On Monday, June 11, 2018 at 7:05:35 AM UTC-4, Norbert K wrote:

On Thursday, October 3, 1996 at 3:00:00 AM UTC-4, saki wrote:

On Wed, 18 Sep 1996 00:52:46 GMT, Eric Johnson ><[email protected]> wrote:

Say Lennon did mix in 'everybodys' fucked up' at the end of IATW, which >>was a big enough public supposition at the time the song came out that >>the Beatles had to deny it to the press.

Just curious. Can you cite any such denial? I've never heard this one before and would like to know where the denial was printed, just for future reference.

Many people take this for "Everybody smoke pot", which is also not
what it says.

Would any of the Beatles, especially Lennon, admit it?

Well, what you're saying then is that whether they confirm or deny it,
it makes no difference to the accuracy of the lyrical transcription.
:-)

So how do you find out for sure? Consult one of the Mike Sammes
Singers, perhaps, who sang this passage in the song?

No, because then the song would be
censored, or have to be remixed and reissued, etc.

But the song already mentioned "knickers", which got Auntie Beeb's own knickers in a twist. :-) The Beeb was pretty overwrought about things
they thought were lyrically salacious or inappropriate. They didn't
like "A Day In The Life" because Paul sang about going upstairs to
have a smoke...which the BBC assumed, in its wisdom, was about pot
smoking (again, it was not). Yet the line "I'd love to turn you on"
was apparently not the cause of the BBC's banning of the song...go
figure!

I think the Beatles,
in their heyday, were arrogant and talented enough to try and slip a lot >>of stuff by their unsuspecting, dim witted public with a wink and a nod, >>and did! And I think it's great!!

They did less than you think. It appears the Fabs thought more highly
of their art than to use it constantly as a massive in-joke. Most of
the time they were trying to communicate to us feelings and
philosophies on quite a higher plane. If you're missing that aspect of their music, you may want to listen again. You can never hear the
Beatles too many times, IMHO. :-)
--
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"Though I've said it all before, I will say it more and more...." ----------------------------------------------------------------- [email protected] * [email protected]

Don't forget the excerpts from King Lear which add quite a big to the weirdness of the song.

...I have to say that I once read (somewhere) that Harrison want to add something, something everyone does, to the tail of the song, and got in the chant "get f*cked, get f*cked, everybody get f*cked."

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On Friday, September 13, 1996 at 12:00:00 AM UTC-7, Allison Dawn Kolody wrote:

Question for everyone - my friend and I, who are both big fans, were
sitting around listening to I Am the Walrus one sunny day. But we got inot
a bit of an arguement at the end of the song, where the vocaists are "singing" their little bit over and over and over... you know, right at
the end. Well, he told me that they were saying "Everybody smokes pot" -
that really high sounding voice in particular. I disagreed - I don;t
think that is waht it says and I have never heard or read anything to make
me think differently. So, can someone help me out???

In the documentary for the "Love" show, when trying to recreate the chant into the fade, both the "Oompah, Umpah" line from an old song, and the "Got one, got one" lyrical versions were considered - and it was Yoko who decided rather than selecting one
as correct, singers would perform both alternate lyrics simultaneously.

Either way, it aurally transmutes into the intended message, neatly tying together the musical and lyrical elements, like the refrain in "Yellow Submarine" and the title "Paperback Writer." The "Goo goo g'joob" interjection is functionally related, so
that once the mind clears it of being gibberish, the meanings have significant alignments.

So chasing literal semantics leads in different directions than appreciating the subliminal aural crossovers.

Allowing the live broadcast of the "King Lear" performance to bleed into the mono mix posed a problem when trying to mix for stereo later.

The musical flourish using horns after the lyric "See how they fly" approximates a quasi-verbal continuation,

'...On An -
Astral -
PLANE!'

The scene for their television special was filmed at an air field, with a plane serendipitously flying in the background, masterfully edited with their magical transformation into Carrollian creatures. The policemen are symbolic ministers of Justice,
which is the cardinal virtue alluded to by the song, musically based on a wailing siren. McCartney has explained for the day of shooting the wall sequence, the masks were on a table and each grabbed one at random - except then Paul himself was in the
Walrus costume, making broad arm movements in isolation, while the other three sat together on the wall.

In the film the song begins when Mister Bloodvessel has succumbed to his Envy for the Courier, ineptly taking over his job by addressing the bus passengers as an impostor host. The weird chords of the opening riff commence, and the band is viewed within
a tunnel-vision circular border - then Paul abruptly points to Ringo for starting his drum part, augmenting the implied musical message with percussion suggesting,

'...The Famil'ar -
Part Of It!'

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