All language subtitles for Mike Williams

hello friends this is mike williams the

following video contains all seven get

back presentations and commentary

uploaded to my channel the video starts

with my august 2021 presentation titled

is peter jackson's get back revising

beetle history and concludes with part

two with film and video analyst paul

janssen who offers his insights after

watching the full documentary i hope you

enjoyed the compilation and thanks for

listening

hello friends this is mike williams the

following presentation investigates the

beatles let it be period to get a better

understanding of the band's dynamics and

whether peter jackson's new film get

back

is historically accurate or is it

revisionist history made possible by the

advancement of film technology 51 years

after the original let it be film was

released we will take a look at the

alleged 56 hours of unseen footage and

to do this we will revisit the history

of the original let it be film from 1970

in order to establish the historical

baseline

as i move along i will call out the

numerology to show how the numbers are

intentionally embedded and part of the

occult magic around billy and the

beatles

i will then discuss the possibility of

peter jackson utilizing advanced

techniques like deep fake and cgi-based

technology to create a fictional

storyline around his film get back

then i will briefly discuss how there

are other major deliverables coming

together in a short period of time which

could mean billy is wrapping up his

mccartney role and going out with a

ticker tape parade as he is recognized

for his efforts on behalf of the social

engineering psyop known as the beatles

but before i move to the first slide

please note this presentation is about

the beatles and the mccartney conspiracy

so if this topic is not your cup of tea

or it makes you upset i highly recommend

clicking the stop button and moving on

to content that better aligns with your

beliefs about who and what the beatles

were and continue to be i would also

like to thank those of you who forwarded

information which helped to compile this

presentation let's move to the first

slide and begin the analysis

events around the beatles and billy

always have embedded occult numbers

the typical numbers we see over and over

again are 3

6 9 11 33 66 99 666 and 999 when billy

is in his mccartney role the number nine

is present when he is himself as william

he associates with the number six

however as billy gets closer to bringing

his mccartney character to a close we

are also seeing the numbers 7 and 10.

7 is a number representing enlightenment

and 10 represents completion and new

beginnings the numbers 3 6 and 9 are

very important within occult circles

because 3 6 and 9 are considered

powerful numbers in the creation and

existence of the universe and represent

higher dimensional energy influencing

other numbers nikola tesla was quoted as

saying if you only knew the magnificence

of the three six and nine then you would

have the key to the universe

as we can see three six and nine are

rooted in the number three

whenever we multiply three by one two

three and so on the result is the three

six nine pattern

we have the same outcome with the number

six except the sequence is six three

nine the number nine is very interesting

because no matter what number we

multiply 9 by the result always reduces

to the number 9. this is why 3 6 and 9

are considered powerful numbers and

influence other numbers

in the next slide we will see how 3 6

and nine especially three is very

important in the release of peter

jackson's get back

this narrative about the get back movie

comes to us from thebeatles.com

i will read through the entire press

release and emphasize the wording

underlined in red

on the next slide i will offer my

interpretation of the underlined words

and what i believe is being expressed in

an encoded or layered way

the release begins by saying

over six hours of never before seen

restored footage including the beatles

last live performance to roll out on

disney plus over three days november

25th 26th and 27th of 2021

the walt disney studios apple core ltd

and wingnut films productions ltd

announced today that disney plus will

bring the beatles get back a disney plus

original documentary series directed by

peter jackson to fans and music lovers

worldwide

because of the wealth of tremendous

footage peter jackson has reviewed which

he has spent the past three years

restoring and editing the beatles get

back will be presented as three separate

episodes each episode is approximately

two hours in length and please note two

hours in length times three episodes

equals six

the series will roll out over three days

november 25th 26 27 of 2021 exclusively

on disney plus

as a huge beatles fan myself i am

absolutely thrilled that disney plus

will be the home for this extraordinary

documentary series by the legendary

filmmaker peter jackson said bob iger

executive chairman and chairman of the

board for the walt disney company this

phenomenal collection of

never-before-seen footage offers an

unprecedented look at the close

camaraderie genius songwriting and

indelible impact of one of the most

iconic and culturally influential bands

of all time and we can't wait to share

the beatles get back with fans around

the world

peter jackson commented in many respects

michael lindsey hogg's remarkable

footage captured multiple storylines

the story of friends and of individuals

it is the story of human frailties and

of divine partnership

it is a detailed account of the creative

process with the crafting of iconic

songs under pressure

set amid the social climate of early

1969

but it is not nostalgia it's raw honest

and human over six hours you'll get to

know the beatles with an intimacy that

you never thought possible he added i'm

very grateful to the beatles apple core

and disney for allowing me to present

this story in exactly the way it should

be told

i've been immersed in this project for

nearly three years

and i'm very excited that audiences

around the world will finally be able to

see it

directed by three-time oscar-winning

filmmaker peter jackson who also

directed the lord of the rings trilogy

the beatles get back takes audience back

in time to the band's intimate recording

sessions during a pivotal moment in

music history

the documentary showcases the warmth

camaraderie and creative genius that

defined the legacy of the iconic

foursome compiled from 60 hours of

unseen footage shot in january 1969 by

michael lindsey hogg and more than 150

hours of unheard audio all of which has

been brilliantly restored

jackson is the only person in 50 years

to have been given access to these

private film archives

the beatles get back is the story of

john lennon paul mccartney george

harrison and ringo starr as they planned

their first live show in over two years

capturing the writing and rehearsing of

14 new songs originally intended for

release on an accompanying live album

the documentary features for the first

time in its entirety the beatles last

live performance as a group the

unforgettable rooftop concert as well as

other songs and classic compositions

featured on the band's final two albums

abbey road and let it be

the beatles get back is being made with

the enthusiastic support of paul

mccartney ringo starr yoko ono lennon

and olivia harrison

ahead of the documentary's disney plus

debut apple core ltd slash callaway arts

and entertainment will release the

beatles get back book on october 12th

beautifully designed and produced the

240 page hardcover complements the get

back documentary with transcriptions of

the beatles recorded conversations and

hundreds of exclusive never before

published photos from the three weeks of

sessions the collectible book will be

published in nine international language

editions including english and that's

the end of the article

for those that follow my work you

probably have heard me refer to the

official beatles narrative as the

cinderella story

and here we have peter jackson's get

back being released by disney who is

known for films having to do with

fantasy imagination and make-believe in

other words disney makes fictional tales

and one of their most famous is

cinderella

throughout the wording we see the

numbers 3 6 9 10 and 11. the dates of

november 25th 26th and 27th are encoded

with the numbers 9 10 and 11.

for example november 25th is calculated

by taking the numerical value of

november which is 11 and adding it to

the 25th day when we add 11 plus

twenty-five we get thirty-six and three

plus six equals nine

the same math applies with november 26th

and twenty-seventh the three dates are

telling an embedded story the number

nine means transformation

change and therefore endings which then

leads to the number 10 or the number of

completion and new beginnings and of

course 10

leads to 11 which is a master number in

the occult and represents spiritual

enlightenment as well as the twin

pillars of freemasonry joachim and boaz

so billy is closing out his mccartney

role and beginning a new quest or

journey which will take him to a place

of enlightenment and illumination

as i explained in my decoding mccartney

3 presentation the number 10 in billy's

case might represent his passing and the

number 11 is his journey to the spirit

world

the number 14 seems out of place until

we understand that 14 reduces to 5 which

has the attributes of non-conformance

operating outside the norm and not being

traditional the beatles were a social

engineering initiative designed by

tavistock to uproot traditional values

and to help bring about worldwide

cultural change as part of the aquarian

conspiracy and the cult of dionysus or

luciferianism it should be noted with

the exception of a hard day's night

which had 13 songs

all of the beatles other official uk

albums starting with please please me

through revolver contained 14 songs all

numbers have positive and negative

attributes the negative aspects of the

number five would be the emergence of

challenges and difficulties

fourteen can also be representative of

double sevens since seven plus seven

equals fourteen

from 1962 through 1966

the beatles released seven studio albums

which contained 77 original songs and 97

total songs when we add in the cover

songs from each album

97 is nine plus seven which reduces to

16 and one plus six equals seven

the name the beatles also has numerology

of seven triple seven is known as the

lightning flash of creation through the

kabbalah tree of life and has

connections back to aleister crowley

speaking of crowley we see the get back

book will be released on october 12th

which is aleister crowley's birthday

this is the same day the new memoirs box

set is also being released the book also

has 240 pages and of course two plus

four equals 6.

the notion that the beatles were a quote

divine partnership appears to be

referencing the enlightenment and

illumination through the tenets of the

luciferian cult of paulism

paulism is a religion embedded within

the beatles and beetle worship where

biological paul is a graven christ

figure who died and then resurrected

through billy

there is a link in the description box

if you would like to learn more about

the concept of polism we are told the

movie is not quote nostalgia and

presents the story exactly the way it

should be told nostalgia hearkens back

to our memories what do we remember do

we remember the let it be period being a

happy time for the beatles that's not my

recollection the historical record

including the original film tells us

quite clearly it was an acrimonious time

period for the band so the get back

narrative is telling us to forget about

what you know and let's now believe in

something different let's enter into the

realm of imagination we are told the

film is a quote story and being

presented the way it should be told as

it should be told by whom well

by the storyteller of course

notice the wording does not say as

events actually happened

then we read the phrases quote never

before seen unseen footage remarkable

footage and never before published

we have to ask ourselves this question

how is it possible

that 56 hours of footage from the most

iconic rock band of all time was sitting

in a vault unseen and none of this

remarkable footage made its way into the

original film

how is such a premise even remotely

possible

maybe it's because the 56 hours didn't

actually exist and i will dig more into

this theory later in the presentation

the last point i want to make has to do

with the wording quote crafting iconic

songs under pressure notice the word

crafting is used instead of writing or

composing

the word craft is also a term associated

with freemasonry and the wording telling

us the beatles were quote under pressure

sounds to me a lot like the rubber soul

narrative where we are told the lads

were under pressure to write rehearse

arrange and record 16 songs in 30 days

which i have shown to be a fictional

telling of how rubbish all was created

in my presentation did the beatles write

all their own music a link to that

analysis is in the description box below

let's move to the next slide

another quirky set of numbers is whether

the number of hours of quote unseen

footage is 55 56 or 60 are the different

numbers coincidental

no they are not they are intentional

from the site get back the beatles we

are told peter jackson's documentary

will re-examine the sessions using over

55 hours of unreleased original 16

millimeter footage filmed by michael

lindsey hogg in 1969 now restored and

120 hours of mostly unheard audio

recordings the narrative goes on to say

that the book will feature many unseen

high-resolution film frames from the

same restored footage another source

indywire.com quotes jackson is saying

and it's really great stuff which pulls

from 56 hours of never before seen

beatles footage

and then from beatles.com

compiled from over 60 hours of unseen

footage shot in january 1969 by michael

lindsay hogg and more than 150 hours of

unheard audio all of which has been

brilliantly restored hmm

so 55 56 and 60 hours

which is it well

it's all of the above and here's why

55 plus 56 plus 60 equals 171

and when we add 1 plus 7 plus 1 we get

9.

we get the same results when we take the

full reductions of 55 56 and 60 which is

represented by 10

plus 11 plus 6 which sums to 27 and 2

plus 7 equals 9. coincidence

i don't think so but you can decide for

yourself

the director of the original let it be

film was michael lindsey hogg who in

wikipedia is sir michael lindsey hogg

fifth baronet

he is an american-born british

television film music video and theater

director he directed promotional films

for the beatles and the rolling stones

with both bands tying back to tavistock

some of his early promo films include

paperback writer reign hey jude and

revolution and the rolling stones 2 000

light years from home jumping jack flash

and child of the moon

lindsay hogg was hired by the beatles to

direct the film which later became let

it be

originally conceived as a television

special get back was to feature footage

of the beatles recording a new album and

rehearsing for a concert appearance

however the sessions were extremely

acrimonious and the film and the album

were shelved for a time following the

beatles rooftop concert in january 1969

the beatles returned to the project and

released the newly retitled let it be

along with an album of the same name and

of course this was in 1970.

lindsay hogg continued directing music

videos throughout the 1970s including

many for the rolling stones and paul

mccartney and wings

so isn't it interesting that within

michael lindsey hogg's bio the original

let it be sessions in 1970 are described

as extremely acrimonious acrimony is

defined as bitter sharp animosity

especially as exhibited in speech or

behavior let's keep this in mind as we

move along

of course no beetle project would be

complete without numbers especially the

master number 11.

filming of the original let it be film

began on january 2nd 1969 and completed

with the rooftop concert on january 30th

for a total of 29 days 2 plus 9 equals

11 and we have the master number once

again what is also interesting if we

look at the callout box at the lower

right hand side of the slide

we can see the number of seconds and

minutes over the 29 days sums to 9. the

number of hours within the 29 days is

696. because the numbers 6 and 9 can be

flipped or inverted in the occult we get

the triple six or the triple nine

signature as well

now let's learn more about the original

let it be film

the source for this information is

wikipedia

let it be is a 1970 british documentary

film starring the beatles and directed

by michael lindsey hogg

the film documents the groups rehearsing

and recording songs in january 1969

for their 12th studio album let it be

the film was released in may 1970 just

after the album

let it be is the final original beatles

film release

the film let it be has not been

officially available on home video since

the 1980s although original and bootleg

copies of the film still circulate early

attempts to release the film on dvd and

blu-ray did not come to fruition

the beatles get back an upcoming 2021

documentary utilizing footage filmed for

let it be will be followed by a

remastered re-release of the original

1970 film

the songs in the film are works in

progress with discussions among the band

members about ways to improve them

wikipedia then tells us mccartney

dominates the proceedings while his

bandmates show comparatively little

interest

at one point mccartney seems to

criticize harrison's guitar part on two

of us

and a mildly tense conversation takes

place between them mccartney says quote

i always hear myself annoying you and

tells harrison this is not his intention

harrison responds that mccartney no

longer annoys him and that he harrison

is content to play what mccartney wishes

or to not play at all

on january 30th the beatles and billy

preston played on the rooftop in the

cold wind for 42 minutes about half of

which ended up in the film and please

note 42 minutes four plus two equals six

initial reviews of the film were

generally unfavorable

critics took issue with the film's

technical and conceptual qualities the

british press was especially critical to

offer my own editorial when i was a

teenager let it be played at a local

theater for a long time with midnight

showings i remember the film being

persistently dark from a lighting

perspective

i also own a copy of the film on dvd and

the dim lighting is exactly as i

remembered in fact i will include some

stills from my dvd so you can take a

look for yourself

overall i thought the movie lacked

cohesiveness with the beatles looking

bored and disinterested through most of

the film for me the highlight of the

movie was the rooftop scene but i also

view the film as part of the historical

record documenting the demise of the

band

now let's read what some of the film

critics had to say back in the day

as mentioned earlier critics took issue

with the film's technical and conceptual

qualities the british press was

especially critical and remember the

original film was shot in 16 millimeter

we will circle back to this in an

upcoming slide

leonard malton a movie critic rated the

film three out of four stars calling it

quote uneven and draggy but quote

rescued by the beatles music owen

gliebermann a variety considered the

film to be quote extraordinary stating

it was grainy and moody and desolatory

now the definition of desolatory marked

by lack of definite plan regularity or

purpose

not connected with the main subject

disappointing in progress performance or

quality it does seem odd that glieberman

described let it be as both

extraordinary and desolatory but let's

keep in mind his description of the film

being grainy as this was the result of

blowing up the film from 16 millimeter

to 35 millimeter for theatric release

michael lindsey hogg the director of let

it be told entertainment weekly in 2003

that reception to let it be within the

beatles camp was quote mixed

he believed paul mccartney and lennon

both liked the film while harrison

disliked it because quote it represented

a time in his life when he was unhappy

it was a time when he very much was

trying to get out from under the thumb

of lenin and mccartney michael lindsay

hogg's explanation is bolstered by the

fact that after george's argument with

billy during let it be

george walked out of the sessions on

january 10th and returned on january

15th so he was gone for five days

and going back to the wikipedia entry

about michael lindsey hogg we are told

the sessions were extremely acrimonious

now let's take a moment and watch and

listen to two exchanges in the film the

first is the argument between billy and

george and the second clip is billy

talking to john and notice the total

lack of interest and apathy from lenin

where during the conversation lenin says

absolutely nothing and watch john's body

language as well it's very telling

you know we've just gone around like for

an hour

in our ends just

the riffs uh there's no rips

i mean it's

nothing nobody just to get away so you

and i are uh

you'd throw that out straight yeah right

no it's like it's it's complicated now

so

see if we can get it simpler

and then complicate it where it needs

complications but it's complicated in

the bit

[Music]

we have certain rules like georgetown

what do you want to do and he says no

films

you know but it's wrong though it's very

wrong though because you don't know

he says what he means is no help hard

day's nothing you know

and i agree you know but like no films

because this is a film and he now

doesn't mind this you know but it's like

it's that kind of thing like no tv show

no audience

but i mean it seems like when we came

back from hamburg and did leicester de

montfort hall or wherever it was

coventry

you know we played the ballroom and we

had the worst first night thing and

we're all nervous it was terrible and we

played another the next night we've got

a little event next night and then the

next night was just

too much about playing because we got

over the hang of audience it's just like

there was no one there but it was a new

sort of thing and there was some fella

in the front watching how you playing

you know and you just and you were just

right into it and those will have been

if you could have recorded those things

you know they will have been

the greatest because it is it's like now

since it's that balance thing

and we're good at that you know once we

get over the nervousness but it's like

there's the hurdle of that nervousness

is there now

so the

you know

when we can't get over it now

unless well you know unless we really

sort of

like go to the albert hall and get in a

black back you know

see and then the only other alternative

to that is to say well we don't we won't

ever do it to an audience again you know

but if we if we intend to to keep any

kind of contact on that scene

yeah i do understand george sustained

well there's no point you know because

it like is it is like where stravinsky

and it's in the music you know and he

doesn't sort of get up and plays joanna

for them anymore so we can see from the

two clips that there was tension

frustration and apathy during the let it

be sessions

and the clips in my opinion represent a

general tone that permeates the film

of course there were lighter moments in

the movie but the overall mood of let it

be was not uplifting it did not depict

an upbeat and inspired band instead it

portrays a group of guys at least three

of them that were tired of the routine

the fact is the tension within the group

goes back to the sergeant pepper

sessions where billy tells us in memoirs

that john george and ringo were not

happy with the rigor and long hours that

billy demanded of them in the studio

in the book he tells us that during the

1962-1966 period the lads were

accustomed to going into the studio to

do what they needed to do and then leave

as many of you who follow my work know

my position is their role in the studio

was to lay down the vocal tracks only

they wrote very little if any of the

songs during this period nor did they

play on the official recorded album

tracks

the songs were written by professional

songwriters under the direction of

theodorodorno and george martin and

session musicians were used to record

the music

starting with sergeant pepper john and

george contributed more to the

songwriting as well as playing on some

of the tracks but their participation

and contributions increased with the

white album however even during the

1967-1970 period billy who was running

the band

utilized outside songwriters and studio

musicians to round out the song content

for the albums in fact in memoirs and

mainstream articles we find out that

billy would either redo guitar tracks

recorded by john or george or simply lay

down the tracks himself because he was

either not satisfied with what they

played or he bypassed them all together

and just did the tracks himself i have a

clip of billy which i will play in a

moment where he's being interviewed by

bernie goldberg and states george did

not show for most of the pepper sessions

so if george wasn't there who played the

guitar tracks

the long hours the discipline and

billy's propensity to be a perfectionist

war on the other three beetles and this

created tension now that's not to say

they didn't have fun moments of course

they did but the working relationship

had definite ups and downs and this

dynamic existed throughout the 67 to 70

period which includes the filming of let

it be in 1969

wikipedia tells us the disunity became

most evident with the white album

during those sessions ringo left for a

time as did george martin who we are

told in the beatles bible spontaneously

left to go on holiday leaving his

assistant chris thomas to produce the

group and that the beatles found

themselves essentially working alone

with emi engineers

and as i mentioned earlier george

harrison left the get back or let it be

sessions for five days after the

argument with billy we are told one of

the factors contributing to the breakup

was the band's resentment towards

mccartney for his perceived domineering

role

another contributing factor as told by

the mainstream press was lenin's heroin

addiction that began in mid-1968 and

continued through the let it be sessions

one has to ask the question how does a

heroin addict prolifically write and

record songs

this is another red flag either the

heroin addiction story is not true or

someone else was plugging the whole on

behalf of john

the mainstream narrative states george

had become very disenchanted with the

beatles because they especially the

lenin and mccartney set up was stifling

his creativity and ability to break out

on his own we are also told apple was

floundering and in financial trouble

which led to managerial disputes and

organizational concerns once we

understand the history a little better

it becomes a lot easier to understand

how all this tension and dysfunction

made its way into the get back sessions

which as i mentioned earlier in the

presentation was described as extremely

acrimonious in director michael lindsey

hogg's wikipedia bio

then we have the famous power struggle

between billy wanting his father-in-law

lee eastman to run the band's business

affairs while the other three beatles

opted for alan klein then in september

of 1969

only eight months after completing the

let it be sessions

lennon informs his bandmates he's

leaving the group

billy follows with his own announcement

in april 1970 less than a year and a

half after the let it be sessions

concluded that he too was no longer

working with the band

then a string of legal disputes ensued

and dissolution of the beatles was not

formalized until december 1974

so we need to ask ourselves does this

sound like a happy period for the

beatles is the tension and apathy

captured in the original let it be film

an anomaly was it just a bad month for

the lads that happened to be documented

or was let it be a glimpse into the hard

truth of what was really going on with

the band behind closed doors

and if there was 56 hours of uplifting

back slapping footage why were those

moments not included in the original

film let's keep this question in mind as

we move along but before i conclude with

the breakup let's listen to an excerpt

from billy's interview with bernie

goldberg give me a short version if you

would paul about

the breakup how did how did it happen

um we'd been together like 10 years

and

and during the making of the white album

things started to get a little bit edgy

um in fact during the making of sgt

pepper george hadn't showed for most of

the album in fact during the making of

sergeant pepper george hadn't showed for

most of the album

which was unusual as we normally showed

for our recording sessions

george hasn't been too interested in

making that album i think he was

building a swimming pool

and it was just all a little bit like

that and of course i was sort of you

know thought well i won't say anything

but it's a bit dodgy we went on to make

the white album and um

things really did start to kind of

disintegrate a little bit

and eventually when alan klein came in

i think he was the kind of the final

straw he got a meeting with john and

yoka

the night before we were due to have a

big sort of

state of the nation meeting

and john and yoko arrived the next day

and they

john issued a statement saying every all

my affairs are now in the hands of alan

klein everything i do must go through

him

um

and we were due to sign a deal with

capitol records

which was what we were all there for

this meeting

and

klein apparently had said to john look

don't say anything john had expressed

his desire to like leave the group and

klein being a businessman had said don't

say anything until after they've signed

the capital the new capital deal

which he was involved with

i'd been arguing for weeks about his

percentage and stuff i figured we were a

big act we could give him 15 percent the

others were saying no he he's got to

have 20 i said we're big guys real big

group he'll take 15. don't you worry

this is no way

anyway so um

john i was at that meeting and he just

suddenly let it out he just looked at us

all we were sitting around like this and

john just said i wasn't going to tell

you until after you signed the capital

deal

he said but i'm leaving the group he

just looked at us and our jaws just fell

we all went kind of white

and he said

he said it's kind of a great feeling

telling you it's kind of a adrenaline

rush so it's like you know mensch

telling someone you're getting divorced

he said it's kind of

a little bit weird but i'm leaving the

group another clue into the tension

within the band is reflected in no

uncertain terms in john lennon's song

how do you sleep from john's 1971

imagine album

even wikipedia describes the song as

making quote angry and scathing remarks

aimed at his former beatles bandmate and

songwriting partner paul mccartney and

the song is a doozy

lennon goes for the jugular and in my

opinion the song is by far the most

obvious paul is dead song ever written

the clues are barely disguised i will

flash up the lyrics so you can read them

for yourself

john finished up recording how do you

sleep on july 5th 1971 which was only

two and a half years after the filming

of let it be wrapped up

so we can see the animosity is still

there lending credence to the theory

that not all was well in the beetle camp

so where's the love

john released imagine and thus how do

you sleep on september 9

1971 which i believe is billy's birthday

the date of september 9 1971 regroups to

999 and triple 9 reduces to the number

9. we get this by multiplying 3 times 9

which equals twenty-seven and two plus

seven equals nine i should also note the

first edition of memoirs the beatles

rock band and the beatles past master cd

set were all released on september 9th

as well back in 2009

and the date regroups to triple 9

9 9 11 and 11. please pause the video if

you are interested in seeing the

calculations on the slide some of the

musicians joining john on the song were

george harrison klaus foreman nikki

hopkins who played the piano on

revolution and alan white on drums

for anyone still not convinced about how

john was feeling at the time when he

wrote and recorded how to sleep let's

take a listen to this outtake from a

rehearsal

[Music]

two other songs which are not flattering

of billy and indicative of the other

three beatles feelings toward him were

both recorded by ringo in memoirs we are

told billy liked boogaloo music and the

other beatles would call him boogaloo

boogaloo is a genre of latin music

influenced by soul and rhythm and blues

which was popular in the united states

in the 1960s and originated in new york

city the way to understand the song is

to replace the word boogaloo with billy

and thus ringo is singing back off billy

also notice the record sleeve with

frankenstein smoking with his chained

left hand

ringo is dropping a clue that billy with

his surgeries and cosmetics was created

and his chained left hand symbolizes

billy's attachment to the paul mccartney

character and as we know biopaul was

left-handed

another ringo song which was actually

written by john lennon and appeared on

ringo's 1973 self-titled album is i'm

the greatest john george and ringo

played on the song with klaus vorman

doing the base work the wikipedia

explanation of the song and its meaning

is way off and borders on comical

the song is another example of lennon

taking billy to task with lyrics like

yes my name is billy shears you know it

has been for so many years now i'm only

32 and all i want to do is boogaloo

so here we have the boogaloo clue once

again

when john points to being only 32 aside

from rhyming with boogaloo i believe he

is pointing back to 1969

when billy was 32 years old and when the

beatles were at the height of the

tension within the band

at the very end of the song ringo sings

i'm the greatest in this world in the

next world and in any world which is a

reference to both billy's ego and his

occultism and magic so here we have two

more songs expressing lingering issues

between billy and the other three

beatles and these songs were released

three to four years after the filming of

let it be back in january of 1969

to me this all points back to a time

when the dynamics between the band

especially between billy and his

bandmates were not overly positive the

five minute promo peter jackson released

a while back along with the media

coverage coming out about the get back

film attempts to paint a jovial and

happy period for the beatles which is at

odds with the actual historical record

the timeline between 1967 through at

least 1974 was not a period of dayton

for the beatles it was a time of

conflict involving personalities and

struggles pertaining to the band's

direction that had the beatles in

particular john george and ultimately

billy looking for the exit door and a

good question to ask at this point is

why is history being revised there are a

number of reasons ranging from making a

ton of money which this documentary will

do

to buffing up the beatles and thus

billy's legacy as he prepares to head

out and ride into the sunset i will

offer more of my thoughts on why this is

being done at the conclusion of the

presentation

let's now take a look at the get back

promo peter jackson released a while

back and then i will take you through

some insights i received from a source

who is very familiar with advanced film

and movie technology and examined the

promo clip

let's take a look

morning everybody

harrison is accused of assaulting a

photographer last may as he and

beatlerino star left a nightclub

[Music]

1 2

3 four

[Music]

so

[Music]

um

[Music]

okay

[Music]

she's

[Music]

oh

[Music]

the first thing i noticed is the quantum

leap in definition and quality of

jackson's get back clip over the

original let it be film

the original footage was not crisp it

lacked resolution with many parts of the

movie being poorly lit and dark

on the left is a capture from the

original film

notice how john is almost obscured by

the poor lighting and how billy in the

orange shirt looks almost washed out

then look at the capture on the right

taken from jackson's promo clip

now we have a high definition image with

impressive clarity for example compare

billy's orange shirt on the right to

what we see on the left the difference

in quality is almost too good to believe

it is literally night and day

here's another comparison where i try to

compare two images that are similar

again notice the lack of clarity and

color quality of the image on the left

which is from the original movie and

then look at the capture on the right

the question becomes can the technology

available today to a person of peter

jackson's prominence in the film

industry

take source 16 millimeter footage which

was dark and grainy and transform it to

the high definition standards of today

and i'm going to assume michael lindsey

hogg used the same cameras and

technology available to him in 1969 to

film both the original film and the

alleged quote unseen footage it should

also be noted that the audio from the

original film had a considerable level

of noise and hiss which would need to be

cleaned up

now let's take a moment and run two

snippets from jackson's promo video

where the camera work in particular the

panning effects were nowhere to be found

in the original film

so are we to believe that michael

lindsay hogg only used this panning and

sweeping technique for the quote unseen

footage being such a great visual effect

why was it not used at all in the

original film again these are just my

thoughts

now let's read the input i received

about this promo clip from a source that

examined the video and is knowledgeable

in modern film technology

after peter jackson released the get

back promo clip a person very

knowledgeable in film technology reached

out to me unsolicited to offer their

insights on jackson's video here's what

they had to say about jackson's promo

the link to the video is in the

description box below quote

letting the most accomplished fairy tale

filmmaker jackson produce a quote real

life documentary carries a large

suspicion

after watching the little clip my first

question is how is there 56 hours of

unseen footage

the term quote before unseen should

raise a red flag who has never taken the

time to look at these film reels in 50

years

then there is image quality this looks

like martin 720p or 1080p hd or even 4k

video with a 16 millimeter effect sauce

definitely

not 16 millimeter stock the press info

reads it has been shot 16 millimeter

blown up to 35 millimeter and restored

yes

but 400 iso film resolution noise cannot

be deleted by simply blowing up to 35

millimeter

lost shadow detail by lack of light

cannot be dialed back in by quote

restoring

if the emulsion doesn't contain the

information

it is simply not there they brought back

contrast like impossible

there is a lot that can be done nowadays

in bringing back completely out of focus

images into super sharp images

post edit color balancing shifting or

replacement image stabilizing green

screen effects all is possible

there is a whole lot that modern day

computer render farms can do

especially by someone with the clout of

peter jackson i am most aware of what is

possible with deep fake technology i bet

jackson can bring back my deceased

grandmother in 4k

60 frames per second quality in super

surround sound

when you look at this clip with a woke

eye it does not feel right it feels like

a fast and furious production of the

french connection it isn't organic it's

all contrived and so very much staged

the whole jackson presentation is also

contrived it screams at the viewer look

we are editing original beatles material

he is trying too hard to convince us

that this is not staged

most people won't recognize manipulated

imagery this holds true especially in

current times

now let's learn a little more about

peter jackson

so peter jackson is sir peter jackson

which means he has been knighted and he

has also been recognized with two new

zealand royal honors peter was the

director writer and producer of the lord

of the rings trilogy as well as the

hobbit trilogy he is the third highest

grossing film director of all time and

he has a star on the hollywood walk of

fame on january 30th 2019 which was the

50th anniversary of the beatles rooftop

concert jackson announced his new

endeavor would be a documentary about

the making of the beatles final album

let it be the documentary will be built

around 55 hours of quote unseen footage

or 56 or 60 hours depending on the

source and

140 hours of audio or

120 or 150 hours again depending on the

source that was made available to

jackson's team and then wikipedia states

the content is the only footage of any

note that documents the beatles at work

in the studio

now let's pause for a second and think

about what we're being told the most

famous iconic rock band of all time has

no other footage of them working in the

studio so from 1962

up to the beatles arrival to do let it

be in january 1969

there is no other footage of note of the

lads working and recording in the studio

no one thought to pick up a camera and

film them recording anything in the

studio until let it be

the entire premise is mind-boggling and

difficult to believe

maybe it's because if they did have

footage it would show vic flick laying

down the guitar tracks and bernard purdy

behind the drum kit

then the article tells us the

documentary will transform the footage

with modern production techniques and

seeks to display a new side of a period

in the beatles history

usually remembered as highly conflictual

perhaps that's because it was highly

conflictual

the article continues by saying

most of the used footage was originally

recorded for the 1970 let it be

documentary

notice it does not say all of the

footage so if it's not all of the

footage from michael lindsay hogg's

efforts then where did the additional

footage come from inquiring minds want

to know

peter jackson was interviewed by gq

magazine in july of 2021 the link to the

interview is in the description box

below

gq asked peter the following question

what was the original brief did apple

basically ask you to make the beatles

look like they liked each other and

jackson responded with i wasn't given

any brief really i was in a meeting with

apple because they had heard i was

interested in doing a lot of experiments

with artificial intelligence

they were thinking of doing some kind of

traveling beatles exhibition which is no

longer happening i don't think

i asked them what happened to all the

rushes a rush is the raw footage from

let it be

and couldn't we utilize some of that in

the exhibition

they said they didn't want to use any as

they were thinking of making a

documentary using the outtakes and so i

said if you're looking for someone to do

that i'd be interested

so i asked to see the raw footage and i

was hooked immediately

growing up as a beatles fan i had the

perception of it being a completely

miserable period of time and thought

that if let it be used the best bits

then the rest of it must be awful i took

the raw footage back home here to new

zealand on an ipad and i phoned them up

and said yep i'm in

we've been editing this series for about

two years now and it's the longest

editing i've ever done in my career i

mean you normally edit a movie like a

lord of the rings type in about three or

four months but this has been two years

it's a very complicated thing to cut so

let this sink in a bit

the editing for get back took seven to

eight times longer than a movie like

lord of the rings

also

gq does not follow up on the artificial

intelligence comment which is amazing

why didn't the interviewer ask

did you use ai technology in get back

and if you did how was it used

did you recreate scenes

were there any areas where you applied

ai to enhance the story

these would have been legitimate

follow-up questions to ask

and then the gq interviewer comments

that we've always been led to believe

the sessions were unbearable

peter says

the moment when george is arguing with

paul which you see in the original film

is actually the worst of it you know

when george says i'll play whatever you

want me to play or i won't play at all

if you don't want me to play you know

i'll do anything to please you sort of

thing i've tried to use nothing at all

from let it be so get back is completely

different i didn't want to usurp the

original film so this is a companion

piece but the one area we did break that

rule is that little exchange between

paul and george because i didn't want to

be accused of sanitizing the films by

not having that because that's the bit

everyone remembers but we've given

people the context for the interaction

by showing the full six minute

conversation and there's the number six

again

it no longer feels like an argument it

no longer feels like paul is getting on

george's nerves you understand what paul

is trying to achieve you understand

where george is coming from and the

whole thing actually makes sense

okay so let me comment here

anyone listening to the original

dialogue can easily tell billy and

george had a terse exchange

we hear billy say

i'm trying to help you but i always hear

myself annoying you

which tells us that this kind of

conversation has happened before the

fact is

there was tension between george and

billy and they had an argument that was

captured on film

jackson continues by saying the thing is

when the film was released the beatles

were breaking up but they weren't

breaking up when they were making let it

be which was recorded a year earlier so

i suppose it would have been odd to

release a film where they are all

enjoying each other's company

well i beg to differ peter

i have shown that the tension within the

band started during the sergeant pepper

sessions and we have billy telling us

that george's attendance during the

pepper sessions was spotty

that led to the white album sessions

where we had ringo and george martin

walk out then we get to let it be in

january 1969

and i think i have presented plenty of

evidence that the sessions were not a

positive experience in fact

george left for five days after the

argument with billy and then in

september 1969

only eight months after the rooftop

concert

john announced he was leaving the band

i would argue the beatles broke up at

least mentally before they ever stepped

foot into the studio to film let it be

so as a sanity check let's get a feel

for what george and john actually

thought of the sessions

this information was sourced from

wikipedia's article on the original let

it be movie

the cold and austere conditions of

twickenham along with nearly constant

filming and sessions starting much

earlier than the beatles preferred

schedule constrained creativity and

exasperated tensions within the group

the sessions were later described by

harrison as quote the low of all time

and by john lennon as quote hell the

most miserable sessions on earth

so there you have it from george and

john regardless of how this moment in

history is now being spun

the let it be sessions were not an

upbeat experience for the lads

now i would like to cover the concept of

two sets of footage which diametrically

oppose each other

on one hand we have the original film

showing a band that had cracks in the

wall and nearing the end of their tenure

and on the other hand we are now told

there is 56 hours of unseen footage

which depicts a happier and more

positive experience

so i think it's reasonable to assume if

the 56 hour story is true

that there was a decision made by apple

and the beatles back in 1969

to go with a film that reflects acrimony

conflicts and apathy

with the occasional light moment instead

of releasing a film portraying the

beatles and the sessions in a much more

positive light

so let's create what that meeting might

have been like

good morning everyone um didn't expect

to see you here so early ringo

we have a decision to make today

as you can see

there are two reels of film on the table

the first reel contains 56 hours of all

the happy and positive moments we

captured during the sessions

and the second reel

well

it contains all the tense terse and

how do i say this

the not so positive moments that took

place so neil and derek thought we

should put this to a vote to decide

which version of the film goes out

so

all those in favor of releasing a

positive and uplifting film please raise

your hand

anyone

no

okay

all those in favor of releasing a not so

positive film you know the more

realistic version

[Applause]

