Paul McCartney as a rigorous intuition subject.

[whipstitch]

And, now:
IAMAPHONY makes "The Winged Beatle"
http://www.youtube.com/user/iamaphoney

Nothing we haven't seen before....... HOWEVER, Paul fans got a special free download of Paul in Lagos
http://www.youtube.com/watch?v=zQjKaIP6QWE
..just some home movie footage, but it DOES have a 'whiff' of IAMAPHONY-style editing to it!

I wouldn't be surprised if Paul hired IAMAPHONY for video editing. I have no doubt he's a fan.

[IanEye]

.


i like how iamaphoney has found someone with a very Kasemesque voice to narrate his "Winged Beatle" series.







"I'm on the premise of reality. I walk a real road, I'm a real person, inside. I'm not a phoney. I don't put on no airs. I say what Eye think, you see what I'm saying?"
.

[IanEye]

.




turn me on deadman

turn me off batman



.

His name was Ian Iachimoe. Apparently a Polish filmmaker.


The same Ian Iachimoe who ran this ad in the next issue.


The same Ian Iachimoe who contributed to the Church of the Final Judgement and their magazine, The Process.


The same Ian Iachimoe who engaged his friend Yoko Ono to perform an exhibition at his own Indica Gallery.


The same Ian Iachimoe who wrote Paperback Writer.



The same Ian Iachimoe whose name backwards sounds like, listen…


los paranoias





You don't hear me . but

I'm not here
You can't hear me . but

I'm not here



Das Musikalische Opfer











sleep sleep sleep
go to sleep

.

[Bruce Dazzling]

[Bruce Dazzling]

[vince]

Very cute!
You know, it doesn't matter if it's true or not..... the true 'advantage' to this is: it puts the Beatles & Paul outside the realm of the music industry (which may very well become a footnote to history, since there is very little industry left!). Future generations will find this, and, like all 11 to-20 year olds throughout time, want to know more.
THIS helps secure a future in people still taking an interest in The Beatles.... don't you think?

[crikkett]

That really could be an earpiece, on the right.

[IanEye]

.


and though the holes were rather small - they had to count them all...
.

[IanEye]

.


some have gone - some remain



some are dead - some are living


.

[Bruce Dazzling]

If you liked the first 35 videos from The Rotten Apple Series
you are going to love this movie.

Prior to The Rotten Apple Series, this full length movie was done. We borrowed a small amount of audio from 1969 radio broadcasts, we also used small fragments of an interview from a Dutch documentary on Russ Gibb and the Detroit rumor and some audio clips from a Mr. Dr. Lev.

A special thanks to Apple Corps.

Friends from Denmark, Holland, Germany, UK, USA, Mozambique and Portugal helped us by pointing out or providing, for us, valuable video clips.

[IanEye]

.

.

[IanEye]

.





you don't have to play me backwards to get the meaning of my verse



you don't have to die and go to hell to feel the devil's curse



.

[cptmarginal]

There's a lot to unpack here. Here's a few things I noticed:

The same Ian Iachimoe who contributed to the Church of the Final Judgement and their magazine, The Process.

I'd like to see what his contribution was, but a quick search turns up nothing.

The same Ian Iachimoe who engaged his friend Yoko Ono to perform an exhibition at his own Indica Gallery.

I don't know why John, Paul & Yoko have acted weird about this situation, but the Indica Gallery wasn't outright owned by Paul McCartney.

http://en.wikipedia.org/wiki/Indica_Gallery

Indica Gallery was a counterculture art gallery in Mason's Yard (off Duke Street), St. James's, London, England during the late 1960s, in the basement of the Indica Bookshop co-owned by John Dunbar, Peter Asher and Barry Miles. It was supported by Paul McCartney and hosted a show of Yoko Ono's work in November 1966 at which Ono first met John Lennon.[1]

The International Times newspaper was started in the basement of the Indica bookshop.[2]

Miles had been running the bookshop and alternative happenings venue Better Books but with new, more traditional, owners arriving, had been planning to open his own bookstore/venue. Through Paolo Leonni, Miles met John Dunbar who was planning on opening a gallery, and with John's friend Peter Asher as silent partner, they combined their ideas into a company called Miles, Asher and Dunbar Limited (MAD)[3] to start the Indica Books and Gallery in September 1965, as an outlet for art and literature.[4] They found empty premises at 6 Masons Yard, which was in the same courtyard as the Scotch of St James club,[5] where John Dunbar was leaving with his girlfriend Marianne Faithful, when he discovered the place.[6]

