1 00:00:00,200 --> 00:00:27,600 Speaker 1: Ridiculous History is a production of iHeartRadio. Welcome back to 2 00:00:27,640 --> 00:00:31,200 Speaker 1: the show, fellow Ridiculous Historians. Thank you, as always so 3 00:00:31,400 --> 00:00:34,080 Speaker 1: much for tuning in. Let's hear it for the Man, 4 00:00:34,120 --> 00:00:38,440 Speaker 1: the Myth, the Legend, our super producer, mister Max Williams. 5 00:00:39,520 --> 00:00:40,960 Speaker 2: Z azaltop. 6 00:00:41,800 --> 00:00:45,640 Speaker 3: As we were talking beforehand trying to figure out when 7 00:00:45,760 --> 00:00:50,400 Speaker 3: it is, and I had forgotten this. On April twentieth, 8 00:00:50,560 --> 00:00:53,360 Speaker 3: twenty twenty five will be four years I've been on 9 00:00:53,479 --> 00:00:54,160 Speaker 3: Ridiculous History. 10 00:00:54,160 --> 00:00:56,840 Speaker 2: Of the first episode I edited in Doctor T. W. 11 00:00:56,920 --> 00:01:02,360 Speaker 3: Stallings, the One Man's corvid hating quest make Oklahoma literally 12 00:01:02,400 --> 00:01:03,040 Speaker 3: eat Crow. 13 00:01:03,160 --> 00:01:05,360 Speaker 2: It didn't cut off. I had to click it into it. 14 00:01:05,400 --> 00:01:08,760 Speaker 4: But yeah, we love core here. Well, we should have 15 00:01:08,760 --> 00:01:11,240 Speaker 4: brought you some flowers or a cupcake or something. 16 00:01:12,280 --> 00:01:14,480 Speaker 1: Pupcakes or like a basket of crows. 17 00:01:14,880 --> 00:01:17,039 Speaker 4: It could be we could. I'm sure we could find 18 00:01:17,080 --> 00:01:19,720 Speaker 4: a way to serve you a cupcake. Man. Surely there's 19 00:01:19,760 --> 00:01:21,479 Speaker 4: a condition approved cupcake. 20 00:01:22,319 --> 00:01:24,720 Speaker 2: There's actually muffins and stuff cupcakes. 21 00:01:24,720 --> 00:01:27,160 Speaker 4: There are what is a muffin if not a cup 22 00:01:27,319 --> 00:01:28,240 Speaker 4: a healthy cupcake? 23 00:01:28,560 --> 00:01:30,640 Speaker 3: Or what is a cupcake if it's not an unhealthy 24 00:01:30,720 --> 00:01:32,160 Speaker 3: muffin or actually healthy? 25 00:01:32,200 --> 00:01:35,600 Speaker 1: For the soul muffin right right, and again you'll get 26 00:01:35,640 --> 00:01:41,600 Speaker 1: your basket of crows once accounting approves. Folks, we couldn't 27 00:01:41,640 --> 00:01:46,840 Speaker 1: be more excited to join with you for our continuing 28 00:01:47,080 --> 00:01:52,160 Speaker 1: exploration of Paul is Dead courtesy of our research associate, 29 00:01:52,280 --> 00:01:53,800 Speaker 1: Jordan's Noel. 30 00:01:54,320 --> 00:01:59,280 Speaker 4: How you feeling good, great jubilants. All you need is love, 31 00:01:59,360 --> 00:02:02,440 Speaker 4: baby piece and love, peace and love always. That's what 32 00:02:02,560 --> 00:02:05,400 Speaker 4: Ringo says. Nowadays he's all about peace and love. But 33 00:02:05,440 --> 00:02:07,800 Speaker 4: back in the day he knew how to throw some punches, 34 00:02:08,120 --> 00:02:12,160 Speaker 4: and potentially he was responsible for Sir Paul McCartney running 35 00:02:12,200 --> 00:02:15,120 Speaker 4: out of Abbey Road Studios and driving like a bat 36 00:02:15,160 --> 00:02:18,200 Speaker 4: out of Hell and his Aston Martin, which led to 37 00:02:18,240 --> 00:02:23,200 Speaker 4: his untimely demise, at which point a plot was cracked 38 00:02:23,280 --> 00:02:26,760 Speaker 4: or hatched by mi I five, the British Secret Service 39 00:02:27,120 --> 00:02:29,960 Speaker 4: and the Beatles themselves being complicted and covering up Paul's 40 00:02:29,960 --> 00:02:32,760 Speaker 4: death and replacing him with the Canadian doppelganger by the 41 00:02:32,840 --> 00:02:36,200 Speaker 4: name of Billy Shears. And then later they regretted it 42 00:02:36,240 --> 00:02:38,480 Speaker 4: and decided it was only fair since they couldn't come 43 00:02:38,520 --> 00:02:40,880 Speaker 4: out and speak about it openly, to just sprinkle in 44 00:02:40,960 --> 00:02:44,880 Speaker 4: some little tidbits that fans could decode to let them 45 00:02:44,960 --> 00:02:47,720 Speaker 4: know that Paul was dead. I don't understand to what end, 46 00:02:47,800 --> 00:02:49,920 Speaker 4: but you know, it's a fun story, that's for sure, 47 00:02:50,080 --> 00:02:52,400 Speaker 4: and we're entering part two of it in terms of 48 00:02:52,440 --> 00:02:57,200 Speaker 4: the albums, and said clues sprinkled therein that's. 49 00:02:57,040 --> 00:03:00,720 Speaker 1: An excellent recap by none other than mister Old Brown. 50 00:03:00,960 --> 00:03:05,840 Speaker 1: They call me Ben Bilin. This is part two of 51 00:03:06,160 --> 00:03:12,480 Speaker 1: Paul Is Dead, which, folks spoiler, may well be a 52 00:03:12,520 --> 00:03:15,560 Speaker 1: three part series because we've got so much stuff to 53 00:03:15,560 --> 00:03:20,040 Speaker 1: get to off air. We were hobnobbing a bit and 54 00:03:21,120 --> 00:03:24,000 Speaker 1: Nola you brought up a great point that maybe we 55 00:03:24,040 --> 00:03:35,680 Speaker 1: should go album by album. At this juncture, Paul Prime, 56 00:03:36,120 --> 00:03:40,440 Speaker 1: according to the tail Dies, is decapitated in a car 57 00:03:40,520 --> 00:03:45,640 Speaker 1: accident in nineteen sixty six. Let's go to the white album. 58 00:03:46,560 --> 00:03:49,840 Speaker 1: When was that nineteen sixty eight? Right, So now Billy 59 00:03:49,920 --> 00:03:53,920 Speaker 1: Shears is already Paul Prime's body double. 60 00:03:54,200 --> 00:03:56,000 Speaker 4: But before we do that, Ben, there was one really 61 00:03:56,080 --> 00:03:58,200 Speaker 4: cool tidbit that we referenced, and I think is worth 62 00:03:58,240 --> 00:04:02,360 Speaker 4: mentioning for the song Strawberry Fields Forever, one of the Beatles' 63 00:04:02,400 --> 00:04:06,400 Speaker 4: most famous jams, lovely little mellotron flutes. There at the beginning, 64 00:04:07,040 --> 00:04:11,280 Speaker 4: we talked about the idea that John Lennon, in his grief, 65 00:04:11,840 --> 00:04:16,800 Speaker 4: was somehow responsible for burying Paul McCartney Paul Prime's mangled 66 00:04:16,800 --> 00:04:23,240 Speaker 4: corpse in a shallow, unmarked grave in Strawberry Fields Salvation 67 00:04:23,480 --> 00:04:28,039 Speaker 4: Army Park there in Liverpool. And supposedly there are tons 68 00:04:28,040 --> 00:04:33,520 Speaker 4: of little hints to this occurrence buried, unintended, intended whatever. 69 00:04:33,720 --> 00:04:37,440 Speaker 4: In the song Strawberry Fields Forever, there's a giant sun 70 00:04:37,520 --> 00:04:41,960 Speaker 4: of music concrete sound collage fade out at the end 71 00:04:42,000 --> 00:04:44,880 Speaker 4: where you can hear John saying what sounds like I 72 00:04:45,120 --> 00:04:48,680 Speaker 4: buried Paul, though it has been determined that he was 73 00:04:48,760 --> 00:04:54,320 Speaker 4: actually saying Cranberry sauce. You know, let me hear what 74 00:04:54,400 --> 00:04:55,920 Speaker 4: you want to hear, like you said, And it's a 75 00:04:55,920 --> 00:04:58,159 Speaker 4: little bit more apparent on an out take version of 76 00:04:58,160 --> 00:05:00,520 Speaker 4: the song that you can find on the Beatles endthology, 77 00:05:00,640 --> 00:05:04,000 Speaker 4: which is pretty cool. Paul later explained that's John's humor. 78 00:05:04,360 --> 00:05:07,640 Speaker 4: John would say something totally out of sync like Cranberry's sauce. 79 00:05:08,120 --> 00:05:12,520 Speaker 4: If you've seen the Let It Be Recording documentary multi 80 00:05:12,560 --> 00:05:14,520 Speaker 4: part series that came out on Disney Plus that Peter 81 00:05:14,640 --> 00:05:18,320 Speaker 4: Jackson put together, you can really see John Lennon's rye 82 00:05:18,400 --> 00:05:21,159 Speaker 4: wit on full display, where he's always changing the lyrics 83 00:05:21,200 --> 00:05:24,280 Speaker 4: to songs and making little goofs. So Paul characterized it 84 00:05:24,279 --> 00:05:26,840 Speaker 4: as saying, if you don't realize that John's apt to 85 00:05:26,880 --> 00:05:29,800 Speaker 4: say something like Cranberry's sauce when he feels like it, 86 00:05:30,040 --> 00:05:33,120 Speaker 4: then you start to hear a little funny word there 87 00:05:33,240 --> 00:05:36,240 Speaker 4: and you think, aha. As another example, during a day 88 00:05:36,279 --> 00:05:38,800 Speaker 4: in the life, you can hear him saying sugar plump fairy, 89 00:05:38,839 --> 00:05:42,480 Speaker 4: sugar plumb fairy. But Ben, you teed up the White Album, 90 00:05:42,520 --> 00:05:44,599 Speaker 4: which is it's hard to pick a favorite. It's like 91 00:05:44,640 --> 00:05:46,920 Speaker 4: Stars in the Sky. But the White Album is when 92 00:05:46,960 --> 00:05:49,240 Speaker 4: you start hearing the Beatles kind of beginning to go 93 00:05:49,320 --> 00:05:51,680 Speaker 4: their separate ways, and they have kind of each of 94 00:05:51,720 --> 00:05:55,479 Speaker 4: their own personalities represented much more fully on this album, 95 00:05:55,600 --> 00:05:57,240 Speaker 4: where you really start to hear each of them kind 96 00:05:57,240 --> 00:06:01,680 Speaker 4: of have their own songs. Glass Onion is an incredible song. 97 00:06:01,760 --> 00:06:05,360 Speaker 1: Oh wait, we can we spend a second here on 98 00:06:05,960 --> 00:06:09,200 Speaker 1: that pronunciation, because I think it's important what you're saying, 99 00:06:09,600 --> 00:06:13,799 Speaker 1: cranberry sauce, iburry, Paul. It's like house of Lord's House 100 00:06:13,920 --> 00:06:14,400 Speaker 1: of Paul. 101 00:06:15,440 --> 00:06:15,680 Speaker 4: You know. 102 00:06:15,839 --> 00:06:20,200 Speaker 1: I also have to point out with respect to our 103 00:06:20,240 --> 00:06:25,880 Speaker 1: research associate Jordan run talk that if this theory is true, 104 00:06:26,360 --> 00:06:29,280 Speaker 1: it is not Paul Prime, later. 