Wednesday, 16 October 2013

Eyebrow Archetypes

"The problem is all inside your head", she said to me 

The answer is easy if you take it logically 
I'd like to help you in your struggle to be free 

There must be fifty ways to leave your lover 


Hopefully this will be one of the last times I go the photo excursion route. There's enough discrepancies in the months of September 1966 through April of 1967 in the Beatles tale to fill two volumes. Like, how did Paul McCartney & George Martin get time to do The Family Way? That's been bothering me the past week or two. But here we are again anyway. 

In Paul Is Dead mythology, the concept states that the replacement is taller, parts his hair to his left, and doesn't look like the real James Paul McCartney. In effect, you get the below:





That works of course. It explains the years 1962 through 1966 very plainly. Until you get to :



and:




Which throws the whole thing off. And there's plenty of evidence gathered to say that McCartney's hair naturally parted to the left anyway, and it was subverted over to the right in the beginning. Kinda lending to a theory that Paul was always going to be in question right from the start.




What's wrong with my eyebrow??? What do you mean???


Okay, let's say Paul McCartney is not a series of manufactured items on a treadmill. Let's say he's just a mad mother plucker. Then we need to identify what to look for when he goes on his plucking frenzies. Which can happen within the space of year.

ARCHETYPE I : The Loop the Loop
This is the high arcing, am I raising this up on purpose to be cool, or is this how my actual eyebrow is shaped right eyebrow.






ARCHETYPE II : What Goes Around Comes Around

This one is a variation on the arc, but it comes around to border the eye. Not seen as often, but it makes appearances.




ARCHETYPE III : The Straight and Narrow

This one shows up various times, making rare appearances it seems. Must be a mood thing.





So let's say it's a plucking frenzy for the sake of argument. I mean, it suggests to me multiples. I don't know about you. But don't you think this guy's height, facial features and general appearance is all over the place, and not in that David Bowie kinda cool way, but in a no wonder they said he was dead way? I mean, how strange does this have to get before someone actually realises, there's a reason they said he was dead, over and over again. And it ain't about the money. And it ain't for laughs. 

If you ask me, it's one of the greatest deceptions ever undertaken. I rank it right up there with, I don't know, the discovery of America by Christopher Columbus. Yeah. That big! 

Or maybe he just plucks his eyebrows and wears 3 inch heels on occasion. Maybe he was glam before glam was glam. Pre-glam. With the way The Beatles get credited for inventing everything from heavy metal to polka music, I wouldn't be surprised they'd get more accolade. (And if you ask me The Kinks were the prototype for most of what came after the British Invasion. Even with the glam thing.)

But here I am talking about music and culture and influence, while I'm looking at a guy who could be two people. Or even three. What's up with that!!! And if it is true, how deep does that deception go into the subconscious. Are there little Lady Madonna think packets littered amongst the brain cells? How much does this influence the way we behave, interact, take reality as it is in this world. Didn't Lennon say Nothing Is Real? Well Paul McCartney is a good indication to believe him. There seems to be nothing real about him. And when you get to that period between September 1966 and April 1967, the stories told don't seem real at all. They seem like outright lies. So whether he died or not, something is still amiss. If the photos are being tampered with, something is still amiss. No matter which angle you come in from, something is still amiss. 

There must be 50 ways to leave it. Must be. 

5 comments:

  1. Like, how did Paul McCartney & George Martin get time to do The Family Way? Well, it was mostly George Martin, wasn't it ? I never had that album but there's no Paul McCartney vocals on it - I don't think he plays bass on it either - he wrote the songs, which are instrumentals, and George Martin recorded it. Far as I know anyway. It's not a Paul McCartney album really. Then again, The Beatles were on hiatus after Revolver so he did have time to record a solo album ( like 1970 McCartney) if he wanted to. Wings Wild Life only took about a week to record, you know.

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    1. That's not necessarily the question. I might have to illustrate what I mean with how did they find the time to do it, because the events that occur at the time, seem to point that they couldn't have done it.

      And Wild Life sounds like it took a week to record. ;)

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    2. Supposedly, the album was recorded November 1st 1966 - check out this link
      http://forums.stevehoffman.tv/threads/mccartney-family-way-recording-sessions-photos.202394/

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    3. Interesting. Because the Family Way soundtrack site states the music wasn't finished until 2 weeks before the film's release (December 18th, 1966) which makes it the 4th December. It also states the recording took place during sessions for Strawberry Fields Forever (which it didn't). Martin also states McCartney had nothing but 15 seconds of material upon his return from holiday to Africa on the 19th November.

      http://varesevintage.wordpress.com/2011/06/15/paul-mccartney-the-family-way-soundtrack/

      Read the section "The Complete liner notes by Chip Madinger"

      To begin, Paul composed 15 seconds of the opening theme and played it on piano to Martin, who transcribed the notes and arranged the melody, merging a church organ, brass band, string quartet and percussion.

      It was more than a fortnight later (with Martin back from a cruise to New York aboard the Queen Mary, and McCartney having returned from an extended holiday through France, Spain and Africa) that the duo regrouped to complete the requisite love theme for the film, as Martin recounted for the NME: “I told Paul, and he said he’d compose something. I waited but nothing materialized, and finally I had to go round to Paul’s house and literally stand there until he’d composed something. John was visiting and advised a bit, but Paul created the tune and played it to me on guitar.” Again, Martin took away the melody, this time arranging it for woodwind and strings. Five sessions at CTS Studios followed, spread over the course of three days and nights, all in the midst of recording The Beatles’ “Strawberry Fields Forever.” In the end, the music was completed only two weeks before the film’s Sunday night premiere in London’s Warner Theatre on December 18th, leaving the editors little time to complete the soundtrack. The Daily Mirror reported Martin as having told the Boulting brothers: “If it sounds as if it was done in a hurry, it’s because it was done in a hurry.”

      So that's amazing that they have sessions from the 1st November 1966 photographed, because according to people in the know, they didn't begin recording it until after the 19th November, and by accounts, 2 weeks after that!

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    4. Problem I had was finding what dates those five sessions over three days and nights occurred. Because by all accounts they were working on their Christmas album, and When I'm Sixty Four when this had to have occurred if they left it with 2 weeks to submit the composition, arrangements, recordings and final masters to a film that debuted 2 weeks later and had to have that soundtrack incorporated into the final edit of the film.

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