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And she did it just to spite John for writing Revolution #9. Then she went on to kill him later (see below).
 
== As stated on thebeatleseverbrokeup.com, there is an alternate universe where The Beatles never broke up -- butup—but what the author of the website brought back with him was a sequel to that universe's equivalent of ''LOVE'' ==.
In that universe, The Beatles never broke up, but they still wrote many of the songs we know from solo albums, which were released as Beatles songs instead. They also had put out a remix album similar to ''LOVE'', but with much more radical changes to the music. Then they put out a sequel focusing on the later material.
 
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== Song Theories ==
 
== "Revolution 9" is the mad ramblings of a Psyker from [[Warhammer 40000]]. ==
In [[Warhammer 40000]], psykers are usually insane and have almost no control over their minds. "Revolution 9" is nothing but insane ramblings and talk of Satan and death.
 
== "How Do You Sleep?" Is actually an angry dialogue between John Lennon and Paul McCartney, as imagined by John Lennon ==
The song begins with the line, "So Sgt. Pepper took you by surprise? You better see right through that mother's eye." The line is from "Paul's" perspective -- heperspective—he is telling "John" that he knew exactly what was happening when Pepper was a massive success, and McCartney wrested the leadership of the group from him, and that to claim otherwise is disingenuous.
 
The next line is a response from Lennon, referencing the classic Paul is Dead rumor, and accusing "McCartney" of arrogance.
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The opening is a depiction of George Harrison, a "holy roller" with "Hair down to his knees." In January, he had walked out on the group, and so he's "a joker-he just do what he please."
 
The second verse refers to Richard Starkey. "He wear no shoeshine" -- Ringo—Ringo came from a lower class than the other members of the Beatles. "I know you you know me" sounds like a Ringoism, like "A Hard Day's Night." or "Tomorrow Never Knows."
 
The third verse is about John Lennon. He ''bag production" because that's the name of his production company, Bag Productions. "He got walrus gumboot" -- John—John was the walrus. "Ono sideboard" -- John—John was dating Yoko Ono at the time the song was written.
 
The final verse is about Paul. "One and One and One is three" -- by—by 1969, Paul was something of the odd man out in the group. He refused to accept the management of Allen Klein and was generally resented by the other three. "Got to be good looking cause he's so hard to see" is a reference both to Paul being considered "the cute one" and to his generally diplomatic nature -- essentiallynature—essentially, McCartney is hard to see because his personality makes to difficult to know just what he's actually thinking.
* Given that The Beatles were about to break up when John wrote this song, this theory seems pretty believable (even look at the title- irony, perhaps?), even verging on [[Fridge Brilliance]].
 
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Sorta. His son did draw such a picture and did name it that; there's hard evidence for it. But it wasn't until John realized the initials of it that he was inspired to write the song. So, it's about a picture of Lucy in the Sky with Diamonds, and it's also about what ''everyone who's ever heard it knows it's really about.''
* Alternatively - this song did have input from Paul McCartney. John wrote with innocent motives; Paul sneaked in the drug references, or else just spread rumors that the song contained drug references. (He's still spreading the rumors.)
** The psychedelic style of song doesn't have to be about psychedelic drugs any more than a blues song has to be blue or a ghost dance about ghosts. It's just a trippy style. Nevertheless, McCartney confessed that there was ''one'' intentional drug-based double entendre, ironically not in the title as everyone thinks but in the lyrics--thelyrics—the cellophane flowers growing "so incredibly high". They snuck in drug references like that in the middle of the lyrics of many songs about all sorts of stuff, just [[For the Lulz]].
 
== "Lucy in the Sky with Diamonds" is about [[Money, Dear Boy]] ==
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== Paul McCartney's "The World Tonight," written in 1995, foretold Princess Diana's death. ==
The first few verses describe a famous person with a troubled personal life; in the last, the person is described as "hiding from a flock of paparazzi" -- and—and the story ends abruptly there, obviously indicating death. The chorus explicitly portrays this narrative as a vision of the future ("Look into the future"), anticipates that it will be reinterpreted after the event ("See it in a different light"), and implies knowledge of a conspiracy ("It doesn't matter what they say / They're giving the game away"). In the ''Flaming Pie'' liner notes, McCartney admits that he doesn't know where the lyrics came from; obviously he wrote them in a prophetic trance.
 
== Paul frequently writes songs and song lyrics when in prophetic trances. ==
He dislikes analyzing them, partly because he is aware of [[Prophecy Twist|Prophecy Twists]]s, and partly because many of the ones that can be proven prophecies in hindsight are depressing in the execution... For instance, "Yesterday" was a prophetic song. It wouldn't seem to apply to someone who is 23 and at the toppermost of the poppermost; it almost certainly did apply approx. 33 years later.
 
