The Beatles

This thesis tries to elucidate and exemplify possible intersections between experimental rock of the late 60s and early 70s and the field of electroacoustic music, focusing mostly on production/compositional techniques and aesthetic approaches. A historical overview of the context which experimental rock emerged from is attempted, exploring why and how certain production techniques were used at that period in rock music and investigating into whether the aesthetic outcome of these techniques relates to experiments in the field of electroacoustic music. Musical examples from the field of classical, jazz and rock styles (including artists like Glenn Gould, Lennie Tristano, Miles Davis, the Beatles, Pink Floyd, Fred Frith (Henry Cow) and Frank Zappa) are addressed for the sake of exploring different experimental studio practices. Moreover, a part of this research deals with the creative exploration of the production techniques discussed in order to develop my personal compositional work and eventually to create a framework where a discussion about composing electroacoustic music from the perspective of rock production (and vice-versa!) could emerge.

The paper will focus on Imagine, one of the most famous songs written by John Lennon used to communicate to people the support for an anti-war campaign movement. The writer will discuss the song lyrics and try to show how Lennon perfectly expressed his point of view against the continuous wars that happened during 1960s and 1970s.

Between 1995 and 1996, The Beatles released the three volume, six-disc Anthology, a sprawling audio set issued to coincide with a televised documentary of the same name. One of the first major releases of its kind, the Anthology albums curated and compiled previously unreleased demos, studio recordings, and live performances, under the auspices of giving listeners insight into the band's creative process. Beyond the appeal of new Beatles product however, the Anthology albums are unique in exploiting particular manifestations of musical intimacy that ultimately serve to further cultivate the group's well-established pop cultural mythos.

The NFL protests are only one of many celebrity-fueled political controversies during the Trump presidency. Why is there such a proliferation of celebrity activism? More importantly, does it amount to anything? What does our knowledge of celebrity influence tell us about the recent NFL controversy?

As a result of massive digitization efforts and the world wide web, there is an exploding amount of available digital data describing and representing music at various semantic levels and in diverse formats. For example, in the case of the Beatles songs, there are numerous recordings including an increasing number of cover songs and arrangements as well as MIDI data and other symbolic music representations. The general goal of music synchronization is to align the multiple information sources related to a given piece of music. This becomes a difficult problem when the various representations reveal significant differences in structure and polyphony, while exhibiting various types of artifacts. In this paper, we address the issue of how music synchronization techniques are useful for automatically revealing critical passages with significant difference between the two versions to be aligned. Using the corpus of the Beatles songs as test bed, we analyze the kind of differences occurring in audio and MIDI versions available for the songs.

Liverpool University Press is delighted to announce the launch of a brand new open access journal, The Journal of Beatles Studies. Co-edited by Holly Tessler (University of Liverpool) and Paul Long (Monash University) the journal will be published twice a year, with the inaugural issue being in September 2022. The journal is sponsored by the University of Liverpool library.

The Journal of Beatles Studies is the first journal to establish The Beatles as an object of academic research, and will publish original, rigorously researched essays, notes, as well as book and media reviews.

The journal aims are; to provide a voice to new and emerging research locating the Beatles in new contexts, groups and communities from within and beyond academic institutions; to inaugurate, innovate, interrogate and challenge narrative, cultural historical and musicological tropes about the Beatles as both subject and object of study; to publish original and critical research from Beatles scholars around the globe and across disciplines.

The Journal of Beatles Studies establishes a scholarly focal point for critique, dialogue and exchange on the nature, scope and value of The Beatles as an object of academic enquiry and seeks to examine and assess the continued economic value and cultural values generated by and around The Beatles, for policy makers, creative industries and consumers. The journal also seeks to approach The Beatles as a prism for accessing insight into wider historical, social and cultural issues.

The journal elicits peer-reviewed, interdisciplinary articles encompassing scholarship about, but not limited to:

The Beatles as academic object
The historical moment of The Beatles
The music of the Beatles, including issues of composition, recording, performance, reception and interpretation
Beatles fandom and communities
Social identities and The Beatles
Beatles geographies
The legacy of The Beatles
Cultural value and The Beatles
The Beatles as heritage object
The global Beatles
Beatles historiography
Mediation of The Beatles
Beatles pedagogies
Economics of The Beatles
Archiving and collecting The Beatles
Sustaining The Beatles