okay so the negatives have it so we'll

go with the debbie downer version of the

film thanks everyone for coming on short

notice and

would someone please help ringo out help

him back into the chair

thank you mel

i'm obviously having fun pointing out

the obvious

if there were two versions of let it be

and one version portrayed the beatles in

a positive light

then why was the original version with

its subdued representation of the

sessions

why was that released instead

maybe just maybe it's because the

happier version of the sessions doesn't

really exist

and it was created

now let's take a look at some examples

of video and film technology that can

alter perceptions

a couple of weeks ago i uploaded an

example of how film technology can

create scenes which look lifelike

the example i used was a 2009 commercial

for the beatles rock band music video

game

i originally referred to the technology

being used in the commercial as deep

fake but an astute subscriber commented

that the commercial was actually created

using cgi and added it was a very good

application of cgi

however the point of the video if we set

aside the technology for a moment is the

ability of the film and video industry

to create scenes which appear real

especially to an audience that is

unaware of what to look for

most people have no understanding of the

technology and simply sit back and enjoy

the presentation this then creates

visual impressions also known as

impression magic that the mind absorbs

and now the viewer is primed to enter

into an imaginary virtual world most

people watching the rock band video will

understand the scenes in the commercial

never existed

but what the commercial is looking to do

is to sell you on a product by

presenting a pleasant visual experience

in hopes of shaping your perceptions

imagery which is perceived as happy and

uplifting increases the odds of the mind

relating to and accepting the message in

a moment i'm going to play the rock band

commercial and as you watch it keep in

mind that the technology used to create

the clip is from 12 years ago

and then think about how much film

technology has advanced since 2009 also

at the end of the commercial note the

release date of the beatles rock band

which was september 9th 2009 or 999

which also regroups to 9 11. let's take

a look

[Music]

so what exactly is deep fake technology

from wikipedia deep fakes are synthetic

media in which a person in an existing

image or video is replaced with someone

else's likeness

while the act of faking content is not

new deep fakes leverage powerful

techniques from machine learning and

artificial intelligence to manipulate or

generate visual and audio content with a

high potential to deceive

and then from springboard.com

a deep fake is an image video or audio

track that has been manipulated using

deep learning to mimic another person's

speech or likeness

this type of image to image translation

can replace faces manipulate facial

expressions and even synthesize faces

and speech the simplest iteration of

image to image translation is face

swapping as seen in snapchat filters

where one person's face is transposed

onto that of another person or animal

for comic effect given a large enough

data set however an unsupervised machine

learning algorithm can generate a deep

fake which does a far more believable

job of synthesizing images to mimic

someone's mannerisms to get a feel for

how realistic this technology can be i'm

going to play some deep fake clips

the first one is from a tick tock

account called deep tom cruise where we

think we are watching cruz but it's not

him the clips from this tick tock site

are very impressive then i will play a

short clip from the youtube channel

control shift face showing jim carrey

replacing jack nicholson in the movie

the shining links to both of these

channels are in the description box

below

what's up tick tock

you guys cool if i play some sports

i love it

more for the audio experience

as much as the momentum

hey listen up sports and tick tock fans

if you like what you're seeing

just wait till it's coming next

[Music]

i'm gonna show you some magic

it's the real thing

i mean uh

it's all

the real

thing

[Music]

most watching this presentation are

aware of billy's find my way video with

beck whose real name is beck david

campbell who is a scientologist

the video is loaded up with a cult

symbolism including the door numbers

magician hand gestures black and white

duality references to the light or

lucifer and of course the reveal at the

end of the video when beck takes the

mask off to show us he is not paul

mccartney but an illusion

aside from the occult content contained

in billy's videos these days find my way

is notable because it illustrates what

is possible with the current state of

film and video technology from

nme.com find my way visuals sees a

digitally de-aged mccartney dance the

halls of a hotel before being

transported to various other locations

the video was directed by andrew donahoe

and co-produced with hyper real digital

which specializes in the creation of

hyper realistic digital avatars hyper

reels ceo remington scott tells us the

technology to dh talent and have them

perform in creative environments like

that is now fully realized even with one

of the most recognized faces in the

world

from hyper reels website we are told the

hyper model is a hyper realistic digital

human avatar that can be any age speak

any language and perform in any current

or future digital media environment

including film tv video games etc so as

we can see film and video technology has

taken a quantum leap forward and is

already in a position to blur the lines

between what is real and what is not

now let's take a look at some concert

footage of billy where things get a

little strange

a colleague of mine who researches the

beatles conspiracy sent me a video of

billy aka paul mccartney playing a live

version of the song house of wax

and what caught our attention is one

version of the video has billy looking a

lot like his son james

now i don't know if this was done by

someone on a lark but the fake is pretty

good and another example of an illusion

coming to life let's take a look

[Music]

the house

[Music]

oh

[Music]

this slide shows james mccartney on the

left and far right and then three screen

captures in between from the video i

suspect was altered we can see billy's

hair is more red his complexion is

lighter and it appears his face has been

made to look younger below the three

center images is a capture of billy from

the second video for reference and

comparison let me know what you think in

the comments section below

now let's circle back to peter jackson

and get back

variety ran an article back in december

2020 outright telling us that peter

jackson is rewriting the ending of

rock's greatest fairy tale i found the

phrase fairy tale to be an interesting

choice of words

the article tells us in a brilliant move

the beatles hired a man who knows how to

create a climatic finale

lord of the rings maestro peter jackson

whose most recent project was they shall

not grow old a fascinating world war one

documentary built around meticulously

restored 100 year old footage

they set him to work on the 56 hours of

50 year old let it be tapes and judging

by the five minute preview he dropped

yesterday the results are astonishing

it's been a long time since we've been

totally jaw droppingly surprised by any

quote new beatles anything but judging

by the preview get back is the final

frontier

the article continues by saying the

original let it be is a downer we see

our beloved beatles breaking up before

our eyes we see the group who had

finished recording the 30 song white

album just six weeks earlier miserably

trying to have a jolly old time working

up even more tunes for the cameras in

the morning in a dark and cavernous film

studio during a typically gloomy english

winter we see paul and george arguing

john and yoko waiting in from a heroin

haze and paul trying to liven the tepid

sessions by taking the helm instead he

comes off dictatorial while ringo looks

on dejectedly

let it be was not intended to be an

epitaph but as the group broke up while

the film was being completed that became

the after fact narrative

naturally the sound and visuals are

approximately three times as bright as

the original film the audio was cleaner

and more pastel colored than the murky

browns and blacks of let it be but most

remarkably the mood is three times

brighter as well get back is a counter

narrative to the glom let it be an

alternate history that makes you

question what you thought about the

original

going back to when i discussed the

beatles rock band video game i said what

the commercial was looking to do is to

sell you on a product by presenting a

pleasant visual experience in hopes of

shaping your perceptions

imagery which is perceived as happy and

uplifting increases the odds of the mind

relating to and accepting the message

this is exactly what jackson's get back

is doing peter jackson was hired to

create what variety so aptly refers to

as an alternate history that makes you

question what you thought about the

original

in other words jackson was hired to

rewrite a part of beetle history that

didn't have the luster and shine a

cinderella story is supposed to have

but the question becomes who is behind

this rewrite and what is there to be

gained i believe the person behind the

project is billy in collaboration of

course with apple to pump up a low point

in the beatles story with the help of

illusion magic to rake in a stack of

money

now let's talk a little about rewriting

history

for those that follow my work we know

that billy can be a little loose with

history when it comes to his telling of

beatles stories especially those moments

in time during the biological poll

period in memoirs billy tells us in the

beginning

he worked to nail down historical facts

pertaining to paul's time with the band

because he didn't want to get tripped up

and didn't want to find himself in an

awkward situation but of course no one

can memorize every detail of every

moment in time and so when people asked

him about something he wasn't sure about

or didn't know he would create his own

back stories once he realized no one

questioned or challenged his responses

reporters and interviewers just ran with

what he gave them

this of course put billy in the driver's

seat to create backstories which over

time established a narrative that may or

may not be historically accurate what

memoirs tells us is supported by a

comment philip norman made about billy

back in 1987.

norman is an english author novelist

journalist and playwright he is best

known for his biographies of the beatles

the rolling stones buddy holly and elton

john his other books include similar

studies of john lennon mick jagger paul

mccartney and eric clapton

norman was interviewed in 1987 for a

feature on george harrison on the show

west 57th street during which he stated

that harrison's view of the beatles

history was the only reliable first-hand

account given lennon's death seven years

before when asked for an explanation

norman said that mccartney quote

rewrites history all the time and ringo

starr was unable to remember quote he

doesn't know he just he drank he smoked

the joints he had the girls and he

drummed the drums that was ringo here's

the clip from the interview the link to

the entire west 57th street piece is in

the description box below let's take a

listen

welcome to west 57th

there's never been anything like the

beatles

john paul george and ringo were the most

popular band in history

george harrison the youngest was always

the most uncomfortable with the beatles

extraordinary celebrity and after it was

over his withdrawal was the most painful

they broke up nearly 20 years ago but

their records continue to sell more than

a billion that's billion so far

they never reunited

rarely talked about what it was like

but this week

seven years after john lennon's death

george harrison remembers are you ready

let me say it first you repeat it after

me

john

[Applause]

[Music]

it just annoyed me that people got so

into the beetles beetles beetles beetles

it's not that i don't like talking about

them i'd never stop talking about them

it's beetles there's beetles out

beautifully it'll be fiddle in the end

it's like oh start off with the beetles

you know

i mean screaming crowds everywhere you

go press man at your door

for years on end the front cover of

every newspaper every day of the week

for years

prying you know everywhere you go trying

to find out any little bit of dirt that

they can write about you

you said monsters the beatles

were a curse as far as you were

concerned what you're saying is the same

thing right now

it's a lot to deal with and that's the

thing the beatles sort of did haunt a

lot of us for years and still do

[Applause]

hang on george i'll just do just look to

me for a second that's

great

george harrison has always struggled

with his fame yeah looks great

although he says he loathes being in the

public eye he has emerged from a

self-imposed exile to promote his first

album in five years don't do that to me

no chewing

since the bitter breakup of the beatles

18 years ago

this deeply private man has been

divorced remarried and some say hiding

behind the secure walls of his country

estate outside london

while managing on his own to record

eight gold albums in the 70s and launch

a respected film company harrison has

avoided any discussion of the fab four

until now

he admits he's finally recovered from

the ordeal of being george harrison the

beatle

i had no ambition when i was a kid other

than to play a guitar and get in a rock

and roll band

i don't really like to be the guy in the

white suit at the front like in the

beatles i was the one who kept quiet and

at the back and let the other egos be at

the front

when he was a small boy

he didn't he told his mother not to talk

about him to the other mothers he didn't

want nosy mothers knowing about him well

of course for someone private to become

one of the beatles i mean was a fairly

heavy psychological disaster philip

norman is the author of shout which many

consider the definitive beatles

biography the beatles is not a normal

story it's a supernatural story it's a

supernatural story

and the pressure was supernatural

and it required supernatural luck

and forbearance to recover from it and

he has recovered from it he's the one

that we're going to have to ask about

the beatles there's no one else to ask

now because mccartney won't tell you

ringo can't tell you john isn't here

when you say

paul won't tell you what do you mean he

rewrites history all the time he

rewrites history

all the time and ringo can't tell you

because he doesn't know

he doesn't know no he just um

he drank the drink he smoked the joints

he had the girls and he drummed the

drums that was ringo billy's disclosure

officially began around 2006 with i am a

phony's rotten apple series which some

researchers believe neil aspinall was

behind neil passed away in 2008

going into 2009 we have the release of

the first edition of memoirs the beatles

rock band video game and the past

masters cd set all of which were

released on september 9 2009 a date

which regroups to triple nine triple six

nine eleven nine and eleven all occulted

numbers

since 2009 we have billy doing

interviews and touring with endless news

feeds about everything mccartney in

september 2018 he released egypt station

replete with album art loaded up with

egyptian symbolism which no doubt was a

nod to aleister crowley who i'm pretty

sure was his biological father

in 2019 the film yesterday was released

with all its embedded paula's dead clues

in december 2020 billy released

mccartney 3 an album loaded up with a

cult symbolism and numerology which

appears to be pointing to his departure

in the not so distant future on page 13

of the second edition of the memoirs of

billy shears we are given the date of

february 21st 2023 as a date when billy

is quote released from his obligation to

play the mccartney role the question

becomes what does release mean does it

mean he simply retires or does it mean

it's when he passes away in either case

the date which is less than two years

out appears to coincide with the flurry

of beetle releases in the form of books

interviews specials and films we are

currently seeing

we now have the new memoirs box set

being co-marketed with billy's the

lyrics with each book diametrically

opposing the other with regard to the

true story of the beatles

then we have the release of hulu's

mccartney three two one and now get back

is scheduled for november of 2021.

i was told a few years back that this

was exactly what was going to happen

i was told there was a number of big

projects underway that would be released

as billy's runway became shorter full

disclosure per memoirs won't happen

until after billy passes and how soon

afterward is anyone's guess but the

truth is disclosure has already happened

for those that are awake and not under

the spell

in billy's mind he is the beatles

because if it wasn't for him the band

would have ceased to exist at the end of

1966. i suspect that billy's connections

and contributions to the beatles

predates september 1966 and perhaps goes

as far back as early 1962 and maybe even

before that as a contributing songwriter

and studio musician working with george

martin and possibly theodore dorno

billy is the head priest of the cult of

paulism with its legions of adoring fans

making up the worldwide congregation to

millions of people the beatles are gods

who are worshiped billy the son of the

magician harnesses the spiritual and

physical energy of this idolatry to

create and manifest his reality of fame

and fortune by having his external world

mirror his true or pure will which is a

primary tenet and teaching of

luciferianism and of crowley's religion

of philema the spiritual energy is

harnessed by steering the thoughts and

consciousness of the masses which can be

achieved by fans listening to the music

reading books or by watching films and

documentaries

the manipulation of your physical energy

comes in the form of money or currency

to obtain money you must work or exert

energy and then you take your money to

buy beetle and billy merchandise

money is an occult sigil and the

perpetual exchange makes it a very

powerful occult tool that benefits the

occultist billy's persistence and hard

work on behalf of the pyramid of power

is now being rewarded

over the past five years i have said he

will go out with a ticker tape parade

and that is exactly what is happening

notions of billy being arrested for

impersonating or deceiving are pipe

dreams

anyone hoping for this type of outcome

will be extremely disappointed because

this is not how the world really works

there is indeed a hidden hand at play

and billy is part of that system there

is a power structure in place that

creates manipulates and dictates your

world views your beliefs and values for

so many people their thoughts are not

their own and the beatles billy and the

entire music and entertainment industry

are there to shape and transform the

collective mindset of society in

accordance with the agenda of the social

engineers

the official narrative around the

beatles is a cinderella story a fairy

tale based in the occult that was

written and presented to keep us

entertained to harness our energy and to

reshape the social dynamic of our

reality throughout this presentation i

have shown how the original let it be

sessions in 1969 were not a positive

experience for the beatles in fact the

sessions were hindered by acrimony

conflict apathy intention and therefore

the original film accurately captured

the demise of the beatles with george

harrison describing the sessions as

quote the low of all time and john

lennon saying it was quote hell the most

miserable sessions on earth the premise

that there is 56 hours of quote unseen

footage is highly suspect and stretches

the boundaries of believability

the notion that michael lindsey hogg the

beatles and apple would have bypassed

the upbeat and positive footage only to

release a more stoic and disjointed

version of the sessions makes no sense

to me of course every film has outtakes

but i seriously doubt the story of the

56 hours of never before seen footage

and as i mentioned before it is about

money spells and magic and as the

article from variety stated who better

to spin that tale than the man behind

lord of the rings and the hobbit and

when we factor in how far film and video

technology has advanced along with peter

jackson's interest in working with ai i

think we should be able to see where

this plot is going

so remember

living is easy with eyes closed

misunderstanding all you see thanks for

listening

[Music]

so i had to take a look

going

a back

guy

and you may say

there is no way

but i see

[Music]

you

said hello

[Music]

a little touch of magic

sprinkled in the air

[Music]

a little touch of plastic

and a new

head of hair

[Music]

billy pepper

[Music]

you

think i will

[Music]

how do you sleep

[Music]

but no one sees it to you

sometimes you had six tones

but who knows if that's true

[Music]

and you may say

there is no way

[Music]

really

[Music]

hey everybody it's mike it's thursday

october 21st 2021

and as many of you know peter jackson

released a new trailer to promote his

quote documentary get back

which is going to premiere as a

three-part series part one will be on

november 25th

and then part two on the 26th and then

part three on november 27th and it's

going to premiere on disney plus

so i took a look at the new trailer and

i have some observations which i'm going

to take you through in just a moment

but before i do that i wanted to mention

two emails that came into me from

sources that i have

and the first source is well versed in

egyptian mythology and ritual and in

their email

they offered their insights and said

that the whole egyptian

aspect of what billy is involved in

is embedded

in

peter's trailer

and one of the interesting things

that my source pointed out is to take a

look at how peter has presented

get back

and to take a look at what we are to

assume is a g

but actually

can also be viewed as an s

so

set

back and of course set goes back to

egyptian lore osiris horus set

and i did a video a couple of weeks back

billy shears osiris horus and sex magic

the link is down below

and in that video

i talk about some of the new information

in the updated version of the memoirs of

billy shears which became available last

month on

september 9th

my source mentioned that set back

is an encoded reference

to let us know that set

is supremely blessed and

back

so instead of me

trying to take everybody through this

i asked my source if they wouldn't mind

working with me behind the scenes they

don't want to do this publicly so i'll

be the front person

to go through their email

and to

make sure that i understand exactly all

the dots

that they have connected and then i can

present that to my audience

i would like to get this presentation

out before

november 25th but i can't make any

promises although i am going to try very

hard to do that

so the whole egyptian

aspect is getting weirder and weirder

and more involved

and we're starting to see it now because

there are people out there very smart

people like my source who recognize this

stuff

and are able to decode it

right now we're scheduled to get

together

the first week of november

and i've asked them to walk me through

their email

to make sure that i capture everything

that i need to capture so that

i can present it my second source is a

film and video researcher

and when the new trailer came out i

emailed them

and i asked if they could take a look at

it

and

email me back with some observations

and they wrote me and said there is

obvious use of advanced technology to

create the quote documentary

and this is in reference to cgi

artificial intelligence etc i asked my

source

if they would be open to

coming on the show

to do a 45 minute to

one hour presentation where

we can dig in to the trailer

and he could point out

all of those things that point to

the advanced technology being used

in the film and he agreed to do that

so the plan is to get together next

month again early next month in november

and i'm also going to try to

get this presentation out

before november 25th and again i cannot

make any promises because i have a lot

of stuff going on but i i will work

hard to try to do that

okay

so with that

what i'd like to do now is take you

through my observations

and

after watching this trailer

i stand by my position that peter

jackson is indeed revising beetle

history specifically the whole let it be

period and of course he cannot do that

unless he has the green light from billy

to do so

the

new trailer is three minutes and 57

seconds in run time

and when we add the numbers up 3 plus 5

plus 7 equals 15 1 plus 5 equals 6. and

of course the number 6

is the number that billy associates with

himself is william

versus the number nine

which he associates with playing the

character of paul mccartney

and throughout the trailer the numbers

three six and nine are very prominent

and in my other videos i have discussed

why 3 6 and 9 are very important they

are believed to be very powerful numbers

in the occult

and they are believed to be fundamental

in the creation of the universe and

influence

other numbers

the numbers 3 6 and 9 are not just

specific to

the press releases and the trailers that

peter is putting out

but they are also very prominent during

the beatles timeline

as well as into

billy's solo career

okay so let me move to the next slide

and i'll start taking you through some

of my observations

and this slide is titled beetle

cinderella narratives now

the first

five bullets

i have covered in detail in my big

presentation did the beatles write all

their own music

but i wanted to revisit them because

there was a common theme here

and the theme is that the beatles

were able to pull off

superhuman supernatural feats

with regard to recording in very very

short time frames

and then turn out spectacular results

and as many of you who follow my work

know

my position is based upon my research

that the beatles wrote very little of

the music from the

1962-1966 period if any of it

and studio musicians

played on the recorded tracks from 62

through 66

although

that model where outside songwriters

were contributing to the music and

studio musicians were playing on the

recorded tracks extended from 1967

through 1970 as well or the billy period

of

the beatle timeline

okay so the first

cinderella narrative

is that lennon and mccartney wrote 100

original songs between 1956 and 1962

but not one of these songs

was appealing

to george martin

when they signed with emi and met george

martin in 1962

and then we have the mercy beat article

from the august september 1962 edition

where it tells us the beatles will fly

to london to make recordings at emi

studios

they will be recording numbers that have

been specifically written for the group

which they have received from their

recording manager

george martin

this is a smoking gun folks they will

record numbers that have been

specifically written for the group

which they have received

from their recording manager

george martin

so let me take a moment and play two

clips and these clips were both in my

big documentary did the beatles write

all their own music the first clip is

from the complete beatles a 1980s

documentary where we are told that

lennon and mccartney wrote 100 original

songs and the second clip we're going to

hear from george martin and what he

thought of their music let's take a

listen

john and paul had written at least 100

songs together since they met in 1956

but they hadn't recorded any original or

otherwise

not until they went to hamburg again in

1960 did they make their first record

and then only as a backup group for

their friend tony sheridan

the result an awkward rock and roll

arrangement of my bonnie lies over the

ocean

when i said to brown was if you want me

to judge them on what you're playing me

i'm sorry i have to turn you down

and he was so disappointed i felt really

sorry for him actually because he earned

this young man and he must you must have

liked him then he i did like him and i i

said but i'll tell you what i gave him a

lifeline i said if you want to bring

them down from liverpool

i'll give them an hour in the studio

okay

they had this wonderful charisma they

they made you feel good to be with them

and

i thought their music was rubbish

okay so my second example

of a very contrived narrative has to do

with their debut album please please me

which was released

on march 22 1963

and of course march 22nd is 322 which is

the skull and bones number

it is also a reference to genesis 3 22.