105 00:06:29,120 --> 00:06:33,440 Speaker 4: Explaining this, it is what's true. Billy Shears, that's true. 106 00:06:33,480 --> 00:06:38,360 Speaker 4: Billy Shears, Yeah, aka Paul fall right for Paul. Yeah, 107 00:06:38,440 --> 00:06:41,919 Speaker 4: so let's jump right into the white album with the 108 00:06:42,000 --> 00:06:42,919 Speaker 4: song glass on You. 109 00:06:43,600 --> 00:06:48,920 Speaker 1: Yeah, it's all about this pivotal line. Here's another clue 110 00:06:49,040 --> 00:06:55,360 Speaker 1: for you. All. The Walrus was Paul, And for proponents 111 00:06:55,480 --> 00:06:59,080 Speaker 1: of the Paul is Dead theory, the guy who replaces 112 00:06:59,400 --> 00:07:03,560 Speaker 1: Paul Prime is seen wearing a Walbrius costume on the 113 00:07:03,560 --> 00:07:08,080 Speaker 1: cover of Magical Mystery Tour a year earlier, in nineteen 114 00:07:08,400 --> 00:07:16,080 Speaker 1: sixty seven. So if you ask armchair folkloors and speculators, 115 00:07:16,760 --> 00:07:21,600 Speaker 1: they will tell you that the Walbrius is a mythical 116 00:07:21,960 --> 00:07:28,600 Speaker 1: symbol of death in certain cultures. Issue is nobody really 117 00:07:28,720 --> 00:07:32,880 Speaker 1: seems to be able to agree on which cultures fine 118 00:07:33,920 --> 00:07:35,520 Speaker 1: walers as a symbol of death. 119 00:07:35,560 --> 00:07:37,640 Speaker 4: I've never really heard that one. He's certainly not on 120 00:07:37,760 --> 00:07:40,440 Speaker 4: tarot cart or anything. I've never thought of the walrus 121 00:07:40,480 --> 00:07:43,880 Speaker 4: as being a harbinger of death. I think it's also 122 00:07:43,920 --> 00:07:46,000 Speaker 4: important to mention we're going to get more into this. 123 00:07:46,040 --> 00:07:48,520 Speaker 4: I think in part three. But at this point, the 124 00:07:48,600 --> 00:07:52,880 Speaker 4: discourse around Paula's dead is heavy in the press, and 125 00:07:52,880 --> 00:07:55,640 Speaker 4: they're getting asked about it a lot, and they are 126 00:07:55,760 --> 00:07:59,240 Speaker 4: absolutely fed up with it. So they're honestly at a 127 00:07:59,280 --> 00:08:01,960 Speaker 4: certain points starting to play into it for their own 128 00:08:02,000 --> 00:08:05,440 Speaker 4: amusement and also as a little middle finger to all 129 00:08:05,560 --> 00:08:09,720 Speaker 4: the folks that they perceive as being dumb dums asking 130 00:08:09,720 --> 00:08:11,800 Speaker 4: about this stuff and the press bugging them about it. 131 00:08:11,840 --> 00:08:14,520 Speaker 4: So him saying, and here's another clue for you all. 132 00:08:14,960 --> 00:08:17,520 Speaker 4: He says it with some stank on it in the song, 133 00:08:17,800 --> 00:08:21,520 Speaker 4: very kind of almost sneeringly. The walrus was paul So 134 00:08:21,840 --> 00:08:25,400 Speaker 4: you know, it's definitely John Lennon's very punk kind of 135 00:08:25,560 --> 00:08:28,960 Speaker 4: snotty sensibility coming out in his delivery of that line. 136 00:08:29,600 --> 00:08:33,480 Speaker 1: Yeah, and we can dissect this a little bit. If 137 00:08:33,520 --> 00:08:37,840 Speaker 1: you go to the Michigan Daily shout Out to Michigan 138 00:08:38,080 --> 00:08:42,439 Speaker 1: by Fred Labor, you'll see a claim that walrus is 139 00:08:42,559 --> 00:08:48,520 Speaker 1: the Greek word for corpse. Sorry, Fred, that is not true. 140 00:08:48,760 --> 00:08:53,040 Speaker 1: Diplomatically put, you could see the Chicago Sun Times noting 141 00:08:53,160 --> 00:08:57,200 Speaker 1: that the walrus is the Viking symbol of death. You 142 00:08:57,240 --> 00:09:01,439 Speaker 1: can see the Washington Post speculation that it's a symbol 143 00:09:01,480 --> 00:09:07,840 Speaker 1: of death for modern indigenous communities. They used a word 144 00:09:07,920 --> 00:09:08,800 Speaker 1: we're not going to use. 145 00:09:09,080 --> 00:09:09,240 Speaker 4: Uh. 146 00:09:10,600 --> 00:09:13,880 Speaker 1: We we see a lot of people sort of passing 147 00:09:14,120 --> 00:09:20,120 Speaker 1: around this idea of walrus as a symbol of mortality, 148 00:09:20,720 --> 00:09:24,920 Speaker 1: and the as you dive into it, what you'll find 149 00:09:25,440 --> 00:09:29,720 Speaker 1: is there's really no supporting evidence. People were looking for 150 00:09:29,840 --> 00:09:33,840 Speaker 1: connections that may not actually exist. But I love that 151 00:09:33,880 --> 00:09:39,400 Speaker 1: you're bringing up glass onion because you know, uh, it's 152 00:09:39,440 --> 00:09:43,760 Speaker 1: up to interpretation. Perhaps a glass onion refers to the 153 00:09:43,800 --> 00:09:50,080 Speaker 1: glass topped coffins of yesteryear that allow mourners to look inside. Uh, 154 00:09:51,480 --> 00:09:54,800 Speaker 1: it's it's a whole bag of badgers. It's a it's 155 00:09:54,840 --> 00:09:55,880 Speaker 1: a pickle. Yeah. 156 00:09:55,880 --> 00:09:58,360 Speaker 4: And the song I mean as a whole is is 157 00:09:58,520 --> 00:10:01,960 Speaker 4: John Lennon just strike out against the whole Paul is 158 00:10:02,000 --> 00:10:04,240 Speaker 4: dead thing. You know. So if you want to read 159 00:10:04,280 --> 00:10:06,400 Speaker 4: it as more clues and you're kind of missing the 160 00:10:06,480 --> 00:10:09,640 Speaker 4: point of what the song is about in the first place, 161 00:10:09,679 --> 00:10:12,920 Speaker 4: there's references to tons. It's very self referential. I told 162 00:10:12,960 --> 00:10:15,559 Speaker 4: you about strawberry Fields, you know, the place where nothing 163 00:10:15,640 --> 00:10:19,160 Speaker 4: is real. Well, here's another place you can go, like 164 00:10:20,120 --> 00:10:23,960 Speaker 4: straight to hell, where everything flows like lava. You know 165 00:10:24,320 --> 00:10:27,000 Speaker 4: he's talking to the press looking through the bent back 166 00:10:27,120 --> 00:10:29,840 Speaker 4: tulips to see how the other half lives, looking through 167 00:10:29,880 --> 00:10:33,160 Speaker 4: a glass onion. It's just about seeing what you want 168 00:10:33,160 --> 00:10:36,520 Speaker 4: to see. Let's say he says, I told you about 169 00:10:36,520 --> 00:10:38,800 Speaker 4: the fool on the hill. I tell you, man, he's 170 00:10:38,840 --> 00:10:41,680 Speaker 4: living there. Still. Well, here's another place you can be 171 00:10:42,320 --> 00:10:44,680 Speaker 4: Listen to me. I mean, it's the whole point of 172 00:10:44,679 --> 00:10:48,440 Speaker 4: the song Glass Onion is John Lennon saying, you guys 173 00:10:48,440 --> 00:10:51,120 Speaker 4: are barking up the wrong onion here. 174 00:10:51,400 --> 00:10:55,959 Speaker 1: M yeah, yeah, you're crossing the wrong Gabby road. And 175 00:10:56,360 --> 00:11:02,800 Speaker 1: if we were to summarize perhaps the metacognitive state of 176 00:11:02,920 --> 00:11:05,640 Speaker 1: John Lennon at this point, we would have to go 177 00:11:05,679 --> 00:11:09,920 Speaker 1: to I'm So Tired. At the very end of I'm 178 00:11:10,000 --> 00:11:15,880 Speaker 1: So Tired, you can hear Lenin doing some proper backmasking, 179 00:11:16,200 --> 00:11:19,720 Speaker 1: which we are huge fans of. If you play if 180 00:11:19,800 --> 00:11:25,240 Speaker 1: you play this apparently ostensibly incoherent mumbling at the end 181 00:11:25,240 --> 00:11:28,280 Speaker 1: of the song from Lenin, then you will hear the 182 00:11:28,360 --> 00:11:34,000 Speaker 1: line Paul is a dead man. Miss him, miss him supposedly. 