Earlier this year – in February 2018 to be exact – I, Matt Sergiou, had the pleasure of guesting on ‘Our Interesting Times,’ the regularly updated series of pod-casts about all that is conspiratorial in this messed-up old world of ours, and as hosted by Tim Kelly. He’d invited me on to chat about an article I posted here on ‘The Occult Beatles’ back in that same month… You might remember it? Titled ’Scandal in a Small World,’ it’s a lengthy piece centring largely around the so-called ‘Profumo affair’ of 1963, that headline-hitting Cold War-flavoured scandal involving the-then British Secretary of State for War John Profumo, a Russian military man (and spy) Yevgeny Ivanov, a high society osteopath and “pimp,” Stephen Ward, and his “prostitute,” Christine Keeler. Her death in 2017 at the age of 75 got me reflecting on the huge impact that historians tell us she and this affair had, not only in the bringing down of the UK Conservative Party Government of that time, but also the birth of the sexually permissive ‘swinging Sixties,’ an era that was also helped into being with Beatlemania, which broke into mass consciousness in Britain at precisely around the same time as the Profumo scandal… Accident, or design? Given that we’re told British culture was turned upside down by these events and heralded in the decade that apparently saw a major disintegration of traditional family and societal values and mores and, more to the point, is believed or at least suspected to have deliberately been designed to do so as part of some grand social engineering plot, well, that’s why I ask. Following Christine’s death last year, I went about looking to see if there were any more significant connections between her and The Beatles. You can check out what I discovered (if you haven’t already) in the link below, it’ll take you to the aforementioned article…
As well as chatting about the Profumo affair and its connections in one way shape or form to The Beatles, during my guest-spot on Our Interesting Times, Tim and I also discuss, in his words, “the peculiar milieu of popular musicians, entertainers, politicians, spooks and gangsters that came to be known as ‘swinging London.’” The ‘swinging’ era of Sixties London eventually morphed into the so-called ‘counter-culture’ bringing with it LSD, hippies and psychedelia. Now, most reading this, I’m quite sure, are familiar with the work of David McGowan and his research into the US/Laurel Canyon scene of the 1960s and his contention that most of the bands and music-artists from that were part of a social engineering plot backed by the intelligence services, military, Government, and the supposed ‘elite’ bloodline families. In recent times, and initially inspired by his findings, I’ve dedicated most of my time into looking deeply into the UK counter-culture (predominantly, London) to see if it has any parallels with that. I mean, surely, if such a plot existed in America then it would have been the same in Britain which was, after all, a massively major cultural influence in the so-called ‘western world’ during the Sixties? As I mention in my pod-cast chat, this is an area of research that I first began to look in to not that long ago and at a time when I was considering a revamp of ‘Conspiro Media,’ the parent-site of The Occult Beatles and that I first went online with in 2011 with the aim of looking into the dark, occult world of music, movies and TV. By 2016, I’d grown disillusioned with the direction it was taking and wanted to focus more of my time on 1960s counter-cultural London, to the point that I began to seriously consider putting it out to pasture, and indeed, that was my mindset back in February this year when I appeared on Our Interesting Times, and I say as much to Tim during our pod-cast chat. However… since then, I’ve had a bit of a rethink. My delving in to the history and the events surrounding Sixties Britain is a major project for me, there’s years of work ahead, but I now intend to use both Conspiro Media the site and its accompanying ‘FaceBook’ page predominantly as a platform for what I have to share. Any way!…
If you like, you can listen to my chat with Tim below, either via ‘YouTube’ or ‘Podomatic’…
Ever seen this photograph before? I hadn’t until I stumbled across it on the ‘net not that long ago and, upon seeing it, just felt that I had to share it here for your interest and perusal. Significant to most due to it being the last said photo to have been taken of Ringo Starr and John Lennon together before his assassination, it is, of course, notable also for the T-shirt he’s wearing…
According to the websites I’ve seen it posted on, the photo originates from sometime circa late 1970s. 1979 according to some, 1978 to at least one other. Presumably, it would have been snapped in New York where Lennon had been residing for the majority of that decade. Anyway, there it is, emblazoned across his T-shirt, that notorious old pyramid and eye pic. Okay, I’m assuming that most folk who come reading here, perhaps you yourself, will need no mention from me about the darkly-occult/conspiratorial elements this symbol is said to represent, so, do forgive me. Please don’t think me as patronising if you’re familiar with that, but for the sake of any newbies reading this, I’ll just summarise very quickly through the words of David Icke – from one of his numerous books on the alternative history of the world, ‘The David Icke Guide to the Global Conspiracy (and how to end it)’ – what, essentially, it’s about.
So, as seen on the American one dollar bill, the pyramid with the detached capstone with eye dubbed the ‘Eye of Providence’ and/or the ‘All-Seeing Eye,’ a prominent symbol within Freemasonry…
“The pyramid and the All-Seeing Eye, or pyramid with the capstone missing,” Icke states, is a “major Illuminati symbol… The pyramid is the pyramid of control and the eye represents ‘the watchers,’ or at least that’s the symbolism on one level.” He doesn’t elaborate too much into any other levels of this symbolism but I’ll hazard a guess and presume what he means in part by that is that not any one symbol is necessarily an emblem exclusive to a negative/dark-side such as ‘the watchers,’ but can be seen and/or used for/by the positive too. A very good case in point, the eye, within certain cultures, far from it being deemed wholly a motif of and for the ‘Illuminati’ and suchlike, is thought to ward off the ‘evil eye’ of envy. I know this from my own background, British-born to Greek-Cypriot parents, both Greece and the nearby island of Cyprus are hugely influenced by Christianity and the church in one way shape or form, deeply ingrained as they are in the fabric of everyday regular life, but, juxtaposed with, what at least one priest I know personally who hails from that part of the world would, I’m sure if I were to put it to him, declare is ‘Satanic,’ and that is, the popular, daily presence of and high regard for eye symbolism. Walk into a shop or someone’s house, or step into a taxi-cab and there, amongst one or two icons of Jesus and/or the disciples and a ‘Holy Saint of someone or other,’ you might see a round, mostly blue-coloured gemstone-like ‘evil eye’ hanging from a wall, or a rear-view mirror. They’re not there to signify or celebrate darkness, but to deflect it. Within Greek-Cypriot homes and communities they’re used to keep at bay the negative, damaging, ill-wishing vibes of jealousy be that from a work-colleague, or indeed a friend or relative. Available in many sizes and forms, you can wear the eye too, as a necklace or a bracelet or wristband for example. I have one, small it is, like a shined-up pebble and that sits on my desk next to my computer where I type these articles up. This is it…
Not wanting to put words into Icke’s mouth, but, a symbol, such as the pyramid and the eye, is, on one level, dark, negative, malevolent, and on another, light. Positive. The direction it can ultimately take between the two is for the person armed with the emblems to determine. A knife in one man’s hand might be used to murder another, whilst in the possession of someone else it’s slicing loaves to feed and provide sustenance. It’s not the knife at blame but the person holding it. It’s about the intent. With regards to Lennon and that T-shirt, the question is (as far as I’m concerned anyway) what was his intention? Again, for any newbies, from David Icke, “the All-Seeing Eye is… in the symbol of the MI5 wing of British Intelligence. The All-Seeing Eye is the symbol of the American television network, ‘Columbia Broadcasting System,’ better known as ‘CBS’… In 2002, the deeply sinister ‘US Defense Advanced Research Projects Agency’ (‘DAARPA’), the research and development arm of the Department of Defense, launched the ‘Information Awareness Office,’ a propaganda operation with the potential for mass-surveillance. It chose a familiar symbol – the pyramid and All-Seeing Eye. There are so many I could point out, but if you are new to this you’ll be able to see them all over the place now…” It’s a symbol of course that, in one shape or form, has been massively prevalent, a mainstay even, within the music-world whether it be in album-cover artwork, or the logos of record companies and labels or in the videos that their bands and solo artists appear in. If we’re to believe what some of Lennon’s detractors have claimed, such as author, researcher and self-proclaimed ‘former intelligence-agent-turned-whistleblower,’ John Coleman, that The Beatles were controlled and steered by the All-Seeing ‘watchers’ in order to corrupt the Sixties youth generation of the western world, then maybe, yeah, John chose to wear the symbol as a subliminal badge of honour, allegiance and obedience to his masters, as so many famous musicians have done both past and present. On the other hand, this is a guy who during the late 1960s and early ’70s used his powerful, influential profile to speak out and protest in criticism of what ‘the Establishment’ – or as it was known back then amongst the young, ‘the man’ – had inflicted upon the world and he was seemingly such an outspoken and proactive campaigner against the Vietnam War that US President Nixon actively conspired to have him deported from the United States whilst the FBI collected a file on him, monitored his live shows and the content of his music-recordings and even tried to set him up in a drug-bust. Britain’s MI5, it’s claimed, was monitoring him too. As far as I’m aware, in all the years that Lennon spoke out against ‘the man’ in countless newspaper/magazine/radio/TV interviews he never mentioned ‘Illuminati’ or ‘pyramids of control’ or the ‘New World Order,’ however, when he did speak out against the forces who conspire against us, he often (IMO) got it pretty bang on point. There are countless quotes I could add here to illustrate this, but here’s just a couple. In 1966, he’s said to have opined, “the trouble with government as is it is that it doesn’t represent the people. It controls them. All they seem to want to do – the people who run the country – is keep themselves in power and stop us knowing what’s going on… I’m not saying politicians are all terrible men. It’s just the system of government that I don’t like. It’ll be hard to change.” In 1968, he declared, “I think all our society is run by insane people for insane objectives… I think we’re being run by maniacs for maniacal ends… I think they’re all insane…” These are quotes that resonate deeply today, decades after his death, and that were uttered years before the mass-internet, long before the emergence of the ‘alternative’/conspiracy-site media and the digital-age ‘Truthers,’ who, in one way shape or form, echo his words. Lennon, in some respects, was a prototype of all of them. In his book ‘Come Together. John Lennon in His Time,’ Jon Wiener, the historian and journalist who staged a successful decades-long legal battle to have the FBI release its secret documents on John, features a quote by Robin Blackwell. He’s a former editor of ‘Red Mole,’ a short-lived British ‘revolutionary’ newspaper of the early ‘70s, and he recalls that, at that time, the-then former Beatle “was setting up a project with a not-very-well-assorted group of people who were into alternative technology, alternative media, alternative politics and lifestyles.” However, it never came to pass. Lennon was also a fan, financial supporter of and personally acquainted with Mae Brussell one of the early conspiracy researchers, she’d been at it since the days of the JFK assassination, when today’s veterans such as David Icke would barely have been out of wearing short-pants. Also, Paul Krassner, a major mover and shaker in the Sixties counter-culture in the US is said to have spoken to John back in the early ‘70s about the possibility that many of the leading singers and musicians who’d died up to that point in time had been taken out, murdered by ‘the man.’ He told Lennon about his “theory that, with all the political assassinations, there were also cultural assassinations. I was wondering what he thought about the possibility that the deaths of Janis Joplin, Jim Morrison, Jimi Hendrix… may have been made to look like suicides, because they were rebels and role-models on the crest of the wave. John said, ‘no, no, they were just going in a self-destructive direction.’ A few months after that, when things must have gotten really heavy with him, he reminded me of that conversation and said, ‘listen, if anything happens to Yoko and me, it was not an accident.’” John is said to have made that warning to Krassner some time in 1972 when the FBI / US Government was hot on his tail. Lennon, by many accounts, was a voracious reader and seeker of knowledge in a wide range of topics from world affairs and politics to philosophy, religion and the occult. He might not have spoken openly about ‘the Illuminati’ or the ‘pyramid of control’ whilst in the glare of the media’s attention, but, of course, that doesn’t prove he was ignorant of such things. His associations with the likes of Krassner and Mae Brussell might add credence to this possibility, and John’s T-shirt, by my estimations, may very well suggest this too. He was comfortable enough to wear it again a year or two later. Below, a scan of a page from the website ‘Wornfree.com’ and that features a photo of John from, it’s claimed, 1980. From what I can see, it was most probably taken by now-veteran photographer to the Rock-stars, Bob Gruen. The blurb next to it and that gives us some background on the contents of the tee concludes that Lennon probably bought it “for a laugh” as if (I assume) he thought the whole Illuminati connotations of it ridiculous. Whatever, some might find it sadly ironic, if not inevitable given his biting outspokenness against governments, the military and so-called world-leaders, that it wouldn’t have been too long after this photo was taken with him wearing it that he met his end at the behest of ‘the watchers.’ (CLICK TO ENLARGE)…
Far from Lennon buying the T-shirt “for a laugh,” he may have been drawn to it because it appealed to his apparent interest in ancient knowledge and history. Here’s a photo of John and Yoko Ono in Egypt by the pyramids in, I’m guessing, the late ‘70s some time (?)…
Below, an excerpt from ‘Lennon in America: 1971-1980, Based in Part on the Lost Lennon Diaries’ by author Geoffrey Giuliano. In it, he details what’s said to have went on when John and Yoko visited Egypt in 1977 and became involved in “a clandestine archaeological dig.” The trip came at a time when the Lennons had begun to “seriously” invest their finances in art, and “while the centrepiece of several valuable paintings was a Renoir, the bulk of their investment was poured into Egyptian artefacts. Relics included a skull, an infant’s breastplate, and a seven-foot lion statue.” Indeed, Ono herself has spoken of her interest for collecting Egyptian antiquities, and which she does, not only because they make a sound financial investment, but also for their “magic power.” In 1980, she said, “to make money, you have to spend money. But if you are going to make money, you have to make it with love. I love Egyptian art. I make sure to get all the Egyptian things, not for their value but for their magic power. Each piece has a certain magic power.” In the excerpt below, Giuliano also mentions a man by the name of Sam Green, an old friend of Yoko’s and “a flamboyant globe-trotting art-dealer… the black sheep from a privileged family… The son of illustrious professors, Green was an ingratiating personality who sought out the company of celebrity millionaires” including Greta Garbo and, it might interest you to know, a member of one of the ‘Illuminati bloodline families,’ Cécile de Rothschild. According to the family’s own website, she was a woman who “inherited many Rothschild passions: motoring, haute-cuisine, yachting, wine, gardening, golfing and painting. Aged 13, she was given by her father Cézanne’s ‘Les Baigneuses,’ and this item formed the basis of her considerable collection which included a number of works by Picasso.”
According to Giuliano’s book:
Sam Green learned from one of his colleagues about a clandestine archaeological dig being conducted in Egypt to unearth an ancient temple. The project, however, needed funding to complete the excavation. When Green relayed this news to Yoko, she could barely wire the money to Cairo fast enough, and began planning a visit to the site. Lennon, too, excited by the prospect of an intercontinental hunt for artefacts, couldn’t wait to get on the plane… John plunged enthusiastically into his sketchbook, drawing romantic Egyptian deserts dotted with camels and Bedouins. He purchased the proper wardrobe, got himself a new passport photo… At the same time, Yoko and Sam Green were finalising the details of a complicated plan to sidestep the Egyptian authorities. Because Egypt’s ancient national treasures were under assault by international art poachers, its governmental authorities instituted safeguards to protect these sacred gravesites, and even resorted to aerial searches to catch would-be raiders. John, eavesdropping from the next room on Yoko and Sam’s conversation, was thrilled to hear that accompanying them would be a cache of potent marijuana…
Arriving in Cairo, the Lennons checked into the ‘Nile Hilton.’ John took a nap before venturing into the city to purchase a wardrobe for the excavation. He ran into Thomas Hoving, former director of New York’s Metropolitan Museum of Art, who was in Cairo on his own expedition for art. An enraptured John spent his first night exploring one of the seven wonders of the ancient world, the great Cheops Pyramid, built by Pharaoh Khufu, founder of the Fourth Dynasty, around 2680 B.C. Afterwards, he took in the nightly Giza light-show extravaganza, a gaudy commercial tourist attraction he enjoyed thoroughly.
The next day Lennon awoke energised and refreshed. An ardent history buff, he enthusiastically toured the pyramid at Saqqara, which he found even more fascinating than the Cheops site. As he explored the underground chambers, he ran his hands across the hieroglyphics and marvelled at the intricacy of the ancient artwork on the stone walls. Coming upon an open sarcophagus, Lennon was unable to resist the temptation and recklessly tore off a scrap of material as a souvenir. Only later did he wonder if his blasphemous action had incurred the mummy’s curse; he was worried enough to call an emergency meeting with one of Yoko’s mystics.
While Lennon was exploring various sites, Ono was finalising details for the proposed visit to the illicit excavation. The more intent she became, the more Green feared her presence might cause problems. An internationally known celebrity couple wasn’t likely to go unnoticed by the Cairo authorities. Green used Thomas Hoving as a means to discourage Yoko’s plans. He concocted a story that the renowned art director had gotten word of their scheme for obtaining artefacts and stood prepared to alert the authorities himself unless all parties left Egypt immediately. Marlene Weiner, Yoko’s psychic du jour, confirmed the imagined threat, telling her that a certain assertive six-footer they’d meet in Cairo should be avoided. It wasn’t clear if Green encouraged her to make this statement… She (Yoko) was concerned enough to abandon the plan. Surprisingly, John wasn’t all that disappointed by the abrupt turn of events. He had already had his fill of Egypt and was more than anxious to go home.
In the book ‘John Lennon: A Biography,’ Jacqueline Edmondson, its author, notes that John, according to what Sam Green recalled, “believed he had lived” in Egypt “in a previous life.” As you might be well aware, in past articles on both this website and its parent, ‘Conspiro Media,’ I’ve shared the thoughts of veteran symbologist, Robert Richard Hieronimus Ph.D. who suggests that, whoever came up with the band-name, ‘The Beatles,’ may have been unconsciously inspired to do so by the lure of ancient Egyptian motifs, such as the insect, the scarab beetle. He says, “the beetle is actually – in ancient Egypt – a very, very sacred symbol.”
