Intergalactic connections; venus and mars

[plastic paul]

Great post byrds, some intriguing stuff here.

I have said in the past that i doubt paul was in space, but i have an open mind, just coz i don't implicitly believe it doesnt mean i think it's impossible.

When people start deciphering clues like you have here, i have to say that it does make things start to add up such as the john lennon alien/ufo experience.

I have to say i believe in alien life/ufo existence (but we'll save that for another thread), who's to say that aliens aren't from another planet/galaxy but a different realm, another dimention as yo say, and they are not physical beings but manifestations of the souls from our "real earth" life? I could believe that.

So to come back to the topic, perhaps when john was visited by that ufo, could it have been JPM? Perhaps faul has been visited by JPM in a UFO, it certainly could be a possibility. I read a thread about Stu Sutcliffe and John perhaps being psychic, maybe faul and john have had telekenisis (is that right?) communications with JPM, it could make a lot of songs make a lot more sense.

[madtitan125]

It is like fish in a pond. They live in an entirely 3-dimensional realm. They eat, they live and go about their daily lives, but little do they imagine all that is RIGHT ABOVE THEM AND ALL AROUND.

Even if we could take the fish out of water and expose him to the surface world, would the fish be able to understand all the information its senses would be trying to convey to it? No.

We would be crazy to think that life only got as complex as humanity.

We are just like the fish. We are battling against our sensory limitations and our own limited capacity for comprehension in a realm we aren't configured to understand.

We just don't have the capacity to perceive or understand the magnitude of this creation we inhabit. And we definitely aren't alone.

The power that be felt comfortable enough in our inability to perceive this deception, confident enough to actually launch this fraud.

They knew that conciously and subconsciously, we would be afraid to acknowledge this. They knew people in general don't really want to know too much about things. It's too much trouble.

"Illuminati? What's that?"

If we really are in contact with at least some of the other species that inhabit this planet (Russia, China, the U.S. desert, etc.), some humans undoubtely have been in a ship and even traveled to some of these planets. To me, this is not at all inconceivable to me.

And since Faul is likened to some sort of world or political leader nowadays, he more than likely has insight to private technology that we have yet to be officially introduced to.

And there is proof of Faul's taking advantage of private technology before the rest of us knew about it.......

Has there ever been a more complete restructuring of someone's facial features documented up to this point (mid-60's)? A more complete change of identity?

And a pretty good one, too, I would say. Despite the suspicions of some, this deception has been going on over 30 years and we're just waking up to it!

[plastic paul]

i'd never thought like that before,
but its the perfect metaphor

;D

[defhermit]

Robert Plant has a current hit?

The "Simply Irresistible" guy?

[defhermit]

damnit... while I was writing the post it went through my head "Is that the led zep guy?"

I always confuse those two names for some reason....

...still, I question calling Robert Plant's new single a "hit" seeing as I have not even heard of him having a new album, let alone heard the song in question, ever, on the radio...

perhaps you don't live in America?

[Apollo C. Vermouth]

Pardon the intrusion...

"He blew his mind out in a car. He didn't notice that the LIGHTS had changed."

"Red lights, green light, strawberry wine..."

"A good friend of mine..."

An interesting read...

www.online-mythology.com/apollo_hyacinthus

Hyacinths adorn the Sgt. Pepper cover.

"Flowers in the dirt"

Apollo

[BeatlePaul]

byrdsmaniac said:

....a possible link to Bonzo Dog Band song "Champagne In A Paper Cup:
"I think I'm drunk enough to drive home now".

It was "Death Cab for Cutie" then...

[plastic paul]

Whilst not debunking the idea, i feel i must say i regularly have a rye smile about seeing "famous " people in a spot of bother (ok maybe not death), you know what i mean?

[beatled]

Great link Byrds, Valis.

This one was an interesting read, especially the interpretation of Walrus:

www.xdream.freeserve.co.uk/Beatles/Q&A.htm

[TPIMaster]

byrdsmaniac said:

For the record, the name "The Beatles" was born
of the Beatles' high regard for the American group Buddy Hollie and the Crickets. They originally spelled it "Beetles", (Beetles/Crickets, see?), but then changed it to Beatles.

