, as deeply as to buy the apartment where the "Rosemary's
baby" had been filmed, previous property of Roman Polansky, and in
that same apartment John Lennon had a room upholstered with black silk
where he used to do his black magic operations.
Came the disintegration of the Beatles' minds with LSD which has
caused, among others, schizophrenic lyrics such as "I am the Walrus"
and incoherent schizophrenic musical expositions such as "Revolution
number 9".
At the same time, the devil acted through his other main puppets with
"Sympathy for the devil", that was when the pact of the Rolling Stones
with Satan took the life of the founder of the group, guitarist Brian
Jones (who refused to be a puppet of the devil), murdered by people
sent by Mick Jagger, another assassin, who after wanted the world to
believe that such a brilliant swimmer as Brian drowned in his own
pool..
Antichrist John Lennon followed the Devil's strategy writing lyrics
such as "God is a concept by which we measure our pain...I don't
believe in Jesus, etc., etc.," (God) and "and no religions too..."
(Imagine).
Antichrist John Lennon wanted to compete with Jesus Christ, and so he
grew a beard and started to make a bogus role of Christ together with
Yoko Ono at the Amsterdam Hilton hotel proclaiming "Peace", being then
when he was visited by the Canadian journalist who ridiculized and
admonished him wanting to know about what Lennon meant when he wrote
in the lyrics of "The ballad of John and Yoko": "the way things are
going, they're going to crucify me...",
The CURSE OF GOD upon John Lennon carried on with all type of miseries
and distresses which made Lennon give the interview to the "Rolling
Stone" magazine (today condensed in the "Lennon remembers" book) where
he speaks about how bad thing were going for him blaming "whatever is
up there" for it (referring to God).
The CURSE OF GOD carried on until he was shot dead. It is interesting
to notice that he was shot seven times, being seven, as well as three,
the holy numbers in Holy Cabala tradition....

After George Harrison, said arrogantly in a video filmed at his studio
in Henley on Thames: "I want to talk about the divinity of man", he
was given throat cancer by GOD because of those words, which made
metastasis and carried on to final death..
To Paul McCartney whose company's logo was a person toying with the
planets as if he was a god or something, and who was being very much
deluded in his ego trip by the fact that he was made "Sir" (when in
England even the road sweeper is made Sir, as long as he produces
money for the nation), GOD provided cancer to the wife.
The advertising farce of how much he loved Linda (woman whose quality
he did not deserve), was exposed when it was known that Paul had an
affair with Heather Mills, Linda's intimate friend, with whom
McCartney went on a trip to New York and to whom he bought things and
presents, while he was still mourning for his "dear Linda".
At the same time McCartney was going out with Heather Mills, he used
Linda's death for promotional ends, due to his waning popularity. Paul
was going out with Heather, but in front of the audience he played the
faithful husband's masquerade pretending to suffer for Linda, for the
afore mentioned promotional ends.
Paul admitted that he made Linda suffer a lot, but he didn't say that
it was because he felt insecure as a man due to his womanish face and
effeminate manners and also because with his age his sexual power was
not the same, even though it has never been much. The early days were
the days of competition between Paul and his wife and John and his
wife and he knew he had to compete with ugly John for the leadership
of the band in front of their wives and having Yoko Ono made him aware
of his lack of virility and repressed homosexuality, he grew the beard
that we see in the "Let it Be" film and started to show pictures of
naked women on the same film, doing every effort he could to be seen
as a man....
It is easy to note the uneasiness of McCartney when he sings: "I've
got a feeling, a feeling I can't hide..." in front of Yoko in the
film. (He already had the traumas that his previous girlfriend Jane
Asher had caused him when she made him conscious of his little
manliness and effeminate manners).
Paul has a big inferiority complex as a man, due to his effeminate
face, body and personality as well as repressed homosexuality, and
Jane and Linda made him feel the superiority of virile men. This is
something that his ego trip of lucky bad musician cannot face.... He
is very conscious that money and fame cannot buy virility and
manliness.

Besides being a murderer, John Lennon had sexual intercourse with
homosexual Brian Epstein to get him interested in going to see the
band at the Cavern, trauma from which he never recovered. He went to
different psychiatrists because of the aftermath of it, one of them
being the so well known Dr. Robert (he is a new and better man, he
helps you to understand). Because of the trauma that his homosexual
relation with Brian Epstein had left him, he made lyrics such as: "You
can wear a collar and a tie, one thing you can't hide is when you're
crippled inside" and gave declarations to the "Rolling Stone" magazine
saying that sometimes he wore Texan boots to feel more secure as a
man. ("Lennon remembers" book).