That’s because it was likened to the “ancient Egyptian beetle-headed god, Khepera, who represented the rising or morning sun. Khepera was among the original creation gods in Egyptian mythology… The scarab was held as a symbol of resurrection and fertility as beetles were believed to be the incarnation of Khepera. There is no reason to believe that whoever came up with the name ‘The Beatles’ was consciously intending to link their name with the Egyptian god of rebirth, but conscious or not, they chose a name which reflected what they were to accomplish – the act of creation. Later in life, John Lennon is reported to have become interested in world mythologies and especially in Egyptian magic. He may have begun to realise that symbols carry psychic energy even when they have not been consciously selected. Some might say synchronicity (meaningful coincidences) played a role in the naming of the most revered Rock and Roll group in history. Like attracts like.” You can read (and hear) more of Robert’s analysis about this (if you haven’t already) in this link:
According to what The Beatles themselves have said publicly about the origins of the band name, well, it’s a bit confusing and muddled in places because each member that’s spoken about it has recounted a different version of events to the other – but what they are all unanimous on is that it was derived, possibly, from ‘beetles.’ Indeed, for a time, in their earliest days, they did call themselves, The Silver Beetles. Some of the credit for this has been attributed to Stuart Sutcliffe, John Lennon’s friend from his art-college days in Liverpool. According to George Harrison in the official Beatles biography/documentary ‘Anthology,’ “it’s debatable where the name came from. John used to say that he invented it, but…” he went on, “there was The Crickets, who backed Buddy Holly, that similarity; but Stuart was really into Marlon Brando…” There’s a movie in particular Brando starred in, 1953’s ‘The Wild One,’ which follows the exploits of American motorcycle gangs ‘BRMC’ (‘Black Rebel Motorcycle Club’) led by Johnny Strabler (Brando) and the ‘Beetles’ whose head was Chino (played by Lee Marvin). Harrison recalled, “in the movie The Wild One there is a scene where Lee Marvin says: ‘Johnny, we’ve been looking for you, the Beetles have missed you, all the Beetles have missed you.’ Maybe John and Stu were both thinking about it at the time…” Interestingly, as an aside, one of the characters in the film is called ‘Gringo.’ However, there does appear to be a bit of a glitch in George’s account, because, the movie wasn’t released in the UK until 1967. Back in working-class Liverpool in the 1950s, before the days of internet and home-videos and DVDs, neither Harrison or his fellow band-mates would have been able to access it, unless of course they had friends in the motion-picture industry (highly doubtful, right) or physically went overseas to see it. According to McCartney, “it was John and Stuart who thought of the name. One April evening in 1960, John and Stuart announced: ‘Hey, we want to call the band The Beatles.’ We thought, ‘hmm, bit creepy, isn’t it? – It’s all right though, a double meaning.’ One of our favourite groups, The Crickets, had got a dual-meaning name: cricket the game, and crickets the little grasshoppers (we‘ve spoken to The Crickets since, and found that they hadn‘t realised that we had a game called cricket. They never knew they had a second meaning.)” For his part, John recalled, “I was looking for a name like The Crickets that meant two things, and from crickets I got to beetles. And I changed the BEA, because ‘beetles’ didn’t mean two things on its own. When you said it, people thought of crawly things and when you read it, it was beat music.” In the very early days of The Beatles’ fame the band did indeed adopt the beetle as part of their image, as this logo from their drum-kit shows. It ‘s said to have been designed by a Liverpool sign-writer by the name of Tex O’Hara…
And here’s Ringo seated behind it, February 17th, 1963…
There’s beetles imagery again to be seen in The Beatles’ debut big-screen movie ‘A Hard Day’s Night’ from 1964. Here’s a scene from it…
After I came across the photo of Ringo Starr and John with his eye and pyramid T-shirt, my original plan for posting it up here was to keep it all really plain and simple, just to share the pic and add maybe a small, brief couple of paragraphs with a bit of background info and some of my passing thoughts on it all. But then – call it synchronicity if you like – I found myself coming into contact with breaking events in the news of a Beatles-related matter and that have, to some degree or other, connections and connotations to ancient Egypt and pyramids. As a result, I’ve included them here too, it seemed like the logical thing to do because it adds more depth, perhaps, to the possible significance behind what John is wearing in the photo. And so, what happened is, one afternoon as I was contemplating how to get this article together, miles away in London, Paul McCartney was outside ‘Abbey Road Studios,’ the place of course where The Beatles recorded most of their music (and that was known at the time as ‘EMI Studios’). He was posing for a photograph on the zebra-crossing outside, the one made famous (as well as occult-icily notorious) by The Beatles after they walked across it for the cover of their album ‘Abbey Road.’ I came by the photo (and video) that same day, July 23rd (2018), when it was published in a brief article on the news-site, ‘MailOnline.’ It reported that, “Paul looked in great spirits as he headed out to the crossing to strike a pose on it – 49 years after the famous album cover was shot in the same location. The legendary musician was back at his old stomping ground for a secret gig…”
Being that I was working within a ‘pyramid’ frame of mind at the time, upon looking at the article, I was instantly reminded of the fact that the ‘Abbey Road’ album was originally going to be called ‘Everest,’ a title, it’s claimed, that was inspired by the brand of cigarettes regular Beatles and EMI Studios recording-engineer, Geoff Emerick smoked at the time.
According to a quote I picked up from ‘The Beatles Encyclopaedia: Everything Fab Four,’ and that is itself credited to an interview with renowned Beatles historian Mark Lewisohn, McCartney claims the idea behind Everest came about because the band “were stuck for an album title, and the album didn’t appear to have any obvious concept, except that it had all been done in the studio and it had been done by us. And Emerick used to have these packets of Everest cigarettes always sitting by him, and we thought, ‘that’s good. It’s big and it’s expansive.’”
But, as “good” and “expansive” as it might have looked to them, and as attracted to the pyramid imagery of the idea as they might well have been, McCartney, according to the official Beatles documentary, ‘Anthology,’ claims that the band “never really liked that, but we couldn’t think of anything else to call it. Then one day I said, ‘I’ve got it!’ – I don’t know how I thought of it – Abbey Road! It’s the studio we’re in, which is fabulous.’” That’s not exactly how it’s reportedly remembered by one of the studio-team working on it. John Kurlander was an EMI Studios employee at the time and was assistant-engineer on the ‘Abbey Road’ album. The Beatles might have “never really liked” the Everest idea, but according to what he’s quoted as saying, they did talk of actually flying to the mount itself to take cover-photos for it. “It was around July, when it was very hot outside, that someone mentioned the possibility of the four of them taking a private plane over to the foothills of Mount Everest to shoot the cover photograph. But as they became more enthusiastic to finish the LP someone – I don’t remember whom – suggested, ‘look, I can’t be bothered to schlep all the way over to the Himalayas for a cover, why don’t we just go outside, take the photo there, call the LP Abbey Road and have done with it?’ That’s my memory of why it became Abbey Road: because they couldn’t be bothered to go to Tibet and get cold!” McCartney’s “secret gig” at Abbey Road Studios that the MailOnline article references featured a “star-strewn guest-list” including Hollywood actors Johnny Depp and Orlando Bloom and the singer Kylie Minogue and rapper Stormzy. The set-list was a combination of Beatles, Wings and solo numbers as well as brand new songs from his forthcoming album, which is to be titled, ‘Egypt Station.’ Here’s a graphic for it…
Out in September, Egypt Station’s imminent release was announced on Paul McCartney’s birthday – June 18th – following a series of cryptic posts of symbols and Egyptian-themed graphics on his ‘Twitter’ page in the preceding days. It began with a doodle…
Just over a month after the announcement, McCartney spoke about the album at some length during a live onstage Q&A with broadcaster, musician and front-man of Brit band, Pulp, Jarvis Cocker. Paul said, “what I thought was – these days, you know – you got the big stars like Beyonce, Taylor Swift… Their songs are – in a way – a collection of singles – they’re all great commercial tracks – but it doesn’t kinda roll through like a Pink Floyd album used to. And so I thought, well, I can’t compete with that kind of Taylor Swift thing… So, you know… maybe what I can do is just do a sort of what used to be called a ‘concept album.’” On McCartney’s official website, he’s quoted as saying, “I liked the words ‘Egypt Station.’ It reminded me of the ‘album’ albums we used to make… ” He told Jarvis Cocker that the album begins “with a station noise, so you’re sort of in a station, and then a choir swells out of that, so it’s like Heavenly Station now – you’re trippin’ dude. And then it goes into the first song.” From what I could gather at the time of posting this article, the songs on the album – two of which I’ve heard – shared no common theme, lyrically that is, to suggest they were part of “a concept.” Indeed, according to McCartney’s official website, what ties all the unrelated tracks together is the idea that they’re all connected – to a music-journey, from one ‘station’ to another: “True to the inspiration behind its title, Egypt Station’s 14 songs combine to convey a unique travelogue vibe. Between the opening and closing instrumentals ‘Station I’ and ‘Station II’, each song finds Paul capturing a place or moment before transporting the listener seamlessly to the next destination. Stops along the way include an acoustic meditation on present day contentedness (‘Happy With You’), a timeless anthem that would fit on virtually any album of any McCartney era (‘People Want Peace’), and an epic multi-movement closer clocking in at seven minutes with a song suite structure harkening back to the days of Paul’s previous combos (‘Despite Repeated Warnings’). The result is a kaleidoscopic journey through myriad musical locales and eras, yet firmly rooted in the here and now…” The title, ‘Egypt Station,’ originates from a lithograph of the same name that McCartney created back in the late 1980s. He told Jarvis Cocker, “I did a painting, it had Egyptian iconography in it ‘cos I like that kind of thing – and just to remember it, I called it ‘Egypt Station,’ ‘cos it had sort of Egyptian things…” And here it is…
Any way, after painting it, according to Paul, “I never thought any more of it, but people quite liked it, and, I was looking at it one day and I thought, ‘quite a nice title that – Egypt Station.’ So I thought, ‘well, that could be the new album’s title… the painting could be the cover.’ So, that’s where it started, and then we got some really good art-directors who took it somewhere.” And here’s Egypt Station, the album-cover…
As for the actual lithograph and the inspiration behind it, Paul told Jarvis Cocker, “the thing was, I like kind of looking at reference books, history books often for old symbols. So, on the cover of Egypt Station… I’ll often see statues or Aztec, that kind of… So, I like those, and if I like the image, I’ll put it in the painting and just put other things in it, there’s a guy in there who’s definitely not Egyptian – and I’ll just mess it up so it kind of becomes kind of like a little surrealist composition.” On the website ‘McCartneyart.com,’ he gives more details about the symbols he was inspired by for the lithograph. He claims that his “original inspiration” was drawn from looking at a picture “with Egyptian symbols and shapes” from “a reference book on Egypt.” He goes on, “I was interested in the way they drew sunflowers, so two appear on the left and on the right. It was a nice shape, so I took that and then I also love the way they symbolise trees. I like the way they reduce a tree to just some very simple symbols.” I might be seeing it wrong but the lithograph/album-cover also shows the horned features of what looks like might be either an onyx or a ram, both of which are ancient Egyptian symbols, with the latter, of course, having been in some shape or form quite a prominent feature in McCartney’s post-Beatles recording career. His second album following the band’s break-up was ‘RAM,’ which was credited to Paul and his then-wife, Linda.
Aside from the album’s title and its front-cover – which was photographed at McCartney’s farm in Scotland – the only other reference to a ram of any type is the track, ‘Ram On.’ The lyrics, to me, don’t mean anything…
Ram on, give your heart to somebody Soon, right away, right away Who’s that coming now, they’re coming Who’s that coming now, now, baby?
McCartney’s reported to have said the album-title came to him one day as he was driving. “I remember driving… and deciding that ‘Ram’ would be a good title for the album, then the picture came, and you can ‘ram’ a door down, and a ‘ram’ is a male, like a stag. It just seemed like a good word.” In 1977, six years on from RAM’s release, Paul brought out an instrumental, orchestrated version of it, but did so anonymously. Titled ‘Thrillington,’ it was credited to the ram-headed Percy ‘Thrills’ Thrillington…
Although McCartney is said to have overseen the recording of the album (indeed, he was the producer) he didn’t play on it, and Percy Thrillington was the fictional character he and his wife Linda created to be its star – no one was to know it was a Paul production. In the run-up to its release, the couple paid to have short Press-reports printed in the ‘classified’ sections of the newspapers about what ‘Thrills’ was up to. “Percy Thrillington has been persuaded to prolong his stay in Paris as he finds the springtime atmosphere most conducive to creativity,” read one. “Percy Thrillington, despite excesses on both social and business time, hopes to lend his support to today’s daffodil ball,” read another, and so it went on. According to the sleeve-notes of the album, Percy was “an enigmatic figure” who was born in Coventry, England in 1939 then “wandered the globe” as a young man, studied music and “gained expertise in conducting and arranging as well as the marketing end of the music business.” But his “long ambition” was to form his own orchestra and to record, which he did “after he met Paul McCartney who helped Thrillington secure a recording-contract.” It wasn’t until many years later, at the tail-end of the 1980s I‘m led to understand, that McCartney began saying anything in public about his role in the creation of the ‘Thrills’ character. He’s reported to have commented that it was “one of our madcap publicity schemes.” The actual orchestrator of ‘Thrillington,’ a man who’d been hired by Paul after previously working with producer Phil Spector as an arranger on the Beatles’ 1970 album ‘Let It Be,’ was Richard Hewson. He’s spoken in not very glowing terms about the credit for the RAM reworking going to Percy Thrillington over McCartney. “I wasn’t totally for it.” He thinks that maybe Paul “felt it was a better way to show his crazy ideas, but if he’d released it as ‘Paul McCartney Orchestral’ or something, it might have sold much better, because it didn’t sell very well… It’s a mystery that I’ve never quite figured out why he did it.” Well, there’s all sorts of mysteries surrounding the former Beatle, that’s for sure. He’s quoted as saying, “you could say that Percy Thrillington was Richard Hewson, or just a fictitious leader of a band that never appeared anywhere. We’ve put out some weird and wonderful things like that occasionally.” Then, interestingly, he reportedly went on to say, “we would put clues into songs about certain things, because if people are going to play mind games with our lyrics then we can play mind games with them.” Is “we” referring to Paul with Linda, or, Paul and his fellow Beatles, or both? Anyway, “Thrillington was one of those” in his catalogue of “mind games.” Many of course have held the Percy Thrillington character up, what with his ram’s head, as yet another occult clue connecting McCartney to ‘Satanic’ sympathies, and the horned deities Moloch and Baphomet are often illustrated as examples of this. But, I’m going to return specifically to Robert Hieronimus’s contention that either one, some or all of The Beatles were consciously or subconsciously attracted to ancient Egyptian motifs relating to rebirth / creation. We’ve already taken a look at the said significance of both the scarab beetle and Khepera in this. But, I’ll suggest… what about the ram, which has featured often enough in McCartney’s work for it, I think, to be mentioned and considered here? For example, maybe – just maybe – part of the “mystery” that Richard Hewson claims he can’t figure out behind the apparent importance to Paul of Percy ‘Thrills’ Thrillington can be explained by another ram-headed figure, the ancient Egyptian god, Khnum…
Khnum, like the beetle-headed Khepera, is regarded a god of creation. He’s the creator of human-beings, the bringer of life. He’s been described as the maker of the ‘cosmic egg.’
In the book ‘The Egyptian Hieroglyph Metaphysical Language’ by Egyptologist Moustafa Gadalla, we get a direct connection shared between Khnum, the ‘cosmic egg,’ as well as the beetle, which was, in Robert Hieronimus’s words, “a very, very sacred symbol,” because scarabs roll large balls of dung to lay their eggs in, and that eventually hatch with their young from there, a behaviour that Egyptians saw as an act of spontaneous self-creation hence its association with the life-giving sun-god, Khepera who “was said to be self-created, born of his own substance.” In his book, Moustafa Gadalla notes the significance of this particular species of insect through his translation of Horapollo Nilous:
To signify… birth… or the world, or Man, they (Egyptians) draw a scarab… it takes some cow-dung and makes a round ball of it, very much in the shape of the world. Rolling it with its hind legs from east to west, it faces the east, so as to give it the shape of the world, for the world is borne from the east to the west.
The Universal Bubble is egg-shaped and therefore the universal bubble is also called the Cosmic Egg.
Egyptian texts refer to Khnum as the one who:
“made the cosmic egg.”
Khnum represents the Cosmic Egg and all creation within it, as affirmed by references to his attributes in the Egyptian text as being:
– The modeller – Governor of the House of Life – being the Cosmic Egg – Maker of heaven and Earth, and the tuat, and water and the mountains – The maker of things that are – Creator of things that shall be
… the Cosmic Egg has same definitions as the ram-headed Khnum. Khnum is therefore almost always depicted next to or within the Cosmic Egg.
Khnum is, from my understanding, strongly associated with ancient Egyptian solar symbolism. According to one account I’ve read, he‘s described as being “soul of the sun-god,” Ra. The beetle-headed deity Khepera is allied with this sun-god too. Indeed, as mentioned earlier, in Robert Hieronimus’s words, “Khepera… represented the rising or morning sun.” He was the “Egyptian god of rebirth.” In his book, ‘The Secret Teaching of All Ages,’ the mystic, scholar, author and 33rd Degree Freemason, Manly P. Hall states, “Ra, the god of the sun… As the creator of the universe he was symbolised by the head of a scarab and was called Khepera, which signified the resurrection of the soul and a new life at the end of the mortal span. The scarab was the emissary of the sun…” Khnum is said to represent the nocturnal manifestation of the sun before it rises again the next day with Khepera. Below, a representation of what I understand to be the ancient Egyptian god, Nun holding up the barque (boat / barge) of Ra – and in the middle, the beetle…
Incidentally, with regards to Ra (pronounced: ‘Rah’), in 1977, the same year as the release of ‘Thrillington,’ its anonymous orchestrator, Richard Hewson, formed a studio project that would go on to enjoy a Top 10 UK hit single in the 1980s with ‘Clouds Across the Moon.’ He called it the RAH Band. According to his official website, he chose this name because he “was lucky enough to have the initials R.A.H. (Richard Anthony Hewson).” He doesn’t go into why that’s “lucky” for him… Nothing to do with ancient Egyptian symbolism, is it? I can only wonder.
Also (below) from the ‘Back to the Egg’ album, inner-sleeve artwork from the vinyl edition. I have no idea what it is, or where it was taken – perhaps maybe the roof of a church or cathedral?… But, what’d’ya think… Sun symbolism?…
‘Back to the Egg’ was Wings’ seventh and final studio-album before they split, and was recorded with an all-new line-up of the group. Released on the back-end of the Punk explosion and amidst the rise of New Wave, listening to it, you can hear these influences. There’s a hard-Rocking element to it, perhaps the hardest from all their recorded output as a band since forming in 1971. McCartney is reported as saying in 1979, “it was just a sort of back-to-the-beginning kind of feeling for us while we were making it. We were sort of trying different things, while we were making it, and that seemed to sum it up – Back to the Egg. A back-to-square-one kind of thing, you know?” Back to square one – back to the egg – complete with a band line-up of fresh members – the dawn of a new day, the rising of the sun. Rebirth – although they would part ways and split within a year or two later… to pinch a phrase from another Beatles blogger, Paul, from then on, was no longer a “Beatle with Wings” (beetle with wings).
Manly P. Hall states, “because of its relationship to the sun, the scarab symbolised the divine part of man’s nature. The fact that its beautiful wings were concealed under its glossy shell typified the winged soul of man hidden within its Earthly sheath.”