And btw, Yoko an alien from Betelgeuse. Makes sense to me. ;D

Wasn't it that John saw a man on a flaming pie and the man said: "You are now Beatles with an a"?

[valis]

Robert Crumb made an 8 page cartoon about Philip K Dick's experiences.

www.philipkdickfans.com/weirdo.htm

The Strawberry Fields connection is on page 3

[TPIMaster]

Interesting read, thanks Valis.

[beatled]

Love Robert Crumb, thought he passed away a few years ago though, hmm..

But anyway, I've been meaning to post this, just a short clip of I guess John doing his imitation of the man on the flaming pie.. (BBC series, 1964 I think)

http://*banned link*/Shoebox/BBC_Flaming_Pie.mp3

[TPIMaster]

Thanks JoJo. That's another one for the 45GB folder of Beatle-material ;D

[BeatlePaul]

apollocvermouth said:

Pardon the intrusion...

"He blew his mind out in a car. He didn't notice that the LIGHTS had changed."

"Red lights, green light, strawberry wine..."

"A good friend of mine..."

An interesting read...

www.online-mythology.com/apollo_hyacinthus

Hyacinths adorn the Sgt. Pepper cover.

"Flowers in the dirt"

Apollo

Amphitryon

[Perplexed]

Amphitryon:

Amphitryon (1803)

Author: Kleist, Heinrich von.
Domain: Literature, Theatre. Genre: Play. Country: Germany, Continental Europe.

Kleist’s second published play, Amphitryon (1807), is described on its title-page as “a comedy after Molière”. With this designation, Kleist not only invites his readers to compare the work with Molière’s play of the same name, but also to place it within a particular comic tradition. Kleist deftly blends a range of comic elements – from sexual references and coarse jokes to misrecognitions and heavy dramatic irony – but the play is far from a conventional comedy. Amphitryon raises a series of hefty theological and philosophical issues and places its characters in a situation of profound self-doubt, to the extent that their sanity and sense of self are tested to the extreme. To be sure, the play provides a happy resolution to the action for its eponymous protagonist, but its final moment is a much more deeply ambiguous cry from its heroine. Kleist uses the comic genre in a novel way, by offering different gendered perspectives on a single event and by introducing powerful tragic elements into the comedy.

The action of the play is relatively simple; it is through Kleist’s cerebral dialogue that difficult philosophical issues are raised. The gods Jupiter and Merkur (Mercury) descend to earth for a night and a day. Their destination is the residence of Amphitryon, the Theban army commander, who is just about to return from battle. Jupiter disguises himself as Amphitryon in order to sleep with Amphitryon’s beautiful and virtuous wife Alkmene, whilst Merkur stands guard in the guise of Amphitryon’s servant Sosias. The first act focuses mainly on comedy. The cowardly Sosias is on his way to Alkmene to deliver the news of Amphitryon’s victory when he encounters his malevolent Doppelgänger Merkur, who threatens him with violence if he does not give up the name Sosias. Scene Four shows Jupiter and Alkmene together after their passionate union. Jupiter questions Alkmene about her sexual receptiveness to him: was it conjugal duty, or desire? Did she receive him as a husband or a lover? Unaware of Jupiter’s deception, Alkmene deflects these questions by maintaining that duty and desire have come together for her in him. The comedy here derives primarily from Jupiter’s verbal acrobatics. The distinction between lover and husband that he proposes is far from the irrelevance that Alkmene believes, as Jupiter is desperate to extract from Alkmene a profession of love that distinguishes him from Amphitryon. But the audience is uncomfortably aware that this intimate conversation follows an act of violation. On Jupiter’s departure, Alkmene’s lady-in-waiting, Charis, characterises this scene as a model of loving faithfulness (ll. 512-16), which further underlines Jupiter’s betrayal. But Charis’s encounter with Merkur, whom she takes for her husband, portrays a very different image of marriage, as Merkur cruelly criticises Charis for her appearance and her prudish self-righteousness, and Charis retaliates with similar vigour.