The Beatles are very well known by people close to them because of
their arrogance and racism. One of the manifestations of their racism
is the rejection towards Japanese Yoko Ono. That rejection got to the
point that George Harrison kicked Yoko Ono in the Apple studios during
the filming of Let it Be.
When John asked George while they were having lunch about how things
were going for Paul after his separation from the Beatles and George
replied that he was number one in the Swedish hit parade, John said in
a despective manner: "ah!!.. in Sweden..", as if Sweden was an
inferior place or something alike.
In the Beatles' song "Get Back" they advise black Joe to "get back to
where you once belonged", as if England was not a place for black
people.
Sometimes back, Paul told George in the Apple offices that the new
generations are a bundle of idiots and useless people, but in any way
they would have also been slaves of the Beatles.
The Jewish marriage living to the right of George's house said that he
is an arrogant person who does never return a greeting. The newly
married couple living on the corner in front of the entrance of
George's house (Friar Park) refers to him as an overbearing person to
stay away from. The receptionist of "Hand made" the former film
making company of George Harrison said: "we don't have any relation
with that man anymore and we don't want to know anything about him".
It is interesting to note that this company was made bankrupt by the
British cinema industry due to the despotism and pedantry of George
Harrison, who believed that the cinema industry would have worshiped
him.
Their chauvinisms got to the point that even they themselves hated
each other. Paul McCartney said that George Harrison is a nothing.
George Harrison said that he is tired of listening to people talk
about John Lennon.
George Harrison said in a video that "Oasis is a very untalented band
and they shouldn't be playing at all", all of it being the truth, but
the Beatles is also a band of very poor musicians, if musicians at
all, who could only play a couple of elementary guitar chords and who
are as untalented as Oasis. The Beatles of the times of the "Cavern"
sounded exactly as poorly as Oasis and the little musical quality in
the songs of the Beatles is due to George Martin. Without George
Martin the Beatles would have been just another untalented band as
Oasis.... George Martin is the musician among the non-musicians known
as Beatles.

Paul McCartney said recently that he believes in using magic, and he
does lots of charity, thinking that in this way he will compensate for
the CURSE OF GOD that is upon him and that took his wife's life
because of his Satanism and involvement in black magic. He thinks he
will deceive people in this way, so that the real McCartney will not
be perceived, as does the old Devil we all know, attempting to
disguise as good in front of people, deceiving mankind once again, as
so many other thousands of times through the centuries....

After the Devil began his devastating job from the ghostly "Devil's
Island" through his nine main puppets (Beatles-Rolling Stones), he
possessed an endless amount of other schizophrenic bad musician in the
afore mentioned Island and weakening their conscience with drugs, he
made them proclaimers of homosexuality, aversion to religion,
destruction of family values, dissipation, mental illness, antisocial
tendencies, etc., etc.,
The fact that bad apprentice musicians such as the Beatles and the
Rolling Stones achieved such a giant fame that not even the real
quality musicians could achieve, was because the forces of Satan were
behind everything, supporting the process.

This mentally ill humanity, destroyed families, twisted moral values,
manifest or repressed homosexuality in human beings, anti natural
feminism rebellion, drug addiction, corrupt social outlines, mad
youths without direction, non respect to hierarchies, convulsed
nations, misanthropy, misogyny, paedophilia, irrational and feeble
lasciviousness and all other type of existent aberrations, are due to
the vast manoeuvre that Satan executed through his main marionettes
the Beatles and the Rolling Stones, from the Devil's Island.
If you wonder why there is misery and curse in your house, it is
because you own some L.P, CD or another article related to the CURSED
BY GOD Beatles and Rolling Stones. We recommend you to take that curse
out of your house throwing away everything related to the Devil's main
nine puppets....

You have been warned...

The HIGH COURT.
(The Five Judges)

(All rights reserved)

In the interest of mankind, you should send our verdicts to everyone
you know. Alert souls. It's up to you.
Also, you should repeatedly post and re-post our verdicts in any
network you know, including this. It is your contribution to mankind.
Once again, it is entirely up to you.
You also have our permission to publish our verdicts wherever you
want.

*********************************************************************************
*********************************************************************************


HIGH COURT
(The Five Judges)
(Judge T., Judge B., Judge S., Judge M. and Judge K.)

Appendix to 1st VERDICT

"A music nothing called the Beatles"


There is much more that can be considered and that can be revealed
about the worst musicians on Earth, if musicians at all, namely: The
Beatles.
Such bad musicians that George Martin had to pay a session drummer to
record "Love me do", because Ringo was unable to play the elementary
drumming of the song. Such an elementary drumming that even a beginner
could play, but not Ringo..
Such bad musicians that they had to ask another two-finger bad guitar
player called Eric Clapton to do solos on their songs because George
Harrison could not produce reasonable guitar string vibrato.
Such bad musicians, if musicians at all, that at the studio they had
to record their elementary songs over and over again about a thousand
times because every take was full of blunders. In fact, on the
Beatles' "white album" we hear John Lennon screaming "Í got blisters
on my fingers!!", due to the many million times he had to repeat the
thing at the studio..
Such bad musicians that they used the same chord sequence in about 70%
of their songs, (I-VI-V-minor relative and their permutations) meaning
that they only composed one song and repeated it in different rhythms,
Keys and permutations throughout 70% of their repertoire..
Such bad musicians that at the Cavern, about a couple of years back,
McCartney had to start the elementary "I saw her standing there" four
times because every time he got in he did it out of time. Ironically,
the session musicians he played with that night started the song ok,
but McCartney could not..

