One for the Road.

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2019 marks the fiftieth birthday of The Beatles’ 1969 album, ‘Abbey Road.’ It was re-issued earlier this year as a commemorative box-set that includes outtakes, demos, and alternative versions of songs recorded during the time of the sessions. The studios where these recordings took place of course are situated at the address of the LP’s title. Upon greater inspection, one finds that the history of this road and the London district it’s situated in, has been influenced by old Orders connected to the Freemasonic.


I recall watching, quite a few years ago now, a live presentation by the occult researcher, author and public-speaker, Michael Tsarion, in which he suggested that the black ‘n’ white ‘zebra’ crossing that the Beatles walk along on the front-cover of the ‘Abbey Road’ album is an esoteric, symbolic representation of the Freemasonic checkerboard floors as found in lodges across the world. He didn’t elaborate on this, but I do now wonder looking back on this whether he was aware of the road’s history, as well as that of the district in London it belongs to, St. John’s Wood.

Many hundreds of years ago it’s said, before it went under the name ‘St. John’s Wood,’ it was known as the ‘Great Forest of Middlesex.’ Sometime in the 13th century, it came under the ownership of the Knights Templar, the Vatican-backed military order of knights who were formed in the beginning of the 12th century in Jerusalem, during the religious Crusades of that era. The reason for their formation, we’re told, was to provide protection from Islamic forces and safe passage to Christian folk making their pilgrimages to the so-called ‘Holy Land’ in the Middle East. In time, it’s claimed they amassed a huge fortune in wealth thanks to the payments and donations of European kings and landowners who sought the Templars to defend them from the perceived threat of Islam.

A Knights Templar (CLICK TO ENLARGE)

As well as accumulating financial riches, they also were given ownership of estates and land, the Great Forest of Middlesex being one of those, I assume. Then, in 1307, in October of that year – on Friday 13th of that month – Templars in France were rounded up and arrested by the country’s King Philip IV accused of, it’s claimed, corruption, although some sources I’ve come across on the ‘net suggest that the real reason for the purge was because the Templars’ great wealth had bred resentment, fear and jealousy from certain monarchs of Europe. The knights who’d been arrested were placed under interrogation and some of them are claimed to have confessed to ‘heresy’ and worshipping Baphomet, a ‘heathen’ idol that usually consisted of a severed head.

Following King Philip’s scourge, the Templars, as a military order were, officially, dissolved by the Pope of the time. However, according to a number of researchers, whilst some of the knights who’d escaped the purge went into hiding, others who’d fled to other countries continued their military campaigns, such as in Scotland, where they fought on the side of its monarch, Robert the Bruce, against the English in the early 1300s. Also, there’s their historic influential presence in Freemasonry and the world of its orders. Indeed, today’s Freemason movement has been credited by writers and commentators over the decades and centuries with having evolved from the Knights and its deep, close connections to them.

In England, in the first half of the 1300s, just a few years after the purge of the Templar Knights, the so-called ‘Great Forest of Middlesex’ was handed over, from their ownership to the ‘Knights of the Order of St. John of Jerusalem’ – also known as ‘The Knights of St. John.’ And from this eventually came the London district, St. John’s Wood. Also known as ‘The Knights Hospitaller,’ it had its roots in a hospice for the sick in Jerusalem in the first half of the 11th century, during the Crusades era, and it was run and maintained by monastic brothers. Endorsed by the Pope, it eventually morphed into a military order defending Christians in the Holy Land. Then, venturing out to the rest of the world, its most notable presence was on the Mediterranean island country of Malta which it governed from the 1500s until the 1700s when it was forced to exit by Napoleon Bonaparte’s forces. It lives on today, its ‘Maltese cross’ symbol can be seen all across the United Kingdom on its ‘St. John’s Ambulance’ fleet, which it formed in the 1800s and that operates as a registered charity.

The Order of St. John
Pictured left, the Order of St. John, and right, ‘St. John Ambulance.’ (CLICK TO ENLARGE)

According to my research, the general version of events states that the Knights of St. John’s ownership of St. John’s Wood was taken from it by the English Crown in the 1500s and land there was then, it’s reported, sold off in the 1700s. It also owned for a time back in the 1500s, so I’m informed, Kilburn Priory, a medieval monastic convent, and the dirt-track that led to it was reportedly named after it, ‘Abbey Lane,’ and in the 1800s it was renovated into Abbey Road. The now-famous studios located there were once owned of course by the music-company, ‘EMI,’ which was headed during the 1960s by Joseph Lockwood, ‘Sir’ Joseph Lockwood to be exact, a Knight Bachelor. In some relation to that, by the way, according to the Beatles biography, ‘Shout!: The Beatles in Their Generation,’ by veteran music-author, Philip Norman, back in 1967, a year which had seen the band explode out of their ‘mop-top,’ ‘cute,’ ‘cuddly’ image once and for all and into an LSD-laden new guise, “at Buckingham Palace… the Queen held a leveé for the Council of Knights Bachelor, whose members included Sir Joseph Lockwood, chairman of EMI. As Her Majesty entered the room, she called out to Sir Joseph: ‘The Beatles are turning awfully funny, aren’t they?’”

Queen Elizabeth II is the Sovereign Head of the Order of St John
Queen Elizabeth II is the Sovereign Head of the Order of St John

She’s reported to have said this during the weeks when The Beatles were turning their very public attentions and support towards the Maharishi Mahesh Yogi, a softly spoken, giggling Indian guru preaching transcendental meditation. At the time, so various writers and journalists have since declared (and who I defer to not having lived through the 1960s myself), Eastern mysticism/spirituality was, on the whole, unknown to the regular Western population, nevertheless, John, Paul, George and Ringo raised its awareness and popularised it and, it’s suggested, fuelled and helped give rise to the now established ‘New Age’ philosophies and beliefs. Whether they knew it or not at the time, what The Beatles were doing was carrying on and giving strength to the work begun almost exactly a century earlier by the occultist, Helena Petrovna Blavatsky, co-founder of the ‘Theosophical Society,’ and who saw out her last few years residing in St. John’s Wood, would you believe. She was born in the Ukraine in 1831 to parents from, what some might describe, an ‘elite’ background, or so we’re led to understand – the early part of her life is claimed to be lacking in any clear documentation, and her biography, as a result, is dotted with contradictions, including from the woman herself.

Helena Blavatsky

Her father, we’re informed, was a colonel in the Army in Russia, and his family who’d moved there in the 1700s, were part of the Hahn dynasty from the German nobility. Her mother, Helena Andreyevna, was a notable novelist of the time and was, it’s written, the grand-daughter on her maternal side of a Princess belonging to a Princely Russian dynasty. Blavatsky, a seasoned veteran of world travel from an early age and who’s said to have possessed psychic powers as a child, set off when she was barely 18 on a year-after-year cycle of visits to countries far and wide with Greece, Egypt, Canada, Mexico, the West Indies, and the US included in that list as well as India. Whilst in London and taking a walk one day in a park, it’s claimed she came into contact with a tall Hindu man and who she recognised from what’s been described as ‘psycho-spiritual visions’ from her childhood, a mysterious ‘protector’ figure who watched over her in uncertain moments. He is known as Morya, or ‘M,’ a Mahatma, and he was “a high initiate in occult knowledge and power, an Adept,” according to an article on the website, ‘’, and he took Helena under his guidance, it’s claimed, becoming her guru, her ‘Master.’ When she and some fellow enthusiasts of matters to do with the occult, the psychic and so-called ‘spiritual’ founded the Theosophical Society in 1875 (a society based on the teachings of, theosophy, taken from the Greek words, ‘God’ and ‘wisdom’), it declared that one of its key aims was for the “study” of “the philosophies of the East – those of India chiefly, presenting them gradually to the public in various works that would interpret exoteric religions in the light of esoteric teachings.” The Beatles certainly did their fair share of that just over 90 years later, starting in 1965 with their Indian mysticism-flavoured movie ‘Help!’, their inclusion of a then rarely-heard sitar on a Western Pop song, ‘Norwegian Wood (This Bird Has Flown),’ and then through to their ‘Revolver’ album of ’66, then ‘Pepper’ in ’67, the Maharishi, and beyond.

The Beatles with the Maharishi

Just a seventeen-minute walk away from the EMI studios in Abbey Road where the above recordings were created, sits Avenue Road in St. John’s Wood. This is where Blavatsky saw out the last years of her life in the very early 1890s, living in the house of a fellow theosophist, and it’s claimed to have become the headquarters of the Society. Indeed, in her book ‘Divine Feminine: Theosophy and Feminism in England,’ author, Joy Dixon, claims “many of the most dedicated theosophists made their homes at this address, providing Blavatsky and the ‘TS’ with an efficient staff and a devoted band of disciples. By 1890 the new Blavatsky Lodge building was under construction in the garden… At the same time the house was renovated to suit its new purposes. Offices and workrooms were added… ” And there was a “hidden room, the Occult Room, reserved for the activities of the Inner Group.” One of the Society’s declarations upon its formation was to “oppose materialism and theological dogmatism in every possible way by demonstrating the existence of occult forces unknown to science, in nature, and the presence of psychic and spiritual powers in man…” In her landmark work, ‘The Secret Doctrine,’ Blavatsky states that the “true philosopher, the student of esoteric wisdom, entirely loses sight of personalities, dogmatic beliefs and special religions. It… refuses to accept any of the gods of the so-called monotheistic religions, gods created by Man in his own image and likeness.” However, “it denies Deity no more than it does the sun. Esoteric philosophy has never rejected God in nature…”