Included in the cover-art of the RAM album is a photograph of two beetles copulating…
Given that at the time of RAM’s release in 1971 McCartney was involved in a legal dispute against John, George and Ringo to have their partnership formerly dissolved, was continuing to exercise his hostility towards Allen Klein the notorious New York music-biz boss who’d become business-manager of The Beatles after he was voted in by all the band except Paul (who refused to sign with him), and was bickering in public with Lennon, some have commented that the copulating beetles pic was a deliberately-placed metaphor alluding to the bad vibes and sense of betrayal that McCartney was likely feeling. According to author Christopher Sandford in his book, ‘Man on the Run: Paul McCartney in the 1970s,’ the “nature-photography library-shot of two beetles copulating” on the RAM album-cover “was interpreted in various ways: fucking Beatles, fuck The Beatles, fucked by The Beatles, Paul insists that its inclusion was purely accidental. ‘It was just a funny shot,’ he protests. ‘A photograph of two beetles shagging. I mean, that had to get on the cover. Then afterwards, you go, ‘oh, but they were beetles.’ To me they were just a couple of ladybirds or something. I swear to God I didn’t think about that. The thing is, whatever you do gets interpreted. And I don’t see half of it coming.’” Maybe Paul ‘didn’t see it coming,’ but – given the legal, personal and financial turbulence that he was getting from his strained relations with his ex-Beatles – one can’t be blamed for interpreting the copulating beetles as his reaction to this. There is, in Sandford’s words, a “fuck you” connation to RAM. Some of the songs on it, lyrically, are perceived to have been written as digs aimed at McCartney’s estranged partner, Lennon (most notably ‘Too Many People,’ ‘Dear Boy,’ and ‘3 Legs’). Also, the album’s title can be construed as an aggressive one if we’re to believe that it conjured up in Paul’s mind the picture of ‘ramming a door down.’ In the official mini-documentary, ‘Ramming,’ when he talks about how the word, ‘ram,’ came to him, he says, “Linda and I were travelling through Scotland… As I’m driving I’m just thinking… and I just hit upon the word, ‘ram.’ It’s a strong, it’s (a) male animal. And then there’s the idea of ramming – you know – pushing forward strongly. Very short, very succinct kind of title.” He was drawing a line in the sand and moving on – solo. Same as Back to the Egg, perhaps RAM should be regarded, symbolically, as a rebirth / a re-creation?… The ram in action. Recalling the previously-mentioned song ‘Ram On’… There’s an interesting idea put forward by the guy behind the website ‘Beatlesbible.com,’ that the track’s title might relate to a pseudonym that McCartney had used previously in the past. He’d adopted it briefly in his pre-fame Silver Beetles days after the band were booked to back a singer by the name of Johnny Gentle on a concert-tour of Scotland in 1960, a major achievement for the group who‘d struggled to get any big breaks. Paul says, “now we were truly professional, we could do something that we had been toying with for a long time, which was to change our names to real show-biz names… George became Carl Harrison after Carl Perkins, John was Long John… ” Paul became, Paul Ramon. “It’s French,” he’s recalled. “Ra-mon, that’s how you pronounce it.” Okay… but how about seeing it as: ‘Paul ram on’? Nine years later, in amidst the dying days of The Beatles, during the squabbles and the fall-outs, McCartney adopted the pseudonym again, this time to be used as a credit on a song he’d guest-played on titled ‘My Dark Hour.’ It was by the American musician/song-writer Steve Miller and released on his 1969 album titled, in case you’d like to know this, ‘Brave New World.’ Is Paul Ramon an A.K.A. for ‘ram on,’ RAM, the ram?… All and the same? Whether intended or not, in whatever variant these words have appeared, they have been a source of expression for him, from his days as a struggling teenage Silver Beetle and then out the other end of the Beatles’ split in the late ‘60s and early ‘70s.
Okay, you’re now pretty much travelling on the last leg of this article, and, at this point, I’m going to take you down what I think will be a bit of a humorous route for some reading this, here’s some more about the ram-headed Khnum The Creator, or, more to the point, a fellow ancient Egyptian creation deity who’s closely associated with him, a female, described – depending where you look in your research – as his consort and/or his counterpart. Her name was Heqet (Hekat), goddess, it’s said, of life-giving and rebirth (here we go again) and she too was represented in the form of a human’s body with an animal’s head – that of, a frog – she was worshipped in the form of a frog(!). Anyone old enough to remember this from 1984?…
Alright, stop sniggering… Released as a single back in ‘84, ‘We All Stand Together’ by Paul McCartney and The Frog Chorus is – yes indeed – not only considered a very embarrassing, deeply low-quality point in his musical catalogue, but a source of much making fun of at his expense (but it did get into the British Top Ten singles chart reaching Number Two – twice!). If you’re too young (or lucky) never to have heard what all the ribbing’s about, you can listen to the song below. It was featured in the animated short ‘Rupert and the Frog Song’ starring the vintage comic-strip children’s character Rupert Bear – you’ll see him in the vid, it’s actually a scene from the film which was released in cinemas back in ‘84, a one-off production produced, financed and partly written by McCartney.
Okay… yeah… thing is, I have actually considered the esoteric aspects of this video… Heh, heh.. now you’ve seen it all, eh? An occult analysis of the Frog Chorus. However… think about it… the song probably did get a lot of the listening public all bewildered at the time of its release with them wondering what the hell possessed McCartney to record such a thing. Okay, sure, it was the song from a kid’s film, so people shouldn’t have expected a Rock/Pop masterpiece, but, why frogs? The ‘Rupert Bear’ stories, since they began back in the 1920s, have featured a wide array of regular characters in animal form such as Edward Trunk the elephant, Bill Badger the – well – badger, and Willie the mouse, to name a few, but rarely (if ever) anyone of a froggy or toad-like demeanour. In the ‘Rupert and the Frog Song’ film-short however, the story revolves almost entirely around Rupert and lots and lots of frogs – there’s hardly next to no sight of his usual cast of friends – with the exception of less than a minute’s-worth of an appearance of a couple of them in passing. So here’s Rupert, on the big-screen for the first time ever (as far as I’m aware), and his regular co-stars are almost nowhere to be seen. But… there’s lots and lots of frogs. What possessed McCartney indeed? Well, not stupidity I’m sure, and ancient Egyptian symbolism translated through a modern children’s cartoon isn’t far-fetched as a possible explanation for it all, is it?… I mean…
The ‘Rupert and the Frog Song’ film-short – which lasts around 12 minutes in length – follows one particular day in the life of Rupert, when he goes off for a walk in the countryside and accidentally discovers a cave leading to a secret world inhabited by talking frogs. He sneaks in and, with the moon having risen, he watches the ‘Frog Song’ spectacle, a musical extravaganza that only takes place once every couple of hundred years, and which is the actual full performance of ‘We All Stand Together’ as seen in the video above. During this rarest of rare events, the frog queen and king rise out of the water…
Heqet is symbolically connected to the Nile, as is Khnum, who’s also been dubbed “the king of frogs.”
The 19th century poet and writer and researcher of ancient Egypt, Gerald Massey, states in his written work ‘Ancient Egypt: The Light of the World’:
The frog was a lunar type… The name of the frog in Egyptian is Ka, whence the Lunar Lady, who was represented as a Frog, is designated Mistress Heka or Hekat, who was consort of the Solar God Khmun-Ra. An inscription in the ‘British Museum’ tells us that under one of his titles Khmun was called “the King of Frogs.” There is no proof, perhaps, of his being a Frog himself, but his son, Ptah, had a Frog-headed form, and his consort, Hekat, is the Frogess. Khmun-Ra is the nocturnal sun, and Hekat, his consort, is a representative of the Moon that transforms in the lower hemisphere, as the tadpole emerges from the waters in the form of a frog…
Below, a screen-cap from a scene from the ‘Rupert and the Frog Song’ film. It’s from the bit after the so-called ‘frog king and queen’ emerge from the water. I’ve also added the pic of Heqet within it for comparison…
Heqet has also been linked to the beetle-headed Khepera.
In the book ‘The Coffin of Heqata (Cairo JdE 36148): a Case Study of Egyptian Funeray Culture of the Early Middle Kingdom,’ its authors Ah and Harco Willems write, “there is… an analogy between the mysterious birth process of the frog (Heqet) and that of the scarab (Khopri / Khepera). The Egyptians believed that both were born spontaneously from the Earth. As a result of this self-generative aspect, the gods came to be understood as creators and as such as being involved in the process of solar (re-)birth. The coupling of Khopri and Heqet finds an interesting parallel in a regeneration amulet depicted in a Kushite relief of King Arnekhamani. It shows a scarab bracelet with frog’s legs.”
Now, I’ll be the first to admit that I’m no wizened expert when it comes to ancient symbols. I have a basic understanding and its that which guides me in putting together articles such as this one. So, as a result, there could be a lot I’m missing in my analysis – that’s certainly the case with regards to the ‘Rupert’ film. Any way… moving on now…
You’ve probably seen the pic below before (?). It’s the coat of arms that was granted to famed Beatles producer Sir George Martin in 2004. He was knighted by the UK’s Queen Elizabeth in the late ‘90s and, yep, it’s got beetles on it…
Assuming that those insects on the arms are meant to represent his close connection to The Beatles, I really don’t know why he chose only to feature three on there, although I am aware that some supporters of the ‘Paul is Dead’ theory/conspiracy have suggested it’s a clue hinting at McCartney’s ‘death’ in 1966. Also, for whatever reason, one of the beetles on there, is slightly larger than the other two.
According to the website ’CollegeOfArms.gov.UK,’ here’s what the coat of arms represents, but there’s no explanation for the apparent ‘missing beetle/Beatle’ or the larger one:
Arms: Azure on a Fress nebuly Argent between three Stag Beetles Or five Barrulets Sable.
Crest (upon a Helm with a wreath Argent and Azure): A House Martin proper holding under the sinister wing a Recorder in bend sinister mouthpiece downwards Or.
Badge: A zebra statant proper supporting with the dexter foreleg over the shoulder an Abbot’d Crozier Or.
And, so I’m led to understand, the words at the bottom of it, ‘amore solum opus est,’ translate to, ‘all you need is love.’
It was in 2001, if I’m not wrong, that McCartney was granted his coat of arms by, according to BeatlesBible.com, the previously-noted “College of Arms, part of the royal household. McCartney had originally applied for the coat of arms in 1997, the year he was knighted, but the death of his first wife Linda from cancer in 1998 delayed its design and approval.” Pictured below, “the coat depicts a guitar held by a Liver bird, a reference to his musical career and his Liverpool roots…” You might not be able to see it with a casual glance, but if you focus and look, according to the BeatlesBible, “the shield, featuring two black curved emblems, is divided in two” and “the resulting four shapes” resemble “beetles’ backs,” they “symbolise McCartney and his fellow Beatles…” A page on the website of ‘The Heraldry Society’ describes it as: “The four bits of beetle-back made by the flaunches, represent the four Beatles.” The motto at the bottom of the coat of arms, “ECCE COR MEUM (‘Behold My Heart’) refers to the oratorio written while his first wife Linda was dying.”
So there you have it, of his own volition, McCartney, through the imagery of his coat of arms, has aligned his family name in a most permanent fashion to the beetle, insect of inspiration for ‘The Beatles’ and a highly revered deity of ancient Egypt. Whether its inclusion is a reference in some degree or other to its occult associations to rebirth and creation, who am I to know, I‘m just some bloke blogging, so, there’s not much else I can do but offer up, as I’ve done in this article, some photos, album-art, words and names for your consideration. I do suggest though that what you should take into account if you choose to consider what I’ve posted is, McCartney’s comments during his Q&A with Jarvis Cocker when he spoke about the inspiration behind his Egypt Station lithograph. He said the images on it were derived from reference books he enjoys reading on ancient symbols, including Egyptian iconography because, “I like that kind of thing.” If that’s true, well, I’d lay money that, as he was flicking through the pages, he would have come across the figure of Khepera who was after all, in Robert Hieronimus’s words, “a very, very sacred symbol.” So, whether you believe McCartney has consciously been paying homage in his work to this deity or not, I’m of the view that he is fully aware of him, he has come across him. When that might have occurred, I don’t know, was it during the 1980s when he created his lithograph, or in his ‘ramming’ days of the 1970s, or back in the beginning when he was Paul Ramon of The Silver Beetles? Get an answer to that and you might find it to be a welcome clue if you’re of the opinion of or suspect that, yes, McCartney was indeed aligning himself with ancient gods of creation and rebirth. The same applies to John Lennon. He too I’m sure would’ve had knowledge of deities such as Khepera even if he wasn’t consciously drawing inspiration from them – after all, if nothing else, not only had he visited Egypt and its pyramids, but his wife was a collector of its antiquities for their “magic.”
And it’s on the subject of pyramids, actually, that I’m wrapping this article up now…
When news of McCartney’s new Egypt Station album was beginning to surface on the ‘net, someone I know brought my attention to one of the symbols that Paul was posting on social-media in the run-up to its official release-date announcement. Here it is, an image that was pointed out to me because it reminded them of something that they knew would’ve struck me…
I didn’t notice it, I didn’t click until it was spelt out for me, but, that symbol… Well, it don’t half look like the logo for this website’s parent, ConspiroMedia (!) and as devised and designed by myself and artist, Robbie Allen (I gave Robbie some ideas and a theme and he ran with it with gusto)…
Now… I for one am not going to suggest for one minute that it was an inspiration for McCartney and his design-team behind the Egypt Station album, but… there it is.
Over two weeks on from posting this article and I’ve stumbled across some brand new data published in the public domain that, certainly, deserves to be added to this analysis…
With Egypt Station just a few days away from release now, the promotion ahead of it has been regular, and on August 14th, a series of symbols were posted to McCartney’s Twitter page, sixteen in total to be exact, one for each track on the new album. I’ve screen-capped the ones that I think might be of particular interest to you… and I’ve saved the best, most telling one for last. Up first though, here’s the one for the song ‘Caesar Rock’…
Track 15, ‘Station II’…
And finally, for the track ‘Confidante’… what do we have here?…It’s a beetle of course along with that pyramid-type (ahem – Conspiro-ish) symbol. But what’s most striking to me is that it’s making reference, specifically, to the scarab, not merely as just an insect, but as the ancients regarded it, the sun-god…
To anyone looking at this right now who’s not sold on the idea I’ve outlined in this article, that McCartney is, either consciously or not, identifying with and channelling into ancient Egyptian symbolism, well, yeah, okay, the album’s called ‘Egypt Station’ so maybe it should come as no shocker that he’s picked out old sun symbols from Egypt to include in the artwork such as the scarab (in other words, there’s nothing deeply significant to see here), but, this ain’t nothing new, not really. After all, where did the title of this fresh collection of songs come from in the first place but his own lithograph dating back thirty years or so, and of course, the beetle also features on his coat of arms and inspired the name of that band he used to be in. Add this to all the other stuff I’ve highlighted in this article from his life and career and, well, maybe this idea deserves the time for consideration at least.
Tickets are now on sale ahead of the imminent return to the big-screen of The Beatles’ 1968 animated movie, ’Yellow Submarine.’ To mark its 50th anniversary, it’ll be shown in cinemas in the UK and Ireland on 8th July. That’s the month it’s set to hit theatres in the US too, although no exact day has been announced apparently. From what I can gather, details at this point in time regarding its release in America are a bit sketchy. Regardless of when it’s out though, we’re being promised an all-improved visual and sonic experience of the film, should we go see it. According to the Beatles official website, ‘Beatles.com,’ audiences will get “glorious surround-sound with the groundbreaking animation presented in stunningly re-mastered 4k. Looking and sounding better than ever before…”
Now, forgive me if you know this already, but, for the benefit of any that don’t…
In the film, an underwater paradise by the name of ‘Pepperland’ is invaded by the music-hating Blue Meanies who, with their helpers the ever faithful ‘terrible flying Glove’ and the Apple Bonkers, transform it from a colourful land of happiness into a grey, barren, depressing and inhospitable environment. Determined to restore it to its former beauty and to rid it of its captors, a sailor by the name of ‘Old Fred’ escapes from there in a yellow submarine and then travels to Liverpool where he successfully persuades John, Paul, George and Ringo to hop on board, to join him on his return and help him end the invaders‘ rule. The sub then embarks on a surreal journey going through the Sea of Time, the Sea of Science, the Sea of Monsters, the Sea of Nothing, the Foothills of the Headlands, the Sea of Holes and the Sea of Green before arriving in Pepperland where, eventually, the reign of the Blue Meanies and their helpers is brought to an end through a combination of positivity, Love and the musical talents of John, Paul, George and Ringo.
Below is the official trailer for the ‘new, improved’ version of the film…
An official ‘FaceBook’ page about the movie’s oncoming release can be found here:
Given that the movie’s about to be re-released, I thought it might be quite a good idea, and, above all, timely, to post-up a chat I recorded in 2012 with symbologist Robert Richard D. Hieronimus Ph.D. about the occult symbolism that he can see permeating throughout the film. The conversation was published on my ‘YouTube’ channel ’ConspiroTV’ and my blog ‘Conspiro Media’ to coincide with the issuing back then of Yellow Submarine on DVD and Blu-ray. You can hear it further on down the page. First though, here’s the article that came with it – this is a slightly edited, revamped version for 2018:
In 2002, artist, author, researcher and radio-host Robert Richard Hieronimus Ph.D. released the book ‘Inside the Yellow Submarine: The Making of The Beatles Animated Classic.’ Dubbed “an indispensable companion to the movie,” it not only features exclusive interviews with all the principle creators of the film and an intricate account of the details behind the making of it, but also a unique analysis of the esoteric, symbolic aspects within the movie itself. In fact, the occult archetypes that Hieronimus believes are bubbling beneath the Yellow Submarine’s waters are what initially sparked his interest in the movie. Given his life-long devotion and interest in symbols and ancient knowledge it should hardly come as a surprise either. In 1969, he founded the ‘AUM,’ America’s first state-approved school of esoteric studies which granted certificates in the occult sciences, mystic arts and religious metaphysics. In 1981, he received his Ph.D. for the doctoral thesis, ‘An Historic Analysis of the reverse of the American Great Seal and It’s Relationship to the Ideology of Humanistic Psychology.’ Furthermore, his research on the Great Seal of the United States has been used in the speeches, literature and libraries of the White House, the US State Department and the Department of Interior. A member of “a number of secret societies,” his expert knowledge and understanding of symbols and the occult has led to regular TV appearances in a number of documentaries and/or news-shows on the BBC, the Discovery Channel, the History Channel, the SyFy Channel and FoxNews (to name a few). He’s also an artist, having established a long career as a muralist and painter. His occult and symbolic murals include a 2,700 square-foot work known as ‘Apocalypse,’ which was completed during 1968-1969 at the John Hopkins University in Baltimore, Maryland. Another of his works, the ’Historic Views of Baltimore 1752-1857,’ is now housed in Maryland’s War Memorial Building…
Speaking exclusively to Conspiro Media, Hieronimus talked about the impact the Yellow Submarine movie had on him after first watching it back in 1968. He said, “when I started to see all of the symbols in the film… I thought to myself, ‘these Beatles are brilliant! They are Multi-Levelled, they’re Multi-Consciousness, and it seems to me whoever it was… that thought up this movie was multiple genius!’”
In an article on his website 21stCenturyRadio.com, Hieronimus explores some of the symbols in the film and any possible hidden meanings:
The very title of the film can be seen to represent the act of creation, or creativity. Throughout history Yellow has been used to symbolise the sun, fire, spirit or mental activity. It represents an active, outer-directed, centrifugal force, or masculine energy, expansion. Submarine could be considered a symbol for matter or the body. It is necessarily linked to the symbol of water, which throughout history has been considered representational of lunar or feminine energy. It is a passive, intuitive, centripetal force. The submarine is also something that dwells within, hidden and internal rather than external and obvious. By combining the two words “Yellow” and “Submarine”, one can see a pairing of opposites or a balance between spirit and body, sun and moon, or a uniting of male and female, which is an obvious symbol for the act of creation that produces a unity or oneness.
BEATLES AND BEETLES There is an ancient Egyptian beetle-headed god, named Khepera, who represented the rising or morning sun. To the Egyptians, the beetle or scarab was an all important symbol of profound meaning.