The Beatles were such mediocre composers that they stole other
people's songs and made it their own, sometimes only changing title
and lyrics. Other times they would play other people's songs backwards
and steal the melodies and harmonies thus being produced. They've been
listening to other people's songs played backwards since 1967. Since
then, 40% of their "compositions" have been stolen from
backwards-played songs. This trick was also used by "Oasis". They very
well knew about this fraud of the Beatles..
George Harrison was taken to court by the "Chiffons" because of
stealing one of their songs and calling it "My sweet lord".
The Beatles stole Trini Lopez's "Bamba" and called it "Twist and
shouts", pretending it was their own.
The Beatles stole one of the "Salvation Army" songs' and called it
"Strawberry fields forever".
The Beatles stole the end of the second part in "A day in the life"
from "Men made of match sticks".
John Lennon stole a part of "Jealous guy" (..I began to lose
control.) from "She's a rainbow".
John Lennon stole the guitar pattern of "Dear Prudence" from the
guitar pattern of "Something in the air".
Paul Mc Cartney stole the bass line of "Susie Q" and used it in
"Taxman" and did it again in "Rain". Stole the bass pattern of "Let's
spend the night together" and used it in "Get Back" and in "I've got a
feeling". Stole the bass line of "My girl" and used it in "Two of us",
and so on, and on, and on, and on...
They even stole songs from their own songs. John Lennon stole the
chord pattern of "You've got to hide your love away" from "I'm a
loser". Stole the guitar pattern of "Dig a Pony" from the pattern in
"Two of us". Stole "Merry go 'round" from "Flying". Stole the
beginning of "Rocky racoon" from the beginning of "I'm a loser".
George Harrison stole the chords in "Isn't it a pity" from the
beginning of "Eight days a week". Stole the first bit of "Fixing a
hole" from "Michelle". And so on, and on, and on, and on, and many
more ons.

The Beatles were very poor singers, if singers at all. They had no
voice for singing. Their voice was very thin and nasal, with no depth,
no body and with no vibrato. All they could do was shout. In fact,
their lack of voice forced them to shout. The Beatles did not sing,
they shouted. They should have left singing to Tom Jones, Humperdink,
Joan Baez, and so on.The poorest voices in the Beatles were Harrison's
and Lennon's. Harrison did not have voice at all, not for even
shouting. Lennon's voice was so nasal, that he always did the backing
lower voice and when he did not then he shouted. He had a crow's tone.
The Beatles had to always use special microphones to add depth to
their skinny and nasal voice, and after that, they spent hours at the
recording studio embellishing and concealing their nasality with
equalizers and effects, that is HOURS.. the Beatles were not
singers.the Beatles were SHOUTERS.

Being homosexual Brian Epstein the forger of the Beatles project,
Epstein instructed the Beatles to let their hair grow, so as to appeal
to repressed homosexuality in people. Epstein noticed what the
effeminate face of Elvis Presley did on people and the fame he gained
because of it, so he played the same card. The Beatles boom was not
due to their music, but to their appeal to repressed homosexuality (as
well as to having been the first internationally promoted electric
guitar band). The Beatles opened the homosexual Aquarius era which is
ruled by Uranus, the planet of homosexuality.Musically they were so
bad that the A&R of the Decca record firm laughed in the face of Brian
Epstein when he listened to the recordings of the Beatles, and he told
Epstein that they sounded like tin and that he was not interested.
George Martin told Epstein, when he listened to the recordings of the
Beatles: "Mr. Epstein, you better go back with your boys to
Liverpool", because of how bad the musical quality of the group
was.... it was with the idea of the long hair (that would appeal to
repressed homosexuality in people) that Brian Epstein was able to
convince George Martin.....

They were possibly the ugliest faces ever seen on stage. George
Harrison's face looked like Frankenstein, John Lennon's face looked
like a witch. (They really needed long hair to hide their ugly faces)
Paul Mc Cartney had such an effeminate face (as well as a pig's face)
that he always played the Miss Beatle role, with very fragile and
womanish manners (Close friend of homosexual Mick Jagger). (We will
not go into the details of the homosexual night between Paul McCartney
and Mick Jagger at Brian Epstein's house of 13 Chapel St. SW1, the
night that Paul McCartney twisted his ankle on the stairs) This is
the reason why John Lennon teamed with him to form the band. He knew
he needed an effeminate face as that of Presley in the band and he
knew that because of his ugliness he couldn't have been the one, so he
called Mc Cartney.