Theosophical Society logo

Since its formation, the Society’s motto has been ‘Universal Brotherhood.’ It declares that it does not distinguish individuals based on creed, race or social position but on personal merit – all life, human and non-human, is, one, a word and a concept there you might find to be disturbing if you’ve given any thought to the conspiracy that mankind is being engineered towards a collectivised existence, a nationless, homogenised, faceless, genderless culture, the ‘One World Order’ if you like. What you might think to be particularly shady is that Blavatsky and her theosophical teachings were and continue to be tied closely in some way shape or form to the ‘United Nations.’ Joy Mills, President of the Theosophical Society in America between 1965-1974, is reported to have stated in 1970, “to link HPB and the UN may seem incongruous. Yet there is certainly a relationship between the goal which she set forth” and it must be ‘realised’ “through world order under world law. The Theosophical Society, dedicated from its inception to the ideal of brotherhood, has been called the first United Nations, comprising as it does within its membership individuals of many nations, many cultural and ethnic backgrounds. If we who are its members today, building out of all differences and distinctions a unique harmony of purpose, remain loyal to the vision toward which HPB pointed, it may be our privilege to portray the pattern of a truly universal brotherhood of humanity…” In later years, Mills was heard to pronounce that what she desired was a “one world consciousness.” A lot of this reminds me of John Lennon’s ‘Imagine,’ in which he paints a world with no countries, no religion, and in its place “a brotherhood of man… and the world will live as one.” No surprise then perhaps that, in 2014, the song was a featured highlight of the UN’s annual ‘International Day of Peace’ – with Yoko Ono’s blessing. There’s a similar flavour in the George Harrison-penned track from the ‘Sgt. Pepper’ album, ‘Within You Without You.’ In amongst the sounds of the Indian instrumental backing we can hear him vocalise that “the time will come when you see we’re all one…” By the way, don’t get me wrong here. I have no dislike of or objection to the idea that you, I and all that is around us, above us and below us is, essentially, connected to what is a ‘Oneness,’ I don’t object if a person, an individual, feels ‘at one’ with the universe. What I’m questioning here isn’t that but the co-opting of it into the creation of the concept of a “one world consciousness” under “world order under world law” as reportedly desired by head Theosophist, Joy Mills and shared through the United Nations. Also, the influence of the UN can be felt in the occult/esoteric-based organisation, the ‘Lucis Trust,’ which dates back to the 1920s and that was founded by married couple Foster and Alice Bailey. Born in Britain, she and her American husband were active in the theosophical community. She taught theosophy and worked for the Theosophical Society in the US before branching out and forming the Trust, which had actually started life as the ‘Lucifer Publishing Company’ before being changed two years later, in 1924, to the ‘Lucis Publishing Company’ so that it wouldn’t be identified with Satan – a.k.a. the Christian God’s ‘fallen angel,’ Lucifer.

Alice Bailey

It’s “assumed” that the actual reason why the Baileys chose ‘Lucifer’ as the name of their publishing company was as a gesture “in honour of a journal, which had been edited for a number of years by HP Blavatsky… The ancient myth of Lucifer refers to the angel who brought light to the world,” so the Trust’s official website reveals. In the words of Freemason and writer, John J. Robinson, “in Roman astronomy, Lucifer was the name given to the morning star… The morning star appears in the heavens just before dawn, heralding the rising sun” – (‘Here comes the sun,’ sings George on ‘Abbey Road’). The name, ‘Lucifer,’ “derives from the Latin term, lucem ferre, ‘bringer, or bearer of light.’ Lucifer is… an ancient Latin name for the morning star, the bringer of light.” Lucy(fer) in the sky with diamonds… Anyway, Alice Bailey, who, alongside Blavatsky is often credited as a pioneer of today’s New Age population, stated that there should “be no mistake, the movement initiated by Helena Petrovna Blavatsky was an integral part of a… plan. There have always been theosophical societies down the ages – the name of the movement is not new – but HPB gave it a light and a publicity that set a new note and that brought a neglected and hitherto somewhat secret group out into the open and made it possible for the public everywhere to respond to this very ancient teaching.” In 1923, Alice founded the ‘Arcane School.’ The Lucis Trust website describes it as having opened to serve “as a training school for adult men and women in meditation techniques and the development of spiritual potentiality.” In the early 1930s, she formed the ‘World Goodwill,’ for it is goodwill, she claimed, that humankind as a whole must have ingrained within it in order to attain world peace. Without it, the wars will not stop, no amount of public protest against military conflict or any hopes for ‘peace on Earth’ will succeed. Goodwill, she declared, has to become “a conditioning factor” in humanity. As an organisation, it goes about spreading its message and aims with, according to the Lucis Trust website, the “co-operation” of “the United Nations and its specialised agencies.” Indeed, “World Goodwill is recognised by the Office of Public Information at the United Nations as a Non-Governmental Organisation. It is represented at regular briefing sessions at the United Nations in New York and Geneva.” Furthermore, “the Lucis Trust and the World Goodwill… play an active role in the United Nations, particularly in spreading information about the UN and fostering support for UN programs. Since their inception, Lucis Trust and World Goodwill have given their support through meditation, educational materials and seminars, by highlighting the importance of the UN’s goals and activities…” The official World Goodwill website declares meanwhile that “the energy of goodwill is potentially a powerful source for social change… World Goodwill fosters understanding of this energy and the role it is playing in the development of a new humanity.” In order to assist in ushering in this “social change” for “a new humanity,” one of its main objectives is “to mobilise the energy of goodwill through education, and” (the italics are mine by the way) “through subtle action with programs that draw on the power of thought.LucisIt goes on, “focused enlightened public opinion can be a major factor in world reconstruction… There is no group so likely to ensure that humanity achieves this most difficult goal as people of goodwill. Provided they can overcome inertia, they are in a key position, requiring only courage to express goodwill, and to initiate action to prepare for a new global civilisation. World Goodwill strongly believes that the UN should be supported as the main hope for humanity’s future.” Then there’s Annie Besant who was the English-born head of the Theosophical Society following Blavatsky’s death in 1891 – in fact, it was in her house in St. John’s Wood, that I mentioned earlier, situated on Avenue Road, where Helena resided at in the final years of her life and where she died. In the days before the UN, when it was anything but a reality, this woman who’d given HPB this roof to live under, her successor, is reported to have declared, “come and form with us not an Empire, but a great Commonwealth of Free Nations; not a White Commonwealth, but a Commonwealth into which men of every race, of every colour, of every ancestry, of every creed, of every tradition and custom, shall come…” This “Free Commonwealth of Nations,” should otherwise be described as “a World Commonwealth… a World Federation.”

Annie Besant

Of Annie, Alice Bailey declared, “the indebtedness of the world to Mrs. Besant for the work that she did in making the basic tenets of the TS teaching available to the masses of men in every country, is something that can never be repaid. There is absolutely no reason why we should overlook the stupendous, magnificent work she did for The Masters and for humanity.” A staunch Socialist, so we’re told, Besant was a member of the notorious Left-leaning ‘Fabian Society,’ described as “Britain’s oldest political think-tank.” Formed in 1884, it was an original founder of Britain’s Labour Party in 1900, and it is (so states its website) an “influence” on “political and public thinking…” It has “a big impact on political and policy debate.” Its staff “work with a wide network of leading politicians and policy experts to develop and promote new ideas and to influence the climate of political opinion.” The way it goes about its “influence” has been highlighted by its critics through the symbology of one of the logos it adopted on its formation, that of a wolf in sheep’s clothing, in other words, it’s depicting deception.

Fabian Society: Wolf in sheep’s clothing

The Fabian Society, in response to criticism such as this made against it by numerous researchers and commentators, has issued an article on its official website titled ‘Crying Wolf.’ In it, it argues that the old symbol, which “hasn’t been used for many decades” anyway, is by no means indicating ‘subversion,’ with the aim of bringing about ‘world control,’ as it’s been alleged. It’s actually intended to symbolise social(ist) revolution in a “cautious, evolutionary” manner. I’m not sure if that explanation makes me feel any better! Another of its emblems has been of a tortoise, a slow-moving, patient creature, with the motto, “when I strike, I strike hard.” Does that make you all reassured inside? It doesn’t me.fabianturtle In 1897, it was a key influence in the founding of the also-notorious ‘London School of Economics,’ a university brought into being after a bequest of £200,000 was left by a Fabian to be used, according to the Society’s official website, “for propaganda and other purposes.” Armed with these funds, a small group of its members, including the playwright and reported supporter of eugenics, George Bernard Shaw, launched the LSE, “to provide proof positive of the collectivist ideal.” His face can be seen on a commemorative stained-glass window he designed in 1910. You can see it below. He’s there alongside “other prominent Fabians,” and ‘hammering the world into shape,’ or as the LSE has described it, “helping to build ‘the new world.’”


In the late 1920s into the early ‘30s, the London School of Economics got funding from the ‘Illuminati’ Rockefeller Foundation, and the university was described as being “Rockefeller’s baby.” The relationship between the two continues to this day. And there’s other LSE participants worth noting here. There’s Bertrand Russell, a former lecturer there and who also co-founded, in amidst the atmosphere of the so-called Cold War in 1958, the ‘Campaign for Nuclear Disarmament’ (the ‘CND’), an organisation that is regarded to have attracted at the time the beatniks, bohemians, social rebels and students who’d later meld into what was the counter-culture of London in the late 1960s, and in that same decade, Peter Jenner, another teacher at the London School of Economics, jacked that in to become a music-manager, most notably of the Syd Barrett-era Pink Floyd, handling their career from their early days on the psychedelic club scene of the capital when they were effectively the pied-pipers of the city’s so-called ‘underground’ community, and into their initial music-chart successes. Also, there’s Mick Jagger. He was a student at the LSE very shortly before finding fame and changing the face of popular culture as a Rolling Stone during the 1960s, when Fabian, Harold Wilson, was Britain’s Prime Minister.

Now, at this juncture in this article (it’s as good a place as at some others maybe), I will note yet another individual born centuries gone by who’s credited with inspiring the modern-day New Age movement, I think it would be amiss of me if I didn’t because, just for starters, he takes us back to the previously-mentioned Vatican. His name was Pierre Teilhard de Chardin. Born in 1881, he was a priest of the Catholic Church-backed order, the ‘Society of Jesus,’ or, the Jesuits. Formed in the 1500s by Ignatius Loyola who was a member of the Spanish nobility and a former soldier, various Society-sanctioned / ‘official’ / mainstream websites explain how after, turning his back on the army life, he turned to God and founded “the Jesuits,” and he wanted them to “be travelling missionaries who would preach.” They “were soon taking the Gospel to every corner of the globe.” Critics of the order have argued and claimed that behind the cosy, caring image of the selfless Jesuit missionaries, there is the reality, which is a dark, violent, Machiavellian one with the aim being the bringing about of a One World government, with Lucifer as their god. It’s alleged that they form the true powerbase within the Vatican. For example, in terms of structure, the Society is made up of what are described as ‘geographical provinces.’ There are approximately eighty of these around the planet, each one with a superior, and in Rome sits their head, the Superior General, the ‘Father General,’ also dubbed the ‘Black Pope.’ It’s claimed he is the actual string-puller, or “the shadow of the Pope” in the words of Gerard Bouffard, a reported Catholic whistle-blower and Bishop and former papal insider and Freemason, an ex-member of the ‘Knights of Columbus.’ Now, if what they want is a One World government as claimed, then they’ve got to have a One World religion too, right? Enter Jesuit, Pierre Teilhard de Chardin with a ‘new age’? Well, you might think so. The Vatican itself has acknowledged publicly that he is indeed, same as Helena Blavatsky, attributed as an influence on the New Age movement that blossomed in the late 1960s, over a decade after his death. Commentators of his work have illustrated this by highlighting some of his published statements.

