Vigilance noted.

 

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Given that this site you’re looking at now deals with matters of an occult/conspiratorial nature and, as a result, is perhaps the reason you’re here, then would it be presumptuous of me to assume that you’ll be aware of the work of the ‘Vigilant Citizen’ (a.k.a. ‘VC’)? After all, he too studies and reports on esoteric symbolism and the ingredients of world conspiracies that we can see laid out within the media-forms that music is delivered to us, although here on ‘The Occult Beatles’ of course that’s centred almost entirely on all or some or one of The Beatles and their associates whereas VC – in his words – “often talks about young, brand new artists who were groomed by their record-labels and released onto the world with a carefully calculated gimmick.” The reason I mention him here is because, quite recently, just a few weeks ago, in early April 2019, he published an article that he quite rightly announces is “not about that kind of artist” but “about a 76-year-old icon who was part of the most influential group in the history of Pop music and who attained the title of ‘living legend’ about three decades ago.” No prizes for guessing that the “most influential Pop group” he’s hinting at is The Beatles and the “76-year-old icon” is Paul McCartney. Titled, The Meaning of Paul McCartney’s ‘Who Cares’: It’s About MK ULTRA, the VC article offers us a – in my opinion – deserved, justified breakdown of the singer/songwriter’s most recent music-video which is indeed loaded with ‘MK clues.’ Given that the Vigilant Citizen very rarely ventures into Beatles-related territory, I thought it would be appropriate to flag up his analysis, to archive it here, perhaps in the event that any readers here who might not necessarily visit VC’s site as a rule but who are fans of and/or interested in John, Paul, George and Ringo will get to read it, and will be thankful for that. So, what you’ve got below is selected portions from that article (you can read it all in full here) along with some added commentary from me…

A screen-cap from the video here… it’s McCartney – as a bespectacled psychiatrist:MaccashrinkVigilant Citizen begins his article by giving us a bit of a brief synopsis of McCartney’s achievements as a music-recording artist both with and without The Beatles, “indeed,” VC states, “McCartney began recording music over 60 years ago” and has recorded numerous Number 1 hits and Grammy wins over those years, some with The Beatles, others with his follow-up band, Wings, and solo too. But, of course (as you may indeed be thinking right now), have all these successes been the product of who we’re told is “Paul”? There’s a very brief synopsis of the ‘Paul is Dead’ conspiracy in Vigilant Citizen’s article concluding it by commenting that “whoever Paul truly is, that person went on to have a long and prolific career. And he doesn’t appear to be close to retiring. His latest album ‘Egypt Station’ debuted at Number 1 in the US Billboard 200.” And, as documented in an earlier article here at The Occult Beatles, it’s an album laden with esoteric symbols. VC goes on, “in this day and age, to remain part of the industry (even if you’re a ‘living legend’) you must embrace,” what the Vigilant citizen chooses to describe, as “the elite’s agenda. And” to, he continues, “show your submission. And Paul did what he had to do.” Taken from Egypt Station and released as a single in December 2018, Who Cares, the music-video, “has all of the symbolism and mind-control messages found in countless Pop-videos nowadays.”

VC goes on…

In the video, actress Emma Stone plays the role of an anxious woman seeking treatment from Paul McCartney, who plays the role of a “behavioural hypnotist.” Then things sink quickly into the dark world of Monarch programming (if you don’t know what that is, read this article first). In fact, he turns into a mind-control handler. 

Right from the start, the video uses lots of imagery, references, and symbols that relate to mind-control…

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The video begins with various symbolic images that foreshadow what is about to happen. Here, a hypnotic spiral pattern over a page of text.
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The title screen features a spiral and a lightning bolt – two symbols that will reappear in the video and that will take on an important meaning. There’s also a pair of antique stork scissors. Those were originally used by midwives to clamp and cut the umbilical cord of newborns. Why is it on there?

The actual video begins with Emma Stone entering a building from the emergency exit door. Right from the start, things are topsy-turvy… 

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Emma is wet from the rain because she didn’t have an umbrella. This detail will become important later on.

Then, Emma finds Paul McCartney’s office, who goes by a symbolic pseudonym…

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McCartney’s office door sign says: “Dr. Lorenz, Behavioral Hypnotist, Meteorologist.”

So why is McCartney called Dr. Lorenz and why is he also a meteorologist? These clues point to a specific person: Edward Norton Lorenz.

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One of Edward N. Lorenz’s seminal books. Is it a coincidence that the video is secretly about Monarch programming?

Edward Norton Lorenz was an American mathematician and meteorologist who founded modern chaos theory from which is derived the ‘butterfly effect’ which theorises that the flapping of butterfly wings can lead to a tornado. In Who Cares, the fields of psychology and meteorology are combined to tell a story rife happening in the inner-world of Emma Stone.

When Emma enters McCartney’s office (a.k.a. Dr. Lorenz), we immediately see lots of symbolic objects…

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On the left is a painting of a joker-like figure, drawn in a dualistic black and white pattern (pure Monarch programming symbolism). Of course, it has one eye hidden. Next to the painting is a statuette of Pan- the half-goat, half-human nature god  – a favourite figure of the occult elite. On the left is an umbrella which will end up representing Emma’s programming.
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… As Emma sits with Dr. Lorenz, we see old-school equipment such as CRT TV displaying static and a pair of headphones on the head of a mannequin. It is all about clearing the mind…

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Then Dr. Lorenz begins interacting with his patient with sentences that are reminiscent of NLP (neuro-linguistic programming):

“It’s a bit unruly here but, that’s the way it goes. Disorder. Out of order. Order out of disorder. It all gets a bit chaotic sometimes, doesn’t it?”

This quote may be in relation to the book, as highlighted above, ‘The Essence of Chaos’ authored by the actual Dr. Lorenz, and it will perhaps remind you of, in the words of VC, “the main motto of the occult elite… ‘order out of chaos.’” This is a motto well-versed within the realms of the 33rd Degree in freemasonry of course, the English translation of which is taken from the Latin, ‘Ordo Ab Chao.’ In relation to this phrase, in his book, ‘The Biggest Secret,’ veteran researcher, author and public-speaker, David Icke, opines (and do forgive me if this is old news to you, this is for any newbies reading), “the reason we are so controlled is not that we don’t have the power to decide our own destiny, it is that we give that power away every minute of our lives. When something happens that we don’t like, we look for someone else to blame. When there is a problem in the world, we say, what are they going to do about it. At which point they, who have secretly created the problem in the first place, respond to this demand by introducing a ‘solution’ – more centralisation of power and erosion of freedom. If you want to give more powers to the police, security agencies and military, and you want the public to demand you do it, then ensure there is more crime, violence and terrorism, and then it’s a cinch to achieve your aims. Once the people are in fear of being burgled, mugged or bombed, they will demand that you take their freedom away to protect them from what they have been manipulated to fear. I call this technique problem-reaction-solution. Create the problem, encourage the reaction something must be done, and then offer the solution. It is summed up by the Freemason motto ‘Ordo Ab Chao’ – order out of chaos. Create the chaos and then offer the way to restore order. Your order. The masses are herded and directed by many and various forms of emotional and mental control.”

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In 2005, McCartney released an album titled, ‘Chaos and Creation in the Backyard’

It’s of no consequence, perhaps, if one chooses not to believe Icke’s viewpoint there, that is, when you consider it in the context of the content featured in McCartney’s Who Cares video, reason being that researchers, reporters, commentators and writers within the so-called ‘alternative media’ – who in some ways will have gained inspiration from David’s observations – have been analysing music-vids for many years for their occultic/conspiratorial flavours, and I’m quite sure this won’t have gone past the notice of a number of the people – the directors and folk in the production-teams – who create these visuals, and it might well have, as a result, encouraged them to add little ‘clues’ in as a secret nod and a wink to that.

So, returning to Vigilant Citizen’s analysis… Emma Stone has entered the office of Dr. Lorenz (a.k.a. Paul McCartney) and has sat down opposite him… She then drinks a cup of tea he’s given her…

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Right after drinking some of the tea, Emma spaces out. Was the tea laced with something? Drugs such as LSD are used in actual Monarch programming to facilitate the programming of MK slaves.

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Then the Dr. opens a box that reveals a hypnotic spiral pattern. He tells her to focus on the pattern.

Then, the setting of the video changes drastically. Emma completely dissociates from reality (the goal of Monarch mind control) and enters a bizarre alternate dimension that is rife with symbolism. Not unlike classic MK tales such as ‘The Wizard of Oz’ and ‘Alice in Wonderland,’ this alternate world represents the dissociated slaves’ perception of reality while they are being programmed through trauma.

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The world of dissociation is drastically different from the “real world.” It is all based on dualistic patterns.

While dissociated, Emma is constantly surrounded by dudes with faces painted half black and half white, not unlike the painting seen in Dr. Lorenz’s office.

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This painting by Kim Noble (a survivor of trauma-based mind control) uses the same exact dualistic pattern to represent herself as an MK slave.

In the video, these dualistic ‘demons’ torment Emma and take pleasure in subjecting her to various forms of trauma. The credits say that these guys are the “idiots” that McCartney sings about in the song’s chorus.

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Dr. Lorenz is the head handler in charge of the “idiots.”

At face value, Dr. Lorenz teaches Emma to not care about what idiots say and do.

Well, in fact, McCartney has said, in relation to the song, Who Cares, “I was thinking about a song where you actually are talking to the people who may listen to it. And in my case, I was imagining young fans, or just young people generally who might hear this, and who are going through some sort of problem where they’re being picked on, being put on – and these days it would be internet bullying, trolls and all that. In my school days, it would have just been bullies and people just generally picking on each other. So I know that happens all over the world to millions of people. So, my thing was to kind of try and help, try and help, almost kind-of give some sort of advice. So the song says, you know: ‘have you ever been fed up with being bullied? Has this ever happened when people have called you names, have done all these mean things? Has this ever happened to you? Well, who cares.’ And then in a twist at the end of that chorus is like, ‘who cares? I do.’” And here are the lyrics:

Did you ever get hurt by the words people say
And the things that they do when they’re picking on you?
Did you ever get sad by the end of the day
When they’re making you feel like a rusty old wheel

That’s been left in the rain
Who cares what the idiots say
Who cares what the idiots do
Who cares about the pain in your heart?
Who cares about you?
I do

‘Cause you’re worth much more
A fact you can be sure
No need to hide
The love you’ve got inside

Did you ever get lost in the heart of a crowd
Have the people around, people are pushing you down
Is it driving you mad and you’re screaming out loud
And you’re wonderin’ who’s going to recognize you

You’re a ghost in the dark
Who cares what the idiots say
Who cares what the idiots do
Who cares about the pain in your heart?
Who cares about you?

Who cares what the idiots say
Who cares what the idiots do
Who cares about the pain in your heart?
Who cares about you?
I do

You’ve been left in the rain

VC, in his article, comments, “that’s great advice. However, considering the MK symbolism found in the video, there’s a deeper meaning… dissociated, Emma is actually being subjected to trauma by the ‘idiots’… The idiots stab Emma’s exposed heart – a symbolic way of representing physical abuse”…

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VC goes on…

Emma is stuck to a wheel and is spun around. Spinning slaves to cause disorientation is a classic programming technique. The inverted question mark alludes to the advanced state of confusion of the slave:

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Emma is then stuck inside an elevator with eyes and a lightning bolts as eyebrows (more on this later)…

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 Inside the elevator: More trauma by the idiots…

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 As programming progresses, Emma wears a mask that features a big, fat, one-eye sign. While, at face value, the umbrella represents her being “immune” to what the “idiots say,” the general MK context of the video and the umbrella’s dualistic pattern might imply that the umbrella actually represents her internalising the handler’s programming…

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 Then, Emma gets struck by lightning. This is a great way to represent another trauma-inducing technique: Electroshock…

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 In the end, we see the final product of the programming…

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… this is pure MK symbolism: Duality, one-eye hidden and mouth covered. These symbols represent the blindness and the powerlessness of the programmed slave.

Then the video snaps back to reality…

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Emma finds herself sitting alone in the room. There’s no more furniture. How long was she dissociated for?
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The Dr. left a note to Emma saying “Don’t forget your umbrella” atop of the newspaper she used as an umbrella. On a deeper level, “Don’t forget your umbrella” means “Don’t forget your programming.” The signature is quite enigmatic.

The video ends with a prolonged outro featuring some curious objects…

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“Recommended drug doses for children.” So Dr. Lorenz also “treats” children? Hmmm…

So, according to VC’s analysis – which pretty much ends there – in the video, McCartney is ‘the handler.’ When I first watched it and saw him there, in his woolly cardigan looking elderly and giving his brand of counselling to the young Emma, my mind instantly envisaged a similar kinda scene that may well have taken place over fifty years earlier, when Paul, in the prime of his life and at the height of Beatlemania, would have been where Stone is five decades later: the guest – the subject – of an old doctor. I’m thinking of Dr. Richard Asher, father of actress, Jane Asher who, during most of the 1960s, was McCartney’s girlfriend and, for a while, his fiancé – that is, until they broke up in 1968.

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Dr. Richard Asher

For a time – between 1963 and ’66 – the then-Beatle lived with her at her family home in London, which she shared with her parents and her sister and her brother, Peter. Her mum, Margaret, was a musician who’d played in a number of orchestras apparently, and her dad was a medical man of some eminence. The ‘Royal College of Physicians’ describes him as “a notable diagnostician,” and “his special interests were in haematology, endocrinology, and” also, “physical factors in mental disorder.” For example, in 1949, he authored ‘Myxoedematous Madness,’ a paper on Myxoedematous, an illness that, so I’m informed, brings about an underactive thyroid and that results in puffiness of the body, hair-loss, coma, and, as highlighted by Dr. Asher in his piece, psychoses. According to the Royal College of Physicians, “psychoses with myxoedema had often been reported, but,” Richard’s “telling account of fourteen cases ensured that far more would now be recognised and treated.” He was also the author of ‘Nerves Explained,’ a book, that one reviewer around the time of its release in the late 1950s described as a “guide to nervous illnesses,” as well as noting that “hypnosis is treated with rather more respect than the profession generally accords it.” Indeed, Dr. Asher, who for a time was a consultant physician at the mental observation ward at the Central Middlesex Hospital in London, authored a paper in the Fifties titled ‘Respectable Hypnosis’ and in which he informs us 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.” I wonder how much more ‘about its use’ he might possibly have learnt about by the time of Paul McCartney’s arrival to the Asher household in 1963? There have been anonymous accusations directed against the doctor in recent years, accusations linking him to MK ULTRA-type experiments with widely-reported ‘Tavistock Clinic’ psychiatrist, Emanuel Miller and the notorious Dr. William Sargant, dubbed the ‘mind-bender General.’ One such claim, and that I’ll bring to attention now, was supplied by an unnamed source to Redwel Trabant, proprietor of the site, ‘Beatles Conspiracy.’ Here’s some of it:

Asher, Miller, Sargant, all 3 were top psychiatrists, I worked with them all. I began helping med-professors train nurses/doctors at 12-years-old, there were many kids, not just me, but I only met 2 others. They decided I was ‘suitable and flexible’ and asked me to help with research, some illegal stuff but they needed to explore even these areas. Basically they were into learning how the brain worked, but they were into other things too. Most of the time I didn’t know what they were getting up to, it was all mixed up and above my head, but they fed me well! They got into drugs as they knew it was becoming a problem, the police wanted to train cops to deal with it, how to work out what drugs they were on e.t.c. They supplied the drugs and were observing the tests most of the time. Sargant was different from the others, he was ‘an outsider,’ the others didn’t let him in on all they were up too, but they needed his input at times. They never spoke of it to me but all did work for the government at times. What I do know is it’s not necessary to hurt or drug people to brainwash them. Sargant had to, as he wasn’t blessed with the psychic-abilities Asher, Miller possessed. All were able to read minds, telepathy, deep hypnosis. Not kidding, mate! For they were using this on me to get deep into my mind to understand how it all worked. Strangely, they all could do it but nobody knew how it worked, it was passed down by word of mouth over the centuries to those who exhibited a talent for it. Sargant wasn’t so blessed; he could do hypnosis, but only Level 1, the one we all know about.

You can read the allegations in their entirety in the link below, and that are part of an article on the Beatles Conspiracy site titled, ‘MK Beatles’:

http://beaconfilms2011.blogspot.co.uk/2014/04/mk-beatles.html

The above article explores the view that the Beatles song, ‘Yesterday,’ a song credited to Paul and that he’s quite often publicly said came to him in a dream and during his time living at the Asher household, may have actually been implanted into his brain by Doctor Richard whilst the young musician was asleep. In ‘Many Years from Now’ – the McCartney-supported biography authored by his old friend, Barry Miles – he recalls, “I woke up with a lovely tune in my head. I thought, ‘that’s great, I wonder what that is?’ There was an upright piano next to me, to the right of the bed by the window. I got out of bed, sat at the piano, found G, found F sharp minor 7th – and that leads you through then to В to E minor, and finally back to E. It all leads forward logically. I liked the melody a lot but because I’d dreamed it, I couldn’t believe I’d written it. I thought, ‘no, I’ve never written like this before.’ But I had the tune, which was the most magic thing. And you have to ask yourself, where did it come from? But you don’t ask yourself too much or it might go away. So, first of all, I checked the melody out, and people said to me, ‘no, it’s lovely, and I’m sure it’s yours.’ It took me a little while to allow myself to claim it, but then like a prospector I finally staked my claim; stuck a little sign on it and said, ‘okay, it’s mine!’ It had no words. I used to call it ‘Scrambled Eggs.’” Interesting title that, I think: ‘Scrambled Eggs.’ By that, I mean, the word, ‘egg’ is a part-euphemism to describe a person of high intelligence/intellect (‘egg-head’), so, to have it married here with ‘scrambled’ can be perceived as rather telling when considered within the context of Redwel Trabant’s theory of Paul, a ‘mind-controlled Beatle.’ image-736479So then, if Yesterday was a song that doctor Richard fed into his prospective son-in-law’s sleeping head, where did the tune originate from? Well, it’s worth noting that the Asher household was teeming at that time with musical ability, because aside from McCartney and Margaret, there was of course her son, Peter, a member of the chart-topping 1960s duo, Peter and Gordon, and her husband too, who, I’ve been informed, enjoyed playing wind instruments and the piano. Perhaps it’s also worth noting that Dr. Asher’s alleged co-experimenter, William Sargant, was a practioner in sleep hypnosis, and, with frightening effects if we’re to believe a number of his patients who’ve come forward to talk. Linked over the years to MI5, MI6 and, of course, MK ULTRA, during the Second World War, he worked at Sutton Emergency Hospital in the English county of Sussex (later renamed the Belmont Hospital) where he administered hypnosis, ECT and drugs on people suffering from shell-shock, and a number of them who couldn’t recollect what had caused their mental breakdown were given trauma-causing treatments in a bid to make them relive their often terrifying experiences. He went on and dispensed these various techniques on everyday non-military folk when he became head of psychiatry at St. Thomas’ Hospital in London after the war, and where, one of his patients who eventually became a Professor of Medicine following her departure from there, has claimed, “I was put into a room with – I think three other people. It was dark, I was given massive amounts of drugs to try and keep me asleep – something like Chlorpromazine. We were woken-up… I don’t remember so clearly exactly what happened, but they woke us up and I can remember being made to drink a jug of water. I don’t remember eating at all, but I do remember after some time – every time I stood up – I just about passed-out because my blood pressure was down in my boots – which is actually a function of Chlorpromazine as well. And I have no idea exactly how long I was in there but it took me nearly three months to get over the treatment. My father was absolutely shattered when he saw me. He said I just looked like a walking zombie.” She went on, “there was no informed consent at all. I was told that while you were asleep, they were hoping to re-pattern – and that was actually the word that was used – ‘re-pattern’ your thinking, so that you lose all the negative, depressive thoughts. And in fact it did wipe my brain clean of just about everything that happened before that. I can’t remember being in primary school, I can’t really remember much about secondary school, can’t remember the birth of my kids. Certainly, I’ve lost all those memories that most people have.” Another of his patients (or should that be – victims) at St. Thomas’ was the award-winning British actress Celia Imrie, well-known for her collaborations on TV with English comedienne, Victoria Wood and star of such movies as ‘Calendar Girls,’ ‘Nanny McPhee,’ and the ‘Bridget Jones’ and ‘Exotic Marigold Hotel’ series of films. Back in the 1960s when she was a young teenager, her ambition was to become a successful ballerina and she attended classes and exams in the hope that she’d be accepted into the prestigious Royal Ballet School.

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Celia Imrie.