The Beatles degraded the standard of music so much that they made
stardom accessible to every music beginner. Thanks to the Beatles we
see non-musicians and bad musicians on stage. Thanks to the Beatles we
have the audience on stage. Thanks to the Beatles anybody is a star,
WHOEVER. Thanks to the Beatles we have sound pollution, known by the
drugged minds as "rock music". Thanks to the Beatles people do not
appreciate the work of quality musicians anymore. Of course the
Beatles promoted drugs, so that because of drugs their elementary
noise would be perceived as "music" through the handicapped state of
appreciation of the idiotic limbo of slowed down mental processes.
Thanks to the Beatles we see idiotic music beginners on the "greatness
delirium" of a paranoid mental frame induced by drugs.Hebephrenic,
Paranoid and Catatonic schizophrenics have become "stars". The stage
has become a mental asylum, thanks to the Beatles.

Thanks to the Beatles and the electric guitar with distortion where
any note you play would just fit because differences are not that
noticeable, we have the audience on stage. You just press any string
on any fret, wherever.it will do.. No one will notice a thing. Any
noise will do.. In tune or out of tune, in the scale or out of it, who
cares.the distorted electric guitar will conceal anything...You don't
need the slightest knowledge of music, just learn a couple of easy
chords and use a couple of fingers in changing strings and that's it.
After that you buy yourself an electric guitar with a distortion
pedal, and you are a star.. Music? .. What's that.Music.WHO CARES?
Since the electric guitar was invented anybody is a
guitarist.WHOEVER.With such sensitive strings that even the wind can
play just by blowing on it, also due to amplification, anybody can
prostitute music.whoever.. you just press the strings with the fingers
of one hand and it sounds..you can use the other hand to make a phone
call at the same time..Even the cat can produce sounds on the electric
guitar by walking on the strings.EVEN YOUR CAT COULD BE A STAR!!!!.
You don't need to practice to play an electric guitar.it sounds on
it's own..

Thanks to the electric guitar, bad or non-guitarists that play with
only two or three fingers such as Eric Clapton, Jimmy Page, Peter
Townsend, Keith Richards, John Lennon, George Harrison, Sting, Noel
Gallagher, Paul McCartney, Hank Marvin, Steve Winwood, she Santana
(Maria), David Gilmour, Hilton Valentine, BB King, Chuck Berry, Jimi
Hendrix (he was nothing special as a guitarist, but nobody did ever
produce such amazing sounds on an electric guitar. He was not a
guitarist. He was a sound architect) and so on, and on, and on, have
polluted music, but when you give them an acoustic guitar they can
hardly do much.strum it at the most.
As a matter of fact, with the exception of "Yes" (a "bravissimo"
exception) and "Emerson, Lake and Palmer" (another "bravissimo"
exception), you can throw all the remaining famous "rock bands" into a
dustbin.. THE LOT.sixty or seventy years of noise making bad musicians
or non-musicians into a dustbin.. together with electric guitars,
drugs, "greatness delirium" and all..

The same applies to synthesizers, samplers and all type of electronic
keyboards with sequencers and any kind of electronic trick that allow
bad or non-keyboard players to pollute the stage.. Just by pressing a
key on these gadgets you hear fat symphonic sounds that resemble the
body of a full orchestra, psychedelic ensembles for the drugged minds
and so on, that sound as if the performer was using all the fingers of
both hands to play it, but when you look at the fingers of the
players, they are only pressing one or two keys, that is, they are
only using one or two fingers on the keyboard, and sometimes the left
hand is not even being used, and when it is used, only another one or
two fingers come into play...Once again, these gadgets place the
audience on stage and allow UNTALENTED idiots to become "stars"..

As another aspect of the music degeneration and quality standard
lowering brought about by the Beatles, we see untalented female
"singers" with no voice making it big by showing tits and ass on the
stage, or by using pornographic gestures, or by insinuating sex in one
way or another. If they want to show their tits and asses they should
be on pornographic magazines or videos and leave the stage to talented
female singers such as the Queens Janis Joplin, Joan Baez, Aretha
Franklin, Ella Fitzgerald, Diane Ross, and so on.. Just recently, one
of these idiotic untalented female "singers" was seen on an American
TV show performing side by side with Aretha Franklin, attempting to
copy what the great Aretha was doing.We still wonder how Aretha
permitted it.The only way these untalented female "singers" can get on
top of the stage is by going to bed with the managers or producers.
And now, a list of untalented female "singers": Madonna, Jennifer
Lopez, Shakira, Britney Spears, Ricky Martin, etc., etc..once again,
the audience on stage..