Pierre Teilhard de Chardin

For example, where HPB had adopted the motto, ‘Universal Brotherhood,’ he envisioned a ‘universal Christ.’ In his book, ‘Christianity and Evolution: Reflections on Science and Religion,’ he writes, “surely the solution for which modern mankind is seeking must essentially be exactly the solution which I have come upon. I believe that this is so, and it is this vision that my hopes are fulfilled. A general convergence of religions upon a universal Christ who fundamentally satisfies them all: that seems to me the only possible conversion of the world, and the only form in which a religion of the future can be conceived.” In a tribute to him, the United Nations – through its offshoot, ‘UNESCO’ (‘United Nations Educational, Scientific and Cultural Organisation’) – prepared an international symposium and exhibition back in 1981 to mark the centenary of his birth, and a commemorative medal was issued too. This UN organisation came into being shortly after the Second World War, and a close associate of de Chardin’s was its first Director-General in 1946, that being zoologist, scientist and ‘parapsychologist,’ Julian Huxley, brother of Aldous, the English writer and philosopher whose written works and musings in the 1950s and early ‘60s on psychedelic drugs and mystic experiences were an inspiration to the counter-culture that was yet to come. Actually, in the book, ‘If I Am to be Remembered: Correspondence of Julian Huxley,’ a biographical account of the man told through his letters, he and Pierre were first introduced to each other “in the UNESCO lobby.”  UNESCO has also actively shone its attentions on John Lennon. For example, first launched in 1998, there’s its ‘John Lennon Educational Tour Bus,’ a bus with an in-built recording-studio and that’s reportedly toured across the US and Canada. Its creators inform us that it can be “a real instrument for peace,” a meeting point for young people, where they can “learn to express themselves, to communicate their feelings, to interact with others through music.” Then there was the showcasing earlier this year of a new silver collector coin to mark the fiftieth anniversary of the release of John’s ‘Give Peace a Chance.’ To quote a news-item reporting on this, a public unveiling “took place on Liverpool’s world-famous UNESCO heritage waterfront.” On that UNESCO waterfront stands the ‘John Lennon Peace Monument.’ You can see it in the pictures below…



Then there’s ‘UNICEF,’ a UN agency otherwise known as the ‘United Nations Children’s Fund.’ In 2014, it formally launched the ‘Imagine Project.’ Named after Lennon’s hit song, it was, they trumpeted, a “global initiative” to bring about “a better world for children.” It was an event festooned with symbols, slogans and words that one might regard to be ‘New World Order’-friendly. After all, as part of the project, Imagine was ceremonially performed live on December 31st that year at the New York Stock Exchange following the ringing of the closing bell that day, and in London overlooking the Houses of Parliament. Furthermore, in this “global initiative” comprising “nearly 1,000 organisations around the world,” all eyes were on 2015 and using the song “to influence world leaders and inspire collective action in advance of key global agenda-setting meetings…” such as UN meetings to do with producing “a global strategy for financing global development,” and “world leaders” setting “out new… goals for the next 15 years,” and matters pertaining to so-called “Climate Change” and “sustainable development.” You know… the usual. In 2014 also, UNICEF invited us to download the ‘#IMAGINE app’ so that we could sing our own rendition of the song and share it worldwide. Famed Dance/Pop recording-artist and DJ, David Guetta, so I understand, collected samples of some of these and created a ‘World Version’ of Imagine, and that also featured contributions from Popsters Katy Perry and, and the UK actor, Idris Elba… And, in promoting the initiative, the song’s closing invitation to the world to “live as one” hasn’t been missed by UNICEF of course…190927

If you can stomach it…

‘Imagine’ (World Version):

Also, according to UNICEF, “a number” of the people featured in the video above are “global influencers” and “ambassadors” of the Lucis Trust’s Goodwill. One such ambassador is the Pop-star, Shakira, who sang Imagine at the UN General Assembly Hall in 2015, to open that year’s ‘UN General Assembly Sustainable Development Summit.’

What John Lennon would’ve made of all of this, I don’t know. Would he have played an obedient/controlled ‘media-slave’ role in promoting this, or, actually, would he have baulked at it all and prevented it from happening? Perhaps it’s worth acknowledging that the Imagine Project occurred decades after his death, when he could do nothing about it at all – but Yoko could of course. Of the song’s lyrical message, he’s reported to have said in 1980, shortly before he was gunned down, “the World Church called me once and asked, ‘can we use the lyrics to Imagine and just change it to Imagine one religion?’ That showed they didn’t understand it at all. It would defeat the whole purpose of the song, the whole idea. It is the concept of positive prayer. Imagine is saying that. If you can imagine a world at peace, with no denominations of religion – not without religion but without this my-God-is-bigger-than-your-God thing – then it can be true.” It’s interesting, isn’t it (?) that the World Goodwill, this organisation that’s declared that one of its objectives in going about ushering in “social change” and “a new humanity” is by adopting practises that “draw on the power of thought,” has championed a song called, ‘Imagine,’ a song that was composed, reportedly, to promote just that, the power of thought, for world transformation. Imagine indeed; Over 140 countries are estimated to have participated in the worldwide app-sharing singalong of that hit. That’s millions upon millions of people focusing their powerful thinking and their energy into a shared target, one that serves the aims of the World Goodwill and their UN colleagues.

As for the Jesuits, they’ve, to an tiny extent, been open about their relationship to the UN, as their website states, “Jesuits and their social ministries work with international organisations such as the United Nations, the ‘World Bank’… to promote” what it describes as “more just development structures and policies.” What the Society is better known for is education and its schools of which it has founded many over the centuries, and all over the world. So-called ‘fifth Beatle,’ record-producer and high-ranking Abbey Road studios employee, George Martin, is reported to have been Jesuit-educated. Kenneth Womack, author of the biography, ‘Maximum Volume: The Life of Beatles Producer George Martin…,’ mentions ‘Ignatius College’ in London, “a Jesuit college where the schoolmasters were Jesuit priests… at age 11 he earned a scholarship to attend” it. In later decades, as you may already know of course, he became ‘a Sir,’ a Knight Bachelor, same as Paul and Ringo.


‘Her Majesty’ from ‘Abbey Road’:

And in the end…

Before I sign off, let’s return to St. John’s Wood briefly, because there was another famed occultist who’d resided there, or so it’s claimed. Details are unsure, and as a result, sketchy as to the background and upbringing of this person from what I’ve gathered. Reported to have been born, Louis-Maximilian Bimstein, he’s perhaps best known as, Max Theon. His name has been linked to the occult organisation, the ‘Hermetic Brotherhood of Luxor,’ and of which he is credited with having been the Grand Master of. He’s also been mentioned as having been a fundamental inspiration on – and a teacher, even – of Helena Blavatsky when she was first establishing her ground as a theosophist.

‘Max Theon’

Sometime in the 1880s he married and moved in to his new wife’s house in St. John’s Wood, that’s according to one source I’ve come across on the ‘net, and whilst he was here, he effectively set up shop as a psychic-for-hire, he “advertised as follows in the spiritualist Press: ‘Theon, the Eastern Psychic Healer, cures all diseases,’” claims esoteric-history author, Joscelyn Godwin. Although, again, details appear to be sketchy, Theon and Blavatsky are reported to have worked together on occult projects.

I’m not exactly sure at this point in time how exactly, if at all, any of The Beatles were admirers or fans of Helena Blavatsky, although McCartney has referenced her when reminiscing on his life and times as a rich and famous music-star during the 1960s. He told his biographer and old-time friend, Barry Miles, “I finally had the time to allow myself to be exposed to some of the stuff that had intrigued me for a long time, since my mid-teens really, when I’d started to read about artists’ experiences and that kind of culture, an inquiring culture. I might have just been reading about Blavatsky or Andre Breton, whatever it was, all these strange little strands, but it started to awaken in me the sense that this kind of bohemian thing, this artistic thing was possible. So I used to take a lot of time for those pursuits… And it was nice for this to leak into the Beatle stuff as it did.” There’s an occult bookshop in St. John’s Wood that McCartney is claimed to have visited back in those days, according to the findings of Tobias Churton, a British writer, lecturer and expert on western esotericism and theosophy. In his published work, ‘Aleister Crowley in America: Art, Espionage, and the Sex Magick in the New World,’ he reports that the store was run by a man by the name of Timothy d’Arch, who was acquainted with most if not all of the Beatles. Unfortunately, I’ve come up a blank in my search to confirm whether such a shop did (or does) exist in St. John’s Wood, however, either way, there’s no doubt really that Paul was a visitor of such emporiums, wherever they may have been. He actually lived in this London district for the second half of the 1960s in a town-house he bought back then and resides at to this day, and it was certainly a home that welcomed the occult/esoteric. Situated on Cavendish Avenue, just a two-minute stroll from Abbey Road around the corner, “a typical Cavendish Avenue discussion” back then, according to Paul’s old friend, Barry Miles, would be McCartney and some friendly visitor(s) comparing the difference between “Eastern mysticism and Western ritual magic.” Also, in the garden, he had what’s described as a ‘geodesic dome’ built, a glass-roofed structure made up of pentagon-shaped windows where he could sit and meditate. The pic below is of him with his dog, Martha, inside it, and I’m presuming from how the structure looks there, that it was still in the building stages at that point. Indeed, that certainly looks to be the case when you compare that photo with the one underneath it of McCartney and his fellow Beatles inside it in 1968.


For a fuller picture, this (below) is how it looked in 2011. This is a screencap of movie footage uploaded on ‘YouTube’ by a chap by the name of Ronald Renting who, it appears, got it by cheekily jumping up the back-garden wall of Paul’s Cavendish Avenue house.


To think, that from one district in London came not only the studios where The Beatles created sounds that, I would suggest, shape world culture, but philosophical teachings they championed to the same effect. That’s a little bit, ‘wow.’ I mean, what are the chances?