Whilst living in the Asher family house, 57 Wimpole Street, Paul McCartney became involved with the emerging underground scene in London and the setting up of the bookshop/gallery.[7] McCartney was the Indica bookshop's first customer - before it even had premises - as he used to look through the books at night, stored in the Ashers' basement, and leave a note for the books he had taken to be put on his account.[4] Some of the first books he bought were Ed Sanders "Peace Eye Poems'", "and the Mind" by Deropp, and "Gandhi on Non-violence".[8] The wood that was needed for the shelves and shop counter was picked up from the lumber yard by Dunbar and Miles in McCartney's Aston Martin car.[8] Artists such as Pete Brown also helped in the renovation of the Indica, and Brown remarked that as he was helping to paint the interior, he would often look over his shoulder and see McCartney, who also frequently visited the Scotch[4], sawing a piece of wood.[9]

McCartney's girlfriend, and Peter's sister, Jane Asher, donated the shop's first cash till,[10] which was an old Victorian till that she had played with as a young girl.[10] McCartney helped to draw the flyers - which were used to advertise the Indica's opening - and also designed the wrapping paper.[9][11] Barry Miles later introduced McCartney to the works of William Burroughs, and Allen Ginsberg,[12] and their conversations were infused with subjects such as Buddhism, drugs, and 'pataphysics, which McCartney later put into the lyrics of Maxwell's Silver Hammer.[12] After one evening at Lennox Gardens, McCartney had an idea that he told to John Lennon the next day, which was an album title called "McCartney goes too far", which Lennon thought was a great title, and insisted that McCartney should do it.[13]

Here's an online version of the extremely cool Barry Miles book "Many Years From Now", which is the source for a lot of that Wikipedia entry:

http://mccartney.chat.ru/books/myfn/contents.html

Chapter 8:

In March 1966 Paul ran a competition in a little underground magazine called the Global Moon Edition of the Long Hair Times, the direct forerunner of International Times, edited by Miles and produced by John Hopkins on his own hand-cranked offset-litho machine. Paul, using his pseudonym Ian Iachimoe, offered twenty guineas for a film script:

Ian Iachimoe, the Polish 'new wave' film director, is offering a prize of 20 guineas to anyone who can supply the missing link in the following script. The dialogue is not needed, just the idea. Here is the outline of the story:
A woman (age 35-45) is fanatical about cleanliness. She is amazingly houseproud and obsessional about getting rid of dirt. This carries over in her dress, looks, and so on.
Something happens to make her have to crawl through a great load of dirt, old dustbins and so on. Good old honest dirt. What is this something?
The story continues with the woman's mind being snapped by her experiences with dirt. She goes mad and her obsession gets even worse.
What is needed is the idea. What could have caused her to become involved with filth. (She is not forced to do it, but chooses to do it herself.)
Send all answers, as many as you like, to Ian Iachimoe, c/o Indica Books & Gallery. 6 Mason's Yard, Duke St, St James's. London SWi. WHI 1424
This competition is for real - it seems strange but it is real.

PAUL: The thing about cleanliness could be my mother, who was a nurse and was very hygienic. She was amazingly house proud, she was almost obsessive about getting rid of dirt. So if I was analysing it, that would be the first thing I'd go to.

Twenty guineas was a lot of dough! I was very interested in making films. I used to have a few images that I stored to use if I ever did make a film. I suppose I was thinking of New Wave French directors, or New Wave Polish in this case. I remember I had an image of breaking an egg into an ashtray, a very full, very dirty ashtray. That was a shot that was always on my mind. I think it was the natural perfection of the egg breaking into the really slobby man-made mess of the all the ciggies and stuff. I was interested in the contrast.

Then I had a thought about the sound of fire being very similar to the sound of applause and I wanted to do something with that. So I had a lot of unrelated ideas. I suppose it culminated in 'Magical Mystery Tour'. That was about the nearest I got to it.