And finally let's talk about the "Harmonizer", the gadget that allows
non-singers and crap singers to "sing". Unfortunately for the Beatles,
the thing was not invented at the time they were polluting the stage,
otherwise they would have been taken for singers. You sing out of tune
and the Harmonizer corrects your voice.. Every note you sing that is
out of pitch is taken to perfect pitch by the artefact.. You have the
tone of a parrot.don't worry.with the Harmonizer you will sound like
Caruso. It changes your voice to sound like the voice of any known
voice virtuoso, and you can even choose which singer you want to sound
like!!!.Is that note too high for you.you'll reach it with the
Harmonizer.. it will create from one of your lower notes!!!.. The
gadget is incorporated in some of the "karaoke" devices used by the
audience on stage.. you just BARK into the microphone and you'll sound
as sweet as the nightingale.

All of this thanks to the Beatles and their counterpart the Rolling
Stones (with the exception of extraterrestrial Brian Jones, the real
father of the Sixties), who opened the door for the audience to get on
top of the stage.

You have been informed..

The HIGH COURT.
(The Five Judges)

(All rights reserved)
 
LSD allusion in Beatles lyrics
>The Beatles Anthology, volume 6, DVD #3 gets into LSD use.

It would be valuable if you could summarize this. I'd love confirmation that the song Help! was written just after Lennon's first few LSD sessions and is firmly about LSD experiencing and is the first Beatles song about LSD. Everyone thinks they know this isn't so, but they ought to simply read the lyrics and note the timing of the songwriting compared to the timing of the first LSD sessions.

What would be truly implausible is that the song *isn't* about LSD, despite being written just after the first LSD sessions and despite lyrical constructions that strongly match typical LSD experiences. Most people are totally gullible and buy Lennon's diversionary story that the song only describes Lennon's mundane plea for ordinary help from overuse of non-entheogenic psychoactives such as speed pills.

If you believe that, then you're ready to believe that 8 Miles High isn't intended to allude to LSD, and that Lucy in the Sky with Diamonds isn't meant to characterize LSD phenomena and the title doesn't mean to allude to LSD, but is completely explained by Julian's explanation of his gradeschool artwork and so we can all stop worrying that the Beatles advocate LSD use. It's as ludicrous as the poetic lyricist for Rush declaring that there are no hidden meanings; it's all just surface meaning and innocent poetry.

People are 100% gullible, especially when they want to be. Why do people *want* to believe that meditation is more effective than entheogens, even in believing this means discarding all the evidence, which points squarely to the opposite conclusion?

Why do people *want* to believe that the song "Help!" is about addiction and disparaging psychoactives, when the timing and content of the song clearly and consistently indicate that the song is a respectful report on the tremendous religious experience of ego death through LSD?

If people insist of blinding themselves to the highly plausible and most-likely truth which is flashing brightly in their face, it's not even worth trying to persuade them; it's easier to put forth the proposal clearly, for those who are willing to give it fair consideration, rather than committing to obstinately digging in against the idea no matter what, even if sanity and reason must be sacrificed.

The Beatles' packaged product was often upbeat to such an extent that the beats were annoyed; the beats had more a posture of bleakness. Most likely it was like manic depression, like I feel after blasting away at the keyboard all day, leaving me stressed out, strung out, overstimulated and beaten down in an intellectual boxing match -- even if I consider the intellectual output highly valuable.

We have too much of a New Age self-help expectation of what engaging with life is like. Realizing your potential and grappling with the messy world to contribute something often looks more like the collapsed athlete than the upbeat motivational speaker Anthony Robbins.

There are two competing historical accounts of when Lennon first used LSD, which was from Michael Hollingshead in the form of sugar frosting in coffee at Hollingshead's house. If I recall, the accounts say late 1964 or early 1965.

DC wrote:

>"Bleak," in the sense of John Lennon's brilliant, innocence being abused, by the vicious world and his struggle with his self-imposed burden and eventual assassination. at the hand of the manifestation of hypersuggestible psychosis---in his confrontation with the insanity inherent in society. The double edged sword of entheogenic use is pretty clear in this regard, in John and then the scary reality of Mark David Chapman and his ilk of acid monstrosities. Thus the expression "Pay through the nose," I looked in "Acid Dreams" to see what they had to say about Lennon's acid usage in tems of dating, his first use. It says he and George were "slipped" acid in a beverage, at a dinner at a friends house, in "early 1965" and tells of his initial freak out.

I estimate that to write the LSD-oriented song "Help!", Lennon must have had around 3-7 LSD sessions prior to writing the song. Not just 1 session, nor 1000 sessions. This sort of exclamation and discovery of the need for rescue generally doesn't happen at the very beginning of a series of loose-cognition sessions, nor does it wait very long.

A single LSD session has a quick ramp up to the peak, followed by a long decline -- so does the mind discover the wonders of the altered state over the course of many sessions. The most amazing discovery is not in the first or second session, nor the 1000th, but more like the number of planets. For the most interesting acid-inspired album by a Classic/Heavy Rock group, look for their second album in which they evidence some knowledge of LSD -- not their first LSD album, nor their 7th LSD album.

