Now we’re in 1966. Anton LaVey starts the Church of Satan in 1966 and declares this year “Year One”. June 1st after all is in fact 6/66 and quite eerily is exactly 922 days after the assassination of JFK.
Dylan probably christened the era, but 1966 would probably be considered Year One of the sixties also; components of it had been building for quite awhile but this was the year that those ideals started to reach mainstream America.
For some reason, 1966 always comes across to me as sort of the equivalent of the discussion God and Satan had about Job in the Bible, you almost get the feeling that Lennon’s Beatles vs. Jesus comments sort of foreshadow this entire era.
On July 29th, Bob Dylan has his motorcycle accident at Woodstock NY and decides to take the rest of the sixties off, at least from touring; he focuses on his basement tapes and studio work instead.
3 days later, Datebook publishes the John Lennon interview in which he said the Beatles were more popular than Jesus.
I don’t think that Lennon is much more than a pawn because of it, he certainly meant it to be more of an indictment on people’s relative values at the time rather than his own; but he certainly brought the subject to a head very quickly and this is also when the “mysteries” in the Beatles music really started, mainly through John.
In the last post, I debated whether “Paul” could have represented something other than McCartney.
However there’s another possibility. Wouldn’t “Paul is dead” be the ultimate false flag, if there were certain messages really intended to be about John?
I don’t mean a false flag intended by the Beatles; I’m referring more to the possibility that they meant to do one thing by planting “Paul” clues in their songs and Satan intended something different; to hide the fact that there were also other clues that he had “tempted” the Beatles to write that really referred to the fate of John, not Paul.
It would keep everyone occupied on the clues, but trying to apply all of the Faces in Toast to the wrong person. It’s the sort of misdirection that has people believe that Paul died on 11/9/66 when in actuality it is the date that John met Yoko, to show one example. (Although if McCartney really had died, he would have been 24 at the time).
The Walrus was John; the Walrus was Paul; the Walrus was John, to show another.
So, regardless we have a genius who was certainly “built” through childhood hurt that loves to put mystery into everything the Beatles do, starting mainly from 1966 forward.
Me, as well as thousands of others, pour through everything the Beatles did looking for hidden meanings in everything. What do we hope to find? Well I defined what I’m looking for, many looked for “Paul is Dead” clues and others just like the riddles in general.
And the ironic thing about it is, there is plenty there to suggest that something was really being planted, someone really wanted to communicate something to us; and yet I almost get the feeling that the search for Beatles riddles became its own vehicle to destruction.
And yet, it seems impossible to believe that the “psychosis” is just a series of coincidences. But in misinterpreting the meanings, the search for the riddles attached actually served to fuel evil itself.
Even after Lennon’s apology (you guys have taken this totally out of context and I’m sorry you did that, and also that I said what I said, allowing you to…), groups are still sponsoring rallies to burn Beatle records; radio station KLUE (yes, it actually reads clue) in Texas organizes one such burning on August 13th.
On August 14th, still in protest mode, their broadcast tower gets struck by lightning, putting the program director in the hospital and knocking the station off the air indefinitely.
No other clues are forthcoming as to just Whose bolt it was…
While Dylan and the Beatles still command most of the popular attention, a group of musicians that has been convening in the hills of Los Angeles is spearheading a movement in the United States against a Vietnam War that is now growing beyond anyone’s level of comfort.
While the Beach Boys, the Byrds, and the Mamas and the Papas have carved a well-deserved place for themselves early in the sixties movement, others such as Frank Zappa are just arriving in the global Pop Culture scene in 1966 although having already been very prominent in the Laurel Canyon scene prior to 1966.
Admiral George Morrison’s son Jim, with a birthday of December 8th, is part of that group; his band The Doors are the house band at a fledgling LA club called the Whisky-A-Go-Go when it opens in 1966 although Jim is initially very shy and stands mostly with his back to the crowd.
But after watching unrelated artist Van Morrison perform in June, Morrison undergoes a startling stage transformation over the course of the summer of ’66 and adopts what he later terms his Lizard King persona.
By August, Morrison and The Doors are signed to a recording contract when Morrison decides without anyone else’s knowledge to improvise an Oedipus section into a standing song of theirs called The End during a performance at the Whisky.
The resulting performance as portrayed here by Val Kilmer both got the Doors fired from the Whisky on the spot and was transferred to vinyl within a few days; the Doors went from an unpolished but very unique band to one of the sixties most haunting acts within the span of a couple of weeks.
Producer Paul Rothchild said this about the recording session of The End:
“The most awe-inspiring thing I have ever witnessed in a studio.” For the recording, the studio was completely darkened except for the lights on the recording console and a single candle burning next to Jim. “I was totally overwhelmed. Normally, the producer sits there just listening for all the things that are right and anything about to go wrong, but for this take I was completely sucked up into it, absolutely an audience.”
“We were about six minutes into it when I turned to Bruce and said ‘Do you understand what’s happening here? This is one of the most important moments in recorded rock ‘n’ roll.’ It was a magic moment. Jim was doing The End, doing it for all time, and I was pulled off, right on down his road. He said come with me and I did. And it was almost a shock when the song was over – it felt like, yes, it’s the end, that’s the end, that’s the statement, it cannot go any further. When they were done, I felt emotionally washed. I had goose bumps from head to foot. For one of the very first times in rock ‘n’ roll history, sheer drama had taken place on tape…Bruce was also completely sucked into it. His head was on the console, and he was just absolutely immersed in the take – he became part of the audience, too. So the muse did visit the studio that night, and all of us were audience. The machines knew what to do, I guess.
It was magic.”
“Magic” sounds rather cliche’ until you consider that the world went from Bobby Vinton and Blue Velvet to this, in 2 1/2 years. To be more precise, from the Beatles appearance on Ed Sullivan to the Doors signing with Elektra was again, 922 days.