One of the true gems of the December 8th clues is the video for Blue Jay Way off of Magical Mystery Tour.
I’m not the first to mention Laurel Canyon relative to pop culture and the sixties and certainly won’t be the last, but as we get deeper into Faces in Toast we’ll start moving past the Beatles and more into all of the other artists that comprised the sixties; but although we’re getting close to Laurel Canyon with this one we’re still a few blocks away.
Blue Jay Way is a street down the road from the Whisky in LA and the infamous Laurel Canyon community; one night in 1967 George Harrison was sitting in a house on this street waiting for some friends to come in from the airport and put this song together.
So it has a very innocent root, and yet “There’s a fog upon LA, and my friends have lost their way” is an extremely prescient lyric that in retrospect seems to sum up something much deeper and darker that we’ve yet to really address in this series.
How does that fit into Magical Mystery Tour?
I have no idea, but like everything else the Beatles did, they made it work and it’s one of my favorite Beatle songs.
Interestingly, they actually recorded over the planned ending to the song in which George Harrison for some strange reason was going to be run over by the bus, which always reminds me of Jim Morrison and The End somehow even though Morrison wrote that song well over a year before the movie came out.
But I digress, here’s the picture in question.
I think these guys invented mystery sometimes, or took it to an entirely different level.
What does this mean?
Strangely enough, this interesting image explains quite a bit and it sort of amazes me that they actually tackle the subject, albeit without ever explaining anything like usual.
The person in the back of the black car is John Lennon.
This image is his divorce.
The Black car that he is in, along with the words 2 wives and kid to support, represents Yoko.
The white car and thank you very (with the religious symbolism of a cup) represents Cynthia.
What amazes me about this, is that very much like Sam Kinison did a decade and change later, John Lennon actually broaches the religious aspect to divorce with this scene.
He seemingly comprehends with the words and the symbolic cup on the white car side that to stay with his current wife would represent some sort of sacrifice to him and that yet is not the decision he is going to make.
I don’t really know how God goes about judging instances where a person messes around for years and then gets married; but in Paul’s case he seemed to find his heart’s desire with his first wife.
John for whatever reason, and it’s for each person to determine their own “taste” so who could ever judge that, seems to believe that Yoko is his and that his wife isn’t.
Except John needs to leave his wife to get to his heart’s desire, and Paul didn’t.
The significance of that (as well as the change in hair color that we’ll get into in a later post) is that John goes through his final years having had to defend in his own mind his right to his action, and no different in reality than a lot of gay people do at some level, has to evaluate the potential choice of eternity vs. a partner.
In Paul’s case, he gets what he’s looking for without having to leave anyone he’s married to, which carries no religious stigma.
We talked quite a bit in Fish Delusions about 24 and the Faustian deal with the devil; but, and again it isn’t for me to evaluate circumstances of others’ marriages so maybe John had just cause, but one of the ways that the devil ensures that he has someone in his pocket is to introduce an element in a person’s life that a person is unwilling to walk away from in order to repent and return to God.
It’s one of the ways that Objects of Wrath and Destruction get built.
In John’s case, that could have been Yoko…