== Father McKenzie killed Eleanor Rigby to hide their affair ==
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== "I Am the Walrus" has a deep and profound meaning -- which John would not or could not admit to by the time the song was released. ==
 
The song has a strong [[What Do You Mean It Wasn't Made on Drugs?]] vibe. Maybe John did have [[Artistic Stimulation]] when he wrote the song -- butsong—but he was ''definitely'' sober when MMT was released. And when John was off drugs, he was careful to deny getting any positive creative influence from drugs at all. So if this was to LSD what "Got to Get You Into My Life" was to marijuana (according to latter-day Paul), John couldn't admit to the song having a meaning at all.
 
Or maybe the song was advocating revolution -- itrevolution—it has a dystopic feel and seems to be attacking authority at every turn -- butturn—but John dared not ''say'' that because it would've gotten the song banned by the BBC and made the single a lot harder to find. Or worse, telling the true meaning could've led EMI or Capitol or both to find another B-side to that single (the other A-side was "Hello Goodbye." John only ''had'' one all-new song for the MMT project, so losing it on the single would seriously weaken his position in the group.
 
== ''Abbey Road'' was specifically written with 'In My Pants' jokes in mind. ==
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== All of ''Abbey Road'' is about the same four people. ==
Mr. Octopus Mustard is a mean old man, but if you give him your money (he's saving up to buy some clothes), he'll let you into his garden. His sister Polythene Pam, who came in through the bathroom window, takes him out to see Her Majesty, and he always shouts out something obscene, usually related to how she's so heavy and yet he wants her, with the net result that, if things go well, he'll have to carry her weight a long time. Mr. Mustard's friend is Maxwell Edison, the Sun King (people tend to say "here comes the Sun" when he arrives), who says "I know you, you know me, one thing I can tell you is you got to be free." Max nearly broke down and died when Pam told him she didn't need him anymore--thereanymore—there's just something in the way she moves, and oh yeah, she's gonna be in his golden slumbers tonight.
* Well, it's more cohesive, well-thought-out, and sensible way to connect their songs than the screenwriters of the film ''Sgt. Pepper's Lonely Hearts Club Band'' could come up with, so you're ahead of Hollywood's best efforts on the matter.
* "Here Comes the Sun" is obviously part of a musical motif with "Sun King", yes; but if any two specific ''characters'' recur between songs, then it would be "Come Together" being about Mean Mr. Mustard.
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== Any song that John wrote which is about himself but addressed to "you" is ''also'' about Paul. ==
He claimed that "How Can You Sleep?" was really about himself once the McCartney/[[Wings (band)|Wings]] fans of the era noticed what exactly he had tried to pull with that song. And many of the other songs John wrote about himself that aren't in first person are ''very'' rough on himself. Since the Beatles were still getting along when the earlier songs of this nature were written, and since Paul helped write many of them -- eitherthem—either from obliviousness or because he wasn't going to let his ego get in the way of good music (at least not that way) -- the second target was never noticed.
 
This would explain how John could be the Nowhere Man and also be there as a ''first''-person narrator...
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== ''[[The Beatles|Octopus's Garden]]'' is about a [[Starfish Alien]]. ==
There is a bit that sounds like a radio transmission from an astronautical documentary. The sea is an empty mar; the storm is some sort of cascade or other aurora. The main point of the song is that the shade in which the octopus's garden rests is on ''[[The Dark Side of the Sun]]'' -- that—that is, on the animal side of sentience, without intellectually-imbued conscience or authority. The speaker is saying that he would like to [[Innocent Innuendo|frolic the way]] [[Getting Crap Past the Radar|the animals do]].
 
== ''Octopus's Garden'' is referencing ''[[The Call of Cthulhu]]'' ==
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No, this theory isn't a joke. No more than any of the other theories on this page, anyway. So, let's pretend these two songs have a plot. It starts out with a normal man obtaining mind control powers by an unknown means -- [[What Do You Mean It Wasn't Made on Drugs?|let's just say it involved copious amounts of LSD]]. Realizing the influence he could obtain with these powers, he sets out to [[Assimilation Plot|assimilate the entire population of the world into his mind]] and, having always been a fan of ''[[Alice in Wonderland]]'', renames himself "The Walrus" after [[wikipedia:The Walrus and the Carpenter|another famous evil manipulator]]. The events of "I Am the Walrus" tell the story of one of the Walrus's early victims, an unidentified man who finds himself unable to fight the Walrus's hypnotic power. He exclaims "I am he as you are he as you are me and we are all together" as he feels his mind being pooled into the Walrus's alongside several others, finally giving in and admitting "I am the Walrus!". The rest of the song consists mostly of [[What Do You Mean It Wasn't Made on Drugs?|disjointed]] [[Word Salad Lyrics|nonsense]] as the protagonist's mind melds with that of other victims around him and is finally subdued at the hands of the Walrus. However, it should be noted that there are a few cryptic references to apparent survivors of this attack ("See how they run like pigs from a gun," "Naughty girl," "Naughty boy"), indicating that the Walrus still has a long way to go before his goals are achieved.
 