All of Paul's home movies were subsequently stolen by fans who broke into Cavendish Avenue and exist now only in the memory of those who saw them.

[...]

Paul McCartney (in the International Times, No 6 - you can buy it at the 8th Street Bookshop):

With everything, with any kind of thing, my aim seems to be to distort it. Distort it from what we know it as, even with music and visual things, and to change it from what it is to what it could be. To see the potential in it all. To take a note and wreck it and see in that note what else there is in it, that a simple act like distorting it has caused. To take a film and superimpose on top of it so you can't quite tell what it is any more, it's all trying to create magic, it's all trying to make things happen so that you don't know why they've happened. I'd like a lot more things to happen like they did when you were kids, when you didn't know how the conjuror did it, and were happy to just sit there and say, 'Well, it's magic!' ... The only trouble is, that you don't have the bit that you did when you were a kid of innocently accepting things. For instance, if a film comes on that's superimposed and doesn't seem to mean anything, immediately it's weird or it's strange, or it's a bit funny to most people, and they tend to laugh at it. The immediate reaction would be to laugh. And that's wrong! That's the first mistake and that's the big mistake that everyone makes, to immediately discount anything they don't understand, they're not sure of, and to say, 'Well, of course, we'll never know about that.' ... There's all these fantastic theories people put forward about 'it doesn't matter anyway' and it does, it does matter, in fact that matters more than anything, that side of it.

[...]

PAUL: We were fed up with being the Beatles. We really hated that fucking four little mop-top boys approach. We were not boys, we were men. It was all gone, all that boy shit, all that screaming, we didn't want any more, plus, we'd now got turned on to pot and thought of ourselves as artists rather than just performers. There was now more to it; not only had John and I been writing, George had been writing, we'd been in films, John had written books, so it was natural that we should become artists.

Then suddenly on the plane I got this idea. I thought, Let's not be ourselves. Let's develop alter egos so we're not having to project an image which we know. It would be much more free. What would really be interesting would be to actually take on the personas of this different band. We could say, 'How would somebody else sing this? He might approach it a bit more sarcastically, perhaps.' So I had this idea of giving the Beatles alter egos simply to get a different approach; then when John came up to the microphone or I did, it wouldn't be John or Paul singing, it would be the members of this band. It would be a freeing element. I thought we can run this philosophy through the whole album: with this alter-ego band, it won't be us making all that sound, it won't be the Beatles, it'll be this other band, so we'll be able to lose our identities in this.

Could this revival of Beatles conspiracy theory be Paul's purposeful distortion of the cartoony Beatles-lite image surrounding the recent remasters, video game, etc.? I get a seriously weird bad vibe from "The Winged Beatle"

A few more things:

Finally proof positive!

iamaphoney = Paul McCartney...

http://twitter.com/iamaphoney

I took this screenshot of his (nearly desolate) Twitter page:

http://en.wikipedia.org/wiki/Twin_Freaks

"Twin Freaks is a collaborative album by musician Paul McCartney with DJ and producer Freelance Hellraiser (Roy Kerry). The album was released on June 14, 2005."

[IanEye]

.



when you were young



your heart was an open book



you know - you didn't know - you didn't know - you didn't



i lie a round



eye lie around





say you love me
if this is true
best thing to do
is to lie
down beside me



i said eye love you
eye thought you knew
last thing to do
was to try
to betray me

.

[IanEye]

.

Think Big & Kick Ass



“You look at Paul and you say schmuck.” - Donald Trump

The second trend is towards dog-whistle prejudice – pitched just high enough for frightened white Republicans to hear it. Trump made it a central issue to suggest that Obama wasn't born in America (and therefore was occupying the White House illegally), even though this conspiracy theory had long since been proven to be as credible as the people who claim Paul McCartney was killed in 1969 and replaced with an imposter.

Trump said nobody "ever comes forward" to say they knew Obama as a child in Hawaii. When lots of people pointed out they knew Obama as a child, Trump ridiculed the idea that they could remember that far back. Then he said he'd "heard" the birth certificate said Obama was Muslim. When it was released saying no such thing, Trump said: "I'm very proud of myself."

.

Mr. Hari is trying to distract us. Everyone knows Paul was killed in 1966, not 1969.