183 00:11:34,720 --> 00:11:37,199 Speaker 4: Yeah, And we referenced this in our live show with 184 00:11:37,200 --> 00:11:38,560 Speaker 4: stuff that I want you to know that we did 185 00:11:38,960 --> 00:11:41,040 Speaker 4: in Brooklyn is part of on AirFest recently, which is 186 00:11:41,040 --> 00:11:44,480 Speaker 4: actually going to come out as an episode in the 187 00:11:44,520 --> 00:11:46,200 Speaker 4: Stuff that I Want You to Know Feeds. And we 188 00:11:46,320 --> 00:11:50,640 Speaker 4: had the lovely Justin Richmond from Broken Record on the 189 00:11:50,720 --> 00:11:52,840 Speaker 4: Live show as a guest, and we talked about these 190 00:11:52,840 --> 00:11:55,360 Speaker 4: different messages and had a little game where we played 191 00:11:55,360 --> 00:11:57,560 Speaker 4: things backwards and tried to figure out what they were 192 00:11:57,559 --> 00:11:59,400 Speaker 4: supposed to be saying, and then sort of like you know, 193 00:11:59,520 --> 00:12:01,680 Speaker 4: played them forwards and talked a little bit about the 194 00:12:01,760 --> 00:12:04,520 Speaker 4: history behind each of those examples. And the Paul is 195 00:12:04,559 --> 00:12:08,160 Speaker 4: Dead man miss Him Miss Him is one of the 196 00:12:08,200 --> 00:12:11,160 Speaker 4: ones that we reference, and that's really where in many ways, 197 00:12:11,200 --> 00:12:14,319 Speaker 4: the whole kind of Paul Is Dead as a concept 198 00:12:14,400 --> 00:12:18,120 Speaker 4: that is what is being referenced is that very very 199 00:12:18,160 --> 00:12:23,000 Speaker 4: clip so much like Cranberry Sauce in Strawberry Fields. It's 200 00:12:23,040 --> 00:12:26,440 Speaker 4: just an example of him just kind of riffing and 201 00:12:26,640 --> 00:12:29,360 Speaker 4: speaking kind of random gibberish. She was a huge fan 202 00:12:29,440 --> 00:12:34,520 Speaker 4: of the incredible character actor and artist Peter Sellers and 203 00:12:34,679 --> 00:12:36,800 Speaker 4: a show that I'm not familiar with. He apparently had 204 00:12:36,880 --> 00:12:39,880 Speaker 4: a radio career in kind of satire and had a 205 00:12:39,880 --> 00:12:42,840 Speaker 4: show called The Goon Show, which is a surrealist radio 206 00:12:43,400 --> 00:12:46,640 Speaker 4: play series that would do things like that, like a 207 00:12:46,679 --> 00:12:49,400 Speaker 4: make up kind of you know, nonsense language, which I'm 208 00:12:49,440 --> 00:12:50,599 Speaker 4: a fan of it. I got to check out the 209 00:12:50,600 --> 00:12:51,000 Speaker 4: Goon Show. 210 00:12:51,040 --> 00:12:53,560 Speaker 1: I don't know what goon meant. A very different thing 211 00:12:54,040 --> 00:12:55,720 Speaker 1: back then to Goon. 212 00:12:57,240 --> 00:13:01,640 Speaker 4: Yeah, yeah, the Goon Squad is something very very differ today. Yeah, 213 00:13:01,679 --> 00:13:02,080 Speaker 4: for sure. 214 00:13:02,280 --> 00:13:07,000 Speaker 1: Shout out to Leonard Peltier in that regard. Let's talk 215 00:13:07,040 --> 00:13:11,760 Speaker 1: about Revolution number nine. Would you describe that as a 216 00:13:11,840 --> 00:13:12,720 Speaker 1: sound collage? 217 00:13:13,160 --> 00:13:16,720 Speaker 4: Yeah, it's again like I've used the term music concrete, 218 00:13:16,800 --> 00:13:23,120 Speaker 4: which refers to a style of tape magnetic tape manipulation 219 00:13:23,440 --> 00:13:28,360 Speaker 4: that was sort of spearheaded and developed in France around 220 00:13:28,440 --> 00:13:31,280 Speaker 4: the same I think eras like Dadaism was starting to 221 00:13:31,320 --> 00:13:34,160 Speaker 4: become very popular in art in the art world, and 222 00:13:34,200 --> 00:13:37,640 Speaker 4: it is a way of taking a medium and using 223 00:13:37,679 --> 00:13:40,160 Speaker 4: it incorrectly more or less. I mean that term is 224 00:13:40,200 --> 00:13:42,760 Speaker 4: sort of relative, I guess, but you know, you're taking 225 00:13:42,840 --> 00:13:46,199 Speaker 4: pieces of tape, splicing them together, recording bits and stuff 226 00:13:46,240 --> 00:13:48,600 Speaker 4: off the radio like John did and I am the 227 00:13:48,640 --> 00:13:52,439 Speaker 4: Walrus with that King lear bit, and Revolution number nine 228 00:13:52,559 --> 00:13:56,160 Speaker 4: is them taking this to kind of a further extreme. 229 00:13:56,960 --> 00:14:00,640 Speaker 4: It is a sound collage with lots of backwards voices 230 00:14:00,760 --> 00:14:03,040 Speaker 4: and different clips. It sounds like something you might hear 231 00:14:03,080 --> 00:14:06,199 Speaker 4: on a Pink Floyd record as well, very very psychedelic 232 00:14:06,280 --> 00:14:10,440 Speaker 4: bits of chatter, things like the voice saying his voice 233 00:14:10,480 --> 00:14:12,480 Speaker 4: was low and his eyes were high, and his eyes 234 00:14:12,480 --> 00:14:15,640 Speaker 4: were closed. Paul died. My fingers are broken and so 235 00:14:15,840 --> 00:14:17,840 Speaker 4: is my hair. But a thing like that, like my 236 00:14:17,880 --> 00:14:19,400 Speaker 4: fingers are broken and so is my hair, is a 237 00:14:19,400 --> 00:14:23,600 Speaker 4: perfect example of kind of data nonsense. You know, there's 238 00:14:23,640 --> 00:14:26,760 Speaker 4: a wonderful band out of Athens, Storgia called the Olivia 239 00:14:26,760 --> 00:14:32,080 Speaker 4: Trimmer Control, which is an absolute nonsense phrase, and this 240 00:14:32,120 --> 00:14:33,280 Speaker 4: is very similar to that. 241 00:14:33,680 --> 00:14:38,400 Speaker 1: I think the thing that stands out the most to 242 00:14:38,880 --> 00:14:43,560 Speaker 1: proponents of the Paul is Dead theory is the number nine, 243 00:14:43,960 --> 00:14:48,360 Speaker 1: number nine refrain. It repeats, you know, at the beginning, 244 00:14:48,800 --> 00:14:54,040 Speaker 1: and depending upon your ears, you may hear turn me 245 00:14:54,120 --> 00:14:57,560 Speaker 1: on Dead Man, turn me on Dead Man. When it's 246 00:14:57,640 --> 00:15:02,240 Speaker 1: played in reverse. Again, your interpretive mileage may vary. 247 00:15:02,480 --> 00:15:05,040 Speaker 4: Yeah, But a big part of music concrete and this 248 00:15:05,160 --> 00:15:09,680 Speaker 4: type of sampling plunder phonic type of you know, music creation. 249 00:15:10,280 --> 00:15:13,239 Speaker 4: A lot of it's just about taking a sound object 250 00:15:13,480 --> 00:15:18,400 Speaker 4: and manipulating it and the intent it usually isn't about intent. 251 00:15:18,520 --> 00:15:21,440 Speaker 4: It's about like taking something that already exists and twisting 252 00:15:21,480 --> 00:15:26,960 Speaker 4: it around. So number literature a million percent ben exactly right, 253 00:15:27,000 --> 00:15:31,200 Speaker 4: But like number nine, number nine, that's what the guy's saying. 254 00:15:31,400 --> 00:15:34,320 Speaker 4: It's very clear. So yeah, okay, when you flip it backwards, 255 00:15:34,320 --> 00:15:36,480 Speaker 4: it maybe sounds a little bit like, you know, turn 256 00:15:36,560 --> 00:15:38,240 Speaker 4: me on dead Man, turn me on dead Man. But 257 00:15:38,640 --> 00:15:42,800 Speaker 4: clearly the source material was number nine. And I don't 258 00:15:42,800 --> 00:15:45,120 Speaker 4: know who is saying that. I don't know the history 259 00:15:45,120 --> 00:15:47,040 Speaker 4: of that part, or if that's something they grabbed off 260 00:15:47,080 --> 00:15:49,920 Speaker 4: of radio broadcasts or what, but I think they were 261 00:15:49,920 --> 00:15:52,360 Speaker 4: just fascinated by the cadence of it and the sound 262 00:15:52,440 --> 00:15:55,040 Speaker 4: of it, to the point where they made that the 263 00:15:55,120 --> 00:15:58,200 Speaker 4: name of the song, and Revolution, of course, is a 264 00:15:58,240 --> 00:15:59,800 Speaker 4: song in and of itself you say you want to 265 00:15:59,800 --> 00:16:03,520 Speaker 4: rev So this is like almost like a weird artsy 266 00:16:03,720 --> 00:16:06,240 Speaker 4: remix of that in concept. But I don't know that 267 00:16:06,240 --> 00:16:09,400 Speaker 4: there are any bits of actual the actual song revolution 268 00:16:09,600 --> 00:16:12,400 Speaker 4: in Revolution number nine. It's just them being pretty data, 269 00:16:12,480 --> 00:16:13,600 Speaker 4: which I think is awesome. 270 00:16:14,040 --> 00:16:17,960 Speaker 1: And again we're we're seeing that at this point when 271 00:16:18,240 --> 00:16:22,840 Speaker 1: Revolution number nine hits the airwaves, people are already primed 272 00:16:23,320 --> 00:16:28,200 Speaker 1: to think that Paul is dead, so they're actively looking 273 00:16:28,360 --> 00:16:38,920 Speaker 1: for stuff that confirms that pattern. So now we're returning 274 00:16:39,040 --> 00:16:43,480 Speaker 1: to something we talked about in our first episode in 275 00:16:43,520 --> 00:16:45,960 Speaker 1: this series, Abby Road. 276 00:16:47,080 --> 00:16:50,680 Speaker 4: It is a road, the studios. 