Unfortunately, however, she ultimately failed her audition there being informed that, although “very good and advanced for her age,” she was going to be “too big ever to become a dancer.” Distraught, she launched into a crash-diet eventually weighing just 4-stone (56 pounds). Desperate to reverse her weight-loss and any possible health-risks, her concerned, desperate parents, she claims, “decided to send me away to St. Thomas’ Hospital… ” In a 2011 article published on the mainstream news-website, ‘MailOnline,’ Celia is seen to recall that, once at the hospital, she was entered into “one of the special wards belonging to the Department of Psychological Medicine. And once there I was placed under the care of world-famous psychiatrist William Sargant. I was 14.  Sargant was a world expert on brainwashing. Today his books are said to be studied by Al Qaeda. His work has links to… the Jonestown massacre in Guyana, where 900 people killed themselves; and to the mind-bending and occasionally lethal drug experiments performed on unwitting human guinea-pigs at the Porton Down research centre in Wiltshire (England). Sargant’s methods were simple: electric-shock treatment and insulin-induced comas leading to continuous narcosis, or deep-sleep therapy, complete with tape-recorded brainwashing orders being played at the patients from beneath their pillows. And,” she goes on, “to think that all this came free on the NHS,” Britain’s ‘National Health Service.’ She continues, “at 14, I was the youngest in the ward. Most of the other patients were middle-aged women suffering from depression. From my bed, I watched them howling, moaning and screaming, fighting with the nurses. I thought: ‘I don’t want to be mad. I must get out of here.’ The doctors and nurses did their daily rounds. Twice a week or so, we were treated to a bedside visit from the Great Man himself. Sargant still features in my nightmares. He was brusque and cold, and he never talked directly to you. Instead he issued orders over your head, talking about ‘this one’ and ‘that one’. But that was preferable to making eye contact with this proud, incorrigible man with his dark, hard, evil eyes. I have only seen eyes like that on a couple of other people in my life.”

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William Sargant

Celia continues, “after Sargant left the ward, the nurses would start preparing the horrors he had prescribed for the day – the electro-convulsive therapy. Friends have asked what it was like to have electrodes put either side of your skull before huge surges of power were fired through your brain, while you squirmed and wrestled and shrieked and moaned and dribbled into the pillow. But the truth is I don’t remember. I do, however, remember vividly watching the woman in the next bed when it was her turn to be assaulted in the name of health. I remember every sight, sound and smell. The huge rubber plug jammed between her teeth; the strange almost silent cry, like a sigh of pain; the shuddering contortions and jerky gyrations of the tormented body; the scent of burning hair and flesh.” Celia also claims to recall “being given massive doses, three tumblers a day, of Largactil, an anti-psychotic drug. The effect of this drug was startling. My hands shook uncontrollably for most of the day and I’d wake up to find clumps of my hair on the pillow. But the worst consequence was that everything I saw was multiplied by four. When Sargant came into the room, I saw four of him. It was horrific and terrifying. Even simple tasks such as picking up a glass of water became impossible. The drugs had turned me into a victim. As she increased the dosage one day, I overheard one nurse saying to her senior that I was exhibiting a ‘dangerous resistance’ to the drugs. Dangerous for whom, I wonder? Who could tell in that terrible place where, as far as I can see, the truly insane were the workers rather than the patients. Sargant used to say that every dog has his breaking point – the eccentrics just took longer. I suppose my ‘dangerous resistance’ was what he was talking about. I like to think that I was one of those eccentric dogs he did not manage to break. Many years later, I went with friends to see a film called Coma. It was a second-rate thriller starring Michael Douglas and Genevieve Bujold, in which Bujold discovers a ward full of patients suspended in hammocks in drug-induced comas… my friends were laughing at the silliness of the plot, but I had the shakes and it took me some days to recover. They probably thought I was coming down with something. In fact, it wasn’t until years later that I saw the link and realised why that film had upset me so deeply.” With regards to sleep-induced treatments, that, as mentioned earlier here, Sargant administered, Celia remembers, in her words, “the famous Narcosis Room.” This was “a ward where patients were forced into a drug-induced sleep for days while tapes played instructions to them from under the pillow. Whenever I have been asked about Sargant’s Narcosis Room, I can describe it perfectly. I used to sneak out of the ward to peer through the portholes in the swing doors, and gaze at dead-looking women lying on the floor on grey mattresses, silent in a kind of electrically induced twilight. When people ask if ever I spent any time inside, I used to reply ‘no’, for I do not remember that ever happening. But it recently occurred to me that everyone, in order to be put into the Narcosis Room, would first be drugged and that although I saw many women come back to the ward from there, I never saw any patient emerge from the place awake. You went in asleep and you came out asleep. I don’t think anyone who was treated by Sargant’s sleep therapy was at any time aware of going in or coming out of that room. While inside, you were totally unconscious. So maybe I was in the Narcosis Room. I could not possibly know. It is probable, I realise now, that I did go in. Like the electric shocks, I presume it definitely happened to me, though I can only recall it happening to others. I was certainly injected with huge doses of insulin. These injections are now understood to be one of the methods Sargant used to kick-start his sleep-therapy process. I cannot know whether his mind-control methods worked on me as I do not know what the tape-recordings under my pillow were telling me to do. Some years back, I tried to find my hospital records, to see whether I could find out the limits of my treatment and if I had been in the Narcosis Room. I wanted to know the exact instructions on the tape constantly playing under my pillow, Sargant’s wishes drummed relentlessly into my young, unconscious brain. Unfortunately, my search was in vain. When Sargant left St Thomas’, he illegally took away all his patients’ records. By the time of his death in 1988, every single piece of paperwork about his inhumane treatment of us, the human guinea-pigs, had been destroyed. So I will never know the absolute truth.” If Paul McCartney was, as posited by Redwel Trabant, the subject of sleep-hypnosis under the control of Richard Asher, then was his alleged colleague, William Sargant, someone who perhaps taught/guided him in the technique? Maybe it’s worth noting that the ‘mind-bender General’ had during his life reported and commented quite a lot on the effect of music on the mind. In his 1957 book, ‘Battle for the Mind,’ he states, “recordings of the human brain show that it is particularly sensitive to rhythmic stimulation by percussion and bright light among other things and certain rates of rhythm can build up recordable abnormalities of brain function and explosive states of tension sufficient even to produce convulsive fits in predisposed subjects. Furthermore, it is easier to disorganise the normal function of the brain by attacking simultaneously with several strong rhythms played in different tempos.” Sargant, we’re informed, paid up-close and personal attention to the way in which African culture dealt with matters of health related to both body and mind. In his book, ‘The Mind Possessed,’ he describes “a healing ceremony” in the Zambian city of Lusaka, again mentioning the power of rhythm. He claims, “I noticed with interest that one of the patients seemed to be much too deeply depressed for it to be possible to excite him with drumming or send him into collapse or make him suggestible. He had a tired melancholic appearance and was sitting listlessly on the ground. We then watched him being drummed and drummed, with a large number of people surrounding him, trying to get him to respond. Finally, after a long delay, he did start to twitch and jerk; he gradually became more and more excited, and ended up in a nervous collapse. In other words, they had been able, by drumming, to induce a state of excitement leading on to a nervous collapse, which I felt would have been much more easily achieved by electric shock treatment. I gathered that this patient would have the same drumming treatment twice a day until he was completely recovered. Two other girls, also being treated, went more quickly into trance and dissociation, and the drumming continued until they fell to the ground.”

Battle dual
Sargant’s book ‘Battle for the Mind,’ featuring a cover strikingly similar to MK ULTRA victim Kim Noble’s “dualistic” portrait.

With regards to “disassociation,” earlier in this article, if you recall, I included Vigilant Citizen’s comment that the 19th century story, Alice in Wonderland, by author Lewis Carroll, is a “classic MK tale” that “represents the disassociated slaves’ perception of reality while they are being programmed through trauma.” In December 1966, British broadcaster, the BBC, screened a TV adaption of the old tale that starred acting heavyweights Peter Sellers, Sir John Gielgud and Sir Michael Redgrave. It was directed, produced and adapted for television by Jonathan Miller, the stage-director, author, co-member of the seminal 1960s satirical comedy-group, ‘Beyond the Fringe,’ and, son of the previously-mentioned Emanuel Miller. In fact, like his father, he’s a fully-qualified doctor, and he trained under, would you believe, his dad’s alleged colleague, Richard Asher.

jonathan-miller2007
Jonathan Miller, pictured in 2007.

A sequence in the Alice in Wonderland TV adaptation is said to have been shot at what’s been described as once having been the UK’s largest military hospital in the UK, the ‘Royal Victoria,’ also known as, Netley, near the English city of Southampton. Built in the 1800s, it treated casualties from the Crimean War as well as WW1 and Two and, would you know it, is thought to have possibly been the location for MK ULTRA-type tests with LSD on human guinea-pigs during the 1950s, if not – it’s claimed – a place where recipients of Acid-induced treatment were taken to after the actual experiments had been carried out at Porton Down research-centre, a Government-controlled location that most certainly has conducted such tests, and that has been mentioned in this article a few paragraphs earlier with regards to William Sargant, alleged co-colleague, of course, of Richard Asher and Jonathan Miller’s father, Emanuel, who, you might be interested to know, is said to have worked at Netley during the 1940s. Alice_in_Wonderland_1966_DVDInformation linking this hospital with Governmental/military mind-bending/altering Acid experimentation is featured in the book, ‘Albion Dreaming: A Popular History of LSD in Britain,’ by Andy Roberts. Perhaps you won’t be surprised to discover that he mentions Porton Down quite often in it, and is it any wonder? LSD was administered to unsuspecting British Royal Marine commandos there, in a mock war/battle setting, in order to test its effects on their soldiering abilities. He writes of an “anecdote” that “suggests that Netley Military Hospital in Southampton might have been used to treat those who didn’t recover quickly from the effects of LSD” after taking part in such an experiment. He goes on…

Brigadier John McGhie was colonel-commander of Netley during the Fifties and Sixties. He would often take his nephew, Robert Owen, with him when he carried out his daily round of the wards. The young boy was shocked by the sights and sounds he witnessed, at first believing the sufferers to be mentally ill. His uncle told him these unfortunate soldiers were “…victims of chemical experiments, such as LSD, from both grenade-canisters and artillery-shells, ‘to see what effect they had on the human mind in a battle situation.’” It also seems probable that servicemen were being used as human guinea-pigs in LSD experiments at Netley.

Roberts then quotes “LSD psychotherapist, Ronnie Sandison.” He was a former trainee at South London’s Maudsley Hospital, where William Sargant was working for a time, and at Tavistock Clinic, reportedly, Emanuel Miller’s old stomping ground of course. In Andy’s book, Sandison’s reported to have said, “I believe LSD was used at Netley, but I have no details of who was involved.” It’s reported that parts of Netley were damaged by fire and fell into disrepair in the early to mid-1960s and were closed. Apparently, in Jonathan Miller’s Alice in Wonderland, we see the hospital in sequences where Alice runs to follow the White Rabbit…vlcsnap-2019-05-11-21h07m50s826This too…vlcsnap-2019-05-11-21h08m22s259In reviewing and explaining the Alice in Wonderland TV adaption, author, Kate Bassett, in her Jonathan Miller biography – that was written and researched with his personal input – and titled, I think you might be interested to know, ‘In Two Minds,’ she draws our attention to “the endless corridor which Alice runs”…vlcsnap-2019-05-11-21h07m26s343Miller’s “Alice seems to hear voices in her head,” Barrett states. Is she “losing her mind?… She keeps sensing she has changed, says that she’s not sure who she is anymore…” Kate also comments, interestingly I think, that the TV depiction may “be haunted by memories of” Emanuel’s wife and Jonathan’s mother, Betty, who “ended her days” in a mental-hospital, dying, it’s noted in the biography, “only the winter before the film was made.” Almost a decade earlier, Richard Asher’s daughter, Jane – when she was a child actress – appeared in a stage-version of the story and also starred in an audio presentation for vinyl LP.

JaneAshermirror
Jane Asher as Alice, with the mirror.

Now, a question you might like to ask me is, why on earth would Dr. Richard Asher want to feed Paul McCartney’s head with a song whilst he’s sleeping? Well, I dunno… maybe for no other reason than to find out if he could successfully do it. I’m led to perceive from what I’ve read about the man that he possessed an enquiring mind, so, looking at it from that perspective… he might’ve thought to himself, ‘why not?’ However, in an upcoming article to be posted here in the not-too-distant future – most certainly some time in 2019 – I’ll be re-examining this within the much wider context of The Beatles’ effect on the cultural landscape of the 1960s, which was of course, monumental, and it might leave you with the impression, if not the belief, that Asher’s tampering with McCartney’s sleeping head – if it did indeed happen – was part and parcel of something far, far bigger than him merely satisfying his curious, enquiring mind.

 

 

 

REFERENCE LINKS:

https://en.wikipedia.org/wiki/Who_Cares_(Paul_McCartney_song)

https://grandlodgefl.com/order_scottishrite.html

http://www.mcalesterscottishrite.org/about2.html

http://freemasonry.bcy.ca/history/masonic_mottoes.html

https://www.universalfreemasonry.org/en/article/ordo-ab-chao

Ordo Ab Chao | Symbols and Symbolism

http://www.ignaciodarnaude.com/textos_diversos/Icke,David,The%20Biggest%20Secret.pdf

YouTube: Paul McCartney on ‘Who Cares’ (Words Between The Tracks)

http://www.wingspan.ru/bookseng/myfn/bmiles03.html

http://munksroll.rcplondon.ac.uk/Biography/Details/143

https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2051123/?page=1

http://www.endocrinesurgeon.co.uk/index.php/what-is-hypothyroidism-myxoedema

https://casereports.bmj.com/content/2016/bcr-2016-216225

https://www.nhs.uk/conditions/underactive-thyroid-hypothyroidism/complications/

https://jamanetwork.com/journals/jamainternalmedicine/article-abstract/562199

https://books.google.co.uk/books?id=T7QpXGn-QekC&pg=PA31&lpg=PA31&dq=richard+asher+nerves+explained&source=bl&ots=5FfSBaQ4Ll&sig=ACfU3U0AAlvtoXdq601kezj6_dsZ09rdDQ&hl=en&sa=X&ved=2ahUKEwjr5vGpyoXiAhVgSBUIHeU9DiwQ6AEwBnoECAkQAQ#v=onepage&q=richard%20asher%20nerves%20explained&f=false

https://hipnosisclinica.org/hipnosis-pdf/articulos/respectable-hypnosis.pdf

https://books.google.co.uk/books?id=OP_OBAAAQBAJ&pg=PT70&lpg=PT70&dq=emanuel+miller+tavistock&source=bl&ots=0OY8g0hGSD&sig=gqu91EOUriVCV6mxfUhHYPSe_h8&hl=en&sa=X&ved=0ahUKEwjqp86Bi4bZAhUJBsAKHXeMA24Q6AEINDAC#v=onepage&q=emanuel%20miller%20tavistock&f=false

https://www.tandfonline.com/doi/abs/10.1080/00754177808254988?journalCode=rjcp20

https://books.google.co.uk/books?id=spOxzrifZjcC&pg=PT1311&lpg=PT1311&dq=emanuel+miller+tavistock&source=bl&ots=C8HtvU06HH&sig=cj6vzuZHyqzIcHK7ao-Fy4Kl3yw&hl=en&sa=X&ved=0ahUKEwiir8nbjIbZAhWJAcAKHd2UADU4ChDoAQhrMBA#v=onepage&q=emanuel%20miller%20tavistock&f=false

https://books.google.co.uk/books?id=Ssc8DwAAQBAJ&pg=PT63&lpg=PT63&dq=Clinic+under+Dr.+Emanuel+Miller&source=bl&ots=wCUwQ5xRd1&sig=WDDRZ5j_1s82NAkurkzoAoko7eg&hl=en&sa=X&ved=0ahUKEwjtgrnIkYbZAhUResAKHZvsDJcQ6AEIRDAG#v=onepage&q=Clinic%20under%20Dr.%20Emanuel%20Miller&f=false

https://books.google.co.uk/books?id=RLyaCwAAQBAJ&pg=PA231&lpg=PA231&dq=emanuel+miller+child+guidance+tavistock&source=bl&ots=9zlmlKDTEw&sig=z6vtkV3AsHXy-vIZXZIE1Y4d1zI&hl=en&sa=X&ved=0ahUKEwj0mfKdkobZAhXKI8AKHUtpBToQ6AEINjAD#v=onepage&q=emanuel%20miller%20child%20guidance%20tavistock&f=false

http://www.wingspan.ru/bookseng/myfn/bmiles05.html

https://books.google.co.uk/books?id=5r8yDwAAQBAJ&pg=PA96&lpg=PA96&dq=william+sargant+dunkirk+soldiers+electric+shock&source=bl&ots=oONVIoq2QU&sig=ACfU3U3L1T9PCZRx3KKlSpPv6x9oG6UZjA&hl=en&sa=X&ved=2ahUKEwiB68Sy6pniAhVCtnEKHU2uD-I4ChDoATAFegQIBhAB#v=onepage&q=william%20sargant%20dunkirk%20soldiers%20electric%20shock&f=false

http://europepmc.org/backend/ptpmcrender.fcgi?accid=PMC1943280&blobtype=pdf

https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2164582/?page=2

https://www.bmj.com/content/297/6651/789

https://en.wikipedia.org/wiki/Celia_Imrie

https://www.dailymail.co.uk/femail/article-1372700/My-electric-shock-nightmare-hands-CIAs-evil-doctor-Calendar-Girls-star-Celia-Imrie.html

‘Battle for the Mind’ – William Sargant (page 92)

https://archive.org/stream/WilliamSargantTheMindPossessed/The+Mind+Possessed+-+William+Sargant_djvu.txt

http://www.mlang.name/lewis/miller.html

https://www.telegraph.co.uk/culture/theatre/theatre-news/7923643/Director-Sir-Jonathan-Miller-I-havent-been-to-a-play-in-10-years.html

https://www.bbc.co.uk/news/av/entertainment-arts-22586713/sir-jonathan-miller-on-directing-at-79

https://en.wikipedia.org/wiki/Jonathan_Miller

https://www.theguardian.com/lifeandstyle/2015/jan/03/jane-asher-my-family-values-gerald-scarfe-peter-pan

https://books.google.co.uk/books?id=MkTSD5UHu8AC&pg=PA160&lpg=PA160&dq=netley+hospital+alice+in+wonderland&source=bl&ots=8Pnx7utnbF&sig=ACfU3U2G_HFy13T6aVrhdA-XRMnDhmtU9w&hl=en&sa=X&ved=2ahUKEwjk-PuK9IniAhVLZFAKHcHmCk04ChDoATAIegQIBxAB#v=onepage&q=netley%20hospital%20alice%20in%20wonderland&f=false

https://www.iwm.org.uk/collections/item/object/1060016282?fbclid=IwAR19SP0PZM99weoL3kOwhmFA5a8M-WQKYmJhd0Q_gwMLsBBVDSoynFZoR_g

https://www.forces.net/news/restoration-almost-complete-site-armys-first-hospital

https://historicengland.org.uk/listing/the-list/list-entry/1001584

https://www.qaranc.co.uk/netleyhospital.php

Royal Victoria Hospital

https://www.dailyecho.co.uk/news/15452955.royal-victoria-military-hospital-the-hampshire-hospital-built-to-house-nations-war-wounded/

https://books.google.co.uk/books?id=emXjCgAAQBAJ&pg=PT467&lpg=PT467&dq=netley+hospital+alice+in+wonderland&source=bl&ots=udTruwslLR&sig=ACfU3U3GPRRNH8OicbM9YTiWzLyPWq1DGA&hl=en&sa=X&ved=2ahUKEwiit5eh9oniAhUPaFAKHWiZAi44HhDoATADegQICRAB#v=onepage&q=netley%20hospital%20alice%20in%20wonderland&f=false

https://books.google.co.uk/books?id=CE0BAwAAQBAJ&pg=PA80&lpg=PA80&dq=netley+hospital+alice+in+wonderland&source=bl&ots=MyYPtJ39pg&sig=ACfU3U0EMr7xb97xIsgd-ysmD4ahVcuqZA&hl=en&sa=X&ved=2ahUKEwjk-PuK9IniAhVLZFAKHcHmCk04ChDoATAEegQICRAB#v=onepage&q=netley%20hospital%20alice%20in%20wonderland&f=false

https://www.theguardian.com/artanddesign/2014/aug/21/royal-victoria-hospital-netley-ww1-first-world-war-photographs-documentary-philip-hoare

https://books.google.co.uk/books?id=2caIAAAAQBAJ&pg=PA63&lpg=PA63&dq=netley+hospital+lsd&source=bl&ots=ur-Bu0m9Tj&sig=ACfU3U0GodCs4HJMz2yjuGtd8m_851lqhQ&hl=en&sa=X&ved=2ahUKEwjsx46z-oniAhXIUlAKHZ3ECG8Q6AEwBHoECAkQAQ#v=onepage&q=netley%20hospital%20lsd&f=false

https://books.google.co.uk/books?id=dzwaBes9MIAC&lpg=PP1&ots=UdI22SZtr5&dq=A+Century+of+Psychiatry,+Psychotherapy+and+Group+Analysis&hl=en&pg=PP1&redir_esc=y#v=onepage&q&f=false

http://munksroll.rcplondon.ac.uk/Biography/Details/3926

https://archiveshub.jisc.ac.uk/search/archives/f8369722-ad2d-3dbe-ad66-d6828f2b5b3f

DailyMotion: Alice In Wonderland (1966) BBC – Part 1

DailyMotion: Alice In Wonderland (1966) BBC – Part 2

DailyMotion: Alice In Wonderland (1966) BBC – Part 3

DailyMotion: Alice In Wonderland (1966) BBC – Part 4

https://www.worthpoint.com/worthopedia/jane-asher-alice-wonderland-1958-uk-254202056

https://www.alamy.com/stock-photo-thirteen-year-old-jane-asher-seen-here-in-her-costume-for-the-title-82699279.html

https://www.amazon.co.uk/Alice-Wonderland-Recording-Carroll-Nonsense/dp/B00WO9RL98

 

 

 

 

 

 

 

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‘The Occult Beatles’ hits the road!…

Well! … I’m most pleased to announce that I – Matt Sergiou – have been invited to be a brief guest-speaker at an upcoming Beatles-related live engagement being held by the UK’s leading commentator on the occult/conspiratorial aspects of the music-world, Mark Devlin. It’s part of a tour he’s undertaking across the United Kingdom in which you can hear him talk about esoteric/conspiracy themes linked to the band including – in his words – “the McCartney deception.” I’ll be appearing with him in the city of Bristol, England on July 31st 2019 at the Resbite Cafe which is situated on – would you believe – Broad Street (! – you can’t make this stuff up!). So, if you can make it, come along and see us and – ahem!give us your regards! This date will be held in conjunction with well-known event organisers/promoters, ‘TruthJuice.’ Full details of this speaking engagement, and all the others on Mark’s tour, are below (as copy & pasted from his official blog-page):

OCCULT ASPECTS OF THE BEATLES & THE McCARTNEY CONSPIRACY: A PRESENTATION BY MARK DEVLIN

I’ll be taking a new presentation on occult aspects of The Beatles, incorporating the McCartney Deception, on the road for four UK dates in the near future. Matt Sergiou, proprietor of the Occult Beatles and Conspiro Media blog sites, will be joining me for the Bristol date. Full details as below.