Bob Prostovich wrote:

>I have an ancient interview with John Lennon on a reel to reel tape. In the long ago radio interview, John Lennon said that the song "Help" was written after a recording session while on LSD.

That confirmation is highly valuable, and enables me to move from theoretically 99% certain that Help! is an LSD song and Beatles' first LSD song, to 100% certain.

>He said that he was terrifed in front of the microphone. Presumably, he was having a very intense psychedelic experience. Maybe, even a *bad* trip.

>He also said in the interview that he must have taken a thousand "trips".

By what time?

>It is dubious to think that Lennon had taken a thousand trips.

>The interviewer mentioned that the song "Lucy in the Sky with Diamonds" was obviously about LSD. Then he pointed out the words Lucy, Sky, Diamonds. Lennon remarked coyly that he had never thought of that connection.

And if you believe that pretense of innocence, you'll believe the most fantastic things imaginable, anything at all.

>In his later years Lennon wrote a song called "Mind Games". It is apparent that anything that Lennon said should be taken with a grain of salt.

>"Acid Dreams" quotes Lennon as saying he had taken LSD more than a thousand times, and " I got a message on acid that you should destroy your ego," he later explained, "and I did, you know. I was reading that stupid book of Leary's (Psychedelic Book of the Dead) and all that shit. We were going through a whole game that everyone went through and I destroyed myself... I destroyed my ego and I didn't believe I could do anything."

Ken Wilber and cohorts (Roger Walsh? -- article about the ever-presence of ego structures, in Journal of Transpersonal Psychology) have effectively clarified that transcending the egoic mental structures really means modifying them, creating a mental structure that subsumes and revised them. The successfully transcendent mind doesn't destroy the egoic structures; it destroys the serious belief in their reality, while retaining the structures as a useful, practical convention.

The 1960s rediscovery of entheogens was a sloppy initial phase, to be expected as part of collective learning -- the theory of ego death had not yet developed enough to rise to the required level of sophistication and precision; this is why I totally am against sloppy and (often willfully) careless conceptual language.

Transcendence is in proportion to the mind's precision of language; successful transcendence of ego cannot happen if the mind doesn't develop critical precision of linguistic expression and conceptual refinement. It's not difficult; it only requires a little more commitment to precision of expression than was used in the flippant, linguistically devil-may-care 1960s.

>"Lennon's obsession with losing his ego

That common expression is a criminally sloppy use of language. It's an ok shorthand for those who have done the work of being more precise, but it is certainly not, by itself, helpful at all; it's entirely misleading, without a reasonable, moderate amount of careful qualification. The enlightened mind loses its ego delusion, its firmness of buying into the ego illusion as a literal reality.

>typified a certain segment of the acid subculture in the mid- and late 1960's. Those who got heavily into tripping often subscribed to a mythology of ego death that Leary was fond of preaching.

I have to fight against Leary here to reclaim and redeem ego death theory; the author should say "that version of ego death which was expressed carelessly such as by Leary", or "ego death as described by Leary".

>The LSD doctor spoke of a chemical doorway through which one could leave the "fake prop-television-set America" and enter the equivalent of the Garden of Eden,

We shouldn't idealize transcendent knowledge as simple Edenic bliss.

>a realm of unprogrammed beginnings where there was no distinction between matter and spirit."

I don't play up the benefits of transcendent knowledge or loose cognition (the mystic altered state) or metaprogramming as providing a way to be not programmed; if anything, I talk about a specific switch from one specific program to a higher specific program: from the egoic mental operating system to the transcendent mental operating system.

The author seems to jump from deprogramming and rebirth to the philosophy of ontological idealism (that the only thing that exists is mental constructs, not their referents).

Certainly the mind can enter an experiential space in which mental constructs loom large and the referents disappear behind the screen like a virtual image projected out there by what now looks more like a dangling pointer. Mental constructs then look like a signpost pointing to something, while the referent pointed to goes missing from perception.

It's a fact -- a common observational phenomenon and datum to be explained -- that LSD is a chemical trigger for this experience of metaperception. I wouldn't equate the experience of metaperception with simple Edenic bliss, a connection which the author is highlighting in Leary's characterization of ego death.

-- Acid Dreams, p. 183

Acid Dreams: The Complete Social History of LSD: The CIA, the Sixties, and Beyond

Martin Lee, Bruce Shlain

http://www.amazon.com/exec/obidos/ASIN/0802130623

http://www.google.com/search?q=%22john+lennon%22+%22mark+david+chapman%22

Beatles' doll dismemberment album art conveys Dionysian experience
Due to prohibition, with tangible heavy persecution of drug users and drug-using popular artists in the 1960s, we cannot automatically believe any public statements about artistic and poetic meaning that are made by John Lennon or other Rock artists, producers, DJs, or photographers. This artistic community has always been forced to draw a strong line between what they can allude to via artistic reference, and what they state publically for the record.