Khepera was among the original creation gods in Egyptian mythology, and like the rising sun with which he is identified, he was said to be self-created, born of his own substance. The scarab was held as a symbol of resurrection and fertility as beetles were believed to be the incarnation of Khepera. Beetle amulets were worn to attract the power of this god and secure his protection.Khepera is also shown as the “generator” god with a beetle-head seated in the phantom or “spirit” boat, like the “Sunboat of Ra”, the Egyptian Sun God. Many other deities also had their “spirit” boats. Note the parallel between The Beatles afloat in a “Yellow Submarine” and the creator god Khepera with a beetle-head seated in a “spirit” or Sun boat.
There is no reason to believe that whoever came up with the name “The Beatles” was consciously intending to link their name with the Egyptian god of rebirth, but conscious or not, they chose a name which reflected what they were to accomplish – the act of creation. Later in life, John Lennon is reported to have become interested in world mythologies and especially in Egyptian magic. He may have begun to realise that symbols carry psychic energy even when they have not been consciously selected. Some might say synchronicity (meaningful coincidences) played a role in the naming of the most revered Rock and Roll group in history. Like attracts like.
THE HERO’S JOURNEY: SEPARATION, INITIATION AND RETURN The storyline of Yellow Submarine lends itself easily to a comparison of what Joseph Campbell referred to as the “Monomyth” or the Hero’s Journey. There are three stages to the Monomyth that are used to describe the evolution of the hero: separation, initiation and return. During separation, Campbell explains that the individual rejects the social order and retreats inward or regresses. He reassesses his beliefs and moves toward the centre of his being. The second stage of initiation marks a clarification of his difficulties and an encounter with dark and terrifying forces. The candidate is victorious over them and feels fulfilled, harmonised, and whole. In the third stage of return, the hero is reborn into the physical world and applies the knowledge he has gained to the world he lives in. He rejects his self-serving and self-centring tendencies and shares his “treasure”, or new awareness, with the rest of society. The hero has become self-actualised, and he dedicates himself to a task outside of himself, serving society.
THE YELLOW SUBMARINE FOLLOWS THE HERO’S JOURNEY Separation: The yellow submarine with Fred aboard leaves Pepperland (from a pyramid-like launch-pad) in search of help.
They travel to Liverpool, which can be translated as “the pool of life”, where they are joined by four more heroes and they embark for Pepperland, completing the separation stage.
Initiation: The now five heroes must pass through the seas of illusion, symbolising the selfish desire worlds of sensations, passions, instincts and the beast within. In Nowhere Land they encounter the Boob who fixes the engine and joins the team, bringing the number of heroes up to six, suggesting a reference to humanities sixth sense.
It is the balance of energies and its six member crew that allow the yellow submarine to travel safely through the seas of illusion and escape from the vengeance of the Blue Meanies.
Return: The sub returns and brings music and love back to Pepperland, where the heroes transform their enemies into friends. They share their new awareness with the rest of society by combining music with the words: “All you need is love.” Ageless wisdom teachings and creation mythologies from all around the world describe how life was formed in the universe through a cosmic sea. The yellow submarine can be seen as a vehicle that travels through the ethers of these waters. It achieves its goal by one person going out in the sub into the world of matter, leaving the beleaguered paradise, the utopia of Pepperland, and going into the physical world, obtaining help (The Beatles and The Boob), then returning to share the wisdom gained by the experience that “all you need is love” and music. While not the conscious intention of its Co-Creators or Lennon and McCartney, it could be why this film appeals so strongly to so many of us.
You can read Hieronimus’ article in its entirety here:
As the closing paragraph of the above article suggests, Hieronimus isn’t wholly convinced that The Beatles played an active role in implanting occult symbols or hidden meanings into the film. He told ‘Conspiro Media,’ “the truth was, they had nothing to do with it. All they did was create four songs because they were required to – to put in the film. They were never really interested in this film until they got to see some of the final work and then they fell in love with it. And then they wanted to be involved, but it was just too late to put their real stamp on it from that standpoint.”
What about the movie’s producer, Al Brodax or director, George Dunning? Can they offer any explanation for some of the movie’s most intriguing images, such as the Mayan/Aztec-type pyramid with its yellow submarine capstone? Or what about the team of writers and animators? Did they consciously set out to create a film with hidden meanings and esoteric imagery? Well… apparently not. All the key crew members have maintained there was no deliberate attempt to implant hidden allegorical themes within the movie. Yellow Submarine art designer Heinz Edelmann told Robert Hieronimus during interviews for his landmark ‘Submarine‘ book, “I knew that part of my subconscious would go into these things, but I chose to disregard that. I simply did not want to know what’s happening. I mean, otherwise, I couldn’t have done the work. I simply chose not to know what subconscious influences and things went into the work.” Animation director Bob Balser told Hieronimus, “many times it’s very interesting when somebody does something, and they have somebody else look at it, and freely see or analyse it. I know that a lot of little kids look at Yellow Submarine and just love it. It works on so many levels… it was a synergy between all of these creative people coming together. It’s something I never really thought about until this moment…” But what about the movie’s animation director, Jack Stokes? What was he suggesting when he told Hieronimus, “I don’t think there’s any different (meanings). There are one or two little types, I suppose you might say, in there…“ Was he implying that there may indeed have been a few conscious attempts to include hidden sub-texts within the movie? He continued, “it’s kind of an adventure story. I mean, the first part was basically a travelogue, and the second part was an adventure story. If you would like to think about ‘Lord of the Rings‘, or something of this sort, it’s really, basically, the same thing.” Interestingly, it’s been widely reported that The Beatles were so keen to appear in a movie version of Lord of the Rings, that they approached the director of ‘2001: A Space Odyssey,’ Stanley Kubrick, to take on the project, but he’s said to have dismissed their idea as ‘un-filmable’ due to the immensity of the story. So I’m informed, John Lennon was a great fan of the Space Odyssey film, which was released in April 1968, just three months before Yellow Submarine.
Hieronimus – in the main – doesn’t believe that the team behind the making of the Yellow Submarine were consciously attempting to communicate an esoteric message via the use of occult symbology. In a 2008 article for ‘Octopus’s Garden’ magazine he wrote, “is it unfair to interpret symbolic meaning in The Beatles’ Yellow Submarine film when most of the co-creators swear there was no time for such deep thinking? Perhaps. And yet, interpret we always seem to do with the Beatles, as if we can’t help it. It is my contention that a force greater than those who co-created Yellow Submarine, greater even than the Beatles, was at work on this project.”
Of course, it’s no big secret that The Beatles were interested in esoteric subject matter. The song ‘Tomorrow Never Knows’ from their ‘Revolver’ album was inspired by the Timothy Leary book ‘The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead,’ and George Harrison wrote ‘The Inner Light’ after reading passages from the Chinese classic text ‘Tao Te Ching.’ It’s widely known that John Lennon was a voracious reader. He’s said to have had an interest in a wide variety of subjects including ancient history, religion and the occult. During the 1970s, he visited the pyramids of Egypt.
When it comes to The Beatles and the occult, it’s perhaps not too much of a stretch to suggest with some certainty that most culture commentators and historians within the mainstream have given the impression that the band were first introduced to the esoteric by the well-to-do intellectuals and spiritual gurus they came into contact with from the mid-’60s onwards, once worldwide fame was assured. However, I think there’s strong evidence to indicate that, actually, their fascination with ancient mysteries and the occult goes back much further, back to their days in Liverpool when they were still struggling, penniless young musicians barely out of school and when the word “Beatles” was yet to be uttered. How or where, at such an early age, did they acquire such knowledge and how does this connect (if at all) to the occult symbolism in the Yellow Submarine movie? The details surrounding this intriguing and overlooked episode in the Beatles’ story is discussed in the Conspiro Media chat with Robert Hieronimus as well as some of the occult symbols hiding in plain sight within the film. He also talks about his long and often rocky dealings with The Beatles’ company, ‘Apple,’ and the friendly and fruitful relationships he’s forged over the years with some of The Beatles’ trusted inner circle including the band’s long-time PR man Derek Taylor and famed record producer Sir George Martin (who contributed the introduction to Robert’s celebrated Yellow Submarine book). He relives the night when he successfully assembled together most of the original crew members of the movie for a 30th anniversary reunion TV special at the BBC’s legendary Maida Vale Studios, and he also talks about the “genius” of Yellow Submarine art designer Heinz Edelmann who died in 2009. However, the interview begins with memories of his early days as an album-cover and poster designer with ‘Elektra Records’ when he shared his knowledge of occult symbols with some of the biggest names in Rock music history, including Jimi Hendrix.
** The conversation was recorded on June 26th 2012
Check out Hieronimus’ website, 21st Century Radio, here:
Well, I thought I’d post-up the following information regarding a forthcoming Beatles-related event taking place in Ireland in case you or any one you know might want to go along – after all, it appears that the topic of the day will be very much attached to the band’s occultic/“esoteric” and ‘spiritual’ leanings and influences on culture… So then… lifted directly from the page http://www.huntmuseum.com/event/behind-wall-illusion-religious-occult-esoteric-world-beatles/, here’s what’s scheduled to go down:
BEHIND THE WALL OF ILLUSION – THE RELIGIOUS, OCCULT AND ESOTERIC WORLD OF THE BEATLES
Sunday 8th April 2018 THE LIMERICK WRITERS’ CENTRE is pleased to announce the launch of:
Behind the Wall of Illusion – the religious, occult and esoteric world of the Beatles
It will be launched by Prof Eoin Devereux of the University of Limerick
Sunday 8th April 3.00pm at The Hunt Museum, Rutland Street, Limerick
Part of what makes The Beatles so special is that no matter how much you know about the band already – no matter how many times you’ve listened to their songs, no matter how many books about them you’ve read, no matter how much trivia you know, no matter how long you’ve analysed them – there are always new things to learn.
In Sean MacLeod’s new book on the Fab Four, Behind the Wall of Illusion – the religious, occult and esoteric world of The Beatles, he takes us not only behind their music and personalities but examines the phenomenon that was the Beatles and puts them into perspective as heralds of a new age and conscious development of mankind. You will be surprised, shocked and excited as you read how the Beatles expressed a modern take on the ancient Greek god Dionysus; the symbolism behind the song ‘Yellow Submarine’; why the Beatles’ long hair cultivated spiritual connotations, and much more.
Sean MacLeod is a singer/songwriter/musician, author, music producer and lecturer from Dublin, now living in Limerick, Ireland. Sean has been writing and producing music for more than twenty five years. This is Sean’s third book on the music industry. His previous books Leaders of the Pack: Girl Groups of the 1960s and Their Influence on Popular Culture in Britain and America (2015) and Phil Spector: Sound of the Sixties (2017) received critical acclaim.
Christine Keeler, who died a couple of months ago (Dec ‘17) at the age of 75 and who was, in 1963, the showgirl and “prostitute” at the centre of a Cold War-flavoured scandal thanks to her liaisons with a top-ranking British politician and Russian military-man, is not only considered widely to have contributed to the bringing down of the UK Conservative Party Government of the early ‘60s as a result of it, but to have been a harbinger and personified symbol of what came directly after; the ‘swinging Sixties.’ She’s been described as the first shot in the cultural youth explosion in music, fashion, cinema, photography, and, sexual permissiveness. Back then, when Britain’s media first began to report publicly on claims Keeler had been having sex with the British Secretary of State for War as well as a Soviet naval attaché and alleged KGB spy, the country was still, it’s said, living in a black & white, gloomy, buttoned-up and stuffy post-World War II existence. The decade had yet to enter the technicolour era of mini-skirts, the pill and ‘free love.’ In a 2013 documentary, Mandy Rice-Davies, an old showgirl friend of Christine’s and who became embroiled in the scandal as well, said of those days back in the early Sixties when the swinging was yet to begin, “if I fancied somebody (and) somebody fancied me – we went to bed… I felt I was part of the vanguard movement into the more liberal future.” When she and Keeler were first making waves in the British media back in those black & white days of ‘63, Beatlemania, another part of that “vanguard movement” that Mandy said she belonged to, was in its first flushes… That ‘swing’ in the Sixties that Christine, and The Beatles, are credited with ushering in was about to happen. But is that where any connection to her and the band, or the scandal, ends? I did wonder that as I reflected on her death a couple of months ago of the lung disease COPD, and prior to getting to work on this article. I’m aware that in the centre of this world that swung, Pop-stars, fashion-models, and film-actors not only partied and rubbed shoulders with politicians, royalty, the aristocracy and gangsters, but young showgirls. With that in mind, how likely is it that Christine knew The Beatles personally, and if so, to what degree? This is what I asked myself prior to putting this piece together for the website.
And so, I did a bit of digging and it became apparent fairly soon on in and throughout the remainder of my search too that both Keeler and the band were indeed inhabitants of a small world.
Below, are the results of what I discovered, interspersed with a condensed account of the scandal, how it came to be, and the characters involved as well as some of the other people who were close in contact with them. I think it’s important to include all this, especially for the benefit of anyone reading this who’s unfamiliar with what is said to have happened back then. There is merit in highlighting this scandal given its magnitude and its nature, and which has yet to be resolved (if ever). If we’re to believe what occurred, it touched into almost the very heart of what we’ve been led to understand secretly goes on in the world of the controlling, so-called ‘elites,’ the Establishment. If The Beatles were connected, then I feel it’s worth taking a look at it. This website is, after all, about the ‘hidden’ elements of the band and its members.
As you’ll find, the so-called ‘Profumo affair’ and its protagonists and bit-part players, whether alleged or otherwise, makes for an intriguing if not all-none-too surprising mix. There’s an adulterous politician, one or maybe two spies, a member of the aristocracy, and at least a couple of the British royal family. Also, throw in some freemasonry (possibly), occult rituals (possibly), and references to magick.
The roots of the scandal, depending on what source you read, reach back to 1961 or 1959, when Christine was working as a showgirl at a club in Soho, London with Mandy Rice-Davies. It’s there Keeler was introduced to Stephen Ward an osteopath in the city and whose clients included, we’re told, Winston Churchill, Elizabeth Taylor, Frank Sinatra, and American industrialist Paul Getty.
The son of a vicar and public-school educated, “Stephen… was erudite and witty with an easy charm: By the standards of the day, he was also dangerous: He loved the company of women and took not a blind bit of notice of the prevailing moral code,” Mandy once recalled. Christine eventually moved in with Ward and they divided their time between living in London or a rented cottage within the grounds of the Cliveden Estate situated in the English county of Buckinghamshire and belonging to William Waldorf Astor II, 3rd Viscount Astor of the Astor dynasty, one of the ‘elite’ bloodline families. He was a friend and a client of Ward, who was living in the waterside property for practically free of charge. “Stephen paid Bill Astor only £1 a year in nominal rent. In return, Bill got the talent of Stephen’s hands, which had first cured him after a hunting accident in 1950,” claims Keeler in her 2012 autobiography, ‘Secrets and Lies.’
Although she and Stephen lived together, her relationship with him was, she often claimed, platonic. Almost like a marriage without the sex. “I was used to men liking me but there was a subtext which involved me getting my clothes off. The difference with Stephen was that he wanted me to sleep with other people… Powerful people. Stephen Ward was a spymaster who befriended hosts of prominent and powerful people in the British Government, aristocracy… With associates, he lured many of them into compromising situations.” On the weekend of the 8th and 9th July 1961, Ward and Christine attended what’s said to have been a dinner-party at Bill Astor’s main Cliveden residence. It was there she met the British Secretary of State for War, John Profumo. Most accounts of this event you’ll come across declare that it was Stephen that introduced them. But this is not the version you’ll read in the foreword of Secrets and Lies. It claims the “introduction was made by Astor.”
The married cabinet-minister is said to have been attracted greatly to Keeler on their introduction and eventually the two embarked on a short-term affair, usually meeting at a flat she shared with Ward in London. During the same period, Christine, it’s said, had also been involved in sexual relations with Yevgeny Ivanov, a senior Russian naval attaché at London’s Soviet Embassy. He too attended the Cliveden weekend, and met Profumo there. Anthony Summers, Pulitzer Prize-winning writer and author of the book, ‘The Secret Worlds of Stephen Ward: Sex, Scandal and Deadly Secrets in the Profumo Affair,’ has been quoted as suggesting that MI5, at that time, “quickly identified Ivanov as a Soviet intelligence-officer using diplomatic cover, a common practise worldwide.” Yevgeny was a good friend of Ward’s and regularly attended parties at the osteopath’s cottage, and, flat in London, which is where the Russian initially became acquainted with Keeler and Rice-Davies… A triangle connecting a showgirl, a British Government minister, and Soviet spy had been created. This was a Cold War-era political and national-security scandal in the making.