Were the Beatles really four regular lads from Liverpool who, against all the odds, just happened to become the most popular and influential group of all time? Or is there more to know about how they achieved their fame, and what their ultimate role really was at the hands of the occult practitioners who really control the corporate music industry?

On that note, one of the most enduring ‘conspiracy theories’ maintains that the real Paul McCartney died in 1966 and was replaced by an impostor who has been playing the public role ever since. Preposterous as this may at first sound, there is actually multiple forensic evidence to show that, whatever the circumstances, there has been more than one ‘Paul McCartney’ presented to the public these past few decades.

Mark1
Mark Devlin

Mark Devlin, whose books Musical Truth Volumes 1 and 2 document the dark side of the music industry, will present the evidence for a switch, and consider the circumstances in which this could have been achieved.

** TUESDAY 21ST MAY – TRUTH JUICE, BIRMINGHAM, ENGLAND:

Address: E57 Social Club, 699 Alcester Road South, Kings Heath, Birmingham, B14 5EY

Start time: 8pm

Admission:£5 or £3 Concessions on the door. Truth Juice is non-profit-making, and all monies are put back into the organisation of future talks/presentations

Further info: http://birmingham.truthjuice.co.uk/index.php/2019/03/mark-devlin-in-birmingham-on-210519/

 

** SATURDAY 25TH MAY – TRUTH SEEKERS NORTH EAST, NEWCASTLE:

Address: Walkerville Community Association, Pinewood Close, Newcastle, NE6 4SZ

Start time: 1pm

Admission: £5 on the door. (Includes refreshments.)

Further info: https://www.facebook.com/events/2147063715584781/

 

** MONDAY 17TH JUNE – NEW HORIZONS, ST. ANNES, ENGLAND

Address: The Community Centre, St. Alban’s Road, St. Anne’s-on-the-Sea, Lancashire, FY8 1XD

Start time: Open at 7.30pm for 8pm start.

Admission: £3 on the door. (Includes refreshments.)

Further info: http://www.newhorizonsstannes.com/this_year.htm

 

** WEDNESDAY 31ST JULY – TRUTH JUICE, BRISTOL, ENGLAND (WITH MATT SERGIOU):

Address: Resbite Cafe, 27 Broad Street, BS1 2HG, Bristol

Start time: 7.30pm

Admission: £5 on the door.

Further info: bristol.truthjuice.co.uk

Occult Beatles presentation flyer

More from Mark Devlin:

 

Cover-up?…

Featured below (as you’ll most probably already be aware) is the front-cover of The Beatles’ second album, ‘With The Beatles,’ released in 1963…

withthebeatles

As you can see at the very top of this site – ‘The Occult Beatles’ – there’s a different version of this photo, of my own making, recreated specifically to serve as the header banner because, to my mind’s eye, it conveys a neat enough representation of what the ‘occult’ in ‘Beatles’ may be. We have John, Paul, George and Ringo photographed in black and white, two shades so prevalent in esoteric iconography (such as in Freemasonry of course), considered to be, symbolically, dual opposites (i.e. white is said to be the symbol for good and black for evil). Additionally, all four band-members are partly hidden from us, obscured by a shadow presence and, of course, each of them is looking at us with one eye, a hugely prevalent occurrence in images of modern-day music-stars, constantly flagged up by researchers, reporters and commentators looking into the occultic and dark elements of the entertainment industry. The photo-session that spawned the picture for the album-cover was conducted by British photographer, Robert Freeman, in, it’s said, August of ’63 with the LP being unleashed to the public in November of that year. Now, here’s a thing. Over a year earlier, in February ’62 apparently, came the release of the French short-movie, ‘La Jetée.’ And here’s a screengrab from it… Look familiar?….la jetee beatles

Directed by French film-maker, Chris Marker, ‘La Jetée’ (translated into English: ‘The Jetty’) tells the story of a man in a post-nuclear war world who’s forced to undergo time-travel and, as a result, reaches back into the past and also communicates with the future which is where he sees the four faces in the screengrab above. Now, I don’t know about you, but I can’t help feeling a little spooked by this picture, that’s when I look at it within the context of the ‘With The Beatles’ album-cover. Did Robert Freeman, or indeed The Beatles, purposely aim towards recreating this scene from La Jetée, perhaps for some esoteric purpose – especially for those with ‘the eyes to see’ as it were? Well, based on what I’ve been able to gather thus far, no one who was closely involved with the making of the LP has ever mentioned it being a nod or a wink to this movie. Also, as far as I can tell, having watched it, I myself haven’t spotted any clues towards this direction. Nevertheless, further on down this page, there’s a synopsis of it and I’ll leave you to determine whether or not anything of an intentionally occult nature connecting it to the band is there or not… Or, are we looking at what some might no doubt describe as ‘coincidence’? 81dw02lpj6l._ri_sx300_For now though, here’s a little of what we know (or, let’s say, what we’ve been told); According to McCartney, the photo-session for the cover took place in a hotel in the UK town of Bournemouth. In his authorised 1997 biography ‘Many Years from Now,’ authored by his old friend Barry Miles, Paul claims that Robert, to the band as a whole, was considered “much more one of us than the other photographers we’d had. Apparently, a lot of photographers are still trying to work out how he did the famous one on the With the Beatles sleeve with the half-light on the faces. It was in a hotel and we had an hour in which he could take our picture. He pulled out four chairs and arranged us in a hotel corridor; it was very un-studio-like. The corridor was rather dark and there was a window at the end, and by using this heavy source of natural light coming from the right, he got that photo. He got this very moody picture which people think he must have worked at for ever and ever in great technical detail. But it was an hour. He sat down, took a couple of rolls and he had it.” Freeman has a slightly different recollection although he too has said the session took place in the hotel, but in the dining-room, not a corridor. “The ‘With The Beatles’ album-cover was taken soon after I met them for the first time in Bournemouth. Since the photograph was needed urgently, I had to improvise a studio situation in the hotel. The dining-room was the most suitable location. There was a broadside light from the windows and a deep maroon curtain that could be pulled behind them to create a dark background. They came down at midday wearing their black polo-necked sweaters. It seemed natural to photograph them in black and white wearing their customary dark clothes. It gave unity to the image. There was no makeup, hairdresser or stylist – just myself, The Beatles and a camera… They had to fit into the square format of the cover, so rather than have them all in a line, I put Ringo in the bottom right corner. He was the last to join the group, he was the shortest and he was the drummer! Even so, he still had to bend his knees to get to the right level – and look natural!” Apparently, so happy were The Beatles with the LP’s cover-photo that, prior to the album’s release, they became engaged in, Barry Miles’s words, “a full-scale battle” with ‘EMI,’ their record-company because it was “strongly opposed” to the picture describing it “as ‘shockingly humourless’ and one marketing executive said, ‘where is the fun? Why are they looking so grim? We want to project happy Beatles for happy fans.’” Also, “Freeman says that… EMI objected to using a black and white photograph for the cover.” So, whatever the intention behind the photo chosen for the album-cover (whether occult or not), if we’re to believe Barry Miles in his McCartney-sanctioned biography, the band – and their management too – felt so strongly and passionately about this that they took on the might and influence of a record-company as huge as EMI until they got what they wanted. Others might indeed have given up long before, thinking, ‘hey, it’s only an album-cover!’ For whatever reason though, Freeman’s black ‘n’ white shadow photograph is the image the band wanted to convey to the public, to the point of a ‘full-scale battle.’ Just a couple of years later, Robert also photographed and designed the front of The Beatles’ ‘Help!’ album, a cover that conjures up very potent comparisons with the doctrines of infamous occultist, Aleister Crowley… But that’s for another article perhaps. So, looking back at ‘With The Beatles,’ judging by McCartney’s comments regarding how the front-photo for that LP came to be, I’m left with the impression that it was quite accidental, certainly unplanned. However, according to a couple of sites I’ve come across on the ‘net, and Freeman’s own recollections too, this might not exactly be the case. For a start, Robert, who, I’m led to understand, was famed back in the 1960s for his black and white photographs of famous Jazz musicians including John Coltrane, was tracked down specifically because of this by The Beatles’ manager Brian Epstein when he was looking for someone to come up with a cover for the ‘With The Beatles’ album, and Freeman has recalled, “this cover shot was an extension of my black and white Jazz photography.” Secondly – and here’s where my search for any notable/significant links between the LP cover-photo and the image from La Jetée has resulted in some info of a possibly tangible nature – it’s been claimed that all or some of the members of the band wanted Robert to recreate the look of photographs that had been taken of them during their pre-fame days in Hamburg, Germany by their German artist friend, Astrid Kircherr – such as these ones perhaps, shot in 1962 (bear with me here, I do explain why this might matter, why it might be tangible)…

johnastrid

georgeastrid

johngeorgeastrid

Astrid herself has said, “I met Bob Freeman once, and I like his work. His other pictures are great but I’ve got this idea, and I don’t know if it’s true, that The Beatles told him to take a picture like Astrid used to do because that half-lit idea was not his style at all.” This might matter, it might be tangible due to the fact that a German friend of hers and The Beatles, by the name of Jurgen Vollmer, went on to work during the 1960s for famed photographer, William Klein, who, would you believe, is also one of La Jetée’s faces from the future as depicted in the earlier screengrab here. In fact, this is him (so I’m led to understand)…

markerwilliamklein

Jurgen, same as Astrid, pursued photography and first came to know The Beatles in 1960 when the as-yet-famous band were labouring away honing their musical skills in the clubs and bars of Hamburg. From what I can gather from a number of sources available online, by 1961, just a year or so before the release of La Jetée, he became an assistant to William in Paris. Is it possible that Vollmer recommended Kircherr’s black and white ideas to the movie’s director Chris Marker – perhaps via Klein – prior to or even during the making of the film-short, and also, were John, Paul, George or Ringo privy to that? I’ve yet to find any information to confirm all or some of this, but it is possible I suppose. Certainly, if any of this can be corroborated, it takes the similarities displayed in the earlier screengrab and the front-cover of ‘With The Beatles’ out of the realms of ‘coincidence.’

paul visits jurgen in paris in 1961
Paul visits Jurgen in Paris in 1961

Unfortunately, any more info connecting The Beatles personally to La Jetée and/or its makers hasn’t materialised during my research. In a bid to remedy this, I considered sending maybe an e-mail or private ‘FaceBook’ message to either Jurgen or his former boss, William Klein and asking them outright (why not?), but I was unable to do so in the end as it appears both guys don’t have websites. I’m also at a loss in seeing any occult clues linking the band to the narrative of the film or its imagery (with the exception of the screengrab earlier in this article). But, of course, that might be just me failing to spot the signs, so, please, do take a look yourself and share any information or ideas you might come up with here at ‘The Occult Beatles’ via the ‘comments’ box, or, alternatively, you can e-mail me – Matt – at: conspiromail@gmail.com. There’s also some discussion about what’s been posted here taking place on this site’s ‘FaceBook’ partner-page, ‘Conspiro Media’: https://www.facebook.com/pg/conspiromedia/posts/?ref=page_internal  as well as at the group, ‘Strawberry Fields Beatles Mysteries’: https://www.facebook.com/conspiromedia/posts/292753394762542. Go take a look at one or both of these links and, perhaps, contribute to them too.

So, as promised, here’s a brief synopsis of the 26-minute film, which was constructed almost entirely from still photos – and that you can watch in its entirety below… (Incidentally, the entire plot of the film including its ending isn’t revealed in the synopsis in case you’d like to watch the movie and don’t want your viewing of it spoilt)…

As mentioned earlier, La Jetée is set in a post-nuclear war world and the film’s story is told through narration by William Klein.

We see Paris in ruins, destroyed by the Third World War. Many have died. Some believe themselves to be victors. Others have been taken prisoner. The survivors have gone underground, settling beneath the French city which has become riddled with radioactivity as has the rest of the planet. The prisoners down below are subjected to experiments by the victors who stand guard over them:jet1

The story of La Jetée centres on one of the guinea pigs up for experimentation…jet2

He’s frightened. He’s heard about the ‘Head Experimenter’ – The mad scientist, but what he gets instead is a reasonable, calm man who explains to him that the human race is doomed. The only hope of saving it is by travelling through a loophole in time, where it might be possible to reach food, medicine and sources of energy. This is the aim of the experiments; to send people into the past and future for the benefit of the present. So far there’s been little to no success, but this particular guinea pig – the protagonist of this story – is different to the others because he’s obsessed with an image from his past, an image the victors have identified from reading his mind. And so, the experiment goes ahead as planned…jet3

On the tenth day of this, images begin to appear, images in peacetime; children, countryside, birds, a girl on a jetty… She smiles at our protagonist from a car…jet4

As the experiment continues and he drifts in a trance back to his present and to the past again, he sees more of the girl from the jetty. They meet, befriend each other and form a relationship, its exact nature not explained fully…jet5

This is the starting point of a whole series of experiments for our protagonist who meets the girl in them again and again.jet6

When she sees him, she calls him her ghost. She accepts as a natural phenomenon the ways of this visitor – our protagonist – who comes and goes, who exists, talks, laughs with her, listens to her, then disappears.

Then, back in the experiment-room, in the present, back deep below the radiation-infested city of Paris, his masters plan to transport him to the future. He then realises he’ll never see the girl again…jet7

And so, he is transported to the future: Paris rebuilt. Others are waiting for him. It’s a brief encounter…la jetee beatles

Back in the present our protagonist awaits a dark, doomed fate from his masters who have no more use of him. But then, the figures from the future, who can also travel through time, visit him and invite him to join them, to be one of them. But he has a different request; He wants to return to the girl from the past. And so, he is taken back to her, on the jetty, from his memories…

Watch La Jetée, the movie, here:

 

 

 

REFERENCE LINKS

http://www.masonicworld.com/education/files/apr02/include/colour_symbolism_in_freemasonry.htm

http://freemasoninformation.com/2009/03/the-checkered-flooring/

https://www.hamiltondistrictcmasons.org/upload/lecture_file87.pdf

http://secularfreemason.blogspot.com/2013/07/the-masonic-chequeredcheckerboard-floor.html

https://www.myfreemasonry.com/threads/what-does-the-checkered-pavement-symbolize.12461/

https://en.wikipedia.org/wiki/With_the_Beatles

https://www.beatlesbible.com/albums/with-the-beatles/2/

http://www.wingspan.ru/bookseng/myfn/bmiles04.html

https://www.imdb.com/title/tt0056119/releaseinfo?ref_=tt_ov_inf

https://en.wikipedia.org/wiki/La_Jet%C3%A9e

https://www.amazon.com/Beatles-Private-View-Robert-Freeman/dp/1592261760

McCartney.com: Robert Freeman – All You Need Is News!

https://www.elsewhere.co.nz/absoluteelsewhere/505/astrid-kirchherr-beatles-photographer-interviewed-1994-young-free-and-wild/

http://5b4.blogspot.com/2007/07/le-jetee-by-chris-marker.html

http://www.spiegel.de/einestages/filmfotograf-vollmer-a-949010.html

https://books.google.de/books?id=KbY5AQAAQBAJ&pg=PT223&lpg=PT223&dq=jurgen+vollmer+beatles+william+klein&source=bl&ots=oGhY-t7CuD&sig=8Jk4XWI3mDyYOfHohWMmC0p_Tl0&hl=en&sa=X&ved=2ahUKEwiiyenXzOrfAhW0hqYKHfVUA0IQ6AEwDXoECAQQAQ#v=onepage&q=jurgen%20vollmer%20beatles%20william%20klein&f=false

https://books.google.de/books?id=1BMCBQAAQBAJ&pg=PT86&lpg=PT86&dq=the+beatles+William+Klein&source=bl&ots=edNMK_Faan&sig=h62dunYI-EpqM5sBB_FrlrwSAc4&hl=en&sa=X&ved=2ahUKEwjZzfC6yerfAhVFhqQKHVBsD1o4ChDoATAIegQIAxAB#v=onepage&q=the%20beatles%20William%20Klein&f=false

http://citizenuniverse.blogspot.com/2007/05/real-wild-child-by-wendy-cavenett-in.html

 

The Number 9, and, a Date with Destiny? The Lennon Assassination 38 Years On…

John Lennon – born in Liverpool, England, October 9th 1940, assassinated in New York, United States, 1980 December 8th – or, in accordance with the UK time-zone/difference, the 9th

The ninth. Nine. By Lennon’s estimations, a deeply significant number in his eventful life. Of course, if you’re an avid Beatles fan and/or aficionado, then you’ll most probably be aware of this. The reason I raise it here in this particular post, within the month of the 38th anniversary of John’s death, is that it ties into a recently re-released podcast hosted by broadcaster Richard Syrett of ‘The Conspiracy Show’ website. In an interview first published some years back with the late R. Gary Patterson, who was author of the books ‘Take a Walk on the Dark Side: Rock and Roll Myths, Legends and Curses’ and ‘The Walrus Was Paul,’ the subject weaves between the suspicious circumstances surrounding Lennon’s death, his seemingly deep connection to the aforementioned ‘number nine,’ and, of specific interest to me personally at this point in in my research of John and The Beatles, this increasing knowledge I’m gaining that, either, he had some decades-old premonition of his untimely death, or, had come into contact with esoteric indicators/signs/symbols that, at least on face-value perhaps, alluded to this.

The-Conspiracy-Show-with-Richard-Syrett

“Laurel and Hardy, that’s John and Yoko. And we stand a better chance under that guise ‘cuz the serious people like Martin Luther King and Kennedy and Ghandi got shot.”