By the time we see him again in "Sun King," though, the Walrus has come a lot closer. Having finally subjugated most of the world into his [[Hive Mind]], he has renamed himself "The Sun King" after [[wikipedia:Louis XIV of France|another famous absolute ruler]]. (Let's say this guy was also a pretty big history buff.) The song tells the story of yet another victim as he is ambushed by the Sun King and his legions of mindless slaves -- Heslaves—He states "Here come the Sun King" (specifically using the plural form of "comes" -- come—come on, listen to the song and tell me if you hear an 's') in reference to his attackers all sharing the same [[Hive Mind]]. Unable and even unwilling to resist the now absurdly powerful Sun King, the protagonist slips into a state of euphoria as his mind is assimilated, explaining the song's [[Soundtrack Dissonance|completely happy]] (if surreal) tone and lines such as "Everybody's laughing / Everybody's happy" (refering to the mindless docility of the Sun King's followers) -- None of the vague desperation of "I Am the Walrus" remains. As the protagonist loses his coherence and feels his mind being pooled into those of the world-spanning army around him, he slips into the native languages of his fellow victims, spouting several multilingual nonsense words.
 
And one of these phrases is "[http://webcache.googleusercontent.com/search?q=cache:mBzPmZhM210J:www.beatlesinterviews.org/dba11road.html+%22beatlesinterviews.org%22+%22Abbey+Road%22+%22chicka+ferdy%22&cd=1&hl=en&ct=clnk&gl=us&source=www.google.com chicka ferdy]," a contribution from the protagonist himself that he recalled from his childhood in Liverpool as his dying thought. Yes, with this final breath, [[Paul McCartney]] slipped from the conscious world and died, his mind completely and utterly inhabited by that of the Sun King/the Walrus, [[John Lennon]]. And [[The Walrus Was Paul]].
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Conventional wisdom has it that this song is a diatribe directed at Mick Jagger, who as the story goes liked to brag about his "bird," Marianne Faithfull. Provided that was true, it seems doubtful that John would even care enough to be piqued into taking the passive-aggressive route of writing a song about it, especially one so uppity and personally affected. "You don't get me! You can't see me! You can't hear me!"
 
Meanwhile, in late 1965 and '66 there was some strain on John and Paul's relationship, for various reasons. One, Paul had decided to stay in London instead of moving out to Weybridge with John and the others. Even though they kept in constant touch (according to Cynthia Lennon, they would even sing and play to each other over the phone) and Paul regularly drove out for visits and/or songwriting sessions, this was a blow to John, since they had been virtually inseparable for almost ten years, and the Beatles were customarily a like-minded unit. Two, while John felt stuck in Surrey, Paul was swanning about the London art scene, befriending its inhabitants, attending plays and happenings, and living an enviable swinging bachelor life. Three, and perhaps most crucially, Paul kept balking at taking LSD with John in spite of increasing peer pressure and his willingness to take cocaine with Robert Fraser. (Not that it's a total no-brainer that Paul would opt for coke over acid or anything.) So John vented his jealousy and frustration with Paul ca. 1966 through song, as he was wont to do-- butdo—but couched it in metaphor, because he wouldn't have wanted to really hurt Paul then. His care for his target comes through in spite of his put-downs: "When your prize possessions start to weigh you down, look in my direction. I'll be 'round."
 
On a minor note, the line "You say you've seen seven wonders," which would be in response to Paul enthusing over the things he was seeing and doing in Swinging London, also reminds of his (hilariously amazing) pot-inspired epiphany the night Bob Dylan turned the Beatles on to cannabis that "THERE ARE SEVEN LEVELS."
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== Paul McCartney died in 1966 or thereabouts--but was not allowed to stay gone. ==
After that unwanted car crash, EMI and the British government itself was in a panic: after all, the Beatles had been their prime export. The secret formula for getting [[King Arthur]] to return was broken out--andout—and then modified when they realized Paul's ancestry can be traced to [[King Arthur]]: why not just call Paul himself? (Yes, that ancestry goes through Mordred--itMordred—it can't be helped.) They were able to pull Paul back out of the afterlife. He still sometimes shows unworldly/otherworldy traits... For some reason, the need for Paul McCartney has been continual--eithercontinual—either he hasn't been allowed to go back to the afterlife, or he keeps getting summoned here when he tries.
* [[What Do You Mean It Wasn't Made on Drugs?|What do you mean the above post wasn't made on drugs??]]
 
