TODAY LIVERPOOL, TOMORROW DER WELT!!

During the initial years of the first wave of Beatlemania in America it became commonplace for the band to be derided as amoral, homosexual, or even worse, Communist by the more stuffed shirted of this country's 'right' commentators. All of this looks past the far more insidious truth which has slipped by the collective awareness somehow  unnoticed for several decades--that the Fab Four- JOHN, PAUL, GEORGE & RINGO, had sympathies far less concerned with Marxist demagoguery and far more obsessed with Master Race World Domination. With significant stretches of their early career spent in Hamburg and surrounding cities, it is hardly surprising that they fell sway to prevalent radical ideologies.



Skeptical? Well take a gander at the proof. First, sample this recording of one of their biggest hits, I WANT TO HOLD YOUR HAND, remade with a new vocal track retranslated  to better please the Hit Parader Youth:

But this wasn't the only of their hits remodeled to better please the Deutschlander fans- try this anthem on for size, which even managed to crack the charts on this side of the Atlantic, thanks no doubt to it's nearly profane phoneticisms to red white & blue ears. Sample as well the accompanying footage of the lads merrily romping around the beloved 'Vaterland.' "Ja,ja,ja," indeed:

And as if this all didn't make it plain enough, consider this telling footage of their reaction to a gigantic mob assembled to greet their 1964 tour to Australia (The unfamiliar fifth member is JIMMY NICOL, brought in to temporarily fill in for an ailing RINGO):

But lest one thinks that this leaves STARR off the hook, gaze upon the final footage of this clip, where he greets a crowd from his hotel widow once having rejoined the band after returning to good health:

Ladies and gentlemen, the evidence speaks for itself.

ELVIS BUKOWSKI

August 16th. CHARLES BUKOWSKI's birthday in 1920. ELVIS PRESLEY's death day in 1977. Please note "Elvis Lives" from THE LAST NIGHT OF THE EARTH POEMS, one of his very best books. Read here: (CHARLES BUKOWSKI--ELVIS LIVES.) For now, I offer this comparative consideration:

1. "Hound Dog"...........................................................................LOVE IS A DOG FROM HELL

2. "Are You Lonesome Tonight?"....YOU GET SO ALONE THAT AT TIMES IT JUST MAKES SENSE

3. "Return to Sender".............................................................................................POST OFFICE

4. "I Was Born 10,000 Years Ago".........................................................................Dinosauria, We

5. G.I. BLUES..............................................................................................WAR ALL THE TIME

6. "Heartbreak Hotel"............................................................THE ROOMINGHOUSE MADRIGALS

7. VIVA LAS VEGAS................................................LONGSHOT POMES FOR BROKE PLAYERS

8. JAILHOUSE ROCK..............................................................Doing Time With Public Enemy #1

9. GIRLS, GIRLS, GIRLS! ...........................................................................WOMEN

10. 50,000,000 ELVIS FANS CAN'T BE WRONG.......................................The Genius of the Crowd

Happy drinking, be it mournful or celebratory.

Imitation is the Most Sincere Form of...Holy SHIT!! Get My Lawyer on the Phone!!-- #1 in a Series

The climax of HAROLD & MAUDE (1971)--

The end of QUADROPHENIA (1979)--

That both Harold and Jimmy survive, having purged their aesthetic morbidity and empty mod restrictiveness respectively, makes the plagiarism of such a significant plot device all the more galling. (In QUADROPHENIA Jimmy is shown walking away in the opening scene.)


Mind you, that these are both films of significant merit and weight. The level of thievery & borrowing that surely occurs within the dreck manufactured by hollywood hacks could be safely assumed to be staggering.

What in the 'FUCK' do HEY JUDE and LOUIE LOUIE Have in Common??

Yes, they were both worldwide #1 smashes. Yes, they are both definitive examples of the irresistable glory of one-four-five's attractiveness, even in it's simplest forms. (More on that at a later date, rest assured.) But the most tantalizing trait shared by both monumental recordings is that both feature in their respective aural background dins audible expletives blurted out during the recording but deemed sufficiently buried and unnoticable enough to have been left on the released versions.

First we have the KINGSMEN classic Louie Louie. While later pondering the lunacy of the congressional hearings centered on whether the song's lyrics were obscene during the hit's heyday (hundreds of thousands of dollars wasted, but did a single politician think to simply ASK Richard Berry what the words were??!) one of the band's members noted that in the song you can actually hear the drummer blurt out "FUCK!" over a supposed mistake right before the second verse, around the 53 second mark or so (though, as with Hey Jude, the actual accident triggering the cursing is not really apparent.) That had not been noticed however, even as the entire country reeled over deciphering what the supposedly dirty lyrics were.

Next we have Hey Jude by the BEATLES. Preceding the repeated coda at just before the three minute mark John, again over an error that is not truly apparent, scowls out "fucking hell." It occurs right after the last "let her under your skin..." and in fact the immediate "OH!" that happens may be Lennon tripping up, and his grumbling coincides with the final lyric "then you begin..." Slightly less noticable than the Louie Louie's profanity (but impossible to ignore once you know about it!), the master recordings seem to bear out verification. Perhaps embarking on too many multiple takes of a song of such epic length seemed inconsiderable?







It would be rich to get the FCC's take on all of this...