As pretensões do presente estudo se lançam sobre o panorama de intensa efervescência cultural proveniente da década de 1960 de nossa contemporaneidade. Sendo assim, se fazem perceptíveis os movimentos sociais que permeiam, desde uma cultura pós-guerra, ao rompimento total e cada vez mais inovador de um sistema que quer adotar novas formas de viver e se relacionar. Em meio a todo este contexto, a música, e especificamente os Beatles, marcam presença na construção de um legado que muito contribui para a posteridade, caracterizando e incrementando um pouco do que foram os agitados anos 60. O contexto social e cultural: O século XX carrega a sociedade, perante o contexto da polarização geopolítica, em um âmbito de constantes mudanças sociais, políticas e culturais sem precedentes na história da humanidade. Alguns recortes específicos deste período enfatizam maiores mudanças em menos tempo, como mudança de pensar, agir e se relacionar. Um grande exemplo é a década de 1960. Nestes 10 anos, a sociedade ocidental pode experimentar, perante os ecos ainda sorrateiramente iminentes de uma geração pósguerra, o ato de voltar-se ao que toca às preocupações de desigualdade, de pobreza, de racismo, de guerra, de cultura. Entre janeiro de 1960 e dezembro de 1969 o mundo viu, abrindo espaço para novos pensares posteriores, uma situação em que algo deveria ser feito, e a atitude social perante à época foi, em âmbito mundial, algo a ser perpetuado na história do Homem. Este período envolve, é claro, aspectos que não se restringem à conjuntura política, mas de alguma forma se interligam a ela. Diversas manifestações, como a arte, a música, os protestos, a mídia e a juventude se relacionam com o que envolvia o mundo ocidental, e são estes os principais fatores na revolução sociocultural que marcam estes tempos. A juventude, predominante como nunca desde a geração anterior, assume a berlinda de porta-voz de uma geração que quer romper com o establishment de um pressuposto que ignora os efeitos da guerra e só pensa em apagar as mágoas do passado, sem refleti-lo. Um dos instrumentos fundamentais na forma de expressão 1 1 Artigo apresentado como exigência parcial da disciplina: Arte brasileira da "Missão Francesa" ao modernismo-7° semestre (manhã), sob orientação do professor Alberto Luiz Schneider.

This handout is for EFL/ESL students at pre-intermediate level and above. It provides an introduction to the fantasy film 'Yellow Submarine', a true masterpiece. The 90-minute animated movie is now readily available on DVD/video, and can be made the focus for an extended multimedia unit. The handout is a text for reading and discussion, specific orientation before and after students see the film. It is not a lesson plan but can give rise to a range of activities teachers know how to devise.

The paper is part of the ‘Back Home’ research project carried out by a group of PhD students from the Polytechnic University of Milan within the framework of the Paquebot Laboratory. The goal of the present research is to reveal historical premises and sociocultural circumstances that provided the basis necessary for the development of the British post-war housing.
As one of the major sociocultural and architectural phenomena in the modern history of Great Britain, the new residential development has been taking shape under the impact of new realities of the post-war life. A descriptive research method has been applied in order to determine the most significant among these realities, such as the exigency of rebuilding and reforming the country immediately after the World War II, economic upheaval of the next two decades, introduction of new governmental policies, multiple cultural tendencies – form the Swinging Sixties to the Electric Eighties – and an intense critical debate of the period.
The study aims to answer the following research questions: what are the preconditions of the British post-war housing phenomenon, and what has determined the emergence of a new generation of architects ready to exploit new approaches to modernism and avant-garde in Great Britain in the 1950s-1980s. Special attention is paid to revealing innovative tendencies of art, fashion, music and cinema, which have transformed the country into the world’s cultural trendsetter for several decades and become a cardinal requirement for the residential development in post-war Great Britain.

The article examines the reflections and influences of the Rolling Stones phenomenon within the framework of communist Czechoslovakia. Based on the exploration of characteristic historical and cultural events this article confirms the exceptional status of the Rolling Stones in Czechoslovakia as a political band par excellence.

Despite the large time gap between the two, Beatlemania and modern male pop star fandom reflect each other in their overwhelmingly female fanbases. Through these two multigenerational case studies, I will examine how young women are positioned in the greater sphere of popular music audiences, discussing their participation in fandom through concert behavior and consumption of music and merchandise. My research will compare their representation in mainstream media with their personal expressions of fandom, asking, in the line of feminist theory, whether female music fans have received more than their fair share of criticism, from the 1960s to current era.

