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October 14, 1969 - Image 2

Resource type:
The Michigan Daily, 1969-10-14

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CI:'" E l iC,



Tuesday, October 14, 1969

Pci go iwo THE MICHIGAN DAILY Tuesday, October 14, 1969

~cGrtney dead;

new evidence

brought to

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1ng theirnrhang utbmuml
eaietyi etlyd Nomer,n
1griui hases and lu1kerLing.-
Pau imedin i Ason--
cMartin, stedi awa tred sad, an
itO v ' h i-,)d sheahed bf,.
twas dedve hn a dioorail we
Th-Cu s bgan th clowninestrax
of ou time an'd btherung.-
P uulci bd in o his Aseton
onsiered s terilyhal~litIould
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1ol4 (P i headusheared ofrumet
baruned t 11 ni as Mesa.
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mustaches to further integrate
the "new" Paul into the group.
Voice print studies have con-
firmed the difference in voice
timbre between the original and
phoney Paul, but the difference
was so slight that after study-
ing tapes of Paul's voice and
singing style, Campbell nearly
erased entirely his own speech
patterns and successfully adopt-
ed the late McCartney's
Work then began upon the
first post-Paul album, Sar-
geant Pepper's Lonely Heart's
Club Band. Smile, incidently,
was junked and eventually
picked up by Brian Wilson who
attempted to salvage it but
couldn't. He was allowed to
work on Smile because the
Beatles, especially Paul, had en-
joyed "Good Vibrations" to a
high degree and respected Wil-
son's ability immensely. Smile
was finally thrown away and
Capitol Records, ignorant of
the whole plot, sued Wilson.
Brian later paid tribute to Paul
with Smiley Smile.
Lennon and Martin worked
closely throughout the spring
of 1967 on Sgt. Pepper. Their
goal was an artistically and
monetarily successfully album
filled with clues to Paul's death.
It was decided that an appro-
priate cover would include a
grave and so it does. At the
lower part of the grave are yel-
low flowers shaped as Paul's
bass or, if you prefer, the in-
itial "P." On the inside of the
cover, on the fake Paul's left
arm, is a patch reading "O.P.D."
which Is the symbol used in
England similar to our "DOA"
meaning Officially Pronounced
Dead. The medal upon his left
breast is given by the British
Army commemorating heroic
On the back cover, Paul's
back is turned to us. The others
are facing us.
THE SONGS ON the album
contain numerous references to
Paul's accident, "A Day in the
Life" being the 'most obvious
example. "A crowd of people
stood and stared. They'd seen
his face before . . . etc." When
the top of a man's head is
sheared off his identity is par-
tially obscured.
The entireconcept of the al-
bum, that of a different group,
yet "one you've known for all
these years" is significant.
Another facet of the plot is
the emergence of Martin as an
important composer, all the
while masquerading as Paul. His
old-time piano melodies, begun
with "When I'm 64" and con-
tinuing t h r o u g h "Maxwell's
Silver Hammer" are actually
century old barroom tunes he
has extensively researched. If
you will recall, Martin has a
scholarly background in all
phases of music.
While Sgt. Pepper was being
recorded, Lennon worked on a
song called "Strawberry Fields
Forever" and inserted at the
end of the recording after the
horn freakout, a distorted voice
saying "I buried Paul." Play it
at 45 rpm and check it your-
"Strawberry Fields" eventual-
ly became incorporated into a
larger work, Magical Mystery
Tour, an album and film chock-
ed full of veiled references to
that rainy, tragic night.
Lennon had been doing a
great deal of reading on the
ritual of death in various cul-
tures around the world (docu-
mented by Hunter Daves' auth-
orized biography of the Beatles)
and presented his knowledge
graphically in Tour.
One instance is the constant
appearance of a hand behind
Paul's head in nearly every pic-
ture in the record album. The
hand behind the head is a sym-
bol to mystics of death. An-

other is the picture of Paul
(Ca mpbell) on page three with
the poster saying "I YOU WAS"
indicating change of identity,
Another is the appearance of
surgeons and policemen, both
involved in Paul's car crash, on
l aSe five.
On page ten and thirteen Paul

