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#4313 - 16/09/2008 21:18 Paul McCartney og jøderne
Ipso Facto Offline
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Registeret: 06/07/2008
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Sted: Costa Tropical, Spanien

Da jeg læste, at den højtråbende muslim Omar Bakri Muhammad havde udnævnt McCartney til alle muslimers fjende, fordi han ville synge en sang i Israel i anledning af 60 års dagen for den jødiske nations selvstændighed, var min første tanke en melodistump: ”Hey Jude, don’t be afraid”. Min anden tanke var, at teksten nu burde ændres til ”Hey Muslim, don’t be afraid”.

Imidlertid påstås det, at Jude er en omskrivning af Jules, John Lennon og Yokos lille søn, der angiveligt inspirerede lyrikken, som intet har at gøre med det tyske ord for jøde – Jude.

Men hvad sker der, hvis man tager et superikon som Beatles og udsætter det for alvorlig magisk tænkning af den religiøse slags?

Der sker det, at alt bliver muligt. Jesus gik på vandet, hvilket selvfølgelig var en ringe bedrift for en der var født af en evig jomfru med ukendt barnefader.

Tilfældigvis faldt jeg over en artikel der i den grad tager gas på magisk tænkning og religiøsitet, at det er ganske mageløst.

Den hedder: Fairy of Miracles.

Jeg oversætter indledningen og så må de engelskkyndige ellers navigere på egen hånd ud i det magiske univers hinsides tid og rum:

"The Beatles var mere end 60ernes Rock-and-Roll ikoner. De var tidsrejsende – tidsrejsende som trøstede jøderne der led under Nazi regimets forfølgelser og som sandsynligvis også samtidig hjalp de Allierede styrker.

Findes der beviser for alt dette? Alle beviserne findes i deres sang, ”Hey Jude”.

1 Hey Jude, don’t make it bad.
2 Take a sad song and make it better.
3 Remember to let her into your heart,
4 Then you can start to make it better.

If we were to properly put this into context, i.e. the context of The Beatles being time-traveling, Jew-comforting, and unsung (oh the irony!) heroes of World War 2, line 1 is clearly addressing Jewish populations, telling them not to make “it,” their situation, any worse than it is. Since these were mostly German Jews, using the word “Jude” (which is the German word for “Jew”) is wholly appropriate.

In line 2, they were telling them to listen and they will feel better–but this might not be the case.

In line 3, The Beatles tell the Jews to let “her” into their “heart.” Clearly, these are codewords for the Allies (”her”) and the “heart” of the Jewish communities (or their figurative hearts; look at the Allies as friends close to their hearts)–The Beatles were telling the Jews that when they saw the Allies, they should cooperate, because, as line 4 explains, the Allies would make their situation better by liberating them from the Nazi’s evil oppression. From this, line 2’s “sad song” can be code for messages from a secret radio frequency with which the Jews can coordinate with the Allies.

5 Hey Jude, don’t be afraid.
6 You were made to go out and get her.
7 The minute you let her under your skin,
8 Then you begin to make it better.

In line 5, The Beatles become a tad ominous. They urge the Jews to not be afraid, because, being from the future, they know what horrible fates they face under their evil Nazi overlord.

The messages of lines 6, 7, and 8, refers, once again, to the Allies; once they go out and cooperate and coordinate with the allies, their situation will be made better.

The sequencing would have been particularly effective, considering that The Beatles hinted at just how bad their situation was by telling them not to be afraid, then told them that there was still hope in the form of the Allied Forces.

9 And anytime you feel the pain, hey Jude, refrain,
10 Don’t carry the world upon your shoulders.
11 For well you know that its a fool who plays it cool
12 By making his world a little colder.

By line 9, The Beatles are already urging the Jews to be militant. When they “feel the pain,” i.e. start being butchered by the Nazis, they should “refrain,” which clearly means, in this context, “resist.” Of course, the unarmed Jews could do little to resist fully-armed Germans, so The Beatles might have been a little naive–but then, line 10 shows that The Beatles knew that the Jews could not take on the “world” (to the Jews at that time, their plight was their whole world) on their shoulders, at least not alone: they needed the Allies to help them.