The words of John Lennon during a UK radio-interview back in May 1969, just a couple or so months following his and his then new-wife Yoko’s famous ‘Bed-in’ for peace at the Amsterdam Hilton hotel in the Netherlands, Europe. Forty-nine years later, this quote from Lennon comes with a certain sting, given how he ended up in December ‘80. Now, were these the words of a man just talking off the top of his head, as it were? The sweeping, unconsidered ramblings of an attention-seeking, egotistical famous Rock-star maybe in search of a catchy, snappy – and provocative – little buzz-phrase that’ll hopefully guarantee him some top headline space in the newspapers and on radio and TV, and also, gain more publicity for his on-going media-fuelled campaign pitted against the machinations of the so-called ‘powers that be’? Or maybe he was speaking with some genuine fear for his safety? I mean, there he was, back in the late 1960s, making public his voice of criticism of the Vietnam War and coming out with statements like, “our society is run by insane people for insane objectives… I think we’re being run by maniacs for maniacal ends.” Here was one of the most famous men in the world, and at the peak of his influential powers, using that unique position to speak down the ‘Establishment,’ the very system, perhaps, that socially-engineered him into a top billing on the international stage (in effect, he was betraying his ‘masters’?). Can he really be blamed for comparing his possible fate to those of the slain Kennedy, King and Ghandi? Lennon is reported to have said in 1972, and this was during the period when he was being surveilled by the FBI let’s take into account, “listen, if anything happens to Yoko and me, it was not an accident.” It’s perhaps easy to envision then why Lennon talked about the prospect of becoming the target of somebody’s gun, especially when you consider it within the context of his life between 1969 and ’72, a time when not only was he was criticising the US’s involvement in Vietnam and those in the corridors of power but was engaged in numerous other causes and campaigns of an anti ‘Establishment’ flavour. Moving it back now, to 1966, a few short years before he became so involved with such activities, and it would appear perhaps that this fear of his, of being gunned down, was there too, well, if we’re to believe what his first, former wife, Cynthia, has recalled, for one. In her book, ‘John,’ she transports us to ‘66, in the midst of the ‘Beatles bigger than Jesus’ episode, when the band, during their US tour of that year, we’re told, were subjected to intense outrage bordering on the almost chillingly violent, particularly in the Christian-heavy Deep South of the country, all as a result of a magazine-interview that year in which The Beatles were described as being more popular than Christ in a comment by John.  Just prior to his American visit, according to Cynthia, who was married to him at that time, “he’d received a letter from a psychic, warning that he would be shot while he was in the States. We were both upset by that: The Beatles were about to do their… tour of the States… He had just made his infamous remark about The Beatles being more popular than Christ and the world was in uproar about it – cranky letters and warnings arrived by every post. But that one had stuck in his mind. Afraid as he was, he went on the tour, and apologised reluctantly for the remark.” When he returned from the American visit “in one piece, we were both relieved.” They both assumed that “the warning referred to that trip” in ’66 in amidst all the outrage that was going on. But what if it wasn’t as specific as that? Having not read this said mail from the psychic myself, I can only try and guess what exactly the content of it was, in particular, the precise nature of this warning that John was to be gunned down in the States, I mean, he might have remained “in one piece” in ’66 but 14 years later, he was indeed shot there. Furthermore, Cynthia recalled that “the psychic’s warning remained” in her then-husband’s “mind and from then on it seemed that he was looking over his shoulder, waiting for the gunman to appear. He often used to say, ‘I’ll be shot one day.’” R. Gary Patterson, in ‘The Conspiracy Show’ interview, highlights a number of what are, quite possibly, ominous signs of an occult nature pertaining to how exactly Lennon was to meet his death, such as one particular photo featured in the accompanying booklet included in the soundtrack release of The Beatles’ 1967 TV-movie ‘Magical Mystery Tour.’ As you might indeed already be aware, below, is that very photograph of a mustachioed John standing beside a sign that reads out: ‘(T)he Best Way to Go’ followed by ‘M&D’ and then ‘COA,’  presumably a cut from the word, ‘coaches,’ as in bus, such as the one that was to take Lennon and his band-mates, in the film, on their mystery tour. Basically, it’s advertising the (presumably) fictious, ‘M&D Coach’ business. Numerous researchers and observers from an alternative-looking angle (such as yourself?) however see it different; The M, D and the C stand for ‘Mark David Chapman.’ Connect that with the words above them – ‘(T)he Best Way to Go is by’ – and you have, ‘The Best Way to Go is by Mark David Chapman.’  Also, and as Patterson notes in his interview, the Magical Mystery Tour soundtrack was first released towards the very end of 1967 on – December 8th.MagSome seven months later, in July 1968, The Beatles went on what has since been dubbed the ‘Mad Day Out’ around London. It was for a publicity photo-session and largely made up of scenes of the band visiting, briefly, various outside locations in the city, sitting on a park-bench, standing by a church-yard with a crowd of people, posing on a sidewalk… one of the photos taken had John lying down apparently playing dead with Paul, George and Ringo gathered around him…Mad… I’ll point out, for what it’s worth to you, that the words, ‘Mad Day Out’ totals up to nine letters. Anyway, Tom Murray, one of the photographers of the session, has said that, following John’s death in December ’80, the magazine, ‘Time,’ had considered using that photo but then “thought that too much.” A few months after that photograph was taken came the release of The Beatles’ self-titled double-LP, and nicknamed of course, the ‘White Album,’ and that included the Lennon-written track, ‘Happiness is a Warm Gun.’ Recorded at EMI Studios in Abbey Road, London in September that year, less than eight weeks after the Mad Day Out, he said the song was inspired by “the cover of a magazine that said: ‘Happiness is a warm gun.’ I thought it was a fantastic, insane thing to say. A warm gun means you’ve just shot something. ‘Happiness Is A Warm Gun’ was banned on the radio – they said it was about shooting up drugs. But they were advertising guns and I thought it was so crazy that I made a song out of it.” The magazine, he claimed, was first shown to him by Beatles producer, George Martin – and this is it, so I’m led to understand, said to be from the May ‘68 publication of ‘American Rifleman’…

hapgun

amrif

Just three days before Lennon’s assassination outside the Dakota Building, his home for most of his years in the US since moving there in the early 1970s, he said to journalist David Sheff, “sometimes you wonder, I mean, really wonder. I know we make our own reality, and we always have a choice, but how much is preordained?”  Well, I don’t know, but, below, there’s the front main photo from John’s album of Fifties/early Sixties-era cover-versions, ‘Rock ‘n’ Roll,’ released in 1975 and his last before withdrawing from music-recording and the wider public eye, until his dubbed ‘comeback’ in 1980. Co-produced by Phil Spector and partly recorded at the ‘Record Plant’ studios in New York, the photograph was taken of Lennon during his pre-fame days with The Beatles in Hamburg, Germany and, from what he could gather, its reappearance years later on this ‘farewell’ LP of his was akin to a “premonition.” He said, “at the end of making that record, I was finishing up a track that Phil Spector had made me sing called Just Because, which I didn’t really know – all the rest of the songs I’d done as a teenager, so I knew them backward – but I couldn’t really get the hang of it. At the end of that record – I was mixing it just next door – I started spieling and saying, ‘and so we say farewell from the Record Plant,’ and a little thing in the back of my mind said, ‘are you really saying farewell?’ I hadn’t thought of it then… but somewhere in the back was a voice that was saying, ‘are you saying farewell to the whole game?’ It just flashed by like that – like a premonition. I didn’t think of it until a few years later, when I realised that I had actually stopped recording. I came across the cover photo – the original picture of me in my leather jacket, leaning against the wall in Hamburg in 1961 – and I thought, ‘is this it? Do I stop where I came in, with Be-Bop-A-Lula?’ The day I first met Paul, I was singing that song for the first time onstage. There’s a photo in all the Beatles books – a picture of me with a checked shirt on; holding a little acoustic guitar – and I’m singing Be-Bop-A-Lula, just as I did on that album. It was like this little thing, and there was no consciousness in it. It was only much later, when I started thinking about it . . . you know, like sometimes you dream – it’s like a premonition, but this was an awake premonition. I had no plans, no intention, but I thought, ‘what is this, this cover photo from Hamburg, this Be-Bop-A-Lula, this saying goodbye from the Record Plant?’ And I was actually really saying goodbye since it was the last track of the Rock ‘n’ Roll album – and I was so glad to get it over with – and it was also the end of the album.”

Rock
The ‘Rock ‘n’ Roll’ album

John continued, “it’s like when a guy in England, an astrologer, once told me that I was going to not live in England. I didn’t plan to live here, it just happened. There was no packing the bags – we left everything at our house in England, we were just coming for a short visit… but we never went back. The story was that I left for tax reasons, but I didn’t. I got no benefit, nothing, I screwed up completely, I lost money when I left. So I had no reason to leave England.” Reflecting on those years, back in the early Seventies and also the late Sixties, a time when he was lending his support both vocally and financially to a number of what’s termed ‘politically radical’ endeavours, causes and movements including the Black Panthers, the ‘Yippies’ (‘Youth International Party’), the British Marxist magazine ‘Red Mole,’ as well as the paramilitary ‘IRA’ (‘Irish Republican Army’), he said to David Sheff in their conversation just three days before he was shot dead, “I dabbled in so-called ‘politics’ in the late Sixties and Seventies… thinking that maybe love and peace isn’t enough, that you have to go and get shot or something… to prove I’m one of the people. I was doing it against my instincts.” Had he trusted those instincts of his, what direction would he otherwise have taken, and would it have, ultimately, saved him from the bullets? Aside from Cynthia’s aforementioned recollection of the psychic’s warning in 1966, there’s the correspondence he received later that decade, and documented on film (as can be seen below), from someone claiming to have received a message via Ouija board from dead Beatles manager, Brian Epstein that there would be “an attempt to assassinate” him…

During his conversation with David Sheff, John asked, “is there always a fork in the road, and are there two preordained paths that are equally preordained? There could be hundreds of paths where one could go this way or that way… it’s very strange sometimes.” And if not strange, then, for me, intriguing. I’m not going to attempt to answer what Lennon’s asking there, not in this article anyway. My knowledge and/or understanding of such matters is nowhere near substantial enough to include here, and so, I’ll best leave it. As for how seriously (or not) he either considered the idea of living a “preordained” life and the possibility of changing its course, well, R. Gary Patterson points out, the former Beatle and Yoko Ono were practioners of numerology and would consult the numbers and the stars before making life decisions. Also, and as mentioned briefly already here, John sensed that ‘9’ was of major significance. He told David Sheff, “I lived in 9 Newcastle Road (Liverpool). I was born on the ninth of October… It’s just a number that follows me around, but, numerologically, apparently I’m a number six or three or something, but it’s all part of nine.” In his book ‘Take a Walk on the Dark Side,’ R. Gary Patterson cites the work of music-author, Ray Coleman, from his biography ‘Lennon,’ to highlight the prevalence of ‘nine’ in the musician’s life:

In the great Ray Coleman’s definitive biography, ‘Lennon,’ the author lists a number of unusual coincidences involving John Lennon and the number 9. He was born at 6:30 PM, (six plus three makes nine) on October 9th 1940. His mother’s address was 9 Newcastle (nine letters) Road, Wavertree (nine letters), Liverpool. Sadly, his mother was killed when she was struck by a car driven by an off-duty policeman. The car’s registration-number was LKF 630 (nine) and the police-constable’s badge-number was 126 (nine).

Patterson goes on to note that “John’s musical career was rife with the number 9.” For starters, there was his songwriter and friend, McCartney (nine letters), and “John’s first group was the Quarrymen (nine). ”

Patterson continues:

Brian Epstein first introduced himself to the Beatles at the ‘Cavern’ on November 9th 1961, and nine years later in 1970 The Beatles officially broke up. Epstein died on August 27th (nine) 1967. The Beatles received their recording contract with ‘EMI Records’ on May 9th 1962 and produced many of their greatest recordings at Abbey Road (nine) studios. The Beatles made their first appearance in America on ‘The Ed Sullivan Show’ on February 9th 1964.

When John first met his future wife Cynthia Powell she was living at 18 (nine) Trinity Road, Hoylake. John and Cynthia’s son, Julian, was born at Sefton General Hospital, 126 (nine) Smithdown (nine) Road, Liverpool.

After meeting Yoko Ono, Patterson notes that John “changed his name to John Ono Lennon so that the combination with Yoko Ono Lennon would feature the letter ‘O’ nine times.” Then, there’s also the music of course, The Beatles’ ‘One After 909,’ and, from the White Album, ‘Revolution 9,’ an avant-garde collage made up of tape-looped samples of various sounds, effects and noises, including the voice of a man repeating the words, “number nine” throughout the track. John said of it, “Revolution 9 was an unconscious picture… All the thing was made with loops. I had about 30 loops going, fed them onto one basic track. I was getting classical tapes, going upstairs and chopping them up, making it backwards and things like that, to get the sound effects. One thing was an engineer’s testing voice saying, ‘this is EMI test series number nine.’ I just cut up whatever he said and I’d number nine it. Nine turned out to be my birthday and my lucky number and everything. I didn’t realise it, it was just so funny the voice saying, ‘number nine’; it was like a joke, bringing number nine into it all the time…  There are many symbolic things about it but it just happened you know.” Patterson also notes that Lennon had told Ray Coleman that “one of his most important songs contained nine key words: ‘All we are saying is give peace a chance.’” Also, there’s John’s 1974 track, ‘# 9 Dream’ featuring the voice of his then extra-marital girlfriend, May Pang whispering out his name – Patterson goes into a little bit of detail about this song in his Conspiracy Show interview. As an add-on here with regards to Lennon’s recording-career, I will note that, during his post-Beatles years, he released a total of eight albums (one of which was a compilation), and at the time of his death, was in the process of recording the ninth. It was eventually issued in 1984 as ‘Milk and Honey.’

In his book ‘Take a Walk on the Dark Side,’ Gary R. Patterson goes on to note…

In 1971, John and Yoko moved to New York City, and nine years later John Lennon would be murdered. The Lennons lived in an apartment at the Dakota, located at 72nd Street. Their original apartment number was also number 72. John had once received a death threat while performing with The Beatles in Paris in 1964, and became very nervous when the written threat mentioned that “I am going to shoot you at nine tonight.”

There are other references to the number nine in John Lennon’s life. In ‘The Last Days of John Lennon,’ by Frederick Seaman (Seaman was hired as John Lennon’s personal assistant), the author describes the front gate of the Dakota: “Over the front gate is an Indian head carved in stone and surrounded by the digits 1-8-8-1. (1+8=9; 8+1=9; 9+9=18; 1+8=9). To a casual observer, those numbers indicate the year in which the Dakota was built, but after I spent a couple of years working for the Lennons, I would begin to contemplate then in a very different light: Eight plus one is nine, the highest number, denoting change and spirituality; if you add 99 to 1881, you get 1980 – the year in which John Lennon was struck down in a hail of bullets in this very spot; when your good luck runs out, eight-minus-one minus eight-minus-one equals zero.”

the dakota
The Dakota

The presence of ‘9’ has continued years after John’s death, quite deliberately I’d suggest. There’s the music video-game ‘The Beatles: Rock Band’ released in 2009 on September 9th (09/09/09). And, on the very same day in the very same year also came the issue of all the band’s albums in re-mastered form, and trailed with this promo pic…custom_1236266339808_beatles

You can hear R. Gary Patterson’s interview on The Conspiracy Show, below:

Conspiracy Show ep 155

http://conspiracyunlimitedpodcast.com/ep-155-the-murder-of-john-lennon-and-nightmare-number-nine

Also, as you can see here, there’s a couple more Lennon-themed interviews included from The Conspiracy Show website… First up, from December 2017, a conversation with John L. Potash, author of ‘The FBI War on Tupac Shakur and Black Leaders,’ and ‘Drugs As Weapons Against Us. The CIA’s Murderous Targeting of SDS, Panthers, Hendrix, Lennon, Cobain, Tupac and other Activists.’ Hear him talk about some of the tell-tale signs indicating that Chapman was a mind-controlled instrument of the intel-services, including his involvement with the ‘YMCA’ in war-torn Beirut in the 1970s. He also goes into a little detail about the MK ULTRA program’s alleged involvement in neutralising the anti-Vietnam War and civil rights movements in the US in the 1960s through the promotion of LSD, as well as The Beatles’ role in this too. He notes the Canadian professor and so-called ‘father of communications, media studies and the information age’ – and ‘Central Intelligence Agency asset’ – Marshall McLuhan who interviewed John Lennon during a visit the musician made to Canada in 1969, and he cites the research of the late Fenton Bresler, author of the ground-breaking book ‘The Murder of John Lennon,’ and he also talks a little about the infamous, mysterious Jose Perdomo, the supposed ‘doorman’ of the Dakota on the day of Lennon’s assassination. Some of these aspects in John’s suspicious death are also mentioned in the third (and final) Conspiracy Show interview included here, and that’s with guest, Pepper Chomsky, author of, ‘The One: Who Killed John Lennon.’ Both he and Potash also discuss the likelihood (or not) of Mark Chapman being released from jail, for at the time these interviews were recorded, he was set to make his tenth parole board appearance since being sentenced to 25-years-to-life imprisonment in 1981. As it happens, it never came to pass (of course). It was announced that he won’t be let out of prison as he requested and will have to wait until 2020 to try again. As reported on the UK’s news-website, ‘The Guardian,’ “the panel found his release ‘would be incompatible with the welfare and safety of society and would so deprecate the serious nature of the crime as to undermine respect for the law.’ It said: ‘Your criminal history report reflects that this is your only crime of record. However, that does not mitigate your actions.’ (Yoko) Ono, 85, had said she feared for her safety and that of Lennon’s two sons, Julian and Sean, should Chapman be released. Chapman was deemed by the board to be a low risk for offending again and has had a clean prison record since 1994, but the panel found that none of this ‘outweighs the gravity of your actions or the serious and senseless loss of life you have caused. And while no one person’s life is any more valuable than another’s life, the fact that you chose someone who was not only a world-renowned person and beloved by millions regardless of the pain and suffering you would cause to his family, friends and so many others, you demonstrated a callous disregard for the sanctity of human life and the suffering of others. This fact remains a concern to this panel.’” The panel also said Chapman had “carefully planned and executed the murder of a world-famous person for no reason other than to gain notoriety,” a motive there that’s contested by a number of researchers of an alternative nature who of course believe that, actually, Chapman was an intel-agency mind-controlled puppet sent to the Dakota in December 1980 to bring down an influential voice, a threat to those ‘powers that be.’ Chomsky mentions this during his Conspiracy Show chat, referencing Steven R. Gaines, a journalist who interviewed Mark in 1987 for an article in which he pronounced that “he did not kill John Lennon in order to become famous” as argued by the prosecutors. First though, here’s John L. Potash:

Conspiracy Show ep 003

http://conspiracyunlimitedpodcast.com/003-john-lennons-murder-mark-david-chapman-mk-ultra-and-the-cias-ongoing-war-against-rock

And, Chomsky can be heard here in his Conspiracy Show interview, released in August this year (2018), just a couple of days before the parole board’s decision regarding Chapman:

Conspiracy Show ep 108

http://conspiracyunlimitedpodcast.com/108-mark-david-chapman

Check out more from Richard Syrett and The Conspiracy Show here:

https://conspiracyshow.strangeplanet.ca/

 

 

REFERENCE LINKS:

https://books.google.co.uk/books?id=HL7X-YyrINUC&pg=PA204&lpg=PA204&dq=I+lived+in+9+Newcastle+Road.+I+was+born+on+the+ninth+of+October,+the+ninth+month+%5Bsic%5D.+It%27s+just+a+number+that+follows+me+around,+but,+numerologically,+apparently+I%27m+a+number+six+or+three+or+something,+but+it%27s+all+part+of+nine.&source=bl&ots=GDUQY1XEIs&sig=9FuqGltz_gAoFEfpg81wkckC71U&hl=en&sa=X&ved=2ahUKEwiNg4Tj7pvfAhWyunEKHQsGAEgQ6AEwAXoECAkQAQ#v=onepage&q=I%20lived%20in%209%20Newcastle%20Road.%20I%20was%20born%20on%20the%20ninth%20of%20October%2C%20the%20ninth%20month%20%5Bsic%5D.%20It’s%20just%20a%20number%20that%20follows%20me%20around%2C%20but%2C%20numerologically%2C%20apparently%20I’m%20a%20number%20six%20or%20three%20or%20something%2C%20but%20it’s%20all%20part%20of%20nine.&f=false

http://www.beatlesinterviews.org/db1969.0508.beatles.html

YouTube: ‘John Lennon-“Our Leaders are Insane!!”‘

‘Come Together. John Lennon In His Time’ – Jon Wiener

https://www.npr.org/templates/story/story.php?storyId=130401193

http://www.lennonfbifiles.com/fbi_release06.html

https://books.google.co.uk/books?id=HL7X-YyrINUC&pg=PA96&lpg=PA96&dq=sheff+guilt+for+being+rich,+and+guilt+thinking+that+perhaps+love+and+peace+isn%27t+enough+and+you+have+to+go+and+get+shot+or+something&source=bl&ots=GDURSX-ACr&sig=N3pBZW21CozxGcJIf06J57Evl7k&hl=en&sa=X&ved=2ahUKEwjnl5jH7qXfAhWqQxUIHWGQDDYQ6AEwAnoECAgQAQ#v=onepage&q=sheff%20guilt%20for%20being%20rich%2C%20and%20guilt%20thinking%20that%20perhaps%20love%20and%20peace%20isn’t%20enough%20and%20you%20have%20to%20go%20and%20get%20shot%20or%20something&f=false

https://en.wikipedia.org/wiki/More_popular_than_Jesus

http://1966myfavoriteyear.blogspot.com/2016/08/revolver-jesus-and-beatles-august-of-66.html

‘John’ – Julia Lennon (pg. 9)

http://thebeatles-collection.com/wordpress/2012/12/01/magical-mystery-tour-parlophone-pctc-255/

https://en.wikipedia.org/wiki/Magical_Mystery_Tour

http://news.bbc.co.uk/local/suffolk/hi/people_and_places/arts_and_culture/newsid_9271000/9271865.stm

https://recordcollectormag.com/articles/the-beatles-mad-day-out

https://en.wikipedia.org/wiki/Happiness_Is_a_Warm_Gun

http://www.wingspan.ru/bookseng/ant/11.html

https://www.beatlesbible.com/songs/happiness-is-a-warm-gun/

https://www.rollingstone.com/music/music-news/john-lennon-the-last-interview-179443/

https://www.rollingstone.com/music/music-news/john-lennon-the-rolling-stone-interview-part-two-160932/

‘Take a Walk on the Dark Side: Rock and Roll Myths, Legends and Curses’ – R. Gary Patterson (pgs. 200 – 203)

https://en.wikipedia.org/wiki/The_Beatles:_Rock_Band

https://en.wikipedia.org/wiki/The_Beatles_(The_Original_Studio_Recordings)

https://en.wikipedia.org/wiki/John_Lennon_discography

marshallmcluhan.com

https://www.theguardian.com/music/2018/aug/24/john-lennon-killer-mark-chapman-denied-parole-for-tenth-time

https://people.com/archive/cover-story-mark-chapman-the-man-who-shot-lennon-vol-27-no-8/

 

 

Doubles, Decoys and Disguises – Part 1 of 2 (… or maybe 3!)

TheBeatles_RonCase_HultonArchive

I’d originally intended to publish this in June last year to mark the close of a theatre-play in New York reportedly about the hiring of a double to impersonate Beatles-era Paul McCartney after he’s involved in a car-crash. Titled ‘Nowhere Man,’ it took its cue from the P.i.D. (‘Paul is Dead’) conspiracy-rumours/theories which, in whatever form they’ve come, I’ve never bought. The end of the ten-day run of the stage-production felt to me like a timely point to share a few of my reasons for this, to present a perspective, a point of view that I sense is rarely if ever highlighted or discussed when information is shared or discussed and debated on ‘Paul is Dead.’ And so I began to conduct some preliminary research in preparation for this, to add some meat (as it were) to what I already knew and what I wanted to convey here. However, as I dug and dug deeper, it slowly but surely dawned on me that this wasn’t going to be the short summary-article that I’d originally expected it to be. I was pulling out more and more branches of info, and a lot of which I wasn’t aware of and that – most time-consumingly of all – was very muddy and very contradictory. All those contradictions had to be cross-checked and back-referenced I felt, so that’s what I did to the best of my abilities. In the middle of the checking and digging I’d stop for a bit and go off researching elsewhere for unrelated articles that had to be written and published on this site, because, I felt they needed to be posted as soon as possible so as not to lose their topical flavour, and then I’d return and pick up tools again. But now at last, seventeen(!) months on, here it is.

