Suckerfly Introduction

Hi

Just introducing myself to the ATS community, after finding it these past few weeks researching a number of topics, though the primary topic I was following that led me to sign up was the ongoing PID history. I wrote a few observations years ago entitled "The Fool On the Hill" and periodically check the internet to see if anyone approaches it from the angle I went. The Psychology of 'Artistic' Creation, as in the external stimuli instructing the subconscious or creative mind 'what to say', whether the 'artist' thinks they are making it up as they go along.

Anyway, I hope to post those thoughts in a relative thread, I just wanted to introduce myself and say hello

reply to post by suckerfly


Hello suckerfly and welcome to the boards.

"The Psychology of 'Artistic' Creation, as in the external stimuli instructing the subconscious or creative mind 'what to say', whether the 'artist' thinks they are making it up as they go along."

That sounds very interesting and I'm looking forward to reading your take on the psychology of artistic creation. The subject is intriguing.

Thanks Hazelnut. "The Fool On the Hill" was a pretty massive undertaking. In this case of The Beatles and a False Paul, it wasn't out to prove a murder and doppelganger. But ... it did point to something happening. Pretty apparent and glaring.

You just look at their lyrical output, from day one, and follow it. Try and get as much facts about the writing and recording of the songs. Sometimes the songs were recorded within days of eachother and read like conversations

Nowhere Man
Think For Yourself
I'm Looking Through You

Put the lyrics to these songs together they almost suggest answer and reply on one particular event. The disappearance or changing of someone. I viewed it from the angle that it was Lennon's change in behaviour, particularly post 1965. Now McCartney can say one is about Jane Asher, Lennon can say it was about how he was feeling, and Harrison can say it was probably about government. Beatles fans will insist these are what these are about through the 'word of the artist'. I say, look at as many external events going on around these people at the time, when these songs were written and recorded, and then go inside the subconcious creative mind and see what comes out with all these inputs. Do the same with the Revolver album and wonder why they are so concerned about death all of a sudden, where Lennon has drifted off somewhere else ....

Like I said Fool On the Hill was a massive undertaking. I didn't even get up to Revolver before I was 30,000 words in. You have to look at the upbringing of the person, instances of how they deal with outside events as best can be known, internal struggles that were prevalent throughout their lifetimes ..... songs are Diaries. Conversations.

Put those three songs together. Remove what you know about their 'writing'. Forget Jane Asher, Lennon's 1st seclusion, or a mystery government. Just look at the words and what they are saying. What they imply. They read like three people's versions of a current event. Then go back in again with all the Beatley info you know, and see what you come up with.

I found that after "Yesterday" some serious s*** went down. I don't know what, but the dynamic in the band changed. And then death. And then re-emergence as a 'fake' band. With one member always made different from the others. It just got way too coincidental to be ...

And I do know that these 3 songs were written before November 1966
Nowhere Man
Think For Yourself
I'm Looking Through You

by the way. And weren't about Paul's upcoming 'death'. It just suggested that internal conflicts by each person writing were being manifested as songs. One expects that in the artistic world. It's what you do. It was just when it got to Revolver's pre-occupation with death did it start getting ... strange.