In lines 11 and 12, The Beatles take a jab at Der Führer himself, Adolf Hitler, by calling him “a fool.” Hitler, of course, “played it cool” and made “his world a little colder” by killing lots of people–as we all know, dead bodies tend to be cold compared to living ones, unless incinerated (but there will come a time when the ashes and/or the charred bodies will be cool again, anyway, so that point is moot).

13 Hey Jude, don’t let me down.
14 You have found her, now go and get her.
15 Remember to let her into your heart,
16 Then you can start to make it better.

In line 13, The Beatles are using their important position and popularity among the masses to incite the Jews to do better ‘refraining’ and ‘letting her into their heart’ (which, as previously stated, are codes for resisting the Germans and helping the Allies); the Jews would not want to disappoint The Beatles, the time-traveling, Jew-comforting heroes of World War 2.

Lines 14, 15, and 16 must have been added late into the War, since here the Jews have already found “her” – the Allied Forces. The overarching message of the song, if it has not been clear to you, was to “cooperate and coordinate with the Allies” and that is being reinforced in these three lines.

17 So let it out and let it in, hey Jude, begin,
18 You’re waiting for someone to perform with.
19 And don’t you know that its just you, hey Jude, you’ll do,
20 The movement you need is on your shoulder.

Line 17 clearly refers to ‘letting out’ the Nazis and ‘letting in’ the Allies, and to “begin” operations with the Allies. In line 18, The Beatles are telling the Jews that they were (or are, depending on the time they sang it to the Jews) waiting for “someone” (i.e. the Allies) to “perform” (i.e. fight Nazis) with.

Lines 19 and 20 tells the Jews that even though that they currently don’t know what to do, the Allies will surely brief them once they are in touch. “On your shoulder” must have referred to some secret method of passing on knowledge, perhaps through methodical taps on the shoulder, or messages being left inside coats around the shoulder area.

21 Hey Jude, don’t make it bad.
22 Take a sad song and make it better.
23 Remember to let her under your skin,
24 Then you’ll begin to make it
25 Better better better better better better, oh.

Lines 21 to 25 reinforces the message ‘don’t make your situation worse than it is’ (line 21), ‘coordinate with the Allies via secret radio frequencies’ (line 22), ‘cooperate and coordinate the Allies, accept them as friends and liberators’ (line 23), ‘and everything will be better for you’ (line 24 and 25).

26 Na na na na na ,na na na, hey Jude…

This is probably Morse code to help the Jews coordinate with the Allies."

Efter at have læst denne interessante analyse føler jeg nu at have en lidt bedre forståelse af, hvad det er for kræfter og mekanismer der ikke blot er det stof vore drømme er gjort af, men også vore religioner. ler

Hilsen

Ipso Facto pifter


---------
"The movement you need is on your shoulder," here's a quote from Sir Paul himself: “…and driving out there, (to John's and Yoko's) it might have been an hours drive and I started doing this ‘Hey Jules, don’t make it bad take a sad thing and make it better.’ You know, as optimistic, ‘Come on man, you know, it’s…your parents got a divorce, I know you’re not happy.’ Instead of Jules, I eventually changed it to Jude. I played it to John and Yoko. There was just one bit of the words which was ‘The movement you need is on your shoulder.’ And I’m playin’ it, and I just looked at John and said ‘I'll fix that, I'll fix that.’ He said, ‘What?’ I said, ‘Well, you know, the movement you need is on your shoulder. I-I-I’d used the word shoulder once and anyway, it’s just a stupid expression, it sounds like a parrot, you know, I'll change that.’ He said, ‘You won’t, you know.’ He said, ‘That’s the best line in the song, you know.’”








Redigeret af Ipso Facto (16/09/2008 21:23)
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