277 00:16:50,080 --> 00:16:54,920 Speaker 1: The record, Yeah, the rides, yes, yes, yes, the experience 278 00:16:55,760 --> 00:17:00,840 Speaker 1: Abby Road the album not to be confused with the studio, 279 00:17:01,080 --> 00:17:04,080 Speaker 1: nor with the crosswalk, nor with the street, nor with 280 00:17:04,119 --> 00:17:08,479 Speaker 1: the ride. It comes out in nineteen sixty nine, and 281 00:17:08,640 --> 00:17:17,480 Speaker 1: this delivers arguably the most well known clue in the 282 00:17:17,520 --> 00:17:23,600 Speaker 1: conspiracy or folklore that Paul McCartney died in nineteen sixty six. 283 00:17:23,920 --> 00:17:25,280 Speaker 1: Is it depicting a funeral? 284 00:17:25,520 --> 00:17:27,520 Speaker 4: It's a good question, I mean, and there's a whole 285 00:17:27,520 --> 00:17:30,840 Speaker 4: thing about him having shoes off. We'll get to. Let's 286 00:17:30,960 --> 00:17:33,119 Speaker 4: just go through some of the other things. This idea 287 00:17:33,240 --> 00:17:37,520 Speaker 4: of a funeral procession, John leading the procession as he 288 00:17:37,800 --> 00:17:41,240 Speaker 4: is wearing white, all white like a priest, while Ringo 289 00:17:41,320 --> 00:17:44,560 Speaker 4: follows behind as a pallbearer or an undertaker, and all 290 00:17:44,600 --> 00:17:49,600 Speaker 4: black Paul bearer. Paul is the third in the procession, 291 00:17:50,520 --> 00:17:53,879 Speaker 4: would be the corpse in the order of operations, that 292 00:17:54,040 --> 00:17:58,960 Speaker 4: is a funeral procession with his eyes closed and barefoot. Allegedly, 293 00:17:59,119 --> 00:18:03,280 Speaker 4: how they bury in Italy or in India or England 294 00:18:03,480 --> 00:18:05,800 Speaker 4: or I don't know about that, guys. I think your 295 00:18:05,840 --> 00:18:10,040 Speaker 4: resultsate Harry there too, and literally out of step with 296 00:18:10,160 --> 00:18:14,440 Speaker 4: the others. He is once again turning his back on life. 297 00:18:14,480 --> 00:18:18,480 Speaker 4: He is not of this mortal plane, you know, he's 298 00:18:18,560 --> 00:18:21,400 Speaker 4: he's two step in in the afterlife. 299 00:18:22,000 --> 00:18:26,200 Speaker 1: Yeah, and then of course we're all asking where is George. 300 00:18:26,600 --> 00:18:30,520 Speaker 1: George Harrison is right in drogue. He's taking up the 301 00:18:30,560 --> 00:18:34,359 Speaker 1: rear as the grave digger if you but if you 302 00:18:34,480 --> 00:18:38,760 Speaker 1: look at outtakes of the photo session, because it was 303 00:18:38,840 --> 00:18:42,800 Speaker 1: a photo session, there were multiple photos taken for the album, 304 00:18:44,040 --> 00:18:48,119 Speaker 1: you'll see that in several our buddy Paul Prime is 305 00:18:48,160 --> 00:18:51,879 Speaker 1: wearing sandals, or excuse me, Billy Shears is wearing sandals. 306 00:18:52,800 --> 00:18:55,840 Speaker 1: And word on the street is he ultimately got rid 307 00:18:55,920 --> 00:18:59,720 Speaker 1: of the sandals because it was too hot outside. And 308 00:19:00,840 --> 00:19:06,960 Speaker 1: whether you think this is Paul or fall, someone say 309 00:19:07,040 --> 00:19:11,840 Speaker 1: they are. Paul McCartney spoke in a interview with Life 310 00:19:11,880 --> 00:19:15,800 Speaker 1: magazine in nineteen sixty nine and said, it is all 311 00:19:16,040 --> 00:19:20,600 Speaker 1: bloody stupid. We were wearing our ordinary clothes. I was 312 00:19:20,680 --> 00:19:24,600 Speaker 1: walking barefoot because it was a hot day. And what 313 00:19:24,640 --> 00:19:28,479 Speaker 1: I love about this norm is that you can we 314 00:19:28,520 --> 00:19:35,879 Speaker 1: can tell with direct quotes from Paul McCartney Postscar Crash, allegedly, 315 00:19:36,320 --> 00:19:38,800 Speaker 1: we could tell that he is aware of this theory, 316 00:19:39,640 --> 00:19:42,920 Speaker 1: and at first he's being kind of like a good sport, 317 00:19:43,119 --> 00:19:47,959 Speaker 1: but he seems increasingly irritated with it, and you have 318 00:19:48,000 --> 00:19:51,119 Speaker 1: to wonder, like, how would you feel if people kept 319 00:19:51,200 --> 00:19:54,600 Speaker 1: coming up to you and telling you that you were 320 00:19:54,600 --> 00:19:56,240 Speaker 1: a body double of yourself? 321 00:19:56,400 --> 00:19:58,320 Speaker 4: Yeah, it could probably get all It'd probably be amusing 322 00:19:58,359 --> 00:20:01,760 Speaker 4: for a hot second and then get real tiresome, real quick. 323 00:20:02,160 --> 00:20:04,840 Speaker 4: The photo series, by the way, was taken the day 324 00:20:04,920 --> 00:20:08,440 Speaker 4: Charles Manson he might have heard him order the deaths 325 00:20:08,440 --> 00:20:14,240 Speaker 4: of Sharon Tate and her pals there at the was 326 00:20:14,280 --> 00:20:18,720 Speaker 4: it Clo Drive mansion. And this is directly as a 327 00:20:18,760 --> 00:20:23,760 Speaker 4: result of reading too much into Beatles lyrics. Specifically, the 328 00:20:23,800 --> 00:20:25,879 Speaker 4: one that gets referenced a lot is the song Helter 329 00:20:25,960 --> 00:20:31,480 Speaker 4: Skelter off the White album, So that's much has been 330 00:20:31,520 --> 00:20:34,480 Speaker 4: made of that outside of the Paula's Dead stuff. So 331 00:20:34,520 --> 00:20:37,400 Speaker 4: at this point there is a lot being made of 332 00:20:37,440 --> 00:20:41,680 Speaker 4: the idea that this is early example of outrage surrounding 333 00:20:41,720 --> 00:20:45,760 Speaker 4: the idea of supposed backmasking or satanic messages hidden in 334 00:20:45,800 --> 00:20:49,520 Speaker 4: popular music. So at this point the Beatles are damn 335 00:20:49,600 --> 00:20:52,680 Speaker 4: aware of this outside of just the Paul is Dead thing, 336 00:20:52,760 --> 00:20:57,399 Speaker 4: and are probably pretty pretty on edge about potentially being 337 00:20:57,840 --> 00:21:01,560 Speaker 4: associated with stuff like that. If there was any clever, 338 00:21:01,880 --> 00:21:05,040 Speaker 4: you know, trickery going on, they probably abandoned it for 339 00:21:05,080 --> 00:21:05,720 Speaker 4: Abbey Road. 340 00:21:05,800 --> 00:21:09,360 Speaker 1: Let's just put that out there right now. Yeah, they 341 00:21:09,400 --> 00:21:10,680 Speaker 1: probably stepped it back. 342 00:21:10,880 --> 00:21:11,080 Speaker 2: You know. 343 00:21:11,880 --> 00:21:16,840 Speaker 1: You can also see Paul McCartney smoking a cigarette. That 344 00:21:17,000 --> 00:21:22,520 Speaker 1: got a lot of attention, partially because cigarettes are associated 345 00:21:22,640 --> 00:21:27,080 Speaker 1: with mortality, but also because he's smoking with his right hand. 346 00:21:27,720 --> 00:21:31,720 Speaker 1: So for people who thought Paul Prime had been replaced, 347 00:21:32,359 --> 00:21:38,399 Speaker 1: this was an indication that the purported Paul was a fake. 348 00:21:38,760 --> 00:21:40,760 Speaker 1: And this doesn't even get us to you know, the 349 00:21:40,880 --> 00:21:45,280 Speaker 1: Volkswagen Beetle. It's in the background of that Abbey Road 350 00:21:45,480 --> 00:21:49,400 Speaker 1: crosswalk that has disappointed so many tourists when they find 351 00:21:49,440 --> 00:21:54,720 Speaker 1: out it's just a crosswalk on a road. This Beatle 352 00:21:55,000 --> 00:22:00,280 Speaker 1: b E t L E has a license plate. Since 353 00:22:00,320 --> 00:22:06,359 Speaker 1: plate reads twenty eight if so, people are going to 354 00:22:06,440 --> 00:22:11,320 Speaker 1: tell you that twenty eight if means Paul McCartney would 355 00:22:11,320 --> 00:22:14,280 Speaker 1: have been twenty eight years old at the time if 356 00:22:14,320 --> 00:22:20,159 Speaker 1: he lived. That's factually inaccurate. He would have been twenty seven. 