Paul McCarney ... O.P.D. 1966

guy" style of singing became
integrated rapidly into the
group and continued through
to Abbey Road.
The Beatles appeared nearly
a year ago with an all-white
cover and hundreds of clues
for the wary. The use of the
white cover indicates Lennon's
further adoption of a God-like
image and an ever increasing
sense of the value of purity of
purpose to the plot.
The collage included with the
album depicts Paul lying on his
back in the upper, left hand
corner, possibly deceased, in a
pool of water, with the top of
his head invisible. In the mid-
dle of the right side is a snap-
shot of Paul with the top of his
head missing. As noted before,
William Campbell's passport
picture before joining the group
is in the lower left-hand corner.
The first song on the album,
"Back in the U.S.S.R.," is a
thank-you note from the Beatles
to Brian Wilson for his work on
Smile and his cover-up job in-
volving where the tapes origi-
"Dear Prudence" begs Paul to
come back and "open up" his
eyes. John called McCartney
"Prudence" back in the old days
when they were known collec-
tively as the Nurk Twins. Nearly
every tune on the album con-
tains obvious references to the
hoax, culminating in Lennon's
apocalyptic vision in "Revolu-
tion Number 9."
This sound collage is clearly
the whole story, according to a
God-like Lennon. Besides the
obvious chaos, the "Take this
brother, may it serve you well,"
the religious absolution and the
eventual triumph of "Good
Night," the tape played back-
wards near the beginning has
a man saying "Turn me on, dead
man," etc.
Thus we come to Abbey Road.
(Monks live in abbeys.) On the
cover is John Lennon, dressed
in white and resembling utterly
an anthropomorphic God, fol-
lowed by Ringo the undertaker,
followed by Paul the resurrect-
ed, barefoot with a cigarette in
his right hand (the original was
left h a n d e d), followed by
George, the grave digger.
AND IF YOU look closely,
they have just walked out of a
cemetary on the left side of the
street. Thus, Paul was resur-
rected, given a cigarette, and
led out of the tomb, thereby
conquerng, death with a little
help from his friends.
The real Paul is still dead,*of
course, but his symbolic resur-
rection works fine without him.
at Reaulor
j 4 4 4 4 0 4
0 4c,00 g i

The album itself contains clues
to his, death and now, clues to
his resurrection. "Maxwell's Sil-
ver Hammer" is a tale of relig-
ious justice, with a dashed in
head for punishment. "Octopus's
Garden" is British Navy slang
for the cemetery in England
where naval heroes are buried.
"I Want You (She's So Heavy)"
is Lennon wrestling with Paul,
trying to pull him out of the

It analyzes inter-personal rela-
tionships in "You Never G i v e
Me Your Money," explains
Paul's part in the ritual in "Sun
King" ("Here come the. s u n
king. Everybody's laughing..." 1
humorously, never cruelly in-
spects money grubbers and fad-
followers in "Mean Mr. Must-
ard" and "Polythene Pam," and
realistically looks at life with
"Boy, you're gonna carry that
weight a long time."
ascends to the right hand of
John and proclaims, "the 1 o v e
Wed., Oct. 15
dir. Sutyajit Ray
The greatest director in
India bless s us with
this great film.
"Tired of fighting for
Peace? See do Movie."

earth. Again John's apocalyptic
vision has crystalized and after
a seemingly endless amount of
chaos and confusion, the music
ends abruptly as Paul is extri-
The second side announces the
principles upon which the relig-
ion will be based: beauty, hum-
or, love, realism, objectivity. It
is a religion for everyday li f e.
Poetry reading
Ted Berrigan will give a
reading of his poetry this af-
ternoon at 4:10 p.m. in the
UGLI Multipurpose Room. Ber-
rigan is a very modern poet
currently teaching English 231
here at the University.
3020 Washtenaw, Ph. 434-1782
Between Ypsilanti & Ann Arbor
a J
in the

you take is equal to the love
you make"
But in the VERY end, they
are joking about the Queen.
The Beatles are building a
mighty church, and when you
emerge from it, you will be
laughing, for Paul is the Sun of