Being based in the UK and having never been to New York let alone America, I personally never saw ‘Nowhere Man’ when it ran in 2017 from June 8th – 18th (Paul’s birthday). As a result, I thought it best to leave it to others with a better understanding of it to describe its plot for you. So, here’s what ‘Theatre for the City,’ the organisation that helped stage it, had at the time in terms of general plotline on its website:

After The Beatles stopped performing at the height of their success, some fans became convinced the singer had died in a car accident.

Rumours circulated that McCartney had crashed and the band concealed the fact, even hiring a double to keep going.

In fact, the band stopped performing and did studio work after the sounds of shouting fans began to drown out their music at concerts.

In Nowhere Man, the Beatles’ handlers, such as George Martin, the band’s arranger, and Neil Aspinall, their road-manager and assistant, orchestrate the hiring.

Intriguing that the word “handlers” is used to describe the roles of The Beatles’ music-producer George Martin and the group’s long-standing aide Neil Aspinall.18951310_10155415611237094_3093331991052238017_n

More of the plot is detailed by an individual by the name of James Wilson in a review published on the website ‘TalkinBroadway.com.’ He states:

The play begins… with a heated conversation between famed Beatles producer George Martin and the group’s high-strung road-manager Neil Aspinall. The future of the band is at stake: Paul McCartney has been in a car accident and is in critical condition. The accident, it seems, was caused by a young woman, who had been offered a lift by Paul and who subsequently went into a frenzy when she recognised the driver. Paul will need time and space to recover, of course, and in order to keep the Press and obsessed fans away, Martin and Aspinall hatch a plan to hire someone to appear as Paul coming and going from the recording-studio and for other public sightings. They decide upon Billy Campbell, a prize-winning Paul McCartney lookalike, to impersonate the singer, but he must be sworn to absolute secrecy.

Billy, a struggling musician and full-time bartender, is enticed by the money, but his acceptance means he will have to go into seclusion (in one of Paul McCartney’s palatial London residencies) and give up his own identity for at least three months. He accepts the ticket to ride, so to speak, but most difficult for the young man is cutting off regular contact with his increasingly suspicious fiancé. The plot becomes more complicated with the appearance of Michelle who has her own secret connection to the real Paul, and her boyfriend Tommy. The elaborate charade forces Billy to confront his own moral dilemma about the price of fame and the cost of not being true to oneself.

As you’ll most probably be aware, a couple or so of the ingredients in the plotlines outlined above, such as the presence of the McCartney look-a-like contest winner Billy Campbell, are pulled from the theories that first began to permeate into mainstream consciousness back in 1969 – although, in those versions of events of course, Paul is killed after he argues one night in November 1966 with his fellow Beatles at a recording-session at London’s ‘Abbey Road’ studios, storms out of the building as a result and gets into his car and crashes. In the years following the band’s split in 1970, countless other hypotheses have materialised, and especially after the internet became a widely-used part of our lives from the late ‘90s/early 2000s onwards, paving the way for the extensive variety of websites, pod-casts and blogs on the P.i.D. conspiracy that we have today. I’m not going to recount all of those in this article. Instead, I’ll note the words of Mark Devlin the UK’s leading speaker on the occult/conspiratorial elements within the music-industry. In a ‘FaceBook’ posting last year and that I was contributing to, he nicely summarised the position that he thought we’d reached with regards to the sprawling, complex web of theories, counter-theories, opinions and observations in the ‘Paul is Dead’ mystery. He said the term ‘P.i.D.’ should perhaps be changed to ‘P.A.P.’ (‘Paul Ain’t Paul’) because whilst there are a huge amount of folk who do believe McCartney died and was replaced, there are others (including myself) who are of the view, or at least suspect, that this isn’t the case, but, that he has nonetheless undergone a transformation of some esoteric nature. I veer towards the possibility that his so-called ‘death’ may, in part, be allegorical and not literal – perhaps suggesting some form of possession by a dark entity, or, with the aid of LSD, the loss of his ego (dying through Acid). I won’t expand on that idea here in this article, but some other time perhaps. So, leaving that aside for now, another school-of-thought within the P.A.P. camp is those who hold or at least sympathise with the view that Paul is indeed still alive but has employed a double (or doubles) to fill in for him at times including, perhaps, in a not too dissimilar way from the scenario that was set out in Nowhere Man. Actually, on the entertainment-casting site, ‘Backstage’ there was a page advertising for actors to come audition for the play stating that it “is designed to be a believable variation on a famous Beatles myth.” Interesting choice of words there, “myth” and “believable variation.” I’m thinking the makers of it might be PAPers. I mean, note that one of the above reviews of the stage-production mentions that McCartney has been injured in a car crash – not killed – and that the replacement has been hired to be a temporary not permanent stand-in.

In particular, to all P.i.D.ers reading this, I’m proposing that Paul McCartney is still of this mortal coil but has, perhaps, employed over the years, a temporary double or two or more in order to divert the attention of the general-public away from an unwelcome truth (such as a car accident for example) or to enable him to live a peaceful, private existence free from the attention of fans and the media. We know from the mainstream version of history (even) that well-known figures are indeed said to have used replacements for one reason or another during their lifetime, including Saddam Hussein and senior British World War II army commander Field Marshal Bernard ‘Monty’ Montgomery… And, there’s also information to show that McCartney – as well as the rest of his fellow-Beatles – used decoys years before Paul’s ‘death’ in late 1966 in order to escape the hordes of stampeding fans who were out to grab them at public appearances during the ‘mania’ phase of their early career. And how well known is that? Perhaps not enough? I do feel that, after years of having read countless blogs, articles and forum/social-media postings about P.i.D., that – and, of course, I might be wrong – a lot of people who lean towards this theory are largely or completely unaware that the band had actually been tricking the general public with stand-ins prior to the ‘death’ in 1966. Please. I apologise for any offence in that presumption. I don’t mean to offend, or to patronise, but, a lot of the info that you’ll see if you continue to read this article, I’ve never seen mentioned or presented in amongst the theorising, pontificating or commenting within the world of ’Paul is Dead.’ As a result, to me, that suggests there are a significant number sympathising with P.i.D. who haven’t done their homework on the history of The Beatles. Surely then, when all the facts and data aren’t taken into account when a theory is being formulated or discussed or presented, what does that do to its credibility? I’m not stating unequivocally that what I’ve got to offer in this two (or three)-parter is going to debunk ‘Paul is Dead.’ Oh no… far, far, far from it. No, what you’ll see, I think, is a lengthy presentation of information rarely-if-ever acknowledged within the arena of P.i.D. but that, I feel, should be perhaps even if none of it turns any amount of folk away from believing or strongly suspecting that Paul did indeed shift off this mortal coil many years ago, and, indeed, I must add here, if that’s what you think happened to him, and the info I’m presenting doesn’t inevitably result in you changing your view on that, well, that’s cool with me because what I’ve collected together for this article in all its instalments, however long and large that’ll be, will, if not encourage anyone reading it to alter/reverse what may have been a supportive or responsive attitude towards the ‘Paul is Dead’ hypotheses, or to re-asses/reconsider that position, then at least, it’ll, I hope, be an informative, enjoyable if not useful read for everyone concerned including those supportive or warm to P.i.D., who might actually, for whatever reason, find some of the info I’ve laid out to be valuable in their own line of enquiry or research, as contrary as it is to my own personal take. What this two (three?)-parter does for sure is present a compilation of rumours, reports, allegations and first-hand accounts from pre-1966, and after too, on look-a-likes, “doubles,” disguises and, as I mentioned earlier, decoys, who are said to have been used during that ‘mania’ live-touring phase of The Beatles’ career between 1963 to ‘66 in order to divert the fans’ attentions, to make them look the other way as the band made haste into or from a concert-venue or a TV or recording-studio or film-set where hundreds if not thousands of their admirers would be waiting, ready to chase after them given half the chance. Not all the methods of distraction used by the group required the need for fake versions of them as the bait though. Motor-vehicles proved to be an effective ruse according to some who were in close proximity to the band back then. In the summer of 1964 for example, Ivor Davis, then a young reporter for the UK’s ‘Daily Express’ newspaper, travelled with The Beatles to cover their tour of the US and Canada and was also the only British writer to accompany them throughout. In his book, ‘The Beatles and Me On Tour,’ he states that “decoy limos were used with great effect. Several times I was trapped in our follow-up limo, with its tinted windows, as fans swarmed all over us, threatening to overturn it because they thought they had cornered The Beatles.” Having not lived through the 1960s myself, all I have to go on are the accounts of others who did, such as Ivor, and if I’m to believe what they’ve claimed, the sheer scale of the mania and the frenzy was gigantic and sometimes terrifying and did require The Beatles to use such tactics. “I understood why they went to such extremes,” declares Davis. Remembering one particular decoy-vehicle incident, when he was being driven away from an arena in the American city of Milwaukee following a performance there by the band, Ivor writes, “scores of fans descended upon us like a swarm of locusts, rained blows on the roof of the car and almost upended us. Terrified, I waved and screamed, ‘we’re not The Beatles’ at the batterers as we rocked and rolled, but it was like shouting in the wind.” In his book ‘The Beatles Diary Volume 1: The Beatles Years’ meanwhile, Barry Miles, a close friend of McCartney’s in the 1960s, informs us about a chain of scenes that veered into the chaotic during the band’s tour of Australia in 1964 and that initially greeted them once they flew in to the city of Melbourne. He writes, “they arrived at Essendon Airport to a frenzied welcome from a crowd of 5,000. The crowd outside the hotel was so large that army and navy units had been called in as reinforcements when shed-barriers were knocked down and the casualties began to mount up. Their route into the city was lined by 20,000 fans, most of whom moved on to the hotel which was under a state of siege. Protected by 12 motorcycle outriders, the group neared their hotel… and were driven into a garage entrance while a dummy police-car with siren blaring pulled up at the hotel’s front-door as a diversion.” He goes on, “in front of the hotel, 300 police and 100 military battled with the crowd, cars were crushed, people broke bones, fell from trees and more than 150 girls fainted. Fifty people, many of them adults, were taken to hospital with injuries sustained in the crush.” beatlemania-1038x576Not all the decoy attempts using motor-vehicles were a success it seems. Tony Barrow, The Beatles’ Press-officer between 1962 and ‘68 – and the man credited with coining the phrase, ‘the fab four’ – is quoted as saying of the band’s concert appearance at LA’s Dodger baseball-stadium during their third tour of the US in August ’66, “we were driven to the stadium in an armoured car that was parked immediately behind the stage. At this late point in the tour I suspect that the fans’ grapevine had circulated full detail of the boys’ act, giving everyone prior warning of the songs that would end the set… By the time The Beatles left the stage and we were ready to pull away, many hundreds if not thousands had positioned themselves across our path. For two hours we were imprisoned in a team dressing-room for our own safety while extra cops came in to start clearing the hysterically boisterous crowd. The getaway-car we hoped to use was severely damaged and put out of action. Two girls even ran off with the ignition-key as a souvenir! Two further unsuccessful attempts were made to get us out using decoy limousines and the third try was equally disastrous. We were put into an ambulance that managed to crash into a heap of broken fencing, after which it couldn’t be driven any further. Extra squads of police from the sheriff’s department eventually escorted us away to safety in an armoured car.” As Barrow is quoted as saying there, it wasn’t just limos that were used as tools of distraction to ferry The Beatles away right under the fans’ noses, other forms of motor-vehicles were employed. There’s an account of the band escaping from their hotel in Miami in the back of a butchers truck during their first tour of the US in ‘64 whilst police brought decoy guitar-cases out through the front-lobby. John Lennon’s then-wife, Cynthia, who went along on that American trip, shared a similar memory of sorts in her 2005 book, ‘John.’ In it, she recalls a plot that was hatched during that visit to smuggle her and The Beatles away from the constant mania so that they could all grab some private quality leisure-time. “Our cars were followed by Press and fans every time we left the hotel, so the police came up with an original if bizarre plan: we would leave through the hotel’s kitchen entrance and travel in an enclosed meat-wagon,” claimed Cynthia. “The break-out was worth it. We were taken to a gorgeous villa next to the sea, with its own pool, where George Martin and his wife, Judy, were waiting for us. Free of the fans and the restrictions of the hotel, we partied all day, swimming in the pool and enjoying an enormous barbecue.”
By August 1966 the phenomenon that was Beatlemania and that had followed the band around for almost three years non-stop had soured. The fan adulation had been poisoned with hate and vitriol and, if accounts are to be believed, decoys and distractions were required not necessarily to deflect the attentions of an intensely adoring crowd, but in order to save the group-members from the anger and the potential violence of baying mobs. After all, this was the month that John Lennon’s ‘Beatles bigger than Jesus’ remarks were causing a furore in America and when the band were in the country on a concert-tour. Not a good combination if you value your personal safety. Most of the uproar is said to have come from the traditionally Christian-heavy deep-south of the US. Radio-DJs there were reportedly organising public bonfire burn-ins of Beatles records and the Ku Klux Klan are said to have been picketing their concerts. But perhaps the scariest moment occurred when the group were performing at the Mid-South Coliseum in Memphis, Tennessee. We’re told death threats had been made already, so when someone let off a firecracker on the stage at that gig, there was a split-second moment when it was thought it was an assassin’s gun. Lennon recalled, “somebody let off a firecracker while we were on stage… There had been threats to shoot us… Someone let off a firecracker and everyone of us – I think it’s on film – look at each other, because each thought it was the other that had been shot. It was that bad.” The tried and tested decoy ploy failed to save them from the protestors who were waiting for them at that concert appearance apparently. In ‘The Beatles Diary Volume 1,’ Barry Miles states that “decoy cars were used to fool the protestors, but The Beatles’ coach was still surrounded by hordes of Christian demonstrators screaming abuse.” Paul McCartney says in the official biography/documentary, ‘The Beatles Anthology’ that the ‘Jesus’ controversy helped convince him and his fellow band-mates that it was time to stop playing to the mania. “It made us wonder about touring,” he recalls. “It was a case of how much of a good thing can you have? How long can you sustain things? Every tour had gone great, marvellous, but we were becoming a bit fed-up anyway because we’d been at it so long – and it gets gruelling.” The Beatles quit concert-touring for good after their performance at San Francisco’s Candlestick Park on August 29th 1966, the last date on their controversial and sometimes frightening North American jaunt. However, given the hairy moments that the band are said to have experienced during their fan-dodging days on tour, all in all, Ringo Starr is one member of the group at least who’s looked back on it with much fondness. In the Anthology, he says, “I found the tour madness exciting. I loved it. I loved the decoy cars and all the intricate ways of getting us to the gigs.” And those ‘intricate ways’ didn’t only call on the use of cars, trucks and also vehicles belonging to the emergency-services of course…

According to a 2014 article on ‘History.com,’ when the band were in the Washington Coliseum venue in February ‘64 for their first-ever US concert appearance, their management-team, in a bid to distract fans’ eyes for enough time to allow the group to make it to the stage, donned Beatles ‘mop-top’ wigs (a novel item of head-dress being sold across America back then as a fast cash-in on the mania). I haven’t come across any information to back this website’s claim up but I have found a relevant article on the blog ‘Mixed Metaphors, Oh My!’ which is run by US-based writer and editor Linda Lenzke. In a piece titled ‘Beach Boys, Beatles, Bob Dylan & The Byrds,’ she recalls a similar incident as described by History.com and that she herself claims to have witnessed after she and her friend went to see The Beatles’ performance at the Milwaukee Arena in September ’64. She states, “following the concert, throngs of fans raced to the entrance of the Milwaukee Arena where it was rumoured The Beatles were leaving in a limousine.” Because Linda had been situated near the back of the venue for the concert, she recounts that she “was able to quickly get in front of the mob and able to reach the limo.” However, she was in for a disappointment. “We leaned in to look in the windows and saw four ugly boys in cheap black Beatle wigs and a driver in a tuxedo. They were decoys. We were tricked. We learned later that The Beatles escaped through the back entrance in a milk-truck.” In an interview for the newspaper and website the ‘Express’ last year, none other than Michael Caine’s former long-standing movie-double, a guy by the name of Johnny Morris, explained how he’d served as a fan-diverting decoy at public appearances The Beatles made during the filming of ‘A Hard Day’s Night,’ the band’s 1964 debut big-screen debut and that he’d worked on as John Lennon’s stand-in, which, the Express informs us, “usually involves taking up the star’s positions on the set or stage so that the crew can make sure the lighting and camera angles are right before they arrive.” He recalled, “whenever we were shooting on location, especially at theatres, we used to be decoys. There was always such a lot of people standing outside that The Beatles could not go through so they used to go out the back entrance and we went out the front entrance disguised as them.” Pictured below is Johnny with three of The Beatles, but, from what I can make out from the scenery and the clothes that John, George and Ringo are wearing, this was taken during location-shoots for the band’s 1965 movie, ‘Help!’…

Johnny-Morris-Michael-Caine-stunt-double-body-double-John-Lennon-877115

And on the subject of Help!, here’s The Beatles, with their stunt-doubles, during location-shoots for the movie in snowy Austria… According to info on the website ‘BeatlesBible.com,’ the hired “doubles were Cliff Diggins, Mick Dillon, Peter Cheevers and Joe Dunne,” although I can only make out three in the picture…

stuntdub

And now I’ll turn your attention briefly to a Scottish music-group who, after playing on the bill together with John, Paul, George and Ringo back in 1964 at a theatre in Edinburgh, Scotland, acted as decoys for them too. “They were just back from their famous American tour… and were working on the film A Hard Day’s Night,” recalled one of the members of that band in an interview in 2010. “At the end of the night, the management asked if we would be decoys to allow The Beatles to slip out the back door. We were told to pull our suit-jackets over our heads and rush to the waiting car. When we got outside, it was bedlam, with about 5,000 screaming lassies. Never again.”
Here’s a photo of that band…ccats

Take note of the guy situated bottom left-hand corner in the above pic… Personally, I think he bears a slight resemblance to Ringo. Yeah, okay… not hugely, sure, but certainly enough I think for him to have been a convincing decoy for The Beatles in a scenario such as he found himself back in ’64, when all that was required of him was to run out of a theatre and into a waiting car, to fool the band’s expectant fans in an exercise of distraction that, dare I suppose, wouldn’t have been designed to have him getting into too much close, sustained facial contact with any of the thousands of “screaming lassies” in case he ended up being identified by them as not being who he was passing himself off to be. Resemble Ringo he might, but he ain’t no Beatle doppelganger for sure.

mont

And, would you believe, the moniker of this band from Scotland who decoyed for The Beatles was… Johnny and The Copycats (!)… Well, I should imagine the group chose to call themselves this as a nod to their front-man John Stewart, and it’s most certainly, certainly not a reference to stuntman and fellow decoy Beatle – a copycat-Beatle, if you like – Johnny Morris, or, as far as I’m aware, John Lennon. Yet, I can’t help but entertain the thought that, on the contrary and as unlikely as it might be, this little collection of what many would describe as ‘a set of coincidences,’ is actually part of some deliberately-designed form of occult message, whatever that might be, I don’t know. I’m just throwing this to you as a suggestion, off the top of my head, as it were. Also, the name of the previously-mentioned Ringo ‘resemble-a-like’ is Billy. The alleged replacement for Paul McCartney following his ‘death’ in 1966 was a ‘Billy’ of course – Billy (William) Campbell – a Scot. The Billy in The Copycats is Billy Cameron – I thought I’d give it a mention out of interest. Actually, the guy standing behind him in the group-photo above looks a little like The Beatles’ drummer too. Below, a better representation perhaps… His name’s Iain Lyon, by the way…

look2

You’ll find as you read on through the rest of this article in its two (or three) parts that there’s going to be a few more ‘coincidences.’ And, in case you’re interested, here’s some more links and commonalities between the two Johns’ bands… Johnny and The Copycats formed in 1962, the year The Beatles released their first record following a long apprenticeship playing the clubs in Liverpool and, of course, Hamburg, Germany where they performed a residency at the ‘Top Ten,’ this was back in the days before Ringo was with them, when the line-up of the group consisted of John, Paul and George plus Lennon’s then-fellow art-college friend Stuart Sutcliffe, and Starr’s predecessor on the drums, Pete Best. In the late Sixties, Johnny and The Copycats played at the venue too and it was whilst they were there that they were offered the chance to record and, as a result, ended up signing to EMI’s ‘Parlophone,’ the label that had been home to The Beatles from that first record of theirs in ‘62 and through to ‘68 when they moved to their own ‘Apple Records.’
Billy, Iain and their fellow band-mates split in September ‘72 after having released a number of singles that didn’t go quite far enough to make any real significant, widespread impression. However, they’ve since reformed and have resumed performing and recording.