As is traditional in comedy, the subordinate characters of Charis and Sosias provide a comic foil for the more serious concerns of their masters, but they also serve to highlight their masters’ failings. At the opening of Act Two, Amphitryon angrily demands that Sosias tell him the truth about recent events, but Sosias responds by asking his master whether he should speak honestly, or as people do at court (ll. 620-27). Amphitryon dismisses this as evasion, but the following conversation serves to illustrate the connections between power and truth. Sosias proceeds to relate how he was confronted by a Sosias and prevented from entering the house. Amphitryon believes that this can only be a dream – or that Sosias is lying, drunk or crazy. Sosias reflects that the reason why his report is dismissed as nonsense is that he is a commoner, but if a great man reported the same, people would believe that it was a miracle (ll. 766-69). Thus we are invited to reflect on the relative nature of truth; it is those who possess social and political power who determine what is true.

In Act Two, Scene Two, Amphitryon and Alkmene are reunited. Alkmene is surprised to see Amphitryon so soon after their night of passion, whilst he immediately thinks that his absence at battle has left Alkmene unmoved. Alkmene describes their night of passion, but both Sosias and Amphitryon believe that she must be crazy (ll. 859-64). Again, this shows how those who lack social power (in this case women) have difficulty in establishing their credibility. However, Alkmene’s account is corroborated by the diadem she received, which is engraved with Amphitryon’s initial. Amphitryon was planning to give her this gift on his return, but now the box in which it was being held is empty, even though the seal is unbroken. Nonetheless, he insists upon defending his honour, and plans to assemble his army to testify that he did not leave the battlefield. This threatened display of power leads Alkmene to re-examine her conscience and to begin to question her innocence. She examines the diadem and finds that it is engraved with a letter “J”. However, her initial reaction is to try to browbeat Charis into confirming that it bears Amphitryon’s initial (ll. 1114-16), again showing how the mighty can deploy their power over subordinates in order to shore up their claims to truth. But Alkmene finally accepts that the evidence now speaks against her, and throws herself on Amphitryon’s mercy. In fact, it is Jupiter whom she encounters, and he accepts that she accepted her lover as Amphitryon in good faith. Again, Jupiter deploys his superior knowledge to try to get Alkmene to express her preference for him over Amphitryon. He asks how she would feel if Amphitryon came to her, but he turned out to be a god in disguise; but his efforts are thwarted by Alkmene’s virtue, as she tells him that she would rather feel respect for her creator, and love for Amphitryon (ll. 1558-1603). Characteristically, the high-born Alkmene follows Jupiter’s tortuous logic and continues to believe that he is Amphitryon, whilst Charis virtually discovers the truth by misunderstanding Jupiter and concludes that it is Zeus and Apollo who have come to visit them (ll. 1585-89). However, her insight has comic consequences as she now prostrates herself before Sosias, having threatened to cuckold him on their last encounter (ll. 1095-1100).

Act Three opens with a monologue, in which Amphitryon describes his extreme sense of social alienation now that his identity is under threat. But he again resolves that Alkmene must be mad and that she must see a doctor. Merkur makes matters worse by deciding to entertain himself by deriding Amphitryon and telling him that the real Amphitryon is inside the palace with his wife. Amphitryon is further P-E-R-P-L-E-X-E-D when he encounters Sosias and sentences him to death for his impertinence, only to be assured by his commanders that Sosias has not left their presence for nine hours. To make matters worse, Jupiter appears. Sosias is asked to pick out the real Amphitryon, and chooses Jupiter, on the grounds that the real Amphitryon would not let his servants be treated with such violent contempt (ll. 1862-63). However, it is clear that Sosias’s decision is chiefly informed by his unfailing instinct for self-preservation, for we know from the rest of the play that Amphitryon is a violent and tyrannical man. In Scene Ten Sosias takes the opposite view as he encourages the army to storm the castle, but chiefly because there is a feast in progress, and he fears he will miss his share. His pragmatism is such that he indicates his willingness to share his identity with Merkur, though only because he hopes to secure a share of the food being served to him (Act Three, Scene Eight). Thus Kleist demonstrates how pragmatism and self-interest influence his characters’ accounts of the truth.