La década de 1960 fue una de las décadas que más cambios haya experimentado hasta ese entonces el mundo. La mayoría de las naciones vivía una época de auge económico, de liberación, de consolidación Estatal o creación nacional, así como de globalización acelerada, todo lo anterior en el marco de una guerra fría que había dividido al mundo en dos bandos contrarios: comunistas y capitalistas.

En este contexto, el capitalista Reino Unido sufriría las transformaciones políticas, económicas y sociales por las que pasaba el mundo entero; descolonización, reposicionamiento en política exterior y una creciente clase media fueron algunas de las características de este periodo.
Sin embargo, una nueva generación estaría por tomar asalto en la vida pública de las naciones más importantes del mundo capitalista; la generación del Baby Boom , rebeldes que se convertirían en los protagonistas de la década. Como parte de esta generación, se encontraban cuatro amigos ingleses, originarios de Liverpool; John Lennon, Paul McCartney, George Harrison y Ringo Starr, que ganarían popularidad y reconocimiento internacional a través de su música, convirtiéndose en portavoces de un discurso revolucionario que irrumpiría a finales de los 60 en boca de jóvenes en contra del statu quo y el establishment que pronto heredarían de la generación anterior. Los Beatles, como se hicieron llamar como grupo musical, eran chicos estudiantes de clase media, nada fuera de lo ordinario en Inglaterra, que producía una clase media cada vez más numerosa con más oportunidades de adquirir educación básica en escuelas públicas, al igual que otros países como producto del desarrollo económico acelerado que se vivió después de la Segunda Guerra Mundial.

Wprowadzenie do pop psychedelii - hybrydy sztuki, mody i marketingu, która stała się popularna pod koniec lat 60. na skutek absorpcji kultury psychedelicznej przez mainstream. Omówienie reprezentacji w filmie autorskim, filmie gatunkowym, kinie eksploatacji, muzyce i reklamie.

"Reggae and dub has brought about many changes in production practices internationally. The studio Innovations pioneered by Osbourne “King Tubby” Ruddock and Lee “Scratch” Perry, have revolutionized production techniques in reggae, dancehall and many popular international genres.  The Ruddock and Perry Production Techniques have had a significant influence on the development of genres such as hip-hop, house drum and bass, trip hop, trance and techno. Despite this major contribution to pop music production techniques, there has been insufficient recognition for these “Dub Master’s” role in pioneering studio production styles.
This paper will examine the role of Ruddock and Perry, in the development of these distinctive techniques and juxtapose them along techniques of Anglo-America,  namely Phil Spector’s  Wall of Sound, the Beach Boys’  Pet Sounds and the Beatles Sgt Pepper Lonely Heart Club band  which have been valorized as landmark signposts in the history of pop music production.  By exploring the production techniques involved in creating the 1980s pop hit Genius of Love By Tom Tom Club.  I will show how the techniques of Ruddock and Perry have been appropriated by mainstream culture and how these techniques have influenced pop music production globally. In the process making a claim for the equal recognition of the work of Perry and Osbourne placing them in the same hallowed space occupied by their Anglo-American counterparts. "

O presente artigo aborda o papel do A&R (artista e repertório), função estratégica de planejamento e posicionamento de marcas dentro da indústria fonográfica, a partir da atuação de Brian Epstein – A&R responsável pela carreira dos Beatles – como vetor de construção do branding musical.

Andy Warhol’s peeling banana sticker and large signature on the cover of The Velvet Underground and Nico’s eponymous album is one of the most famous of fine artist/musician record cover collaborations. It wasn’t however Warhol’s first cover, that was Program of Mexican Music by Carlos Chávez back in 1949, created when he first moved to New York as a jobbing designer, according to Francesco Spampinato. His book tracing how and why fine art infiltrated the world of the long player has just been published by Taschen. Here we reprint an extract of his introduction and some key covers

Early academic article on McCartney's songs during/after the Beatles. This focuses on themes of time and nostalgia alongside musical innovation in a selection of McCartney songs, 1963-2001. Some of my later publications on McCartney (and Lennon) are also available on my academia.edu page.

Alexander Ness, in his paper, “Transcription and Multimedia: New Interpretations,” argues that music video transcription explores “unusual musical relationships” and allows for experimentation with “unusual formats,” which essentially “challenges musicians […] to think more carefully about the visual representation of music, and to explore the analytical potential of moving images.”  Within the context of music video narratives, Carol Vernallis argues that:
Music, image, and lyrics each possess their own language with regard to time, space, narrativity, activity, and affect. Even when these three media combine seamlessly into a new whole, in the background some aspect of each medium will remain, where it lingers in an almost palpable way. 