and the official story tells us that 10

of the 14 songs that were on that album

were recorded in a single day in less

than 13 hours

so let me say that again

10 of the 14 songs were recorded in a

single day

in less than 13 hours so 10 songs in 13

hours

that's not believable folks the four

songs that were not recorded that day

were prior releases as singles

they were love me do p.s i love you

please please me and

ask me why

and then we get into the rubber soul

sessions and i cover this in great

detail in my presentation did the

beatles write all their own music

and the official narrative around rubber

soul

tells us that the beatles had no backlog

of songs

and so

to record rubber soul

they had to

come into the studio on october 11th

and they had to write from scratch

rehearse

arrange

record and mix 16 brand new original

compositions new songs

in 30 days

and i concluded in my presentation that

that is not even remotely possible

and this

is the narrative

that led me to do a deep dive and to dig

in

and to

determine

that the beatles

did not write their own music again

especially between 1962 and

1966 although with the advent of

sergeant pepper and more so with the

white album

we see more original compositions

specifically from john and george

and we see them playing more on the

recorded tracks

starting with sgt pepper going into the

white album and then

through

let it be

but for rubber soul no those songs were

already written

already recorded and mixed

and all the beatles had to do in that

30-day period of time between october 11

and november 11th

was to get the vocals down

okay

then we have the india narrative which

is ridiculous as well

where we are told that the

beatles wrote over 30 songs

while they were on retreat

in india

now remember when they went to india the

premise wasn't that they were going

there to write songs they were going

there to attend activities

and participate in whatever this retreat

was all about

yet we're told that in between

all these activities

and all of these interactions and

everything else they had to do eat and

sleep

that they wrote over 30 songs

yet

as a band they weren't even there

together for the entire two months

ringo left after two weeks

billy departed after a month

and only john and george

lasted

60 days

and what's important about this is not

so much ringo

but billy

who is obviously one of the primary

songwriters

he wasn't there for half the time

so that story

falls apart

and then we have the

issue demo

where we are told that

the beatles

recorded 27 songs

two plus seven equals nine

in one

unknown day in may of 1968 at george's

bungalow

as a lead-in

to the white album sessions

now anyone who understands the process

of writing music and recording music

will know that

to record 27 songs in one day even

though their demos

is not possible

and so my conclusion was that these

songs were recorded over a period of

time

and then the official narrative

attributed

the

demo to one day

in other words

the narrative was again trying to paint

them as

supernatural

superhuman geniuses

that can do this type of work

27 songs in one day

and the other

problem with this scenario is that this

is quite a feat

yet

the day in may

that they allegedly did this is unknown

there is no recorded date as to when

this happened

okay so another

crazy narrative that is contrived and is

not believable it's not credible

and then as i was watching peter's new

trailer

something very interesting popped up

and in the trailer and i'm going to get

into this in a bit

he shows a calendar

where the beatles arrive

to do the let it be sessions

on january 2nd

and they have january 19th and january

20th

etched out

marked on the calendar as two days

of live shows

where at least according to the trailer

based upon the way it's being presented

these live shows scheduled for january

19th and the 20th of 1969

were to showcase

the new songs that were going to be

written

and recorded

during the let it be

sessions

so you arrive

on january 2nd

you have really a sketchy backlog of

music and i'll get into that in a bit

and you're going to play

a chunk of these songs

on

january 19th and january 20th

like three weeks later

that is not believable to me

in fact it's incredibly unbelievable

all right so we're going to get into

this piece in a bit because i believe

that

this piece of the narrative in

peter's trailer

which i'm assuming

is making its way into the film

is

revisionist history

because i don't remember

specific dates

for live shows

i remember the beatles talking about

doing a concert

at some later date there were no

specified dates

because they had to get through

the

let it be sessions

yet peter's documentary appears again

based upon the trailer

that the

january 19th and january 20th dates for

the live shows were already determined

and the beatles were working toward that

date starting on january 2nd

it's not possible

okay and i look at it

as a glaring hole

in the narrative

if this is going to be a major premise

of what peter's documentary is going to

be about

okay all right so let me move to the

next slide

this is something i've been wanting to

point out for a while so

we are familiar

with

this image of the beatles during let it

be whether it be the old film or whether

it be the film that

peter is putting together and is going

to release next month

but i can tell you

as a songwriter as a musician as

somebody who records

that you cannot record properly

with this configuration and let me

explain why

this is okay if you're rehearsing

but to record no way

see all these microphones we have here's

a mic here this is for billy's vocal

here's a microphone here

to record billy's acoustic guitar we

have an overhead mic here we have a mic

here by ringo ringo is

here with his drum kit we have a

microphone here going to this fender amp

which george is playing through and

here's george's

vocal mic

uh john is miked

now if you're going to try to record

with all of these microphones in this

very very confined space what's going to

happen is

you're going to have bleed through

everywhere

everywhere so as an example

let's just say billy's playing billy's

microphone

here that's recording his acoustic

guitar

is going to pick up his voice

it's going to pick up the drums it's

going to pick up george playing through

his fender and it's going to pick up

john play

and not only that but his

microphone for

his guitar

is also going to pick up his vocal and

his vocal mic is going to pick up his

guitar and his vocal mic is going to

pick up everything else going on around

him

this is not how you record this is how

you record a mess

so

this

scene this imagery that we see

is

really all about

illusion

it's about showing the beatles as a

tight group

as a band

seeing them all together

but in reality

this is not at all

how you would record

how would you record for those that are

not familiar with recording

if billy's going to record two of us as

an example

he's going to sit in the studio

and it's just going to be him

and he's going to have his acoustic

guitar mic

and that's what's going to be recorded

because you don't want

all of this bleed through

you don't want extraneous noise

coming in from other instruments

you don't even want people moving around

in the room because the microphone will

pick that up

so this image that we see

with let it be

is something that is it's propaganda

it's something that's put out there to

give the illusion that even though this

was a rough time for the band

setting aside what peter's going to tell

us i'm talking about the the true

history of the let it be sessions

that they were still a group

okay so with that let me take you

through some of the screen captures

so the trailer starts out by telling us

that in january 1969 a film crew was

given unprecedented access to document

the beatles at work and just take a look

at the clarity here

the colors

and remember the original film was shot

in 16 millimeter

next slide

this resulted in over 57 hours of the

most intimate footage ever shot of the

band

now we're seeing 57 hours

depending upon the press release it's 55

hours 56 hours 57 hours

but the reason why they're using 57 here

is because 5 plus 7

is 12 and 1 plus 2 equals 3

and this is linked back

to billy's recent album mccartney 3

and

i did an entire analysis on mccartney 3

going back a number of months ago

the net of it is billy is telling us

that his runway is short

and he's going to be departing

the physical plane the physical world

and

the not so distant future

okay let me move to the next slide

the footage has been locked and evolved

for over half a century

unseen

now i talked about this in the

presentation i did on

peter's film

it's a 90-minute presentation it goes

back a couple of months ago

and i believe the title of the video

i'll put the link down below

uh is is peter jackson revising beetle

history

it seems incredibly impossible

that

this footage

has remained unseen for 50 years

that nobody has watched it

nobody has looked at it

and more importantly

that

this footage

which was not used in the original film

has now become the de facto source

for what the beatles let it be sessions

and that period is all about

so in essence take the original film

and just throw that out

and now we're going to go with outtakes

right because that's what they would be

outtakes

it would be footage that was deemed

not

good enough

to be included

in the original film

because if it was good enough it would

be in the original film

and again this is something that i talk

about in the presentation going back a

couple of months ago and again the link

will be down below

and then it says unseen until now

and then we're told the beatles have

less than three weeks

to write and record a new album

so there's that supernatural superhuman

feet

type of abilities that the beatles have

magical geniuses brilliant only they can

do this it's the same narrative

that's behind the rubber soul sessions

but here again we have the number three

and again it links back

to billy's album mccartney three

next slide

they will film a concert of the new

songs

for a tv show

and

a documentary

they haven't played live for an audience

in three years

so there's the number three again and

back to mccartney three

so let's take a moment

and let's revisit

the

official narrative that i remember

about the let it be sessions and

what was being planned

so the source of this information

is from wikipedia

and it's from a version of wikipedia

that i downloaded and saved as a pdf

because

what i suspect is going to happen over

time

is these wikipedia entries are going to

be

revised

to reflect the new narrative

so what i've been doing over time is

just downloading the old stuff

and keeping that as my source

before somebody goes in and

starts tinkering with the wording

so the original narrative tells us that

the film was originally planned as a

television documentary that would

accompany a concert broadcast

the plan was to give a live performance

featuring new songs

broadcast as a television special and

recorded for release as an album

the new material will be designed to

work well in concert without the benefit

of overdubs or other recording tricks

it was agreed to start rehearsals

without a firm decision on the concert

location

again this is important start rehearsals

on january 2nd

without a firm decision on the concert

location

plans for the concert broadcast were

dropped the project then became a

feature film production

the songs are works in progress

with discussions among the band members

about ways to improve them

okay so

the narrative from wikipedia

which is telling us about the original

1970 film

says that the songs

are works in progress

in other words they're not complete

songs

they're works in progress

the film provided glimpses into the

dynamics that would lead to the breakup

so again i talk about this in the

presentation i did on peter's film it

was not a happy time for the beatles

there was a lot of tension during that

period

and then wikipedia tells us the infamous

exchange between mccartney and harrison

took place on january 6th

and harrison walked out for five days

starting on january 10th

and returned after

january 15th so he was out of the studio

between january 10th and january 15th

the concert broadcast idea was abandoned

it was decided that the footage being

shot would be used to make a feature

film

okay

that's the narrative i remember that's

the traditional narrative

so in peter's film he shows this

calendar

and

it shows january 2nd

january 1st obviously is new year's day

and

live shows

on january 19th

and january 20th

so you're going to show up in the studio

on january 2nd

with songs that are works in progress

and you're going to be ready and geared

up for live shows three weeks later

it doesn't sound possible to me

so we know that billy

and george have their argument on

january 6th

and wikipedia tells us that

the tensions mounted

and on

january 10th

george walks out

and he walks out

through the 15th

and he's back in the studio on the 16th

so that makes

this

the live shows the 19th and 20th even

more impossible

because george walked out of the studio

between the 10th and the 15th

how were they going to rehearse the

songs if their guitarist wasn't there

to rehearse the songs

and what i did here was to include

the wording

from the wikipedia article

the infamous exchange between mccartney

and harrison occurred on monday january

6th

around lunchtime on friday the 10th

tensions came to a head and harrison

told the others that he was leaving

the band

and this is where we get the discussion

about eric clapton possibly

replacing george and this was an idea

that appealed to john lennon although

down here and you can't see it because

you've got

my picture in picture here it tells us

that there was a meeting on january 15th

and george agreed to come back and to

abandon the whole

concert thing and all that stuff and it

also says that eric clapton stated that

he was not going to replace george

because he was a good friend of george

and he

just wouldn't do that

okay so

when we read

the

original narrative

the narrative that most of us who are

beetle fans remember

this

doesn't make any sense and please leave

a comment down below

if you recall specific dates because i

don't

i remember this

i remember

it was an idea

to do these things

but they had to get through the sessions

first and that would make sense

but to come into

the sessions on january 2nd and then say

on the 19th and 20th

we're going to play songs from the

sessions

i don't even see how that's possible

i really don't maybe they might be able

to bang out a song or two

and play it on the 19th and the 20th

and then rely on older songs to play but

even then they would have to rehearse

the older songs

it just makes no sense to me okay so i

do believe that

this part

of what is being presented

in

peter's trailer

and if this is making its way as a major

theme

in the film

i think it's problematic

okay all right so

then the trailer goes on to tell us

experience the three part event number

three

and it begins on november 25th remember

it's three days the 25th 26th and 27th

and of course november 25th

is 11

because november is the 11th month the

25th day 25

11 plus 25 is 36 and we have the number

nine

and here's a blow up of the calendar

and live shows

in pythagorean numerology

is the number six this is the number of

man

january 19th

1969

regroups to 36 and three plus six equals

nine

and of course nine represents change

transformation endings

it's also the number that billy

associates with playing the character of

paul mccartney

and january 20th

is the number 10

and 10 represents completion

and

beginnings and if we go back to my

presentation

where

i decode billy's mccartney 3 album

the number 10 becomes more prominent

and what's being communicated to us is

that the old ways are coming to an end

and there is a new age coming forth

along with representing

billy's own departing and then

his making his way

into the afterlife

and then we have

this capture from

the new trailer

and we see the clapper board

and the number 10

completion

and beginnings

and billy with a big smile on his face

here's another screen capture

billy's pointing up to the clapper board

and it has the number 18 on it one plus

eight equals nine

and again nine

is the number

that he associates with him playing the

part of paul mccartney it also

is the number that represents

transformation change and endings

let's go to the next slide

this one is very interesting to me

because billy prescent appears to be

superimposed

now when i have my source come on to do

the presentation i'm sure we will talk

more about this but if you take a close

look

at the outline of billy especially here

around the face area

his hands

this scene

never existed this scene

was created

and i'm just a layman looking at this

and i can tell that this is not natural

okay so this is some of the trickery

this is some of the technology that's

going to be used

to create

this new narrative

then there's this screenshot which i

found interesting

we have

the typed out lyrics to the long and

winding road

and then below

we have lyrics to

get back

and we can see that the type text is

blurry yet the written text is very

clear and what i noticed

by looking at this capture is the

written text appears to float above the

typed text

and then i had to ask myself if i go

back to the original film

all of these panning effects

and all of these different cuts that

peter jackson's incorporating into this

trailer

and

what is obviously going to also be in

the film they didn't exist so i asked

myself where did

this

come from

what camera took this shot

and then i took this screen capture

and this was interesting to me because

when i take a look at john lennon's eyes

his eyes are off

the right eye is drifting

to the right

giving a lazy eye effect

so i don't remember john having a lazy

eye so i'm thinking that this is a

glitch

in the ai or the cgi or whatever

technology is being used

and when you take a look at john

and then take a look at the microphone

there's a difference in clarity

this doesn't even look real to me this

actually looks like cgi to me

okay so this is just something else that

caught my eye and again

when we do the presentation

with the uh

my video and film researcher

we'll take a closer look into these

types of things right now i'm just

giving you my layman's

view of this i'm not an expert in film

and video but

you know i've been looking at a lot of

this stuff now

ever since the peter jackson film

was announced and i'm starting to pick

up on

things and then the last slide

we have the beatles drum head

and we have

some numbers here we see 2 169

and this is not the american formatting

this is the british or european

formatting so it's

january 2nd 1969

and when we break down january 2nd 1969

it regroups to the number 9.

and then why the

two and the one

two plus one equals three

two and one is also twenty one

or the triple sevens and this is the

lightning flash

of creation

through the kabbalah tree of life and

this goes back to aleister crowley

okay

all right so those are my observations

and i'd love to hear what you guys think

the comment section is going to be open

you guys have a great day and thanks for

listening

[Music]

welcome my friends this is mike williams

will peter jackson's get back

documentary rewrite and revise beetle

history film and video researcher paul

yanson joins me to break down and

analyze peter's recent get back trailer

to see if there are any clues embedded

in the promo and so without further ado

here's the interview with paul and

thanks for listening

hey friends we have a great show as

promised paul who is a film and video

researcher

it has joined me for

this episode and we're going to

go through

peter jackson's most recent trailer

of his get back documentary which is

going to premiere later this month on

november 25th 26th

and 27th three days

and this is the film where we supposedly

have 55 56 or 57 hours

of unseen footage so

paul being a video and film buff is

going to give his analysis we're going

to step through the trailer and i have

it at um

one third speed pull so we can take it

nice and slow

okay and what we're going to do and

mostly paul

we're going to comment on what's taking

place or what paul believes is taking

place so he can share his insights as to

what peter is doing

with the film so did you want to add

anything paul

uh just now just that i'm i'm dutch

english is not my native speech but i i

hope i can manage and if some errors may

occur

then please forgive me it's not my

yeah you'll do fine

it's not my daily language so anything

anyway okay all right so we're going to

get started so the first

screen we have uh paul yeah so explain

to us about the text you you talked

about this with me about a week ago or

so what what is peter doing with the way

the font is being presented

it's it's a it's a font typically of

newspaper or also

as it is being used in

hollywood

scripts movie scripts

but it's a typical phone that sort of

announces us this is a documentary if

they would have used a different uh

happy font then

it doesn't work they use this typically

font

and also by using tax cards

they sort of indicate to us this is a

documentary and we're using tax cards

another voice over

so the mindset for the viewers is is

sort of preset with knowing that what

now follows is the truth because we're

watching a documentary

and now the first shot is the

deconstruction of the scene and the

twickenham studios so we see the

studio in its entirety

the four lads with their instruments we

see

boom microphones we see speakers we see

some other stuff in the background we

see some guy walking through the frame

so the set is pretty much as we would

expect for an opening scene for

documentary let me ask you paul we know

that the original film was shot in 16

millimeters so

this type of shot the clarity um the

colors are just popping out

is this possible with the original 16

millimeter film

i think so yes they would have known

what to shoot i i think not everything

is uh sort of uh

off the cuff they

especially these background colors it's

a projecting screen

and they they sort of project i think

with a real projection they they project

colored

lights to it

and the effect is that the foreground

can be lit with separate lights so the

guys are not green or yellow or

red

it's just a background but it's this

this is a created shot

this is a created shot so you don't

think that this was part of the original

footage

uh yes well no it could be a part of the

original footage but this is as a shot

it is it is constructed someone thought

of using um a purple green and red uh

colors in the background are you saying

the way they set it up

the other way to set it up okay

i can say about the clarity of the shot

that indeed can can be done with a 60

millimeter higher film

okay so i'm going to hit the play button

and like i said folks this is going at

one third speed so that we don't miss

anything so

see guys busy walking around in this in

the shot it's sort of

indicating

the documentary style everybody's moving

cameras zooming in

or better yet the camera is uh as

darling dollying

in okay so we have that dolly effect

right yeah yes okay and then it says

this resulted in over 57 hours of the

most

intimate footage every shot of the band

and as i mentioned in a video i did

recently

paul that number is 55 56 57

depending upon

the

the promo

or the press release

that's being put out but now we have 57

hours and of course i mentioned this in

my previous video folks 5 7 is 12 1 plus

2 equals 3 and this goes back to billy's

mccartney 3 album but in any case so we

have the same font

yes right and i'll move forward

and now we're open with uh

the first shot of john playing don't let

me down

very emotionally singing

but look he's wearing a green shirt and

now we cut to him wearing a blue and

yellow striped shirt all right let me go

back for a second

yeah

okay so all right so here yes he has a

green shirt a green shirt you can see

off his right shoulder would be on your

left watching

and then as we go forward

they cut to a different scene from a

different session

right now some of the audience might be

thinking okay so why is that a problem

they just used clips from different days

so how how would you

answer that question yes i think this is

um

we see this throughout the whole promo

there are some

examples so later on

they also what they also do is they

use a continuous uh sound in this case

the

the song don't let me down

but they added

different images to it

and they sort of gave the suggestion

that it's all in one session but we can

clearly see that it's not

so you could argue

why is that why why do they why do they

use different scenes from different days

of uh filming

it sort of indicates to me at least

that not not everything what we see is

like it happened

or

maybe to push it further

they added it in a way

that gives a narrative that maybe didn't

happen

okay so what you're saying is it's not

contiguous so they actually copy and

paste it to use layman's terms to

actually piece together

a storyline or visual at least for this

trailer now at least for this trailer

right right

we cannot say how the

the end result will look but for this

trailer they they sort of cut it in this

way and

if people watch the trailer at normal

speed with sound they sort of um

see that that that's a little movie in

itself

they pre-set the text with uh three

weeks of of

the guys recording in the studio to

record an album and to prepare for a

live show

and halfway through we get

all the disturbances of george

and

of some other things so

they they have to edit it to to tell a

story within the promo

and by by using different images maybe

they could uh

get that story for the promo

uh to work to function maybe later on in

the

final documentary they use complete

different editing that's possible but at

least for the promo this is my

observation they they

manipulate images

to create this storyline okay and when

you talked about disturbances were you

referring to when george walked out of

the sessions between january 10th and

january 15th

exactly exactly and like you probably

will um illustrate later on how many

days he left and when he left and when

he returned

it's sort of it's in between um sessions

or maybe um

at least it created a very difficult

time for the guys right okay it

definitely would have impacted the

schedule right and we'll get to the

calendar in a moment yes because it pops

up in the in the trailer so let's move

on here and just let me know when you

want me to stop

this shot of billy

um this is some

something to illustrate what you

said in your earlier analysis

of

the

this the way the microphones are used in

studio

and what we see here is two different

types of microphones uh one on on the

the horizontal stand

and the one on the on the lower stand

which is a typical classical type of

microphone not sure about which type

and what you said um

is that these microphones pick up if

they are sensitive they pick up any

sound in them

and the surrounding so when we see the

guy in the in the rear that's probably

michael uh lindsey hawk

who's famous and at least in this promo

for smoking a cigar

you could argue

why is he in the studio during a

recording his sound of maybe lighting up

a cigar or walking about

is packed up on in the microphones so in

the recordings they get disturbed with

uh with noise with unwanted sounds

right because what i had said was if

this is rehearsal it's fine

that's fine for a rehearsal rehearsal

right but if they're trying to depict

a scene or a scenario where they're

actually laying down recorded tracks

this does not work

because these microphones will pick up

everything the other thing i want to to

point out michael lindsay hogg you could

see the cigar right here right above

billy's head but look at his hand it's

in his pocket the hidden hand of

freemasonry

okay so we'll move on

we've got this scene here

yeah this is interesting of for a couple

of reasons uh

this is the first scene where we see

um ringo playing behind these sound

barriers

for his drum sound not to be a

predominant and

in the recordings of the guys

um but later on in some other shots we

clearly see that he's not playing behind

sound barriers so

there's a discrepancy between the use of

sound barriers for drums which we all

know are very

dominant in the sound

yeah and if we look at this

this image as well we have a microphone

here to the upper right we have a

microphone here in front of john

billy of course has a microphone which

we can't see

george's microphone is right here we

have a microphone here and both uh

george and john are playing electric

guitars which means they're playing

through amplifiers and even though

ringo is behind the baffling here

uh the problem is is that his symbol is

actually right even with maybe a little

above it

so anytime he hits that symbol it's

going to crash right through

yeah and all these microphones are going

to pick up

exactly the symbol crash and

the truth of the matter is because he's

so close to where they are

anyway it doesn't matter that this

divider or baffling is here

it's just going to ring through so the

point again being that

for rehearsal purposes not a problem but

if we're to believe or we're trying to

be told to believe that this is some

kind of recording session that's not the

case

and the other thing paul you and i

called out

when we spoke last week is

look at the the piano and all the

codes and the mess yeah

and now it's it's only codes and you

could argue codes won't affect the sound

of a piano but later on we will see that

the guys are having lunch at the piano

and um

what we know about a blooper blutar is

one of the major piano

manufacturing companies

if i'm correct this would equate to a

nowadays instrument of more than 100 000

so to put your clothes or

lunch or drinks on top of the

top lid of the piano

would wouldn't make sense to say the

least and would be very

unwanted

okay let me move on here

okay so we have this eight track reel

here

yeah

what we said uh what i talked about

earlier is that we don't know

if

these are true shots

these could could have been made

last week we don't know

but they are they use them as an insert

to

link one scene to a next scene so if

there is not a natural

transition between two scenes you can

use an insert to move that to make that

transition happen to to make the

audience

uh sort of give her a point of rest for

your attention to

to easily

move into the next scene

that's useful inserts

and the other thing i've noticed paul is

when i watch the the original film going

back to 1970

these types of shots where it's zooming

in close-ups and sweeps and all of that

you don't see that in the original film

so to me this is something that

obviously that peter has created for

effect

yeah like like we said we we we cannot

say for sure but at least in the promo

it works it works for the effect of uh

connecting two scenes together

but okay since this is

this is a shot that has no reference to

any time frame

um

[Music]

they could have been made last week or

last month or last year when they when

they edited the whole promo

so they they and further in the promo we

see some other scenes with billy preston

which are typically used to to to move

the story forward

okay

yeah i'll click forward

yeah then let's see

okay in the sound um

of this shot

um

we see this is

ringo playing in the twickenham studio

and the shot previous to this was in the

apple studio

but the sound soundtrack again is still

playing don't let me down

so they they now we can for sure say

that they used

several scenes

to create one

sorry several shots to create one scene

and again this is

yeah what what he

very strong powerfully uses to to create

the story

one of the things i wanted to point out

paul

is in the first trailer

they play get back and of course

the

uh what's being implied is that that is

the recording or one of the loss

recordings or enhanced recordings that

peter jackson has brought back to life

based upon the

unseen footage but the thing is

when i uploaded that to youtube

youtube

identified the song as get back from

the beatles let it be naked album

which was the let it be album that

billy redid going back a number of years

ago because he didn't like the whole

phil spector production

so the point i'm trying to make folks is

that

the first trailer was

i think a little misleading because you

know we're thinking oh okay well this is

a

a new version of the song it's been

remixed remastered or whatever and uh

only to find out at least i found out

that no

that version of get back has existed for

several years

going back to when

let it be naked was released so

you know

what i'm saying is these songs that

we're hearing

in the trailer and i will put the link

down below so you can listen to the

whole thing we don't want to have the

sound here because otherwise it would

interfere with what

we're trying to say

um

is that

i don't know it's not new stuff is what

i'm saying

it's it certainly appears like it's been

released before

and uh it's not

new and unheard

okay well i guess we'll move forward

here

yes

okay so then we have this part of the

video which says the footage has been

locked and evolved for over half a

century

unseen

and then you want me to move forward and

john does a little something right

yes joel makes a

gesture

we're we're at one third speed folks so

okay so that's he's kind of

his hand is going forward

he's emphasizing

a a thing a moment uh something special

and then we see the tax card until now

okay this is

this is very powerful editing um

peter jackson

connects john's moving to this text

until now so it

sort of anchors in our brain um and

visual and a text

and that's very uh interesting how that

works

you want me to move forward

yes please okay

this is still in the twickenham studio

what i what i noticed here is that in

all the twickenham sessions we see rango

playing without

the sound

baffling

and also what i

thought strange is why is he on a

platform

why isn't he on on the same level as the

uh the other guys

but please stop here this is interesting

but it doesn't make sense to have a

typed out lyrics and a handwritten

written lyric

from two different songs on one sheet it

doesn't make any sense yeah so i don't

know whether peter's putting you know

the two together for some kind of an

effect or but what i pointed out was the

the type text was it's very it's not

very clear it's a bit blurry

yes whereas the handwritten text is

sharp sharp

all over the board yes and the other

thing too folks is that

get back was written by billy and if

he's supposed to be paul mccartney he's

left-handed and what we see here is

handwriting

that is written by somebody who is

right-handed

i think so too yes yeah because if it

was a left-handed person writing this

then you would have the left-handed

slant

yeah on the letters and we don't see

that what we have is right-handed and

the other thing paul i wanted to ask you

about is

again if i go back to the 1970 film

there were never close-ups like this

and so this seems to me to be another

piece of

footage

that was

created

and inserted into the trailer

in order to create some kind of an

effect

like um like in the shot of the um the

recording wheels

uh the tape recorder we we cannot um we

have that we don't have any other

reference from this um what we see here

then only the the typed text and the

written text so this could be a shot

indeed like you say that peter jackson

has inserted recently

just to to create a narrative we cannot

visually connect it to any other thing

if there's maybe a shot that follows up

we see written text that is picked up by

a hand and the sheet of paper is lifted

off but here we see just as a

standalone shot of a piece of paper with

written and

typed text so

it could indeed be and

made after a

fact

the official story tells us that the

songs were works in progress which means

that they came into the studio

without complete songs and so

it would seem weird

that billy finishes the long and winding

road and then he hands it off to

somebody and says hey go type this up

yeah i mean i guess it could have been

done right but

sure but it you you

the argument against it would be that

that takes time you have to uh

you have to wait for the type text to to

get back to the to the studios to hand

out to the guys to play the song right

well as you if you would

uh say to the guys well this is this is

the lyrics uh

we're going to play it from my

handwritten lyrics

it saves time and you could i don't know

it doesn't it's it seems strange to have

it typed out okay so let's take a look

here

then we get a shot

i think of

yeah this is interesting

you pointed out earlier in your first

analysis that the

this image seems strange because john is

looking sort of

with a slant eye and um

right eye is kind of drifting

yeah sort of a drifting eye

the other thing that you noticed is that

the microphone is in focus and john and

billy are out of focus

and technically that would be indeed

like it is because the camera has

focused on the mic and not on on john it

could what you said in your earlier

analysis that the microphone could have

been a added on

um effect in a different in a different

image layer they can easily um

edit this into this

this shot but what's interesting is that

when we play it

that john is giving uh what i think to

billy

the side eye

sort of a disproving side eye

as we move forward yeah so just before

we leave this particular shot here folks

what i had mentioned as paul

just stated

is that we we don't really have super

clarity here with john

we see his eye is drifting to the right

here and but look at the microphone

i mean it's it's very very clear

you know so and yes it's it i don't know

it just seems to me like this was

inserted into the uh

into the bridge yeah yeah yeah with a

different layer an image

and and and post editing they can easily

put that in in a different image layer

and

it does it doesn't affect the the total

appearance of the scene but we we as a

viewer know okay the guys are singing so

see

what's happening

yeah and and

again paul just so that uh

i talk about this eye a little bit i i

had

suggested that this was some kind of

glitch with the technology

um as it was trying to rebuild or

recreate facial features and stuff like

that that the artificial intelligence or

you know whatever technology peter's

using

you know it didn't quite catch it now

somebody wrote me and said that hey you

know uh if somebody is a heroin addict

that one of the symptoms of

of having that addiction is that you

could have

a lazy eye

now

the question i would have with that is

that

when i watched the original let it be

film

and

seeing these trailers

i'm not seeing a john lennon who appears

to be a heroin addict he seems to be

very active

very playful

you know so i don't know um again

i take the whole story about lenin being

addicted to heroin him and yoko

um i'm not sold on that i'm really not

and the reason why

is because

as i've mentioned in a previous video

i know somebody

who is addicted to heroin

and the only thing that

that person

thinks about

is their next fix

all they're looking for is heroin and

you know i don't know it just doesn't

seem to fit with me based upon my own

personal experience of knowing somebody

who is an addict

and then watching john

in both the original film and in these

trailers so i guess i'll move forward

and you said that going forward billy

kind of gives john a

a side eye

now john gives billy the side eye here

yeah we can see john's eyes shift over

to him yeah so it's a very powerful

um how do you say confrontation between

the two it's not not even a spoken

dialogue but the eyes says it all

it is kind of an interesting look

yeah yeah

yeah very much okay so let's move on

here

now this this amazes me how clear this

is right here yeah well

what we see in the background is this

purple color referencing back to the uh

the opening scene where we saw these uh

three colors uh purple uh red and and

green so this is in the twickenham

studio and the lighting in the

twickenham studios is different

the the lights are more

from a lower angle

directly to the faces of the of the guys

whereas in the apple studios the lights

have been

pointed to the ceiling and we get

reflected and

indirect light so the indirect light is

more softer and here we have the direct

light and it's more harsh so we have a

clearer image of the faces but also it

gives a harder shadows

but as a result it indeed it looks more

clear that's a that's a fact

then we get the text

card of the three weeks recording time

you will see by the way the um

the boom

microphone that's only being used for

the recording of the cameras the film

cameras

have a

separate audio recording

and they

they have to use a blue microphone

because they don't get a feed from the

mixing desk they had their own

standalone recording for the for the

film cameras

okay and here we now we see the uh the

text card for the

let's say the main premise of the whole

story

at least for the

for the promo but i guess also for the

the whole uh series of three episodes

this three weeks recording a writing

time

yeah so it's another one of these

crazy time frames in which the beatles

are going to pull off a miracle so they

have less than three weeks they actually

have about two and a half weeks

to write and record a new album

at least at rubber soul

they said 30 days

and here they're saying less than three

weeks so

the 30 days that i believe was uh 30

work days

if i'm correct if i with robert soul no

it was october 11th to november 11. so

it was okay it included weekends okay

including weekend so here are two

three weeks is including weekends but as

we see later on

later on we see a shot of the calendar

and we see the exact um timeline um

appear

now we got some

okay so we have this scene here

this is again twickenham studio and what

you see now is that the lighting has

completely changed they have just

switched off the background colors or

maybe this is a different setting i'm

not sure but at least it's

it's still a rainbow on the on the

platform

and the guys sitting around

and yoko is reading a shopping list or

something

now we see george writing

and in the next shot following this so

we cut to a sheet of paper with lyrics

um

here

we see the lyrics of

i've got a feeling and this is being

picked up by a hand and lifted out of

the frame

right so and so the person watching this

trailer would think that it was george

it was george you wrote i've got a

feeling but you know

at least as far as the credits go that

it's a

a song by uh john

and paul oh really

okay

this shot here

it could have been a real shot

but also and like you said before these

shots were not included in the original

documentary

so what we

in imagery what we see here is hey uh

copy has been served okay guys let's

have a break

and in the shot billy preston is

just

relaxing on the piano

and i'm not sure if this is a real shot

they could have easily

mixed two layers into one shot

and

if the

shot of billy preston is is a real shot

which we must assume since he is

periodically

correct in his dress and in his

appearance

the shot of the four coffee cups in

front of the thunder roads

it's maybe an afterwards made shot we uh

we cannot know but

it could be

yeah it's another one of these shots

that you don't see in the original film

and the reason why i bring that up folks

is that

why would the filming technique be

different

right so

if these are

outtakes

if this is footage that

was

shot during the original film

back in 1969

then

why were these types of shots not

incorporated in the original film

that that that's my question

you know what why were they only

in the

in the footage that was cut

or the outtakes

i don't know to me it just seems very

very strange

but here it adds uh let's say in

or for as an image it adds to the

overall atmosphere

of the guys having a good time recording

being relaxed

relax there's time enough to have a

coffee to hang on the piano just

take it easy

while in in the back of our minds we

know that they are stressed out because

they only have three weeks for a

completely new set of songs and a

recording

so the the the imagery

um

sort of

makes an effort

to show us the viewer

a relaxed atmosphere

right so it's a scene that really

conflicts with the

official story

uh yeah until

peter started showing us his version of

the story or billy's version of the

story right

uh we know that the let it be sessions

were very tense

they were stressful

yeah and uh the lads weren't getting

along

too well

and like you said paul this scene is

showing us no it wasn't so bad cups of

coffee billy's just hanging out

okay

exactly all right let's move forward

here we move forward um we get a scene

where

george's okay this is the male handing

over a guitar to billy

um if i may comment on this type of

shots

the

promo of um let's say the preview of

peter jackson

also shows

typical shots where in the foreground we

see

either billy or

john or whoever

playing or doing something with it with

their instruments and in the background

we see two other

guys of the band

still playing singing in the microphone

and here as well we see george and john

playing while billy is handed his guitar

by mal

um

it's a typical how do you say it

this this could have been done like i

said in the other shots

by adding a different image layer

and it sort of

emphasizes the the group

atmosphere

so everybody is relaxed

making music

billy is

discussing something with mel about the

guitar

george and john are playing

this this group feeling this atmosphere

of the group being a tight group

is

emphasized by these types of shots

now move forward

yeah

if we move forward now we get the famous

um

shot of george asking

how many

songs have we recorded already good

enough okay yeah so maybe i should turn

the volume up for that but here is a uh

another insert

yeah

so here again

we don't know

whether this tape recorder is

my guess is that it's a tape recorder

used by the camera crew so the film

camera have their own recorder

for the sound and what you see here is

typically a smaller tape size

what you said earlier the a-track size

tape are these very wide

gauge

tapes but this is a smaller gauge tape

and i think it's only for recording the

sound of one microphone of the um the

micro the boom microphone for the film

cameras okay

all right

and so we're coming up on the uh the

question that george asks

yeah all right let me let me just

increase the volume a little bit so that

folks can hear it

what we hear we hear george asking how

many

have we already recorded good enough but

we don't actually see george

speaking these words and then later in

the next shot we see

john answering to billy

none

so the dialogue is how many have we

recorded and john answers none

right but the way it's the way the the

camera

records it and how the the guys are

facing each other

doesn't make any sense

yeah and the other thing too paul is uh

it also creates a problem for the

narrative right less than three weeks

for 14 songs and then george is asking

the question how many are in the hopper

how many are done and john says none

none yeah so so here this is let's say a

classical plot point in a normal movie

um script

where the drama gets uh

gets there how do you say it

it moves it moves forward

surrounding a plot point

[Music]

so how many have we recorded good enough

and john lennon says

no no let me go back folks play it again

how many have we already recorded good

enough no

[Music]

george in my view is standing next to

billy wearing his fur coat so first he

has a jacket on a jeans jacket and in

the next shot he wears his fur coat

and john is not answering

uh george he's answering billy

so the eye lines don't match up

so the imagery and the and the sound

don't match up and here again i think

it's very powerful editing

of something that

possibly didn't happen

all right so let me play this again how

many have we already reported good

enough no

oh yeah

so they will film a concert of the new

songs for a tv show and a documentary

the idea of what the show is this is

interesting

um

want me to go back

yeah if you if you can

i wanted to explain something okay what

we see here in

uh the clapperboard is what you already

explained there's this classical two and

a one

numerology what you

most often have explained what the

meaning of that is

but we see it on the clapperboard and

the clapperboard in this shot disappears

by what is called a jump cut

so it seems like a

continuing shot but the

jump cut is made in between so they they

they cut out the the moment the clapper

board has been removed and what we see

is a clapper board and the next

moment we see no clap aboard we don't

see it being taken away from the

in my view but that's my view

um

it is a kind of a hint a clue

to people who know

look we have edited it this whole

sequence this whole promo the whole

movie

is clever editing and this is an example

and openly and

[Music]

showing in plain sight openly telling us

at least people who are able to see it

this is clever editing so if you play it

mike yeah let me just uh let me just

reduce the playback again

so there you go yeah there you go

it's a it's a it's a

normally um considered a editing mistake

if you make these types of edits in your

final result

but here it is clearly being shown so

you could argue

or you could ask yourself the question

why is that why do they show it like

they do and then also they roll away the

beatles drumhead

i don't know if there is a meaning

behind it but i sort of

well

okay

yeah i don't know if there's any meaning

behind it but they're rolling away of

the beatles

yeah it's kind of a weird type of cut

it's it's yeah now it's there and then

it's not right and then it's not so you

you it's normally considered a jump cut

and that's an

added error it's not something you would

want to have in your final film

okay

unless

you want it in your film

so okay anyway

uh we see here the location scouting on

top of the of the building and what we

see billy is making this arm gesture of

being uh something huge

and on the soundtrack but you don't have

to show it it's it's quite obvious the

soundtrack

says

billy in voiceover none of us had the

idea of what the show is going to be

and then we see billy making this

gesture so the show is going to be big

that's

also nice editing

okay

all right so then we have this scene

here

yeah

um

michael seahawk who has what i

read about the planning of the rooftop

concert was

what i read it was his idea to have it

on top of the apple building

if that's true this sense may this scene

makes sense he's showing billy um some

plans

and if we play it out we

we clearly see

here in this shot right here

what i think is a section view of a

building a hallway or a doorway

where where

a man figure a person is standing inside

this hallway or this building

sort of as

you can sort of get a sense of size

of

a plan uh showing billy

how what i think the concert is going to

um how it's going to take place where

it's going to be held how it will look

uh what has to be done in preparation

stuff like that and

having this little

uh diagram in the right side

the bottom right side of this plan

we see it in the

yeah what i'd say i think a

section view of a building with a person

standing in it

the other thing that's interesting about

this piece of the footage

paul is that

it's clearly showing billy in charge

because here's mal he is

michael right

and they're they're covering the plans

they're discussing the plans with him

yeah and what does he do

he stays seated at his piano

and

what i

thought of this scene is it clearly

shows the indeed like you say the power

of billy he's the man he's going to he's

making remarks of the

of the building plans for the the

concert

the two guys are standing up

are standing and billy is staying seated

so the power

position between the three is very

clearly shown here right normally if if

someone shows you plans and they ask

your opinion

you would also stand up to show them

respect and getting to the same level of

um face-to-face

that's the typical uh how do you say it

interpersonal uh behavior right

but in this case what you're saying is

it's a there's a hierarchy in place

exactly yeah billy's demanding really

stay seated i'm not going to be bothered

to

to stand up to to you or to your level

i'm just staying right where i am i'm

the man

okay want me to move forward yes please

i'm saying something i'm not sure quite

what

all right so the mood is getting a bit

lower

ringo leaning over he thinks it's all

right for me

okay

this shot

this this is the side door of the

recording room of the apple studio later

on we will see

george no john

falling

about in front of this door

the

lighting inside

we know this is the basement of the

apple building so they're walking up the

stairs but the lighting inside the stair

well is enough for us to see

um clearly billy

and he's

looking over his shoulder as george is

closing the door

and like you said before george is very

i'm not sure it seems that george is not

in focus

yeah and george is not in focus billy

would be even more out of focus

only the door seems in focus so this is

a very

much

reworked

shot to get sharpness and clarity

that's a good point because the doors

are in very good focus yeah they're

clear yep

and george is kind of out of focus and

if george is already then

billy must be completely out of focus

yeah

we saw billy just

overlooking over himself

and then they tell us they haven't

played live for an audience in three

years so of course this goes back to

1966 and this is 1969.