In the closing scene, all the characters appear on stage together, and in the presence of the people Alkmene herself is called upon to determine who is the real Amphitryon. She displays signs of radical uncertainty, but finally settles upon Jupiter. She then proceeds to denounce Amphitryon for his cruel deceit and, ironically, to castigate her senses for their failure to detect his tawdry deception sooner. Again, we are invited to take a sceptical view of Alkmene’s arrival at the truth, and to observe how the notions of truth and falsehood are manipulated in order to restore her severely damaged selfhood. However, having won this admission and forced Alkmene to declare her loyalties publicly, Jupiter reveals himself in a thunderbolt. Alkmene is profoundly shaken, and faints. Jupiter’s final act on earth is to compensate Amphitryon by granting in Hercules his wish for a heroic son. Amphitryon is delighted by this outcome, but Alkmene’s response is harder to interpret. Some commentators view her cry of “Ach!” (“Oh!”) as a sign of contentment, but it is more in keeping with her severe anguish to read it as a cry of despair: she has not only been publicly exposed as an (albeit unwitting) adulteress, but now she is carrying a child whose very existence will remind her of this distressing experience.

This conclusion is strongly reminiscent of the Annunciation in both its situational configuration and language. One might even read the entire play as a sceptical commentary by Kleist on the Christian narrative, and particularly on the idea of a supposedly transcendent god intervening in historical time and in individual lives. Indeed, Sosias’s remark that the coupling of a god and a human being is as undesirable as mating a horse and a donkey (ll. 1609-10) is at least potentially blasphemous. But even if we decide to set aside the Christian allusions, it seems assured that Kleist wished to give a negative view of Jupiter, who seems vain and cruel in his condescending treatment of Alkmene. His associate Merkur is profoundly cynical and violent in his attitude to Sosias, and has apparently no motive for his conduct other than the need to entertain himself. Thus the theological dimensions of the play suggest a highly critical view of the gods as either malevolent or irresponsible.

Critics generally agree that Amphitryon should not be seen as the hero of the play. His inner life is generally bolstered by his feelings of power and his ability to use force when reason fails. But it is also questionable that Alkmene should be seen as a tragic heroine in the conventional sense. She is not entirely blameless, for she rejected Amphitryon and potentially condemned him to alienation and exile by deciding with such vehemence in favour of Jupiter. She is ultimately not that different from the other characters – and this aspect is underlined ironically at several points of the play, particularly when she is set against the earthier, but perhaps more honest and perceptive Charis. Certainly, her suffering is great, and the resolution of the play does nothing to restore her sense of self. But Kleist does not grant Alkmene the words to express her sentiments at the close of the play. Unlike many Shakespearean heroines, she does not die with an eloquent monologue, but is harshly condemned to live on in a state of near silence.

Alkmene pleads in vain with Jupiter to rescue her from madness by not revealing the truth (ll. 2305-6). In the midst of his crisis, Amphitryon too reflected that he wanted nothing more than to attain enlightenment in this matter, and yet that it was also what he most feared (ll. 1835-36). Thus the play seems to suggest that it is not only error that can be dangerous for the human soul; truth and knowledge can prove just as destructive. Kleist himself discovered this to be the case in 1801, when his encounter with the philosophy of the Kantian school led him to conclude that all knowledge was necessarily provisional and uncertain. This newly acquired insight into human ignorance contributed to a sustained personal crisis. The conclusion of Amphitryon suggests that this wound remained raw. For all its comic sparkle, the play remains a deeply bitter portrayal of the human condition.

Elystan Griffiths, University of Birmingham
First published 17 May 2005

[BeatlePaul]

"Thus we are invited to reflect on the relative nature of truth; it is those who possess social and political power who determine what is true."

[plastic paul]

*Claps*

[abbey]

BREAKING NEWS ITEM: During this past full moon, I glimpsed Elvis and Paul sitting on the moon singing "Yesterday, I was nothing but a Hound Dog" and they waved and let me know that Paul had found his "willie" in one of the craters! He looked so very happy!!!!!!!