357 00:22:22,119 --> 00:22:26,240 Speaker 1: It just goes on. People will see the letters LMW 358 00:22:26,560 --> 00:22:31,800 Speaker 1: and say that means Linda McCartney weeps. But honestly, Noel, 359 00:22:31,960 --> 00:22:36,000 Speaker 1: this is that's a little far for me, you know 360 00:22:36,040 --> 00:22:36,480 Speaker 1: what I mean? 361 00:22:36,680 --> 00:22:38,520 Speaker 4: Yeah, for sure, farther even than some of the other 362 00:22:38,600 --> 00:22:41,439 Speaker 4: more slightly plausible ones. And again, you know, with the 363 00:22:41,480 --> 00:22:44,680 Speaker 4: Manson stuff and all of the hullabaloo and the press 364 00:22:44,840 --> 00:22:48,720 Speaker 4: feeding frenzy surrounding that, pretty sure they were not going 365 00:22:48,720 --> 00:22:51,159 Speaker 4: out of their way to hide anything. And whether it 366 00:22:51,240 --> 00:22:55,200 Speaker 4: be the album cover or beyond. And you know, to 367 00:22:55,560 --> 00:22:58,000 Speaker 4: Paul's point about the cover of Abbey Road, and they 368 00:22:58,000 --> 00:23:01,600 Speaker 4: were all wearing their their clothes was despite it looking 369 00:23:01,720 --> 00:23:03,879 Speaker 4: like you know, maybe there was wardrobe for this, I 370 00:23:03,920 --> 00:23:07,960 Speaker 4: can confirm. And anyone that maybe has seen the get 371 00:23:08,000 --> 00:23:10,199 Speaker 4: back not let it be get back. That's what the 372 00:23:10,240 --> 00:23:14,479 Speaker 4: documentaries called. This is kind of how they dressed. Yeah, 373 00:23:14,560 --> 00:23:17,520 Speaker 4: John Lennon around this dime, he wore these very lavish, 374 00:23:17,560 --> 00:23:21,560 Speaker 4: flashy white suits with you know, platform he type shoes 375 00:23:21,600 --> 00:23:24,600 Speaker 4: all the time. He's a super fashionable guy. And George 376 00:23:24,600 --> 00:23:27,199 Speaker 4: warlike bell bottoms and like Denham and stuff. I mean this. 377 00:23:27,680 --> 00:23:30,440 Speaker 4: It absolutely tracks that they just turned up in their 378 00:23:30,440 --> 00:23:32,960 Speaker 4: street clothes and this is the photo they got. 379 00:23:34,080 --> 00:23:39,240 Speaker 1: And speaking of turning things up, let's turn up the 380 00:23:39,440 --> 00:23:43,280 Speaker 1: rumors a little bit. Let's travel in time back to 381 00:23:43,840 --> 00:23:49,080 Speaker 1: nineteen sixty seven. In January of nineteen sixty seven, we 382 00:23:49,200 --> 00:23:54,960 Speaker 1: see that reports of Paul McCartney's death date back years 383 00:23:55,080 --> 00:23:59,600 Speaker 1: before the idea that Paul is dead became a phenomenon. 384 00:24:00,080 --> 00:24:02,359 Speaker 1: There was this rumor he had been killed in a 385 00:24:02,400 --> 00:24:07,480 Speaker 1: car crash on January seventh, nineteen sixty seven, this time 386 00:24:07,640 --> 00:24:11,960 Speaker 1: not an Aston Martin, a Mini Cooper involved in a 387 00:24:12,000 --> 00:24:15,520 Speaker 1: car accident on the M one motorway or highway. 388 00:24:15,960 --> 00:24:18,199 Speaker 4: Yeah, he was just leaving the Italian job and he 389 00:24:18,240 --> 00:24:20,480 Speaker 4: was driving a little too fast to making his getaway. 390 00:24:20,880 --> 00:24:25,320 Speaker 1: Yeah. The thing is, Paul Prime was not actually in 391 00:24:25,359 --> 00:24:29,080 Speaker 1: the car. It was instead being driven by a guy 392 00:24:29,160 --> 00:24:36,080 Speaker 1: named Mohammed a Hadigit, a Moroccan student, an employee of 393 00:24:36,200 --> 00:24:39,239 Speaker 1: a guy named Robert Fraser who's an art dealer in 394 00:24:39,320 --> 00:24:43,439 Speaker 1: London at the time. Robert Fraser is a close friend 395 00:24:43,560 --> 00:24:46,520 Speaker 1: of Paul McCartney's. You know, no, we've talked about it 396 00:24:46,560 --> 00:24:49,879 Speaker 1: in the past off air. Paul McCartney has always been 397 00:24:49,920 --> 00:24:51,720 Speaker 1: a champion of the arts. 398 00:24:51,600 --> 00:24:54,040 Speaker 4: Right, and we talked about it recently on the Apple 399 00:24:54,160 --> 00:24:59,320 Speaker 4: Versus Apple Computers Versus Apple Records episode about how Paul 400 00:24:59,480 --> 00:25:02,040 Speaker 4: came up with the whole idea of the Apple imagery 401 00:25:02,200 --> 00:25:06,159 Speaker 4: surrounding that record label and that brand from a rename 402 00:25:06,240 --> 00:25:09,080 Speaker 4: of great painting as we know, the famous one with 403 00:25:08,800 --> 00:25:10,600 Speaker 4: the Apple kind of floating in space. 404 00:25:11,640 --> 00:25:17,720 Speaker 1: And to bust the again, to bust the boorish tendency 405 00:25:18,000 --> 00:25:21,360 Speaker 1: of only picking between the Rolling Stones and the Beatles. 406 00:25:21,760 --> 00:25:26,120 Speaker 1: That's still that's still something that grinds my gears. Check 407 00:25:26,200 --> 00:25:31,800 Speaker 1: this out, ridiculous historians. Mohammed and Paul and co. Are 408 00:25:31,920 --> 00:25:36,480 Speaker 1: all heading to a party at Mick Jagger's house, so 409 00:25:36,640 --> 00:25:39,960 Speaker 1: they do hang out, yes, so they're not really enemies. 410 00:25:41,000 --> 00:25:45,800 Speaker 1: What we can assume here is that somebody in the aggressive, 411 00:25:47,280 --> 00:25:52,119 Speaker 1: pretty brutal British tabloid press did a license plate check 412 00:25:52,359 --> 00:25:56,879 Speaker 1: and the story spread around the world that Paul McCartney 413 00:25:57,119 --> 00:26:02,080 Speaker 1: was either injured or dead. The rumors were so pervasive, 414 00:26:02,080 --> 00:26:06,320 Speaker 1: and let's keep in mind this is pre Internet. They're 415 00:26:07,119 --> 00:26:11,879 Speaker 1: so ubiquitous that the band itself, the Beatles, go to 416 00:26:12,160 --> 00:26:15,960 Speaker 1: their official fan magazine because of course, they have Beatles 417 00:26:16,000 --> 00:26:21,919 Speaker 1: monthly and they print a denial. We do know that 418 00:26:22,000 --> 00:26:26,040 Speaker 1: Paul did have some car problems at some point. 419 00:26:25,760 --> 00:26:28,520 Speaker 4: Right, But the closest Paul ever came to a full scale, 420 00:26:29,359 --> 00:26:33,440 Speaker 4: you know, motor crash wipeout was in December of nineteen 421 00:26:33,560 --> 00:26:38,480 Speaker 4: sixty five when he was riding his moped late one 422 00:26:38,560 --> 00:26:43,080 Speaker 4: night while visiting Liverpool, their hometown, for Christmas. And he's 423 00:26:43,160 --> 00:26:49,160 Speaker 4: described as refreshed as he's had some adult beverages, some refreshments. 424 00:26:49,200 --> 00:26:51,719 Speaker 1: As they say he got nogged on some eggs. 425 00:26:51,760 --> 00:26:54,840 Speaker 4: I think it's probably true. And he flipped himself straight 426 00:26:54,880 --> 00:26:57,119 Speaker 4: over the handlebars and landed right on his face and 427 00:26:57,160 --> 00:26:59,760 Speaker 4: shipped a tooth in the process, and he was seen 428 00:26:59,760 --> 00:27:03,680 Speaker 4: by a doctor who sewed him up. And this incident 429 00:27:03,800 --> 00:27:08,280 Speaker 4: actually inspired a line about a drunken doctor in the 430 00:27:08,440 --> 00:27:11,920 Speaker 4: song Rocky Raccoon, which is another personal favorite, really fun song. 431 00:27:12,160 --> 00:27:17,320 Speaker 1: H Yeah, I always thought I always thought that the 432 00:27:17,440 --> 00:27:22,320 Speaker 1: interesting thing about the Lennon McCartney partnership is that Lenin 433 00:27:22,720 --> 00:27:26,399 Speaker 1: is a beast at lyrics and Paul is a beast 434 00:27:26,520 --> 00:27:29,400 Speaker 1: at instrumentation and composition. 435 00:27:29,760 --> 00:27:31,840 Speaker 4: Yeah, I mean, I don't know's I'm a big fan 436 00:27:31,880 --> 00:27:33,840 Speaker 4: of both of their lyrics. But you're right. John is 437 00:27:33,880 --> 00:27:36,920 Speaker 4: definitely more of a rocker and a little bit more 438 00:27:37,080 --> 00:27:39,960 Speaker 4: known for his sardonic wordplay, and Paul has definitely thought 439 00:27:39,960 --> 00:27:43,199 Speaker 4: of as being more of the studio wizards and the 440 00:27:43,520 --> 00:27:46,560 Speaker 4: kind of you know, arranger of the two of them. 441 00:27:46,600 --> 00:27:48,120 Speaker 4: I agree with you completely. 442 00:27:48,040 --> 00:27:52,000 Speaker 1: So, Noel, could you take us to the first known 443 00:27:52,680 --> 00:27:57,400 Speaker 1: printed reference to this theory that Paul McCartney is dead? 444 00:27:57,880 --> 00:28:01,199 Speaker 4: Sure thing? It appeared in the septem number seventeenth, nineteen 445 00:28:01,240 --> 00:28:04,159 Speaker 4: sixty nine issue of The Times Delphic, which was a 446 00:28:04,200 --> 00:28:08,159 Speaker 4: student newspaper at Drake University in Des Moines, Iowa, of 447 00:28:08,200 --> 00:28:11,720 Speaker 4: all places. Okay, so not the UK. No. No. A 448 00:28:11,800 --> 00:28:15,359 Speaker 4: nineteen year old egelid eared fan Tim Harper wrote an 449 00:28:15,400 --> 00:28:19,159 Speaker 4: article with the headline is Beatle Paul McCartney Dead, wherein 450 00:28:19,200 --> 00:28:22,959 Speaker 4: he details the quote distinct possibility that McCartney may indeed 451 00:28:23,040 --> 00:28:28,680 Speaker 4: be insane, freaked out, or even dead. Examining a lot 452 00:28:28,720 --> 00:28:32,080 Speaker 4: of the clues and album arts lyrics that we have mentioned. 453 00:28:33,520 --> 00:28:35,879 Speaker 4: He though, he I mean, I'm sorry I took him 454 00:28:35,880 --> 00:28:38,120 Speaker 4: as a fan, but he says here he didn't own 455 00:28:38,200 --> 00:28:41,440 Speaker 4: a Beatles record, and he talked with others about the 456 00:28:41,560 --> 00:28:44,200 Speaker 4: known rumor which has already already been making I guess 457 00:28:44,400 --> 00:28:49,880 Speaker 4: its rounds in certain beatnik kind of hipster circles. Very interesting. 