Echoing on Ness’ and Vernallis’ analytical models, along with my interests in bizarre and absurdist audio-visual works, this paper aims to provide an absurdist narrative reading through a multimedia transcription of The Beatles’ music video, “I Am The Walrus” (originally premiered in 1967 on a television film Magical Mystery Tour).
The song’s music video features absurdist visual elements, while the lyrics were purposely written to be nonsensical.  Just as Lewis Carroll’s poem, “Jabberwocky,” features nonsensical words, The Beatles wrote lyrics from random separate events and combined some lyrics from other unfinished songs.  However, while the song’s lyrics were intentionally written to be nonsensical, its combination with its music video seems to provide a multimedia translation, despite its absurdist features. Thus, an absurdist, silly, or quirky narrative seems to arise from the combination of its text, visuals, and music. Therefore, from a multimedia transcription analysis of “I Am The Walrus,” this paper will discuss its resulting absurdist narrative, and that such resulting narrative will be framed within an opportunity space for absurdity.

A thorough analysis of 'Revolution 9' from the Beatles' "White Album" (1968), a composition by John Lennon in the style of musique concrete. The analysis looks not only at the cohesive structure, but the intent and significance of the work given the major changes happening in Lennon's life at that time. Particular attention is paid to the use of crowd noise and sounds of mass experience given Lennon's distrust of authority and his evolving role as a social activist.

Originally published in 'Perspectives of New Music', 46/2, 2008.

Previously this site contained a long excerpt of this article. This version is now complete, uploaded 4/3/15.

Albert Maysles, who with his brother David pioneered techniques in observational documentary in America in the 1960s, offers thoughtful reflections on a lifetime of filmmaking.  Ethical concerns in documentary are strongly addressed.  He focuses on the philosophy that has guided him as a filmmaker as well as the relationship those principles have to the lightweight camera and sync sound technology that allows him to carry out his practice.  He discusses space and distance not in geographical, but interpersonal, terms and emphasizes the ways in which his empathy and humanity allows him to get truly close to his subjects.  He dispels the notion that a direct cinema filmmaker is like a fly on the wall, stressing that “you have to get in there to get what’s really going on.”  The discussion draws upon specific moments within a range of films – from Jackie Kennedy’s hands in Primary (1960) to his painterly camerawork in Gimme Shelter (1970) to a messy bed in Grey Gardens (1975) – to explore how his camera’s tracing of surfaces can, in fact, reveal subjective interiorities.  He also responds to the critical reception of Grey Gardens and expands on Norman Mailer’s high praise for Salesman (1969).

Running head: DON'T WORRY. IT'S JUST BEATLEMANIA 2 This paper explores the role of mass media and other forms of communication in the outbreak of the mass hysteria known as Beatlemania in the United States from 1964 to 1966 in reaction to the British rock-and-roll group, the Beatles. American cultural and political factors will be examined as to their contribution to the hysteric reaction to the Beatles. After exploring the mass hysteria, what fueled it and what had an impact on it,

George Harrison was probably the most "spiritual" of the Beatles.  He was influential in exposing people to the Hare Krishna movement in the 70's, initially with his hit, "My Sweet Lord."  This paper examines Harrison's world view, comparing it to the Christian world view.

The book deals with the formation of progressive rock at the turn of the sixties and seventies of the 20th century. Attention is paid to the "underground" roots of the genre on the Anglo-American scene, the influence of The Beatles on its artistic appearance and the global trend towards complicating the expressive means of rock, which in the 1970s resulted in large-scale multimedia projects by Genesis, Pink Floyd and Yes. An important part of the book deals with progressive rock in the context of communist Czechoslovakia - this extends from the artistic contexts to the socio-cultural or cultural-political ones. In selected chapters, issues such as key recordings, their technical background, or their relationship to one or another musical tradition are presented. Other chapters show progressive rock in the light of artistic and political ideologies and doctrines.