exactly so this is also kind of a setup

for the the the drama that already has

been announced in the previous text card

for this recording time frame

so

this emphasizes the drama

yeah this is

what we discussed a previous but i'm not

sure if it's of any meaning but what

this this was a very uh short

the flash

sort of a flash

frame

it only takes uh

less than half a second

right and now remember folks this is at

one third speed so this goes by very

fast if it's at normal speed

and we don't we know it's john but we

don't clearly see it so we could argue

why why is it in the promo what purpose

does he see this shot serve well in my

view it's just to disturb the audience

and disturbance is a way of

a tool of storytelling then we've got

somebody standing back here and i i

honestly cannot make out who that is now

some of the the studio crew uh

yes but this is something that we later

on uh can see in several other shots as

well that there's always people standing

in the background

in the shot so

but that's maybe it's something that

doesn't have any further meaning but

it's

it stands out

now we see um

a little montage this leads up to

that this is the the section what i call

the cauliflower section george is asking

everybody about his lyrics

when he where he doesn't seem to find

the the right words and

john is

jokingly saying well just use the word

cauliflower for any any version of the

words you don't seem to find

this is this bit

i say what we see also here um again the

um

the sound barrier

um

next to the sound barrier we see in this

shot is the the lastly speaker

of the uh the hammond organ and in some

later shots i have a nice uh interesting

[Music]

comment on that as well

okay it's not clear in this shot but we

come to

come back to that later

okay here's the piano again too paul

right yeah already we see here some

stuff on the piano

what you could

ask yourself would you would you like to

see uh wine glasses on top of a 100 000

instrument

i'm not sure if i if if it were my my

piano i wouldn't be so happy about it

but anyway

maybe these these are the missing reels

of the unseen

exactly okay

i'll move forward

and now we get a shot

of the

of the calendar

okay first this is yes this

the the calendar obviously is a

afterwards um made shot this is not an

actual calendar from

those days

it has printed text font live shows

next later on we see printed type of

george meeting and we see printed type

of

george leaving

so this isn't

this is purely a insert to move the

drama forward it's not an actual

calendar right so folks just

to recap

so the beatles came in to the studio on

january 2nd

and this calendar is telling us that

they have live shows scheduled for the

19th and the 20th

and of course that's

two and a half weeks

and the other point we wanted to make

here is that

george according to the official

narrative

he walked out of the studio on january

10th and he was gone

through the 15th

because he had that argument with billy

on monday january 6th

and then

tensions continued to mount

george threw in the towel and said i'm

done with this so he left at around

lunch time on the 10th and he was gone

through the 15th and he returns on the

16th

so

this makes this schedule

even

more impossible

because one of your guitar players

is gone

for a week

and you only have two and a half weeks

you know

so it's just craziness and the other

thing i wanted to point out

i should have mentioned this in my my

one video paul and

that january 19th when

it's the first day of the live shows

that's january which is 1 and the 19. so

when you put the numbers together you

have 11 9 or 9 11. so it's another

9 11 reference right there as to when

they're going to do the first day

of the live shows yeah

yeah but in fact another shot we will

discuss later

if billy is beneath the clap aboard

the date on that clap aboard and the

date of the live show also have very

very large meanings

yeah and the other thing i want to point

out folks the beatles did the rooftop

concert on

january 30th so when we take january

which is one plus

the 30th 1 plus 3 is 4 plus 1969

it reduces down to the number 11.

we see some

dates will

will be crossed out to increase the

tension and the drama

okay now it's if you freeze here okay

they are having lunch at the piano

[Laughter]

it's well it's it's strange for many

reasons normally uh maybe you do it as

well mike i did it also uh if you have a

certain place where you work

usually you have another place where you

have your lunch sort of get off of gonna

have a little distance from your

workplace so you make a little walk or

you go to a kitchen room or a dining

room or a lunchroom whatever

but here they are seated they stay

staying seated in the recording room

having lunch there right on top of the

piano

so that's

already maybe not like you would expect

but then we have all the stuff on top of

the piano drinks coffee

cigarette cases

napkins all kinds of stuff it

it seems strange to me it looks like

they're in a garage

that's what it looks like to me it does

not look like a professional recording

environment now of course someone's

going to say well that's what it looked

like and i agree that's what it looked

like but i'm

it is it is very surprising

to see this recording environment when

you're talking about the greatest band

of all time

yeah i mean

later on we see when the discussion with

george happens there's a shot where john

where george arrives when in his

mercedes 600

a very expensive car one of the top-line

cars next to maybe bentley or

rolls-royce the guys had money so the

studio had money um and then they have a

havoc lunch inside the recordings a room

doesn't seem fitting to the

status of the band yeah okay in the

background now we see again this leslie

speaker

and we see a microphone standing on top

of the amplifier

a guitar amplifier

uh this and recording uh technically

this doesn't make any sense whatsoever

to have your microphone on top of an

amplifier so you get vibrations or or

even worse you get

circuit interference whatever

and and another thing is that

the

what i

researched was that if you make a

recording of a leslie

speaker

you at least have two microphones to get

that typical

leslie speaker sound

so this setup of recording microphones

at the leslie speaker doesn't make any

sense whatsoever

and again all of these microphones

i mean take a look at this picture folks

we have a mic here we got a mic here we

got a mic there there's one here there's

one ringo here this is to catch the the

snare he's they've got a mic up here

there's a mic going down here we have

more microphones over here here's one

here again this i guess to get the toms

yeah right i mean there's microphones

all over the place and again if you're

rehearsing no problem no problem

but

for recording

you couldn't record this way you could

not get

a good recording

exactly

with this type of microphone set up

okay do you want me to go forward paul

yeah but let's please uh forward okay

uh

here we go john

we got john goofing and in the

background we see the door which we

talked about earlier

the door where george was a little out

of focus but the door was in focus

exactly and now we see

in this shot we see george i saw john

uh clowning about

and what i notice is that the the

lighting on his face is very

yeah it seems

overworked uh with the with the uh

with the

restoring um

what they did it it doesn't seem real

of course the shortcoming can be real

but

it it's

it calls questions uh

in my taste well also it goes back to

what i was saying before you know

he was supposed to be a heroin addict

and here we are

and you know he's you know he's very

active and

in fact the trailer before this he he

pulls his pants over his kneecaps and

he's hopping up and down on the ground i

mean we don't see in this

recent trailer but the one before this

we do so

yeah i don't know

you know

yeah

it doesn't seem okay if that shot

oh okay

now it's getting interesting we see the

um

the shot of billy standing next to the

um the 10

number yep

the number of completion new beginnings

he has a big old smile on his face

yes

um

just for reference in the background we

see ringo's drum kit

without the uh the sound baffling

right that's strange because i think

this is again in the apple studio

so why is he in one shot he's is at he

uses these sound barriers and in the

next shot here he doesn't it doesn't

make any sense whatsoever

we have john and yoko down here

yeah

but the meaning of the shot

is kind of what you are

expert in

yeah well the meaning of this shot is

first of all he's dressed in black and

white duality the number 10 number of

completion

new beginnings

that's what i think this represents bose

is very uh authoritative

he has a smug smile on his face

he knows exactly what's been

shown here

and in the next shot we got the uh the

other one even this one this is great

this this is um

interesting for many reasons

um

first of all we have the uh the number

18. that's that's your territory mike

maybe you can explain a little bit on

that well it's the number nine so one

plus eight equals nine and when when

billy plays the role of paul mccartney

he's all about the nines when he's

himself as william or billy he

associates himself with the number six

so we could see him pointing up

exactly number nine

now he himself is

very much in the um

let's say the

an image that is very well known as

iconography

uh for the jesus figure what we all know

the he and and and a few tens of seconds

before this he is looking up to the to

the sign and he's almost exactly in this

typical iconography iconography

type of image of the jesus figure

that's

you could say well it's just uh it

happened like that

that's true but then we go to the next

meeting on the clapperboard

um we we see here on the clapperboard

the text beatles show oh let me go back

paul you talk about ice cream exactly

yeah i'm sorry

yes

we see here

it says apple film limited beatles show

and i thought i thought

would the camera crew a filming and a

documentary crew would they use

the term

show

on the clapperboard wouldn't they just

say um

people's recording

beetle sessions get back sessions uh

whatever or just the beatles or just

beetles but beatles show

implies

something which with a very different

meaning

okay so you want me to move forward paul

yes please okay

um

okay here we have billy's got his yellow

shirt on you want me to move past this

yeah this is a little montage i'm not

sure what um

[Music]

okay and this is

this is yeah this is the scene where

billy off camera is saying it's going to

be such a comical thing like in 50 years

time

and then we see yoko and

and john dancing but billy's

billy's line of it's going to be such a

comical thing like in 50 years time

and

it sort of makes a reference to the

timeline we are now in we are now 50

years later right

right so billy's seeing that in 1969

is also i don't know maybe

it doesn't mean anything but it's it's

i noticed this yeah maybe a little

predictive who knows right

yeah yeah who knows but then we've got

uh still this is still a montage of the

um we got the calendar again

off the calendar so

and now uh things um how did they say it

the plot thickens yeah they said they

have a meeting with george and as i

mentioned the the narrative in wikipedia

says george was out of there between the

10th and the 15th they did meet with him

and when they met with him he decided to

come back on the 16th so

yeah but of course with george being out

of the studio for a week as i mentioned

before paul um that makes this whole

19th and 20th

uh those dates

impossible totally impossible but

another interesting thing

is um in in the imagery we see while we

know now now we know that he's there is

a meeting with george so george is uh

having an argument uh he's threatening

to leave and in fact he he does leave

and we know that this is taking place

over five days time and in imagery we

see still if you play it now we still

see the guys playing here

discussing playing but this is still the

twickenham studio

so what they are implying here is that

the the argument with george is still

the band is still in the twickenham

studios

so when george returns

is that still in the twickenham studios

or not we are not sure we don't get any

information on that we can only conclude

it from the image here imagery over here

so when he returns

um

if it is still in the twickenham studios

and later on we know they moved to the

apple studios

um moving the whole entire crew

the instruments amplifiers all the gear

including

the grand piano the blutner what we

talked about earlier

although the apple building is only 10

miles away from the uh the twickenham

studios

this probably would take

let's say a day

at least

moving a complete studio um

environment

from one studio to the next

building up everything plugging in all

the chords all the signals into the desk

uh signal checking sound checking

moving the grand piano how much time

does that does that take

um well if you're moving you're going to

have to tune it

yeah exactly yeah and they move it

downstairs in the basement of the apple

building so the entire operation of

moving all that equipment would it take

a day maybe two

that's another two days off the calendar

well an argument could be made that they

had equipment in both studios so that

they may not have had to

move equipment they just just unplugged

and then you know they went when they

went to apple

all that equipment was there that

argument can be made

can be made indeed but if not

and we see in imagery the bluetner piano

clearly visible the bluetner sign on the

side of the piano

did they have a bluetooth piano in apple

as well as in twickenham studio

not sure about that it's a it's like i

say it's a it's an it's a grand piano

and a

very expensive instrument so if they had

to move it okay that would at least take

a day if not then your argument stands

then they had already they only have to

um had to move their their guitars and

the drum kit of uh ringo and hadley that

could have been done let's say between

coffee and lunch i'm not sure but that

could have done yes okay

so we have billy reading this newspaper

yeah they are goofing about uh

in this uh the scene this is a little

montage of them um

this leads up to the crisis in the band

because we know george is leaving

paul was stressed out john is stressed

out

and now george quits

that's interesting he says george quits

right and and here's the thing paul

where's the date

yeah there's no date

all the other all the other uh days of

the calendar have a date and here

here we don't have a date but we have

imprinted fault george quit

to again hear this

manipulating imagery that doesn't make

any

sense in in

all right so just for the record i mean

they're not showing it here which is

very very interesting

uh as i mentioned earlier folks

george had the argument with billy on

monday january 6th tensions mounted it

didn't get any better

and then around lunchtime

this is the official story now this is

not mike and paul

making up a story

george walked out on january 10th

he was out from the 10th through the

15th and he returned on the 16th so

this image here this shot where george

quits with no date

this is very very odd

it doesn't fit the rest of the shots of

the calendar

no because the rest of the calendar was

very detailed here are the dates we're

exiting them off yeah right

exactly exactly so

this this shot is already fabricated

we can clearly conclude that so

okay let me

at the um

it leads up to the uh

here the shop john i saw george in his

mercedes uh 600. well and the other

thing paul i mentioned when we spoke

last week is this this shot is not

unseen i've seen this so many times

it's a stock uh stock footage of

him arriving at the studio yeah i mean

this is something that's been played

many times

yeah

what appears here is that the discussion

leading up to the live shows is building

up stress so the discussion the live

shows the stress george leaving georgia

returning it's all building up stress

to build the anticipation can they do

this can they pull it off yeah

right can they pull it off in time right

exactly right okay

and there's the live shows again

cancelled

now they cancel in the same

that it doesn't even appear to be uh

white out it's just an another shot of

the letters cans of the word cancelled

it's not even on top of live shows it's

it's

it's edited it's not real it's uh yeah

it's only the

function is only to increase drama it's

not a um increasing reality of the of a

calendar being um

rewritten right so it's dramatic effect

it's only dramatic okay now we have uh

john and john

yoko

dancing i thought it was just a cute

acute scene

well everything is i've seen that

footage before too maybe they're going

to say well it wasn't that exact footage

but

well it appears to be this is in the

twickenham studio and what you see in

the background are these lamps

uh stage

stuff

on the left we see bongos and

other stuff belonging to the studio so

it appears to be and what i said earlier

the the lamps the lights here are at a

low angle

and that creates these harsh

lit faces of the of the guys

yeah

but

like i said it's nice to see the yoko

and john uh having some fun

having some fun making up again remember

he's a heroin addict so

all right so

here's a scene

a little tender moment

yeah

and what we um around this point

um

yes around this point

the

as we know that the tension has risen

george has left uh what will happen next

uh the music of

letter b starts

and that's a very the soothing sound of

the first chords of letter b plays over

this dramas and it's very clever editing

to use that uh song over this scene

yeah and they look very worn out here so

this is michael lindsey hogg here

right

yeah i think so and again he's talking

directly to billy right

yeah billy is the the man to talk to

john's not even in not even in this shop

no and to the right is his wife there's

linda and then we have ringo and

george looking you know rather bored

yeah

another thing

of worth mentioning maybe not sure uh we

know that from all these sessions there

are a lot of photographs uh taken by

linda

but in this promo we see linda in this

shot and then

later on in the inside the desk room we

don't see her using or wearing her

camera

so that's just a little observation i

made okay

all right so you have a little one-eyed

symbolism there

yeah

i i noticed this i thought well it's

probably not uh intentionally um and

maybe it is but at least it looks very

unforced on uh unprepared yeah i don't

know whether it's intentional or not but

oh

yeah oh there's more one-eyed symbolism

we got yoko

peeking out from behind her hair

very interesting okay

it's a nice shot i think it's a nice uh

composition between the two of them they

have two eyes

yeah okay

here's billy

now we get to the point where

um john is sort of starting to

get tired on the billy's direction

if we play it forward

very stressed out this is an insert from

the from the rooftop

and it it's um mixed together with these

shots of the earlier years yeah and now

we've got they they sort of um

they lean on the sentiment from

where they have come these boys what

they all uh accomplished over all these

years all these famous concerts

and now they're still

fighting to get this album being made so

it's all to

enhance the drama right and this is

buddha khan i recognize the background

here

in japan 1966.

now we have this discussion um michelin

seahawk asks

um in reference to

george leaving well

documentary seems to grind to a halt

and then we see here john saying

grinding to hold

it's getting just getting started and

then

billy answers uh something to that

effect as well yeah billy was joking

around we're just getting started

it's just getting started yeah but it is

this is still

mind you this is still in the twickenham

studio

so this is in indeed a little reference

to the to the date it it took place if

george actually left uh for six days

then this this shot was still in the

twickenham studios but anyway

for

time points

so this november

okay you see your belly playing okay

here this should freeze

um

you you could read from john and um

and george

that they are under the depression of of

belly

billy as as the band leader

uh telling him what to do

later on we see

billy hovering over over john at uh at

the um at the piano

but the pose here of billy is

interesting because also here again he

sort of takes the

sort of the jesus pose with the arms

spread

maybe i'm i'm stressing uh stretching uh

for an image but

it it this is how it appears to be i

think you're absolutely right it's the

savior pose and

it's to save your boy the jesus christ

save your power yeah and we have and

look at the way we have george

you know it's exactly composed it's it's

his arms and the boy's two faces are

exactly yeah uh symmetrical it's it's a

composed shot this this you couldn't

have

caught with a with a with a random

camera just oh look over there no you're

too late it's already gone so this is a

composed shot

it's also the same type of shot paul

uh that is depicted on the back of the

sergeant pepper where billy has his back

exactly and the other beetles we see

their faces but on the back of pepper

billy has his back turned to us so

to me this is a very very similar

type of um depiction yeah yeah

it's a sort of an image how do you say

it and uh

it makes a visual reference to something

the audience already know

yeah and so you have a um um

very strong um

reference uh there well he's in charge

and he's in charge very much so and then

the next shot we see him hoving over

john

at the um

here

you see john at the um

piano yeah what is it the keyboard yeah

i got a keyboard yes exactly but we see

that again here the the posture of belly

pointing out to john no no you

the other chord the other chord no it's

not a b flat it's an e minor whatever

how he's

telling john what to play is very

uh stressing the the power role he's uh

yeah he plays he has well again it's

it's another

piece of footage where it's showing us

that billy is the leader

yes he's directing

yes right

and here we go again he's you know he's

pointing and he's directing

yeah exactly

and you see john

john is very much

uh

yeah he's he's he's getting

tired of this whole scenario he's uh

he said he had enough of it right

his face expression is uh very telling

now we get up to the scene where

the guys play together and we

um

where are we at 217

yes

there's a small discussion going on

and um and then they flash back to this

and then they play yeah but

during this flashback we hear the

soundtrack say when i find myself in

times of trouble mother mary comes to me

so again

very powerful lyrics over a very

stressing moment

um emphasizes the whole drama and the

soundtrack

even more emphasizes this

and then we go to

[Music]

the

this scene

what i want

yeah well a little little uh thing a

little observation i made is the piano

is without this top lid

uh but there's no microphone in there so

this is clearly really playing uh

without any

recording it's just something else yeah

and this would be the microphone for the

film crew right or the cameras for the

phone cameras exactly okay this is not

your actual um

recording

microphone okay

again here in old imagery

are you john and george

playing yeah trying to tie it back

yeah period new period

yes exactly

and this leads up to the scene where the

four guys together

are playing and we get a comment from

the booth

from the desk

this is all montage

yes this shot john is leaving over his

shoulder the

recording engineer glenn johns

is asking on the soundtrack john once

more then

and then we get to

the shot from the the sound

desk so we ask

once more then and then we hear we hear

john answer but we see a completely

different image

if you play it

this this shot yeah

and shot we see

john answering um glenn johns so john

answers

um i mean we'll never get a chance to do

it again and then we see on the word

again we see this uh this cut to another

scene we see clearly here he's got that

blue and yellow shirt on again yes

john's blue and yellow billy is wearing

orange at his guitar

and george is wearing red and then we

cut to the the next scene

this scene is indeed is continuous

then the next scene

we hear yeah that's not billionaire is

wearing blue john is wearing white yoko

is in the picture and everybody is doing

something completely different so this

goes back to what you were saying before

paul that it's not contiguous

and it's it was done to

to kind of copy and paste and put it

together so that it would create

uh or it would create the trailer and a

story and something people would be

interested in but uh yeah

it doesn't at least it is not uh

continuous uh editing from

scenes from our shots from the same

scene it's from different scenes from

different sessions different days

i i i assume that the guys where aware

different clothes every day so

um this is clearly from another honest

yeah if not if not um

i i wouldn't go as to to say

as far as to say that this is uh

fabricated but it's it's from a

different uh different session right why

i hope they change their clothes every

day

i would think so it's billy directing

again right

building directing again with his right

hand

i wouldn't know if a director always

uses his strong or his weak hand but

i would assume it's your strong hand

yeah

we are now having fun goofing a little

bit

oh with this shot

is this is the guys

sitting at the at the desk and now what

i noticed is that in all shots of the

dead the guys hanging at the desk and

playing uh

grooving to the playback or whatever

smoking uh

whatever

the sound engineer is not at the desk

so if they would listen to to playback

the sound engineer would would

would be at his desk would would uh

control the the the playback

you had the board exactly he would mix

in a little bit more drums a little less

guitar whatever now the other thing

that's a problem with this scene paul

and i'm not saying it was you know

created this way i'm just saying maybe

this is exactly how it looked we see the

coffee cup right here

excellent okay now if you're a sound

engineer

and you're running this control room you

would never

have a coffee cup or any kind of cup

that could possibly have liquid in it

sitting on your board because if that

tip's over

you're going to have a big problem

yes an electric also

not in this shot but in some other shots

we see that the guys are the ashtrays

are on top of the of the board

so the guys are smoking and drinking uh

above or on top of the board

uh it doesn't make any sense

this is all montage okay this is my

favorite scene here yeah it's just a

shot you already called out

the entering of billy in the in the

recording room

it's it could be that it has taken place

like like here are shown but it very

much looks like it's not it's composed

of billy

maybe in another room entering whatever

but it's shown here i i guess they show

they only filmed a male leaving the

studio ismail here

yeah and the shot of billy very much

seems uh put in afterwards on a

different image layer edit it in the

post it's how it looks to me

you know i'm looking at the outline of

billy preston

and it just looks like it's

layered or superimposed

onto this background exactly that's how

it looks to me

later on when we see um billy playing

guitar

shot together with the famous uh

we go to we come to that in a bit

uh we see him playing then with with

billy together

it also seems fake

this is still a montage

okay so i guess we're getting to the

rooftop scene here now

leading up to the rooftop scenes but

this is intercut with some scenes from

the studio uh

as

well so we see here

the guys playing

okay

this stop please

we see here george playing his uh fender

telecaster

very clearly a telecaster with a brown

body

and a white picking plate

and a light brown strap

this is typically george's guitar

then

if we move forward

oh there are the meters again we talked

about this where this is an insert

possibly

this is possibly an insert we know that

the board has for you you meet four vu

meters

okay we see we we see them actually over

here and the next shot on the board

these meters are side to side on top of

the board here these little little this

gray

there's maybe another shot where you can

see it from the from the guy's point of

view but anyway

and now we in a moment we get

this is some street shots this one

okay

i thought

like we shot earlier from billy preston

that this is

put in afterwards on a different image

layer

here again like you already pointed out

mike the contour of his body his head

his hair

it seems strange it doesn't seem to fit

inside the scene

yeah what i notice what i notice is that

the um

the lighting

it could be but it's it's sort of seems

off i'm not sure how to call it but the

more important thing is what you said

mike

billy

is playing george's guitar

and what we see is that he he's

he's playing

he's having the guitar on the same strap

as george so the strap is way too short

for him to place his guitar as a lefty

there's a bigger problem this is a

right-handed guitar right so this is

what george was playing earlier

so for billy to be playing this guitar

he would have had to reverse the string

order

yes right so when george plays right

handed the low e

string is right here

and the high e

the first string is down here

so how billy could be playing

standard chords

and this looks to me to be he's probably

playing like a

it looks to me like he's playing a

b-flat

type of chord here

and the problem that we have folks is

that in order for ability to play this

properly

the guitar would have had to have been

restrung

and to reverse

the order of the string so remember when

george is playing it because it's a

right-handed guitar

here is the low e

the bass string

and here is the high e which is the

treble side

of the the strings

across the fretboard

and not only would they have to reverse

the string order

but the nut

which has slots in it

would have to be

re-slotted because you cannot get

a low e

base string

in a

high e slot

okay

so

this whole thing is just off

so this makes no sense it makes no sense

this is

if this happened if this happened

it's completely staged

and he can't possibly when i say he

billy can can't possibly be playing

anything

that makes any sense

the strings are in reverse

order so this is a very

very

peculiar

shot

and whoever put this together

didn't understand this that's how i look

at this paul they didn't realize that

when they did this

that somebody who plays guitar

would pick up on this right away

but for him to have the the guitar

restrung

it takes at least

a couple of minutes whatever if you have

a professional

guitar guy

mal evans would probably do that in in

in a bit

but still why would you restrain your

guitar when there's maybe laying around

five six other guitars

so

from that standpoint this is totally

nonsense it's nonsense it is nonsense

and even if they did even if they did

restring the guitar paul

they would have to do something with the

nut

they would have to pop the old nut out

put a uh a lefty nut in or somebody

would have to

you know take their filing tools because

i do this folks i mean i do guitar

repair so i i know what i'm talking

about here

something would have to be done with the

nut so like you said this whole thing

does not make any sense

here we have the this is the low e

string right here we can see that this

the string is larger it's thicker okay

right here

we don't see it up here

that's because that's the lighter string

that's the high e

so this guitar based upon what i'm

looking at right here paul

was there this is a better view right

here

there's a good view here you can see

here's the e

here's the a

here's the d these are the bass

strings

the guitar was not

restruck

it was not no it's visibly

visibly a lefty a a a righty guitar for

a right-hand handed person

classic classically uh

uh strong

as we know it for in the normal or

normal but for a right-handed player

all right so i'll move forward again

sorry about that

like i said the shots here in the

streets are for uh what i think uh un

untouched in terms of um

artificial image enhancements yeah they

look like this

all the scenes i've seen before

yeah relatively normal

still goofing around

this shot i thought well maybe i'm not

sure um

ringo

he mimes the movement of a film camera

but in fact he's telling us look look

guys

we are build being filmed it's a show

it's all performance it's all on yeah

the beatles show

the beatles it's like they had on the

clock

yeah like the club aboard said

i'm not sure if that's his meaning at

that time of this shot but

i said things um are now before us they

they could have easily been interpreted

like this

this is all montage

the guy's having fun

like john's position here

yeah

it's very strange and by the way

uh yoko is probably looking at some

coupons or

the latest uh dinner reservation uh i'm

not sure what you think maybe she's

reading coupons to go shopping or

something

[Laughter]