458 00:28:49,880 --> 00:28:51,520 Speaker 4: But he decided to kind of make a little bit 459 00:28:51,600 --> 00:28:56,160 Speaker 4: of an oral account of a lot of these things 460 00:28:56,160 --> 00:28:59,360 Speaker 4: that were already kind of known in the scene. Yeah, 461 00:28:59,440 --> 00:28:59,880 Speaker 4: he is. 462 00:29:00,240 --> 00:29:05,520 Speaker 1: Clearly a student right into a deadline. And he gets 463 00:29:05,640 --> 00:29:08,960 Speaker 1: word of this from his editor and I love this name, 464 00:29:09,400 --> 00:29:12,000 Speaker 1: d'Artagnan Brown. Are you guys related. 465 00:29:12,360 --> 00:29:13,840 Speaker 4: I wish I want to change my name in this 466 00:29:14,200 --> 00:29:14,720 Speaker 4: sick name. 467 00:29:15,240 --> 00:29:22,160 Speaker 1: So d'Artagnan Brown, the editor of the Times Delphic, says, 468 00:29:22,680 --> 00:29:28,320 Speaker 1: all right, I've heard these rumors. He's talking to Tim Harper. 469 00:29:28,320 --> 00:29:33,280 Speaker 1: He says, Tim, Buddy, I've heard these rumors throughout the underground, 470 00:29:33,360 --> 00:29:36,720 Speaker 1: the counterculture, you know, crying of Lot forty nine, kind 471 00:29:36,720 --> 00:29:40,360 Speaker 1: of underground. I went to California and people are saying 472 00:29:40,840 --> 00:29:44,360 Speaker 1: that Paul McCartney is dead and has been replaced by 473 00:29:44,600 --> 00:29:48,440 Speaker 1: you know, some kind of Canadian, some kind of Canadian 474 00:29:48,640 --> 00:29:52,000 Speaker 1: that's a good name for something, of course. So all right, 475 00:29:52,080 --> 00:29:58,320 Speaker 1: the story goes pre internet viral, and Tim Harper comes 476 00:29:58,320 --> 00:30:03,240 Speaker 1: out very quickly after the story takes off, and he says, look, 477 00:30:03,720 --> 00:30:08,760 Speaker 1: I'm satirical. I'm a student writing for fun. This so 478 00:30:08,960 --> 00:30:14,440 Speaker 1: called Expose eight is for you know, shuffles and giggles. 479 00:30:14,520 --> 00:30:18,240 Speaker 1: He specifically says it was just a joke. I was 480 00:30:18,280 --> 00:30:21,040 Speaker 1: the first one to put it all together. And he's 481 00:30:21,120 --> 00:30:24,800 Speaker 1: talking to the Chicago Sun Times when he says this 482 00:30:24,880 --> 00:30:29,040 Speaker 1: in October of nineteen sixty nine. He says, I knew 483 00:30:29,040 --> 00:30:31,960 Speaker 1: when I wrote the story that it wasn't true, but 484 00:30:32,400 --> 00:30:34,800 Speaker 1: I think the horse left the barn at that point, 485 00:30:34,960 --> 00:30:35,480 Speaker 1: well for sure. 486 00:30:35,520 --> 00:30:36,840 Speaker 4: And like I mean, like I was saying, it really 487 00:30:36,880 --> 00:30:39,800 Speaker 4: is just sort of an oral account, you know, of 488 00:30:39,880 --> 00:30:43,120 Speaker 4: all of these different sort of pieces of hippie folklore 489 00:30:43,480 --> 00:30:47,320 Speaker 4: that had been making the rounds during a time when 490 00:30:47,520 --> 00:30:53,480 Speaker 4: because of the debacle of the Vietnam War and just 491 00:30:53,840 --> 00:31:00,160 Speaker 4: wide rife, discontentments and distrust of the government that folks, 492 00:31:00,600 --> 00:31:04,000 Speaker 4: we're a lot more willing to believe in these types 493 00:31:04,040 --> 00:31:07,040 Speaker 4: of conspiracy theories than maybe in generation's past. 494 00:31:08,320 --> 00:31:14,280 Speaker 1: Yeah, and imagine you are this kid, you are Tim Harper. 495 00:31:15,120 --> 00:31:20,600 Speaker 1: You write something that is essentially an onion article, you know, 496 00:31:20,800 --> 00:31:24,440 Speaker 1: and now on article there we go, and now the 497 00:31:25,760 --> 00:31:30,880 Speaker 1: press is picking this up, broadcast radio is picking this up. 498 00:31:31,160 --> 00:31:36,040 Speaker 1: He goes from LA to Chicago, speaking on a Baker's 499 00:31:36,120 --> 00:31:48,280 Speaker 1: dozen of radio stations for ten bucks. By the end 500 00:31:48,280 --> 00:31:54,560 Speaker 1: of September, there are tabloids in the UK that pick 501 00:31:54,640 --> 00:31:59,600 Speaker 1: up the story. Ultimately Tim Harper, who has always been 502 00:31:59,680 --> 00:32:03,880 Speaker 1: on it about you know, the satirical nature of his 503 00:32:03,960 --> 00:32:10,000 Speaker 1: original article. Ultimately, Tim Harper says, there were there was, 504 00:32:10,360 --> 00:32:15,920 Speaker 1: to your point, Noll, a convergence, a nexus of factors 505 00:32:16,080 --> 00:32:19,680 Speaker 1: in the culture that helped this rumor spread and empowered 506 00:32:19,680 --> 00:32:25,880 Speaker 1: it because of Vietnam, because the common American member of 507 00:32:25,920 --> 00:32:30,160 Speaker 1: the public was recognizing the threat of people in power, 508 00:32:30,280 --> 00:32:36,040 Speaker 1: the establishment. People were cynical, they were disillusioned, They were 509 00:32:36,200 --> 00:32:43,120 Speaker 1: ready willing and able to believe in quote unquote alternative facts. 510 00:32:43,680 --> 00:32:48,560 Speaker 4: Correct the Warren Commission, of course, creating what has historically 511 00:32:48,600 --> 00:32:51,240 Speaker 4: been referred to as a credibility. 512 00:32:50,560 --> 00:32:55,120 Speaker 1: Gap, because we see right now in this milieu, we 513 00:32:55,200 --> 00:33:01,120 Speaker 1: see that there are genuine conspiracies being on covered by 514 00:33:01,160 --> 00:33:04,680 Speaker 1: the public. We know co Intel pro is real. We 515 00:33:04,840 --> 00:33:08,560 Speaker 1: know that the US government is conspiring to do all 516 00:33:08,600 --> 00:33:11,760 Speaker 1: sorts of shenanigans. We know that the British government and 517 00:33:11,800 --> 00:33:15,080 Speaker 1: other European governments are doing the same. So if you're 518 00:33:15,120 --> 00:33:20,760 Speaker 1: the average person hearing the radio. Is it too crazy? 519 00:33:21,160 --> 00:33:24,760 Speaker 1: Is it too crazy to think that just maybe Paul 520 00:33:24,880 --> 00:33:25,960 Speaker 1: McCartney might be dead. 521 00:33:26,400 --> 00:33:31,560 Speaker 4: No, no, it's not, although, you know, in retrospect, pretty ridiculous. 522 00:33:32,720 --> 00:33:35,720 Speaker 4: That's why we're here, folks. But no, at the time, 523 00:33:36,600 --> 00:33:40,160 Speaker 4: there was out of that. Okay, let me walk that back. 524 00:33:40,440 --> 00:33:45,600 Speaker 4: That's why I'm confused, because the Beatles represent everything that 525 00:33:45,800 --> 00:33:50,200 Speaker 4: is in opposition to the establishment, though they have gotten 526 00:33:50,320 --> 00:33:53,760 Speaker 4: so so popular and successful that maybe there was a 527 00:33:53,800 --> 00:33:57,880 Speaker 4: certain souring to them that maybe would yield a little 528 00:33:57,920 --> 00:34:02,560 Speaker 4: distrust or treat them as a corporate entity. I don't know. 529 00:34:02,760 --> 00:34:05,720 Speaker 4: I wasn't there, but I am curious as to how 530 00:34:05,840 --> 00:34:10,960 Speaker 4: that same conspiracy, conspiratorial thinking would apply to your favorite 531 00:34:10,960 --> 00:34:14,320 Speaker 4: counterculture band, because the assumption there would be the Beatles 532 00:34:14,320 --> 00:34:17,600 Speaker 4: were in on this, and I just find that interesting 533 00:34:17,600 --> 00:34:20,319 Speaker 4: and a little bit antithetical to the idea of them 534 00:34:20,360 --> 00:34:24,160 Speaker 4: being you know, these you know, kind of rebel rousers. 535 00:34:24,160 --> 00:34:26,160 Speaker 4: That to the point we made earlier, I think the 536 00:34:26,239 --> 00:34:29,960 Speaker 4: last episode were often targeted by the governments, you know. 537 00:34:30,360 --> 00:34:34,040 Speaker 4: John Lennon of course himself was assassinated and was treated 538 00:34:34,160 --> 00:34:38,960 Speaker 4: as a political personality because of his ability to speak 539 00:34:39,000 --> 00:34:41,840 Speaker 4: truth to power. So that part of it confuses me 540 00:34:41,880 --> 00:34:42,359 Speaker 4: a little bit. 541 00:34:42,640 --> 00:34:47,600 Speaker 1: M hmm, yeah. Same. And going to the radio aspect 542 00:34:47,719 --> 00:34:53,000 Speaker 1: of the mass communication, we know that the I wouldn't 543 00:34:53,080 --> 00:34:57,279 Speaker 1: quite call it hysteria, but the purported credibility of the 544 00:34:57,360 --> 00:35:04,239 Speaker 1: poll is dead. Theory awesomes. On twelve October nineteen sixty nine, 545 00:35:04,760 --> 00:35:11,960 Speaker 1: an anonymous individual calls into the radio show on Detroit's WKNR. 546 00:35:12,280 --> 00:35:15,880 Speaker 1: It's a radio show hosted by the legendary Russ Gibb, 547 00:35:16,360 --> 00:35:22,480 Speaker 1: and this anonymous individual is over the moon to tell 548 00:35:22,600 --> 00:35:27,080 Speaker 1: Russ that he is very upset over rumors that Paul 549 00:35:27,160 --> 00:35:31,920 Speaker 1: McCartney has died and has been further replaced by an impostor. 