[BeatlePaul]

byrdsmaniac said:

BRAIN DAMAGE (Pink Floyd)

The lunatic is on the grass
The lunatic is on the grass
Remembering games and daisy chains and laughs
Got to keep the loonies on the path

The lunatic is in the hall
The lunatics are in my hall
The paper holds their folded faces to the floor
And every day the paper boy brings more

And if the dam breaks open many years too soon
And if there is no room upon the hill
And if your head explodes with dark forbodings too
I’ll see you on the dark side of the moon

The lunatic is in my head
The lunatic is in my head
You raise the blade, you make the change
You re-arrange me ’till I’m sane
You lock the door
And throw away the key
There’s someone in my head but it’s not me.

And if the cloud bursts, thunder in your ear
You shout and no one seems to hear
And if the band you’re in starts playing different tunes
I’ll see you on the dark side of the moon


If there is no room upon the hill?
The band you're in starts playing different tunes?
See you where?
"The Great Gig In the Sky" indeed.
"Brain Damage"
Curiouser and curiouser.

Oh yes, and: "If the cloudbursts THUNDER IN YOUR EAR"
No clues here. This is about Syd.
"Find me in my field of grass, la,la,la,la,la,la..."

The lunatic is on the grass

Find me in my field of grass
Mother Nature's Son
swaying daisies sing





"Remembering games and daisy chains and laughs"

See:

60if.proboards21.com/index.cgi?action=display&board=document&thread=1122458612&page=1


And if the cloud bursts, thunder in your ear

Well on the way, his head in a cloud






You shout and no one seems to hear

But nobody ever hears him
Or the sound he appears to make


And if the band you’re in starts playing different tunes

If you're listening to this song
You may think the chords are going wrong
But they're not
He just wrote it like that

When you're listening late at night
You may think the bands are not quite right
But they are
They just play it like that

It doesn't really matter what chords I play
What words I say or time of day it is
As it's only a Northern Song

It doesn't really matter what clothes I wear
or how I fare or if my hair is brown
When it's only a Northern Song

If you think the harmony
Is a lttle dark and out of key
You're correct
There's nobody there
And I told you there's no one there


BTW ... compare the "airport" voice of "On The Run" with the "airport" voice at the end of "Revolution#9"

[BeatlePaul]

The tolling of the iron bell
Calls the Faithful to their knees
To hear the softly spoken magic spell


www.pinkfloyd.co.uk/dsotm/content/setup.html

[BeatlePaul]

Speak to Me
(Mason) 1:16

"I've been mad for ****ing years, absolutely years, been over the edge for yonks, been working me buns off for bands..."

"I've always been mad, I know I've been mad, like the
most of us...very hard to explain why you're mad, even if you're not mad..."

(Instrumental)


Breathe
(Waters, Gilmour, Wright) 2:44

Breathe, breathe in the air.
Don't be afraid to care.
Leave but don't leave me.
Look around and choose your own ground.

Long you live and high you fly
And smiles you'll give and tears you'll cry
And all you touch and all you see
Is all your life will ever be.

Run, rabbit run.
Dig that hole, forget the sun,
And when at last the work is done
Don't sit down it's time to dig another one.

For long you live and high you fly
But only if you ride the tide
And balanced on the biggest wave
You race towards an early grave.


On The Run
(Gilmour, Waters) 3:32

[female announcer, announcing flights at airport, including 'Rome']
"Live for today, gone tomorrow, that's me, HaHaHaaaaaa!"

(Instrumental)

Breathe (reprise)
7:06

Home, home again.
I like to be here when I can.
When I come home cold and tired
It's good to warm my bones beside the fire.
Far away across the field
The tolling of the iron bell
Calls the Faithful to their knees
To hear the softly spoken magic spells.

The Great Gig in the Sky
(Wright) 4:44

"And I am not frightened of dying, any time will do, I
don't mind. Why should I be frightened of dying?
There's no reason for it, you've gotta go sometime."