According to the book The Secret Worlds of Stephen Ward, some weeks prior to the Cliveden gathering, Ward said to Ivanov during a conversation, “what would happen to a Russian in Moscow who had an Englishman for a friend?” His friend replied, “oh, he’d be visited pretty soon by the Secret Service, just like you will be here.” Stephen dismissed this. “Nonsense,” he said. The Russian retorted, “oh yes you will.” And – the book goes on – indeed he was. Within a week of that prediction, on June 8th – exactly a month before the weekend gathering at Cliveden took place – “Ward received a telephone-call from the (British) War Office asking the osteopath if he would mind meeting ‘our Mr. Woods’ for ‘a little chat.’ ‘Woods’ was Keith Wagstaffe, an MI5 officer working for DI(a) Operations, a section of the counter-intelligence branch. Wagstaffe in turn then called Ward… Before calling, Wagstaffe had read an informant report noting that Ward ‘was… inclined to be against the government… At some time or other Ward had been declared bankrupt, and he is also believed to have been involved in a call-girl racket.’ Ward agreed to meet with Wagstaffe, and the two men lunched together in Marylebone (London). Wagstaffe openly acknowledged his affiliation to MI5. He said his people had ‘noticed’ Ward’s friendship with Ivanov. When Ward asked whether they had any objection, Wagstaffe replied, according to Ward, ‘none at all…’ Wagstaffe wanted to know what sort of questions the Soviet attaché had been asking, Ward recalled. ‘I put his mind at rest at once. Ivanov had never sought any guarded information.’ Wagstaffe told him, ‘if anything should happen that you feel we should know about, I want you to contact me immediately.’ Wagstaffe’s contact-report read: ‘Ward… was completely open about his association with Ivanov… Ward asked whether it was all right for him to continue to see Ivanov. I replied there was no reason why he should not. He then said that, if there was any way in which he could help, he would be very ready to do so. I thanked him for his offer and asked him to get in touch with me should Ivanov at any time in the future make any propositions to him… Despite the fact that some of his political ideas are certainly peculiar and are exploitable by the Russians, I do not think he is of security interest, but he is obviously not a person we can make any use of.’” The book’s author argues that, on the contrary, Ward probably was “of interest” and had been deliberately, and unwittingly, brought together with Ivanov in the first place by British intel services in a meeting not of pure chance but design. The two are said to have been introduced to each other over lunch in January 1961 by Colin Coote not only then-editor of the British broadsheet the ‘Daily Telegraph’ but, it’s claimed, a secret-intelligence officer. Anthony Summers has suggested that Wagstaffe’s previously mentioned contact-report had been “doctored” in the wake of the Profumo scandal in order to distance MI5 from any active involvement with Ward. Also, the agent’s lunch with the osteopath was, effectively, a bluff to fool Ivanov. “Not to have contacted Ward at this point,” the author argues, “would have seemed a suspicious omission… because it seemed the natural development Ivanov had in fact predicted.” Geoffrey Robertson, a British/Australian QC who’s looked into the Profumo scandal, has stated that MI5 had indeed recruited Ward. Furthermore, “there is evidence that the reason MI5 recruited Ward was to help ‘turn’” Ivanov. “A high-level decision was taken by its officials in early June 1961 to ask Ward’s help, at least to keep an eye on Ivanov to defect.” Stephen “later reported to them some details of the relationships between Profumo and Keeler and Ivanov and Keeler. Ward was being useful to the security-services, which were seriously considering a ‘defection’ operation, and MI5 has now admitted, in its ‘authorised’ history published in 2009, that Ward was being used by the (British) Foreign Office as a back channel to pass information through Ivanov to the Soviets.” However, the details surrounding the scandal and the events leading up to it have never been entirely clear. This is due to the fact that many of the official documents connected to it have never been released publicly and other ones have been locked away in an embargo that – at the time of publishing this article – will last for another 46 years (this has resulted in speculation as to the potentially explosive contents in these documents, explosive enough, perhaps, that they might threaten the very stability of Britain’s so-called ‘ruling classes,’ bringing about damaging consequences on the current government and those higher up as well as the outing of prominent, world-known – and still-living – public figures). Additionally, some people’s versions of events differ to others’. For example, if we’re to believe what Keeler has claimed, then it would appear that Ward wasn’t working with MI5 to have Ivanov ‘turned’ as Robertson has stated, but was seeking to attain, in a classically covert fashion, secret Government information from Profumo. In an article on the news-website ‘MailOnline’ from 2013, and which was published with Christine’s participation, it’s said, “Ward asked her to find out ‘through pillow-talk’ with Profumo, when nuclear warheads were going to Germany. Furthermore, she contends that Profumo’s briefcase was stuffed with ‘sensitive’ information which Ward was able to filch while she distracted the War Minister in the bedroom. Ward, she further claims, set her up with Ivanov so that she could be blamed for transmitting the secrets if word got out.” Christine has also been quoted as saying, “I was a spy and I am not proud of it, the truth is that I betrayed my country.” So, what was Ward? A KGB agent – working with, perhaps, Ivanov. Or was he MI5? Or maybe he was both? Furthermore, assuming Keeler’s claims are correct, could it be the secret data he wanted her to steal from Profumo wasn’t either for the British or Soviet governments necessarily, but for his own, to give to the highest bidder? One source quoted in Anthony Summer’s book and who claims to have been close to Ward at that time, has suggested that Stephen’s covert activities were at the behest of his landlord and client Bill Astor, a former Tory MP and then-serving member of the House of Lords. Meanwhile, some researchers believe the osteopath was working to actively discredit Profumo and, in turn, the British Conservative Government, thus paving the way for the eventual General Election victory of the Left-wing Labour Party in 1964. It has been said by some of those who knew Ward that his political views did veer to some degree or another towards socialist/communistic ones. If that is true, it could be possible that Stephen was, as I mentioned earlier, working with Ivanov covertly in some capacity. Concerns surrounding Ward’s relationship with Yevgeny were, we’re told, brought to the attention of John Profumo long before the scandal went public. British civil servant Sir Norman Brook, it’s claimed, met with the politician some time in mid-1961 and warned him that he should be careful of his association with the osteopath as it was feared he was passing on information to the Russian. Following this warning, it’s said the Government minister broke off his affair with Keeler in a letter that, ultimately, would contribute to his downfall just under two years later and that’s been dubbed, the ‘darling letter.’ Part of it reads:
In great haste because I can get no reply from your phone – alas something’s blown up tomorrow night… Blast it. Please take care of yourself…
So then… Wondering when references to The Beatles are going to get a look-in in this narrative?… Well… Not long now… Hang on…
For a time, Christine Keeler left Ward to become mistress to his friend, the so-called ‘slum landlord’ of London, Peter Rachman who, she claims, bought her “perfumes, nightgowns and jewels.” In ‘Secrets and Lies,’ she states, “his name was a dark shadow over London in the late 1950s and early 1960s. R-A-C-H-M-A-N spelt notoriety. Part of his legacy was to the English language. ‘The Concise Oxford Dictionary’ defines Rachmanism as: ‘Exploitation of slum tenants by unscrupulous landlords. From P. Rachman, London landlord of the early 1960s.’ Peter charged enormous rents for the properties and if there were problems the utilities would be switched off or the drains blocked. He had contacts in the Tory Government including one minister, Ernest Marples, who tipped him off about property.” It’s been claimed his properties were akin to hovels with damp-affected rooms, and – according to an accusation I’ve come across – at least one flat without a toilet. It’s also said if tenants fell into rent arrears they would be persuaded to leave by such means as itching-powder or dead rats left in beds. Eventually, Keeler left Rachman, at which point Rice-Davies became his girlfriend… But was Rachman as unscrupulous and ruthless as he’s been made out to be? He died in November 1962, it’s said, of a heart attack, and just months before the Profumo scandal hit, and which he was connected to by the media thanks to his relations with Christine and Mandy. In 1979, the biography ‘Rachman’ was published, but it wasn’t as damning an indictment as its author, Shirley Green, thought it would be when she first began writing it. In a BBC radio-documentary, she says, “I was in fact quite self consciously trying to think up a nice commercial subject… and I thought, everybody likes to read about a villain – and that’s when I thought of Rachman, and then it just didn’t work out like that because I couldn’t back-up any of the really horrendous stories with any sort of fact. The only tenants I found, had liked him… He let people go without paying the rent – he’d wait until they could pay him, and a man who worked for the estate-agent where Rachman bought many of his houses said Rachman was too soft to be a landlord.” Additionally, the police reportedly investigated Rachman in 1959 for intimidating tenants but couldn’t find any evidence. That’s not to say of course that he was an innocent. Men in positions such as Rachman’s know how to cover their tracks, and that’s what we could be looking at here. However, is it possible that the much-touted reputation of ‘slum landlord’ that has lived on after his death and that the media are said to have pumped-out during the Profumo scandal was a deliberate attempt at discrediting, not only his reputation, but that of Christine’s, Mandy’s, and his friend, Stephen Ward in a bid to cover up/diminish and/or keep public attention deflected away from the involvement in the affair of a Lord, a Government minister, and the British intelligence service? During my research into this article, I came across a blog that claimed Rachman used to have a tape-recorder under his bed at the house he shared with Rice-Davies during the early 1960s. I haven’t been able to corroborate this piece of information, but it did get me to thinking… Why would he do that? The only reason I can come up with is that he was using it to collect ‘pillow-talk’ that could then be used to blackmail, for whatever purpose. Furthermore – I’ll ask – is it possible that Mandy – or indeed Christine – were recorded whilst in bed with Rachman talking about Ward, or Profumo, or Ivanov, or Astor? And, if these claims on the blog are true, what happened to the tape-recorder, and was his death in late 1962 a natural one… or was it helped along in some way to silence him, perhaps in anticipation of the oncoming scandal?
The reason I’ve focused on Rachman here a little is because one of his so-called ‘henchmen’ was the Trinidad-born Michael de Freitas. In ‘Secrets and Lies’ Keeler states, “he was typical of the nastier of Peter’s men; he would carry out orders without question. Michael was a nasty piece of work, a real head-case. He could intimidate you just by being in the same street.” He’s also said to have been a pimp and a property landlord of his own – and, more interestingly for me – he was a key figure within the UK counter-culture of the 1960s working, socialising and liasing closely with the likes of Paul McCartney’s old friend Barry Miles who – during that decade – founded the avant-garde book-shop and art-gallery, ‘Indica’ with Marianne Faithfull’s then-husband John Dunbar as well as Peter Asher brother of English actress Jane Asher who also, of course, was, at the time, the long-term girlfriend of the aforementioned Beatle – who often funded and publicised the Indica (… More about the Ashers later). During the 1960s, de Freitas changed his name to Michael X launching himself as Britain’s equivalent to America’s Malcolm X. But not everyone was convinced. Barry Miles’s former wife, Sue recalls, “Malcolm (X) was probably hot stuff and for real; Michael was a pretty snaky character and he liked frightening people, he specialised in it. Michael wasn’t trying to address himself to the Race issue at all. He was trying to be a big frightening Black man, which he did quite successfully.”
In 1970, he took part in a publicity campaign with John Lennon and Yoko Ono at his ‘Black House’ building situated in Holloway, North London. Launched, it’s said, in 1969, he’s quoted as saying at the time that it was hoped it would act as a “cultural centre where things like a cinema and theatre will happen. There we hope to show the people of the host community what we are really like through our theatre…” Now, there is much that can be written about Michael when it comes to his connection to the Beatle and the counter-culture, but I’ll save that for another time as there’s a lot I’ve yet to still uncover and learn, and much of what I do already know isn’t relevant to this article. I’ll focus here instead on the basics and not veer too far off the Profumo affair. In February ‘70, the newly head-shorn John and Yoko appeared in front of TV and newspaper reporters with Michael and handed over to him a bag of their cut hair so that it could be auctioned to raise money for his Black House, which is where, on the building’s roof, the handing over ceremony took place for the media, and as can be seen in the pic below…
How did this meeting on the roof first come about?… According to the book ‘There’s a Riot Going On’ by Peter Doggett, and written with the co-operation of Yoko and The Beatles’ long-time and trusted PR-man Derek Taylor, “on several occasions in early December 1969, the receptionist at The Beatles’ ‘Apple’ headquarters announced an unexpected visitor for John Lennon…” It was Michael X, who by that time had changed his name yet again, to Michael Abdul Malik. Lennon gave him £10,000 “as advance against the royalties for a book that would be entitled ‘A Black Experience.’ There is no sign that either party ever expected the volume to be completed. According to the Black House treasurer, Terry X (A.K.A. Terry Radix), Lennon laid his hands on a substantial sum in cash, which Terry and Malik collected in a brown paper bag from Yoko at Apple’s office in Savile Row (London). After paying overdue wages to his Black House staff, Malik appears to have pocketed the remainder for his personal use.” In late January ‘69, Lennon informed Malik that he and Yoko would be visiting the Black House in February. “Then he instructed his Press-agent, Derek Taylor, to alert the national papers… Taylor and his Apple assistant, Richard DiLello, duly accompanied the Lennons to the Black House on February 4th 1970. The party climbed up to the Black House roof, where they waited for journalists to arrive. Lennon produced the bag of hair that he and Yoko had collected… and held the contents triumphantly above his head. Malik’s voice faltered as he told the Press that he would have preferred to ‘keep and cherish’ the couple’s hair, but that he intends to auction it. He hoped to raise funds for his organisation which, he claimed, required £120,000 to maintain its community presence.” No money was raised from John and Yoko’s hair. “After auctioneers ‘Sotheby’s’ and ‘Christie’s’ refused to handle the sale of the hair, Malik planned to divide it into thousands of minute portions, each artistically presented in a gift-box. But nobody at the Black House had the patience to carry out such a scheme, and the Lennon’s offering soon lay forgotten on an office shelf. Three days after his abortive PR exercise, the Lennons accompanied Malik on the popular BBC TV programme ‘The Simon Dee Show.’ It was Malik’s only exposure to the mainstream, and it won him few converts. Not that Lennon was abashed. ‘We’re going to do a poster with him, a John and Yoko poster,’ he explained in mid-February. ‘It will have Black and White is beautiful on it, and try to hustle a bit of bread for him. But mainly PR is the thing, showing that Black is beautiful’…” The book later goes on to claim that in late 1970, Malik “nagged” Lennon for “more cash… to stave off the… physical collapse” of the Black House. John and Yoko “discovered that the root of the problem was vandalism, carried out by some of the youths for whom the centre had been intended.” According to a quote I’ve found on the blog ‘DarkestLondon.com,’ and which is attributed to the highly regarded biography of Michael by author John L. Williams (and a book I certainly intend on purchasing and reading soon), “as 1969 turned into 1970, it was becoming obvious that whatever the Black House was, it was not an inspiring oasis of peace and love in the midst of grimy North London. Instead it was an intimidating establishment used as a base for various kinds of illegal activity.” In ‘There’s a Riot Going on,’ Derek Taylor is quoted as saying, “there had been stories of humiliation and torture at the Black House, but I in those times wouldn’t believe anything bad of a ‘radical.’” The book goes on, “similar tales had reached the Metropolitan Police, and Malik was summonsed to appear in court in February 1971, to answer charges of intimidating several former associates.” From what I can gather, this serious brush-in with the authorities relates to the so-called ‘slave collar affair’ which is reported to have involved a Jewish businessman by the name of Marvin Brown who was said to have been enticed to the Black House and made to wear a spiked slave collar around his neck as Malik and his associates threatened him to extort money. For me, the details surrounding this incident and its aftermath are somewhat sketchy, and by that I mean I’ve been unable to locate solid and verifiable enough data as to the exact dates relating to it all although – it’s true – Michael did appear in court to answer the allegations, but much earlier than February ’71. Now, bear with me here because this gruesome episode does connect to Lennon… With regards to a timeline, I’ve come across a page from the stock-photography agency website ‘Alamy’ that reports on the ongoing ‘slave collar’ court-case and quotes the date, June 6th 1970. It also states that the prosecution accused Malik and his gang of making Marvin Brown “wear a slave collar” after which they proceeded to “march him in a room like an animal in an agricultural exhibition… Malik and about 25 to 30 coloured men mocked the businessman…” According to DarkestLondon.com, the incident occurred in April of 1970. It states:
A young Black American actor called Leroy House had been to work at a central London cleaning agency, but after various deductions the pay he received was less than he was expecting. Hearing the complaint, Michael assembled three men from the Black House and went to ‘Clean-A-Flat’ cleaning company in Newburgh Street. They demanded £3 from the owner, 25-year-old Marvin Brown, and when he said he didn’t have any money on him, Michael picked up a bunch of files from his desk and said he could have them back if he came to the Black House with the £3. Brown called the police, and they headed down to the Black House. Backed up by some 25 Black House regulars, Michael told the police to leave as they didn’t have a warrant. Left alone, Brown decided to pay the £3. Instead, Michael told him to come back in 30 minutes, and when he did, a court was assembled – some 30 Black men and Black and White women – and demanded Brown make amends for the way Black people had been treated throughout history. Brown protested that as a Jew, he was also part of a persecuted minority – but no-one was impressed by this. Instead, they put a spiked slave collar on Brown, and marched him round the room until he burst into tears. When some of the women protested, his ordeal stopped and he was given his files back, but Michael then wanted him to pay a fine for bringing the police with him. Brown handed over all the money he had with him – £13… He was then released. The police were waiting outside and Brown told them about his ordeal. A week later, 50 policemen burst into the Black House and arrested everyone who’d been there during the original raid on Brown’s office. All facing trial, Michael decided to flee to Trinidad…
Malik fled to Trinidad in early 1971 after, it’s said, Lennon paid his bail money. That’s a claim that’s been attributed to ‘The John Lennon Encyclopaedia,’ a book compiled by journalist Bill Harry, an old friend of John’s from back in Liverpool where they attended art college together and shared the same flat. If it’s true that the by-then former Beatle did indeed pay for his release, then I must ask; did he know Michael was going to escape the trial once he was let go temporarily on his guarantee, because if he did, that – if I’m not mistaken(?) – classifies Lennon as aiding & abetting. According to a newspaper report I’ve come across dated July 1971, a British judge ordered Malik’s immediate arrest after “he failed to show up in court.” Months earlier, in April 1971, Peter Doggett writes, John and Yoko, following a trip they made to the Virgin Islands, spent a couple of days with Michael in Port of Spain, the capital of Trinidad. He’d set up a new centre – or, what most reports on the internet describe as a ‘commune’ near there on a country-estate he’d leased called ‘Christina Gardens’… It was here, in early 1972, that police unearthed the freshly-buried body of his cousin, Joseph Skerritt and another person during an investigation, reportedly, into a fire that had burned down Malik’s house. Their unearthing led to his arrest, and later that year, he was found guilty of murdering his relative and sentenced to death by hanging. The other corpse was that of Gale Benson, a young, White Englishwoman and the daughter of a former British MP. She’s also said to have been a follower and supporter of the ‘Black Power’ cause, hence her association with Christina Gardens. However, Michael’s associates and henchmen, it’s said, believed her to be an MI6 spy working undercover to destroy their movement. As a result – and on Malik’s orders, allegedly – they killed her by stabbing her repeatedly then pushing her into a shallow grave and burying her alive. When Joseph Skerritt heard about the killing, he attempted to blackmail them, demanding money for not going to the police. In response, we’re told, his cousin Michael led him to a deep pit that had been dug on the property and stabbed him to death before having him buried there. QC Geoffrey Robertson – who was mentioned earlier on in this article for his investigation into the Profumo affair – was a young, newly-qualified lawyer back then and one of his first assignments was representing Malik in the battle to have the death sentence on him overturned, a battle that lasted for about three years or so… And – once again – Lennon was there to help. He and a number of other high-profile figures including, it’s reported, Leonard Cohen, William Burroughs and Dick Gregory became a part of ‘The International Committee to Save Michael X.’ On July 16th 1973, John and Yoko issued a Press-release that stated: “Abdul Malik free spirit and visionary… is scheduled to be hung any day now it is too late to weigh the merits of his innocence or to deny his guilt we know him as a friend and brother. We ask you to do whatever you can to save this man… All life is sacred and there is no room for hatred.” According to Peter Doggett’s book, Lennon also offered to auction off a piano that he’d written several Beatles songs on in a bid to raise money for Malik’s defence… But it was all to no avail… He was hanged in May 1975.
There is speculation that Malik’s execution was used to cover up his involvement, perhaps, in something far bigger than the murder of his cousin, something that connects to the higher echelons of the Establishment. This perhaps has been fuelled by the claim that a Government file on him has been locked up until 2054… Is Lennon featured in it? At this point, I’ll turn the attention to a most fascinating and entertaining British film titled ‘The Bank Job.’ Have you seen it? Released in 2008, it’s a fictional dramatisation of a real-life bank-robbery that occurred in Baker Street in London in September 1971. The robbers are reported to have gotten away with a stash worth millions of pounds, and that they thieved from safety deposit boxes… But, is there actually more to this incident than just that, the official-flavoured version of what we’re told occurred? Written by popular TV-comedy and drama writers Dick Clement and Ian la Frenais, the film connects the heist to the British Secret Service, the illegal porn industry, a member of the House of Lords, as well as Gale Benson, and Malik who, in fact, is one of the central characters in the movie’s narrative. Actor, Jason Statham plays the role of the robbery-gang’s leader. Together, he and his crew tunnel into the bank and raid the boxes for money only to find – to their complete surprise – that a couple of them are filled with sexually explicit and incriminating photographs of Establishment figures. They also find a photo seemingly taken in a street of Michael X standing next to John Lennon (not a ‘real life’ photo mind you, but the movie-makers’ depiction of one, with the roles of John and Michael played by the actors Alan Swoffer and Peter de Jersey respectively). What’s not noted in the film is that pictures of child pornography were found… Well, that’s if we’re to believe what one of the former robbers has anonymously claimed decades after the incident. In an interview in 2008 for the British newspaper/website ‘The Mirror,’ the unnamed source says that he and his fellow gang “realised we had a lot more than we’d bargained for” when they opened up one of the boxes. “What was most disturbing was the child pornography we found. We were disgusted and left it in their open boxes so police could trace the owners.” In 2016, the “close confidante” of a notorious robber who claims to have taken part in the Baker Street heist but who’s never been arrested or charged for it, is reported as saying in The Mirror that the gang “found photographs of a famous (Tory) politician abusing children. The gang were disgusted and left them lying on the floor of the vault for the police to find but nothing was ever done.” Indeed, it’s reported that, days after the robbery, a D-notice was issued, a Government order that forbade the Press from reporting on certain events. A most unusual move for a bank-heist, unless of course some if not all the information in The Bank Job, plus the claims of the alleged former participants in the robbery, are true?… Do you smell a cover-up reaching to the highest heights of the British Establishment?