anyway it's just

a little joke

experience the three-part event

experience it

yeah it

it's an event it's how it's presented as

an event as an

as a how do you say it a sideshow as a

carnival

uh this this one here you and i both

picked up on linda's face looks like

yeah it's very much an enhanced in terms

of the uh the digital enhancement of of

these faces and this uh contrast uh we

can go back and we'll i'll start that

again let me see here

okay there you go

so we see linda here and what i think is

it's very um enhanced in terms of the

image

the contrast again

and the image enhancement

it looks very much off even for an

untrained eye you could see well

why is linda's face so strangely

clear uh lit yeah

i noticed it right away paul when i

first watched it without you saying

anything i said boy she looks like her

face has been

enhanced

and another thing is what i talked about

earlier

we know that she

took a lot of photographs during these

sessions

but never in the at least in the promo

did we see her wearing or using a camera

now

you could argue okay

she only took some photos

one day during the whole session that

could well be another thing is if that's

the case you would probably miss out on

interesting moments

normally when you are

photographing an event you will have

your camera all the time with you

only if you go to lunch then you maybe

dig it up for him a few moments but

every other moment you have your camera

with you

we'll have to see what he does we'll

have to see what he does with the

documentary how much he shows with linda

and whether she has the camera it's

tough to do with like a three and a half

minute you know

exactly right

exactly we cannot make a judgment based

on but your point is is well made i mean

we should see her with a camera i would

think

i think

okay let's because the other the other

the other photographer yeah ethan a

russell

he is in some some shots not visibly but

yes he is there

and from him also are um

very many photos known that that he took

during the session so

every time we see him in uh in a frame

he's wearing a camera or better yet he's

pointing the camera um to the guys he's

having the camera to his face to his eye

so that's in

contrast to linda who's never wearing

her camera

this is all

a montage

ringo is lining up the frame

yeah this scene here

interesting that george and john uh hug

each other while leaving the studio

it's just i thought well

interesting that the camera picks up on

this

that they filmed the guys leaving the

studio

it almost seems contrived to me

exactly

but

like i said it's we kind of make

judgment

more than what we do now here basically

well now we're getting up to the

yeah this is sort of the the end of the

studio footage now we get the last shots

which go to take us takes us to the air

to the rooftop

and there we have it folks set back

or others have said hey that you know

the shepherd's crook

yeah this episode so

many many comments on online already

were made on this

at the uh stephen weber um

sorry i mispronounced his name oh steve

farber

i see steve

i have a lot of astute subscribers it's

amazing what people pick up on

yeah it's great

now we get to the rooftop scenes and one

one thing that i noticed what's

interesting is the

rooftop fairly clearly shows that it's

been boarded

with very um

well i think it's something like a 1 000

square

foot of wooden blanks right here yeah

yep yes

and um

there are still photos from the

location scouting

made by

the ethan a russell

photographer who made these shots

where we can see the guys scouting the

rooftop for the location to to to have

the concert and what you can clearly see

that those shots

show the roof of the section where it is

not being planked and here it is very

clear that this all new wood

placed

precisely for the uh

for the um the concert

and

this

um set me to the thought of

um the timing and the planning of this

this rooftop if you have 1000 square

feet on of wood

that you want to have installed on top

of your

standard roof felt

you have to get it over there first you

have to think about the idea we're going

to

um

do the show on the top of the building

so you have your image so your id

forming you have your concept then you

have to start planning you have to buy

the wood you have to

bring it over there you have to

transport it on top of the

on the building so you have to have a

crane you cannot probably are planks of

at least three feet long you cannot

transport them through the the

stairwells up upstairs so you have to

bring it in from from the street level

with the crane

so you have to use a crane you have to

rent a crane a crew

um

a crew of carpenters to fit it all on

the roof

um then you have to plan the day of the

concert with all your instruments moving

on top so from the basement of the

building on top of the on the roof

um you have to organize all your your

camera crew

they have separate lightings you see

here in this shot that they have these

flood lights they used to um

because it's a great day with a cloudy

overcast day

so the lighting is not optimal they use

extra lights

to give the camera crew and sufficient

lighting scheme to work

with

um

security the police is probably in on it

all these things take very long

longer i think than

just

one person scouting uh shouting it from

a guy let's i know i have an idea let's

play on the top of the building and then

uh three minutes later you you start

playing it doesn't work like that no it

couldn't be spontaneous

because

i would think paul at the very least

they would have to have a building

engineer come in

to make sure that the roof

can sustain

uh what you're bringing up there the

equipment the people and so on there's a

lot of weight because you don't want to

get up there start playing and you fall

through the roof and you wind up you

know downstairs

so i agree with you that these planks

here and i don't know if we're going to

see it in this footage but you did have

a still that you sent over and folks can

go take a look at the rooftop scene you

know by doing a search and you can see

that these planks do not go all the way

across that they are there

uh where they are going to perform where

they're going to play

exactly only the let's say that the band

stand area is planked the other

area of the building let's say behind

the the rail

the railings

behind george i'm sorry behind ringo

that part of the building is not being

planked and the still images of uh by uh

ethan a russell clearly show that

that is the the standard roof valve

you can see it up here right

yeah it's it looks like that exactly

right up here

but like what you said also is the the

weight um distribution over the over the

the roof a roof is not built for the

these types of uh of load forces so you

you have to disperse these loads over

the entire area of the roof and there is

where these planks come into play and

it's very thought well thought off it's

probably like you said it's maybe they

they

they had an engineer who looked at it

who could tell

the type of planks they had to use

to make sure that this

also we have an an and um sort of a

improv railing where the cameraman are

standing

you don't want people uh falling over

um

like i say we had the entire camera crew

and what i read about is

that they have six uh six camera

six cameras

filming this uh this concert and this

shot indeed from the other uh side of

the street was indeed a uh an actual

camera we discussed it before and we

we doubt

at least i doubted it um if that was a

real camera of that or if it was a

stealth

image that they reworked into a moving

scene but it's it's in the original

documentary as well so we have a camera

across the street this also

um asks for coordination and

people

stage hands with

maybe with walkie-talkies you have to

plan this way uh way up

in advance okay so the net of it is and

i agree with you that this wasn't

spontaneous they weren't downstairs

15 minutes prior and said hey let's move

all this stuff up to the rooftop and

let's put on a little performance right

so

uh there's and of course there's nothing

wrong with doing the the performance on

the rooftop i think it's great but

uh the story that it was just this

spontaneous decision and they went

upstairs and they did it i i agree with

you that

no this had to be planned out because

like i said you know if if you don't

have the weight distributed correctly

then you could wind up having a problem

and another interesting thing is i'm not

sure

at what moment in time it is

i have it at

3 40. if you can you go back a few

few moments in this rooftop uh scene

john take a look at how all these

buildings are paul

yeah right

yeah

this one you see the guy standing in

front of john

sitting on his knees with a red hair

he's holding up

a sheet of paper with a score

we're talking about this guy here and

he's definitely holding up a clipboard

he's holding up a clipboard with with i

think with a score okay because john is

singing so he doesn't have to read the

score he knows about heart maybe it's

lyrics maybe it's lyrics for billy to

read off of

maybe you know but

like i say it's it's only on this on

this song it's not on all the other

songs it's only here that this guy is

holding up

the music sheet or the score or the

lyrics whatever

so this is this is a shot from across

the street obviously this is from from

across the street and this guy in the

the brown french coat

he is filming

this camera

so what we see here

the two cameramen are filming each other

interesting

and we could see

here's the roof

the building next door right and we can

see here

and i don't think this is planks here

this just looks i don't see planks here

but this looks like this up here

some some roofs have concrete uh tops

but usually uh you have this typical

roof felt

and it's um

it's a bit i record an english a bitumen

based um roof felt for making it um

watertight yeah

and if you

normally work work men who

repair or make

this

they are used to it they know how to

walk where to put your feet not to

damage this roof felt

if you damage it you get a leakage and

then you can start over all over again

yeah but if you have if you have 20

people or i don't know yeah at least 20

people standing on the roof

it will get damaged you don't want to

have that so the

the planking on the roof is very uh

useful

but it takes a planning that is not

considered in the earlier um

calendar story yeah and like you said

paul they put a rail up here yeah they

put a railroad and uh and it's highly

unlikely that they took these planks and

brought them up through the stairwells

and

brought them up and then started laying

them down and they possibly had to bring

in a crane yeah to bring in a crane so a

crane rental uh is all it all asks for

planning days in

advance

and um so like you say it's not

spontaneously um

done it and what

what i've

what it's not clear in these shots

at that halfway or somewhere around the

end of the concert

these policemen enter the building

and um there's an interesting footage in

the uh

um

if you watch the entire concert footage

you see bobby's the english bobby's

entering the building

but you see it filmed from both sides of

the door at the same time

so this clearly

shows me that the police were were in on

it they were they know they knew they

were being filmed or even better they

were in on and they they acted out

the entire scene

yeah i i

i would have to agree with you that this

was completely scripted including the

whole thing with the police i know the

scene you're talking about

um so yeah you know like everything else

it's it's theater it's theatre it's a

show yeah you know

because the whole premise of

playing on a rooftop

for who are they playing the guys in the

streets barely uh here

heard anything i mean the the amplifying

of the sound i don't know what speakers

they use but it's only

monitor speakers but i think way it's

it's what they are had up there but the

problem is is that this this becomes

like this is a big echo chamber

that okay that that's true right so this

is a big echo chamber down here so

they're playing and the sound is

reverberating off the buildings off the

windows and it just sounds like a big

mess

right

right it's like a bad concert hall with

uh with a bad

acoustic

well this was a very interesting

discussion paul it's amazing too it's

been

uh two hours for us to go through a like

a three and a half minute

clip

so just taking a look through it and

again folks

you know we're just

watching and making some observations

and sharing some insights and uh

you know some folks are going to agree

and others may not agree but that's okay

uh you know we're just

chit chatting and

taking a look at possibilities

but there are definite anomalies in that

trailer paul that you know you've called

out

that

do call into question and as i have said

i i do believe that

peter jackson has been given the job by

billy

to

buff up

this period of

the beetle history

to make it less negative

and you know to infuse it with a more

positive

tone a more positive storyline

even if they

use

existing images so let's say the

discussion about

peter jackson uh

using a

real cgi real

computer generated images from nothing

i don't think that's the case at least

for total images maybe from for the

details that we already discussed

superimposed images eyes that moved

across

uh things like that

but if if they indeed use

the the existing images it still tells a

story which is

uh made up from

uh edits

over a soundtrack

and a narrative that's been emphasized

by

yeah juxtaposition of certain type of

images

uh inserts of the calendar the timeline

so the the let's say the induced drama

um it's it's um

a real clever piece of of editing and an

image

processing

it's going to be interesting to see

uh

what this looks like the final

product yeah you know and uh the part of

me that says don't bother watching it

because i don't want to feed the beast

but there is there is another part of me

that says i want to see exactly what

he's done you know because

i keep going back to

if this was such great footage

why was it not in the original film

you know so i i think that uh i believe

there's a lot of liberties that were

taken

and i think the technology and you you

might disagree with me is probably

more prevalent than we might think uh in

order to enhance the story i i do

believe that and uh yeah because all the

happy smiling faces that he's showing us

in these trailers

you know it's a very sharp contrast to

uh what we all know the original film

was about i mean i i watched the

original film a number of times i have a

copy of it on dvd it's well documented

that it was a very tense and

um down time for the beatles as a band

so you know for him to pump up the tires

and make it look like it was just one

big old jolly time

i don't know

and also what the um

the um

what you said earlier about what we know

how george uh later um look back on on

this period of time and also

what even um recently how ringo is sort

of distancing himself from the uh

the film that

that

that michael lindsey hogg made

and um well from george you already

mentioned we know how he thought about

this period in time

so these these um

these opinions of these of the the guys

the guys from the band how they look

back on this period of time

is completely different from what peter

jackson is telling us right

and then then you have to ask yourself

okay what what is true and what is

manipulated and what is contrived or

what is

a clever edited and uh what is indeed

cgi uh things we i mean

certain things we could see

we picked up on both but certain things

maybe we missed right

i mean peter jackson is a clever guy and

he's very clever

um

and he has state-of-the-art technology

the technology he has i mean he can the

the stuff he made for for these uh lord

of the rings films is amazing

so

i i believe

that he can do anything he wants with

imagery

and uh what he shows us here is already

very clever and maybe we we missed half

of it

but um at least we picked up on some

interesting points yeah yeah so i for

everybody who's watching this and is

ultimately going to take a look at the

documentary when it comes out later this

month

watch it with a discerning eye

that's all i would say

and as you watch it keep in mind

the original

story the original narrative

you know keep that in mind as you're

watching it and and then

mentally note

the contrast

in presentation

whereas the michael lindsay hogg version

of let it be going back to 1970 when it

was released

again was showing a band that was

hitting its demise it was a band that

had a lot of tension and that tension

started way before let it be and it

extended way beyond

let it be

and you have to keep that in mind so

don't get just caught up in all of the

the fantastical

presentation that peter's going to

present because

i'm going to tell you it's it's not

going to be reality i don't think so

right anyway paul this was excellent and

i'm i'm so glad that you uh agreed to

come on and talk about this and uh

so i think that we shall see right later

this month we shall see how close to the

mark you and i are

okay like i said i'm uh interested in

what's uh

how people will respond

[Music]

hey friends it's mike it's sunday

december 5th 2021 and last night i

finally had the opportunity to sit down

and watch episode one

of peter jackson's documentary get back

i took notes i haven't watched episode

two or three yet and i probably won't

get into as much detail with two and

three as i am with episode one

but let me get to my notes now and let

me share my impressions

so

i found episode one to be very long and

tedious

i found myself checking the time

to see how much time was left the film

was very slow moving

in my opinion it did not live up to the

hype of the trailers and promos that

were put out

it was highly edited

and again the premise of get back

is the beatles were going to write and

record 14 new songs in less than three

weeks

which as i've mentioned in other videos

is a stretch to say the least

they were going to play the new songs at

two live shows on january 19th and 20th

however the venue for these live shows

was undecided the schedule was

complicated even further because ringo

was to begin filming the magic christian

movie later in the month on january 24th

and remember the beatles arrived at the

studio on january 2nd

twickenham which was the studio they

started at was a big empty acoustically

challenged warehouse with no recording

equipment

and there was a total lack of planning

around the sessions in general

it was clear to me that billy was in

charge i thought john displayed arrested

developed behavior george was clearly

not happy and ringo looked hungover and

tired

so based on episode one i thought there

was a very good reason why this footage

was cut from the original 1970 film and

as i mentioned i still have to watch

episodes two and three and hopefully

those episodes are more watchable the

film starts by telling us there was over

60 hours of film footage and over 150

hours of audio so if we break down the

numbers 60 is 6 plus 0 which equals 6

150 1 plus 5 plus 0 equals 6 and we

start the film with the number 66.

the film states at the beginning that

editorial choices had to be made where

audio was supplemented with pictures

meaning some scenes were created to give

a visual to the recorded dialogue or

audio

the film text at the beginning also

tells us the filmmakers attempted to

present an accurate depiction of the

events and people

we are shown the 1960 hamburg story and

how the lads played eight hours a night

in germany this goes to my argument that

no songs were written during the hamburg

period in a pete best interview that i

played in a couple of videos he tells us

they played seven to eight hours a night

then they left the club to go to sleep

woke up at around 3 p.m in the afternoon

and had about 2-3 hours before they

needed to be back at the club again so

in hamburg it was play sleep and eat

and then we're told about the lads

playing at the cavern on a regular basis

we are then shown beatlemania footage

which of course was all manufactured by

tavistock to sell the beetle brand and

thus the psyop

and then we see a snippet of them

playing the ed sullivan show and what i

noticed there are no amplifiers on the

stage

so this goes to my premise that for

major performances they were playing to

backing tracks or there were studio

musicians backstage playing the actual

music

and then at five minutes and 20 seconds

into episode one

we are shown the frame from the yellow

submarine film where there are two pawls

so peter dropped a polar's dead clue

within five minutes of his documentary

so of all the frames that peter could

have possibly shown from the yellow

submarine film

he showed that one

and then the film runs the footage of

the record burning as a result of john's

comments that the beatles were bigger

than jesus and as i have discussed

previously in other videos

john's comments regarding christianity

and the beatles was completely scripted

and the record burning was an occult

ritual

and what i will do at the end of my

review is to tack on a clip from i am a

phony which explains this ritual process

of

record burning

then the film segues to sergeant pepper

and tells us the beatles pioneered new

recording techniques when in fact

those recording techniques were

pioneered by george martin

and then we are shown a snippet from the

hey jude promo film which appears to be

live but it is not live the beatles were

playing to a backing track we can

clearly see where john's strumming of

his guitar is not in sync with the

strumming that we hear on the song

and then we get more into the backstory

with regard to the get back sessions and

we're told that the beatles are going to

write and record 14 new songs

that will be performed live with no

overdubs or studio tricks but they have

limited time

ringo as i mentioned is scheduled to

shoot the magic christian on january

24th so we are again

getting the ridiculous time constraint

narrative

that nobody but the beatles can pull off

then we are shown the calendar and there

is a dress rehearsal scheduled for

january 18th

in preparation for the january 19th and

20th shows

now remember

they walked into the studio on january

2nd so 16 days from when they walk into

the studio they're going to have a dress

rehearsal and according to the calendar

in the film

they don't work weekends

so all of this is being done monday

through friday with the exception of the

dress rehearsal which was on the 18th

which was a sunday

so then we're told the performances will

be filmed in front of an audience and

then broadcast at a later date

when they arrive at twickenham george

asks

where's the recording equipment

and john responds they didn't need

recording equipment because it was

rehearsal but then shortly afterward

they decide that they do need recording

equipment and so

they make plans to have a makeshift

studio put together

so talk about lack of planning

throughout episode one

george is questioning the schedule

the lack of logistics etc he's

displaying

a voice of reason

and you can tell he's getting frustrated

george also comments on the first day

that twickenham's acoustics weren't very

good and that's because twickenham is a

big wide open warehouse

we then hear an early version of i've

got a feeling

so it was obvious to me that they had

some songs at least working versions or

ideas coming into the sessions

i don't believe they were writing all of

the songs from scratch which is what the

film appears to try to sell us on

in fact we know this is not the case

because later on in episode 1 george

talks about some songs that he wrote and

brought into the sessions like isn't it

a pity

and from watching the film it seems to

me that two of us

don't let me down and i've got a feeling

we're in draft form going into the get

back sessions

then there was some strange dialogue

between ringo and dennis odell

where ringo thought starting the filming

of the magic christian on january 24th

would not be a problem because he didn't

see how the get back sessions

would go more than two weeks

and i was thinking really ringo

i'm watching the film and seeing day one

and i already know

the schedule was in big trouble

so that was very weird

then on day two

we are told that the beatles were

reconsidering

playing some of their earliest songs in

order to get through the schedule so in

other words they were going to go to a

backlog of songs that they already knew

to

complement

new songs because they were seeing that

the schedule was breaking down

then there was a number of times

throughout episode one

where it was obvious the dialogue was

inserted or voiced over

a particular scene

and this goes back to what i was saying

earlier where peter said that certain

audio

was supplemented

with visuals

in order to bring together the visual

and audio aspects

of the film

i did catch moments when the dialogue

did not match the movement of the mouth

a number of folks commented on this in

the comments section on my previous

video

there were moments when the faces had a

shadow effect applied and therefore you

couldn't see the mouth movement in order

to tell if the footage was synced up

with the dialogue

and sometimes it looked like i was

watching an old godzilla movie

and then we watch a brief run-through of

one after 909

and john says quote i wrote that when i

was 15.

except the dialogue

sounded like it was inserted into the

scene it did not sound natural when i

heard it and i played it back a few

times so i found that interesting

they then played i've got a feeling

again and it was painful and just to

note you never hear a complete song

throughout episode one it's all snippets

then there's dialogue where george is

assessing his own guitar playing and he

says that he can quote learn and play

things now which came across as an odd

thing to say

and then he goes on to say that he

cannot play like eric clapton

so here we are getting an honest

assessment from george about his playing

abilities

then on monday january 6th

george suggests forgetting about the

show

which was reasonable

considering how things were going

then the equipment is being brought in

to put together the makeshift studio and

that was the words that were used in the

film makeshift studio and it was amazing

to me how badly planned this whole thing

was

then there was dialogue during a don't

let me down snippet that sounded like

voice doubles were being used for billy

and john

it sounded very off to me

we also see billy in his managerial role

during don't let me down

which if you didn't know any better

you would have thought that it was a

song that he wrote

because he was directing the others

including john on the song

and then there's conversation where they

say that they have run through four

songs but they haven't learned any

and then we get to the ter's discussion

between billy and george during two of

us

where billy tells george i always seem

to annoy you and george responds with

quote you don't annoy me anymore which

made me chuckle because what was implied

in george's response is he has gotten

past billy annoying him

and you get the feeling that george is

not taken seriously by either billy or

john throughout episode one and i did

feel for george as i watched and

listened to the dynamics

then

billy talks about him being the boss

and

has been for a couple of years so

this is direct evidence that billy is

running the band so the get back

sessions were in january of 1969 so a

couple of years

takes us back to january 1967

and the timing sinks up

as to when billy took over which would

have been in late 1966

going into sergeant pepper

then there was dialogue this time

between billy and george that appeared

to me

to be dubbed in

then they take another run at two of us

and again it was painful

we see billy pushing two of us which

from my personal perspective i never

considered to be a great song

but he pushes it throughout episode one

and then we move to january seventh

remember they arrived on january 2nd so

this is the fifth day

and ringo looks perpetually hungover and

george frustrated

collectively they talk about having no

songs in the bag

we have billy complaining about

receiving no support from the other

beatles

george comments that the beatles have

been in the doll drums ever since brian

epstein died which was back in august of

1967 and things have been very negative

since his passing

so this goes back to what i presented

previously where the band was having

tensions way before the get back

sessions as well as for years afterward

billy tells them they have no discipline

and says we either do a show or we don't

and then george says maybe we should get

a divorce and billy responds that we are

getting near that point

and then we have michael lindsey hogg

trying to give them a pep talk which

didn't appear to go anywhere

then on january 8th

george brings in i me mine and billy's

body language looks like he's humoring

george and as i mentioned to me it came

across that billy and john did not take

george seriously that was my impression

we see a cameo of george martin but he

is very subdued

after watching what was going on during

the sessions he's probably thinking he

wants no part of this

george martin ran a very tight ship and

when billy took over things appeared to

get less disciplined and maybe that was

because john

george and ringo respected george martin

more than billy

just a thought

and let's also remember that george

martin walked out of the white album

session so

i'm thinking the let it be sessions was

just a carryover from what was

experienced

during the recording of the white album

then we get snippets of two of us i've

got a feeling and don't let me down but

again we never hear a song all the way

through

then at one hour 25 minutes and 50

seconds

we have a scene of billy and john facing

each other and we can clearly see billy

is taller than john and noticeably so so

if you get a chance check that out

then there's a scene of the beatles and

various others involved in the sessions

talking about the show they're supposed

to do and it's totally disorganized

they're talking about an amphitheater in

libya

and as i was watching and listening i

was thinking are they actually talking

about playing there

or are they talking about constructing a

set that looks like that venue

the entire premise was becoming

ludicrous

and george is seeing the impossibility

of all of this

and he asks a very very reasonable

question how are we going to get all the

equipment there

and again

george is the only one that comes across

who is thinking rationally

and then we hear a conversation between

ringo and the director michael lindsey

hogg

where ringo says we have been grumpy for

18 months

and again that takes us back to 1967

around the release of sergeant pepper

so

i thought well that's more proof that

things weren't going well for the

beatles

and then on january 9th

billy jokes that maybe we should have

the concert on a farm in scotland

and then linda arrives during the

sessions with her camera i noticed that

she has really long fingers

and so long that it looked weird so i

don't know if that was a result of

enhancing the footage or whether she

just has

really long fingers

yoko is always dressed in black as if

she's attending a funeral and maybe she

knew something that they didn't

and then we see billy playing the piano

and sampling early versions of golden

slumbers carry that weight

let it be and long and winding road

and then billy suggests that they do

other people's tunes so

this is where they're at with a lack of

new material and with this very very

constrained and compressed timeline

the makeshift studio is just about done

at this point

and that's seven days after they arrive

and then on january 10th

george harrison walks out

then we get snippets of billy john and

ringo jamming to songs and horsing

around

just time wasting stuff when there is no

time to waste the playing was very rough

then we get the unfortunate experience

of hearing yoko squeal into the

microphone as billy john and ringo are

her backing band

so that's my summary of episode one

for me it was sluggish disjointed and it

appeared heavily edited

and i have to be honest i truly expected

better i did not analyze the film to see

if i could pick up on any ai or cgi

enhancements i'm not an expert in that

area and maybe paul yansen will come

back and talk to that aspect of the film

although i will say there was something

not natural about the way linda looked

she almost looked airbrushed for lack of

a better way to describe it so to wrap

up

episode one did not paint a happier

picture of the beatles during this

period they came across as dysfunctional

i will watch episode two and three as

soon as i can but i won't get into as

much detail as i did with this review i

will look to capture the key points and

then summarize my thoughts with the

other episodes

so that's it my friends the comments

section is open let me know what you

think and thanks for listening

[Music]

hey friends it's mike it's tuesday

december 7 2021

i had an opportunity to sit down and

watch episode two of peter jackson's get

back and i'll get right into it

so episode two is three hours in length

so it's long and it picks up where

episode one leaves off where george

leaves the band

and we're told there is an initial

meeting to bring him back but that did

not resolve the situation

and there are concerns about completing

the get back project as well

as the future of the band

without george being there

so on january 13th

billy john ringo and the entourage

involved

in the sessions

discussed the situation with george not

being there and then billy makes an odd

comment

that almost sounds like predictive

programming he says that in 50 years

they will say the beatles broke up

because yoko sat on an amp

and then

as they're sitting there

there's this awkward moment where there

is this silence and i mean like dead

silence

and billy starts whistling

and nobody's saying anything it's just

dead silence and

billy whistling it was very odd and very

strange

and then there's a scene where john and

billy

are having a discussion

and the conversation is being recorded

with a quote hidden microphone

and during that conversation

john tells billy that he billy

can be overbearing and both of them

are not fair to george

and then you'll see the yellow star

again so this is a call out that i

thought that

the conversation or the dialogue

has significance with regard to the

mccartney and beatles conspiracy

so as the conversation continues they

discuss the shift in band leadership

from john

to billy

billy tells john that the others meaning

george and ringo view him meaning john

as the leader

and billy is the number two guy

now the reason why this conversation is

important is because

as we are told in memoirs and as i have

discussed in my

own research on the mccartney and

beatles conspiracy

one of the demands that billy made

before accepting the role of paul

mccartney was that

going forward

he would be the leader of the band

he would be calling the shots

he would determine the direction

that the band

would take and

during this conversation this is what

they are talking about they're talking

about

that transition

moving from john

to billy

now i also want to mention that

john does not appear to be under the

influence of anything

throughout episode two and i didn't

think he was under the influence of

anything in episode one either certainly

not a heroin addiction i did not pick up

on that in episode two in particular

he's very coherent and he's very

animated

then they try to connect with george to

get him to come back to the band but

they find out that he left town he went

to liverpool for a few days to get away

and to clear his head

and then they decide to move the live

shows out a week

originally

they were scheduled for january 19th and

january 20th now remember the beatles

came into the studio on january 2nd

and because things were not going well

lots of delays

poor planning

they moved the shows out

to january 26th and the 27th so

a week out

okay so let's move to the next slide

slide number three

all right so then we have a scene where

peter sellers drops in

and then we have some more peculiar

dialogue and that's why we have the

yellow star there

and in this particular

scene

there's dialogue mostly between billy

and john

and you have to listen closely and if

you're not familiar with the polish dead

conspiracy

then this probably went right over your

head

but billy out of nowhere

mentions the number nine

then

john starts to recite the lyrics from

yesterday

and then billy says something about

canyons of the mind

which is a bonzo song which points back

to vivian stanchal

so

in this scene it doesn't last very long

we have

the number nine which is a polar's dead

clue

we have

the song yesterday again john is

reciting the lyrics

yesterday is biological paul's epitaph

and then there's a

bonzo's reference

where billy played

vivian stanchal

now remember back in episode one

five minutes in to the documentary

peter inserted

the film frame from yellow submarine

where there are two pawls

so the documentary is dropping

paula's dead clues

then on january 15th they patch things

up with george the tv special is

abandoned and then they head to apple

studios which means they move out of

twickenham

on january 16th they move the

instruments and the equipment to apple

now if we go back to the show i did with

paul yanson

on the get back documentary

one of the things that we discussed

is whether the beatles had to log

equipment

from twickenham to apple when they

relocated

or did each studio

have its own

set of equipment

and the answer is no they had to move

stuff from twickenham

to apple

in fact in episode one we find out that

twickenham was completely barren it was

a big giant warehouse it didn't even

have any recording equipment and also in

episode two we see a piano tuner

tuning up the piano

and that is something that i said in the

show with paul that if they did move the

piano time would have to be taken to

retune the piano because it was moved

anytime you move a piano

you have to retune it or you should

retune it and so when they get to apple

they find out that the setup

is a problem

they are finding that there are

unacceptable levels of noise and hiss

and this is because they had

delegated this work

to a guy with the nickname of magic alex

and this is a nickname that john lennon

gave yani alexis mardas

and magic alex worked for apple in their

electronics division

but there was no magic going on

that day

when they got to apple

so they sent out an sos to george martin

and on january 17th

george martin sends equipment to apple

studios

he sends two 4-track machines that will

feed into an 8-track recorder

and the 8-track recorder belongs to

george harrison it's the same a-track

recorder that they brought into

twickenham

when they were building the makeshift

recording studio

so a couple days goes by and now it's

january 20th and apple is still not

ready

on january 21st george harrison returns

and they are still experiencing some

delays with the setup in the studio and

the sound engineer

glenn johns is working to fix the

problems

then we have footage of a lot of goofing

around and the film quite frankly drags

at this point

and then we finally hear a complete

version of a song and that song is dig a

pony

throughout episode one up until this

point in episode two we are just getting

snippets of songs

also i want to point out that

within the polar's dead community there

is discussion and debate about whether

the guy that's playing paul mccartney

during the get back sessions

is billy

or is it another person

playing the part of paul mccartney or

some think it's biological paul who came

back from the dead

to join the band

for

let it be

as i was watching episode one and two i

was paying a lot of attention to

the way billy spoke

his facial expressions

and also his

body movements and i concluded that we

are indeed watching billy

during the get back sessions

all right let's move to slide number

four

so on january 22nd they select primrose

hill for the live performance so they're

still talking about

doing this live performance

and primrose hill is a public park

located north of regent's park in london

england

and then we see the beatles again

rehearsing dig a pony and i've got a

feeling

and then

another yellow star billy preston

arrives and this is a pivotal moment

because

it represents a major shift in the

dynamics

of the sessions

we are told that billy preston just

dropped in to visit but

when we watched the documentary you'll

know that a fender rhodes piano was

delivered right before he arrives

so

i was questioning whether billy just

popped in

or was billy asked to come in and

join the sessions

and once billy starts playing he pumps

life into the sessions and things pick

up considerably

then on january 23rd we have more

footage of yoko quote

singing

and we hear the beatles rehearsing oh

darling and get back

and then on january 24th

the songs are sounding better and

they're coming together

and this is in big part

because of billy preston

and there is talk amongst the beatles

about preston possibly

joining the band as

the fifth beatle

and then also i want to note throughout

episode one and episode two mal evans is

doing gopher work

and i actually felt bad for mal

mal write this down mal go get this

smell go do that i really felt for him

then on january 25th there is

footage of billy and john discussing

their trip to india

it is a very long and boring segment

that could have been edited down

significantly or completely left

out of the documentary i really didn't

see what the purpose was

and then there's discussion about

whether they're still doing 14 songs and

when are they wrapping up so there's a

bit of confusion about

what the next steps are

so now there's questions about where

exactly are they at

with

the original objective

and up to this point

there's four songs that they are really

majoring on

i've got a feeling

don't let me down two of us and

dig a pony

so they came in on january 2nd it's

january 25th

and those four songs

they're really focusing on

they played other songs snippets of this

rehearsed a bit of that a bit of this

but those four appear to be what they

were building around

and then on the 25th they record for you

blue and it's a very good take of the

song in fact the film tells us that this

is the album version of the song

however

george harrison

came in a year later

in january of 1970

to redo his vocals

so i just wanted to

point that out okay so let's go to

slide number five

and then they find out that for whatever

reason i wasn't sure why

primrose was not going to happen so that

location for the live show is

off the table

and then i have three yellow stars here

so the first one

is a comment that george made that i

found to be very intriguing george says

quote

this is the most i ever played by

playing

every day

so i thought what is he implying

is he saying that he didn't play much in

general

or is he saying that

he didn't play this much in other

recording sessions

now when you go back and you read

articles about george

what you'll find is that he was not

prolific

at practicing his guitar

in fact he can go for long periods of

time and never pick it up

now i covered this before

but george pretty much

put the guitar down

when he was learning to play the sitar

and by his own admission

this hurt his guitar playing especially

his lead guitar playing skills

and going back to episode one

he talks about the fact that

his guitar skills are

not extraordinary

and he also talks about

the fact that he's

not eric clapton from a playing

perspective in other words he doesn't

have

clapton skills

and to be honest not many guitar players

do so

we'll cut george a little slack there

then another interesting comment is made

in the studio and this comes from the

sound engineer glenn johns and he says

quote

playing live in one room is a fresh

thing

for the beatles

so i paused the documentary at this

point i went back and played it again

playing live in one room is a fresh

thing for the beatles

so i thought

what is glenn saying

was he saying that the beatles

as a band

were not

a cohesive unit

that were operating together in other

words when they recorded

sergeant pepper

and the white album

that billy as an example would come and

lay down the basic rhythm track and then

at a later date

john would come in or george would come

in and then

they would record their tracks

in other words they weren't

coming in together they weren't four

guys

sitting in the studio

like we're seeing with the get back

sessions

in fact there's an interview and i

played this in a presentation going back

a while ago

where

billy explains that

george harrison

was essentially a no-show

for the sergeant pepper

sessions

and

billy did a lot of the guitar work

himself

on the sergeant pepper tracks

so if i had to

read into what glenn johns is saying i

think that that is what he is saying

that

it's been a long time

since they operated

as a band as a unit together

and that the get back sessions were

designed

by billy

to

bring the band back together

it was an attempt to make them a whole

unit

once again

but as we know

through history

that didn't happen

so again

glenn johns saying playing live in one

room is a fresh thing for the beatles

was a very very interesting comment that

made me pause and think

about what was implied in that statement

and then a conversation comes up

about

shifting the film to a theatric release

in other words it's going to be

a movie that's going to play in theaters

and billy says well

the film is being shot in 16 millimeter

and that's for tv

movies are 35 millimeter

and billy is asking whether there's

going to be

a quality issue

by blowing the film up from 16

millimeter

to 35 millimeter for theatric release

and somebody in the room maybe it was

michael lindsey hogg said no

there's not going to be any problem when

in fact it was a problem

that's why the original film going back

to 1970 was very grainy

it's because they blew it up

from 16 millimeter to 35 millimeter

so billy was on to something

and then there's a scene where michael

lindsay hogg and glenn johns proposed

the rooftop concert to billy it's

another example of billy being in charge

proposals and ideas go through him and

then he decides yay or nay

they make their way up to the top of the

roof they get the lay of the land and

there are concerns about whether the

roof can't support the band equipment

and crew this is something that paul

yansen and i discussed in the show that

we did together

when

paul took a look at peter's promos

he pointed out that the top of the apple

building had planks and flooring

installed

and this was done to ensure that the

building could hold the load

of the band the equipment and the

entourage

and i had said in that show that in all

likelihood

they had to call in a structural

engineer

to make sure that whatever support they

put up there if they were able to do it

was done in a proper way

this part of the film

dispels the belief by many beatles fans

that the beatles decision to play on the

roof

was something that was

spur of the moment

and

spontaneous in other words the beatles

she said hey i've got an idea let's go

up to the roof and play

when in fact it was a late in the game

consideration

in order to salvage

the objective

of

playing live

that's really what it was

at the end of the day now if i move to

my next note

and you see i have another star here

i thought this was a very significant

piece of dialogue

in the documentary

so to set the scene

they're in the studio

and you can tell that they're feeling

upbeat

about the progress

they're making

in big part because of billy preston as

i mentioned earlier

but as this discussion is happening

billy is sitting in his chair with his

base and he appears

subdued

so

someone in the room asks him

what his thoughts are

and then billy says he's wondering

what's next

after they complete this project

in other words billy is looking

to the future

and

as he

talks about this

he gets no response or positive feedback

from the others

john george or ringo

and this came across to me as a very

awkward moment

for billy

because the no response

from the other three

was very telling

they were not interested

in anything other than completing the

task at hand which was the get back

sessions

and

as far as the future goes

i don't think so

so this moment

in the film

for me

represented another indicator

of the band's demise

regardless of the happy face

that peter's documentary wants to put on

this period

in beetle history

this scene

pulls us back

to reality it takes us back to what was

really going on

what were the real sentiments

between the band members especially

john george and ringo

versus billy

and my takeaway from watching episode 1

and episode 2

up through this scene

is

the relationship that the other three

have with billy

is not based upon camaraderie

and friendship

it's a business relationship

and the sense that i got from watching

this scene is the other three

were telling billy we are not interested

in working with you anymore

we are not interested

in being your subordinates

and i think this was a very hard pill

for

billy to swallow

because

he wanted to do the get back sessions

because he wanted to bring the band back

together as a unit

and he was obviously hoping for a future

beyond

let it be

and with this scene

there was a realization

a shot of reality

that

what he was hoping for

was not

going to happen

because things were not good

during this period for the beatles and

as i covered

in my big presentation on peter

jackson's film going back a few months

ago

things weren't going well there was a

lot of tension there was a lot of

acrimony

going back to when billy

first took the reins of the band

late 1966 going into 1967

and

these hard feelings

went beyond the get back sessions it

went on for years afterward

and to solidify the point i'm making

in september of 1969 eight months

after the get back sessions

lenin informs the band that he's leaving

that he wanted a divorce

and then billy throws in the towel in

april

of 1970.

so in my opinion

john and george

threw in the towel a long time ago

ringo would have probably hung on

but without john and george

there is no beatles

even when we go back to when

george walked out of the get back

sessions

the film in my opinion tries to depict

that the others care about george

that they didn't mean to hurt his

feelings

and so they wanted to bring him back

and i think that that's true for john

lennon

but i don't think

that's true for billy

i sensed billy wanted george back not

because of friendship

he wanted george back because

he wasn't going to be able to get

through to get back sessions

and

it would screw up

the future of the band

so in other words

george was a part of the engine

and you don't have to be friends to be

part of the engine

but if you remove a piece of that engine

then your vehicle is not

going to run

the way it used to run

because john paul george and ringo

are a brand

and it would be difficult to go forward

with

paul john ringo and

dave if they brought somebody else in

so i think

this dialogue in this scene

is very very important because

it cuts through

all of the happy talk

that's being applied to this documentary

peter can show whatever he wants to show

but as subtle

as this scene was

it cut right through the mix

and all of the veneer

that is being applied by this

documentary

to reshape

the feel and the thoughts and the

understanding

of what this period was all about

but in this scene at that moment

it became very clear to me

what was going on

it telegraphed

the feelings and the nature

of the relationship between

john george and ringo

versus billy

there was a current

underneath the surface underneath the

veneer

that is telling us all was not good

and that

the band was breaking down

the beatles were in

their demise

so what i'm going to do now is to move

to slide six and i'm going to show you a

slide that i presented

in my presentation going back a few

months ago

is peter jackson revising beetle history

and on the slide we're going to get

quotes

from both john and george about how they

really felt

about the get back sessions

the title of the slide

what george and john said about the

sessions

the cold and austere conditions at

twickenham along with nearly constant

filming and sessions starting much

earlier than the beatles preferred

schedule constrained creativity and

exacerbated tensions within the group

the sessions were later described by

harrison as quote the low of all time

and by lenin as quote hell the most

miserable

sessions

on earth

so it's important

to baseline

the true history

and it's more important

that

these comments come from the band

members themselves so here you have it

here's how george

and john felt about the get back

sessions

and now let me move to the next slide

and we're going to talk a little bit

about

recording dates

many people believe that

the rooftop concert was the last day of

the get back sessions when in fact it

was not

recording continued the next day

on january 31st

songs with recording activity after

january 31st would be let it be where

the lead guitar was added in april of

1970

i me mine

the entire song

was recorded in january of 1970 one year

after the get back sessions

for you blue

george recorded a new lead vocal in

january of 1970 so again a year after

the get back sessions

george went back into the studio and

redid his lead vocal

and then in april of 1970

ringo

came into the studio to overdub the

drums

on

long and winding road

and of course after january 31st we

would have mixing mastering acetates

and final pressings

now was there a potential for additional

song edits in overdubs beyond january

31st

and the answer is yes

but if it's undocumented then it is

obviously

unknown and that's going to lead into

another slide i'm going to show you in a

moment

the official narrative tells us that the

rooftop songs that ended up

on the let it be album

are dig a pony

i've got a feeling

one after 909 and get back

however there is a conflict in recording

dates between wikipedia and the beatles

bible

wikipedia tells us that get back was

recorded on

january 27th and 28th which means it was

not the version from the rooftop session

but the beatles bible tells us the

recording was on january 30th which

would have been the rooftop scene

now in episode 1 and episode 2 we don't

hear anything about phil spector so i'm

assuming

phil will come up in episode 3.