And so… delving more now into doubles, and by that I don’t mean stunt-men stand-ins or four dodgy-looking blokes in mop-top wigs sitting in limos, or indeed members of Johnny and The Copycats, but actual people who to some degree or another bore a striking likeness up-close to one or more of The Beatles. Were they ever used during the years John, Paul, George and Ringo were touring together, when they were, in Starr’s words, using “intricate ways” of dodging the fans? I won’t have been the first to ask if such a thing occurred of course, many of you guys reading this will have speculated along similar lines. But as for answers to the speculation? Well. Myself? I don’t know, although, I now turn your attention to an intriguingly-worded question that was put to the band during a Press-conference in America on August 24th 1966, just a few days before playing San Francisco’s Candlestick Park, the final date on their last ever live concert-tour. They were asked, “have you ever used or trained Beatle doubles as decoys on a…” at which point both Ringo and John jumped in quickly but quietly with the reply, “no.” Forgive me if I’m about to state the painfully obvious here, but, then again, on the other hand, maybe I’m reading it wrong but, to me, what the wording of that question is not asking is whether the band had ever escaped from fans with the help of anything that comes close to ‘four dodgy-looking blokes in mop-top wigs.’ Maybe what it’s enquiring, is whether they’d ever recruited actual people who were almost identical look-a-likes (and who, I’d like to add, could provide the potential for better, more elaborate forms of deception upon the fans of course). It really looks that way to me, you see, I think it’s fair to assume that most if not nearly all the media-journalists who were to some degree following The Beatles’ career back then would’ve been familiar by 1966 with the fact that the band had used decoys. That is, they would’ve been aware of – to put it rather loosely – the ‘four dodgy-looking blokes in mop-top wigs’/‘stuntman stand-in’-type methods of deception, the kind of fan-deflecting distraction-tricks as referenced here earlier through the recollections of those who claim to have either witnessed or experienced instances of it, whether that be according to stuntman Johnny Morris, or blogger Linda Lenzke, or former Daily Express reporter Ivor Davis and his decoy limo accounts, or members of Johnny and The Copycats. It would’ve been a fairly open secret in media-journalists’ circles. Indeed, it was actually made public knowledge prior to ‘66 in at least one mainstream newspaper report, a report that included input from one of The Beatles themselves and that you can read later in this article. So, with that in mind, why would John and Ringo be so quick to jump in with their denials at the Press-conference in August ‘66 if they were denying something that, I’ll assume, they knew was already out in the open, and that had been put there with a bit of a contribution from their band? And, any way, why would there have even been the need to ask them about this given that it was this, as I described it earlier, ‘open secret’? What’s the point in that? Well, okay, one explanation could quite possibly be because the person who’d asked the question was new on the scene and unfamiliar with all of this? But… no, I‘m not so sure. Remember how it was worded: “Have you ever used or trained Beatle doubles as decoys.” It’s not enquiring whether The Beatles had used decoys, but whether actual look-a-likes had ever been recruited and/or taught to carry out that task. And getting a bit more specific now… by the word “doubles,” was the person who asked the question referring to what we might describe a ‘doppelganger’ which, according to dictionary description is: someone who looks exactly like someone else but who is not related to that person… Double? This is a bit of a difference from getting the members of Johnny and The Copycats to pull their jackets over their heads as they run from the theatre to a waiting car. This is something that takes us into the realms of what the play ‘Nowhere Man’ was reportedly about, Billy Campbell, a man who relinquishes his home and his loved one to take on someone else’s identity and to give up his own. If, let’s say for argument’s sake, The Beatles did have access to doubles that could pull off a deception of that size for them, they wouldn’t risk jeopardising it by blabbing openly to reporters would they? Well, perhaps that’s why John and Ringo cut off that question at the Press-conference, stopped it dead before it could get into full flow. But, what prompted it to come in the first place? Where did it originate from? I don’t know, but from what I’m being led to understand, the talk amongst the mainstream media of Beatles doubles in 1966 wasn’t only confined to that one instance in August of that year. There’s a post I came across from a contributor by the handle of ‘Valis’ on the web-forum, ‘Nothing is Real: Paul Was Replaced’ and that includes what – we’re informed – is an English translation of a magazine-article printed in Dutch and dating back to “either September or October 1966.” Further on down the site’s page, there’s what I assume to be a scan of that very piece – I’ve added it below. Not speaking that lingo myself, I can’t make head nor tail of it and so I can’t tell one way or another what it’s about. Point is, according to what Valis has translated, there was a “society” in America that deployed actual look-a-like doubles of John, Paul, George and Ringo, to act as their diversions within situations where hordes of over-excited fans were expected to be present. This “society” was new to me up until researching for this two-maybe-three parter. I’d never come across any mention of it before then, and of course it is most interesting, open to any number of possible theories of an occult/conspiratorial nature. Okay, but there do appear to be just a few discrepancies here. First off, the translation refers to a Beatles concert where these decoys were present and that happened “a month ago at the Baltimore Theatre.” I did a bit of digging into this and failed to find any reference to the band ever playing any place called ‘the Baltimore Theatre,’ and no venue with such a name appears to have even existed. Yes, they did perform in Baltimore, the US city that is, on two occasions, but both times were at the ‘Civic Center’ (now renamed ‘Royal Farms Arena’). Well okay, perhaps there’s been a bit of a mis-translation on the part of Valis? Maybe the quote, “the Baltimore Theatre” should actually be read as, ‘a (and not ‘the’) Baltimore theatre,’ in other words, it’s not referring to the actual name of a specific theatre only that the band had played at a music/performance-venue somewhere in Baltimore? Yeah, but, as I mentioned earlier, there’s a few apparent discrepancies, of which this is only one. I have a question regarding the look-a-like decoys actually being present at a Beatles concert in that city “a month ago” as according to what Valis has translated from the Dutch magazine-article published in “either September or October 1966.” By my casual reckoning, all of that doesn’t add up together, because, if I’m not mistaken, the band only ever played live there in September ‘64, not ‘66. That was it. They never performed in Baltimore again after those couple of shows, both of which took place on the same day. Perhaps this piece that’s been translated has been dated wrong – it’s, lost in translation, as it were? It might have been published in October 1964? That would correlate with the part of it where, according to what Valis informs us, it mentions the look-a-likes’ attendance at the Beatles’ concert having occurred a month earlier to its publication? Well yes, when looked at like that it makes sense. Problem is though, there’s another discrepancy and, again, it‘s to do with dates. I won’t bog you down with that yet. First, take a look at the translation… It starts…

The Real and the Fake Beatles

America has its own Beatles. They look like the real ones 100%, are just as tall and behave in the same way as John, Paul, George and Ringo.

The translated piece goes on to list-out the members of this “fake” band; There’s Ron, Keith, Tim and… wait for it… Bill. Together, they are “The Beatle Decoys.”

What is going on here?

In America exists The Beatles Protection Society, also called The Beatle Bobbies, whose job it is to protect The Beatles against the hysteria and idolatry of the fans on their American tours.

Recently the society realised an amazing plan; to form fake Beatles who have to camouflage the arrival and departure of the real Beatles at their concerts.
Like a month ago at the Baltimore Theatre: thousands of fans blocked the artist-exit, waiting for The Beatles.
Suddenly Ringo Starr (a.k.a Ron Rictor) and Paul McCartney (a.k.a. Bill Davis) came outside and while they were under attack the real Beatles left through another exit.

The Beatle Decoy’s are happy with their (double) life.
Ron, the leader, told us: “We even play the same instruments as The Beatles. Paul, I mean Keith is even left-handed just like McCartney. We even wear the same clothes.”

The fake Beatle that looks the most like the original is Keith Allison, who plays Paul.
He looks so alike that they even started a fan-club for him, the Keith Allison Fanclub.; he receives- as being Keith -1000 fan-letters a day (!).
Keith Allison used to be bass-player for The Crickets and was “discovered” by The Beatle Protection Society when he was a guest, sitting at a table, in the ‘Whiskey A Go Go (TV) Show.’
After the broadcast hundreds of people called in to the show to ask: “Was that Paul McCartney?”
The producer, Dick Clark, was also struck by the resemblance and contracted the imitation Paul for 12 episodes of ‘Where the Action Is.’

Intriguing information… Very intriguing – but, how reliable is it, if at all? Assuming that it has been translated right enough, how truthful are its contents? Did this “society” actually exist or was it a made-up story, some bizarre PR stunt to push the hopeful Pop careers of the musicians in ‘The Beatle Bobbies’ (as, I‘ll point out, Valis kinda suspects)? There’s a discrepancy with dates as well, as I mentioned earlier. This translation of what’s said to be a Dutch-language magazine-article from “either September or October 1966” can’t be because The Beatles didn’t perform in Baltimore that year as we’re being led to understand it reports. But neither can it be from September of ‘64, the only time the group appeared there. That’s due to, from what I can gather, the fact that the ‘Where the Action Is’ TV-show and the “Whisky A Go Go (TV Show)” that – Valis informs us – the piece claims the ‘fake Beatle Paul’ (Keith Allison) was said to have been recruited from by The Beatles Protection Society, didn’t begin screening until 1965. The ‘Whisky A Go Go’ reference is, actually, slightly misleading. This was a club where one of the episodes was shot that year, not the name of a television-programme. Well, that’s according to veteran song-writer Bobby Hart in his book ‘Psychedelic Bubblegum: Boyce & Hart, The Monkees, and Turning Mayhem Into Miracles.’ He went along to the venue on the day of that shoot to see Tommy Boyce, his musical partner, perform his latest record for it. Also there visiting was Keith Allison, unknowingly on his way to becoming a ‘Where the Action Is’ regular. He’d turned up with his pay-cheque in hand, specifically looking for either one of those two guys to sign it for some guitar work he’d done on a recording-session for them. “As Tommy performed for the ‘Where the Action Is’ cameras,” recalls Bobby, “Keith and I stood in the crowd along the wall, watching from the sidelines. Well, it turns out that when the camera panned by to capture the crowd and the dancers, we were included in some of the shots. This ‘cameo’ appearance would have absolutely no impact on my own career. But Keith Allison? Well now, that’s another story. In the next few days,” he goes on, the producers of the show were “flooded with thousands of letters from all over the country. The viewers wanted to know ‘was that really Paul McCartney in the audience?’” Hart claims he then put Allison in touch with the programme’s makers who “told him… his appearance sparked the biggest fan response they ever received. When they learned that he sang and played guitar, they signed him to appear as a regular guest-member…” He was “an overnight sensation.” He “began dominating the pages of the fan-magazines and soon signed with ‘Columbia Records.’” In a 2014 interview, Allison gave a similar recollection. He claims he was desperate to get paid for that session work (“I needed to pay my damn rent, or I was gonna get evicted.”), so he needed to get that pay-cheque signed by either Hart or Boyce as soon as possible, so he went looking for them and was told they were both at “a television taping. A new show… down at the Whisky a Go Go. So I went down to the Whisky… And a stage-manager said, ‘we need butts in seats!’ So I sat down. The camera did several shots of me, about four or five seconds each.” Then later “what had happened was, they got bags of mail after that show aired…” This impromptu appearance on the TV-show, he claims, occurred in “April or May 1965.” And, below, Keith in photo-form accompanied by a similar telling of events in a magazine-article. It dates from October 1965, and it informs us that, a few months before its publication, he’d “happened one day to wander” into the Whisky “in search of a friend who was then appearing at the club.” It doesn’t reveal who the “friend” was that he was looking for, but it could well have been either Boyce or Hart. Almost matching what Allison said in his 2014 interview of being roped-in whilst at the club to appear in the shooting of Where the Action Is because “butts in seats” were needed, the article claims that the production-executive of the show “asked him to sit down” as she was “desperately in need of people to fill the club’s chairs and act as an audience for the show.”

10422351_587352674752921_4872490407343134157_n
CLICK TO ENLARGE

So, taking into account Hart’s and Allison’s personal recollections of that day at the Whisky and what came about because of it, and the fact that Where the Action Is began screening in 1965, what gives with the translation of the article Valis posted on the ‘Nothing is Real’ forum? The information in it doesn’t add up whichever way I’ve tried. Has it been translated wrong perhaps? I don’t know personally but I can’t see how, the discrepancies are perhaps too complex to have been solely caused due to that. The errors are factual, not grammatical. I’ll leave my supposing there because, as I mentioned earlier, I don’t speak or read Dutch. Now, apparently, and as promised earlier, here’s the article itself in its original, non-English worded form…

Dutch_doubleArticle66

A search on the internet for more information about this so-called ‘Beatles Protection Society’ brings up nothing except for the post on the Paul Was Replaced forum. Furthermore, with regards to Keith Allison, of the interviews I’ve read of his that are available online, he talks quite extensively about his career in the 1960s, which included session work for The Monkees, live tours with Buddy Holly’s Crickets, a regular almost weekly performance stint on Where the Action Is until it came to an end in 1967, and time as a member of the band Paul Revere and The Raiders, but makes no reference within any of them to this ‘society’ or having acted in any other shape or form as a look-a-like decoy for The Beatles – and you would’ve thought he’d talk about that, right? Well, maybe so – unless it’s not to be mentioned perhaps? Here’s a photo of him – or, is that Paul?, we’re asked – next to a photograph of John, on the front-cover of a US teenagers’ magazine dated March 1966, six months before McCartney ‘died’ in the ‘car-crash.’ Incidentally, I can’t help spare a thought for the caption on the cover that reads ‘THE REAL JOHN LENNON.’ I suppose by “REAL,” the writers of the mag are letting us know that, if we look inside the pages, we’ll get a lowdown on what makes Lennon tick, some of his private, innermost thoughts, his personality and his life away from the glare of publicity – right? But, given that this ‘REAL’ tagline features alongside the headshot of Allison, an alleged ‘fake Beatle,’ you might be tempted to conclude that this was, also, a deliberately placed subliminal suggestion about something we mustn’t really know about. (Doubles? Decoys?… Just a thought).

Teen Screen magazine March 1966

If I’d have gone ahead and read what’s been written about Keith Allison over the years without knowing what he actually looked like, I’d believe that he was an uncanny, breath-taking ringer for Paul McCartney. But, of course, I do know and, well, I don’t see it myself. Yeah sure, there’s a likeness, certainly enough for him to serve as a decoy of the ‘blink and you’ll miss it’ type for The Beatles if required, but not much else. He couldn’t act as a long-term stand-in such as portrayed in the Nowhere Man play let’s say. Reports and headlines of the two men’s striking resemblance of one another are overstated in my opinion. Maybe those stories of phone-calls flooding into the offices of the Where the Action Is television-show is a myth or was a PR stunt at the time dreamt up to boost audience-ratings? Or maybe the camera that was panning that day in ‘65 at The Whisky didn’t stay long enough on Allison for the viewers to realise that, actually, who they were looking at wasn’t Beatle Paul? As Keith himself has said, “the camera… shots of me” were “about four or five seconds each.” That’s all.

Keith compilation
CLICK TO ENLARGE

I don’t know what the real deal is with regards to this ‘Beatles Protection Society,’ but just because information regarding the existence of something is scant, such as it is with this, and just because whatever info there is, and as rare as it might be, is somewhat shaky, like with what Valis has put forward, doesn’t mean it never existed. It’s worth a closer look, and if it did exist then what was The Beatles’ own personal involvement in it? I’m wondering, would the so-called ‘Beatle Bobbies’ have been – as it were – a team of outside contractors who put up their services for hire to the band’s manager, Brian Epstein, or, actually, created by him and/or his inner circle of trusted fixers and helpers, an in-house production? Either way, John, Paul, George and Ringo would very most likely have been aware of what was happening back then in some shape or form. Keith Allison is as good a place to start as any for clues or answers to the possible existence of this ‘society,’ even if he wasn’t McCartney’s – pardon the pun – dead ringer. From looking around on the internet very briefly at some of the folk who follow and comment on P.i.D., I see there’s at least one who’s suggested that, whilst the Where the Action Is star’s facial resemblance to the ‘authentic Paul’ who ‘died’ isn’t passable enough for doppelganger status, he might have been used at least as a sometime stand-in for Beatles photo-shoots. It’s also been proposed that he might have undergone plastic surgery, a fairly minor touch-up, to attain a convincing likeness for the real, but ‘deceased’ one, but that’s a possibility that I don’t personally subscribe to. However, I think it’s worth noting that on one occasion whilst looking for background info on Allison via ‘Google’ for this article, when I typed-in the name, ‘Keith Allison,’ the search-engine’s ‘predictive’/‘autocompletion’ feature suggested, ‘Keith Allison plastic surgeon’… How intriguing!, I thought. So I clicked it, and this came up… Well (!)…

Keith Allison

No, well of course it’s not the actual Keith Allison of Paul Revere and The Raiders fame, it’s a younger – much younger – Keith Allison, a British-based ‘NHS’ (’National Health Service’) plastic-surgeon …

Keith

Make of that what you will, and ‘Beatles Protection Society’ or not, there’s certainly some very interesting connections, both personal and professional, to The Beatles and Keith Allison (the musician – not plastic surgeon!). According to the website ‘Internet Movie Database’ (‘IMDb’), the Where the Action Is star “won a ‘Paul look-a-like’ contest” in 1965, a contest sponsored by Dick Clark as well as “the American teen magazine ‘Tiger Beat,’” and “The Beatles.” However, I’ve been unable to locate any info about this other than on IMDb in order to back it up. I will note however that Tiger Beat was a magazine that The Beatles’ long-time and trusted Press-officer, Derek Taylor, regularly contributed articles to sometime around the mid/late 1960s, this would’ve been from about 1964 when he’d stopped working for the band following an argument with Brian Epstein, but not after 1968 which is when he went to work for the group at their then new company, ‘Apple.’ During that period, when he wasn’t in the employ of John, Paul, George and Ringo, he was a PR-man for a number of other music-acts including The Byrds, The Beach Boys, The Doors, Captain Beefheart, and, Paul Revere and The Raiders, who Allison joined in 1968 and who he’d been on personal terms with long before. He and the band had been friends and fellow recurring/permanent cast-members on Where the Action Is (Allison reportedly clocked in 90 episodes of the 459 of the show that were screened, and Paul Revere and The Raiders, 173). Another returning attraction on the show, although nowhere near as frequently as Keith, was (on 12 episodes) Peter and Gordon, the British duo who enjoyed a number of hits during the 1960s and, of course, included in its line-up, Peter Asher, whose sister, Jane Asher, was Paul McCartney’s girlfriend between 1963 and ’68. Here’s a photo of her brother (on the right) with Allison (middle) in 2015…

2015-Keith and Peter Asher

And from Allison’s FaceBook page, here’s a photo of Keith with ex-Beatle Paul – or, alternatively, depending on your point of view – it’s Faul with Keith, or Paul with ’fake’ decoy Beatle Bobbie Paul, or Faul with Faul, or whatever (take your pick)… And, incidentally, should I be suspicious that, in the image of the two, one of them has his face largely obscured from the shot, and so we don’t get a side-by-side comparison of their facial features?…

Keith and Paul

As I mentioned earlier, Keith has regularly played on stage with The Crickets. One of the founder-members of the group is none other than his cousin, the drummer, Jerry Allison – he co-wrote the classics ‘That’ll Be the Day’ and ‘Peggy Sue’ with the band’s famed front-man Buddy Holly who died in 1959, and the publishing rights of these two compositions, years after his death, were bought by, and currently in the ownership of, ‘MPL,’ the company owned by Paul McCartney, who’s often talked about the influence the bespectacled singer/song-writer had on him during his pre-fame formative period in Liverpool – indeed, as noted elsewhere on this site, the word, ‘Beatles’ (‘Beetles’) has been attributed, partly, as having been inspired by the band-name ‘The Crickets.’ In the 1980s the former Beatle produced the track ‘T-Shirt’ on The Crickets’ album of the same title. It was released as a single, and the B-side was the cut, ‘Holly Would,’ co-written by Jerry Allison (and featured on the album also).

tshirt

From his FaceBook page, here’s Keith with The Crickets sometime during the mid-Sixties. The moustachioed guy is his cousin, Jerry…

Keith with The Crickets mid sixties

According to IMDb, Keith has appeared in a number of movies over the years, and here too we see varying connections worthy of note between him and The Beatles. For one, there’s his appearance, as miniscule as it is, in the big-screen musical version of the band’s album ‘Sgt. Pepper’s Lonely Hearts Club Band.’ Released in 1978 with – as far as I can gather – no personal input from either John, Paul, George or Ringo although their one-time regular producer, George Martin arranged and directed the music, it’s a star-studded feature partly centred around the fortunes of a small town that’s called Heartland, a wholesome, happy, peaceful place that’s then thrown into turmoil after the malevolent Mr. Mustard (played by British comedian, Frankie Howerd) breaks into the City Hall and steals a tuba, saxophone, cornet and drum, all of which have the power to make dreams come true and that were bequeathed to the local community by the now-deceased owner of them, Sergeant Pepper who, with his Lonely Hearts Club Band, had, in the past, generated so much happiness in the music they played that it even caused troops in World War I to stop fighting. As long as the instruments remain in the town’s care, humanity will live happily forever after. But following the theft, Heartland is transformed into a depraved, deprived environment, paving the way for a takeover by Mr. Mustard’s bosses, the evil music-group, ‘FVB’ – the ‘Future Villain Band’ (played by Aerosmith) – who want to poison young minds and herald in a dictatorship. Their plans however are thwarted by a young band of musicians led by the English Pop/Rock-star Peter Frampton, who stars in the film as Sgt. Pepper’s grandson who goes by the name of – here we go again – Billy. That’s Billy as in Billy Shears (‘Billy Shears,’ name-checked on the opening track of the ‘Sgt. Pepper’ album and, according to P.i.D.ers of course, is otherwise known as William Shepherd, Paul’s ‘replacement’ after his ‘death’). Keith’s appearance in this movie is so small that I’m not absolutely certain where he actually is in it, and I have watched it too, from beginning to end. From what I can gather (thanks to IMDb and ‘Wikipedia’), he’s one of the dozens upon dozens of ‘special guests’ singing along at the end of the film to the reprise of the ‘Sgt. Pepper’ album theme and is joined by a huge host of well-known names including Tina Turner, Donovan, Robert Palmer, and Curtis Mayfield. Below is a screen-cap from those closing scenes. Now – okay, I might be wrong – but I’ve placed a red circle around the guy I think is most likely Keith Allison. He has been known to sport a beard at times over the years (as the photo I’ve imposed into the cap shows), so – I’m thinking – that might be him. It’s the closest that I could find to a likeness to the guy from all the assorted ‘special guests.’