A lot of the information in this article examining the connections between St. John’s Wood and, specifically, the supposed occult bookshop there, the Templars, the Knights of St. John, and the theosophists Helena Blavatsky and Annie Besant were shared with me by an internet buddy of mine going back some years now and who often goes by the name of ‘johnyb,’ or ‘Johny.’ I’d been promising him for a while that I’d rustle up something on this site based on the initial info he’d e-mailed me. This is it.



‘Conservation Area Audit. St John’s Wood.’,+presenting+them+gradually+to+the+public+in+various+works+that+would+interpret+exoteric+religions+in+the+light+of+esoteric+teachings.&source=bl&ots=KYb1L32Ahr&sig=ACfU3U3Fm1VQQb6YGHTMon_VE4lysGo8KA&hl=en&sa=X&ved=2ahUKEwjigoy1ibTmAhVTilwKHQrOCnEQ6AEwAHoECAoQAg#v=onepage&q=To%20study%20the%20philosophies%20of%20the%20East%20-%20those%20of%20India%20chiefly%2C%20presenting%20them%20gradually%20to%20the%20public%20in%20various%20works%20that%20would%20interpret%20exoteric%20religions%20in%20the%20light%20of%20esoteric%20teachings.&f=false’s%20wood%20occult&f=false’s%20wood%20theosophy&f=false’s%20wood%20theosophical%20society&f=false’s%20wood%20theosophy&f=false’s%20wood%20annie%20besant%20occult&f=false,+in+this+age+of+crass+and+illogical+materialism,+the+repeated+attacks+on+all+and+everything+man+holds+most+dear+and+sacred,+in+his+inner+spiritual+life.+The+true+philosopher,+the+student+of+the+Esoteric+Wisdom,&source=bl&ots=mR0nQy__DY&sig=ACfU3U1E-Pm3q9qMH_H2ZJ00TwXTfgKF5g&hl=en&sa=X&ved=2ahUKEwi1mqKmmrTmAhXDgVwKHeHrCncQ6AEwAHoECAQQAg#v=onepage&q=he%20Esoteric%20philosophy%20is%20alone%20calculated%20to%20withstand%2C%20in%20this%20age%20of%20crass%20and%20illogical%20materialism%2C%20the%20repeated%20attacks%20on%20all%20and%20everything%20man%20holds%20most%20dear%20and%20sacred%2C%20in%20his%20inner%20spiritual%20life.%20The%20true%20philosopher%2C%20the%20student%20of%20the%20Esoteric%20Wisdom%2C&f=false,%20J/431%20Mills,%20J%20-%20Transforming%20Ourselves%20for%20One%20World%20Consciousness.mp3

YouTube: ‘George Bernard Shaw and “the Humane Gas”‘

YouTube: ‘Fabian Socialist George Bernard Shaw In His Own Words’’s%20time%20to%20look%20after%20them.&f=false

Our story

YouTube: ‘Interview – Greg Szymanski & Gerard Bouffard – The Vatican Control Over the world’,+and+the+only+form+in+which+a+religion+of+the+future+can+be+conceived&source=bl&ots=3AcZshuLFt&sig=ACfU3U1xOr5syC7FDlD7NkpdQXYfMGA7_Q&hl=en&sa=X&ved=2ahUKEwiz9JLznLnmAhUOWsAKHSKjBlkQ6AEwBHoECAwQAg#v=onepage&q=christianity%20and%20evolution%20A%20general%20convergence%20of%20religions%20upon%20a%20universal%20Christ%20who%20fundamentally%20satisfies%20them%20all%3A%20that%20seems%20to%20me%20the%20only%20possible%20conversion%20of%20the%20world%2C%20and%20the%20only%20form%20in%20which%20a%20religion%20of%20the%20future%20can%20be%20conceived&f=false

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The ‘Magical Mystery Talk’ podcast series continues…

Please join me (that’d be Matt, by the way) and Mark Devlin, the UK’s leading speaker on the conspiracies and esoterica of the music-industry, and Desiree Hall, proprietor of another Beatles site, ‘The Number Nine,’ for edition #2 of our new podcast series, ‘Magical Mystery Talk,’ in which we discuss various topical news-items currently doing the rounds related to John, Paul, George and Ringo, from an occult/conspiratorial angle. You can hear it in the link at the bottom of this post. Also, if you haven’t heard ‘part 1,’ then you can do so via the address directly underneath. In that particular episode (recorded in August 2019), myself and my fellow hosts highlight possible ‘Paul is Dead’ clues in the 2019 Beatles-themed ‘romantic comedy’ movie directed by Danny Boyle, ‘Yesterday.’ Also, to coincide with the release of ‘Echo in the Canyon,’ the new documentary about the notorious Laurel Canyon area of Los Angeles, and that features contributions from Ringo, we explore the band-members’ connections to this location which was investigated in landmark style by David McGowan in his book, ‘Weird Scenes in the Canyon: Laurel Canyon, Covert Ops & the Dark Heart of the Hippie Dream.’ And, to mark the fiftieth year since the so-called ‘Manson murders,’ an episode in history which The Beatles are connected to of course, we focus in on some ‘occult clues’ in the works of Sharon Tate, Roman Polanski, and Lennon, McCartney, Harrison and Starr, that one might regard to be suggesting that the band was associated with this more than we’ve officially been told.

In the second edition of Magical Mystery Talk, Mark, Desiree and myself look back at the creations of Robert Freeman, the English photographer who died this year aged 82, and who’d shot many of The Beatles’ earliest album-covers, two of which have caught the attention of occult-clue watchers, those being 1963’s ‘With The Beatles’ (what with its ‘one-eye / black-white duality’), and 1965’s soundtrack to the movie of the same name, ‘Help!’, featuring all four Beatles dressed in skiing gear and standing with their arms positioned in Aleister Crowley-esque fashion, you might think. Crowly

Recorded and released in December 2019, ‘edition 2’ of this Magical Mystery Talk podcast comes to you twenty years to the month since an attempt on George Harrison’s life was made when a ‘crazed’ intruder came into his stately home in Friar Park, England, and stabbed the ex-Beatle repeatedly in the lung. As you’ll hear during my chat with Mark and Desiree, this was by no means the first time he’d been the focus of threats of violent intent – and as recently de-classified FBI files will attest to. We also discuss the idea that the attacker, Michael Abram – who is said to have been suffering from delusions that The Beatles were witches when he invaded Harrison’s home – was yet another mind-controlled puppet same as Lennon’s assassin, Mark David Chapman.

Other timely topics discussed during the second edition of this podcast include the 52nd anniversary of the screening on British TV of The Beatles’ film, ‘Magical Mystery Tour,’ the 39th of John’s shooting, and the 50th of the ‘Abbey Road’ album which was re-issued this year as a box-set to mark this, and that was named after the road where it was recorded, situated in St. John’s Wood, a West London district with Freemasonic connections – and this is a subject in particular I’ll be sharing more on in one of two articles still to come on this site before 2019 is out.

This podcast was recorded on December 2nd 2019…



Here’s Some Clues for You All?… Manson, Tate, Polanski, The Beatles.

Here's Some Clues for You All

Up until a couple of weeks or so before this article was published, I had no plan or intention to post anything about The Beatles and Charles Manson and, of course, their connection to each other even though 2019 marks the 50 years since the so-called ‘Manson murders.’ However, now, in September ’19, five decades almost to the month that the killings took place, here I am with a piece about that very subject. It wouldn’t have been the case had I continued thinking that I didn’t actually have anything to add to the already large and comprehensive choice of articles, podcasts, books and interviews available and that are of an alternative/conspiratorial nature. But, over a fortnight ago, I came across some contributions made by various posters on a FaceBook group that I’m a member of. These offerings appear mainly in the form of some screencaps of a couple of movies that were released months before the murders and that could be construed (and have) to be Beatles-related occult clues to the killings before they happened. These postings reminded me of some more I’d read and subsequently saved from a year or two earlier from other sections of the same page and also pertaining to the same idea. What I’ve done here is collected those scattered bits of information and shared them in an easier-to-read compilation. They were posted by contributors of the ‘Weird Scenes Inside the Canyon Discussion Group,’ a FaceBook collective dedicated to the late David McGowan, author of the seminal book, ‘Weird Scenes Inside the Canyon: Laurel Canyon, Covert Ops & the Dark Heart of the Hippie Dream.’ At the end of this article you’ll find links to those pages should you so like to read them at their source and/or contribute.

I’ll point out, before getting into the aforementioned ‘clues,’ that I’m not a wholehearted subscriber to the mainstream, and let’s call it, ‘official’ version of events that led to the killings between August 8th and 9th 1969 of Hollywood actress, Sharon Tate and others by Manson’s friends and associates, the so-called ‘cult’ dubbed ‘the family.’ That is of course the narrative in which the murders of these random victims was caused by clues and subliminal messages that Charles believed he was given on songs from The Beatles’ self-titled 1968 double-LP nicknamed the ‘White Album,’ and in particular the track from it, ‘Helter Skelter,’ which he heard and saw to be an impending apocalyptic Race war between Blacks and Whites, and that the killings was the beginning of. There’s enough information out in the open that, I feel, throws doubt over this particular telling of events, including the claim that Manson was effectively told through the music on 1968’s ‘The Beatles’ to instigate the murders ahead of a racial apocalypse in which the Blacks would win but then ultimately relinquish themselves to the higher White intellect of which Charles wanted to be the ruling head of. On the contrary, there is evidence to argue that he and some if not all of his crew who went out and took part in the carnage over those two days, knew almost all of their victims well, these were not a random collection of strangers to them and this was actually a calculated drug-dealing connected hit, and covered up by the so-called ‘powers that be’ because it links into powerful, influential figures within organised crime, and well-known names in the music-business and Hollywood – Sharon Tate being only one, amongst others who have not been disclosed widely. It’s since come to light by film-actor, Michael Caine no less, that he recalls meeting Charles at a party held by The Mamas and The Papas star ‘Mama’ Cass Elliot and that was also attended by the actress and Jay Sebring, another of the murder victims. This isn’t the only time she and the man who would later be jailed for life for her killing are said to have partied in the same place. Indeed, Manson, who was a budding singer/song-writer and guitarist, was a regular at celebrity-filled get-togethers such as these, it seems, partly because he was considered in a number of quarters to be a talented artist with the potential to become a famous music-star. This led to a number of sessions at recording-studios, as well as almost joining a band backing Neil Young – who recommended him for a record-contract at ‘Reprise,’ a label founded by Frank Sinatra (more about him as we go along), and befriending Beach Boy drummer, Dennis Wilson and having one of his songs re-worked and covered on the band’s 1969 album, ‘20/20.’ All this, it would appear, somewhat contradicts another facet in the mainstream/official version of events, that being that he was deemed a less than satisfactory music-artist who, as a result, specifically chose as a destination for murder the house at Cielo Drive, the well-to-do Los Angeles address where Tate ended up dead, because it was a symbolic gesture against the music-industry elites who’d shunned him, especially, in particular, the son of Doris Day, Terry Melcher, who’d produced songs for The Byrds, and Pat Boone to name a few and who was living in the property last before Sharon moved in with her husband, film-director, Roman Polanski. It’s been argued that, actually, Charles hadn’t been spurned by the producer, both men had no gripes with each other at all. Also, the mainstream-pumped claim that the killings were caused by the cult-leader grip of a hypnotic Manson over this ‘family’ of his has been opposed – and noted briefly a paragraph or two below here.