Il lavoro che segue riparte dalle fondamentali pagine della breve ma densissima opera di Algirdas J. Greimas Dell'imperfezione per portarne avanti il lascito in una direzione inedita o in buona parte impensata. Si tratta di sviluppare il ragionamento che il maestro, approssimandosi alla fine della sua vita, aveva avviato sul tema dell'imprevedibilità. Risultato di questa esplorazione delle potenzialità che Dell'imperfezione cova al suo interno o che spinge a cercare al di là di sé è la formulazione di una matrice ritmica che consenta di guadagnare una presa più fine tanto sulle radici dell'estetico, quanto sulle forme della creazione e della creatività, quanto infine sull'articolarsi delle forme di vita. Mostreremo come, superando la centralità della frattura, dell'incidente estetico, altre forme dell'imprevedibile appaiano : la sincope, il sostenuto, il nonnulla. Il lavoro di individuazione di tali forme e dei rispettivi ritmi apre inevitabilmente su sviluppi molteplici che vanno nella direzione della valorizzazione della complessità formale e del prospettivismo percettivo-culturale implicato da questo genere di ragionamenti. La formulazione del modello spinge inoltre alla sua approfondita applicazione e messa alla prova su specifici casi. Non potendo dar seguito a tutti questi sviluppi abbiamo deciso di focalizzare la seconda e ultima parte del lavoro sulle posizioni e le dinamiche complesse che si aprono con e fra le forme di base individuate. Individuando il campo del salto, dell'approfondimento, della turbolenza e della vertigine ulteriori tipi di ritmo si profilano e con essi la comprensione delle strutturazioni e degli effetti di senso correlati a specifiche opere e forme di vita.

My first published article ... in the Village Voice, October 21, 1971 ... I was 24 years old and living on the Grand Concourse in the Bronx. I sent this in as a Letter to the Editor - in response to a negative review of Paul McCartney by Voice critic Robert Christgau - and was surprised about two weeks later by a check in the mail and a note from the Voice that they wanted to publish my letter as an article.

Beatles tribute bands offer a make-believe substitute for the "emotional vacuum" left by the band's breakup in 1970. Among the best-known acts are the Bootleg Beatles, who since 1980 have toured the world with elaborate shows consisting of appropriate costumes, hairdos, and Scouse-accented banter. By contrast, the Analogues approach such reenactment quite differently. Downplaying visual mimesis, they strive for complete aural accuracy. This essay compares both tribute bands' approaches to reconstructing The White Album, discussing how they aim to reanimate a fictionalized past in an authentic manner: the Bootleg Beatles to witness an imaginary Beatles performance, the Analogues to hear music that was never meant to be heard live.

The past century has seen the gradual rise of an interest in the historical recreation of Western classical music. Music specialists have been performing music from the Baroque and earlier eras in what was believed to be its “correct” historic context, a practice known as historically informed performance (HIP). In the last decades, HIP was adopted to more recent musical styles, including 20th century “jazzy” compositions such as Gershwin’s Rhapsody in Blue (1924), but in popular music, it is not (yet) an established practice. There is a host of tribute acts dedicated to rock’s canonical repertoire, but bands that attempt to fully recreate a historical performance are scarce.

Worldwide, there are over 600 (semi-)professional Beatles tribute bands, but most focus on a core repertoire that is easily reproducible on stage (Inglis 121). Therefore, many key Beatles compositions are never performed live, in particular those of the post-1966 albums. This is not surprising given that the complex combination of instrumentation, orchestration, and arrangement, often painstakingly constructed track by track in the studio over several weeks’ time, is unattainable to reconstruct live for most tributes.
“Within You Without You,” a Harrison composition from Sgt. Pepper (1967) is an excellent case in point. Due to its rhythmic complexities and its hybrid instrumentation, including various Indian instruments and an 11-part string section, it is rarely covered by Beatles tributes. Yet, The Bootleg Beatles, The Fab Faux, and The Analogues, three top-tier tribute acts, have performed this song in concert.

In this presentation, I undertake an in-depth auditory comparison of these three bands’ versions, not to favour one over the other but to reveal the similarities and differences in their recreations of this particularly challenging work. In the process, I discuss their respective approaches, illustrating the potential that historical recreation has for The Beatles’ music.

The reasons why this album has been declared “the greatest album of all time” are explored through their historical rationales, and these are compared with more straightforward aesthetic analyses of the album’s contents. A contrast is drawn between the canonical centrality of Sgt Pepper to rock music in general, and its importance to The Beatles canon in particular. I demonstrate that the centrality of the Sgt Pepper to rock music is an American phenomenon, where it is seen as establishing the album form as the primary unit of rock-music art. In contrast, the British critical tradition has not generally awarded special importance to Sgt Pepper. However, the US perception of the album has infiltrated the British discourse and this has resulted in the perception that The Beatles canon is an album-based form.