keith sgt.marked

keith sgt.credits

In the movie, joining Billy Shears in his band are his friends, Mark, David and Bob Henderson – played by Barry, Robin and Maurice Gibb AKA The Bee Gees who, at the time, were being managed by Robert Stigwood who, back in the 1960s, was approached by Brian Epstein and made a partner of his ‘NEMS Enterprises,’ the company that handled the careers of his stable of stars that included singer-entertainer Cilla Black, the group Gerry and The Pacemakers and, of course, The Beatles. It’s said that when news of the partnership began to filter out somewhere from about the autumn of 1966, it sent shockwaves and bewilderment throughout music-business/industry circles. No one was expecting this merger but, we’re told, the day-to-day running of the organisation had become too much of a pressure and a grinding chore for Epstein who wanted to relinquish responsibility and hand most of it over to someone else. According to his friend and a director of NEMS, Peter Brown, Brian offered to sell a controlling share of the company – 51% – to Robert for £500,000 and gave him a deadline of May 1967 – and later extended to September of that year – to raise the necessary funds to buy. Following Brian’s death in August however, the deal faltered and failed, largely thanks to The Beatles’ refusal to have Stigwood as their new manager. As a result, he went on his way, and took a very valuable asset with him because it was during his time at the company that he met the then largely unknown Bee Gees and started representing them, and it was at NEMS that the group’s rise to international stardom actually began (and much to Epstein’s chagrin, it’s said). When he left, they went with him. From there, Robert diversified into theatre and movies as a producer being the man behind the big-screen smashes ‘Saturday Night Fever’ (with its Bee Gees conceived soundtrack), ‘Grease,’ as well as the ‘Sgt. Pepper’ film in 1978. That same year saw the release in cinemas of his comedy-musical ‘Sextette’ starring a substantial amount of well-known names, including Ringo. Veteran Hollywood icon Mae West heads the cast playing the lead-role of Marlo Manners, a six-times-married screen-siren, sex symbol and occasional secret honey-trap for the US Government, and who, during a visit to London, inadvertently becomes embroiled in a geo-political crisis involving a world leaders‘ conference taking place at the hotel where she’s staying. Starr is Laslo Karonly, one of her numerous ex-husbands. Also appearing, to note just a few, there’s Alice Cooper (who also appears in the ‘Sgt. Pepper’ film, as the mind-controlling, brainwashing Father Sun), The Who’s Keith Moon, and – yep – the other Keith (Allison). As in the ‘Sgt. Pepper’ movie, Allison’s role in Sextette is brief – very brief – lasting around, by my estimations, eight seconds. Just below here, a scan of him in it. He’s playing a hotel waiter delivering a cake to the room of a Russian diplomat by the name of Alexei Andreyev Karansky, as played by Tony Curtis, whose back is facing us in the pic below, and who of course, is also one of the illustrious array of faces included on the front-cover of the ‘Sgt. Pepper’s Lonely Hearts Club Band’ album, and Mae West is featured on that too, as you probably know, and, back in the 1960s, her publicist, for a short time, was none other than Derek Taylor. Incidentally, one of the songs performed in Sextette is The Beatles’ ‘Honey Pie’ from 1968’s ‘White Album.’

tonycurtisallison
Allison in Sextette

 

curtis west
Tony Curtis and Mae West, as seen on the Sgt. Pepper’s Lonely Hearts Club Band album

While Allison has never – to my knowledge, anyway – spoken about his alleged role in the so-called ‘Protection Society’ as a decoy/‘fake Beatle,’ he’s certainly chatted in some detail about his close friendship with Ringo. Keith says he was the musical director for Starr’s backing-band, and has recalled, “he and I were like real good friends. We shared a house together for several years, off and on in the ‘70s.” Also, he claims he got to meet Lennon, McCartney and Harrison during this time through his relationship with the ex-Beatles drummer.
Here’s Ringo and Keith, sometime in the 1970s I’d guess…

ringo_allison

And here they are many years later (a pic posted on Allison‘s FaceBook page in July 2018):

July 8th 2018

Also, Allison is said to have been closely involved in the making of the 1978 one-off US TV-special ‘Ringo.’ He even appears in it, or so I’m led to understand anyway, I mean, I don’t know about you, but, having watched it myself more than a couple of times over the decades, I’m not sure where in it he shows up, but it must be brief by the looks of it… very brief. According to IMDb, he plays the part of, and I quote, “Ringo’s roadside attraction recording-engineer.” One blogger I’ve come across on the ‘net – and who’s as puzzled as me it seems as to Allison’s whereabouts in the TV-special – has scanned a shot of a person in it that might be him… Here it is…

ringo78maybeallison

For whatever reason it came to pass, it’s interesting (I think) that ‘fake Beatle’/‘decoy’ Allison had some personal involvement with the ‘Ringo’ television-show. After all, in this small-screen mini-musical in which Starr appears as, essentially, his real Rock-star/celebrity self – Ringo – he also plays the role of a character who’s his doppelganger and who replaces him. Featuring guest appearances from Carrie Fisher, Vincent Price, Angie Dickinson and John Ritter, the TV-special begins with a scene at a Press-conference where George Harrison provides us with the story’s premise. He tells us that Ringo and the double, a downtrodden loser by the name of Ognir Rrats (yes… that’s ‘Ringo Starr’ backwards), were apparently born at the “very same moment, the very same second, in the very same country – England, remarkably both children though born of different parents look exactly alike.” Said to have been based on the idea behind the 19th century novel ‘The Prince and the Pauper’ by Mark Twain and that tells the story of a young prince and a pauper who look exactly alike and who swap places as a result, ‘Ringo’ sees Rrats and Starr take on each other’s identities and, as a consequence, their respective lives also.

georgedoubles
George in the Press-conference scene with the identical baby versions of Ringo and Ognir

Here’s one if you’re into your occult symbols, another scan from the TV-special, it’s from towards the end of it when Ringo (not Ognir) performs on stage, under a pyramid. Joining him are his band, the one that Allison says he was musical-director for…

Ringopyramid

Perhaps in reference to his life during the Beatlemania years, in the TV-special, Ringo tells Ognir that he wants to swap places with him so that he can taste a carefree life away from the relentless, tiring treadmill of television appearances, concerts, recording-sessions and autograph signings. He wants to be like the regular, “average” folk who can “come and go as they please.” As George tells us at the beginning, the “fame and fortune did very little to make him happy.” Whilst I doubt that the real-life Ringo a.k.a. Richard Starkey would be willing to let go of the fortune that Harrison mentions, have there been times, especially during the Beatle years, when Starr felt as hemmed in by the fame as his fictionalised self does? Did it ever become, as he says in the TV-special, a “prison”? I have no idea who came up with the concept of the ‘Ringo’ show. It could well have been Ringo himself and based on his own life. To me, he always seemed to be the one who was most comfortable with his celebrity status within the band, but, of course, there could’ve been times when he may indeed have felt like swapping places for a bit with an Ognir. Maybe that’s what Paul – that’s the live, real, genuine – Paul McCartney has done in some way shape or form over the years when he’s seen fit? Just suppose that the 1978 TV-special was trying to tell us that in a subliminal/fantasy-fiction-type way? Is that a bit too far-out?… According to Peter Brown, who, following Brian Epstein’s death in 1967, eventually went on to work for The Beatles as Executive Director at their company, Apple, the reason the band nearly bought themselves a Greek island in the latter half of that year was in order to escape the prying eyes and the ever pervading attention brought by their fame. That’s a huge, and unusual extreme to take for some privacy. “I was in my office one day… when the Beatles’ private phone rang. It was John calling to say that The Beatles were moving out of England! The Beatles were talking about how sick and tired they were of notoriety,” states Brown in his book ‘The Love You Make.’ “John suggested they escape it all by creating their own little kingdom, like an island. On the island they would build beautiful houses and the best studio money could buy…” Following the phone-call, according to Peter, he and his team went about making the necessary enquiries to bag The Beatles an island, and soon John, Paul, George and Ringo were in Greece shopping for one. Eventually, however, they had a change of heart and gave up the idea altogether. In Barry Miles’ book ‘Many Years from Now,’ McCartney says it was “a good job” that they didn’t buy one in the end, “because anyone who tried those ideas realised eventually there would always be arguments, there would always be who has to do the washing-up and whose turn it is to clean out the latrines. I don’t think any of us were thinking of that.” One way – of many – in which all of the Beatles dodged the attentions of fans in their years together was by wearing disguises… As I mentioned earlier, there was a member of the band that had spoken publicly in the mainstream Press during the ‘mania’ period about having taken part in decoy tricks. That was George Harrison, who said he and John, Paul and Ringo had dressed up as policemen so that they could avoid any danger of getting noticed and mobbed by fans on their way to a concert that they were scheduled to appear at in Birmingham, the English city. In the newspaper report below, which I’m guessing is from 1963 (and that’s taken from the book ‘Early Beatles. In the News – Volume Four,’ a compilation of original newspaper and magazine clippings of the band from the Sixties and collected together by Colin Barratt), George says he and his fellow band-mates donned police-helmets as disguises after the van that The Beatles were travelling in on their way to the performance-venue broke down on the M1 motorway. Under the headline, ‘P-c (Police-constable) Beatles’ Dodge Those Fans, Harrison recalls that the vehicle was towed-off for repair by the British automotive recovery company, ‘RAC’ (’Royal Automobile Club’) and from there “we drove to the police headquarters in Birmingham, where they told us to put the helmets on. It was great fun.” According to the newspaper report, the band, “disguised as policemen,” were then “smuggled into a theatre past hundreds of their fans” by “wearing police-helmets and dark coats” and “taken for a ride in a Black Maria (a.k.a. police-van)… this ‘beat-the-Beatlemania’ operation was a complete success. A decoy police-van was driven down the street. Then a Black Maria arrived at the gates of the stage-door. A secret knock… and the Black Maria nipped through before fans realised what had happened”…

diguisephoto

Furthermore, in 1963, according to the book, ‘Shout! The Beatles in Their Generation’ by Rock/music biographer, Philip Norman, Ringo dressed himself in disguise before checking-in to an English hospital with ear-ache. He was “rushed to the hospital disguised in an overcoat, hat and spectacles that, as one reporter noted, ‘made him look like’” the German playwright and poet Bertolt Brecht “‘being smuggled out of Germany’” during the Nazis’ reign of the country prior to and during the Second World War.

Bertolt-Brecht
Bertolt Brecht

In the book ‘History with The Beatles,’ its author, Bradford E. Loker, reports that, one evening in October 1963, George Harrison “snuck out, in disguise, and attended a Rolling Stones / Everly Brothers / Bo Diddley concert” in London. What exactly he wore to evade attention and whether his disguise succeeded or not isn‘t mentioned, but what’s striking to me nevertheless is that he’s described as having ‘snuck out’ – of his apartment I guess. He couldn’t just walk out, open and close his front-door and make his way. Whether dressed incognito or not, he had to ‘sneak.’ Such was the Beatles’ stratospheric level of fame back then, especially during those ‘mania’ years it seems, that it must have been, at times, quite claustrophobic for them, to be stifled of free movement as they might well have been. In her book, ‘John,’ Cynthia Lennon, who first met John when they were art-students together in Liverpool long before he became a world-famous Pop-star, has included such a description of the band’s celebrity that, according to her, began to enter into the realms of the manic in October 1963, sometime around the release of their fifth UK single, ‘I Want to Hold Your Hand’ and their appearance on the hugely popular British TV-show ‘Sunday Night at the London Palladium.’ She recalled, “suddenly they couldn’t go anywhere without protection. Things they had taken for granted all their lives, like going to the pub, walking down the street or visiting a friend, were no longer possible. Just getting from a car to a door a couple of yards away was a major operation.” In January ‘64, she and John, and their baby son, Julian, moved into their first, real family home, a flat in an apartment-building in London, but it wasn’t long before the fans discovered their address and made their way there. “We woke one morning to find teenage girls camped on the pavement outside. After that they were always there, day and night. If any of the residents in the flats accidentally left the front-door open they would grab their chance and slip in. We’d find them camped… in the hallway, with sleeping-bags and Thermos-flasks. When I took Julian out in his pram fans would surround us, begging for a glimpse of him, and the pram would virtually disappear as they swarmed round it, clamouring, ‘oh, Cyn, isn’t he sweet? Can I touch him? Can I cuddle him?’ Or, ‘oh, Cyn where do you get your hair done? You’re so lucky to have John. Where do you buy your clothes?’ On and on it went. Most were well-meaning, and many were very young. The problem was that there were so many of them… It could be overwhelming and sometimes frightening. Inside the flat,” she recalled, she and John “were fine. With the fans down in the street below we felt safe and peaceful several floors up. But once the fans discovered us it was clear that we couldn’t stay there for long and we wondered where we could go to escape the attention.” Is it any wonder then, perhaps, that The Beatles should mask themselves in fake spectacles or whatever else just so they might get some form of, in Cynthia’s words, “escape” from the ever present crowds of fans? In the second instalment of this two (or three?)-part article, the emphasis on disguises will be expanded upon and will also, on the way, take us into the realms of what many would undoubtedly describe as ‘the weird,’ the unexplained, the slightly surreal, the uncanny (a bit) and the downright puzzling. And so, if you thought this here instalment you’ve just read had some intriguing little twists, turns and ‘coincidences’ in it, well, you ain’t seen nothing yet. Get ready for more of that and, as I mentioned right at the beginning of this in the opening paragraph, some head-scratchingly inducing info, muddy and covered in contradictions.

 

REFERENCE LINKS

http://www.theaterforthenewcity.net/nowhereman.html

https://www.talkinbroadway.com/page/ob/6_13_17a.html

https://www.backstage.com/casting/nowhere-man-161615/?role_id=565844

https://www.washingtontimes.com/news/2003/dec/16/20031216-102509-5288r/

https://books.google.co.uk/books?id=PzIivxkv2UkC&pg=PA26&lpg=PA26&dq=saddam+hussein+used+doubles&source=bl&ots=Oi-ME4lfCW&sig=h5FySiGxHS7aZrrSjrBusQwg3Qw&hl=en&sa=X&ved=0ahUKEwjRk4mt2dXUAhXsJMAKHRYQDlI4FBDoAQghMAA#v=onepage&q=saddam%20hussein%20used%20doubles&f=false

https://en.wikipedia.org/wiki/M._E._Clifton_James

Q & A: Journalist Ivor Davis talks about touring with the Beatles in the summer of 1964

https://books.google.co.uk/books?id=YuVUDQAAQBAJ&pg=PT42&lpg=PT42&dq=beatles+decoys&source=bl&ots=GP2DjBNet6&sig=N0CHkAKl-rfA3IBOZkOwozH92To&hl=en&sa=X&ved=0ahUKEwjUstb5wNLUAhWIB8AKHYzSAnY4ChDoAQgyMAY#v=onepage&q=beatles%20decoys&f=false

http://www.wingspan.ru/bookseng/diary/m08_1964.html

https://www.telegraph.co.uk/obituaries/2016/05/15/tony-barrow-beatles-press-officer—obituary/

http://martybarrett.com/killer-lineup-plus-beatles-dodger/

http://beatles-merchandise.com/earlybeatles/the-beatles-in-miami-1964/

‘John.’ – Cynthia Lennon (pgs. 183 – 184, 169 – 170, 174 – 175)

http://www.wingspan.ru/bookseng/ant/09.html

https://books.google.co.uk/books?id=trRB-lo4qR8C&pg=PT436&lpg=PT436&dq=decoy+cars+were+used+to+fool+the+protestors&source=bl&ots=ziqmewzYUm&sig=zEsP0metJExUjZatTcMTTx08Gkk&hl=en&sa=X&ved=2ahUKEwjTlb2n8-beAhXlAsAKHQCKAVwQ6AEwAHoECAgQAQ#v=onepage&q=decoy%20cars%20were%20used%20to%20fool%20the%20protestors&f=false

http://www.wingspan.ru/bookseng/ant/07.html

https://en.wikipedia.org/wiki/The_Beatles%27_1966_US_tour

http://1966myfavoriteyear.blogspot.com/2016/08/revolver-jesus-and-beatles-august-of-66.html

https://books.google.co.uk/books?id=trRB-lo4qR8C&pg=PT436&lpg=PT436&dq=They+were+zealots.+It+was+horrible+to+see+the+hatred+on+their+faces.%22&source=bl&ots=zhvsdAESUk&sig=q7TuEMP1dF6iJLA6-MTLuLD69zA&hl=en&sa=X&ved=0ahUKEwi0vcqz2-TUAhVL7hoKHR7xDFkQ6AEIKDAC#v=onepage&q=They%20were%20zealots.%20It%20was%20horrible%20to%20see%20the%20hatred%20on%20their%20faces.%22&f=false

https://www.history.com/news/beatlemania-sweeps-the-united-states-50-years-ago

http://www.mixedmetaphorsohmy.com/2014/01/19/beach-boys-beatles-bob-dylan-and-the-byrds/

https://www.express.co.uk/life-style/life/783755/Johnny-Morris-Michael-Caine-stunt-double-film-star-lifestyle

https://www.beatlesbible.com/1965/03/14/filming-help-16/

https://www.northern-scot.co.uk/Entertainment/Keith-recalls-its-brush-with-the-Fab-Four-9768.htm

http://www.delgin.co.uk/cats/history.html

http://www.copycats62.co.uk/page6.html

https://scotbeat.wordpress.com/page/12/

http://www.rockingscots.co.uk/Watson.htm

YouTube:  Johnny and the Copycats – Start Thinking About Me

http://www.beatlesinterviews.org/db1966.0828.beatles.html

YouTube: Beatles Los Angeles Press Conference 1966

http://invanddis.proboards.com/thread/2619/mention-doubles-1966

https://www.beatlesbible.com/1964/09/13/live-civic-center-baltimore/

http://www.baltimoreorless.com/2014/09/beatles-civic-center-sept-13-1964/

https://en.wikipedia.org/wiki/List_of_the_Beatles%27_live_performances#1964

https://en.wikipedia.org/wiki/Royal_Farms_Arena

https://en.wikipedia.org/wiki/Where_the_Action_Is

https://books.google.co.uk/books?id=5mNgDQAAQBAJ&pg=PT126&lpg=PT126&dq=As+Tommy+performed+for+the+Where+Is+the+Action+cameras+Keith+and+I+stood+in+the+crowd+along+the+wall,+watching+from+the+sidelines.+Well,+it+turns+out+that+when+the+camera+panned+by+to+capture+the+crowd+and+the+dancers,+we+were+included+in+some+of+the+shots.&source=bl&ots=GFkSKdNnWw&sig=fKcn-mHov8RKCSfnoXF3uJQ-WaE&hl=en&sa=X&ved=2ahUKEwiwromd49TdAhUDTcAKHZdAAjgQ6AEwAHoECAUQAQ#v=onepage&q=As%20Tommy%20performed%20for%20the%20Where%20Is%20the%20Action%20cameras%20Keith%20and%20I%20stood%20in%20the%20crowd%20along%20the%20wall%2C%20watching%20from%20the%20sidelines.%20Well%2C%20it%20turns%20out%20that%20when%20the%20camera%20panned%20by%20to%20capture%20the%20crowd%20and%20the%20dancers%2C%20we%20were%20included%20in%20some%20of%20the%20shots.&f=false

https://www.imdb.com/title/tt0240305/episodes?year=1965&ref_=tt_eps_yr_1965

https://www.imdb.com/title/tt0240305/episodes?year=1966&ref_=ttep_ep_yr_nx

https://www.imdb.com/title/tt0240305/episodes?year=1967&ref_=ttep_ep_yr_nx

https://www.imdb.com/title/tt0240305/fullcredits

https://www.imdb.com/title/tt0240305/?ref_=ttfc_fc_tt

http://blog.musoscribe.com/index.php/2014/07/04/keith-allison-man-of-action-part-five-conclusion/

http://blog.musoscribe.com/index.php/2014/07/01/keith-allison-man-of-action-part-two/

https://www.facebook.com/pg/keithallisonofficial/about/?ref=page_internal

https://www.facebook.com/keithallisonofficial/

http://invanddis.proboards.com/thread/3967/keith-allison

http://invanddis.proboards.com/thread/3271

https://www.imdb.com/name/nm0021456/bio?ref_=nm_dyk_trv_sm#trivia

‘As Time Goes By’ – Derek Taylor

http://www.jlindquist.com/crickets.html

https://www.mplcommunications.com/music-search?chk=a5967d8a821b7cbb5f74&showsongs=buddyholly

https://en.wikipedia.org/wiki/MPL_Communications

https://en.wikipedia.org/wiki/Jerry_Allison

https://en.wikipedia.org/wiki/The_Crickets

https://www.the-paulmccartney-project.com/album/t-shirt/

http://beatleshelp.net/collabo/tshi.html

http://www.45worlds.com/cdalbum/cd/4628762

https://archive.org/details/BeeGeesPeterFramptonSgtPepperSLonelyHeartsClubBand1978movie