In the film, the robbers are shocked to discover that they’ve been duped into orchestrating the bank break-in by the Secret Service who’ve implanted an undercover mole within the gang and who’s been tasked with retrieving incriminating photographs of – as it’s described in the film – “a certain royal princess.” The potentially explosive pictures are found stored in a safety deposit box belonging to Malik who’s using the photos as a blackmailing bargaining chip to ensure his immunity from prosecution in Britain for his criminal activities, and also to guarantee his safe return to Trinidad. Unfortunately for him, the authorities get hold of the photographs and, at the end of the film, we see Michael being arrested for Gale Benson’s murder whilst a British Secret Service operative orders the burning down of the house at Christina Gardens.
It’s perhaps no surprise to you that the ‘certain royal princess,’ but whose name isn’t actually revealed in the film, is Queen Elizabeth II’s sister, Margaret. This allegation has been widely speculated on in the mainstream media over the years and, according to an article in The Telegraph from 2008, Ian Clement was personally told about it prior to getting to work on the movie by an individual by the name of George McIndoe who claims to have met at least two of the Baker Street robbers. Meanwhile, the links made in The Bank Job to Malik and the Secret Service are, the writer says, “all conjecture… But what is curious is that I have seen something that says that Michael X’s file is buried until 2054, which is extraordinary. I mean, what the hell he had that was keeping him out of jail, and which was so important that they don’t want it known about… well, it boggles the mind. Even if it was photographs of the royal family, you’d have thought that that wouldn’t have had such a long after-life. But certainly the connection (to Princess Margaret) is a fairly obvious one. And while we’ve become so used to royal scandals since then, in 1971 it would have been a much bigger deal. There was a lot of sensitivity because of the Christine Keeler affair and they didn’t want another scandal dancing around like that. That’s the theory, anyway.”
And so, we find ourselves back with Christine Keeler and the Profumo affair – but the links to the royal family don’t stop here… As well as being a talented and popular osteopath, Stephen Ward was a sketch-artist who’d drawn portraits of a number of well-known figures including, it’s said, the actress Sophia Loren, and – ironically – Harold Macmillan who was Prime Minister at the time of the scandal and of course, who many believe, later relinquished his premiership as a consequence of it. Someone else who posed for a drawing was Princess Margaret, as did her father, Prince Philip, Duke of Edinburgh.
I’ve been led to understand that, back in the 1960s when the mainstream media’s coverage of the Profumo affair was at its height, at least one newspaper published allegations that controversially linked Ward to the Queen’s husband, citing that they were both members of the exclusive ‘Thursday club,’ a small group of men who, it’s said, met regularly and socialised together at a restaurant in Soho, London. The actors David Niven and Peter Ustinov belonged to this set as did musician Larry Adler, and, the Kray twins. Remember those documents I mentioned earlier related to the whole Profumo affair and that have been embargoed for 40-plus years? I wonder if any of the above is noted in them? In 2012, the British newspaper/website ‘The Express’ published allegations it claims to have received from Soviet intel agents that both Princess Margaret and her father were being spied on by the KGB during the 1960s. It’s claimed “intelligence was gathered on Prince Phillip via society osteopath and artist Stephen Ward, who boasted of a 15-year friendship with the Prince…” In her autobiography ‘Secrets and Lies,’ Christine Keeler claims that “Stephen told me how he and… Prince Phillip had all visited nightclubs together in the 1940s. They were quite wild times and it was thought to be a little delicate for Prince Phillip when Elizabeth became Queen, according to Stephen. He had no time for Phillip and would always put him down in conversation for he hated the Establishment.”
In October 2013, it’s reported that a Russian TV-documentary was set to be screened that would claim Ward’s friend Yevgeny Ivanov had taken possession of some “scandalous” photographs of Prince Phillip at the Thursday Club during the 1950s as part of the KGB’s bid to discredit the British royal family. I haven’t seen the programme unfortunately as I’ve been unable to find any information about it on the internet, with the exception of an article from the MailOnline which claims the photos “were taken in the 1950s by the Duke’s close friend and fellow club member, photographer Baron Nahum. According to the programme… Soviet spy Yevgeny Ivanov used a special camera to take copies of the photos from an album in the possession of Stephen Ward… who was also associated with the club.” And if you want to mix fact with, we’re told, fiction, and as we did earlier with The Bank Job, Last year, the British biographical TV-drama miniseries on Queen Elizabeth II and titled ‘The Crown,’ featured an episode centring on the Prince’s connection to Stephen Ward. I haven’t seen this either, so – again – I’ll rely on the MailOnline which claims there’s one “fictitious scene” where “the Queen confronts her husband about the nature of his relationship with Stephen Ward… Elizabeth – played by (actress) Claire Foy – is also shown conspiring to keep details of Phillip’s involvement out of the public domain.” As the scandal begins to break in public in 1963, “rumours begin to grow that a ‘mystery man’ photographed with his back to the camera at one of Ward’s parties is Phillip.” An idea as to what the Prince may or may not have participated in at one of Ward’s parties can be described by Christine Keeler who, in ‘Secrets and Lies,’ recalls, “Stephen could always sense people’s sexual tastes – and egg them on, make them go further than they might have otherwise. Stephen knew all the Masonic handshakes and he said that at some of the parties the girls would just wear leather Masonic aprons. Some of the women Stephen was involved with were heavily into sadistic sex and there were ‘black magic’ parties, which were really just an excuse for group sex sessions.” Whether they were “an excuse” or not, the veteran British entertainer Michael Bentine, a former member of groundbreaking comedy-group The Goons, and someone who is said to have known Ward, claims in his 1984 book ‘The Doors of the Mind,’ that he met the osteopath backstage in the dressing-room of a show he was appearing at in the West End of London. “He was obviously connected with some sort of magical or esoteric group,” he recalls, “but to me he didn’t fit into the conventional frame of spiritualist or psychic researcher. I picked up, through his covert references, that he was more inclined towards ritual magical practises than towards straightforward paranormal awareness and its development for healing in which, as a successful physiotherapist, he would be thought likely to specialise. His involvement in black magic was later confirmed by Dom Robert Pettitpierre, the late exorcist of the Church of England.” He goes on, “most people have only the vaguest ideas of what a ‘ritual magical society’ is like, probably because the material they have read in this context has been mainly sensationalised rubbish.”
Someone else who’s said to have met Ward is, Brian Epstein. This is a claim that’s been made directly to Redwel Trabant of the highly recommended blog ‘Beatles Conspiracy’ “by someone who claims to have been there.” So the story goes, the Beatles’ manager first came into contact with the osteopath in the very early 1960s during a visit to London, after having travelled down from Liverpool briefly “trying to hawk” the-then largely-unknown band around to record-companies in the capital. The website’s author states that, “on the face of it this seems to be a very strange suggestion,” and then asks, “why would The Beatles manager be introduced to, or think it worthwhile to meet Stephen Ward the osteopath? Well, Ward was no ordinary osteopath, having treated Ghandi, his list of patients grew to include Winston Churchill, Douglas Fairbanks Jr., Prince Phillip, Lord Astor… Ward was a society fixer. If you wanted a girl, or indeed a boy, Ward could not only arrange it but, should it be required, sort out a venue, outfits, accessories and take a commemorative photograph as well. Ward was the archetypal wedding planner for the rich and famous only without the wedding. Indeed, MI5 described Ward as ‘being the provider of popsies for rich people.’” Given that homosexuality in the UK was illegal prior to 1967, gay men such as Epstein had to be discreet when seeking out sexual pleasures for fear of arrest and public scandal. Ward, theoretically, as a well-connected “fixer,” could provide Brian with what he wanted and with little to no risk of detection from unwanted quarters. On the other hand, considering that Stephen appears to have been either, and, or, a KGB/MI5 agent who also attended sex parties and, in Keeler’s words, “lured many of” his associates “into compromising situations,” I suppose it could be argued that Ward may have had the inclination to secretly monitor Epstein on behalf of his intelligence contacts as he’d done, allegedly, to Prince Phillip, John Profumo, and Yevgeny Ivanov.
Similar to the rise of The Beatles, the Profumo affair didn’t break out into mass-public consciousness until 1963, although in both cases, the seeds of that attention were being sown in 1962. In the summer of that year, John Lennon, Paul McCartney, and George Harrison entered ‘EMI’ studios at Abbey Road in London for their maiden recording-session there, and Pete Best, their long-serving drummer, was sacked and replaced with Ringo Starr, and it was also during this time, it’s said, that the first printed reference was made in the media on what would become the Profumo scandal – although it was a vague and cryptic one. It’s reported to have been published in a column in a magazine called ‘Queen,’ and titled, ‘Sentences I’d Like to Hear the End of.’ I’ve been led to understand by a couple of sources on the internet that – and, to quote one of them – Keeler, Ivanov, and the British Secretary of State for War were “beginning to be the subject of gossip.” This indeed appears to have been a small world. According to the book ‘Beautiful Idiots and Brilliant Lunatics: A Sideways look at 20th Century London’ by author and blogger Rob Baker, the article in the magazine was “written… by the associate editor, Robin Douglas-Home, a nephew of Lord Home, the Foreign Secretary at the time.” In October 1963 as the Profumo scandal laid waste to reputations and careers, Lord Home took over as Prime Minister from Harold Macmillan after he resigned, reportedly, due to ill health. I’ll also note briefly at this point that the aforementioned associate editor was a friend of Princess Margaret, and for a brief spell during 1967, her lover. He died 18 months after she ended their affair in a reported “suicide.” In the ‘Beautiful Idiots’ book, Rob Baker states that Robin was a “part of Princess Margaret’s social set. Home, who always kept his ears close to the ground, was exceedingly well-placed to hear any society gossip,” such as what was rumoured to be going on with Keeler, Ivanov, and Profumo. The aforementioned magazine-article in Queen and alluding to the gossip stated: “… called in MI5 because every time the chauffeur-driven ‘Zil’ drew up at her front-door, out of the back-door into a chauffeur-driven ‘Humber’ slipped…” This, writes Barker, “sent shockwaves” through the British Government and London’s (and indeed, Britain’s) newspaper capital, Fleet Street, although to almost everyone else “it was no more than a fragment of a sentence and utterly incomprehensible and innocuous…” The reference in the piece to “a chauffeur-driven Humber” is most likely referring to the ministerial car that Yevgeny Ivanov is said to have been driven around in. According to the book ‘Unholy Joy: A Short History of the Profumo Affair’ by author and TV producer/director John Lawton, two days after first having sex with Keeler, Ivanov visited her flat and took her out for a drive “around London in the chauffeured ministerial Humber.” However, it was a shooting incident outside a flat in London belonging to Ward in December 1962 that resulted in the gossip being catapulted into the mass, mainstream consciousness. Johnny Edgecombe, a young West Indian who earned a living as a driver for jazz musicians and who was Keeler’s girlfriend for a time, turned up with a gun outside Stephen’s and began firing it at the front-door when Christine wouldn’t let him in. Eventually, he was arrested and charged with intent to kill her. The incident attracted the attention of the newspaper and TV media and, it’s said, reporters began to camp outside Keeler’s flat in the hope of an exclusive interview. She claims a friend of hers at the time by the name of Nina Gadd and who “had been feeding the gossip-columns and called herself a freelance journalist,” sensed an opportunity “to make a killing” here and brought the unsuspecting Christine into contact with a reporter from a national newspaper who offered to buy her story on Profumo as well as the ‘Darling letter’ he’d sent her, despite her reservations about going public with his identity in the Press. She was assured that his name couldn’t be printed and he’d be referred to instead as “an anonymous Government minister.” And so, she went ahead and made a deal although, ultimately, nothing was printed because Ward, it’s said, intervened and had it stopped with threats of legal action. The newspaper also returned the ‘Darling’ note to the minister via his solicitor – but kept itself a copy of it too! “Soon,” states John Lawton, “copies of the copy began to pass around Fleet Street.” By March of ‘63, the hushed rumours were an open, public secret and Profumo was forced to make a statement to the House of Commons about his alleged relations with Keeler, Ward, and Ivanov who – it’s interesting to point out – was called back unexpectedly (they say) to Russia in January of that year as the black clouds of scandal were beginning to form in Britain. The minister admitted to having met Yevgeny at Bill Astor’s weekend gathering at Cliveden, and to being a close acquaintance of Ward’s and, to a lesser extent, Christine’s, but denied that he and she were involved in any “impropriety.” Stephen backed-up the politician in the media, perhaps assuming (or hoping) that his old Establishment friends would, in return, defend him from the scandal-hunters… They didn’t. He was arrested and then stood trial in July ’63 on pimping charges including, so states Geoffrey Robertson in his book ‘Stephen Ward Was Innocent, OK,’ for “living from the immoral earnings of Christine Keeler, a ‘common prostitute’…” He was also indicted for allegedly doing the same with Rice-Davies. The QC believes “Ward was charged with crimes for which there was no evidence that he or anyone else had committed. Ward was made a scapegoat for the Profumo affair which became so toxic for the Macmillan government. He knew that Profumo had lied to Parliament about his relationship with Keeler… ” Much of what Robertson lays out there has been echoed by Phillip Knightley, co-author of the 1987 book, ‘An Affair of State: The Profumo Case and the Framing of Stephen Ward.’ In a 1989 TV documentary he said, “I have it on very good information, that at a meeting that was held in early 1963, the Home Secretary, Henry Brooke, said at this meeting, ‘somebody must be responsible for all this.’ So, the word got around that the Government wants a scapegoat in this case. The Commissioner of Police was present at this meeting and he thought, ‘well, maybe there is something we can charge Ward with? Maybe Ward is guilty of breach of the Official Secrets Act?’ And he looked at that and there was nothing there and then he looked… he asked around the police in Ward’s own area – Marylebone – and there on file at Marylebone police-station was a lot of anonymous complaints that Ward had been running a call-girl racket. Now that was untrue – untrue in the sense that you imagine a call-girl racket to be providing girls for money. Ward didn’t provide girls for money. Ward introduced willing young ladies to gentlemen who were interested in them.” Keeler shared this view pretty much. She maintained throughout her life that she wasn’t a prostitute, and Mandy insisted that she herself had never been pimped off by Ward for money either. In a 2014 article for the MailOnline, in which she accused the trial of being “vindictively rigged” against him, she also argued that he was charged for “a tawdry crime he did not commit.” She then went on, “I think that the Government was eager to shift attention away from security risks… and on to the shenanigans of the ‘fast set.’ There could be no better way of doing this than by putting Stephen’s louche lifestyle on trial.” Keeler concurred. She once said, “I know the truth and it is far more shocking than what the public has been fed by the British Establishment. Sex was a game – spying was a serious business. Far better that the Establishment be caught with its pants down than involved in stealing secrets – that was the thinking. Far better for the public to be titillated by aristocratic misdemeanours…” So, an orchestrated smoke-screen was set up to shift the public’s focus away from other more infinitely important but hidden aspects of the entire affair, and Stephen was the unwitting sacrificial lamb that was chosen to make this happen. On July 30th, following the judge’s summing up of the trial, Ward went to the flat of a friend’s where he was staying and reportedly attempted to kill himself with a drugs overdose. He was taken to hospital. The next day, as he lay comatose, the trial continued in his absence and reached a verdict of guilty on two counts; Count 1, that he lived on the earnings of Keeler and (Count 2) Mandy Rice-Davies. On August 3rd, Stephen died after never regaining consciousness.
Veteran British TV reporter Tom Mangold was working at the ‘Daily Express’ newspaper at the time, and he was a friend of Ward’s. He claims to have been at the flat shortly before he took the overdose. He’s said, “Ward killed himself having been targeted by a vindictive State seeking a scapegoat for Profumo’s behaviour. Fearing contamination, most of his many ‘friends’ deserted him, and British intelligence agencies who had been happy to use him failed to speak up in court. Ward was a broken man when he took an overdose… ” Geoffrey Robertson states that Ward “had attempted suicide, because (as he said in a note), ‘after Marshall’s (the judge’s) summing up, I’ve given up all hope.’” Mangold claims that during his visit to the flat, Stephen handed him one of the many notes he was writing to friends and associates, and which the reporter didn’t realise till sometime afterwards were suicide letters because, as he’s recalled, he didn’t read his “till later.” One of them, he’s said, read, “delay resuscitation as long as possible.” This is, I must remark, most odd, that is if we’re to take seriously the reported claims of an alleged “MI6 asset” by the name of Lee Tracey who, in recent years, is said to have claimed that the British intel services had Ward murdered with an enforced overdose. If this is true, then Mangold’s version of events regarding the night of Stephen’s overdose is, to put it mildly, way off course. The allegations were published in an article in 2013 in The Telegraph by Neil Tweedie…
… The wrong done to Ward may have been much worse than being made a scapegoat. Accounts of his end contain the standard ingredients: a man deserted by his erstwhile friends, alone in the early hours as disgrace beckons; a desperate succession of suicide notes written and addressed to recipients; a bottle of pills; the only “decent thing” left to do.
Could there, however, have been another ingredient – Stanley Rytter?
Rytter was a ‘deniable,’ a freelance operative for both MI5 and MI6… An intelligence colleague of his has gone on the record to claim that, in a deathbed confession, the Pole admitted that he murdered Ward to ensure his silence.
“It was decided that Ward had to die,” says Lee Tracey… “Stanley Rytter is the one who killed Ward. I know because he told me. Rytter told me he was paid to kill Ward. He convinced Ward that he ought to have a good night’s sleep and take some sleeping pills. He let Ward doze off and then woke him again and told him to take his tablets. Another half an hour later or so, he woke Ward again and told him he’d forgotten to take his sleeping pills. So it went on, until Ward had overdosed. It might sound far-fetched, but it’s the easiest thing in the world to do. Once the victim is drowsy he will agree to almost anything.”
Ward, says Tracey, knew too much. For years, he had cultivated the high and mighty of British society, supplying friends with girls, not for money but for the kudos of moving within such circles. Politicians, aristocrats, even royalty, all attended Ward’s gatherings, some of which involved sadomasochism.
That the death of Ward was convenient for Britain’s social and political elite is beyond doubt. Reputations remained intact that might otherwise have been destroyed in a flurry of disclosures about the sexual adventures of the great and good. The intelligence services, meanwhile, were rid of a potential embarrassment. Ward had been their man, a source of useful information on the peccadilloes of MPs, peers, diplomats and others. But when the Profumo story exploded, MI5, the domestic security service, and MI6, the foreign intelligence service, both involved with Ward, ran for cover.