John Lennon was crucified for such statements publically on record, and was forced to put forth outright lies in his public statements, letting the artistic poetry instead do the talking. Therefore everyone has been forced to read between the lines and be fully attuned to the art itself and generally dismiss any public statements about it. Before you read the public statements, read the art itself. What does the art say?

To one who knows the premodern mythic metaphorical language, a cover picture with baby doll parts and meat and blood, with musicians who had been using visionary substances heavily for a couple years, indicates Dionysian initiation and world-religion mystic-state experiential dismemberment: loose cognition, sacrifice of one's child-self to gain a more stable and enduring mental worldmodel.

There are many religious myths about dismemberment including that of a child. Death means first mystic death, and birth means first mystic rebirth, and dismemberment means loose cognition. Child sacrifice means ego death, where the mind is brought to repudiate freewill thinking. Here are some public statements about the album cover. Don't believe the statements of the Dionysian tripper-photographer or the tripper-musicians; believe and read their art instead, and see how interested they are in religious matters and the religious mode of thought.

____________________________

http://www.snopes.com/music/info/butcher1.htm -- excerpts:

the Beatles, ... leers on their faces, dressed in butchers' smocks adorned with slabs of raw red meat, glass eyeballs, false teeth, and nude, cigarette-burnt decapitated dolls.

What ... was the point behind the photograph? ... the Beatles were fed up with taking market-friendly publicity pictures. John Lennon, in an interview shortly before his death in 1980, echoed this sentiment: "It was inspired by our boredom and resentment at having to do another photo session and another Beatles thing. We were sick to death of it." Whitaker had intended the session, of which the butcher photo was only one part, to be his personal comment on the mass adulation of the group and the illusory nature of stardom. As he later said, "I had toured quite a lot of the world with them by then, and I was continually amused by the public adulation of four people . . . " To that end, what he had planned was a triptych of pictures, something resembling a religious icon, to make the point that the Beatles were just as real and human as everyone else. The "butcher" photos, along with the other pictures from that session, are included in Whitaker's books of Beatles photographs, The Unseen Beatles. There the photographs taken, and the reasons behind them, are explained as follows:

The first picture shows the Beatles, facing a woman who has her back to the camera, and hanging on to a string of sausages. This picture was supposed to represent the 'birth' of the Beatles, with the sausages serving as an umbilical cord. Whitaker explained: "My own thought was how the hell do you show that they've been born out of a woman the same as anybody else? An umbilical cord was one way of doing it."

The photograph that would have been used for the other side of the triptych is one of George Harrison standing behind a seated John Lennon, hammer in hand, pounding nails into John's head. Whitaker explained that this picture was intended to demonstrate that the Beatles were not an illusion, not something to be worshipped, but people as real and substantial as a piece of wood.

The center of the triptych (and the only pose taken in color) was to to have been the infamous butcher photo, showing the Beatles surrounded by slabs of red meat and dismembered dolls. This picture was actually titled A Somnambulant Adventure, and its intent was to present a contrast, something shocking and completely out of line with the Beatles' public image. As Whitaker revealed, the picture used on the Yesterday and Today cover was a rough, unfinished version: "If you could imagine, the background of that picture should've all been gold. Around the heads would have gone silver halos, jeweled. The finished picture would have offered a striking contrast between the Beatles' angelic image and the reality of the photograph."

A fourth picture, apparently not planned as part of the triptych (Whitaker isn't clear about this, mentioning only three pictures in his interview), can also be found in The Unseen Beatles. It features John framing Ringo's head with a cardboard box, on one of the flaps of which is written "2,000,000." Whitaker again: "I wanted to illustrate that, in a way, there was nothing more amazing about Ringo than anyone else on this earth. In this life he was just one of two million members of the human race. The idolization of fans reminded me of the story of the worship of the golden calf."

____________________________

>>Whitaker ... "I had toured quite a lot of the world with them by then,"

Likely translation: "I had tripped through the cosmos with them a lot by then, experiencing loose cognition and dismemberment, and talking about religious art photography ideas with them."

>>what he had planned was a triptych of pictures ... a religious icon ...

>>The first picture shows the Beatles, facing a woman who has her back to the camera, and hanging on to a string of sausages. ... to represent the 'birth' of the Beatles, with the sausages serving as an umbilical cord. .... show that they've been born out of a woman

>>The center of the triptych (and the only pose taken in color) was ... the ... butcher photo, showing the Beatles surrounded by slabs of red meat and dismembered dolls. This picture was actually titled A Somnambulant Adventure ... the picture used on the Yesterday and Today cover was a rough, unfinished version: "... imagine, the background of that picture should've all been gold. Around the heads would have gone silver halos, jeweled. The finished picture would have offered a striking contrast between the Beatles' angelic image and the reality of the photograph."