550 00:35:32,680 --> 00:35:35,320 Speaker 1: Our buddy, Russ Gibb, Let's. 551 00:35:35,080 --> 00:35:35,760 Speaker 4: Just be honest. 552 00:35:36,120 --> 00:35:39,960 Speaker 1: He has no clue who this guy is. He has 553 00:35:40,000 --> 00:35:42,759 Speaker 1: no clue what the guy is talking about, and so 554 00:35:43,040 --> 00:35:46,640 Speaker 1: he keeps him on the line because it's great radio, 555 00:35:47,040 --> 00:35:50,040 Speaker 1: and he's saying, all right, will tell me more of 556 00:35:50,120 --> 00:35:55,520 Speaker 1: these clues, and this person, whomever they may be, introduces 557 00:35:56,000 --> 00:35:59,600 Speaker 1: the American public to some of the clues that we 558 00:35:59,640 --> 00:36:04,240 Speaker 1: explore in part one of this series as well as 559 00:36:04,360 --> 00:36:06,040 Speaker 1: the beginning of this show. 560 00:36:06,480 --> 00:36:09,120 Speaker 4: All Right, he has n't spin the records backwards live 561 00:36:09,160 --> 00:36:13,120 Speaker 4: on air. Yes, compelling because it's dude who is kind 562 00:36:13,120 --> 00:36:15,320 Speaker 4: of a square, a bit of one, you know, who's 563 00:36:15,320 --> 00:36:17,600 Speaker 4: not familiar with this stuff, sort of in real time 564 00:36:18,040 --> 00:36:23,520 Speaker 4: being like huh, well that's weird. Yeah, Just so. 565 00:36:25,160 --> 00:36:30,440 Speaker 1: I love that description, you know, And we're experiencing great 566 00:36:30,560 --> 00:36:34,440 Speaker 1: radio because we're learning with Russ Gibb in real time. 567 00:36:35,160 --> 00:36:41,560 Speaker 1: The phone lines at wk NR go absolutely off the hook. 568 00:36:41,640 --> 00:36:47,040 Speaker 1: We're talking pandemodium. GiB later speaks with Billboard in twenty 569 00:36:47,120 --> 00:36:50,600 Speaker 1: nineteen and he says, the whole thing just exploded. The 570 00:36:50,680 --> 00:36:53,480 Speaker 1: phones were ringing off the hook. People were calling with 571 00:36:53,520 --> 00:36:56,719 Speaker 1: their own clues. It was non stop. So now we 572 00:36:56,800 --> 00:37:00,400 Speaker 1: see a feedback loop. The conspiracy is feeding it's self. 573 00:37:00,840 --> 00:37:03,080 Speaker 4: M m yeah, the calls coming from inside the house. 574 00:37:03,120 --> 00:37:06,400 Speaker 4: As you like to say, Ben, it's true. Is an 575 00:37:06,480 --> 00:37:12,200 Speaker 4: absolute self fulfilling prophecy burrows of sorts, the snake eating 576 00:37:12,239 --> 00:37:14,480 Speaker 4: its own tail. And this really was kind of the 577 00:37:14,520 --> 00:37:19,320 Speaker 4: moment where, uh, these theories and this kind of concept 578 00:37:19,360 --> 00:37:23,239 Speaker 4: of Paul is dead began to go wide. And I 579 00:37:23,280 --> 00:37:26,120 Speaker 4: think this is, with that in mind, a good place 580 00:37:26,160 --> 00:37:30,080 Speaker 4: to pause for this episode, and we're gonna pick it 581 00:37:30,120 --> 00:37:32,920 Speaker 4: back up with the last part in this three part series, 582 00:37:33,480 --> 00:37:37,359 Speaker 4: Paul is Dead. The rumors surrounding the untimely demise and 583 00:37:37,440 --> 00:37:40,319 Speaker 4: cover up of Beatle Paul McCartney. 584 00:37:41,160 --> 00:37:48,840 Speaker 1: That's right, folks, we are doing an on purpose three barter. Yeah, 585 00:37:48,840 --> 00:37:53,000 Speaker 1: look at us somewhat. Call our families, tell them we 586 00:37:53,080 --> 00:37:53,920 Speaker 1: have real jobs. 587 00:37:54,440 --> 00:37:55,600 Speaker 4: Okay, tell them okay. 588 00:37:55,600 --> 00:38:00,520 Speaker 1: First and before we go, you know, uh her own 589 00:38:00,680 --> 00:38:04,600 Speaker 1: super producer, mister Max Williams, who we shout out at 590 00:38:04,640 --> 00:38:08,280 Speaker 1: the beginning and end of the show, has something close 591 00:38:08,320 --> 00:38:13,000 Speaker 1: to his heart to share, apparently related to the Beatles. 592 00:38:13,400 --> 00:38:14,759 Speaker 4: Maxos to his lonely heart. 593 00:38:15,080 --> 00:38:17,200 Speaker 1: Yeah, Max, are you Paul McCartney? 594 00:38:17,480 --> 00:38:18,319 Speaker 2: Actually funny enough? 595 00:38:18,320 --> 00:38:21,279 Speaker 3: I am to a Southpaw and I played bass, so 596 00:38:21,800 --> 00:38:24,399 Speaker 3: the like second base I ever got? 597 00:38:24,440 --> 00:38:25,359 Speaker 2: All right, I used to play bass. 598 00:38:25,360 --> 00:38:27,520 Speaker 3: I don't play much anymore, but second base I ever 599 00:38:27,520 --> 00:38:31,520 Speaker 3: got back in middle school was a violin bass style. 600 00:38:31,640 --> 00:38:34,440 Speaker 3: It was modeled off of the bass that Paul McCartney 601 00:38:34,600 --> 00:38:35,359 Speaker 3: very much liked. 602 00:38:35,440 --> 00:38:38,160 Speaker 1: So all right, that's enough proof for us many. 603 00:38:38,080 --> 00:38:40,520 Speaker 3: Yeah, no, so yeah, that was actually very much a thing. 604 00:38:40,560 --> 00:38:43,280 Speaker 3: And you know, especially back then when access to musical 605 00:38:43,280 --> 00:38:46,120 Speaker 3: equipment was sometimes pretty hard, you really got like two 606 00:38:46,200 --> 00:38:49,560 Speaker 3: choices of left handed basses that like, you know, you 607 00:38:49,560 --> 00:38:51,440 Speaker 3: would open in the magazine and you'd flip through and 608 00:38:51,440 --> 00:38:54,200 Speaker 3: stuff like that. Now you can get great instruments from 609 00:38:54,239 --> 00:38:58,200 Speaker 3: you know, places like Sweetwater, which I'm they're not paying 610 00:38:58,280 --> 00:38:58,640 Speaker 3: us to do this. 611 00:38:58,719 --> 00:38:59,919 Speaker 2: I am just dropping that name. 612 00:39:00,040 --> 00:39:05,920 Speaker 3: And they do give us candy. 613 00:39:07,000 --> 00:39:10,200 Speaker 4: It's their thing. They're a bunch of sweeties. We're talking 614 00:39:10,200 --> 00:39:12,880 Speaker 4: about the Huffner style based Is that what you're talking about, Matt. 615 00:39:12,719 --> 00:39:15,440 Speaker 2: Yeah, yeah, yeah. And just one last sweet Water loving 616 00:39:15,520 --> 00:39:18,400 Speaker 2: thing that all of our equipment is provided by Sweetwater 617 00:39:18,400 --> 00:39:19,360 Speaker 2: and they're not paying us to. 618 00:39:19,360 --> 00:39:23,520 Speaker 1: Say they are, but they do give us candy. You've 619 00:39:23,520 --> 00:39:27,000 Speaker 1: got a story from the Williams Dynasty. 620 00:39:27,360 --> 00:39:27,800 Speaker 4: Uh. 621 00:39:28,000 --> 00:39:30,200 Speaker 1: We also while we're doing this, we want to shout 622 00:39:30,200 --> 00:39:34,000 Speaker 1: out your biological brother Alex Williams, who is the composer 623 00:39:34,480 --> 00:39:37,080 Speaker 1: for this show. But Max, what's on your mind? What's 624 00:39:37,120 --> 00:39:37,880 Speaker 1: been sitting with you? 625 00:39:38,320 --> 00:39:42,520 Speaker 3: So in the Williams Dynasty, I've taken this color like 626 00:39:42,600 --> 00:39:47,320 Speaker 3: that one of you know, we we all like our hobbies, 627 00:39:47,360 --> 00:39:50,160 Speaker 3: and we our hobbies changing changing stuff. In the last 628 00:39:50,160 --> 00:39:52,240 Speaker 3: like two or three years, my mother has gotten really 629 00:39:52,400 --> 00:39:54,280 Speaker 3: into a lot of Beatles stuff. She's been a Beatles 630 00:39:54,280 --> 00:39:56,839 Speaker 3: fan for a very long time. And you know, now 631 00:39:56,960 --> 00:39:59,200 Speaker 3: one of the things she does is she's trying to 632 00:39:59,280 --> 00:40:02,440 Speaker 3: get a lot of better words as much Beatles stuff. 633 00:40:02,520 --> 00:40:03,320 Speaker 2: Well there's still. 