"If you can hear this whispering you are dying."

"I never said I was frightened of dying."

(Instrumental)


Money
(Waters) 6:32

Money, get away.
Get a good job with good pay and you're okay.
Money, it's a gas.
Grab that cash with both hands and make a stash.
New car, caviar, four star daydream,
Think I'll buy me a football team.

Money, get back.
I'm all right Jack keep your hands off of my stack.
Money, it's a hit.
Don't give me that do goody good bullsh*t.
I'm in the high-fidelity first class traveling set
And I think I need a Lear jet.

Money, it's a crime.
Share it fairly but don't take a slice of my pie.
Money, so they say
Is the root of all evil today.
But if you ask for a raise it's no surprise that they're
giving none away.

"HuHuh! I was in the right!"
"Yes, absolutely in the right!"
"I certainly was in the right!"
"You was definitely in the right. That geezer was cruising for a
bruising!"
"Yeah!"
"Why does anyone do anything?"
"I don't know, I was really drunk at the time!"
"I was just telling him, he couldn't get into number 2. He was asking
why he wasn't coming up on freely, after I was yelling and
screaming and telling him why he wasn't coming up on freely.
It came as a heavy blow, but we sorted the matter out"

Us and Them
(Waters, Wright) 7:40

Us, and them
And after all we're only ordinary men.
Me, and you.
God only knows it's noz what we would choose to do.
Forward he cried from the rear
and the front rank died.
And the general sat and the lines on the map
moved from side to side.
Black and blue
And who knows which is which and who is who.
Up and down.
But in the end it's only round and round.
Haven't you heard it's a battle of words
The poster bearer cried.
Listen son, said the man with the gun
There's room for you inside.

"I mean, they're not gunna kill ya, so if you give 'em a quick short,
sharp, shock, they won't do it again. Dig it? I mean he get off
lightly, 'cos I would've given him a thrashing - I only hit him once!
It was only a difference of opinion, but really...I mean good manners
don't cost nothing do they, eh?"

Down and out
It can't be helped but there's a lot of it about.
With, without.
And who'll deny it's what the fighting's all about?
Out of the way, it's a busy day
I've got things on my mind.
For the want of the price of tea and a slice
The old man died.


Any Colour You Like
(Gilmour, Mason, Wright) 3:25

(Instrumental)



Brain Damage
(Waters) 3:50

The lunatic is on the grass.
The lunatic is on the grass.
Remembering games and daisy chains and laughs.
Got to keep the loonies on the path.

The lunatic is in the hall.
The lunatics are in my hall.
The paper holds their folded faces to the floor
And every day the paper boy brings more.

And if the dam breaks open many years too soon
And if there is no room upon the hill
And if your head explodes with dark forebodings too
I'll see you on the dark side of the moon.

The lunatic is in my head.
The lunatic is in my head
You raise the blade, you make the change
You re-arrange me 'til I'm sane.
You lock the door
And throw away the key
There's someone in my head but it's not me.

And if the cloud bursts, thunder in your ear
You shout and no one seems to hear.
And if the band you're in starts playing different tunes
I'll see you on the dark side of the moon.

"I can't think of anything to say except...
I think it's marvelous! HaHaHa!"


Eclipse
(Waters) 2:04

All that you touch
All that you see
All that you taste
All you feel.
All that you love
All that you hate
All you distrust
All you save.
All that you give
All that you deal
All that you buy,
beg, borrow or steal.
All you create
All you destroy
All that you do
All that you say.
All that you eat
And everyone you meet
All that you slight
And everyone you fight.
All that is now
All that is gone
All that's to come
and everything under the sun is in tune
but the sun is eclipsed by the moon.

"There is no dark side of the moon really. Matter of fact it's all dark."


Sound Engineer : Alan Parsons

[defhermit]

What is the point of all these song lyrics byrdsmaniac? I see nothing Paul-related in any of them.

[defhermit]

The problem is, you post so many song lyrics that (I can't be the only one) people just start ignoring you... the Beastie Boys have a song called "Intergalactic", should I post it here?