phil was invited by john lennon and

george harrison

to take on the task of turning the

beatles abandoned let it be recording

sessions into a usable album

this quote came out of wikipedia and it

is a very interesting choice of words

phil was brought in

to turn the beatles abandoned

let it be recording sessions into a

usable album

what this means to me is the beatles

themselves

were not impressed

with what came out of the get back

sessions

and then there was a decision to take

that material

and

put an album together

a usable album

so again the choice of words is very

very interesting

let it be the album was released on may

8

1970.

so about a year and a half

after the get back sessions

and despite its commercial success

according to beatles diary author keith

badman

reviews

were not good

and in fact

many music critics and many fans for

that matter did not

hold the let it be album up as one of

the beatles better efforts

and evidently

neither did the beatles

now let's take a moment and talk about

the song i me mine

and in the documentary we get the back

story that

the sessions break they go home for the

evening

and

george is watching a movie

and

this movie inspires him

on the spot

to write i me mine

and so the next day

he's back in the studio

he gathers up billy john and ringo and

said hey i was watching this movie last

night and

the movie inspired me to write this song

and so then we get a snippet

of him playing

imi

and i remember thinking to myself this

sounds like a contrived story

it just did

but in any case

the point of this slide is that i me

mine

was not recorded

during the get back sessions

the entire song was recorded in january

of 1970

and john lennon did not play on the song

he was on holiday

there were 16 takes of the song

most lasting not longer than a minute

and 30 seconds

take 16 was the best take

and it was recorded on january 3rd of

1970

the beatles then over dub electric piano

electric guitar

lead and backing vocals

a hammond organ and another acoustic

guitar

then phil spector extended the song from

one minute 34 seconds

to 2 minutes and 25 seconds

by repeating the line all through the

day i me mine from the first verse

and following it with a further repeat

of the chorus and

final verse

so george wrote a song that was a minute

34 seconds

and it was phil spector

through editing

who tacked on an additional

minute

to the song

now why am i bringing this up

because the official narrative is

telling us

that activity took place

beyond

january 31st

and this is going to take us into my

next chart

okay so what would one of my

presentations be like if i didn't stir

the pot and cause some controversy

now as many of you know

when i have discussed the get back

documentary and the let it be sessions

i have said that

this setup to record in the studio

where everybody is playing together with

all of these active mics

was going to create

bleed through

and it was going to seriously compromise

the quality

of the recordings

as an example here's billy's

vocal microphone

now his vocal mic playing through this

pa and in my next slide we'll talk about

this a little bit

is going to pick up not only his voice

obviously

but it's going to pick up his base

it's going to pick up ringo playing

it's going to pick up

billy preston playing it's going to pick

up

john and george's guitar playing going

through the amps

and it's going to pick up

their vocals

so in other words there is a very

high probability

of seriously compromising the quality of

the recording

so i questioned this

and even with the rooftop scene

if you read the official narrative

it says that it was cold and

windy

during the rooftop concert

now if you're trying to get a clean

recording

wind

is not your friend

even if you have the baffling

on the microphones

it's still going to create a problem

now of course people are going to say

but mike

they've done live recordings before with

other bands

what would make

this different

and my argument would be that

the live recordings that we hear

especially going back into the 1960s and

1970s if you listen to a lot of those

live recordings

the sound quality isn't great

but when recording a live performance

the sound engineers would ensure that

they are using the proper equipment the

proper microphones

to ensure that they get the highest

quality recording that they can get

and honestly i don't see that

with the rooftop performance

with a live performance you're not going

to record the vocals

coming out of the pa system

the vocals would be wired directly

into the sound board

and if i

flip back to slide seven for a moment

and we take a look at billy's microphone

now you may not be able to see it very

well here but if you look at pictures on

the internet you will see it he has no

baffling

on the microphone

which means on a cold windy day

when a stiff breeze blew across

the rooftop

the likelihood that his microphone would

pick up that ripple

from the wind

is highly likely

so what i'm saying is

there's something else going on that

we're not seeing

we're seeing is not necessarily

what we're getting

so as i've said before i doubted the

beatles recorded let it be

this way

the configuration was okay for rehearsal

but not for recording

final tracks

however

the get back documentary and the 1970

film show the beatles recording takes in

the studio playing together

but the ability to capture the sound

quality is still

perplexing to me

now going back to a quote

i showed before from glen johns

who was the sound engineer for the get

back sessions

he says

playing live in one room

is a fresh thing

for the beatles

live

glenn didn't say

recording live

now some might say mike

it's just the way he worded it

you're looking into something that's not

there

but the one thing i have learned by

looking into this conspiracy

is you look at everything

and one thing by itself

may not mean a whole lot but when you

stitch it all together

the bigger picture starts to emerge

so the possibility of post recording

over dubs to fix tracks is a

consideration

going back to the chart i showed where

there was still recording going on after

january thirty first

and if we go back to

i me mine

the entire song

was recorded one year

after the get back sessions

another example of activity taking place

after the get back sessions billy erased

john's bass track on the song let it be

and he re-recorded the bass track with

him

playing the bass part

then i found

this quote

from john lennon

which i thought was very telling

so lennon was asked about

phil spector's work on let it be and as

many beatles fans know

phil has taken a bad rap

for

his quote overproduction of the album

but here's what john said

in an interview with rolling stone

titled lennon remembers

john said he phil spector

was given the shittiest load of badly

recorded with a lousy feeling

toward it ever

and he made something out of it

he did a great job

let me read that again lennon said

specter was given the shittiest load of

badly recorded with a lousy feeling

toward it ever

and he made something out of it he did a

great job

so the question becomes

how did phil spector clean up the

shittiest load of badly recorded

now

i've done a lot of recording in my life

but i am not a professional sound

engineer

but i have a friend who is

and so i sent him an email i told him i

was

doing

this review of episode two

and if he had watched the get back

documentary

i wanted to get his thoughts

and so

let's go to the next slide

okay so here's the feedback i received

from my friend who is a professional

sound engineer

and he has been in the business for a

long time

he said that it all looks staged

the microphones were not the real studio

microphones the mics were used to feed

the pa instead of the beatles wearing

headphones to hear the vocals

in the documentary we hear george

harrison say

they did not receive newman microphones

from emi

if they use the pa to hear the vocals

then this is a big issue

there would be too much bleed to all the

other microphones from the pa

so

bleeding is definitely a big issue

especially

if they did not use

any headphones

and throughout episode 1 and episode 2

i didn't see any of the beatles

wearing headphones

and then he adds behind the scenes it's

possible

studio musicians were used before

in parallel or after

to record

re-record or enhance the final recorded

tracks

the vocals were redone

also possible

combining takes and this would have been

done by glenn johns and george martin

slicing

single bars of all the takes into the

final version

and it was explained to me that this is

standard practice in the music business

in the digital age

we would refer to it as cutting and

pasting

if you listen to the final takes and

mixes on the record

it's way beyond what you witness in the

documentary

it is likely

production of the album did not finish

in january of 1970

and then he ended his email by saying

it's not called music friendship or

music camaraderie

it's called

the music business

and so with that let me go to my last

slide and

i'll wrap up

okay so here's my last slide i started

putting this presentation together on

december 7th and

today is the ninth so finally my last

chart

so episode 2 here are my thoughts and my

opinions the get back documentary

attempts to spin a lackluster outcome

into a significant achievement

we have to recall the original objective

of the get back sessions was to have the

beatles write and record 14 new songs in

less than three weeks

perform two live shows that would later

be broadcast as a tv special

and what was the result well the result

was 12 songs on the album and we'll talk

about the 12 songs in a moment

and they ended up not doing a live show

in front of an audience but performed on

a rooftop to no audience

and then ended up releasing a grainy

uninspired movie

so let's break down the songs on the let

it be album

two of the songs were throwaways maggie

may and dig it

another two songs were not recorded

during the get back sessions

they were imi mine and across the

universe

and that leaves us with eight original

songs from the sessions spanning 30 days

let it be

get back for you blue i've got a feeling

two of us

dig a pony one after 909 which i

consider pure filler track and the long

and winding road which is billy's

version of bridge over troubled water

so overall my personal opinion is most

of the songs were subpar

based on beetle standards

most of the songs in particular dig a

pony i've got a feeling don't let me

down and two of us

appear to be partially written or mostly

written coming into the sessions

versus the no backlog or writing from

scratch narrative that the get back

documentary tries to sell us on

as i mentioned earlier in his

presentation

billy preston was instrumental during

the sessions

without his contribution it's possible

the entire project might have been

shelved

and i would be remiss if i didn't

mention let it be naked which was

released back in 2003

it was initiated by billy let it be

naked consists largely of newly mixed

versions of the let it be tracks

while omitting the excerpts of

incidental studio chatter and most of

phil spector's embellishments

it also omits two tracks from the 1970

release

digit

and maggie may the two songs that i said

were throwaways

and billy replaced those two songs with

don't let me down and why phil spector

did not include don't let me down on the

original let it be album

i don't know

but what he did do was to release don't

let me down as the side of the get back

single back in the day

so i'm going to leave you with this

question because inquiring minds

want to know

were the songs

really recorded quote live in the studio

or

was it all scripted

and just another illusion

comment section is open you guys let me

know what you think have a great day and

thanks for listening

hey everybody it's mike it's monday

december 13th yes it's the 13th of 2021

and i finally had the opportunity to

watch episode 3 of peter jackson's get

back documentary

and so i'm going to share my insights

also as a reminder

all i'm doing is sharing my observations

and opinions if what i present resonates

that's great if not that's okay too

there is no sense in anybody watching my

content and getting upset

because

i'm not saying what you want me to say

or what you want to hear

about the beatles

this is not what my channel is all about

okay so i just want to say that before

we get started also

please watch the presentation before

commenting

it's very easy to tell when somebody

leaves a comment and they haven't

watched the video

and when i pick up on that what happens

is your comment gets deleted because i

have a rule of thumb

if you don't have time

i don't have time okay so just keep that

in mind as well

also

a couple of my british listeners said

mike twickenham is twickenham we don't

pronounce the h so i'm sorry about that

going forward i will use the british

pronunciation

in my previous video on episode 2 i had

mentioned that i didn't think that billy

had any baffling on his microphone

when he was on the rooftop and i was

incorrect

when i watched the rooftop in episode 3

of peter's

documentary we could see that billy

does have baffling and the reason why it

was difficult to tell from the stills

which were at a distance is because it's

a different color

the baffling on the other mics was black

so

it looked like that he didn't have

any baffling on his microphone but like

i said he did so i stand corrected

also in my previous video on episode 2

based upon discussions that i had with a

friend of mine who is a professional

sound engineer i talked about slicing

single bars from various takes into a

final version and i said it was like

cutting and pasting

this is referred to as comping or

composite editing

and i will leave a link down below in

the description box if you want to learn

more about how that process works

last but not least before i get into

episode 3

i did not examine the documentary

for

cgi or deep fake

i'm not an expert in these areas so i

will leave that to those people who have

skills to identify that type of

technology

in film

that being said

in all likelihood at the very least

peter was using artificial intelligence

in order to restore and

enhance the footage

okay

all right so

with that let me move to slide number

three

so we start episode three on january

26th and we get a snippet of the song

let it be

and we also have billy instructing ringo

on how he wants the drums played on let

it be and the expression on ringo's face

is priceless he's annoyed and i know

what he's thinking back off boogaloo

and then we move to january 27th and

here we have them running through old

cover songs again

this is something that we see

over and over again from episode one

right through

episode three

but on the 27th it's a bit problematic

because at the time they're scheduled

to do the rooftop performance on the

29th

it later got rescheduled to the 30th

because of weather conditions

that were forecasted for the 29th so

they moved it out a day but on the 27th

they still have january 29th scheduled

in

for the rooftop

and so why they are not

focused on original songs

that they would play

on the rooftop

i don't know it's really an enigma and

again like i said this is something that

we see them do throughout

the get back sessions

in peter's film

and then george comes in with old brown

shoe

and says that he wrote it the previous

evening

it's the same back story we got with

imei mine so as a reminder in episode 1

george tells the others that

he has a stack of songs that he wrote

coming into the get back sessions

for example songs like isn't it a pity

but now

he's writing material in the evening

after spending all day

in the studio

so the the backstory here with imei mine

and old brown shoe appears very

contrived

it came across to me

like it's completely scripted

and then we have that scene that paul

janssen and i called out

when we did our show together where

billy's playing george's telecaster

upside down without swapping

the string positions

but as you watch

the scene

billy is not strumming or playing chords

he's playing

single note riffs

and so

him playing the guitar this way is very

possible

and then there's another moment where

the audio appears dubbed in and

we see this a number of times throughout

the documentary which by the way its

total run time is just under

eight hours

and in all fairness at the beginning of

each episode

peter has a

a disclaimer

which states that where they only had

audio

they tried to match up some video or

visual to to bring the

experience together okay but

that being said there are a number of

moments where the audio is dubbed in

all right so

let's move to slide number four

now i call this scene vindication of

what mike observed in the studio

so

george martin

comes into

where they're playing he steps out of

the control room

and he's on them about all the

instruments coming through the pa

and tells them the sound is mucked up

so i'm thinking these guys have been in

the studio before

with all of their recording experience

how did that room get set up the way it

did

and it's not just the beatles i put on a

hook for this but what about

glenn johns and even to a certain degree

george martin

because from what i was able to tell

that room

where the mics were positioned the pa

and all that that was like that

since day one when they walked into

apple on january 22nd

then george martin tells john to turn

down his base and lennon responds he

cannot tell if he's in tune or not

and then george martin says the pa keeps

howling and this is because the

microphones are all in different

directions

and then we hear billy say if only we

can hear what each other is playing

now my observation at this point is

this issue

is being addressed on january 27th yet

the setup best i can tell

has been the same since the beatles

stepped into apple on january 22nd

so it's being addressed five days

after they started

recording

so again what's running through my mind

is how are they getting

quality recordings

so this whole moment was very surreal

because

i was pointing this out very early on

and i had no idea that

this dialogue was in episode three so

when george martin stepped out of the

control room to talk to them about the

setup

i thought to myself well okay so maybe

i'm not crazy

and if we go back to

the quote

from john lennon in an interview we did

with rolling stone titled leonard

remembers i covered this in my episode 2

analysis

john was defending phil spector's work

on the let it be album

and to revisit the quote john says

he specter was given the shittiest load

of badly recorded with a lousy

feeling toward it ever

and he made something out of it he did a

great job

and the question i asked back in my

episode 2 review is

how did phil spector clean up the quote

shittiest load of badly recorded

it's still an enigma to me folks

let's go to slide number five

okay so then we see alan parsons and

he's the tape operator

and of course alan parsons later formed

the allen parsons project

and then we get snippets of get back

being played

and the film tells us that the january

27th take of get back ended up on the

let it be album

and as i mentioned in my episode 2

review

this date syncs up with wikipedia

the beatles bible if i read it correctly

said

the final take was on january 30th which

would have been the rooftop

but

peter's film

is

in sync with

the wikipedia dates

i also noted that the playback scenes

sound much better than what we are

hearing in the studio

so as an example when they're playing in

the studio and then we have this cut to

them in the control room and we hear the

playback

what's coming through the playback

speakers or allegedly coming through the

playback speakers

sounds a lot better than what we were

hearing when they were playing the song

in the studio

so i had to ask myself the question was

the audio

in the playback scenes in the control

room

were they dubbed in

just the thought

another observation i made as i was

making my way through episode one

through three is george's guitar playing

is hot and cold

sometimes he appears to be playing very

well and other times

not so well

again just something i observed

then billy tells the others there are

still a lot of songs they haven't

rehearsed

and of course at this point it's late in

the game it's january 27th and billy is

stating the obvious

and then we have this very interesting

moment in the film

so they're breaking for the day

and they're leaving the control room and

george martin says william

and billy turns around and then

george martin and billy have a quick

exchange

so it wasn't billy preston because they

weren't calling billy preston william

at any time during the documentary

and the fact that george martin says

william and billy turns around

says that he was talking

to billy this is very reminiscent of the

scene

in billy's film going back to the 1980s

give my regards to broad street where he

walks into the control room

and george martin is there and is a

sound engineer and george martin

introduces

billy to the sound engineer

as william

so those two scenes are very very

similar

okay so let's move to slide number

six all right so now it's january 28th

and the rooftop as i mentioned was

originally scheduled for january 29th

but it was moved to january 30th because

of weather conditions

john mentions let's pick up and do songs

in pieces so

he's trying to get something together to

pull a set together for the rooftop

then we have a quick snippet of george

introducing the song something a very

early version of it

and then john lennon starts to talk

about how much he likes alan klein

and then we get another snippet of old

brown shoe

and then we hear don't let me down and

again it sounds like the album version

was dubbed in

and then we get john playing the riff to

i want you she's so heavy

and there's more wine drinking and

smoking and this is something that takes

place throughout

the sessions as depicted by

peter's

documentary get back

now to the right i'm going to read two

quotes

from the 1971 interview that john did

with rolling stone magazine titled

lennon remembers

and it's another example

of the

historical narrative which is documented

where

we get an understanding that

john

did not want to do these sessions he was

not into it

and

when we laid up against what peter is

presenting in his documentary

because now that i've watched the entire

get back

film

the impression i got and i'll cover this

later

peter is

in my mind definitely trying to put a

happy face

on a not so very happy time along

the beatle timeline which was the let it

be period

so let me read what

john said in rolling stone back in 1971

and again this is only two years

after the get back sessions

john said the conditions under which the

beatles created let it be were similar

to the conditions under which they made

magical mystery tour

and so john says quote in a nutshell

paul wanted to make

it was time for another beetle movie or

something

and paul wanted us to go on the road or

do something

as usual

george and i were going oh

we don't want to do it and all that

paul set it up

and there was all this discussion about

where to go and all that

i would just tag along and i had yoko by

bed

i didn't even give a about anything

i was stoned all the time too on h

etcetera and i just didn't give a

and nobody did you know

so there's john telling us where his

head was at

going into the sessions and also during

the sessions he didn't give a

and he also mentions of course that he

was he was high and he was doing heroin

and i had mentioned that i didn't see a

heroin addict

through episodes one two or three but if

john says he was stoned

then he was stoned

okay so let's move to

slide number seven

and so they're in the studio and john

announces to the others that alan klein

is upstairs for a meeting and billy

makes a face

because billy

was not a big fan of alan klein and

those of us who know beetle history

he was looking to have his father-in-law

lee eastman

run the operations and not alan klein so

that's the reason why billy made that

face

and then there's this conversation and

chatter and we hear

glenn john say alan klein is a very

strange man but clever

and then michael lindsay hogg asks

how many numbers will he have for the

rooftop and

john says five to six

and this is another moment where

john's voice

sounds dubbed in

and michael lindsay hogg tells the band

they will use nine cameras so there's

the number nine

plus a quote hidden camera in the

reception area

billy tells the others they need to

expand beyond albums and they meaning

the band have no aim

and what he's saying is they need to

expand their horizons beyond coming in

recording doing an album and then

going home

and it's another situation where we have

dialogue where billy is trying to

offer up

direction

meaning a future

and there is no real response from the

others in the band

and then

john says

they're not ready to do 14 songs and i'm

thinking no kidding

it's january 28th

and then george asks how many songs are

quote good enough and john says none

and michael lindsay hogg tells them they

have lots of good stuff on film but no

story

and then george says he doesn't really

want to perform on the roof but

he will if he has to

and ringo says

he wants to do it

and it was another

part

of the film where we see george

being the one that is

logically thinking through things

and i'm sure what he was thinking is

why are we playing on a roof

we're not playing to anybody who's going

to see us the

the lady across the street on the fourth

floor

but he says

if you guys want to do it i'll be there

i'll do it

and then they start to write down a

draft of possible songs for the rooftop

and we see songs like don't let me down

get back i've got a feeling etc

and this is two days before performing

and again it's january 28th

and it's still very very disorganized

and so

moving to slide number eight we see mike

mccartney arrives in the studio

and there's a very strange scene of him

pretending to play the piano with the

lid closed

and he just comes across as a very

strange duck

and then we have the beatles jamming

again

wasting more time

with the clock ticking down those are my

thoughts

and then george is talking to john about

doing an album of his own material which

was a precursor to

all things must pass

and then there's more jamming

and i don't see a sense of urgency

and i'm thinking to myself

how do they think this is going to come

together

all right so let's move to slide number

nine

and it's january 30th

it's the day of the rooftop performance

remember it was originally scheduled for

the 29th but because of weather

conditions on the 29th they moved it to

the 30th

and we're told the beatles are still

uncertain

about performing on the roof

it's the day

of the performance

and they're uncertain

and again we're told there are nine

cameras the number nine

five on the roof

one across the street and three at

street level plus the hidden camera in

the

lobby

and then it looked to me that they

brought all of the equipment from the

basement studio

to the roof

and there was no explanation about the

decking installed on the roof it just

appears

in episode two

when they're considering the rooftop

performance they go to the roof and

they're wondering whether the roof

can hold the weight that will be there

because of the equipment and the

entourage and all of that stuff

but in episode three we don't get any

dialogue about how they closed

on the roof supporting them

playing up there

we are told that glenn johns and george

martin are recording from the basement

studio with a closed circuit tv

so they can see

what's going on and so you get to watch

the entire rooftop performance

and so what i did

on slide number 10

is as i was watching them playing on the

rooftop i

had some observations

and then i took my observations

and i emailed them to my friend who is a

professional sound engineer

and i wanted to get his thoughts and

feedback okay so let me just lower this

down here so i don't block

his response

so my first observation

glen johns and george martin are in the

basement studio recording the

performance on the roof with a closed

circuit tv so they can see what's going

on

apple was a five-story building this

means there are five stories between the

recorder in the basement and the mics on

the roof

this made me wonder about the cabling

they would have had to snake at least 75

feet or more of cable to connect the

mics to the recorder in the basement

is there a risk of possible sound

degradation because of cable length

and so my friend responded that

they might have used military power

supply

for boosting the tie lines

also the mics were a mixture of newmans

and akgs very good microphones and he

determined that the cables are not an

issue

and then my next observation was the

beetles arrive on the roof with all the

mics set in place and unless it was

omitted from the film

there is no sound check performed to

measure levels

how did glenn johns and george martin

know they had everything set up properly

without a check

and so my friend responded that's the

difference between the men and the boys

a very experienced engineer can do it

without the sound checks

real professionals do not need to set up

gains they know how loud a kick drum

vocal or guitar amp is wisdom comes with

age and experience

and then i noted as ringo gets on the

roof

he starts to move his drum set around

without any consideration

microphone positions

by moving the kit after the mics were

set in place

would mean that glenn johns and george

martin

should have rechecked the sound levels

for the drums

and then my friend responded maybe a

little readjustment but not a big deal

then i noted there is no group tuning we

see each of them tuned separately

tuning individually by ear

means the possibility of not being in

tune with each other is possible

when they were in the studio they would

often manually tune to the keyboard

my friend responded well

tuning is a big issue it's all by ear

they do not show annoying tunings at all

it makes me wonder how bad the tunings

are compared to the record

if each guitar is out of tune then

there's intonation problems meaning

there is dissonance between the

instruments and then i noted

there were two vox floor monitors facing

the band which were not angled toward

their ears but sitting flat across the

roof

not angling the monitors could make it

more challenging to hear themselves

singing the harmonies for example

then my friend responded very briefly

maybe maybe not there's no way of

knowing but the point i was trying to

make is if you can't hear yourself very

well especially when you're singing and

especially when you're doing harmonies

there's a risk that the harmonies will

be off

and we didn't hear that on the rooftop

then i said the pa speakers

were positioned to point down to the

street i would think this setup would

have created an echo effect with the

music bouncing off of the buildings

across the street and possibly finding

its way back onto the recording

and then my friend responded yes of

course and you don't hear a thing

that's a big issue downstairs in the

studio and on the roof if the monitors

were on while recording

if the monitors were off

then the volume of the guitar and bass

amps must have been very low in order to

not use any headphones

but the wordings or the singing

was way too clean in regards to monitor

bleeding in my opinion

but it might have possibly been a quote

lucky setting and let me move my pip up

here now

and then my next observation

lennon mentions his hands are getting

too cold to play chords and we see him a

couple of times trying to warm his hands

in between songs this made me wonder

about how limber their hands were to

play effectively

and then my friend responded yes right

temperature i don't see any heaters

maybe the lighting brought some heat i

don't know

and then my last observation the quality

of the playback on the documentary does

not sync up with what i would have

expected to hear based on the setup i

observed on the roof

the recording of the performance was

very clean the vocals and harmonies were

spot on

the playing was far better than any of

the rehearsals we heard during the

documentary

they went from rambling and mediocre to

tight and very good overnight

and then my friend responded exactly

i believe the basement audio was a

rehearsal

the rooftop was real

they did play each song a couple of

times so audio and video takes may have

been exchanged between the takes for

example

audio might have been swapped between

takes or quote cut and the visuals were

then adjusted in relation to these cuts

if a video cut does not work perfectly

you can insert quote off-camera shots

to replace a particular part of the

video

when done properly it looks like one

big take and so with my observations and

my friends feedback

let's move to slide eleven

okay so slide eleven

titled rooftop thoughts

and i just wanted to put a perspective

on the table before

i got into the chart

get back delivered almost eight hours of

content

which culminated to a 42-minute

performance consisting of only five

songs

so just pause and think about that for a

moment

eight hours of content

culminating to a 42 minute performance

consisting of five songs

and the reason why i circled forty two

is because four plus two equals six

the performance

was real meaning the beatles did play

live

i listened very closely

to see if i could detect them playing

along to a backing track

and i did not detect that

now that being said

that does not mean that there weren't

audio or visual edits that took place as

a normal process of making the film is

going to be post production work done on

either michael lindsay hogg's 1970 let

it be film or peter's get back

documentary

because whether it's michael or peter

they're looking to present the very best

possible audio visual experience to

their audience

so there's always always going to be

some level of editing

they may have sliced bars or quote compt

some of the music

so that it sounded better

when you watch the rooftop scene

whether you're watching michael's

version or peter's version

there are a number of cutaways where

they move away from the band and they're

going down to the street level

as an example

so when they do that cutaway

that's a way that they can camouflage

or

hide the fact that an edit was made

and then when you put it all together

the enhanced audio with the different

visuals whether they're using inserts or

cutaways

it looks seamless

and i'm just putting that out there

as a possibility

the performance consisted of nine takes

of five beetle songs so there's the

number nine again

get back at three takes don't let me

down at two takes

i've got a feeling had two takes

one after 909 one take and dig a pony

one take

the visuals and audio of the 2021

rooftop scene along with the entire get

back documentary

was significantly enhanced

using state-of-the-art technology

and in my opinion

this resulted in audio playback that

sounded too polished

and more quote studio sounding than live

when i went back to the original 1970

let it be film

and re-watched and re-listened to the

rooftop scene

i found the performance and sound

was more authentic and realistic

meaning the original 1970 film again in

my opinion

did a better job of capturing the

essence of playing live

it just had a more raw

live

feel to it

and i'll leave a link down below in the

description box

so you can watch the original rooftop

scene

from the original 1970 film

and then the total run time for all

three episodes of peter's documentary is

468 minutes

which is 4 plus 6 plus 8

which equals 18

and 1 plus 8

equals 9.

so there's the number 9 again

okay so with that

let's move to the next slide and talk a

little bit about phil spector

okay so i was waiting for peter's

documentary to mention phil spector and

he is never

discussed

and so

i thought that the omission of phil

spector's role

supports the premise of get back

presenting revisionist history

now i covered this in my episode 2

review

but phil was invited by john lennon and

george harrison

to take on the task of turning the

beatles abandoned

let it be recording sessions and

turning them into a quote usable album

so the beatles lost interest

in the get back sessions and later on

i'm going to play a clip

where glenn johns is interviewed and he

says essentially the same thing

and then also in my episode 2 review

i took you through

a quote that john

had made in an interview with

rolling stone magazine

titled lennon remembers

and he was asked about

phil spector's work

on the let it be album

and to revisit that quote

john says that phil was given the

shittiest load of badly recorded

with a lousy feeling toward it ever

and he made something out of it he did a

great job

and then i asked the question how did

phil spector clean up quote the

shittiest load of badly recorded

were composites or comps created i would

say that

that's a given that that took place

so phil spector played a major role in

producing the let it be album but

he's never mentioned in get back

now peter jackson might argue that his

documentary focused on

the 30 days of the get back session from

january 2nd through january 31st

and that phil's role was outside the

scope of the film

but the problem with that argument is

that

during the get back documentary

it points out takes which ended up on

the album

an album that phil spector produced

so my impression of the get back

documentary

never

bringing up phil spector is that

it was looking to sweep the not so happy

moments under the rug

in order to present the sessions

as an achievement

so in other words

no unhappy talk

this film is all about presenting the

beatles in a positive light

but the problem with that is that it's

not truly representative

of what was really going on

with the beatles

during that time period

and so by leading phil out of the

equation

that was a big hole in peter's

documentary

because phil spector played a major role

whether you liked his work or not

in producing and releasing

the let it be album back in 1970

and with that

let me play a brief clip of glen john's

being interviewed and he's talking about

the get back sessions

and he mentions how the beatles lost

interest

in the sessions and turned the tapes

over to him

and if i recall my beatles history

correctly glenn johns was working on

releasing an album called get

back that was comprised

of the recordings from the get back

sessions

that album was never released you can

find it as a bootleg

and instead

it was the phil spector

version of the sessions that got

released in 1970 as

the let it be album and as you listen to

this interview especially when it gets

to the end

you can see that there is still some

resentment or sour grapes between glen

johns

and the fact that the beatles and

specifically john lennon

ended up turning the tapes over to phil

spector to release the album let's take

a listen yeah because they had asked for

you to come back from and then okay so

then when we finish abbey road

a period of time goes by and i get a

call from john and paul they asked me to

meet them at abbey road so i jump in the

car and go up there i walk in the

control room and there's a pile of

multi-track tapes and they said do you

remember that idea that you had that you

had made assassinate

so i said yeah so they said well we just

think we think that's probably the best

way to do the record and we'd like you

to do it that's fantastic great

so i said well when did we start and

they said well we don't start you're

going to do it on your own like you did

before and i thought well that's

fantastic they've got all this

confidence in me to go away and

do this without them there and in the

car on the way home hold on a minute i

real

there wasn't anything to do with that

they were bored rigid with it and and

they weren't interested in anymore

they'd lost interest so they was quite

happy to just give it to me to go away

and do which was a bit disappointing

really so

it did get finished and i did deliver it

back to emi

and then

the band broke up

and it's beef well before it ever was

talked about even being released by now

i'd be read sort of well on the way

and then john lennon came to america and

formed a relationship with phil spector

which i always thought was really really

strange combination of people

and he gave the tapes to phil spector

and who puked all over the bloody a lot

of them and just just awful awful record

now

okay so slide 13 my second to last slide

i wanted to capture some of my summary

thoughts

as i watched the documentary

i thought there's more to these sessions

than meets the eye

the film depicted a poorly planned and

disorganized endeavor there were many

delays lack of focus

continual off-topic activity

jams playing old covers and goofing off

during rehearsals and recording

and of course we had george harrison

walking out on january 10th and he

doesn't return until january 21st yet

even with all of these obstacles the

beatles were able to pull it off because

they are the beatles

and as i mentioned a number of times

as i was going through episode one two

and three

in my mind the studio setup was not

conducive to recording clean tracks they

had all of these

active microphones they were all playing

in the room at the same time they're

playing through a pa

and lo and behold in episode three we

have george martin coming out and

talking about this

and telling them that the sound is

mucked up

multiple recorded takes of any given

song

were done to create enough content to

comp

a complete song so as an example let's

just say that the beatles did 20 takes

of don't let me down

out of the 20 takes

they would decide along with glenn johns

and george martin which was the overall

best take

and then they went back to the

other takes

and they sliced the tape

to

copy and paste or cut and paste

better parts

into the

best take so in the end what winds up

happening is they create a final version

of the song

so the initial best take becomes a best

best take by doing the editing

the premise of writing from scratch is

unlikely

four songs were front and center from

the very beginning they were don't let

me down i've got a feeling two of us and

dig a pony

and they appear to have been mostly

written coming into the sessions

one after 909 was around since 1963 so

all they did was dust that off

and get back

although it was depicted as written from

scratch

it emerges early on from the twickenham

sessions

starting on january 7th and then we see

the song come up again

on january 9th

10th

and the 13th

and of course all of this is before

heading to apple

so what i'm saying is get back

did not emerge

during the apple session so

i'm thinking billy had get back pretty

much written

and as part of the script for the movie

they made it look like

he was writing it from scratch

and if i'm correct that these songs were

mostly written coming into the sessions

then all of the rooftop songs were

identified early on

versus last minute considerations and as

we know there was post-production work

which included recording

as an example i me mine

was not recorded during the get back

sessions that was recorded in january of

1970 one year after the sessions

recording or re-recording and editing

continued on after the get back sessions

and this is documented by the official

narrative

okay so that's what i mean by

there's more to this

than meets the eye

i sense that a lot of what was going on

and my friend who's the sound engineer

noted the same thing

that it appeared staged

or scripted

and then you think to yourself well

they're making a film so why would there

not be

major segments or portions of the film

that were scripted

it was like watching a reality tv show

and we all know or i hope we all know

that reality tv shows are scripted as

well

that's not to say that

there weren't spontaneous moments i'm

sure there were plenty of them

but

i also sensed that there was a

a loose outline

or a loosely defined script that was

being followed

all right so with that

let's move to my last slide

get back episode 3 closing thoughts

so

did i feel that the documentary was

revising beetle history

i think yes

i believe that

it attempts to spin a lackluster outcome

into a significant achievement

and i covered this

in my episode 2 review as well so if

some of this looks familiar that's why

we have to go back to the original

objective the beatles were going to

write and record 14 new songs in less

than three weeks

perform two live shows

for a tv special broadcast

and what was the end result

12 songs on the album and will break the

12 songs down in a moment

and they performed on a roof to no

audience

and released a grainy uninspired movie

so if we break down the 12 songs on the

let it be album

what was really accomplished

well two of the songs were throwaways

maggie may and diggett

and both of those songs were omitted by

billy with the release of let it be

naked in 2003.