Tate was murdered at her Cielo Drive rented home on the first night of the killings. Roman Polanski wasn’t in the house when the massacre happened, he was in Europe working on a movie. Other victims there included his friend, Wojciech Frykowski, Abigail Folger an heiress, and the previously-mentioned Jay Sebring, a hairdresser to the celebrities. On the second day, the murders took place at another LA location, this time at the residence of supermarket executive, Leno LaBianca and his wife, Rosemary. Both of them were killed and directly after this, the words ‘Death To Pigs,’ and ‘Rise’ were written on the walls of their home in blood as well as ‘Healter Skelter’ on the refrigerator door.

labianca fridge

death to pigs


A year ago, I spoke with Neil Sanders, a well-known researcher and also a passionate aficionado on the subject of Manson. In 2017, he collated all his years-long knowledge-to-date into his book, ‘Now is the Only Thing That’s Real: A Re-examination of the Manson Murders, Motives and Mythos.’ He told me that the ‘Helter Skelter’ claims put forward in the murder-trial by the prosecution, led by Vincent Bugliosi, was “nonsensical.” For a start, why did the killers stop killing after that two-day spree? Why didn’t they carry on if the point behind it was to spark an apocalyptic Race war? Also, “why didn’t they leave some more obvious sort of evidence that would suggest that it was Black people that were doing these crimes? There is a suggestion that they left water-melon rinds… this was possibly to try and connect them with Black people, and various elements of the graffiti that was left could of have been connected to the ‘Black Panthers,’” such as, perhaps, the word, ‘pigs,’ which was widely used by the Black Panther political organisation during the late 1960s as a derogatory term to describe the police. “But,” Sanders says of Manson’s murderers on those two nights, “you know what they could have done! They could’ve phoned up and said, ‘I saw two Black guys running down the street… they were covered in blood.’ Or anything! They could’ve left a manifesto. It basically didn’t make sense. Also, basically, the Helter Skelter theory didn’t actually come into fruition until the trial.” It was, he told me, the creation of a witness for the prosecution, Paul Watkins, an associate of Manson’s crew but not directly involved in or arrested for the murders. “Basically he made himself a witness for the prosecution to get attention. That’s really what he wanted, he wanted to be interviewed on the television, he wanted to write a book about his experiences, he wanted to get some of the clout or kudos or whatever it is that he got from being a public figure. He essentially came to Vincent Bugliosi with this whole concept of Helter Skelter. The only problem was, basically, the idea of the Race war… and even some of the sort of more supposed cult aspects of Manson believing that he was the reincarnation of Jesus, believing that he was elementally connected to the Devil and suchlike that – that wasn’t Charles Manson. That was a cult-leader that existed years and years before in Box Canyon (LA), the exact same story was basically appropriated to this particular person. Krishna Venta. Krishna Venta was essentially a cult-leader… Essentially everything that was appropriated about ‘the family,’ and the concept of this Race war, was taken from the life and times of Krishna Venta. Now this is a book that was available, that was in the possession of Paul Watkins when he went to Vincent Bugliosi.” The words, ‘helter skelter,’ to Manson who’d spent most of his adult life in and out of jail on a variety of petty crimes and with his most recent release from prison back then taking place in 1967, did actually have some personal resonance, but not to do with a Race war or as a prompt to go out and commit murder. Neil says, “do you know what ‘Helter Skelter’ actually was in the concept of Manson lore? Essentially it was a word that meant confusion. It meant – you know – the world’s like in helter skelter, it’s all spiralling round and out of control, and Manson attributed this to the fact that basically he’d been in and out of prison… He’d had ten years out of society and you know how fast things move on when you’re sort of away from this, so by the time he came out of prison in 1967, as far as he could see, the world was going at a million miles per hour and so this frantic song ‘Helter Skelter’ and this phrase sort of seemed to sum up that confusion.” It was also the name of a gambling den that Manson had assembled at the ‘Spahn Ranch’ in Los Angeles, a former movie-set for westerns owned by a blind guy by the name of George Spahn who allowed Charles and his friends to move into and live at. “What ‘helter skelter’ really was… he set up an illegal gambling operation – a nightclub in one of the outhouses and he’d written on the door ‘helter skelter is coming down fast’ and this was how people knew this was where the gambling place was. We know this to be true because police raided the Spahn ranch and charged George Spahn with basically allowing illegal gambling operations to go on on his property. So we know that to be true. But basically this evidence was taken and mashed together with the testimony of Paul Watkins – which was the story of Krishna Venta, appropriated to Charles Manson – and that’s where the Helter Skelter theory came from.” MansonNeil argues that the murders were the culmination of an illegal drug deal gone wrong and involving an interconnecting web of people including some of the murder victims. For example, Jay Sebring, who was Sharon Tate’s ex-boyfriend, had been operating “a side-line” next to his celebrity hair-dressing. “It would appear that basically on the side of this – ever since his youth, really – he’d always dabbled in… selling hard drugs to his clients – and this was confirmed by people like Steve McQueen’s wife – Neile McQueen… One of the major clients Jay Sebring had was Frank Sinatra… And it was through the sort of introduction – through Sinatra – that Jay was able to get in touch with people like Peter Lawford and Dean Martin and various other people like that – and Sammy Davis Jr. – all of whom were rather fond of the ole drugs… Yeah, Jay Sebring was dealing cocaine.” However, if “Manson was in town,” Sanders claims, Dean Martin, according to one of his “very good friends,” would get his cocaine from him instead because “Manson’s was better.” Manson “was blatantly moving drugs… ” Also, Rudi Altobelli, the man who owned the Cielo Drive home that Sharon and Roman rented and who’s said to have been a manager of Hollywood actors such as Henry Fonda and Katherine Hepburn, was mixed up in drug deals too according to Neil. “He was dealing marijuana and he claimed to be connected to the Mafia and also there was a gentleman that was sort of like connected to the property… who became again a witness for the prosecution that was moving huge amounts of Iranian hash in and out of the properties, so, again, it’s all very, very, very dodgy… Every person you look at was involved in drugs…” Such as Polanski’s chum, Wojciech Frykowski, who was the boyfriend of fellow murder-victim, Abigail Folger. He was dealing, says Neil, and it was a tainted, bad batch of drugs he bought for selling and known as ‘fairy dust’ (MDA) that ultimately led, Sanders claims, to the murdering-spree after he sold some of this to a member of Manson’s collective and one of the convicted killers, Tex Watson. According to “various interviews with Manson,” in the years since, “they knew Wojciech and Jay. Tex… interacted with Jay on a professional level. And the suggestion has also been made that – in the interim period after Terry Melcher moved – it was arranged by Rudi Altobelli for Tex Watson to move into the guest-house at the back and look after the place for the time. So they were intimately, intimately – they had intimate knowledge of the property. At the trial, Terry Melcher admitted that both Tex and Manson had been at his house several times. And so again, this idea of a random hit is nonsense, they knew who was gonna be there, they knew the property and there was a very definite reason that Tex actually went there.” Furthermore, Manson and his collective called in on the LaBianca household that bloody night because Charles wanted to get his hands “on a little black book” on behalf of Frankie Carbo, a Mafia figure who he’d first come to know in prison. “Frankie Carbo was connected to gambling and various other enterprises like that. One particular gambling enterprise that Frankie Carbo was involved with was Leno LaBianca. It came out in reports after the death of Leno LaBianca that apparently he owed as much as $30,000 to Frankie Carbo – personally. Which was, again, one of these strange threads that seems to run through this story.” Neil, paraphrasing Manson speaking in a media-interview years after the murders, said, “I went in there and I said to Leno, ‘don’t move otherwise your dead. I’ve come here for the little black book. Frankie Carbo wants the little black book.’” Sanders quotes Charles as saying, “I didn’t know Leno LaBianca. Leno knew Frankie Carbo and I know Frankie Carbo.”

Whilst I might not be sold exactly on Vincent Bugliosi’s Helter Skelter claims, I’m certainly not opposed to the idea that the song, and the album it came from, might have served as some form of mind-control trigger to Manson’s collective if not to him too. As I’ve already set out through the words of Neil Sanders, The Beatles’ music did have some resonance for Charles in some way shape or form; The aforementioned track’s name was used as the header-banner for a gambling-den of his, and it also encapsulated what he thought of the world he came out of prison into in 1967, right in the middle of the counter-cultural explosion, the so-called ‘summer of love,’ when the sounds of ‘Sgt. Pepper’ were filling the air. Also, it’s said, a house he and his friends rented for a time had a yellow-coloured exterior throughout, so they dubbed it the ‘yellow submarine.’ For their part, members of The Beatles have never suggested publicly having any willing influence in the killings of course. Ringo, for one has said of the slayings, “it was pretty miserable, actually, and everyone got really insecure – not just us, not just the Rockers, but everyone in LA felt: ‘Oh, God, it can happen to anybody.’ Thank God they caught the bugger. It was upsetting. I mean, I knew Roman Polanski and Sharon Tate, and – God! – it was a rough time.” What he says there got me to start thinking that maybe a reason for the murders was indeed to instil insecurity as well as fear into the Hollywood movie-star community of LA, to give them a Mafia-like warning not to get too large with the drug-dealing, re; Sebring, and others in that celebrity clique, just in case they got as arrogant as to think their fame guaranteed them safety from any reprisals or punishments handed out to so-called lesser mortals who’d got too ambitious? And yes, in case you weren’t aware already, Ringo did indeed know Sharon and Roman. He knew them socially and he’d also starred in the 1969 big-screen release, ‘The Magic Christian’ with the director, who appeared in a brief cameo in it – and this brings us to the screencaps I plugged at the beginning because they’re attached to two movies, the aforementioned film being included in that pair.

