As we previously pointed out, we consider The Beatles and U2 as two ‘opposing/complementary’ forces, who’s continuous friction has resulted, up to this point, in two parallel careers that developed, each, in three stages and two crisis points in between (see Ethereal Map). At this moment both careers are coming full circle, their journey is coming into its conclusion. In this sense, POP is a pivotal album that serves as a transitional hurdle that stands between the undertaken path and its rewarded completion. We had also use the example of the Egyptian Cross to express that any existing process becomes complete by the action of a third factor that comes into play counterbalancing the two initiative forces, finally fusing with them in a triad that gives way for something new. In the case of this ‘Rock Cycle’, that third factor would be a Third Band that enters the process, instinctively leading a career that is bound to be primarily influenced by The Beatles and U2, and that ultimately will arrive as well to this crucial moment of transition towards completion, that is represented in The Quaternity Connection.
What comes next after this transition for the three bands, is a sense of having made it, of coming full circle, of organically wanting to make a connection with their beginnings, needing to go back to the place from where they started, doing it with certain easiness that comes with the achieved mastery of their craft. And POP is the stamina in which the three bands anchor themselves in order to endure the strength and risk of this transition. The POP period, is the Erection of this whole process (that's why everything got so big), and through its ejaculation the seed for the next cycle is planted.
POP stands by itself, the hole-shape of the “O” - in between the two “P’s”- functions as a tunnel of communication between the conclusions of the three band's journeys and their new beginnings. It is because of this attribute of POP that the connections shown below happen. POP sucks the albums of that new stage of completion into its own territory, to later expel them back to their place.
White Pop
The images above are taken from The White
Album poster, and from the Discotheque Video
and POP booklet (the four-corner square arrangement
is mine).
The cover of “The Beatles” was
shocking due to the contrast of its white
cover compared to the multicolored sleeves
of its predecessors, and in short it was
permanently renamed by popular culture
as The White Album. But inside the cover
of the original vinyl version, a colorful
collage-poster was included, and the dominant
color tones in it, are bright pastels (see
above). The same bright pastels are found
in the Discotheque Video, which is the
introductory imagery of POP, and also dominate
the POP booklet and Cover (see above).
It should be noticed that starting in
Achtung Pepper, up to this point, there
has been a progression of the colors used
in the artwork of both bands, much as the
progression of colors in fashion, and the
bright pastels are the end of that progression.
Let It Pop
The sleeves are divided in four quadrants,
and the positions chosen for each member
correlate with each other:
North East Corner: Paul.
South East Corner: Guitar.
South West Corner: Drums.
North West Corner: Glasses.
Note: Bono’s
first name is PAUL
Paul Is Dead (Transfiguration)
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Paul is the only Beatle
walking barefoot in the Abbey Road cover;
this is a peculiarity, which formed part of a rumor that was a long time in the making. It consisted of a series of conjectures based on details from The Beatles Album covers and lyrics, that led to the famous 'Paul Is Dead' Rumor. If Bono’s role in the Discotheque’s Single Inner Picture is analyzed in contrast with the Abbey Road cover, we see the following: In one hand, the fact that Bono is separated from the rest and that his name is ‘Paul’, is a link to the “Paul is Dead” myth since, as we mentioned before, the rumor's tipping point was the fact that “Paul” was separated from the rest by being the only Beatle walking barefoot. Even more intriguing is the fact when you look at the colors of the clothes that The Beatles are wearing and compare it to Bono’s, they are the same. It’s like the transfiguration of Jesus in the Mountain where in the presence of his three ‘sleepy’ disciples, Peter, James, and John; he was transfixed (the appearance of his face changed and his clothes became white), right after being joined by his predecessors, Moses and Elijah. In Bono’s case, also in the presence of his three ‘sleepy’ partners, Larry, Adam and Edge, he transfixes the clothing of his predecessors (The Beatles), into himself . All this is only an appropiate allegory to the fact that a cycle is coming to an end. It is dying, but only to be born again.