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== Paul is an angel of ''Death''. ==
Prophetic epiphenies about deaths? Check. Friends around him dying like crazy (Ringo never was his friend)? Check. Purposefully hinted [[Easter Egg|Easter Eggs]]s for his supposed death just for kicks? Check for sure. He's an angel of Death, and he ''likes'' his job.
 
He could be Death and ''dead''; that's touched on in WMG [[Poison Oak Epileptic Trees/WMG|Poison Oak Epileptic Trees]].
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* Let's hope he doesn't shoot blood bullets...
** He uses his fame to draw in Paparazzi and then kill the Paparazzi to evolve further. Based on the amount of time he has been dead, a Level 4 Akuma answers to the name Paul McCartney...that is just plain [[Nightmare Fuel]].
** On further research -- judgingresearch—judging from the [[D.Gray-man]] entry in [[Replicant Snatching]] -- this—this means that Paul McCartney ''is'' the Millenium Earl. [[Poison Oak Epileptic Trees/WMG|Yikes!]]
** Or Paul grieved for someone and then the Earl appeared to him. Paul called out the name. Thus, Paul = Akuma. Just to add to the fiendish machinations, in one of the Beatles songs with a mysterious ending, the part at the end sounds eerily like Road Kamelot's song. So Paul is an Akuma and his manager is Road in disguise.
 
== Paul is not dead; he is possessed by [[Supernatural (TV series)|Azazel]] ==
* <shakes head sadly>
** It kinda makes sense. Maybe he changed because he was spending his time making psychic children... Great, now we all need [[Brain Bleach]].
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== Or...Paul is dead, but was brought back to life by a [[Green Lantern|Black Lantern Ring.]] ==
* But -- theBut—the one we have now seems ''more'' emotional than the original, not less...
** Its a trick by Nekron to get us all hopeful...and then rip out the hearts. [[You Bastard]], Nekron
 
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It's a more likely explanation than either Paul's death being successfully hushed up without any of his next-of-kin speaking out at some point in the last four decades, ''or'' all those hints being a complete coincidence. It also allows fans to hunt for "Paul Is Dead" clues without guilt. [[The Beatles]] ''wanted'' us to find them!
 
== Paul was dead, but was [[Retcon|retconnedretcon]]ned back to life ==
And the retcon made us all forget he was ever dead. Including him.
* Retconned by whom? God?
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== War World Two Started because The Beatles stole German Love Songs, and Love Songs are [[Serious Business]] ==
* This is an actual theory. The guy who first stated this was dead serious.
** Note well that this theory requires [[Time Travel]] -- everyone—everyone in the accepted line-up of the group was born in 1940 or later.
** This is [[Word of God]]: in the first chapter of Anthology, Ringo admits that his mother confessed to him World War II started because of him.
*** More precisely, because he was ''born''.
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Well, with a few modifications to please the younger fans. Just a hint: Lennon = Kamina.
* They need [[Humongous Mecha|giant robots]].
** "With a few modifications," remember? [[The Beatles]] changed the world with their musical skills and charisma. Exactly what it was about them, together or separately (though more together), that made them great is easy to observe (at least for fans), but hard to express. ''Gurren Lagann,'' not having access to actual Beatles, rather than having these qualities be [[Informed Attribute|Informed Attributes]]s, used giant mecha to symbolize them.
 
The other members are Viral = Paul McCartney (he ''won't'' die), Simon = Ringo Starr (as people mostly don't pay the deserved attention in him), and Kittan probably could be George Harrison (not really sure how). Which would make the whole [[Name's the Same|Yoko]] Ono incident a bit more complicated...
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Note: This is the result of This Troper listening to I am the Walrus while high in an art class and figuring out it's deep meanings.
[[The Beatles/WMG]]?action=edit
== Yellow Submarine was about Abbey Road Studios. ==
* My sister (she's 14 and I'm 18) was playing Yellow Submarine on Rockband when she gave me this theory. "In the town where I was born" could represent Liverpool. "Lived a man who lived a sea" might represent Brian Epstein. "And he told us of his life, in the land of submarines" is representing being in the music business. "So we sailed into the sun" is the Beatles on tour "till we found the sea of green" could represent fame/mmoney. "And we lived beneath the waves, of our Yellow Submarine" is talking about living on the success of their fame.
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