Cannes Film Festival, 1968
Ringo, Roman and Sharon at the Cannes Film Festival, 1968

Incidentally, none of these pics are the exact ones from the ‘Weird Scenes’ FaceBook page. Some are my own scans of those I saw there and others are completely mine, and as inspired by what the posters in that group shared originally. Also included, some comments and perspectives from me on what I see in these at this point in time as well as some screenshots from other films I’ve come across myself and a few additional pictures too. Many of these caps and photo-pictures that I’ve collected for you here are certainly, for me, personally, intriguing for the occult symbolism I think I have seen in them. As I mentioned right at the start, given that the images I saw on the ‘Weird Scenes’ FaceBook page are from films released months before the so-called ‘Helter Skelter’-sparked slaughters in August ‘69, some people will (and have) viewed them as clues to that future, bolstered of course by the fact that the husband of one of the murder-victims-to-be is the director of one of these and in the other is a star of it along with a member of the band that recorded the title song of the killings, and there are other people, from both movies, who in some way shape or form are linked to the Manson saga.

Someone else Roman and Sharon knew, or at least had met more than once was Yoko Ono. In November 1966, the couple attended her art-show in London at the ‘Indica,’ the gallery and avant-garde book-shop partly funded and built by Beatle Paul and headed by his then-girlfriend’s brother, Peter Asher, and also by Barry Miles, a long-time associate of McCartney’s of course, and John Dunbar. This was the event where Lennon says he first met the-then still-largely-unknown Japanese artist, his future wife, although this is doubted by some commentators and researchers, as you may indeed know already. He certainly attended the premiere of The Magic Christian in London with Yoko and Roman, but Sharon wasn’t there because this was in December 1969, she’d been murdered only four months earlier.93e6f53c3ba30845a23d275c635561bfAnd here’s some actors playing John and Yoko for a brief few seconds in a scene from The Magic Christian…mctowerThe other movie in the two from the ‘Weird Scenes’ group that I’ve got the previously-mentioned screencaps for here is the Roman Polanski-directed ‘Rosemary’s Baby,’ released in 1968 in the US and, so I’m led to understand, January ’69 in the UK, just a couple of months before filming began on The Magic Christian apparently. It stars Mia Farrow as Rosemary, a young married woman who moves into a new apartment with her jobbing theatre and TV actor husband. There they meet an elderly couple who live in a neighbouring flat in the building and a friendly, close relationship begins among them. Eventually, she realises that the old pair, underneath what I would describe as their almost grandparent-like, kindly exterior, are secret Satan worshipers, a realisation that is brought to her attention from a book bequeathed to her by someone who’s grown suspicious of them – and who dies soon after. Rosemary has become pregnant by this time with her first child, and she becomes increasingly scared for her unborn baby’s safety in the midst of the elderly couple’s presence, not helped in the slightest by the fact that the old man – who goes by the name of ‘Roman’ – is actually not who he says he is, but the son of a publicly vilified Satanist, initially brought to her attention by the bequeathed book, and titled, ‘All of Them Witches.’Rosemary's Baby 6As she leafs through the book, we then see her stop at the page of, who I assume was a witch, a lady by the name of Prudence.Rosemary's Baby 7

“Dear Prudence,” John Lennon sang on the White Album track of the same name of course, and written about none other than a sister of Mia Farrow’s, Prudence, after the two women resided with The Beatles in India in early 1968 at a meditation retreat hosted by the guru, the Maharishi Mahesh Yogi.

In India, Prudence Farrow (far bottom left) next to Ringo.

Actually, another cut from the LP, ‘Sexy Sadie,’ was originally planned to have been named, ‘Maharishi,’ following allegations made about his behaviour towards a female member of the residents on the Indian visit. It was only after George Harrison suggested John, the writer of the song, change it to something different, offering up the title we now have, that it was altered, so we’re told. It’s been reported by a few news sources on the web, that Mia Farrow is said to have claimed that it was she who was at the centre of these allegations after the Maharishi had “grabbed and groped her in his cave.” McCartney has given a different account, but with some small similarity. In ‘Many Years from Now,’ a biography of him written by Barry Miles, he tells the author, “it was a big scandal.” Lennon, who, along with Harrison, stayed on at the retreat in India after the other two Beatles had left earlier, eventually “stormed back” home because of the allegations regarding the guru. John visited Paul at his house in London after returning from his trip and brought him up to speed with the accusations. McCartney recollects being told that “Maharishi had tried to get off with one of the chicks. I said, ‘tell me what’s happened.’ John said, ‘remember that blonde girl with the short hair? Like a Mia Farrow look-a-like? She was called Pat or something?’ I said, ‘yeah.’ He said, ‘well, Maharishi made a pass at her… He’s just a bloody old letch just like everybody else.’”

Farrow india
Mia Farrow with The Beatles in India, 1968… Far left to right: George Harrison’s then-wife, Pattie, John, Beach Boy Mike Love, the Maharishi, George, Mia, Donovan, Paul, Jane Asher, John’s then-wife, Cynthia.

One of those convicted for participating in the Tate killings was Susan Atkins, nicknamed and addressed by Manson and the collective as Sadie Mae Glutz, and, it’s said, Sexy Sadie. Before leaving the scene of the killings that night, she wrote the word ‘pig’ in Sharon’s blood on the front-door of her Cielo Drive home.

Here’s Roman Polanski beside that door…

Roman pig

In The Magic Christian film, Peter Sellers is Sir Guy Grand, a supremely rich and powerful man, and Ringo is a homeless person who’s then adopted by him and named, Youngman Grand (a ‘man son’?), and there’s a scene where we can see both of them relaxing in their family home, Starr’s character sits and plays some music on a woodwind instrument and his new father toys briefly with a balance-board and also strums on a harp, and on the TV there’s what appears to me to be, maybe, some kind of news-bulletin, as all we’re shown are images of protests, demonstrations and public unrest, perhaps as a reference to 1968, an intensely turbulent year that saw Race-riots in the US, anti-Vietnam demos, the near collapse of the French government over in Europe after students and striking workers joined forces, and the assassinations of Martin Luther King and Robert Kennedy. I assume this because we get shown a banner with “’68” on it. This is preceded by the words, “VOTE PIG.”

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Other ‘pig’ references are made in the film. There’s a scene where Sir Guy dons a pig mask and pokes his head out of a train-carriage window as he speeds away from the station, and sticking out of his mouth is a hot-dog that he got from a street-vendor without paying for it.

The Magic Christian 1

Later, he hands the mask over to a policeman (perhaps, not surprisingly) after he and Ringo’s character are stopped for speeding…

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According to the mainstream, Bugliosi-pushed Helter Skelter theory of Manson’s, the ‘pig’ motif in the murders was inspired by the George Harrison-penned White Album track, ‘Piggies.’ Its writer has been quoted as saying the song is a “social comment.” In The Beatles’ official fiftieth anniversary book for the double album that was re-released in 2018, it describes the composition as “evoking what he saw as the inequity of the class-system, he depicted the lives of little piggies and bigger piggies.”

PIGGIES (lyrics)

Have you seen the little piggies
Crawling in the dirt?
And for all the little piggies
Life is getting worse,
Always having dirt to play around in

Have you seen the bigger piggies
In their starched white shirts?
You will find the bigger piggies
Stirring up the dirt,
Always have clean shirts to play around in

In their styes with all their backing
They don’t care what goes on around
In their eyes there’s something lacking
What they need’s a damn good whacking

Everywhere there’s lots of piggies
Living piggy lives
You can see them out for dinner
With their piggy wives
Clutching forks and knives to eat the bacon


For Charles, the references to piggies in George’s song stood for “anyone who belonged to the establishment,” or so Bugliosi claimed he was told by those who knew Manson. For example, the music-producer, Gregg Jakobson – yet another top-level record-industry figure who had known him – is quoted in Vincent’s best-selling book, ‘Helter Skelter,’ as saying that the line in the lyric about ‘what they need’s a damn good whacking,’ was “the Black man was going to give the piggies, the establishment, a damned good whacking,” according to Charles. The apocalyptic Race war that the murders were aimed at beginning, Bugliosi claimed, would be to the benefit of what Manson deemed to be the ‘true Black race,’ “who Manson identified at various times as the Black Muslims and the Black Panthers.” According to Tex Watson, quoted in Vincent’s Helter Skelter book, these Blacks would set off a violent conflict of White against White following the “mass paranoia” and panic that would come from the killings in a “rich piggy district” of LA such as Cielo Drive – it would be the ‘hippie liberals versus all the uptight conservatives.’ In The Magic Christian, something else that we see coming from the TV in the Grand family residence as Sir Guy and his new son relax, is a news-bulletin on ‘Crufts,’ a real-life and long-running dog-show in Britain, although the television-report isn’t factual of course, but an occult clue it might be, you might think. It begins with scenes of a man from West Africa by the name of Mr. Umbongo being forced into the back of a police-van as he raises his arm and makes the ‘Black power’ fist sign. It turns out his entry in the event, that is described by the presenter of the TV-item as “a new breed of dog… a curious cat-like creature” and called the ‘Congo Black dog’ or ‘Big Fang,’ had gone “absolutely berserk,” at the show, engaging in a mass killing spree of its fellow entrants, “and it’s reported that the dog was actually eating an unspecified number of its fellow entries.” This was no dog though. Its “poodle-type coat” as described by the television-reporter wasn’t its natural appearance, it was a disguise that came off to reveal a black panther…

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As mentioned earlier in this article, the ‘pig’ slogan was often used during the late 1960s by the Black Panthers to describe the police. A prominent and leading member of this revolutionary organisation was Eldridge Cleaver. Now, in the Magic Christian movie there’s scenes with Sir Guy Grand and Youngman onboard a luxury cruise-liner called the ‘Magic Christian,’ hence the film’s title I s’pose, although all is not what it first looks like it is on the ship, a realisation that takes a bit of time to transpire with its guests and also us the viewers, but when it does, we realise that actually it’s a mock-up situated in a warehouse. Nevertheless, in a most surreal fashion – in keeping with the entire movie that, for me, is a bit too obscure with its plot delivery and its humour, although I’m guessing it’s an anti-corporatist, capitalist, consumerist satire – pandemonium befalls what the passengers at this point have yet to discover isn’t a ship, although I’m not exactly sure what the cause of the chaos is as we get all sorts of images coming at us, for not only do we see the captain being attacked by a vampire (played by famous ‘Dracula’ actor, Christopher Lee), but also a couple of guys in dinner-suits on motorcycles forcing themselves down a corridor in the guests’ quarters, water pouring in to the place, and a gorilla making off with a briefcase (huh?). As panic ensues and passengers rush to find safety dressed in life-jackets, we can see graffiti that’s been strewn across the interior of the so-called ship, various slogans including the ones below that, to me, look slightly similar to the blood-smeared words left behind by Manson’s friends and associates. The person standing on the right there in the picture of course is Ringo (Youngman)…

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Another of the red-smeared words we can see during these panic-stricken scenes is included in a sentence that can only be seen partially as it’s on a wall that moves and doesn’t stay  in shot long enough for it all to be shown to us, although we do get… “CLEAVER”…

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Moving on… towards the end of the movie, Sir Guy Grand and Youngman conduct a hugely elaborate challenge on passers-by in London by filling an industrial-size vat to the brim with blood, urine and animal excrement and then throwing piles of cash notes into it and successfully inviting members of the congregating general public that are passing next to the spectacle to climb in and have it if they want it (and as sung in the theme of one of the songs in the film, the McCartney-written, ‘Come and Get It’ performed by the ‘Apple Records’ band, Badfinger). The name on the truck that delivers the stinking, disease-ridden contents used for the challenge reads: ‘Slaughterhousing Ltd.’