… Tom Mangold… knew Ward well. He… dismisses out of hand the notion that he was murdered, pointing to the numerous suicide notes penned by the osteopath.
However, there is a discordant aspect to the night of the supposed self-administered overdose. Some time after Mangold’s departure, Bryan Wharton, a Daily Express photographer, was asked to meet Ward at the osteopath’s flat in Bryanston Mews, not Mallord Street in Chelsea, where he was staying. There, Wharton found Ward engaged in writing a letter to Henry Brooke, the home secretary. It was full of names and Wharton managed to get a shot of it. Ward, he said, was “extremely upset” and insistent that Wharton should be at the Home Office at 7.30am the next day to photograph him delivering the missive. There was another man there. Wharton left Ward some time after midnight and delivered his pictures to the Express. They subsequently disappeared.
Just for the record, Geoffrey Robertson believes that those in the corridors of power were nervous because Ward had been “threatening to expose the truth.” Just one example, in March of 1963, Stephen had reportedly written to opposition Labour Party leader Harold Wilson stating that Profumo had lied.
Meanwhile, in this seemingly small world, we see the name of Peter Rachman popping up again…
Rytter was a former employee of Polish intelligence who had escaped to Britain during the war. He sometimes used journalistic cover to mask his activities, and also worked for Peter Rachman… the most notorious racketeer landlord in post-war London.
It was Rachman, says Tracey, who recommended Rytter to Ward. The latter was living in “abject fear” at the time of his trial and was persuaded that he should have a minder. “Bumping people off was not Rytter’s forte,” says Tracey, who spoke with the dying Rytter in 1984. “He could be boastful. But why does a man who knows he is dying lie about something like that? What has he got to gain?”
Tracey was not alone in believing that Rytter had “assisted” Ward’s death. Another associate of Rachman, Serge Paplinski: “Stanley was there with Ward on that last night. He always said that Ward was poisoned.”
It’s perhaps also worth noting at this point the words of Michael Bentine the previously-mentioned Goon Show star who, during WWII was, as is widely reported, a member of RAF intelligence and MI9 which was a department of the War Office between 1939 and 1945 and that was tasked with facilitating escapees of British prisoners of war and enabling the return of allies who succeeded in evading capture in enemy-occupied territory.
In Anthony Summer’s The Secret Worlds of Stephen Ward, the entertainer is quoted as saying, “a Special Branch friend of mine told me Ward was ‘assisted’ in his dying. I think he was murdered.” Bentine, according to the book’s author, “declined to be drawn further” on this allegation.
During Stephen Ward’s trial in the summer of ‘63, Mandy Rice-Davies appeared in the court-room as a witness. When one of the barristers put it to her that Bill Astor had denied ever having been involved with her, she famously replied, “well, he would, wouldn’t he?” He died in 1966 and his son, William, succeeded him as Viscount. In the 1970s he married Annabel Lucy Veronica Jones. She had a daughter from a previous marriage and whose name was Samantha, the future wife of now former British Prime Minister David Cameron. In May 1965, The Beatles filmed on location at Cliveden House for their second big-screen movie, ‘Help!’ As Paul McCartney has since recalled, the scenes in it where we see them at Buckingham Palace were, actually, shot at the Astor residence in, it’s said, the French dining-room.
“We shot a sequence where we’d used the house, pretending it was Buckingham Palace,” recalled McCartney in 2008. “I’m not sure the Queen would have allowed that. I’d been out there with the Beatles and we met Lord Astor and he was on his last legs. I remember him offering us all oxygen. He was saying: ‘Do you want a bit?’ I think we did have a quick whiff.” It wasn’t long before they did get inside the Palace of course. In October of ‘65 in fact, when they went there to receive their MBEs.
Aside from Cliveden House, it’s said the woodlands area of the Astor estate was used for Help! too. The scene in the film where The Beatles appear in a spoof cinema-ad (or, ‘intermission’ as they called them back then) was, I’m informed, shot on a spot known as ‘Bluebell Wood.’ Blink and you’ll miss it though:
As it turns out, Cliveden House had been used for film-location shoots years prior to Help! In 1952, its exterior was shot for the movie ‘The Card’ starring Alec Guinness, and, since 1965, the residence and/or its grounds has been seen in the TV drama series ‘Mr. Selfridge,’ the 1966 British comedy flick ‘Carry On Don’t Lose Your Head,’ 2004’s ‘Thunderbirds,’ and the 2015 ‘Disney’ outing ‘Cinderella’ – to name some. McCartney returned there too. Sometime during 1969/’70, he and his then new wife, Linda, would venture off out of the hustle and bustle of London and the pressures of Beatledom to find solace in quieter surroundings, such as Cliveden. In 1942, the main residence was donated to the cultural preservation organisation the ‘National Trust’ by the Astors although the family continued to live there until 1966 after which, the gardens were opened to the public. “We would go on visits to places like Cliveden, where Linda photographed me with Heather, Linda’s daughter, who became our daughter,” McCartney recalled in 2008.
Somewhere else where McCartney chose to unwind during the 1960s was the ‘Ad Lib,’ a nightclub in London said to have been one of the city’s celebrity hang-outs during the early to middle part of that decade. Christine Keeler was also a regular there. It became a favourite haunt of hers in the years directly after the Profumo scandal when, in Britain, her face was just as famous as any Pop musician of the day. “Ever since the Profumo affair, I have never known if a man was capable of loving me for not being Christine Keeler,” she states in her autobiography ‘Secrets and Lies.’ “It’s like being an heiress except I had inherited the flotsam of folly rather than a fortune. It meant I never had to buy a drink at the Ad Lib club, which became the centre of my social life. It was loud and popular and everybody seemed to be someone or was trying to be.” It was there, in 1965, that Keeler says she got up close and very personal with Ringo Starr. “I kept going to the Ad Lib and one night ended up dancing with Ringo,” she claims in Secrets and Lies. “The Fab Four were the biggest thing in the world and we were great curiosities on the dance-floor. Which is why we ended up in bed together the next morning…” Christine’s boyfriend at the time, a guy by the name of Freddy who, incidentally, was a nephew by marriage to Charlie, older brother of the dreaded Kray twins, walked in on Ringo and Keeler as they were in bed together that morning. “If it had been anyone else but a Beatle I think he might have bashed Ringo about,” she’s claimed. “As it was, he was so taken aback when he saw it was Ringo in bed with me that he did nothing, just stood there gawping. Ringo made a break for it – and broke my banister as he went.”
In the years just prior to her death, Keeler had been, we’re told, living in hard times. The huge amounts of money earned from newspaper stories back in the day reportedly all gone, she was said to be residing in sheltered accommodation in South London.
Mandy Rice-Davies fared far better. After Ward’s trial, she accepted an offer to sing in German cabaret and took up with a half-Italian, half-French baron by the name of Pierre Cevello. Later, she moved on to Israel and married businessman Rafael Shaul. Together they opened ‘Mandy’s Discotheque,’ which is said to have become the centre of nightlife in one of the country’s largest cities, Tel Aviv. The two eventually divorced. During the 1980s, she appeared in a number of movies including 1986’s ‘Absolute Beginners,’ a film that also starred David Bowie. In 1994 she played a guest-role in an episode of the hit UK TV sitcom ‘Absolutely Fabulous.’ She got wed again in the 1980s, this time to Ken Foreman, a wealthy businessman and she lived a life of luxury in the English stockbroker belt. Mandy died in 2014 from cancer. She was 70 years old.
As for John Profumo… Just weeks after he’d appeared in front of the House of Commons and denied any “impropriety” with Keeler, he resigned as a cabinet minister, admitting that he’d in fact lied to Parliament about his relationship with her.
Given that many of the official documents on the Profumo scandal have never been released to the public and remain locked away, it’s no surprise that there’s questions, speculation and theorising as to what actually went on. Was Stephen Ward a spy, and if so, for whom? The KGB? MI5? Both? Or neither? Was he – as many believe – a scapegoat – a patsy – for those high up in the echelons of power and control? And if he was, what was it that the Establishment was (and is) hiding from us by throwing him to the lions? I can’t help thinking that, perhaps, we’ll never know, even when some of the secret official documents will have their embargoes lifted in decades from now (and that many of us reading this in 2018 won’t be around to see then). One thing’s for sure, the prominent characters within the Profumo scandal were largely made up of tenants of a small world that’s closed off to ordinary, everyday folk. A world inhabited by figures in politics, the aristocracy, and royalty. Sharing it with them were Keeler, Ward, as well as The Beatles and the likes of ‘slum landlord’ Peter Rachman, and Lennon’s friend, Michael X who, let’s not forget, has reportedly had his official file embargoed until 2054. You do have to wonder why. As Ian Clement, the co-director of the previously mentioned movie ‘The Bank Job’ has said, “what the hell was so important that ‘they’ don’t want it known about?” The robbery occurred at ‘Lloyd’s Bank’ in London’s Baker Street, approximately just one mile from Cavendish Square, the location of Ward’s osteopathy practise and about 0.6 miles from his flat in Wimpole Mews, and where the gun incident occurred with Keeler and Johnny Edgecombe. Small world indeed. Just a three minute walk from this apartment is Wimpole Street where the Asher family lived back then. Paul McCartney moved in there in 1963 sharing the abode with his then-girlfriend Jane, her brother Peter, and the parents, Margaret and Richard who was an eminent doctor and who for a time was a consultant physician at the mental observation ward at the Central Middlesex Hospital in London. He also authored a paper in the 1950s titled – interestingly – ‘Respectable Hypnosis.’ In it, he reveals that “I have used hypnosis as an ancillary method of treatment in general medicine… I have devoted one out-patient session a week to it. From this experience I am learning a little about its use and limitations.” It’s been alleged that Richard was involved in secret MK ULTRA-type experiments with widely reported ‘Tavistock Clinic’ psychiatrist Emanuel Miller, and the notorious ‘brainwasher’ Dr. William Sargant. This is according to an anonymous claimant on the previously mentioned website, ‘Beatles Conspiracy.’
With regards to Asher and Ward, there’s no documentation or evidence to suggest in any shape or form that they knew each other or ever met, but it’s possible that they did given that they were both medical men living and working within close proximity of each other. As you may be aware, Richard, same as Stephen, also died prematurely as a result of “suicide.” I won’t go into it too much here, but the circumstances surrounding his death are, to me, a bit odd. Reported missing by his family in 1969, his dead body was discovered a week later in, of all places, the basement of their Wimpole St. home. According to a quote on the popular website ‘Aangirfan,’ Ward “was involved in the Monarch mind-control programme, designed by the security services to create mind-controlled politicians, assassins and sex slaves. The prostitute Christine Keeler often said that ‘Ward controlled her.’” I have absolutely no idea how accurate (or true) this allegation relating to Ward’s connections to MK ULTRA and his ‘handling’ of Keeler are, but it’s perhaps worth noting that she did carry some possible tell-tale signs of Monarch mind-control. For a start, she’d been sexually abused as a child, by her stepfather. Or so she claimed. In Secrets and Lies, she states, “when I was 12, mum had to go to hospital for a couple of weeks. My dad tried to kiss me.” He had some ointment that “he managed to rub… onto my breast, as I had a cold. He asked me to run away with him… as he didn’t love my mother. I never told my mum, but I was terrified and slept with a small knife under the pillow from then on. And I never got over that fear of him… ” Ward, if we’re to believe what’s been alleged, groomed Keeler, ruled her life. When he first met her, she was still a teenager, a working showgirl from a tough, cash-strapped background. He took her on and introduced her to powerful, influential and famous figures for sex.
To illustrate further just how close in vicinity some of the characters in this article lived and/or operated within, here’s a ‘Google Map’ (accompanied by my crude handiwork) of the small walking distance from Baker Street where the Lloyd’s bank job took place (top left-hand side), to (further to the right) Wimpole Street the home of the Ashers, and next to it, Wimpole Mews where Ward had a flat. Cavendish Square, the location of Stephen’s osteopathy practise, is at the bottom of the map…
Meanwhile, the Ashers’ Wimpole St. home is just 2.7 miles from the Tavistock Clinic. ‘Tavistock House’ is 1.2 miles away, and the ‘London School of Economics’ is 1.7 miles from their house.
Just how entwined was this small world that linked Christine Keeler, Stephen Ward and Bill Astor and members of the British royal family to Michael X, and, The Beatles? Was it loose and random, a community made up of pure chance, or was there some design to it? Many reading this will no doubt suspect there was a purpose behind it and that it wasn’t accidental.
The popular blogger Henry Makow, in a 2008 article titled ‘Profumo Affair Exposed Masonic Control,’ opines, “Stephen Ward was an Illuminati agent whose job was to undermine the Conservative Government to make way for Harold Wilson’s Labour Party. Most likely the ‘Profumo Affair’ was planned and staged.” Well, if that’s true, consider it like this… Assume that the open sexual permissiveness and all the other liberal ideals and lifestyles that came after the Profumo affair, first with the ‘swinging Sixties’ and then the so-called ‘Hippie’ movement – and underpinned all the way by The Beatles whose fame rocketed in the immediate wake of the scandal – was always intended to be just one of the aims? Is it coincidence that the band’s rise from virtual unknowns in 1962 to national household names across Great Britain during 1963 coincided almost in unison with the simmering, then bubbling, then explosion into mass consciousness of the Profumo affair? It dissipated and fizzled out fairly soon enough whilst John, Paul, George and Ringo rose ever higher, taking with them in their role as representatives of the new Sixties generation, the values and motifs that it stood for, such as the ‘swinging’ sexual permissiveness that Keeler and Rice-Davies have been attributed with introducing to the mainstream culture of that decade. Now, working on the assumption that this was design and not accident, changes would have to have been made in order for it to have all been able to happen in the first place of course, and by that I mean events and situations would have to have been orchestrated and/or manipulated. People would have to have been moved around, such as the elderly figures of Harold Macmillan and Alec Douglas-Home who were classed as the old guard of a Britain past.
It would’ve been essential, perhaps, to have Macmillan and Douglas-Home conspired out of action so that they could then be replaced by the younger, media-savvy Harold Wilson, who schmoozed publicly with The Beatles and was Prime Minister when they received their MBEs… This was, maybe, an earlier, black & white and unrefined version of what future Labour PM Tony Blair would adopt in the 1990s for his ‘Cool Britannia’ phase when he courted the likes of Noel Gallagher of Oasis at No. 10 Downing Street.
In order to herald in to 1960s mainstream culture the, as Mandy-Rice Davies described it, “vanguard” movement of free love, one would need a Wilson to sell it, not an old fogey like Macmillan who during that time was being lampooned by Britain’s new and burgeoning political satirists including comedian Peter Cook and the magazine he financed, ‘Private Eye.’ Was this part of the plan too? As its then-editor said in a 1989 TV documentary, “the satire boom was really very much based as a kind of personal attack on Macmillan who’d been Prime Minister for a long time and had developed into this sort of almost caricature figure… And he was a kind of a focus for mimics and all this kind of thing.” As an interesting side-note, Jane Asher is a share-holder of Private Eye. Additionally, Emanuel Miller, the Tavistock psychiatrist who’s alleged to have participated in MK ULTRA-type experiments with the actress’s dad, was the father of Jonathan Miller. He was a co-member of the 1960s satirical comedy-group ‘Beyond the Fringe’ alongside Dudley Moore, Alan Bennett, and, of course, Peter Cook. Furthermore, just like his father before him, he’s a fully-qualified doctor, and who trained under, would you believe it, Richard Asher. This is indeed a small world, and with eyebrow-raising connections to mind-control and social-engineering perhaps.
Was it possible that hidden forces conspired to bring down the Conservative government in order to replace it with a Prime Minister equipped with the ability to assist in the ushering in of a counter-culture of mind-bending/damaging drugs, occult literature, philosophies and art, and the breakdown of old family values? I don’t know. Having casually perused the history of Wilson’s tenure as PM in the 1960s, I‘m not convinced this was the case… but I wouldn’t rule it out either. If there was such a plot, then it’s highly likely The Beatles would have been factored into it, with or without their knowledge. As for their associations with Cliveden House, Bill Astor, Keeler and her acquaintance Michael X (via Peter Rachman)?… Whether all or some of these connections were merely down to pure chance – the random result of living in a small world, or, on the other hand, hints of some sort of cabal hidden away from plain view and intent on bringing about mass social change? … Well, because I’m unable to locate an answer, I’ll leave that question hanging… Make of it all what you will.
It’s true… as the title of this short article states, eye (ahem!) didn’t know until a few weeks ago (circa November 2017) that John Lennon had a so-called ‘psychedelic eye’ built into his swimming pool at ‘Kenwood,’ the mansion in the English county of Surrey where he lived during much of the Beatles years with his then-wife Cynthia and his son, Julian. The first time it came to my attention was during a random surf on the internet whilst looking for something completely unrelated to the band or its members, then there it was… a ‘YouTube’ video of an unedited news-report courtesy of ‘Thames TV,’ a now defunct regional provider of television for London and immediate surrounding areas. In it we see the-then present owner of the house – “a Swedish businessman” (unnamed) – standing in the waterless pool hosing down the mosaic of the eye. We’re then shown clips of him peeling off part of the “28,800 separate tiles” in readiness for them to be reassembled “and mounted in an intricate aluminium frame” for exhibition in Liverpool in August of ‘85. Just for the record, this account of events differs somewhat to the well-respected blog/site ‘Kenwood’ which claims that the mural was removed for another reason. So it goes, “back in 1985, the decision was taken to remove the eye due to its rapidly deteriorating condition; apparently if they had left it in the pool, within ten years the whole thing would have been wrecked beyond redemption. So out it came…”
Whatever the reason for its removal, the mural did reportedly go on display at a location in Liverpool known as the ‘Festival Gardens’ in 1985.
You can watch the TV news-report here:
I think what fascinates me the most about this is that the psychedelic eye is – from what I can gather – the most blatant form of occult symbolism I’ve seen connected directly to Lennon… it’s verified, and it’s by no means subtly suggestive… it’s ‘in your face obvious.’ What’s not so obvious are its origins. According to a number of websites and other sources I’ve come across, the mural was designed by John himself, although no verifiable link, reference or direction towards where this claim actually originates is provided. This is most frustratingly taken to its limit on ‘Wikipedia’ which declares that the McCartney biography ‘Many Years from Now’ authored by old Beatles friend and former ‘60s counter-culturalist Barry Miles features a line in it, on page 397, about “the mosaic” being “based on the Eye of Knowledge (the Third Eye)” and “which was part of the teachings of the Maharishi Mahesh Yogi,” the Indian guru who for a time during 1967 and ‘68 drew John, Paul, George and Ringo towards his teachings in transcendental meditation and eastern mysticism. Well, I turned to my own paperback edition of the aforementioned book to cross-check this ‘Third Eye’ claim only to find that it wasn’t in there. There’s no references to mosaics or eyes to be seen – psychedelic or otherwise – not on page 397 or anywhere close to it. I dunno… either I’m the owner of an early version of Many Years from Now which, perhaps, has since been reprinted with new, additional passages, or Wikipedia is publishing false, non-existent information.