another two songs were not recorded

during the get back sessions

i mean mine was recorded in january of

1970 and across the universe went back

to 1968.

so that leaves us with eight original

songs from the sessions spanning 30 days

let it be

get back

for you blue i've got a feeling

two of us

dig a pony

one after 909 and like i said back in my

episode 2 review i consider that to be

filler track somebody disagreed but

that's okay we all have our certain

likes and dislikes with regard to beetle

music

and then last but not least

long and winding road

and billy preston

was instrumental during the sessions

before billy showed up those sessions

were flat

they were going nowhere

so billy preston pumped life into the

sessions and without his contribution my

opinion is it's possible

the entire project

might have been shelved permanently that

we may not have even seen a let it be

album

the documentary never discusses phil

spector and i view this as a glaring

omission

and i think it was done to avoid the

negative aspects of the story and what

was going on during that time period

with the beatles

so the film

came across to me as a classic hollywood

script where the heroes persevere and

overcome adversity and pull through in

the end it's the cinderella story and so

therefore

the film

was designed to be a feel-good story and

was not representative of the historical

narrative

and this includes the narrative that we

get directly from the beatles themselves

through the many interviews and

i took you through the rolling stone

interview from 1971 with john lennon

and you know john was pretty clear about

how he failed going into the sessions

and how he felt

during the sessions

and he tells us that

george harrison felt the same way

and so that concludes

my review

and my thoughts on peter jackson's

documentary get back and before we head

out i'm going to leave you with a song

that goes way back

and i want you to listen to that song

and you tell me if that song doesn't

sound an awful lot like happy christmas

war is over

that's it you guys have a great day take

care and we will talk soon

[Music]

was a racehorse

and he wore a high head

and the mane on his tortoise

was his finest silk thread

his bridal was silver

his mane it was gold

and the worth of his saddle

has never been told

i wrote him in england

i wrote him in spain

he never did lose boys

he always did gain

so come all you gamblers

wherever you are

and don't bet your money

hello friends this is mike williams now

that film and video analyst paul yanson

has watched peter jackson's get back

documentary he is back to offer his

insights and observations and so without

further ado here's the interview with

paul and thanks for listening

well everybody paul jansen is back with

us and i'm i'm sure this will probably

be our last discussion on peter

jackson's get back i've i've done a lot

of

talking about it and paul is back for

the second time and

i'm going to

ask paul to take us through his

impressions of the documentary which was

almost eight hours in length and

we also have some screen captures that

paul will take us through

and so paul welcome back and the first

thing i wanted to ask you

is what were your

overall impressions

of get back

well for

uh a non-uh

let's say for a non-fan like me i'm just

an observer casual observer it's it's

like you already said it's way too long

especially if you consider that every

song

is is covered during the rehearsals

multiple times

um you could say well

it's for the fans it's nice to see how

the song develops from from an

idea to a final version

but i think the increments that they

they show are very

uh too much and very with little change

or it's basically what michael lindsey

hawk at one point in the time says

during

one of the episodes

there isn't any story

right

and basically that's that's the

impression i get from the whole

documentary there isn't any story other

than the fact that george leaves halfway

through or let's say in the first week

there isn't any

major

progression in in the storytelling it's

just a rehearsal repetition of songs

goofing about and then the rooftop

that's basically in three words the the

sequence and what the what they showed

us and to to cover that in eight hours

of or almost eight hours

of film is maybe a little bit on the

on too much for a normal review but

okay that's the choice peter made peter

i think peter jackson did it in that

amount of time to to give the fan the

fans uh as much as they would like and

at that point of you you could say okay

they got where they wanted so yeah i did

find

the episodes

at many points to drag on and it was

very repetitive yeah

so i guess what i'm saying is i agree

with your assessment and uh like you

said peter

did what he did because

well he wasn't playing to you and me

right he was playing to the the overall

audience out there right yeah so

uh now the other question i wanted to

ask you is uh about

the deep fake or the cgi now you and i

talked about this uh the possibility of

peter going there now i have said

that i believe peter had to use

artificial intelligence in order to

restore

the film yeah but i also mentioned when

i did my part three commentary that i

did not spend any time trying to

decipher whether something was deep fake

or not and the reason for that is

because

the deep fake technology

is so good these days

and i point to that one tick tock

channel that i had in my presentation

yes uh is peter jackson revising beetle

history and that goes back to august of

of this year where this guy does a deep

fake of tom cruise and there's simply no

way no

especially myself as a layperson

could distinguish whether that's really

tom cruise or not so i figured let me

just watch the eight hours without

worrying about

deep fake or cgi let's just take it in

at that level so what was your

impression did you approach it the same

way or did you pick up certain things

well the the overall thing we can

say is that

it it's similar to what peter jackson

said tells us that the

ai they use was

purely for

image enhancement grain reducement the

original film grain is completely

removed almost from the from the shots

the sharpness has been enhanced on some

images that i

i'm still

questioning of whether it was real or

not if you have if you make a shot from

something up close to the camera

and something in the rear is also sharp

and the way that lenses have been used

and

sharp

the sharpness of your

aperture can be used to create sharpness

in one shot some of the the scenes

not much but some of them are

questionable

but overall my view is that they only

use the enhancement for

ai for enhancement but not per se for

creating stuff that wasn't there in the

first place

on the other hand as you said the tom

cruise um shots and also

nowadays is available on um open you say

open source stuff you can download

simply on your on your telephone where

you upload a still image and you get uh

moving images of uh

of action figures in

action movies etc with your face on

paste it on on the on the actor of the

particular movie as such of such a high

level that is almost

impossible to to check images like peter

shows us here to verify if ai has been

used it's almost impossible but there

are two instances in our talk hopefully

this um

we can cover that i'm very suspicious of

that ai has been used for more than

simply enhancement but we come to that

later

okay so let's get started paul with

slide number one

it's um it's

a capture from uh one of the um

the media presentations peter jackson

did this one is from 60 minutes and he

um he tells about how he was approached

by apple to

talk about artificial intelligence etc

and he asked what happened to the beetle

um film reels of the get back

documentary and he was given access to

these

archives

and interesting is that the faults where

he's been shown going into is vault

number three

so the number three is interesting but

then they show us him browsing through

film cans and one of the film cans that

is shown is the one that we have this uh

the sculpture of and what he said was

that the films were never shown before

and obviously that would be

meaning the general public film can a

reads 1200 feet of film 1200 feet is 33

minutes of film

400 feet of film is 11 minutes of film

so we have here

total six reels of film of 400 feet so

add it up that is 66 minutes of film in

one can peter jackson says he uses 55

hours of film

so that would mean if every can would

contain the same amount of film as this

one

they only would need 50 cans of film but

in the shot of peter anderson's vault we

see way way more than 50 cans of film

but the vault that he's

walking through is obviously showing way

more than 50 cans of film so it's made

an impression to be

something huge a huge fault where he's

walking through

it could be that default has more films

than only the peter jacks are than only

the get back session

i thought it's it's a little bit

misleading

but the other thing that is what i would

like to mention is that the cans are

barcoded and the barcode is something

that is being invented

or

was common use uh only in mid 70s so

this this film this can is already being

processed in whatever way

and the

barcode makes it possible for an

inventory for a listing for uh

probably they have been scanned already

that's something that

maybe points to the fact that already

they were

processed

they were scanned they were

maybe edited reworked whatever

it's not like they've they found

the original unprocessed film from back

from the 60s it's already been processed

in whatever way one of the other things

that he also mentions in this interview

is that he

he tells us that one of the ways that

michael lindsey hogg was able to capture

the discussions between the the beatles

um without them knowing

that they were filmed is that the

cameraman they kept them the the cameras

rolling for 10 minutes uh straight and

leave the camera on and walked away so

the beatles would have the impression

that they were not being filmed which is

a

idiotic statement no cameraman

would leave his camera running without

him being added you will not leave your

camera running it's not it's not the way

it works i i understand what he's trying

to convey to us

he's trying to to tell us that

michael and seahawk

used covert techniques to capture sound

and images of the beatles yeah basically

hidden camera hidden audio yeah so he's

trying to make it sound like the beatles

are being very frank and they weren't

playing to the camera that is what it

sounds like peter

is trying to tell us now paul when you

say that the the cameraman would not

leave the camera why wouldn't they do

that why wouldn't they just turn it on

and then walk away well

it's it's something you you just you

just don't do it's uh

your film might get stuck something

might go wrong your maybe your focus

is not on the person you want you want

to focus on

so

almost all the shots that we see being

used in film

you always see that the camera is being

focused

or being directed onto

the players and the in the scene

so if you if he makes a shot of george

or john it's always

you always see that the camera is being

poured pointed to them it's not like

they use a general shot and leave the

camera running for 10 minutes straight

it's not like

it's not how it happens but i understand

that peter makes that statement

just to give the uh ordinary viewer the

idea of oh um

they were secretly secretly being filmed

right

it's not like it happened all right did

you want me to move to the next slide

yeah i go to the next slide

okay

um it shows the uh the overall view of

the uh twickenham session

the um

the um the boys sitting in the middle of

a uh sort of a half dome um

[Music]

set

with these uh typical uh colors of the

green and magenta and whatever you i

read it's very much for me it clears it

tells us um

that

the documentary style

will be a style where everything is will

be shown

outside of what outside of the of the

band stand

so indeed they they tell us beforehand

that the documentary will

will show more

um that's not per se that this is wrong

but it's it's the way they present us uh

from day one

that they

uh will show more than than only the the

four beetles

if we go to the next slide

we see this typical shot of the beatles

in that that um that setting

where a lot of stuff is going on beside

the beatles there's a guy walking

through the frame

we see the other um crew members sitting

uh at their um equipment

so they they they very much show us uh

let's say that's a typical um uh a

technical term breaking the fourth wall

so you

you you show more than the scene itself

it's deconstructing the scene

that's sort of the

the intro to the to the full documentary

so it's basically

giving in the impression of this kind of

this raw

what you see is what you get and if that

includes

the uh the periphery of the the studio

that's what you're going to get you're

not going to just get the four beatles

you're going to get

everything the environment that's all

around them and what they do by what

they are doing by that

is sort of implicate that what we're

about to see is is real

it's the truth

it's not only a

nicely shot nicely framed now you get

the whole picture

so they tell us beforehand what you are

about to see

is what really happened yeah it's like

filming a

family get-together

right you have a bunch of company there

and it's not going to just be about

susie you know suzy has all our friends

there so everybody's going to come into

the picture right you're going to see

all of it and that's that's sort of

illustrated by these first

two slides

very interesting

next slide the next slide number four

um after george's song i mean mine

you ask the boys

if the lyrics are correct he uses a term

free of flowing than wine

and he asks if the superlative of the

objective free is in that is indeed

freer

and then bill equips

freer like sticky out ears like stick

out ears

like sticky out ears okay so my

suggestion is that sticky audi is

is a synonym or a nickname for original

paul

paul is known for his sticky obvious

well that's interesting you should bring

that up because in the original memoirs

going back to 2009

in the book it's said that

paul biological paul had monkey ears

yeah and i remember

having a conversation

email conversation with tom going back

must be about four years ago now

and uh mentioned to him that that was

kind of a

an interesting if not

unusual way to describe biological paul

mccartney

subsequent

to that

it was taken out of memoirs

i thought it was not in good taste

for billy to describe biological paul

that way yeah i mean the ears you have

are the ears you're born with it's not

like paul asked for those ears right

so uh so the sticking out ears that

you're talking about

would

correlate to what was put in the

original memoirs about paul having

monkey ears is what i'm saying i'm not

sure about the american expression for a

kid with sticky audios if that's a

nickname often used by

by english speaking um

people uh and holland obviously we have

nicknames for people with sticky obvious

uh so it's it's common to

to to harass people in a funny way with

their ears

but for billy to do it in this way in

this moment

using a phrase from george free the word

free and then turn it into

freer

like sticky out ears

is in my view a very sick joke

he refers to paul the original paul with

sticky out ears and

free would then imply that

free like that paul

that's my interpretation it's a very

covert uh sick joke and in in that sense

it's also masterfully spoken it'd be

like an inside joke right inside joke a

normal viewer would only think that if

already they knew what he meant he was

referring to his own eyes him being paul

mccartney but

for us

the one in the know also a little bit in

the know we know that he meant means

something completely different he refers

to the deadpool the original paul in my

view this is i i don't know i i was very

upset when i i heard it for the first

time and i

almost projected all

of the things that we uh we talked about

about

billy playing the role of paul and then

him making this

this joke is in very bad taste there

were

a number of moments paul during the

documentary when

there are

comments and conversation that takes

place that really only makes sense once

you know the conspiracy

yeah if you don't know about the

conspiracy then it's going to go right

over your head one of the examples

that i talked about when i did

my commentary on peter's film is the

scene where they have the

hidden camera

conversation and they're talking about

george leaving and

looking to have him come back into the

band

and in that conversation they're talking

about

when john relinquished leadership of the

band yes and it passed

to billy

yeah now to somebody who only

knows the official narrative

that would be kind of an unusual

dialogue to have because the official

narrative says that the band began and

always was john lennon's

band he was the de facto leader of the

beatles that's the official narrative

yeah

so in peter's documentary when

we get that scene

with the audio

and they're talking about the transition

of banned leadership yeah

that makes perfect sense when you

understand what took place yeah the true

story

when john relinquished the band

and

passed the baton to billy was that

because billy taking control of the

beatles was one of his demands

yeah when he took over so your point

about the sticking out ears and then

this dialogue that i just talked about

where they're talking about the

transition of banned leadership

these discussions only make sense once

you understand the conspiracy

yeah for the for the normal viewer

um it doesn't matter

right they probably cannot um

see the

the

logic of the of the discussion or the

the inside joke

but it doesn't matter they they just see

it as a

a passing by of words uh a casual remark

um

there's and and and therein lies uh sort

of um how do you say it

the amount of

dialogue we get is is enormous so one or

two sentences that only make sense for

the ones who realize how things are are

sort of covered by so many dialogue and

so many words that for the casual

observer it it's just it drowns in the

in the total it drowns in the in the sea

of uh of

scenes of the sea of dialogue yeah it

just gets kind of lost in the sauce

exactly and so peter jackson

he gets away with that

for the casual viewer they don't mind

they they will they will not protest

they will not write the critical letters

to the newspaper there was another scene

paul now that we're talking about it

that was very very weird and it only

makes sense when you understand the

conspiracy

is when uh they were sitting together

and it was

john

and billy

basically talking to each other but

there were others there from the

entourage that was around them during

the studio

and i don't know if you recall this but

john starts to recite the lyrics to

yesterday

and then billy mentions the number nine

yeah and then billy then mentions

canyons of the mind which is a bonzo

song and vivian stanchal yeah and

between john and billy they're going

back and forth with this very odd

dialogue and it's like you just said if

you don't know about the conspiracy just

kind of gets lost and it just sounds

like gibberish or i don't really know

what they're talking about so that's

okay

but

when you know the conspiracy then it

makes sense it makes perfect sense

yeah

so paul the um the slide we're looking

at now you have a yellow arrow pointing

down and i think i know where you're

going here so why don't you tell the

audience what you observed

the moment is when they playing

um maxwell's silver hammer

and

the thing is

in the rest of the the twickenham

sessions

george is sitting playing on the on the

the platform the drum platform of ringo

but not in this instance he is playing

sitting on a chair next to uh mal evans

who is who was banging the uh

the anvil

so but his gibson is lying on a cushion

on top of this uh platform

and

by

ringo's drumming

the guitar slides off the cushion and

falls with the big bang

on the floor

this is so typical of all sessions with

the guys they never use a guitar stand

never not in the twickenham session and

not in the

apple

session

and what we see here is a result of that

living your guitar uh like that and

small things can happen and now it's a

it's a very expensive gibson less bull

crashing on the floor

i i thought it was so

typical of the style of how these guys

use their instruments

how they treat their whole

session of recording

with a lot of nonchalance and that's

sort of the atmosphere

that it's exemplified by these crashes

now that's something i noticed too now

even if they didn't have guitar stands

what used to happen when

we rehearsed is that we would lean the

guitar up against the corner of the

amplifier to make sure that it was

steady

exactly right so it would be standing up

what i noticed i did see the scene where

the uh the les paul

hit the ground and i groaned and i

thought

there were plenty of scenes where you

see their guitars lying like you said on

the floor on the floor who does that

yeah so the problem with that folks you

might say well what's the big deal well

the big deal is if you're walking in the

studio and you're not paying attention

and you step on that guitar neck you're

going to crack it that's the big deal

there's one shot in

my series uh with george martin um

talking to to billy

and he's sitting between

the acoustic of billy and the

another electric guitar and just in such

a position that when george martin wakes

makes one wrong stop he's going to crash

the guitar yeah exactly and what like i

um

mentioned earlier that

in my view but that's my opinion

you never leave a guitar lying on the

floor arresting you to a to an uh at an

amp or a to a podium okay but not a flat

lying on the floor it's very no

very dangerous well you like i said you

know somebody steps on that guitar and

breaks the neck that's that that's that

it's a few hundred few thousand dollars

down there in the drain okay but it's

it's sort of

it's it's nice that they captured it

that they're falling off the gibson but

it's also

difficult of the whole atmosphere the

whole attitude of the boys and working

in the studio and making the recording

there was another scene with george i

don't know if you remember this but i

remember it very clearly where he goes

to get up

and he knocks his microphone yep

right to the floor

at first i thought he was going to bend

over and pick it up but he doesn't he

went to he grabbed something else and he

just left the microphone there and broke

for lunch or something yeah

you know it was just another scene where

you thought wow yeah you know lack of

care for the instruments and the

equipment and later on we say we will

see or maybe um

i don't know if you want to connect uh

directly to it it's the the

the smoking of the boys over their

instruments and i've included some shots

of if we go there this is slide 18 yeah

slide 18 we see george lighting up his

cigarette

with a match and we see the boys all of

them smoke and in fact not all only all

of the boys

everybody in the documentary is smoking

everybody

the only exception is maybe

heather eastman the kid of six

who doesn't smoke everybody else is

smoking

you could say that's typical of the unit

of the 1960s but there's another thing

to it um

especially the beetles themselves they

smoke over their instruments

you see ringo smoking over his uh as

drum kit you see george smoking

constantly and

this example is just one example

but then more

i think

not not so good is

ringo is when he's playing octopus's

garden

he leaves a smoking cigarette on top of

the lid of the

the pluton piano

and also billy preston is seeing

leaving smoking cigarette on his thunder

roads

where there's ash trays all over the

place so

i'm not using these trays why leave your

burning cigarette on top of an

instrument how stupid is that billy

preston with a cigarette by the fender

rhodes and then i have this image up

paul where is a burning cigarette

creeping up

on the lyrics i'm assuming lyrics it's

unbelievable

it's you could say well that's rock and

roll but

really i mean not when you set the

studio on fire

but it's i think it's it's more of a

lack of

common sense um

[Music]

a little bad attitude

they they are the the

the yeah how do you say it they are the

beatles

they can

command people around uh hey mel get us

some cigarettes

hey mal can you get me some shoes size

eight um

stuff like that it's

i don't think it's uh it's a nice uh

approach of the boys how they how they

behave themselves and the cigarettes is

just an

aspect of that let's put it back well

the thing too is

folks might say oh so what so they're

smoking while they're playing but yeah

it's not a problem if you're smoking

while you're playing i had a you know a

friend of mine who was a guitar player

many years ago mark and you know he used

to smoke and play

but you don't do it around tape exactly

right because there are toxins and his

residue from you know cigarette smoke

that could very well wind up on the tape

and and you don't want to do that now i

guess you know if you're a bar band

someplace you don't care that's fine

but considering this is the beatles in

apple studio you would think that more

care

would be given especially with george

martin being in attendance because

george

he's a top shelf

producer and

i was surprised that

all the smoking was going on and you

know he didn't step in and say hey

there's too much smoke in the control

room boys

[Laughter]