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Another blogger I’ve come across (from ‘The Blog of Caverns’) has noted that there’s a few seconds during the scene where Ringo’s character is relaxing with Sir Guy by the TV that’s reminiscent with a very short moment from another film, one first released two or so years earlier titled, ‘Eye of the Devil.’ In one, Youngman Grand is looking through the harp that his new father’s been playing, and in the other a young boy also looks through one…

harp duo

The writer of The Blog of Caverns has no interpretation for what these two similar shots might mean from an occult perspective when paired together and judged as a picture, and neither have I, it’s just that, in a wider perspective, the image of the young boy is taken from a film starring Sharon Tate, and furthermore, it’s a film the screenplay of which is said to have been partly-written by Terry Southern, the author also of The Magic Christian movie and the novel from which it came. He’d made his name in the mid-Sixties following his writing work on Stanley Kubrick’s ‘Dr. Strangelove.’ In 1967, he appeared as one of the favoured faces on the Sgt. Pepper album-cover, and in 1968, Ringo had a role in the big-screen interpretation of the writer’s book, ‘Candy.’

on the set of The Magic Christian
‘All the Sixes’: Ringo on the set of The Magic Christian.

In Eye of the Devil, the child we see through the harp is the son of Philippe, the head member of the de Montfaucon family dynasty that, we’re told, stretches back more than a thousand years. When his father (played by David Niven) is called back to the ancestral home to assume his hereditary role in a grand occult ritual, his unknowing wife follows him there by car with their boy. There, outside in the courtyard, once making her arrival, a flying arrow suddenly lands right next to her on the ground, and pierced through it is a dead dove. It has been shot down by Christian de Caray, a young man with close ties to the Montfaucon family. Later, his sister, Odile, played by Tate, gives it as an offering during some form of ritualistic gathering of people in hooded robes inside the house. Maybe I’m stretching it here, but I’m mentioning it nonetheless, and leaving you to make up your own conclusion, but, given that the Manson killings are often interpreted as a death knell to the so-called Sixties ‘hippie dream’ of love and peace, was the killing in the film of the very bird that typified this ideal symbolically to many millions of people, a suggestion of that? A week after Tate’s murder came the ‘Woodstock’ festival, complete with its now iconic dove emblem…


I think it’s also perhaps of worth to add the scan below, a poster from 1968 complete with a dove, as well as a black panther, and “CLEAVER”…

panther dove

Eye of the Devil is based on the 1964 book, ‘The Day of the Arrow.’ Having not read it, I’ve no idea whether the moment with the dove being speared is in it, or if it was added in the screenplay, perhaps by Southern. It’s reported that the film, Tate’s first starring role in a big-screen release, was going to be titled, ‘13.’ I presume this is because, in it, Philippe’s wife discovers that her husband has volunteered himself to be sacrificed in a black mass in accordance with a long-held occult tradition in his family. It is referred to as, the dance of the twelve.

Eye of the Devil-9

These twelve are apostles, plus one, the God that they worship, making thirteen. Sharon Tate’s last movie in which she starred was a comedy released in 1969, some months after her death, and originally called, reportedly, ‘12 + 1.’ It was later renamed ‘The Thirteen Chairs,’ and in it, her character is romantically involved for a brief time with a guy who’s a hairdresser. At the end of it, he discovers that a growth-lotion he’s invented for follicly-challenged men has made him millions, the film closes with this fortune-making potion exploding, literally, and landing over his head transforming his appearance from a clean-cut demeanour into something looking a bit like… well… Manson?…

before after

According to the movie database site, ‘IMDb,’ some versions of The Thirteen Chairs / 12 + 1 have this final scene re-edited in order to remove the Charles Manson-looking image. Perhaps it’s just too close to call for some who’ve seen it. In the film, the hairdresser, Mario, flies over to England from New York, where’s he’s based, to collect an inheritance from a dead aunt who lived there and where he first meets Sharon Tate’s character, Pat, who works in an antique shop. It’s situated in a small village that in real-life is called Lavenham, in the English county of Suffolk, East Anglia. Its main square, also referred to as its market area, had not that long previously been the location for the 1968 horror, ‘Witchfinder General,’ starring Vincent Price and based on the historical figure, Matthew Hopkins, a witch hunter in Britain in the 17th century. charles manson 1994Reportedly, one of the stars in the film, Ian Ogilvy, was told that the shooting of a particular scene, in which a woman accused of being a follower of the dark arts is burned at the stake, had actually, in reality, unlocked forces of the so-called ‘supernatural’ into Lavenham, a village that’s been the topic of stories and witness claims of ghosts and other hauntings and such experiences. The actor, who plays the part of an anti-royalist fighter during the English Civil War in the movie, is quoted as saying that, the day after filming the scene with the burning, “several inhabitants of Lavenham who had taken part in it and lived around the square, said ‘you should have heard the clanking and the crying and the screaming last night.’ That we’d ‘woken a lot of the ghosts up’ and they were quite serious about this. ‘There was a terrible, awful noise of wind, screams and moans.’” A few months after the film’s release, in February 1969, its director, Michael Reeves died aged just 25, the victim of what we’re told was an overdose of alcohol and barbiturates. One source I’ve come across on the ‘net about this makes a point of noting that his body was found on February 11th, two days before the Roman festival of Parentalia, “the purpose of which was to honour the dead.” A week after the movie-maker’s cremation I’m informed, that same month, shooting began on what would become The Thirteen Chairs, Tate’s last big-screen outing of course. In December ’69, John Lennon and Yoko Ono turned up to the village on a snow-filled day, to make their own film, an 18-minute-plus piece that they titled ‘Apotheosis.’ It shows them being launched off into the sky from the market-place in an orange-coloured hot-air balloon. The short follows its journey as it goes beyond the clouds.

And below, Lavenham market-place as seen in 17th century form, from the earlier-mentioned burning at the stake scene of Witchfinder General…

The Witch Finder General-1

And here’s Sharon from 12 + 1. It’s taken from a scene in the antique shop she works at and, as we can see from looking out that window, the building she’s in looks out over Lavenham’s market-place area, for example, note the Tudor building behind her and the three-roofed construction next to it, same as in the screencap above.

The Thirteen Chairs Lavenham-2

The Tudor building again… here’s John and Yoko being launched from their balloon in the market-place…


John and Yoko in their outfits for Apotheosis. A bit ‘dance of the twelve,’ if you know what I mean?
eye devil comp
‘Eye, eye!’: Philippe (David Niven) during the so-called dance of the twelve, and McCartney outside the ‘Magical Mystery Tour’ bus, September 1967

On the subject of the Magical Mystery Tour, Jessie Robins, the lady who plays the part of Ringo’s aunt, Jessie, in the film, would have been seen on the screen earlier in 1967 with the release of ‘The Fearless Vampire Killers’ movie in which she co-stars with Sharon Tate and Roman Polanski, who also directed it…

Fearless magical
Jessie co-starring alongside Roman Polanski (pictured centre), and, (bottom-right) appearing as Aunt Jessie with The Beatles.

Let’s go back to Rosemary’s Baby when Mia Farrow’s character, Rosemary, is looking through the All of Them Witches book… It informs her about a pungent-smelling substance, and this reminds her of a neck-penchant gifted to her by her elderly neighbours and who claim that the unpleasant odour emanating from that is a herb they call ‘Tannis Root.’ But is it? Reading the page in front of her, the bad smell that it describes is a fungus, a spongy matter used in rituals and worn on charms, and called ‘Devil’s Pepper.’ It’s the Devil’s pepper, then, or, looking at it this way too; The Devil’s pepper… The Devil is (Sgt.) Pepper.

Rosemary's Baby 8

The neck-penchant had previously been worn by another young lady, formerly homeless, who was then taken off the streets by the elderly couple, who subsequently took her in as a member of their family. Rosemary meets her briefly in the laundry of the apartment building where they both live and called, the ‘Bramford.’ It’s a fictional name and the outside location shots of it were – as you’ll most probably know – the ‘Dakota,’ where John Lennon lived for most of the 1970s, and where Yoko still resides to this day.

Rosemary's Baby 1

And here’s Rosemary, with her husband beside her, as they stand within the doorway of the Dakota, where Lennon would meet his death twelve years later.