https://en.wikipedia.org/wiki/Sgt._Pepper%27s_Lonely_Hearts_Club_Band_(film)

https://www.imdb.com/title/tt0078239/fullcredits/?ref_=tt_ov_st_sm

‘The Love You Make. An Insider’s Story of The Beatles’ by Peter Brown and Steven Gaines. (Pgs. 205, 207, 212, 227, 229, 241, 242)

http://www.wingspan.ru/bookseng/ant/10.html

https://books.google.co.uk/books?id=aVfWxyDrOTwC&pg=PA121&lpg=PA121&dq=later+we+found+out+that+he%27d+given+stigwood+the+option+to&source=bl&ots=yWq6DzfD1G&sig=XkWsY1TJGW6qzbnfImwvi28Ijqc&hl=en&sa=X&ved=2ahUKEwiMnqbCnt_dAhUKL8AKHZT4CAUQ6AEwBnoECAkQAQ#v=onepage&q=later%20we%20found%20out%20that%20he’d%20given%20stigwood%20the%20option%20to&f=false

https://books.google.co.uk/books?id=Uzv_AgAAQBAJ&pg=PT200&lpg=PT200&dq=robert+stigwood+nems&source=bl&ots=MyBmo_6mgf&sig=kkT90tHdBTqz8fQA5gns-es9njA&hl=en&sa=X&ved=2ahUKEwjm79u-hN_dAhXkAcAKHYYVCsI4ChDoATAOegQIAhAB#v=onepage&q=robert%20stigwood%20nems&f=false

http://edition.cnn.com/TRANSCRIPTS/0301/12/lklw.00.html

https://en.wikipedia.org/wiki/Robert_Stigwood

https://www.imdb.com/title/tt0078238/fullcredits/?ref_=tt_ov_st_sm

YouTube: Sextette 1978

http://www.classicbands.com/KeithAllisonInterview.html

https://www.imdb.com/title/tt0077071/fullcredits

http://ultimateclassicrock.com/35-years-ago-ringo-tv-special-airs/

YouTube: “Ringo”, a Ringo Starr US-TV special, aired April 26, 1978

https://books.google.co.uk/books?id=MRpqWHwLZNoC&pg=PT225&lpg=PT225&dq=george+harrison+disguise+police&source=bl&ots=RsvFzkxke7&sig=6Takccd5AZqayZArqf0ax7NjY1c&hl=en&sa=X&ved=2ahUKEwi9itjUg5PbAhVMCMAKHZ8hCZs4ChDoATAHegQIARBR#v=onepage&q=george%20harrison%20disguise%20police&f=false

https://books.google.co.uk/books?id=2ktN0IS1vFQC&pg=PA119&lpg=PA119&dq=beatles+movies+coincidences+disguise&source=bl&ots=Be3u2C9LlC&sig=RtLXFgkaXnnfcnO8VsC29wJXgTI&hl=en&sa=X&ved=2ahUKEwjTsrzCgZPbAhXkLMAKHa_gDGIQ6AEwCHoFCAEQjAE#v=onepage&q=beatles%20movies%20coincidences%20disguise&f=false

‘Our Interesting Times’ pod-cast chat about ‘The Occult Beatles,’ 1960s ‘swinging’ London, the counter-culture, and the Profumo scandal.

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…

https://theoccultbeatles.wordpress.com/2018/02/02/christine-keeler-scandal-from-a-small-world/

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’…

https://www.podomatic.com/podcasts/tkelly6785757/episodes/2018-02-19T09_42_10-08_00

Check out Tim’s site, Our Interesting Times, in full, here:

https://tkelly6785757.podomatic.com/

 

The Egypt Connections, and, I Spy the All-Seeing Eye…

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…

Johnill

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…

francmasonerie

“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…

eye

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…”IAO-logo 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)…

1980tee

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 (?)…

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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.”

Egyptian god Khepri
Khepera

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:

https://theoccultbeatles.wordpress.com/2018/04/21/back-on-board-the-yellow-submarine-and-getting-submerged-in-symbolism/

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…

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And here’s Ringo seated behind it, February 17th, 1963…

1963-February 17th-

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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…

A Hard Day's Night (The Beatles Film) - YouTube

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…”

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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.

everest

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.’”

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‘Everest’… A fan’s impression posted online

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…

egyptstation

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…

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Then a few days later… This:

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And this:

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Then a day later – June 18th – this:

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And then, finally, this

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…

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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…

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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.

RAMcov

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…

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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…

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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.’

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Paul’s ‘Back to the Egg’ album with his band, Wings. 1979

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… dung-beetle_mgr-8468ssit 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.

Gadalla adds:

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…

Egyptian-God-Ra-SolarBoatNun

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.

480x480

 

sunnysideup

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?…

innersleeve

‘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.”

znachenie-talismana-zhuk-skarabej-4

Included in the cover-art of the RAM album is a photograph of two beetles copulating…

Rmbeetle.jpg

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.

Thrillmc

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?…

frogmac

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…

heqet2
Heqet

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…

froggod-

Heqet has also been linked to the beetle-headed Khepera.

Heket, an Egyptian goddess of water and fertility. by Khristine Anja page
Heket, an Egyptian goddess of water and fertility.. by Khristine Anja Page

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…

 

georgecrest

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.”

paul-mccartney-coat-of-arms

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…

paul-mccartney-come-on-to-me-960x960

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)…

Final Conspiro Media

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.

 

 

UPDATE (September 4th):

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’…

Caesar Rock

Track 15, ‘Station II’…

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…

scarab confidane

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.

 

 

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http://www.feelnumb.com/2011/03/16/john-lennon-and-ringo-starr-last-photo-together/#lightbox/0/

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Twitter: @ChrisShawEditor Last known photos of John Lennon with Paul McCartney (1974); George Harrison (1974); & Ringo Starr (1979)

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‘Come Together. John Lennon In His Time.’ – Jon Wiener (1995 edition)

John Lennon T-Shirt – Annuit Coeptis Tee worn by John Lennon

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thebeatles.com/photo-album/recording-abbey-road

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paulmccartney.com/Egypt_Station_7thSept

mccartneyart.com/product/egypt-station/

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https://www.beatlesbible.com/people/paul-mccartney/albums/ram/

https://books.google.co.uk/books?id=BmW_BgAAQBAJ&pg=PT148&lpg=PT148&dq=the+perambulations+of+percy+thrillington&source=bl&ots=D-3qWxzD8v&sig=d-5s52fuHbJLdfyFr2U5DYaGUhY&hl=en&sa=X&ved=2ahUKEwizl9ONgdDcAhXqDcAKHfVDBfkQ6AEwBHoECAYQAQ#v=onepage&q=the%20perambulations%20of%20percy%20thrillington&f=false

http://wearecult.rocks/richard-hewson-the-thrillington-interview

http://www.mcbeatle.de/macca/a/thrillington_gds.html

http://www.rmo.nl/english/collection/acquisitions/egyptian-god-khnum

https://www.britannica.com/topic/Khnum

http://www.ancientegypt.co.uk/gods/explore/khunum.html

http://www.globalegyptianmuseum.org/glossary.aspx?id=211

https://www.virtual-egyptian-museum.org/Collection/FullVisit/Collection.FullVisit-JFR.html?../Content/MET.SS.00367.html&0

https://books.google.co.uk/books?id=9zoVXL3PxPEC&pg=PA18&lpg=PA18&dq=cosmic+egg+khnum&source=bl&ots=EfO0QLOAHU&sig=1-FFe2JVsuuW2ZCd-WB0b5PtqyQ&hl=en&sa=X&ved=2ahUKEwjVtPfgztfcAhXRbsAKHRmWCm84ChDoATABegQICRAB#v=onepage&q=cosmic%20egg%20khnum&f=false

https://books.google.co.uk/books?id=-6EJ0G-4jyoC&pg=PA202&lpg=PA202&dq=khnum+cosmic+egg&source=bl&ots=QR6OaBrE6i&sig=6nbEXaeG7RZfDkbR4kg-NAEdRj0&hl=en&sa=X&ved=2ahUKEwjYvfa9sNfcAhXoCMAKHW2lCOg4ChDoATAAegQIARAB#v=onepage&q=khnum%20cosmic%20egg&f=false

https://books.google.co.uk/books?id=kzmlAgAAQBAJ&pg=PA442&lpg=PA442&dq=egg+khnum&source=bl&ots=8npm62Qk8D&sig=NYkDYFxF3rVIe_VIrw_0zk03l7c&hl=en&sa=X&ved=2ahUKEwjBkru9zdfcAhVPT8AKHbBjAAQ4ChDoATACegQICBAB#v=onepage&q=egg%20khnum&f=false

https://books.google.co.uk/books?id=N-mTqRTrimgC&pg=PA154&lpg=PA154&dq=Geraldine+Pinch+cosmic+egg+khnum&source=bl&ots=pznoFbyno3&sig=pxarK1QskUSAB-iWJlbpJOrVQgU&hl=en&sa=X&ved=2ahUKEwiYq6LUydfcAhULI8AKHet6AkA4ChDoATAAegQIABAB#v=onepage&q&f=false

https://kids.britannica.com/students/article/Khnum/311988

https://www.britannica.com/topic/scarab

http://archaeologicalmuseum.jhu.edu/the-collection/object-stories/ancient-egyptian-amulets/scarabs/

https://books.google.co.uk/books?id=hfcxDwAAQBAJ&pg=PA34&lpg=PA34&dq=Moustafa+Gadalla+scarab+beetle&source=bl&ots=IxkO8NB-Le&sig=wiDzWnDb25zKJEBaXW5CBrKyhro&hl=en&sa=X&ved=2ahUKEwiNnM-Pj9fcAhUGCcAKHaqECbkQ6AEwC3oECAcQAQ#v=onepage&q=Moustafa%20Gadalla%20scarab%20beetle&f=false

https://books.google.co.uk/books?id=QPQxDwAAQBAJ&pg=PT166&lpg=PT166&dq=khnum+made+the+cosmic+egg&source=bl&ots=Qmpz0VBoPO&sig=EuTgwgFSboZPGI7RvZGvA7M7LLs&hl=en&sa=X&ved=2ahUKEwj8sLTiwdfcAhWpIMAKHSjJAksQ6AEwAXoECAUQAQ#v=onepage&q=khnum%20made%20the%20cosmic%20egg&f=false

https://books.google.co.uk/books?id=N-mTqRTrimgC&pg=PA153&lpg=PA153&dq=khepri+sun&source=bl&ots=pznoFiptn-&sig=MwDb7pZ4c7N3Xgjkv4_QwnkJGGg&hl=en&sa=X&ved=2ahUKEwjmscmKr9ncAhWCKcAKHUN3A604FBDoATABegQICRAB#v=onepage&q=khepri%20sun&f=false

https://www.britannica.com/topic/ancient-Egyptian-religion/The-Gods#ref559389

https://books.google.co.uk/books?id=I1LCAgAAQBAJ&pg=PT32&lpg=PT32&dq=khepera+sun&source=bl&ots=ItPvRCkP_5&sig=fIie0T8EJ41743ie3TJv3U6OmJo&hl=en&sa=X&ved=2ahUKEwjGpYzirdncAhXQX8AKHSaaCZk4FBDoATAEegQIBhAB#v=onepage&q=khepera%20sun&f=false

https://books.google.co.uk/books?id=tBpQAwAAQBAJ&pg=PT191&lpg=PT191&dq=khepera+solar&source=bl&ots=PakUHEvaqa&sig=a1YUo2pKHN8CsdP2E98X6b2qib8&hl=en&sa=X&ved=2ahUKEwiUwcbOqtncAhVIJMAKHZ3zA784FBDoATAIegQIBRAB#v=onepage&q=khepera%20solar&f=false

https://books.google.co.uk/books?id=iImjAwAAQBAJ&pg=PT29&lpg=PT29&dq=khepera+solar&source=bl&ots=Iuc3aRC_Yz&sig=ZjixfIGfkh4v6DkYByWJ0FU7Tn8&hl=en&sa=X&ved=2ahUKEwihuPLAqdncAhVIK8AKHdwMCd44ChDoATAEegQIBhAB#v=onepage&q=khepera%20solar&f=false

https://books.google.co.uk/books?id=5z3CAgAAQBAJ&pg=PT128&lpg=PT128&dq=ra+khepera&source=bl&ots=gohx3GhL9c&sig=wiIhkoAKdeSGscNpCtp3zFRvCHY&hl=en&sa=X&ved=2ahUKEwjW1pn1pNncAhWsI8AKHZ-aD1s4MhDoATABegQICRAB#v=onepage&q=ra%20khepera&f=false

http://www.sacred-texts.com/egy/ehh/ehh23.htm

https://books.google.co.uk/books?id=RFkoDwAAQBAJ&pg=PT119&lpg=PT119&dq=khepera+ra&source=bl&ots=Uo-rNsAh7q&sig=IMYnYupNq9pdi7q7pjF0qxX1tmY&hl=en&sa=X&ved=2ahUKEwi1la66_djcAhXLK8AKHWliDZA4ChDoATAGegQIAxAB#v=onepage&q=khepera%20ra&f=false

https://books.google.co.uk/books?id=FDSab8rWZScC&pg=PA227&lpg=PA227&dq=Initiates+of+the+Egyptian+Mysteries+were+sometimes+called+scarabs;+again,+lions+and+panthers.+The+scarab+was+the+emissary+of+the+sun,+symbolizing+light,+truth,+and+regeneration.&source=bl&ots=l-jhU174cI&sig=ssnXzXktgXioYQPj4k3z-Xqz5mg&hl=en&sa=X&ved=2ahUKEwjCvout89ncAhWoCMAKHX4DDvkQ6AEwAXoECAkQAQ#v=onepage&q=Initiates%20of%20the%20Egyptian%20Mysteries%20were%20sometimes%20called%20scarabs%3B%20again%2C%20lions%20and%20panthers.%20The%20scarab%20was%20the%20emissary%20of%20the%20sun%2C%20symbolizing%20light%2C%20truth%2C%20and%20regeneration.&f=false

http://www.the-cage.org/parket.html

https://books.google.co.uk/books?id=EkzSBgAAQBAJ&pg=PA24&lpg=PA24&dq=khnum+solar&source=bl&ots=1Fj5rYyiMd&sig=T0Ci8Ydeu-F8FGTpoH_Ganfx0Ds&hl=en&sa=X&ved=2ahUKEwjwktimtNncAhWIAcAKHZY4CNs4ChDoATAHegQIBRAB#v=onepage&q=khnum%20solar&f=false

https://books.google.co.uk/books?id=QcBYAQAAQBAJ&pg=PA30&lpg=PA30&dq=khnum+solar&source=bl&ots=AeIx_5HmMR&sig=zl9bPufI22T0tlak2PrqDV2aye8&hl=en&sa=X&ved=2ahUKEwjwktimtNncAhWIAcAKHZY4CNs4ChDoATAIegQIABAB#v=onepage&q=khnum%20solar&f=false

https://books.google.co.uk/books?id=N-mTqRTrimgC&pg=PA154&lpg=PA154&dq=khnum+underworld&source=bl&ots=pznoG9spp2&sig=PGB8BlvyWQeb_3cJNsuIjZk20Z8&hl=en&sa=X&ved=2ahUKEwibguaN3tncAhWIAsAKHRuvCDo4ChDoATAFegQIBhAB#v=onepage&q=khnum%20underworld&f=false

https://books.google.co.uk/books?id=OcU7YPeE5yoC&pg=PA445&lpg=PA445&dq=khnum+sun+barque&source=bl&ots=1A6kzohHCr&sig=WDVUxsmxtekPHSXucgZjJbzWM3A&hl=en&sa=X&ved=2ahUKEwiPqJe76NncAhUHCsAKHVcaBRI4ChDoATAFegQIBRAB#v=onepage&q=khnum%20sun%20barque&f=false

https://books.google.co.uk/books?id=AWSGAgAAQBAJ&pg=PA295&lpg=PA295&dq=khnum+sun+god&source=bl&ots=zfCgF0xnV6&sig=k3dZQBpifW0C2A4P445WRwvjYW0&hl=en&sa=X&ved=2ahUKEwi3mp3h7NncAhULCsAKHb2JA-Q4FBDoATACegQICRAB#v=onepage&q=khnum%20sun%20god&f=false

https://en.wikipedia.org/wiki/Egyptian_mythology

therahband.com/latest-news.php

https://en.wikipedia.org/wiki/Richard_Anthony_Hewson

http://ultimateclassicrock.com/wings-back-to-the-egg/

http://www.feelnumb.com/2012/04/24/paul-mccartneys-ram-album-included-a-photo-of-two-beetles-mating/

https://www.beatlesbible.com/people/paul-mccartney/songs/3-legs/

https://www.beatlesbible.com/people/paul-mccartney/songs/ram-on/

https://books.google.co.uk/books?id=Q6u8BQAAQBAJ&pg=PT44&lpg=PT44&dq=ram+beetles+fucking&source=bl&ots=_biwOaGcZ2&sig=2-Tk_0tM3ra1ibTzOmgaZEw4050&hl=en&sa=X&ved=2ahUKEwiU0KKMy9vcAhUCyoUKHZusBt4Q6AEwBnoECAQQAQ#v=onepage&q=ram%20beetles%20fucking&f=false

YouTube: ‘Paul and Linda McCartney: Ramming – The Making of RAM – Documentary’

https://books.google.co.uk/books?id=eDKEKy5JJbIC&pg=PA82&lpg=PA82&dq=heqet+rebirth&source=bl&ots=EvH0PHQ-rp&sig=sbXk-uCEgPwXiozPRnzixG5sJBs&hl=en&sa=X&ved=2ahUKEwimvPDq497cAhWOVsAKHUfOAI04FBDoATAHegQIAhAB#v=onepage&q=heqet%20rebirth&f=false

https://www.beatlesbible.com/1969/05/09/paul-mccartney-plays-drums-steve-miller-my-dark-hour/

https://books.google.co.uk/books?id=PXFmDwAAQBAJ&pg=PA90&lpg=PA90&dq=heqet+rebirth&source=bl&ots=UBmI1RaGlI&sig=gwEL4uvg6CFYFf1lstpjW5kvSFQ&hl=en&sa=X&ved=2ahUKEwiyjfjB497cAhXEDsAKHd_qBdY4ChDoATAJegQIBBAB#v=onepage&q=heqet%20rebirth&f=false

http://www.academia.edu/4568948/Creation_Accounts_of_Genesis_and_Khnum

http://jguaa.journals.ekb.eg/article_2800_403dfdefe3fc7a9f2856535f8e290e70.pdf

https://books.google.co.uk/books?id=EkzSBgAAQBAJ&pg=PA24&lpg=PA24&dq=khnum+frog&source=bl&ots=1Fj5tUFkPc&sig=4xv18LMqIayBH_nWFO6hwC7JK4c&hl=en&sa=X&ved=2ahUKEwiy08Kjo97cAhVoD8AKHWu2BnEQ6AEwEnoECAQQAQ#v=onepage&q=khnum%20frog&f=false

https://books.google.co.uk/books?id=3hgGNb6wM2kC&pg=PA140&lpg=PA140&dq=khnum+frog&source=bl&ots=RcPct1hCgf&sig=DdVaAqunD9D6CGhMuh8lbSUYuwI&hl=en&sa=X&ved=2ahUKEwjc-5Hro97cAhXRTsAKHVXhBwc4HhDoATABegQICBAB#v=onepage&q=khnum%20frog&f=false

http://www.globalegyptianmuseum.org/glossary.aspx?id=180

https://en.wikipedia.org/wiki/We_All_Stand_Together

https://en.wikipedia.org/wiki/Rupert_and_the_Frog_Song

https://en.wikipedia.org/wiki/Rupert_Bear

YouTube: ‘Rupert and the Frog Song (Featuring Paul McCartney’s ‘We All Stand Together’)’

http://archaeologicalmuseum.jhu.edu/the-collection/object-stories/ancient-egyptian-amulets/ram-headed-god/

https://books.google.co.uk/books?id=Ihru1lancxMC&pg=PA41&lpg=PA41&dq=khnum+nile&source=bl&ots=ZN3o204eMO&sig=hIHSttvf2E2Z0ITJ0VhuYovTdIg&hl=en&sa=X&ved=2ahUKEwiQtN-Hjd_cAhVMLMAKHc8EC7o4FBDoATAIegQIAhAB#v=onepage&q=khnum%20nile&f=false

https://books.google.co.uk/books?id=2fMiG2dGPpYC&pg=PA114&lpg=PA114&dq=heqet+rebirth&source=bl&ots=WnqRZGcb3u&sig=_VhwbTshwPyIAu9ooOVdY8kG96Y&hl=en&sa=X&ved=2ahUKEwjyxcr95N7cAhWBN8AKHX3NDOY4KBDoATAFegQIBhAB#v=onepage&q=heqet%20rebirth&f=false

https://en.wikipedia.org/wiki/George_Martin#Arms

https://www.college-of-arms.gov.uk/news-grants/grants/item/66-george-martin

http://invanddis.proboards.com/thread/2630/sir-georges-coat-arms

https://www.beatlesbible.com/2002/12/31/sir-paul-mccartney-receives-coat-of-arms/

https://www.theheraldrysociety.com/articles/sir-paul-mccartney/