or too much smoke making its way into

the control room but you see glenn johns

is also a chain smoking so it's not only

that the boys when they are listening to

playback

in the control room

are smoking but glenn johns himself is

constantly smoking so i i believe george

martin also smokes so it's it's all of

them

yeah he does smoke yeah yeah but i

didn't see him smoking

in the control room exactly i'm trying

to remember if i saw any of them smoking

in the control room yes many many okay

okay but now here's the thing

billy

uh he doesn't inhale now for cigars

that's normal right but for cigarettes

you don't smoke cigarettes just to puff

about

billy acts like he smokes he doesn't

smoke and i watch some some other um

interviews newsreels whatever if you see

him with a cigarette

you only see him puff because don't see

him inhale

another thing

if

there was

the suggestion of him inhaling they make

a cut i watched a sequence where billy

is smoking in the

and the apple sessions and you see him

taking a drag on a cigarette

and once you

take a drag you normally you you would

see the

inhaling of the of the of the smoke but

they make cut and they show billy

preston or george or whoever peter

jackson excludes it

from his um from his scenes it's i

thought it's very interesting so we

clearly see billy smoking but not real

he's acting as if he smokes fairy tale

um maybe it's interesting to

go to the scenes of the shots of billy

and linda and close up all right so

there's billy this is slide seven yeah

slide seven

i think he was he was telling about

george left the band and

in

this

in the morning

uh john is late

so there's only two

of the band left and he makes the remark

and then there were two

and

a few seconds later he starts

what i see is just staring in the

distance

uh but his his eyes seem to water up and

my

opinion

the watery eyes are added at cgi

and this could be done very easily in my

opinion this is just a little added with

a little um

almost like photoshop

just add an extra um

i am glittering how do you say that

english and i i glow

and you have a person who seems to have

watery eyes it fits the scene and it and

it adds the drama

so if peter jackson

has done this i'm not sure

in my idea it would be very easy to do

so it's just an observation okay so

peter may have put a little cgi in here

to uh to add a little emotional effect

yes

and following that is the next chart of

linda when

billy is playing

the long unwinding road which is

obviously a very

are you saying it's a very emotional

song

it's a slow song it's

maybe a song that he already

played to her or

demos of that i'm not sure

we see a close-up of linda and linda is

lit in such a very cinematic way it's

almost impossible that it happened by by

chance

in the studio in the area where they are

sitting they are sitting let's say

backstage

and the lamps are not directed to that

space in studio

so her

face catching that that light in

in this way

and while she's listening we see her

her left eye glowing up apparently it's

supposed to have a

light one of the lights

is turned up or is rotated her left eye

her left eye yeah you see an extra glow

coming up and you see uh glittering in

her eye and it just fits the

lyrics of the longer winding road

obviously very

very um very much and

in my view also this is added later on

okay the thing i noticed about linda

during the um the documentary paul is

that it almost looked like like i

mentioned this before we got started in

the old way of talking about things

airbrushed yeah i think they um they

could have used more

uh how you say it's skin smoothing

effect on her on her face

just to give her

an even more nicer look

um with it

really in relation to the rest of the

restoration of the images so her face

would then be

maybe softened a little bit and maybe

her eyes would indeed like i suggested

you get an extra glitter

she has a hair light in this shot which

is also

very um a hollywood style 1930s

the typical beauty shot of an actress

the leading star of the film it's almost

like this and um

yeah maybe they they did their best on

them on enhancing her beauty and these

and these shots like a filter i'm

noticing the top of her head we have

this kind of this this light

at the top of her head here and then

we've got the light here

on the left-hand side of a face where

it's lit up more

so yeah i agree with you that there were

some enhancements definitely done

to

the images

of linda when she was in the scenes that

was my impression too

not saying it's wrong

i mean she looks

very beautiful in these shots but um

if it's real i'm not sure we we

we can only get for visuals they did

their best on

giving her the best

possible uh look in the in the

documentary okay

um after the twickenham sessions we go

to the

the apple uh

studio basement studio do you want to

talk about this shot in the street with

the uh accordion player i i remember

from my own youth i'm from

mid 60's so i remember that in the early

70s street musicians uh blind street

musicians were

well you could see uh now and now and

again you you would see a street

musicians but he playing accordion with

a with a sign on it when it says partly

blind it's by chance that they filmed

this guy

but

on the other hand peter jackson leaves

this image in his documentary it's not

adding extra information other than we

know that we're driving through several

row i thought it's a nice clue if it is

a clue that we

are partly blind it could be like i

mentioned he opened up

episode one five minutes in with a scene

from yellow submarine or frame i should

say

of

the scene where there's two pauls

in the yellow submarine film and that

was obviously a paul is dead clues that

was five minutes into episode one so

i do believe that he did indeed drop

little clues here and there

with regard to the conspiracy so partly

blind yeah could it be that this guy's

partly blind yeah it could be but why is

it in the film you know exactly

for you and me it's

kind of an interesting

image yeah it has possibilities

where do you want to go next you know

you want to talk about the two

apple scraps the two girls i think it

was very much staged and i come to that

later on with the image i sent you

yesterday a montage of three shots where

the girls are visible but also

a girl and a fur coat

so this this image would lead to that um

second image

okay let me go there you know it's it's

interesting okay the next slide

and it has to do with the with the fact

that on monday when the guys are first

going into the apple studios

it is said that no cameras were allowed

inside the building but this shot is

obviously filmed from within the

building and

these two girls are shown so

mentally you tie this shot back to the

the interview with the two girls when

they're waiting uh for the beatles to

arrive

and

it's my opinion that the two girls are

being interviewed but

the girl in the fur coat

is also in the shot but she's in in

three shots

a shot from inside which is the main

shot and the second shot

is when george arrives and steps into

the building and the third shot is when

there's seem to be a random street shot

sign

shot of the subtle row

and

there the girl in the fur coat is also

passing through the shot

it's too

too much of a coincidence to be random

so i would argue this is staged

okay so you're saying that the the apple

scraps the two gals down here in the

black jackets

they're essentially

props right

they're meant to be there and then we

have this lady in the in the fur coat

so we have a we have uh this is

obviously being shot from inside the

building like you said and they said

there was no cameras inside the building

right

yeah people could argue well yeah this

this shot

film from inside is from later on in the

sessions it's

i believe on

wednesday or thursday in that week that

we see the boys arrive so you could say

oh well

it's a few days later it's later than

the monday on which cameras weren't

allowed

but then my point is

why is the

lady in the fur coat also in the shot

that is meant to be taken on monday

so we have two we have three shots with

a girl in a fur coat and obviously

it seems very much staged and let me

make sure i understand what you're

saying paul and it's not on the same day

or we're being led to believe it's not

on the same day it's it's shown that it

is on on different days so the shot

where george is entering the building

is supposed to be on the monday

the first monday in the apple

studio when george arrives we see the

guys arrive and then we see a text in

the frame

which says cameras are not allowed

and

already there the the two apple scrubs

are in in the scene but also the girl in

the fur coat and the girl in the fur

coat

comes back later on and then the shots

which are being filmed a few days later

okay

and you could say yeah well she's also a

fan

is it true or not we don't know but my i

got it and i i thought well if you make

a random shot of the central road street

sign

how great are the chances that the same

girl is

is walking in the shop

several row is as we know a very high

class shopping street with um tailors

the typical london

sample row

cloth

companies tailors

so it's very high class so a girl in the

fur coat would

underline that a little bit so if they

yeah if they would need let's say

extras to fill the shot with some

people then

this is a possibility and just so folks

know who are not familiar apple scraps

basically are groupies groupies fans

yeah in the interview they

they do with the girls they ask

why they're here and

what they would like to see etc and they

one of the girls answers we'd like to

see a show so that also projects to what

we later are about to see

but interesting is that when

john arrives in his rolls-royce

limousine and he together with

yoko

passes the girls and walks downstairs to

the basement the outside entrance of the

basement

the girls hardly look at john

they almost stand there like extras and

they they watch the camera man and they

they almost have a look like is this

okay

so

you sort of feel that they are

staged there that that that this is

this is choreographed you girls stand

over there and when you when john

arrives you give him a look and etc so

it's it seems like the script

um then the next shot and i was becoming

interesting i guess um the shot of glenn

johns's

console what we know about the console

is

that it's a the studio setup of this guy

magic alex magic alex supposedly

has installed the the studio with the

setup but interestingly the setup

is being tested by glenn johns and

george harrison

and they found that

everything is not okay

right and then

glen johns sends an sos to george martin

and martin and his emi crew install

emi equipment

to get the the recording booth

setup

correct

and they use

two four track

consoles

and they

feed this uh signal into george

harrison's 8-track recorder

and i thought this is interesting

the first thing is

george

deciding to return

is on a wednesday i believe

and

on the next day thursday

george and glen johns inspect the studio

so the decision for george to go back

or they have this talk on in george's

estate we see this

shot of his estate it's decided that

george comes back and the next day

already

there is a studio set up in the apple

building how is that possible if george

would have said no i'm not coming back

or if maybe it was decided well we just

continue in the twickenham studio

so this magic alex guy has one day to

set up a studio

in the apple uh basement and already the

next day clint johns and george harrison

disapprove of it very strange because

what we know later in the in the

sessions we see how much time clint

johns

needs to get the the audio correct to

get all the microphones dialed in to the

whole discussion about uh microphones

being everywhere and

where's rpa and why don't we hang the pa

speakers on the on ceiling etc

so the the the setup of the studio

of the emi guys or when george martin

gets to the rescue it takes from friday

to monday working through the weekend

to get the setup correct and then when

they guys

really enter the studio on this typical

monday what we talked about earlier

the studio is still not

up to snuff

because tuesday the day after

we see the piano tuner

we see

equipment being brought in we see the

ladders of the

the ceiling lights

um

the leslie speaker is being brought in

the fender roads are being brought in so

everything

needed to get the studio set up it takes

more than something like five days in

total so the whole magic alex story

seems

very strange that he was able to get

studio

working studio in one day time very

strange yeah the the actual moving of

the equipment the setting up of it uh

some of it seemed very off to me

as well paul what stuck out with me was

the relocating of the equipment from the

studio to the rooftop yes

that was a lot of work

yes to get done and the impression you

get in the film is well

they

finished up rehearsal on the 29th of

january and then

on the 30th late in the morning

they were ready to go so the first

question i had was well

who broke down all the equipment

exactly and rerouted all of the cabling

hooked everything up back up on the

rooftop i don't know to me it just seems

kind of weird now my friend who's the

sound engineer said that it's possible

if they had a number of assistants

several assistants to help them to break

everything down to re-hook everything up

so so i'm not going to say it's it's

impossible because you just can't say

that but it just seemed to me like an

awful lot of

time had to be taken to get everything

reconnected and tested to make sure that

it worked if you go to slide number 12

now we see a shot of the uh

of the cables coming out of the console

between the console and the the the

speakers

in the control room

there's all this cabling

it's one big spaghetti of cables yeah

that's that's all all from the

microphone signal cables from the

basement studio

so all this has to be

unplugged cleaned up and then all the

cables coming from the rooftop down to

the to the basement recording

booth had to be plugged in

everything had to be labeled so you have

what you said about uh having to snake

75 feet of cable from the rooftop at

least yeah it's five stories between the

basement and the rooftop so you can only

do that if you if you label it uh up

front

you would say mic one mic two mic three

drums one drum stew etc

so you have to label it to be able to

tell

at the rooftop and in the basement which

cable is goes to where

otherwise you would be busy all morning

um signal testing your cables and then

to afterwards have to

to plug it in at real in the real

station real plug station i can tell you

right now i would not have wanted this

job

and i would have quit

so

but it's not only signal cables all the

equipment on the rooftop at

power cables as well so you have your

power cables coming probably from the

fourth floor going up hook up all your

your amps your uh floodlights for the

cameraman your 12 volts

uh feed for the for the cameras there's

a niagara recorder also on top with the

directional microphones you have all

this stuff had to be powered coming from

the probably fourth floor and then from

the rooftop all the signal cables going

down okay it can be done possibly

i'm not sure and with much and with

which time frame but we know that the

the boys are still being

uh recording on the wednesday before

right like you said that wednesday

afternoon or maybe once the evening late

i'm not sure which which time i and then

the next day um

up and running

like you said your your sound engineer

made the suggestion that a good

recording

engineer would

would be able to

dial in very quickly

the signals from a live recording the

sound checks yeah the sound checks would

would not be

even needed

or maybe uh rudimental and

the rest would be done at console

but my um point of view is when you

clint john's obviously it's shown in the

in the the days when they're first in

this basement studio

it almost needs two days and maybe more

because you made your remark that george

martin

starts the discussion of the microphones

giving a

howling reverb because of the placement

of the speakers the pa speakers yeah

yeah they they need several days to get

the sound right in the basement

why wouldn't they

need that much time on the rooftop

you could say okay give it a

good few hours and we have a good sound

check and we can go

but why

why didn't that happen in the basement

studio why didn't there uh

why couldn't it be done there in just a

few hours of uh signal check sound check

and then let's go

no the the guys are messing about a few

days

of the pa

speakers the monitor speakers but

there's also monitor speakers on the

rooftop

so wouldn't that be the same problem of

a howling reverb

and what you said it was a windy cold

day so you have a wind influence on your

picked up on your microphones so all

that

would have been cleared in the in the

few hours before the guys would start

playing on the rooftop yeah there's a

gap here that is unexplained that that's

how i look at this ball is there's

something missing in this so exactly the

time that they left the studio and then

the next day going up to the rooftop is

a whole chunk of something that's

missing here that's not explained it's

the same thing with the decking on the

roof right we talked about that in the

first

show that we did and so

we leave episode two with billy up on

the rooftop with michael lindsay hogg i

think ringo was there too and they're

talking about well yeah maybe we could

do something up here but they also

mentioned that they had to

investigate and look into whether the

roof can hold the equipment and the

entourage the weight of what will be up

there when they played live

peter's film never closes on that

exactly

we just get to the rooftop scene and all

the decking is on the the roof and

you know and then the cabling and all

that stuff just magically appears it's

all already a set yeah exactly yeah it's

it's it's i don't know it is like i said

there's something is a piece of this a

chunk of this

that has been removed from the timeline

and left unexplained exactly that's just

my take on it you know and that this

this ties into the next step after the

rooftop concert

we see the guys back in the console room

listening to the playback and then

someone suggested oh why don't we finish

the recordings here of the left of songs

uh just this uh this afternoon

because they they played around noon the

the rooftop concert and so the afternoon

would that mean that they still had a

few hours to do a recording obviously

that's nonsense

the whole

exercise of

unplugging the rooftop cables and

replugging the basement cables

would have to be do have to be done

all over again

and then the dialing in of all your

signals

had to be done as well all over again

so for them to suggest that even

is totally insane that's a good point

because as i mentioned a lot of people

believe or believed unless you watched

the documentary

that

the get back sessions the let it be

sessions ended with the rooftop session

and it didn't

it went into january 31st the next day

which meant they would have had to

break everything down again

and reroute and

reconnect everything

for

the sessions the very next day now again

can it be done i guess yeah anything can

be done if you have the right number of

arms and legs to go get it done and they

know what they're doing

sure but i don't know it just seems a

little off following on that if you go

to slide number 33

okay we see this is um this is the

friday so after the rooftop concert

the whole studio has been changed

uh what we see here is that they no

longer use the ceiling lights which

which gave the the

apple sessions this nice soft

uh living room type of

lighting and atmosphere

they chose to bring in

spotlights on stands

and the black areas we see are

what is called flags to to direct your

beams of light to specific places and

other places you want shadow

so they they brought in extra lights

extra light stands

uh these flags

um

the whole setup of the studio is

different than before

if you go to the

the next slide number 34

it's a little bit better and visible

ringo is playing now on the platform

without baffling

an interesting detail is over on the

left left of michael lindsey hogg uh all

of a sudden there's a fire extinguisher

mounted to the wall to the wall

that wasn't there before

so

there's a lot of stuff in there that

wasn't there

in the previous

recording sessions

these lamps

and these cameras um had to brought in

these lamps

specifically you could say well they

they had them in store they just had to

move them in

it doesn't work like that if you have

these lamps usually this stuff is being

rented basically nobody has this uh

stuff uh

in store and

maybe in the twitch m studios could be

i'm not sure but it had to be brought in

it had to be hooked up usually these

lamps

require more or

other sources of power with a higher

voltage

in europe you we usually uh work on

220 volts with some of these lamps i

know uh work on the 380

so if if you want to use 380 you have to

you have to bring in a generator

if these are really moving

how do you say it movie type of uh lamps

with uh anyway it's all new stuff

brought in the studio is set up

differently

what i see

it it looks to me

like a few days have passed this is not

the next day if the the previous day was

a rooftop concert and the next day was a

recording session in the basement

um these two images don't seem to line

up it's it's a in timeline it it could

be done but you have to have made

preparation beforehand to have this all

this stuff uh ready to go

enter this into the studio

um

make a logistic um

program that you bring in first all the

the equip the instruments then the

lighting equipment then the cameras it

all seemed very

not fitting the timeline yeah it's a

completely different configuration for

sure

and the other thing i noticed paul was

as i was looking at this particular

capture

to george's right his right leg on our

left we see a different rickenbacker

base as well

this is not the rick that was being

shown by george martin exactly

that's not the same base so now we have

a brand new rick has appeared in the

scene so i mean can somebody have

brought in a different base yeah

but like you said when you take a look

at the completely different

configuration and so on it's another

it's another scene where you're thinking

to yourself are we getting the full

story here or again are there gaps

to me it it feels like a different

session

way

uh in a way off uh in the timeline uh

that that it has been presented i don't

know like i say everything is possible

and with the right people uh you can do

the right things but if we look overall

this whole operation is very much

uh not controlled uh mismanaged it

starts off with the

with the guys in studio in the trick and

m session nobody knows what's happening

uh even the beatles are asking what are

you going to record our uh conversations

nobody knows what's going on the

director michael incy hawk hasn't got a

clue

what he will be filming halfway this

session he still has no clue he still

says i have no stillness story well

twickenham they had no

they had no recording equipment they had

to bring in george harris's hrac

recorder exactly exactly so the the

whole preparation uh wasn't there

nobody knew what was uh going to happen

there wasn't any

developed songs so they say but in the

end we know that they weren't because

they only played four new songs one left

over and in the end they only played

five songs on the rooftop and that took

a month to prepare so it's all

mismanaged

um misprepared uh that's the whole

atmosphere i piece that i get from this

this session yeah it was incredibly

disorganized yeah so if this organized

it's let's say the the overall

concept uh conception of the uh or you

say observation of the of the session it

seems strange that all of a sudden they

were able to bring in a complete an

entire

um

new studio setup with different lights

different cameras

instruments played on

placed on different positions it doesn't

feel fitting

to to the situation

well there's the different wreck right

there exactly that i was just talking

about this shows obviously the uh

misplaced strings coming off the nut of

the neck of the of the base and then

george martin comes to the rescue

first sorry first um mal comes to the

rescue and billy explains he says the

nut is for a right-handed guitar

and this is supposed to be billy's base

and billy is supposed to be a

left-handed bass player so he's

complaining that his his the nut on the

neck of his guitar is for a right-handed

player

and you in this shot

alone you can clearly see that the uh

the the

the e and the a string

are completely misplaced on the neck of

the guitar so indeed they are coming

loose of the of the nut yeah there's a

couple of things with this pole that

don't make any sense first of all this

is a lefty bass because

the knobs are down here yeah if this

were a righty bass the knobs would be up

here yeah

and what's very interesting about this

like you said

the bass has four strings so the top

string is your low e then you have your

a then you have your d and then you have

your g take a look

at

where the a string this is the third

string right here look where it's at

it's sitting right on top

of the low e

yeah

it's almost like they're

really coming loose off the

of the neck of the guitar they are

completely misplaced so he starts

complaining to mal and uh he's he's he's

explained to mel uh that that this is a

a right right-handed nut

and he can't uh he can't play that so

he's you he says the words i'm not keen

on that

well there's no surprise and then

the next shot um slide number 24

george martin comes to the rescue and

he's trying to explain um

or at least billy is is explaining and

he doesn't know where these knobs are

for

i know that was ridiculous

that was absurd in fact i have no idea

why that was not edited out of the film

yeah so you could say well

billy wasn't

used to playing that bass

okay

but all beetle fans know

that this rickenbacker

was paul's

base of choice for his studio sessions

since 1964 i believe

or 65 i'm not sure

so all the fans would would know this

and he see they now see

billy explaining to george martin that

he doesn't know where these knobs are

for how ridiculous is that very

ridiculous because it's very simple

there are two volume knobs and two tone

knobs and then there is a

a pickup selector that's it billy

you know it doesn't get much more

simpler than that

so that whole dialogue was completely

contrived exactly so then you could say

at least you and i

is this a

a hidden clue or is this just a plain

out right in your face open clue

to us

that billy doesn't know how to play

rickenbacker base so billy is not paul

mccarthy well we obviously

know that already but it shows here very

clearly

yeah it was very very weird yeah that

entire scene and the other thing

we talked about it before you mentioned

mal evans who who's depicted like he

takes the short bus

to school every morning you know i felt

bad for mal because

he was a gopher he was a gopher go get

some ciggies go get some drinks go type

this up yeah um george one at one moment

says can you buy some size eight blacks

uh

shoes because

i don't go to shoe stores i mean

totally absurd uh it was horrible i felt

bad for the guy okay but also the the

whole thing about coming back to the um

the use of an anvil

uh

to create the sound of an anvil

is also very

strange

in one of the first days in the

twickenham session billy says or john

i'm not sure which or was it

he says um mal we're gonna need an anvil

and a hammer

and and the next

scene we we

they they show us that indeed an anvil

has been brought into the studio

but if you want to create the sound of

an anvil you don't have to bring in

to bring in an apple just just bring in

a hammer and a piece of steel

and then or you're banging a hammer to a

screwdriver and you have the sound of

metal being drummed i don't even know

where you would go get one if somebody

said

go pick up an anvil like you're like do

i go to the home depot for that you know

where do i go to a hardware store where

do you get an anvil from now the other

thing i wanted to talk about you and i

spoke about this earlier take a look at

george martin's you know he's kneeling

down by billy look

where the fender six is exactly if he

makes one wrong move you have two two

guitars uh being killed right i i don't

get it i and and another thing is that

what you mentioned you could say well

then rest your

guitar to

an amplifier or a chair or something

yeah but there's another not in my

series but there are clearly some shots

where we can see that the one of the

guitars of billy is resting to the

defender roads of billy preston and that

always that also um

i i i find it strange if you have a

guitar with strings that can vibrate on

on their own um

resting to the um the

the roads

you get sort of a reverb an unwanted

reverb it resonates it resonates so

that's also what i i thought it was a

strange thing to see um that follows the

the strangeness of microphone placements

and uh also if you maybe um skip to uh

scene

uh number 22.

yeah before i go there paul the second i

just want to again i talked about the

bleed through right so here's the pa

on the far right it's to george's right

yeah and that pa is cutting across

the microphones

for the

both amps

for the guitar

is cutting right across the room exactly

and then that's the leslie speaker in

the back which is in the corner that's

to the right of the pa right yeah

yeah that's another problem you fire up

the hammond organ to that leslie speaker

and

you're gonna have the same problem i

think

uh that you would have if you are

playing through that pa which evidently

they were because in episode three

that's when george martin stepped into

the studio and said the sound is all

mucked up yeah because of the setup and

the boys are complaining that they can't

hear what they are playing

yes

then also glyn jones

of all people have has to tell the boys

that their guitars are out of tune

and when it happens to to billy it's

interesting that

that john and george start laughing at

billy that his guitar is out of tune

almost

almost like hey who's leading the band

and who's whose guitar is now out of

tune it's they sort of taking the orange

state that english taking the piss out

of him it's it's very

was a very comical scene uh illustrative

of how

all boys uh are not knowing uh what they

are doing and um one of my

let's say general observations regarding

this is also that they they are not

in full control of their instrument they

are not like say um

masters

of their instrument i mean yeah

uh john and george can play a decent uh

piece of guitar um billy obviously isn't

a real bass player

he plays his bass parts but he's better

at the piano and let's say he excels at

the piano ringo and and billy should be

a rhythm section of the band but they

are not in all the songs that we are

seeing here every time

uh either john or or billy are telling

ringo

how to play drum

it comes across as ringo not being the

best drummer they could have and that

ties in

to the

documentary or the remarks that george

martin and billy

had when they're discussing ringo that

ringo was

not such a great drummer and we sort of

played around it

yeah yeah well billy had said in that

interview with george martin that when

you know when they played live of course

billy wasn't there but he was saying

that ringo would speed up and yeah stuff

like that now in all fairness

keeping perfect time precision time as a

drummer i mean the the real the studio

guys you know can do that

the beatles like ringo

john george i've i've said this you know

since i did my presentation did the

beatles write all their own music

they are a bar band

they are a bar and club band so

it's not that they can't play their

instruments

it's that they are not studio quality

musicians and this is one of the things

that my friend who's the

who's a sound engineer for almost 40

years that he pointed out as he was

watching this he said that it was very

clear that they were not studio players

with the exception of billy now he

understands that billy is naturally

right-handed and going to your point

paul about billy

billy's primary instruments are wind

instruments and the piano

okay so if you watch the old uh bonzo

uh videos with the songs you know

billy's playing

wind instruments and he's a very good

piano player he's not an exceptional uh

piano player but he's very very good and

this is by his own admission by the way

he will tell you the same thing is in

interviews he'll say that

so in any case

like this whole room looks like a mess

um speaking about a mess um

i have yeah we should go to the mess

yeah we should go through the mess um

because even i think glenn johns made a

comment about after the first day glenn

johns makes the comments you say here it

is right here yeah it says the record

slide 16. yeah size 16 is the

the photographer's

corner

but glen jones makes the observation

that yeah the recording uh room

looks like a pigsty

yes that's only after one day of

recording so

um but here we see a little um

we see the camera and the light meter

and the camera back and we see the the

cartons of the uh the films

if a photographer

he mirrors what he sees in the rest of

the studio but if you have a mess like

this

uh can you produce quality stuff i'm not

sure well let's take a look here's

another view it's a way of working yeah

this is after the leslie it's slide

number 15. by the way mike this is where

the speak after the speaker got there

yeah after the speaker

got out of the box to just leave the box

lying there in the studio

don't clean up anything that's because

mal will clean it up

maybe they're thinking well mal you

brought it in you clean it up

i don't know

the other uh

image is the

number um what is that 14

where the

defender wrote has been brought in and

you made an interesting point about the

roads being brought in before billy

preston arrives right

they already probably most likely knew

that billy preston was going to be part

of the band yeah because it showed up uh

like a day or two before

billy just

had a surprise visit

at the studio and i thought to myself oh

give me a break yeah that fender rose

was brought in because they knew he was

showing up of course

of course

these kinds of things nothing will be

left to chance

the other thing too is uh

during the eight hours i think i heard

billy preston

say two or three words yeah otherwise he

was

it was as if you were watching a silent

movie yeah very strange

he just smiled a lot now you smile a lot

played beautifully oh well beautiful

well wonderful

i i mean that that's sort of what the

the the bills themselves uh say in

george martin also i believe

that once billy preston arrives the

whole dynamic of the recording session

picked up tremendously as all of a

sudden the guys are inspired to to play

better to develop their songs better

everything sort of gels together after

billy preston

enters so

maybe

this wasn't just a surprise no and i

would bet that billy preston has played

with them before i mean as far as uh

session work as an uncredited musician

they go back to the story well he knew

them back from the hamburg days and i

thought well you know

he did but i was thinking to myself as i

was watching this i'll bet some of the

keyboard or piano work that we hear on

beetle records was billy preston that

was my thought

and i do not think that he just popped

in because that fender road showed up

right in time

[Laughter]

it would have looked nice if he would

have arrived and then a day later they

brought in defender roads then it would

make sense but now

his instrument comes in before uh

before himself so

looks very strange hey look i think

without billy preston i said this i

seriously doubt they would have gotten

anything done yeah he put a lot of

structure behind yeah the songs

especially yeah yeah and there was a

moment where they are playing uh i

believe uh george harrison is at the

piano

and he's trying to find some chords

and and then really preston says no no

it's a it's an a chord it's an e chord

with an a or an e chord with a c

something like that

and then you see george harrison looking

like oh oh really so they they sort of

haven't have a nice communication about

finding the right chords for to the song

one of the few moments indeed that

billy preston uh

making conversation yeah we have a

picture here of uh yeah heather and

either that one heather or the one where

george is uh enjoying milk and cookies

and whiskey and wine i was i was

emphasizing the fact that in this shop

with linda and heather and the other

girl whose name i'm not sure of you see

very clearly a bottle of jmb scotch this

is kind of a weird mix you have j and b

bottle of milk a bottle of milk a bottle

of wine and cookies so you could say

milk and cookies

and jelly bean wine

the session of champions

drinking on the job it's just not

appetizing i mean just to look at the

whole mix here especially with the milk

ah it's but also in the some of the

other shots you see uh

the roadie caffeine uh kevin harrington

pouring a white wine etc it's i think

it's strange to to emphasize that in the

environment of your workplace okay you

say you could say they are already

smoking so why not show them drinking

but at one point john is complaining

that his his force going uh sour and

that he's feeling tired

well no

no surprise there if you're boozing up

and drink smoking all the time

it's not very

contributing to your quality of their

voice well especially if you're going to

go

into the studio for 30 days

and sing and sing and sing and sing you

know you do run the risk unless you are

a professional singer you know billy

knows how to use his diaphragm yeah i

don't think george or or john

had voice lessons

the possibility that you can you know

you can strain your voice

yeah and become hoarse and all that is

highly probable so

go to the

27

george martin

there is a

hidden booth and that's you could flip

between 27 and 28.

there was a hidden booth with a camera

in the lobby of the building and at one

point in time we see

george martin entering the building and

he smiles like this to the camera i i

describe it as duper's delight he

definitely knows what's going on

and he can't hide his face

him knowing what's going on

and showing us then the next slide

number 28 we see the um the policeman

um coming back from the roof so this is

20 number 28 is after the concert but we

see clearly now this

recording or this camera booth

which is strange because this shot is

made from

the lobby with the camera

so the camera is not in the booth it's

outside the booth so the point of having

a booth

is not valid in the first place in this

shot but anyway

the

officers

coming back from the roof i think it was

all a setup the police were in on it

they probably got a

message

indeed

call in from complaints of uh the

businesses in the neighborhood they say

what's this a racket all about

and so the police enter her but i think

they were not and one of them

i saw an interview with one of the

police officers the the young one the

what somewhat taller one

explaining now nowadays so that's now 50

years later he's still alive he's got

this guy

he's telling that there was no intention

of arrest being made

he was just uh trying to get the volume

of the

of the of the noise down

but

probably or maybe likely he was

instructed

go up there go up to the apple building

make some noise and make some a strong

voice

and make an appearance

and in anticipating that

the the production made this camera

booth in the in the lobby i mean it's

all set up it's clearly visible in these

two shots i mean i don't know what else

can be told about it

right yeah you can even see the light up

above right they brought in extra light

for the camera to have a um a good

lighting uh setup to work from yeah uh

who would do that if you're not

expecting anyone yeah if it's supposed

to be spontaneous and it's supposed to

be you know like a reality tv show well

we know reality tv shows are scripted

but you know what i mean yeah this is

this is a typical

aspect of of all being planned out and

scripted shots can be maybe the ones

from the from the rooftop the 29

is

uh the first setup you see the the

mountain speakers standing vertically so

upright

and later on we see during the concert

itself

that they're lying down and you made

interesting remark about

monitor speakers lying down

giving out the correct feedback to the

players

of the of their sound of their

instruments i i thought it was very

interesting that it's it clearly shows

in this these two two images yeah the

playback monitors you know you want them

to be angled

facing you

as the band

especially for the singer so that they

can hear themselves if you can't hear

yourself when you're singing it's but

you know when you're playing live then

there's the possibility that you know

you could wind up singing a little sharp

a little flat and so on exactly and they

took these speakers here these are the

ones with the black

backs at one point yeah right here they

are upright but then they lay them down

on their sides and

so the point i was making when i did my

part 3 review is when you lay them down

the sound is actually shooting across

you know below your kneecaps exactly can

you hear yourself

yeah you could hear yourself but not as

well if the speakers were angled

properly so that the sound was coming up

towards your ears you know some people

might say it's a minor point that's fine

i get it and then they have two pa

speakers one on the left to the far left

and one to the right that's leaning up

against the uh the rail yeah and that's

playing out to the crowd yeah so as soon

as that started playing what you know

what would happen is because you're

playing into a a city street you're

going to get reverberation off the the

buildings and the windows and

stuff like that and and i was wondering

how are they able to get a clean vocal

sound

with that echoing effect in the

background no you know because uh you

know what would happen is you would get

this delayed effect coming back at you

exactly and so again it's just one of

those situations when i looked at the

setup

i was just scratching my head yeah

it's very strange

well one of the the smaller details

which you can see in this shot is the uh

the setup of the cameras the camera crew

also the floodlights that they have to

use

because it was expected to be a cloudy

day

and

the film stock they used was um

i read up on this it was very

interesting they used 100 iso film stock

um but corrected for tungsten live

if to use it

outside you have to use a correct

correcting filter to get your color

balance correct

but the the correcting filter um eats up

a one-third of stop of light so what you

end up is with a 64 iso film its

sensitivity

and to make up for that they brought in

this stuff these floodlights and you can

see them laying

next to the uh to the camera crew uh

wrapped in cellophane to protect them

for possibly uh

the typical english brain or something

so that's interesting to see how it's

all being

set up here also of notice is that in

the background you see

these vertical stands with these red

grips on top of them

these are camera stands no sorry uh

light stands but they they weren't used

later on in the other shots you see that

they have been

placed

further backwards and

in the set

then maybe interesting to see

well the the shot number 31 is

john and billy

uh playing and ringo also but you see

the size of the the amplifier speakers

and the uh the roadie kevin harrington

uh has made an interview somewhere

where he told about how these uh

speakers were not able to be

moved upstairs and they had to

break open a skylight to um to hoist

them to the to the rooftop um but if

there is these these a base speaker

generally is something like 100 pounds

or so

uh so to hoist that up with a rope

through a skylight

interesting

nice job of these guys to get it up

there well these bass bottoms here i

mean i used to have an old ampeg v4 that

thing weighed a ton and mine wasn't even

a bass amp mine was a regular guitar

amplifier

so these are very very heavy and the

fender roads itself is is not a light

instrument i used to play offender roads

going back many years ago so

yeah i heard too that they had to take

it through the skylight i guess it's the

skylight right behind ringo if you if

you look in

the rear of let's say

beneath this concrete slab there is a

white plane uh somewhat tilted it i

couldn't find it earlier but i i checked

on it after the concert about the guys

leave the the roof and they they

go down the stairs and in one of these

shots you see that this this white uh

plane tilted towards the the wall is in

fact one of the

skylights that's standing open the one

that's right behind the amplifier yeah

exactly it's right behind the amplifier

and if you go to shot number 32

we have a

shot

from the back of the band and you see

the entire skylight

uh this typical half-domed

shape of the skylight

um but the one that's standing open is

not visible just just not uh very

unfortunately but anyway you can see the

actual lighting that michael lindsay

hogg was using to the right yeah exactly

and also

what the boys in fact were

were looking at is the skyline

of london but without any audience other

than their own girlfriends and a camera

crew

and

this was one of the points that i

believe george or john i don't know who

it was discussed very often about

doing a concert but in the end a concert

without audience and

this is then what the band were playing

for the skyline of london yeah it was

george who said i don't really want to

play on the roof and he did say it but

the point he was making was why yeah

who are we playing to we're bling yeah

and and that's a good question so that

you know what that says i think is it

was

something that was done for

cinematic effect it was something that

would go down into beatle lore

as if it was some magnificent moment in

their timeline when in fact like you and

i discussed when we first

got onto the show at the end of the day

they played five songs on the rooftop

exactly 30 days in the studio it wound

up being five songs yeah

the whole the whole

idea of michael nc hawk to to make it

a large theatrical uh performance in

libya

in the amphi all the amphitheater and we

we sail in english

fans

and uh make it a large spectacle

that that was a very grand idea

but in the end it turned down to this

bleak

little show without audience it's a very

strange

yeah counterpoint almost and a type of

discussion

yeah they

missed the objective

tremendously yeah

like the original objective was

to write

record

14 original songs

get that done in two weeks so they could

do a live show yeah

perform live at an amphitheater out in

libya

at least that was one of the proposed

sites

to

30 days banging around the studio doing

a lot of cover songs winding up on the

roof of your recording studio

and

playing five songs yeah

almost as if uh in lieu of of an

alternative

well then we go up to the roof i mean

it's it's not

fitting the the whole

image of the beatles uh this grandiose

the greatest rock and roll band ever i

mean that those were the words that

everybody uses in those days and even

now

and then looking at this and then it's

only five songs and and added up 13

minutes of total playing time if you

leave out the the extra tags

it's a very

um yeah bleak

underachievement under achievement

almost

yeah absolutely it is uh

that's what i said in my

my commentary videos i wasn't trying to

be funny and i wasn't trying to knock

them but

what i was doing was comparing what they

ended up with versus what they started

with what was the original objective and

where they land you know so it's it is

it's an under achievement the clothes

that the the cameras get from the street

people in the street is also

stressing this

one of the men said it's a bloody stupid

place to have a concert uh one of the

other says

about hearing them in the streets

he says yeah well we'd also like to see

them i can't see it makes sense

another one of the women says why is it

up on the roof with all the money they

got right for a very strong point it's

not befitting their

their status you know paul maybe at the

end of the day considering where the

band was at maybe this is all they were

capable of this was the best they could

do yeah yeah yeah let's give that some

thought yeah everybody wants to put them

on some lofty pedestal

but at the end of the day

this was it yeah yeah and that was back

it's it's sort of a it's very telling

for which direction they were headed i

mean that they broke up very shortly

after it's uh

another was not a big surprise no

in one of the quotes i got from um

oh yes and one of the first day in the

apple studio uh when everybody's still

walking about and

[Music]

george harrison is talking to george

martin and they're

talking about

how's your business going something to

that effect

and then george says hasn't it

disingraded like ours

so he's he's talking to george martin

and he's referring to ours as being the

beatles is that this is integrating so

already then during the sessions they

they have

at least george harrison has this

feeling of

well this is sort of the last thing we

are doing and then

we put an end to it it i thought it was

very telling that um in these little

discussions

almost very clearly um

visible

you could almost taste it that this was

the last thing we would do and then

i mean also like he we already said

going into the sessions

uh

george wasn't into it he came back from

the session in uh in new york where we

had a very pleasant uh play time with uh

bob dunsman or

and and then he came back to the the

winter of discontent as he called it

and uh

ringo i mean in the first week he was

totally bored out of his head he did he

didn't feel like it john was goofing

about just to to get his head off the uh

it's it's very telling that only the

only person willing to do this with a

hundred percent was billy

yeah and like i mentioned when billy was

having the discussion in the studio

and i think it was michael lindsay hogg

that asked him well they were they were

all having a discussion i should say and

and then billy was quiet and michael

lindsay hogg asked him what's on your

mind what are you thinking about and

billy's talking about well

where do we go from here what's the

future look like and the other three

beatles

are sitting in the room and nobody says

anything and that was very telling to me

because what they were saying through

their silences there is nothing after

this bill exactly yeah

yeah and in fact

john quit the band i think it was august

of um

1969 so you know eight or nine months

later

he was out

and billy threw in the towel i think in

april of 1970 so

but um the question i wanted to ask you

paul is

did you get the impression when all was

said and done

that peter

was trying to

revise beetle history to put a happy

face

on a period of time that wasn't so happy

for them what were your impressions

if that was the

the

objective i think you could have

gotten that result by by by cutting it

very much shorter

in fact what he did

the clues that we already discussed

today

uh the dropping clues of billy but also

the the telling clues of where the band

was in terms of was there any future

left

if if the the objective of peter jackson

was to show us a happy band

with a with a nice rooftop result

he could have left out all this let's

say negative stuff but he he kept it in

so in my view

this let's say negative tendency of the

band coming to a close coming to an end

is is indeed

left

in the documentary so it's for a let's

say for a keen viewer

you could see this already uh presented

in this documentary and for the happy

viewer

who thinks that this is all glory um

beetles uh are still the greatest rock

and roll band ever and this was just

their

most recent project

they probably will not notice these

little negative tendencies that we pick

up on right well so

i think peter jackson made a very clever

ant result

for everyone who wants to see what he

wants to see

and in that respect he did he did a good

job but

uh for my view as let's say an um a

non-non uh beetle

fanboy i i say it's way too long

and if you want to present the happy

band then you could have left

many repetition

especially if a song goes wrong in a

repetition all the stuff that

several takes glenn john's complaining

that the take is not correct etc you

could they could have left all that

stuff out and then you

would end up with something like uh two

two and a half hours maybe

of uh documentary with the development

of the songs

with the result of the rooftop concert

and then you could have included all the

happy stuff with heather singing and

dancing

and uh

maybe

the shrieking with yoko

it could all have been included and make

it a total happy

atmosphere

but uh they peter jackson left all the

negative stuff in so

i i don't think it's he's retelling or

how do you say we reviving

revising history

but um he's giving it a twist for

everybody to

find

in this documentary what they are

looking for and in that respect i think

it's very cleverly done

well i was actually

quite pleased that he did drop some of

the conspiracy clues

in the documentary

that's what we were talking about before

if you're familiar with the

with the conspiracy especially if you

are familiar with what memoirs tells us

then there were a number of moments when

you picked up on it

and you knew exactly what they were

talking about

so he had a little bit of

something for everybody in a way

yeah exactly but overall i would say

it's way too long and uh

he could have included those uh clues

or those truths

also if you would have

sliced it up uh somewhat shorter on the

other hand i can imagine that disney was

very pleased to be able to uh to show

almost eight hours of uh of stuff so

it's all then in the end it's all in a

commercial

situation where they they just say well

just go and make

three episodes

and uh but for for

in viewing time it was was way too long

especially if like you and me we're

trying to look for some

peculiarities or truths there are truth

drops or

other strange stuff

it's very long it's a long long watch

yeah and the one thing that i put peter

on the hook for is

he did not present

or have any kind of discussion about

the fact that

the beatles abandoned the sessions yeah

in other words they didn't think enough

of the sessions to really do anything

with so they originally handed the the

tapes off to glen johns and then it

wound up with phil spector and so the

argument's going to be and i know what

the argument is some people have already

made the argument with me they're going

to say well mike this was all about the

the footage that they had for the 30-day

period of time okay i understand that

but peter called it a documentary

and if it's really going to be a

documentary then you need to document

the full story

and he in my opinion he left off a chunk

of it which was very important which was

they were dissatisfied with what what

came out of it and then they handed the

tapes off first to glenn johns and then

to uh to phil spector to do something

with it and they walked away from it

yeah

yeah anyway that's just my view i know i

think it's very interesting because the

the opinions uh

go all over the place whether the

the original versions or the phil

spektor versions are the better ones and

uh who was responsible for what and who

thought about about what but what what

he he did do so he could have included

the phil spector um discussion

he he leads in

with the old

images of the beatles so

let's say the happy days of the beatles

right some of the years the first five

minutes or something in episode one it's

just a lead-in to this documentaries

with old images so why not lead out the

documentary with what happened to

the recordings how were they processed

to the result we all know

um how was billy's uh alternative take

the naked versions

and and what you said he left out

certain songs so all that uh stuff that

went up

went on afterwards he peter jackson

could have easily put it in to make the

at least the

the picture complete no you're

absolutely right paul you're making an

excellent point because he led into the

documentary

with

footage and presentation that had

nothing to do with what michael lindsay

hogg felt exactly he went back to the

early days and

took you through a timeline but then he

cut the timeline off at january 31st

1969 and we know that the timeline went

beyond that yeah

like you said there were there were

retakes of uh vocals of drums so the

these things uh are left out in fact

what he also left out in contrary to the

earlier sessions in the the friday

sessions

it's only shown what is

as they say

being the versions to be found on the

records

so they only play the final versions

that let's say they show us the final

version and on the friday the outtakes

let's where clint john say uh hey george

your guitar out of tune are not shown

they're only showing us the final

versions so they make the friday

a real happy day with only successful

takes

and so also here is a little bit of

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modifying of uh

of of the images they have been edited

to a form

of a conclusion

um the conclusive friday where

everything uh was wrapped up and the

album was completed so

and we know that's not true yes

and so in that respect you could say

jackson didn't

make it complete as it should it should

have been

you and i are in agreement

well paul that was a fantastic

discussion

no it really was it really was i think

it was uh

it was very free-flowing and we just

talked about stuff

based upon

our take on

what we took away from the documentary

from watching it you know we're not

saying we're right we're not saying

we're wrong we're just talking about

our impressions

you know and uh you had some great

insights so paul before we head out

though there was one slide one moment

in the documentary that was very telling

and i had said that george was the one

person

that i felt was thinking logically

through this whole thing and

was really

speaking from the heart and so

there was a moment when

george talks about

being yourself do you want to explain to

the audience the dialogue that took

place before this

the boys

go back to the days they were in india

and what their reason was going to the

maharashi

a spiritual

session

over there george makes a remark about

that it's the biggest joke to be

yourself

and if you were really yourself you

wouldn't be any of who we are now

and then he gives this look to billy

when he takes a drag from his from his

smoke

and almost killing luke in my view to

billy

for

the ones who know what's going on

this is i'm in my view this is very

obvious he's almost

killing billy and billy's

persona and his role in the band

with this one look

i think the words being yourself

and what we know of who billy is and

what his role he plays

and the deception and the lies

and everything that we know that the

last 50 years

have been presented to us

is for me um comes down to this image

yeah because he's telling billy

this is not real this is not real

i think well like you say george george

is sort of the the

emotional heart of the band if i can

explain it like that he almost always

comes with the most

sensitive

remarks also the most logical remarks

why move up to libya to have a concert

who's going to pay for all this

is always george who has the most

sensible and logical

uh remarks but now here in this chart in

this scene

he talks fully from the heart and he

doesn't disguise it with secrets or with

hidden

second meanings but just enough for us

you and i

to know what he means and for a

casual viewer to say oh well look look

he was

making a smart remark but we we you and

i both know what he's meaning by this

and the look he gives billy is

is in my view

very telling i agree well paul i think

with that

we'll uh wrap it up

and i want to thank you for your time i

can only say uh thank you very much for

having me on the show and uh

i say goodbye nice

new year's eve same here paul thank you

so much

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you