Come in Any Afternoon


S( C - 0 Pal. Fromn.
all ccouns, it a[ppears to have
Whe w1rd (I Paill> tutim'ly
din e was- ; 'atshed ba'k 1t0 tile
sdi. 1h stirv iving~ Beatles,
inl aC h riedly c'alied conference
with t or0l Marlill. decided to
keen I he InftOl m11 ion froml the
public1 01' as Iong as possible.
A> Johnl L 'nn1 )n re ptedly said,
''Paud always ik d a 'POod joke,"
and i " t seImed tha I hey con-
sider.eI tim 1mv an a1 ttemipt tO
nake the Pes amuhi of a bad sit-
it ┬▒on. A xvl be sC'enI shortly',
110w-vir. 'h 'oud joke soon
( U II amli was1. c'ailed

is shown wearing black trous-
ers and no shoes. Dead men are
buried in black trousers and
without shoes. Empty shoes, as
appear next to Ringo's drums
on page thirteen, were a Gre-
cian symbol of death. And final-
ly, on page twenty-three where
the group has just descended a
long, curving staircase, Paul is
shown wearing a black rose
while the other three are wear-
ing red roses.
THE SONGS again are para-
mount. "Magical Mystery Tour"
implies the hoax in it's entirety
and marks Lennon's developing
suspicion that the plot is out
of hand. They are "dying" to
take us away. "The Fool on the
Hill" sits "perfectly still," as
though dead, and grins a dead
man's "foolish grin." On "Blue
Jay Way" George Harrison,
wrapped up in Eastern sym-
bolism and religious fervor, im-
plores Paul to resurrect himself
before "very long" implying for
the first time a realization of
the essentially religious nature
of the plot.
"Walrus" is Greek for corpse.
John is "crying." He is also ob-
viously contemptuous of those
unaware of the plot, not having
assumed the role' of God he
adopts later on. Also, the end of
"Walrus" c o n t a i n s passages
from King Lear about death
and villians recorded simultan-
eously with the radio broadcast
that never took place announc-
ing Paul's death to the world.
Played backwards, a favorite
ploy of the Beatles as early as
"Rain," the words "Paul's dead"
can be plainly heard.
The closing song of the al-
bum, "All You Need Is Love,"
lays the premises for Lennon's
developing concept of his fled-
gling religion, with a tribute to
Paul's early composing efforts

at its conclusion coupled with
his f a vo r i t e old standard,
Before going on to The
Beatles album, it should be ex-
plained more fully how the
mechanics of hiding Campbell's
identity were worked out. Be-
fore his death, Paul was a
homosexual (as- noted in "Yel-
low Submarine" when it is
plainly yelled "Paul's a queer,"
answered by "Aye, aye, Cap-
tain"), so confused girlfriends
were not a major problem for
the plotters.
Paul rarely saw his only
surviving parent anyway, and
had had few close friends.
Campbell was able to cover the
part perfectly. It cannot be em-
phasized too heavily that Camp-
bell is the primary reason for
the success of the hoax, A girl-
friend was needed to keep fe-
male admirers at bay, prevent-
ing infiltration or blackmail of
the five men who knew of the
plan so Peter Asher's sister
Jane was paid a ripe sum to
keep her mouth shut and pre-
tend she was Paul's better half.
LAST SUMMER, of course,
Campbell married a New York
divorcee as Jane Asher was
spirited out of sight and the
plotters grew more confident of
their substitute.
After Magical Mystery Tour,
Campbell began playing a more
prominent part in the actual
realization of the plot. He was
allowed to use his natural voice
on "Lady Madonna" which
many - listeners thought was
Ringo at first. This "tough
_ _ _ _ -

MadI Burns






o 00014
People who see "Funny Girl"
are the luckiest people in
the world.


at 8 P.M.
01, pNV

- -- --- ------


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