This article addresses the various appropriations of the Beatles' songs in Brazil. It proposes a thorough account, within the limits of an article, aiming to comprehend the aesthetic and political battles concerning the incorporation of the Beatles' sound into Brazilian national culture. The article analyses both the incorporation and rejection of the Beatles' sound from various national musical segments, and the importance of the anthropophagization of the electric guitar by the tropicalists (Os Tropicalistas). From this perspective, I illustrate how distinction within Brazilian musical fields has been reconstructed via two different types of incorporation of the group's sound: one pre-Sgt. Pepper and another post-Sgt. Pepper and how they influenced the uneven battle for the institutional memory of Brazilian culture.

El objeto de estudio de este trabajo es el Arte Psicodélico, más concretamente el diseño gráfico -los carteles de conciertos y carátulas de discos- asociado a los sonidos del llamado rock ácido o rock psicodélico de los años sesenta. La psicodelia -el uso de drogas alucinógenas- surge a mediados de esa década en Estados Unidos como una de las facetas de la contracultura hippie, y se extiende luego al Reino Unido, donde se enmarca dentro del fenómeno conocido como “Swinging London”. 

El término psiquedélico fue acuñado por el cientifico Humphrey Osmond en 1957 y significa “manifestación del alma o de la mente”. Será un adjetivo que se aplique a aquellas obras inspiradas en, o relacionadas con, la experiencia producida por el uso de drogas alucinógenas, como el rock psicodélico. Era un sonido totalmente nuevo, que desafiaba la estructura básica de la canción pop y empleaba instrumentos nunca antes utilizados. Este tipo de música induce un cambio en la representación visual de la industria musical, como se demuestra estudiando las carátulas de discos y los carteles para conciertos: convertidos en materiales de creación artística, se vive un nuevo entendimiento de estos objetos, y su importancia ha ido creciendo desde entonces. Este trabajo estudia la evolución estética del diseño gráfico musical de la década de los cincuenta a la década de los sesenta, poniéndolo en relación con un contexto histórico muy especial y con el surgimiento de una música radicalmente nueva.

El desarrollo en la creación de pósters para los conciertos es comparable a la época del modernismo. El póster deja de ser funcional, casi contradiciendo su propia razón de ser: ya no solo debe aportar información sobre el grupo, el lugar y la fecha de un evento musical, sino que se presenta como un lienzo en el que distribuir dicha información con un lenguaje completamente nuevo, a veces indescifrable, inspirado en el tipo de música que se va a escuchar en el concierto. Los carteles se conforman a partir de formas suntuosas de influencia modernista con una imagineria onírica, como influjo del surrealismo. Las formas se fusionan con las nuevas tipografías y se desenvuelven por el espacio de manera orgánica, con colores vivos y contrastados. Como artistas psicodélicos americanos destacan los conocidos como “The Big Five”: Wes Wilson, Alton Kelley, Stanley Mouse, Víctor Moscoso y Rick Griffin. En Inglaterra la producción más importante fue la de Michael English y Nigel Waymouth como colectivo “Hapshash and the Coloured Coat” y la de Martin Sharp.

La revolución del póster pronto influye en el desarrollo de las carátulas. En los años cincuenta la cubierta de un disco solía contentarse con ofrecer una fotografía del artista muy sobria y su nombre con una tipografía muy simple. En los años sesenta hay un cambio sustancial con los avances tecnológicos y el influjo de las visiones del LSD. Formalmente en estos diseños encontramos influencias de la fotografía de las vanguardias o la cartelería de la secesión vienesa. La carátula adquiere una importancia que no había tenido nunca antes y empieza a ser realizada por pintores y diseñadores con conciencia artística.

PAUL IS DEAD is a subject ripe for mediological excavation requiring occult tools that have always factored into interpretations of Beatles' messaging. The time and place to introduce a new " Science of Magic " with its forbidden apparatus into the academy has never been better. Conspiracy theories surrounding Paul McCartney have been ramped up after the release of his new album Egypt Station and triumphant Freshen Up World Tour ending in July, while a virtual stream of mediology phenomenology (here is one from Revolver where the band's transformation began) about The Beatles' creative process keeps the online investigations fresh. There is always something new to discover, which keeps the discussion open-ended. This article will examine the evolution of PID over the past half century to its current digital status in relation to other conspiracy theories: Sept 11 as an "inside job;" the JFK assassination; the ritual murder of Princess Diana; and QAnon examined by Ethan Zuckerman in the first installment of JoDS #6: Unreal. In order to make effective comparisons, hermeneutics apparatus (astrology, numerology, alchemy) pioneered in the European Graduate School laboratory will be utilized to explore eight topics: tech, bibles, origins, hermeneutics, semiotics, phenomenology, Gesamtkunstwerk and metaphysics.