634 00:40:03,120 --> 00:40:04,880 Speaker 3: Time, you know, there's two of them alive, still in 635 00:40:04,920 --> 00:40:08,799 Speaker 3: their in their eighties. But so like one thing she 636 00:40:08,920 --> 00:40:12,319 Speaker 3: did last year, maybe two years ago now, she saw 637 00:40:12,520 --> 00:40:15,560 Speaker 3: Ringo and his band when it came to Atlanta. And 638 00:40:15,640 --> 00:40:17,799 Speaker 3: what I love, though, is, uh, I've gone to the 639 00:40:17,840 --> 00:40:20,120 Speaker 3: age where I can kind of hit my dad with 640 00:40:20,160 --> 00:40:24,080 Speaker 3: some good logic. Papa Williams is definitely a He's a 641 00:40:24,200 --> 00:40:27,239 Speaker 3: very pragmatic person, especially when he's the fiscal ideas. And 642 00:40:27,360 --> 00:40:29,200 Speaker 3: I don't want to say how expensive going to see 643 00:40:29,280 --> 00:40:32,520 Speaker 3: Ringo Stars touring band at the Fox Theater in downtown 644 00:40:32,560 --> 00:40:34,919 Speaker 3: Atlanta was, but it was a lot. And I kind 645 00:40:34,920 --> 00:40:37,200 Speaker 3: of just looked at him and said, yeah, but when's 646 00:40:37,239 --> 00:40:41,520 Speaker 3: the next time you can see this, right, And He's like, 647 00:40:42,920 --> 00:40:45,239 Speaker 3: that's good, that's good logic. And you know, I've told 648 00:40:45,280 --> 00:40:47,279 Speaker 3: you guys, I like to travel and see shows and 649 00:40:47,280 --> 00:40:50,960 Speaker 3: stuff like that. I think it's a very rewarding thing 650 00:40:51,000 --> 00:40:54,279 Speaker 3: to do. I just truly do love it. But that's 651 00:40:54,320 --> 00:40:58,600 Speaker 3: the transition was my mother discovered they had a Beatles 652 00:40:58,640 --> 00:41:05,040 Speaker 3: themed in Las Vegas, of course, but not only did 653 00:41:05,040 --> 00:41:08,439 Speaker 3: they have it, but that it was ending very soon, 654 00:41:08,680 --> 00:41:12,160 Speaker 3: like a month before she noticed it, and she was 655 00:41:12,200 --> 00:41:15,440 Speaker 3: trying to convince my dad, her husband, to let's take 656 00:41:15,480 --> 00:41:18,120 Speaker 3: some time off and go. And obviously the tickets to 657 00:41:18,160 --> 00:41:22,719 Speaker 3: go see Ringo start very expensive. Fly to Las Vegas 658 00:41:23,200 --> 00:41:29,600 Speaker 3: and see Circle with like a month's notice, incredibly expensive. 659 00:41:30,400 --> 00:41:32,080 Speaker 3: And I kind of him and I were just talking 660 00:41:32,120 --> 00:41:33,319 Speaker 3: about it, and I can't say it to him. It's 661 00:41:33,320 --> 00:41:37,240 Speaker 3: just like, I mean, the Beats aren't getting any younger, 662 00:41:37,880 --> 00:41:39,560 Speaker 3: neither of y'all. It's just like, this seems like a 663 00:41:39,600 --> 00:41:41,719 Speaker 3: thing where if you want to see this thing, this 664 00:41:41,800 --> 00:41:43,040 Speaker 3: is gonna be the only time. I'm like, I'm not 665 00:41:43,040 --> 00:41:44,879 Speaker 3: trying to say you have to do it, but if 666 00:41:44,880 --> 00:41:46,799 Speaker 3: this is what you guys want to do, they're not 667 00:41:46,960 --> 00:41:48,000 Speaker 3: gonna get another chance. 668 00:41:48,080 --> 00:41:50,520 Speaker 2: And so you know, I'm a big. 669 00:41:50,320 --> 00:41:54,160 Speaker 3: Believer that the reason why we don't have money is 670 00:41:54,440 --> 00:41:56,719 Speaker 3: we use money to pursue the things that we love 671 00:41:56,800 --> 00:41:59,520 Speaker 3: and we find it interesting. And long story short, they went, 672 00:42:00,080 --> 00:42:01,040 Speaker 3: oh good bold. 673 00:42:01,120 --> 00:42:03,160 Speaker 4: I didn't make it. I didn't make it. I was there. 674 00:42:03,719 --> 00:42:06,200 Speaker 4: I even stayed at the hotel where the thing was happening, 675 00:42:06,360 --> 00:42:09,040 Speaker 4: and I just didn't end up getting to go for 676 00:42:09,120 --> 00:42:11,640 Speaker 4: a couple of various reasons. And now I think it's done. 677 00:42:11,640 --> 00:42:14,760 Speaker 4: But I remember when that first hit. I'm a huge 678 00:42:14,760 --> 00:42:18,600 Speaker 4: circ fan. The soundtrack is a really neat artifact for 679 00:42:18,640 --> 00:42:20,920 Speaker 4: Beatles fans in and of itself because it was actually 680 00:42:21,000 --> 00:42:25,960 Speaker 4: remixed and remastered from original Beatles recordings by George Martin, 681 00:42:26,120 --> 00:42:29,480 Speaker 4: their producer's son, whose name is escaping me. But it's 682 00:42:29,520 --> 00:42:31,239 Speaker 4: like kind of a mash up of a lot of 683 00:42:31,239 --> 00:42:34,800 Speaker 4: different Beatles music, but it's like from the original tapes 684 00:42:34,880 --> 00:42:37,680 Speaker 4: and by you know, and with oversight from George Martin 685 00:42:37,760 --> 00:42:40,840 Speaker 4: himself and his son Niles. I want to say Giles 686 00:42:40,840 --> 00:42:43,040 Speaker 4: perhaps anyway doesn't but it's a really cool record. You 687 00:42:43,040 --> 00:42:45,560 Speaker 4: can still buy that, and it's a fun listen on 688 00:42:45,600 --> 00:42:45,960 Speaker 4: its own. 689 00:42:46,000 --> 00:42:49,560 Speaker 3: The Love soundtrack, and yeah, and just to wrap this up, 690 00:42:49,760 --> 00:42:53,719 Speaker 3: one of my favorite parts of this story is, you know, 691 00:42:53,719 --> 00:42:56,239 Speaker 3: obviously my mom had an amazing time, but who also 692 00:42:56,239 --> 00:42:58,960 Speaker 3: had an amazing time, my dad, So I don't know. 693 00:42:59,200 --> 00:43:00,520 Speaker 3: It's one of these things is that, like, you know, 694 00:43:00,560 --> 00:43:02,640 Speaker 3: I know how much my mom loves the Bills, So 695 00:43:02,680 --> 00:43:04,359 Speaker 3: I wanted to just think this sendto one of these 696 00:43:04,400 --> 00:43:05,560 Speaker 3: episodes I'm having. 697 00:43:05,880 --> 00:43:07,680 Speaker 2: I hope everyone enjoyed this whole story time. 698 00:43:07,800 --> 00:43:10,440 Speaker 1: I think we all did. And thank you for Sharon Max. 699 00:43:10,520 --> 00:43:13,160 Speaker 1: I'm getting some pretty intense deja vu. 700 00:43:13,560 --> 00:43:13,759 Speaker 2: You know. 701 00:43:15,160 --> 00:43:18,759 Speaker 1: Look, as we have alluded to in the past, my 702 00:43:18,920 --> 00:43:23,320 Speaker 1: name has not always been depending on where we're at, 703 00:43:24,520 --> 00:43:28,360 Speaker 1: Greg is the Vegas persona and like Noel, did not 704 00:43:28,520 --> 00:43:33,600 Speaker 1: get the opportunity to to see to see this performance. 705 00:43:33,600 --> 00:43:37,440 Speaker 1: So it's awesome that the Williams dynasty made it over. 706 00:43:37,920 --> 00:43:41,520 Speaker 1: We want to thank you super producer, mister Max Williams, 707 00:43:41,560 --> 00:43:44,520 Speaker 1: your brother Alex Williams, who composed this slap and bop. 708 00:43:44,880 --> 00:43:50,200 Speaker 1: We also want to thank Ringo and Sir Paul McCartney 709 00:43:50,880 --> 00:43:55,000 Speaker 1: for tuning into the show. And you know what, we 710 00:43:55,040 --> 00:43:58,520 Speaker 1: don't reference it often because we've made our piece, but 711 00:43:58,640 --> 00:44:02,240 Speaker 1: Sir McCartney, thanks for sorting out that Sheryl Crow stuff 712 00:44:02,280 --> 00:44:02,640 Speaker 1: for us. 713 00:44:02,680 --> 00:44:05,640 Speaker 4: We owe you one man. Mmmm yeah, yeah, he's a 714 00:44:05,680 --> 00:44:08,919 Speaker 4: good guy. That Paul or whatever Paul Paul for Paul 715 00:44:09,320 --> 00:44:12,080 Speaker 4: oh right right, right, depending you know whatever, whatever, Faul 716 00:44:12,200 --> 00:44:13,400 Speaker 4: Prime Fall. 717 00:44:13,400 --> 00:44:17,760 Speaker 1: Whomever you may be, thank you for supporting our show. 718 00:44:18,000 --> 00:44:22,520 Speaker 1: Thanks also to aj Bahama's Jacobs. I can't believe that 719 00:44:22,600 --> 00:44:24,919 Speaker 1: guy is so cool. Yep, he's a good dude for sure. 720 00:44:24,920 --> 00:44:28,000 Speaker 4: And also to Jonathan Strickland, the quisitor, who is less 721 00:44:28,000 --> 00:44:29,719 Speaker 4: of a good due when he's in that persona, but 722 00:44:29,760 --> 00:44:32,000 Speaker 4: a real good due when he's just regular old Jonathan's track. 723 00:44:32,040 --> 00:44:33,279 Speaker 1: He's fine. Eight out of ten. 724 00:44:33,520 --> 00:44:35,400 Speaker 4: Thanks to you, Ben, This has been great. Really excited 725 00:44:35,400 --> 00:44:37,200 Speaker 4: to come back and talk a bit more in our 726 00:44:37,200 --> 00:44:40,040 Speaker 4: final installment of the series about the Beatles themselves. We 727 00:44:40,200 --> 00:44:42,239 Speaker 4: hinted at that all along the way and they did 728 00:44:42,280 --> 00:44:43,120 Speaker 4: not hold back. 729 00:44:43,840 --> 00:44:47,640 Speaker 1: And you have to ask yourself at this point, ridiculous historians, 730 00:44:48,520 --> 00:44:50,560 Speaker 1: will it actually be us? 731 00:44:51,040 --> 00:44:55,080 Speaker 4: Or will we be replaced? Dunk dun, dun. Let's see 732 00:44:55,080 --> 00:44:55,440 Speaker 4: you next time. 733 00:44:55,480 --> 00:44:58,440 Speaker 1: Books. 734 00:45:02,680 --> 00:45:06,480 Speaker 4: For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, 735 00:45:06,560 --> 00:45:08,720 Speaker 4: or wherever you listen to your favorite shows.