What’s also not clear is in what year exactly the mosaic was constructed although I’d guess it was sometime between 1966 and ‘67 when The Beatles were, to some degree or other, connected to the-then burgeoning 1960s counter-culture, a culture which was aligned to occult influences whether in the form of eastern mysticism, or Crowley, Timothy Leary, the I-Ching or whatever.
There is a bit of a clue to the timeline perhaps in the photo below of John sitting by the eye. I’d guess (judging by Lennon’s hairstyle and clothing) this dates from some point in ’67…
It should also be pointed out that the origins of the moniker, ‘psychedelic eye’ are unverified. I myself don’t know for sure whether it was John’s idea to call the mosaic that or the mainstream media’s in its retrospectives.
In an unusual turn of events, the mosaic reportedly went missing after being exhibited at the Festival Gardens in the 1980s. In 2011 a number of news websites stated that the mosaic had been gone for almost a couple of decades but was back in the hands of its two owners, Bernie Cochrane a – depending which source you read – TV and/or music producer and/or promoter, and the previously mentioned unnamed Swedish businessman – and who remains so in all the reports I’ve come across of this event. What’s said to have happened is, the eye never turned up for display at Liverpool’s Alder Hey Children’s Hospital following the closure of the Festival Gardens in 1987, but no one seemed to notice. Cochrane is quoted as saying, “when we were asked if we wanted to lend it to the hospital, I was touring in the Soviet Union and my associate was busy doing his own thing. We arranged for it to be transferred and just assumed it got there. We were both very busy, it wasn’t something we thought much about. I met up with him again in 2005 and said we should do something with the eye. When the hospital said it had never got there, it was a bit nervy…” Nervy – and, perhaps, odd if not unusual. Apparently, a Polish-man by the name of Wladek Reszcynski – and better known as ‘Butch’ – had taken the mosaic from the derelict site of the Festival Gardens which he’d been asked to clear. Thinking the mural to have been abandoned, he stored it in a field he owned and in 2002, he exhibited it at Liverpool’s Albert Dock in the ‘Beatles City’ museum. A legal dispute as to its ownership is said to have taken place between the Pole and Cochrane and his unnamed Swedish associate, who both claimed Wladek had stolen it from them, although the police declined to pursue this as they deemed it to be a civil not criminal matter. In July of 2011, the two parties settled in court for a fee of £27,000 and the returning of the mosaic to its original owners.
If you’re a regular and interested follower of matters pertaining to the world of The Beatles, and especially of the esoteric/occult variety, you’ll perhaps regard the nature of the unusual, odd and mysterious events described above as nothing but what you’d come to expect from this band and its history. It just goes with the territory.
It’s said that Lennon also designed a mosaic for George Harrison and his swimming pool, an enlarged reproduction of one of John’s crazy, satirical yet quite often twisted cartoons from his 1964 poetry-book ‘In His Own Write’ (but I don’t know which one). For whatever reason, a ‘psychedelic’ or ‘Third Eye’ was the other choice. Whether it was influenced by the counter-cultural winds that were blowing, or from times earlier back in the Beatles’ years (or a bit of both), I don’t know. Mystery pervades this image. Perhaps Lennon was inspired to draw the ‘Eye of Knowledge’ by George who, according to widespread, conventional wisdom, was, after all, the guy during that point in time who was most heavily into esoteric philosophies and teachings that lean towards this symbology. On the other hand, who knows? Maybe John designed the eye for purely aesthetic reasons? Maybe ‘the esoteric’ doesn’t come into it? In whatever case, I think it deserves its slot in ‘The Occult Beatles.’
Any one with any additional information that might shed some light on this image and its origins, please do feel free to share. It’d be most appreciated.
Adnan Khashoggi, a notoriously shady Saudi businessman who was labelled ’the richest man in the world’ and who, back in the 2000s, was implicated in some highly salacious UK tabloid Press allegations along with the-then wife of a former Beatle, died a couple of weeks ago whilst being treated for Parkinson’s disease. He was in his early eighties, according to reports.
If you have a keen interest in anything Beatles-related I’ll hazard a guess you know who the aforementioned ex-wife is, and you’ll also perhaps be aware of the allegations that were made. However, if you’re still in the dark at this point, the woman I’m referring to is Heather Mills, former spouse of Sir Paul McCartney. He married her in 2002, just four years after his first wife Linda succumbed to cancer. In 2006, they separated, and an acrimonious divorce soon followed, during which time, the now-defunct UK weekend tabloid the ‘News of the World’ published allegations that the onetime-Beatle’s estranged other-half, before he’d met her, used to be a high-class call-girl in the pay of Khashoggi.
“We have a naughty background,” Denise Hewitt, an alleged former escort-girl and friend of Heather’s is quoted as saying in 2008 about their days together during the 1980s/‘90s. According to the 2007 book, ‘The Unsinkable Heather Mills: The Unauthorized Biography of the Great Pretender’ by Neil Simpson, the two women met when they were both young models, a pair of working-class girls trading on their looks to escape poverty although, it’s said, Mills struggled to get hired for shoots, a lot of which was seemingly centred on swimsuit and lingerie assignments. Together, it’s claimed, they both moved on from “modelling to something with a harder edge” tempted, it’s said, by stories told by escort-girl pals of “wads of cash… private jets and villas and yachts.”
Hewitt is reported to have expressed no regrets for her former life as a high-class escort. “I don’t look on it as sleazy,” she’s quoted as saying. “I mean, working-class women wouldn’t get £10,000 a night. We used to get a lot of jewellery as gifts – rings, watches, Bulgari bracelets, cars. The world was our oyster. We enjoyed it.”
The intention of this article isn’t to shower moral condemnation upon prostitution. And neither is it to provide a blow-by-blow report on the spicy ‘tit’-bits of the allegations directed towards Mills. No, none of that is of any relevance here.
What does interest me though is the fact that Khashoggi was an arms-dealer and, apparently, an opulently wealthy one who spent his reported billions on sumptuous, glamorous parties attended – it’s said – by stars of music and movies. He was also embroiled in the Iran-Contra scandal of the 1980s. So, once again, we find the worlds of the military-industrial complex and popular-culture co-existing.
But the issue here isn’t to do with his reportedly close proximity to the icons of screen and sound (as fascinating as it is), but his alleged customer-client relationship with Mills who, it’s claimed, attended (as far as I’ve been led to understand) at least one of Khashoggi’s lavish soirees as his paid guest. In other words, or, to be precise, the words of a man by the name of Abdul Khoury, who’s said to have worked as Adnan’s private-secretary between the 1970s and 2000s, “one of my duties was to look after Mr. Khashoggi’s guests, which would include looking after vice-girls who were invited to see him. One was Heather Mills.” In fact, it’s reported that, in a 2001 media-interview the-then Lady McCartney (as she was officially known) admitted to attending the party which was held at a residence Khashoggi owned in Marbella, Spain, but denied having sex with him – paid or otherwise. According to this particular version of events, she was invited to the get-together after flying in from the UK for a modelling assignment. She had no idea many of the other girls who’d been jetted in as guests were high-class hookers. “I have met Adnan Khashoggi… but I haven’t had sex with him. I have never sold sex and I am not an escort-girl,” she’s quoted as saying of that episode. Khashoggi, when reportedly asked in a 2006 TV-interview whether any money had been exchanged between himself and Mills for sexual activities at his Spanish property, replied, “who cares?” He couldn’t be pressed to give a ’yes’ or ’no’ answer, or so I‘m led to understand, you see, I’ve never watched it myself because no footage of it seems to be available any more, so I have to rely on second-hand accounts from MSM-media sources. Any way, according to Khoury’s claims in the News of the World‘s self-proclaimed ‘expose‘ of 2006, the initial Marbella meeting between the notorious arms-dealer and the future wife of an ex-Beatle was the first of a few. She was alleged to have met him for paid sex on four other occasions during the early 1990s in top-star London hotel-rooms. I’m not aware of any claims to suggest the pair met beyond this although the allegations attributed in the UK tabloid to the individual we’re led to believe is Khashoggi’s ex-private-secretary have, in one shape or form, been echoed by others, including Denise Hewitt. Unfortunately, much of what she’s reported to have said and that’s of relevance to this website, was broadcast in a 2008 TV documentary that, to my knowledge, hasn’t been screened since, and although I did watch it on its original airing back then, my memory of it is hazy. I’ve failed to find it online to refresh myself with it so, as a result, I’ll have to rely on what various news-media sources quoted from it either before or after its transmission. According to the ‘MailOnline’ for example, the aforementioned television-programme, which was titled ‘Heather Mills: What Really Happened,’ quoted Hewitt as saying Khashoggi was “classed as” Heather’s ‘sugar daddy,’ as was “one of the royal princes of Saudi.” She’s also reported as saying, “we went into high-class prostitution behind closed doors and nobody knew about it.” Maybe nobody (or almost nobody) knew what Khashoggi, a life-long friend of the Saudi royal family, was up to then, but there’ve been glimpses since if we’re to believe what’s been printed and published in the mainstream media. In its obituary to the recently-departed arms-dealer, the UK tabloid ‘The Sun’ (a Rupert Murdoch-owned relative of the News of the World) states that many of the lucrative contracts Adnan won and that led to his vast financial wealth, “were won by impressing clients with… the services of high-class prostitutes.” So, sex sold weapons. (That wouldn‘t surprise me).
In a clandestine world such as that, what else could the amorous charms of an attractive high-class hooker win from her satisfied conquest? What about information? Information of value (or career-crushing consequence) not only to dealers of arms for example, but their high-flying friends and associates in the military, government and intel-services?
Most intriguingly for me, Hewitt has reportedly claimed in the aforementioned documentary that Mills has the power to enchant men to her will. She’s reported to have said, “Heather knows how to play people, she’s very clever… They just fall madly in love with her and… she manipulates people and they’re besotted.” She’s also quoted as saying Heather “was a honey trap for men.”
What exactly is a ‘honey trap’? Well, according to one dictionary definition I’ve read, it’s “a stratagem in which an attractive person entices another person into revealing information…”
Khashoggi, in some shape or form, was a player within the military-industrial complex and at least one or two US Government administrations, we’re told. His role, for example, in the Iran-Contra affair had him embroiled in an international scandal back in the 1980s and that then-American President Ronald Reagan was eventually forced to publicly accept responsibility for. It involved the covert selling of military hardware to Iran, which was under a US arms embargo, and then using those proceeds to secretly fund the White House-backed Contra rebels in Nicaragua who were fighting the Left-wing government there. Khashoggi has been described as the ‘middle-man’ in these arms dealings. A couple of decades or so earlier, a young Adnan is said to have had a hand in paving the way for Richard Nixon’s 1968 US Presidential-election win. In his early 2010’s book ‘Prophets of War,’ author and think-tank head-honcho William D. Hartung states that, during Tricky Dicky’s“political exile” following his 1960 electoral defeat to JFK, “Khashoggi cultivated connections with key American officials” including “Richard Nixon… by wining and dining him in Paris and smoothing the way for him to be received in style in major Arab capitals. Khashoggi’s ’generosity’ paid off when Nixon was elected President in 1968. Although it was never made clear what the American President did for his Saudi friend, the two men had several private meetings during the Nixon presidency, suggesting a level of access and influence that could only help Khashoggi rack-up new clients, whether or not Nixon lifted a finger on his behalf. Khashoggi was suspected of funnelling millions of dollars to Nixon’s 1972 re-election campaign.” Jonathan Aitken, former British Tory cabinet MP and author of the book ‘Nixon: A Life’ (and who we’re going to get a little more detail on later), claims the former President once said to him that Khashoggi “was a highly intelligent and serious man who gave me many original insights into Mid-East politics.” Adnan, it’s said, was also of value to the Pentagon. William D. Hartung, in his book, reports that, in a 1974 speech, “the assistant-director of the Pentagon’s international sales office… noted the benefits of using agents like Khashoggi to buy influence, ranging from ‘normal friendships… to the payments of substantial sums of money to individuals in high government positions.’” Look into Adnan’s life and you’ll find his name linked in some form to the CIA as well. For example, in his book ‘The American Deep State: Big Money, Big Oil, and the Struggle for US Democracy,’ Canadian-born former diplomat and academic, Peter Dale Scott states that the arms-dealer’s PR guy in Washington used to be Edward K. Moss, a “man with CIA connections.”
It’s here we see a connection being laid out by Scott involving the alleged machinations of Ross the so-called CIA asset alongside big business and the role of call-girls.
He goes on:
Back in November 1962, the CIA, as part of its planning to get rid of (Fidel) Castro, decided to use Moss for the Political Action Group of the CIA’s covert Action (CA) staff. This was more than a year after the FBI had advised the CIA that Moss’s mistress Julia Cellini and her brother Dino Cellini were alleged to have long been associated with the narcotics and white slavery rackets in Cuba.
This FBI report suggests an important shared interest between Moss and Khashoggi: sexual corruption…
Khashoggi himself was said to have “used sex to win over US executives.” The bill for the madam who supplied girls en masse to his yacht in the Mediterranean ran to hundreds of thousands of dollars. Khashoggi made a practise of supplying those he wished to influence with dollars as well as sex.
This is a world where, in the words of Scott, “sexual corruption” can not only win big business contracts but, potentially, power and political influence either by subtly wrestling valuable top secrets from the lips of the call-girl’s victim, or instead by blackmailing the target into submission with the aid of, let’s say, incriminating photographs of them in, as it were, action.
This is a world ripe for the ‘honey trap.’
In the late 1980s, Khashoggi’s name was linked to the UK’s so-called ‘House of Commons Sex Scandal,’ a scandal that called in to question the security of the country (similar in some respects to the Profumo affair a quarter of a century earlier). At the centre of this was Indian-born former beauty-queen Pamella Bordes (real name, Pamela Chaudry Singh) who claims she was Adnan’s call-girl whilst she was working as a researcher for a Tory MP within the Houses of Parliament. An extensive article in the British tabloid the ‘Daily Mail’ in 1989, and published with her co-operation, quotes her as saying she “was used as sexual bait” by the arms-dealer. The newspaper claimed at the time it had compiled a dossier revealing “Khashoggi’s widespread use of bribery and sexual favours in return for business deals involving arms, technology and property.” It included “the names of prominent businessmen in Britain, France and the United States and those of senior French politicians and Arab leaders and government officials.” The tabloid stated that Khashoggi was involved with an “organisation” that Bordes worked for and she “was flown around the world to give sexual favours at his behest to a number of important business and political clients.”
Pamella’s double-life as a House of Commons researcher and call-girl “gave her an added cachet for her clients… At least three Asians with whom she had sexual relations wanted to be assured that she worked in the Commons and she showed them documents to prove it. The arrangements with her clients were made by ‘agents’ who specialised in arranging ‘sex for business liaisons.’” Bordes told the Daily Mail, “Khashoggi has all these deals going and he needs a lot of girls for sexual bribes. I was just part of an enormous group.” The question of UK security was brought to the fore when it was revealed that Pamella had also been involved with Ahmed Gaddaf Al-Dam, a cousin and reputed close aide of then-Libyan leader Colonel Muammar Gadaffi. He was also, according to one Press report from 1989, “a top-ranking arms buyer in the Libyan security service.” The ‘Daily Express’ newspaper claimed Bordes was “said to have made a number of visits by private-jet to the Libyan capital Tripoli. Reports of Pamella’s trips to see him in Paris were given to a senior official at the Foreign Office in early January (1989). By then she was working as a research-assistant for Tory MP David Shaw.” She was also at this time, as noted before, on the Khashoggi payroll, working for – in the Daily Mail’s words – his “network, operated by his sub-contracted ‘madames’…” It’s around this period or thereabouts that Heather Mills will have met Khashoggi at his party at his Marbella home where, Bordes claims, she herself stayed for a time and where, she’s reported as saying, male guests of one of his infamous soirees “evaluated” her in order to see if she “passed their tests.”
In 2007, and as you’ll no doubt know, Mills claimed during a live interview on UK breakfast TV that she had “a box of evidence” incriminating McCartney her then soon-to-be ex-husband. From what she said on that programme, it’s pretty clear the aforementioned ‘box’ was (is?) her insurance-policy against alleged threats on her life, threats that the former Beatle, she claimed, didn’t respond to protect her from. She declared that should she be ‘topped off,’ the damning ‘evidence’ would be unleashed to the public by “a certain person” that she was planning on giving it to for safe-keeping.
How she attained this box of yet-to-be disclosed content isn’t publicly known for sure (as far as I‘m aware). Whether it was acquired through accident or, indeed, deception of some form and, with or without the help of old friends and associates with a knowledge of covert tactics perhaps, is a matter of pure conjecture I’d suggest.
Incidentally, and as a side-note, it’s ironic (perhaps) that, in 2002, it was reported that Khashoggi was said to have been at the receiving end of a £30,000 blackmail attempt after a set of photos of him somehow went mysteriously missing. This was, apparently, according to Soraya Khashoggi his ex-wife and also mother of a daughter whose father is none other than the previously-mentioned Jonathan Aitken. Oooh! It’s a small world isn’t it?
A couple of little Beatles-related links here with regards to Aitken a former Tory cabinet-member in British PM John Major’s government of the early ‘90s and who was later jailed after admitting perjury and perverting the course of justice in a libel-hearing he launched against a national newspaper that revealed he’d allowed the Saudi royal family to pay his hotel bill at the Paris Ritz in 1993 when he was minister in charge of Defence Procurement and, as a result, barred from taking such hospitality. In 1967, during his days as a young journalist, he signed his name to the famous full-page advertisement in the UK’s ‘Times’ broadsheet that called for a relaxing on the laws on cannabis. Titled, ‘the law against marijuana is immoral in principle and unworkable in practise,’ it was paid for by John, Paul, George and Ringo and included their signatures alongside those of their manager Brian Epstein as well as R.D. Laing, George Melly, Graham Greene, Tom Driberg MP, Francis Huxley, established British TV veteran of politics David Dimbleby and many more.
Aitken claims he met McCartney on a couple of occasions during the 1960s and had been in close, regular contact with The Beatles’ faithful PR-man Derek Taylor when they were both immersed in the counter-cultural scene of Haight-Ashbury in 1967. The future Conservative politician was working as an overseas reporter there, writing articles for London’s ‘Evening Standard’ newspaper on the burgeoning ‘Summer of Love.’ By 1972, when he claims to have first met Khashoggi, he was an investment-banker working for a man by the name of Jim Slater whose partner was a member of the notorious and so-called ‘elite’ Goldsmith dynasty (A.K.A. Goldschmidt/Rothschild). Quite a career-jump there! Basically, he’d gone from, in his own words, “sharing a joint with Jim Morrison of The Doors, the Beat poet Allen Ginsberg and Ron ‘Pigpen’ McKernan of The Grateful Dead” in San Francisco in 1967 to rubbing shoulders with arms-dealers just five years later. Once again I see here the worlds of the military-industrial complex and the 1960s music-scene blurring into each other, and in a quite bizarre fashion if you ask me. Maybe it’s what they call a ‘coincidence,’ a happening of chance, right? Any way, I’m not aware if Aitken ever met Heather Mills in all the years he’d known Adnan, but he was, he claims, at the former arms-dealer’s hospital bedside before he died.
What top secrets of devastation Khashoggi has taken with him with his passing and that he and only he alone knew about is any ones’ guess.