>>The photograph ... for the other side of the triptych is ... of George Harrison standing behind a seated John Lennon, hammer in hand, pounding nails into John's head.

This recognition of the Dionysian nature of the album cover was inspired by suddenly remembering, for no discernable reason, Jay's mention of dolls a couple weeks ago in discussing the Beatles. As in the song "Little Dolls" by Bob Daisley of the Ozzy Osbourne Band, and in Rush's song "Twilight Zone", and Rush's album cover showing the slack king marionette, 'doll' means the experience of helplessness in the light of determinism or the experience of timeless no-free-will.

The original Yesterday and Today cover shoot took place on 25 March 1966.

I assume that the beginning of Lennon's heavy use of LSD started in late 1964, before the song Help!, per one of the proposed Beatles chronologies. That's 1 1/3 years of tripping experience before the doll photo session. With their Hollingshead connection and stardom, the Beatles had an ongoing supply of high-potency LSD (then legal) ready-to-hand.

Jay wrote:

>>I was interested in your hypothesis on your website regarding the Beatle's song "Help." The threads seemed to end in 1999. Has there been anything new since then?

I updated the webpage.

http://www.egodeath.com/johnlennonhelp.htm

>>I was 11 1/2 years old at the time I saw the movie "Help." Ed Sullivan had given the Beatles his stamp of approval as fine young lads and I didn't connect them or the movie with drug use. The song [Help!] was a little different from what they had done previously, but not too drastic, still energetic, but now with a touch of anxiety.

>>Rock and Roll's stars and bands had a very short life span in those days. Most singers or groups had one big hit that made them famous for three or four months. Then they would have a much less successful similar sounding minor hit and then disappear. So it was expected of successful rock acts that they were novelties and would disappear after about a year at most of shelf life. A few singers like Elvis and Sam Cook had managed to stick around for eight or nine years, but even their popularity had drastically waned after the first four years.

>>By 1965 the Beatles had been wildly successful for three years. Nobody really believed that they would last that long. About a month after each successful song, they were regularly pronounced dead. So in this sense the Beatles were dying continuously in the popular imagination and suddenly being reborn every few months since 1962.

>>The Beatles were like a Vegas gambler who bets and wins doubling their money and bets five, six, seven, then twelve, thirteen, fourteen times in row. Everyone knew it could not go on forever. Everyone expected their last win would be their last win.

>>In the meantime all sorts of conmen and hucksters were surrounding the Beatles looking for a piece of the action and promoting all sorts of deals. Lots of power struggles going on at all levels, lots of advice on which way to go to stay at the top.

>>Most of the rock acts made very little money, cheated by promoters, and went broke after a few years. Remember Buddy Holly had to do his fatal Winter Tour because he didn't have any money even after a dozen hit records in 18 months. Sonny and Cher after half a dozen hit records went broke three years after hitting it big, betting it all on a movie starring Cher.

>>I remember at that time, one night, coming home from Hebrew School, Hillcrest Jewish Center in Flushing Queens N.Y. I saw the new Beatles Album, in a corner store. I think it was called "Yesterday and Today" it contained chopped heads of what I thought were babies. I thought it was disgusting. I heard on the radio that they were pulling the album off the shelf because of complaints. I was glad. I thought the Beatles were finally over. That's what everyone was saying.

>>Charles Manson thought the Beatles were the 'four angels,' and how his actions followed metaphoric interpretation from the scriptures. You might consider adding to your website an interview with Charles Manson for supplemental interpretation of religious myth.

That is probably a good idea. Charles Manson is fairly important, somewhat like Altamont with the Angels taking care of crowd control.
 
Beetles-bombardiers really deserve the name a “chemical lab”. They have two glands secreting poisoning substances. Each one is parted in two chambers and one common antechamber, the latter of which secrete two enzymes. When the beetle is in danger, great amount of substances secreted in the both chambers get into the antechamber, where runs a rapid chemical reaction. The temperature rises to 100º and the beetle fires the liquid through his ANUS in up to 30 cm distance with an enviable archery skill. Some species can produce 15-20 consequent shots. The poison is extremely dangerous for the eyes and the mucous membrane.
 
ct_thrash said:
Beetles-bombardiers really deserve the name a “chemical lab”. They have two glands secreting poisoning substances. Each one is parted in two chambers and one common antechamber, the latter of which secrete two enzymes. When the beetle is in danger, great amount of substances secreted in the both chambers get into the antechamber, where runs a rapid chemical reaction. The temperature rises to 100º and the beetle fires the liquid through his ANUS in up to 30 cm distance with an enviable archery skill. Some species can produce 15-20 consequent shots. The poison is extremely dangerous for the eyes and the mucous membrane.




I just snorted really loud at work when I tried not to laugh really hard :erk:
 
chemical reaction, good name for a verse 1&2 song...better than this god kick