Rosemary's Baby 2

And thanks to the earlier-mentioned ‘Blog of Caverns’ site, I’ve seen – I think – an interesting Dakota-themed link of screencaps of, some might say, a prophetic nature… Below is the actor, Laurence Harvey appearing briefly in The Magic Christian…


And here he is (below) in the 1962 film, ‘The Manchurian Candidate,’ starring as a mind-controlled assassin-in-waiting, this is a scene that was filmed, according to The Blog of Caverns, on February 12th of ‘62, almost two years exactly to the day before John, Paul and Ringo (George was ill) would stand on, what you might get to thinking, is almost exactly the same spot. Photographed on February 8th 1964, there in the background behind them you can see, what I’m led to understand, is the Dakota (outlined in the red square I’ve added), where Lennon would be gunned down by his very own mind-controlled killer…



I’ll add that the role of the mind-controlled man’s mother in The Manchurian Candidate is played by Angela Lansbury, perhaps best-known for her long-running stint as the crime-solving murder-mysteries author, Jessica Fletcher, in the ‘Murder She Wrote’ TV-series. The actress’s daughter, Deirdre, when she was a teenager, used to spend a lot of time with Charles Manson’s ‘family,’ and it’s said also that her mother went as far as to write a note for her stating that it was okay for the youngster to travel with them. And, just noting also that another star of the movie was, yep, Frank Sinatra. Later on in the Sixties he married Mia Farrow, for a short time, and is said to have served her with divorce papers whilst she was on the set of Rosemary’s Baby. And it’s to that film I now return…

The close friendship that looks as though is going to grow between Rosemary and the young lady she’s met in the laundry doesn’t happen because tragedy strikes. One night not long after, the elderly couple are walking towards the entrance of the apartment building. Beside them is a parked-up white Beetle…

Rosemary's Baby 3

As they get closer to the building, they see a commotion going on. There’s police, there’s a congregation of members of the public, and there on the ground is the dead body of the young woman who’s fallen out of one of the apartment’s windows (accident, pushed, suicide?). There’s another white Beetle, right next to her, splattered in blood, just about on the very spot where Lennon met his death in 1980…

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Need I mention the next photo, what with its white Beetle, and John, the Beatle in white? This photo for the cover of the ‘Abbey Road’ album of 1969 was shot on August 8th, the day of the ‘Tate killings’…


One of the tracks on the album, ‘Maxwell’s Silver Hammer,’ is, apparently – judging by the lyrics – the fictional tale of Maxwell, a serial-killer. The song also makes reference to “Rose and Valerie”… There’ll be more about rose, the flowered variety, later.


Joan was quizzical, studied pataphysical
Science in the home
Late nights all alone with a test tube
Oh, oh, oh, oh

Maxwell Edison, majoring in medicine
Calls her on the phone
“Can I take you out to the pictures
Joa, oa, oa, oan?”

 But as she’s getting ready to go
A knock comes on the door

Bang! Bang! Maxwell’s silver hammer
Came down upon her head
Bang! Bang! Maxwell’s silver hammer
Made sure that she was dead

Back in school again Maxwell plays the fool again
Teacher gets annoyed
Wishing to avoid and unpleasant
Sce, e, e, ene

She tells Max to stay when the class has gone away
So he waits behind
Writing fifty times “I must not be
So, o, o, o”

But when she turns her back on the boy
He creeps up from behind

Bang! Bang! Maxwell’s silver hammer
Came down upon her head
Bang! Bang! Maxwell’s silver hammer
Made sure that she was dead

P.C. Thirty-one said, “We caught a dirty one”

Maxwell stands alone
Painting testimonial pictures
Oh, oh, oh, oh

Rose and Valerie, screaming from the gallery
Say he must go free
(Maxwell must go free)
The judge does not agree and he tells them
So, o, o, o

But as the words are leaving his lips
A noise comes from behind

Bang! Bang! Maxwell’s silver hammer
Came down upon his head
Bang! Bang! Maxwell’s silver hammer
Made sure that he was dead

Whoa, oh, oh, oh
Silver hammer man


In 1973, Lennon released the solo album, ‘Mind Games’…


Well, yeah, here’s a promo pic for the Rosemary’s Baby movie…


If I’m not mistaken, John’s Mind Games album was released around the time he’d separated from Yoko and ventured off for over a year with their employee, and his girlfriend, May Pang. She’s reported to have recalled one particular night after one of his drink and drugs-fuelled benders, when he was tied to a bed to contain his violent anger, that he was “shaking with rage, he attacked the four-poster bed and was doing his best to break loose one of the posts. ‘It’s Roman Polanski’s fault!’ he screamed. ‘Roman Polanski is to blame for everything.’ We had met Roman Polanski at a few parties, but John had never expressed any anger toward him. I watched as he systematically began to demolish the room.” As far as I’m aware neither Lennon or anyone else has ever publicly explained the reason why he singled out Polanski for his verbal outburst that night.

What I’ve also picked up from the Rosemary’s Baby movie are scenes where I am left with the impression that we’re getting rather subtle prompts to pay attention to a book – not the earlier-noted All of Them Witches though – but one that we see but no mention is made of…

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It’s difficult to make out what it’s about from that angle there, so I rewound the film a few seconds and got its title, or at least some of it… ‘Yes I Can’…

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Later in the movie we see it close-up on Rosemary’s bookshelf after her husband places All of Them Witches there too, horizontally, just above it, and it’s, ‘Yes I Can. The Story of Sammy Davis, Jr.,’ the famous US entertainer who was also a friend of Frank Sinatra’s of course and a member of his ‘Rat Pack.’

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We can see it again a few minutes later, and it got me to thinking, upon seeing Sammy Davis Jr’s name getting shown, that the US entertainer was, for a time, a said member of the ‘Church of Satan,’ and the book’s appearance in the movie may indeed be a veiled reference to this occult organisation. ‘Yes I Can’ is his life-story, part authored by him, and it was published in 1965, when Rosemary’s Baby is partly set and with the rest of its plot going into 1966. In the film, Rosemary and her husband attend a New Year’s Eve party at the elderly couple’s flat and where, at the stroke of midnight, old man Roman announces a toast to, “1966. Year One!” This is what Anton LaVey, founder and head of the Church of Satan had declared back in the 1960s. To him and his followers, 1966 was “Anno Satanas – the first year of the reign of Satan.” According to the organisation’s official website, Polanski’s 1968 horror “was a metaphorical as well as a very real offshoot of LaVey and the Church of Satan,” and, “LaVey… attended advance screenings” of the movie, “set up by the studio’s publicity-department to elicit his observations” of it, and he’s also said to have played the part of the Devil in it, in the scene where Rosemary is raped, although all this has been denied in some quarters. LaVey was also a musician and a stage performer hosting his own live occult-themed (and topless) shows, and it’s said that a topless dancer, none other than Susan Atkins a.k.a. Manson’s Sadie, performed in his nightclub revue, ‘Witches’ Sabbath.’ As for Sammy Davis Jr., he has been attributed with more than one quote about the Church of Satan, for example, there’s a reported excerpt from what’s credited to be a newspaper advance, and planned for inclusion in his 1980 memoir, ‘Hollywood in a Suitcase,’ but later edited out of the final edition in which he’s claimed to have recalled, “it was a short-lived interest, but I still have many friends in the Church of Satan. I say this to only show that however bizarre the subject, I don’t pass judgement until I have found out everything I can about it. People who can put up an interesting case will often find that I’m a willing convert.”

lavey and junior
Davis Jr. with Anton LaVey.

More quotes attributed to Sammy Davis Jr. on his Church of Satan relationship have been featured elsewhere, in an article in the newspaper, the ‘Scottish Daily Mail.’ Credited to recollections from another of his autobiographies ( – yes – another), titled, ‘Why Me?’ The piece explains “how in 1968” he first came into contact with the organisation after “he ran into a group of actors, one of whom said: ‘Hey, man, there’s a party, you wanna go?’” He knew or at least sensed these guys were Satanists, and this intrigued him, we’re told. “I was curious, evil fascinated me. And I wanted to taste it. I was ready to accept the wildness, the rolling in the gutter, and having to get up the next morning and wash myself clean.” The article mentions that LaVey warned Sammy not to get involved unless he was willing to commit. “I wanted to have every human experience,” the singer is quoted as declaring. “All someone had to tell me was, ‘don’t do it,’ so I had to do it.” At the party that night in 1968, the Scottish Daily Mail explains, “everyone wore hoods and masks – and there was a girl ‘stretched out and chained to a red velvet altar.’ When he asked what was going on, someone replied: ‘This chick’s going to be sacrificed.’” The article goes on, “one of the hooded leaders of the ritual mock sacrifice was Jay Sebring…”

Susan ‘Sadie’ Atkins reportedly performing for Anton LaVey’s show.

I documented all this years back in a previous article on my site, ‘Conspiro Media.’ There, I quote Davis as saying he found Sebring to be “a little weird,” and that the “hairstylist unsuccessfully tried to entice him over to view his specially-built dungeon and his collection of torture weapons.” Of the murders of Jay and Sharon, I quote him as saying, “LA, the slaughter of her, Jay Sebring… and others I used to run with. I knew had I been in LA and there was a party at Sharon’s I’d been there. But something had saved me. Everyone there had at one time or another been into Satanism, or, like myself, had dabbled around the edges of it for sexual kicks… That was our crowd.” Neil Sanders, for one, has noted to an extent the sexual, or more to the point, pornographic element of this “crowd,” and inundated as it was with famous names from movies and music, and Manson also “was certainly filming pornography.”

Jay Sebring.

There’s the sex-tapes “that basically turned up at Cielo Drive. These were ones that were initially denied to have existed… what actually happened was that the LAPD found a load of these tapes and were trying to sell them to a detective called Hal Lipsett on the black-market.” They “included Mama Cass in an orgy” with Hollywood stars including “Warren Beatty…” and, it’s said, The Magic Christian’s Peter Sellers and also Yul Brynner who has a cameo in the film would you believe, as a drag-queen serenading Roman Polanski who’s drinking in a bar situated on the so-called cruise-liner that’s featured in the movie, and as mentioned here earlier.

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It’s in the scenes that come a few minutes after this, when the pandemonium has broken out on the so-called ship and the blood-red graffiti is strewn across its interior, that’s when I saw something whilst watching this movie that tied into a train of thought I’d formed prior to viewing the film but that I’d placed to the back of my mind, categorising it as of not much consequence. It’s in relation to that bar where Polanski sat drinking and that not long later is subjected to the chaos. The words, ‘SPEED KILLS’ have been painted where Roman had been sitting – you can see a bit of it in the cap below, and there near the floor someone has painted – or so I’m guessing – ‘a rose is a rose.’ Along with the images of a black panther, a ‘Prudence,’ the Dakota, white Beetles, the Devil’s pepper, and all the others I’ve highlighted in this article, I wonder whether ‘a rose’- of the flowered variety or otherwise, for example, I’ve already mentioned briefly in passing “Rose and Valerie” of Maxwell’s Silver Hammer – is another to add as a possible occult clue or suggestion. My train of thought had originally been sparked by a couple of scenes in Rosemary’s Baby (… indeed… Rose-mary). Before I get into that, here’s that cap from The Magic Christian…

The Magic Christian 5

In Rosemary’s Baby, Rosemary returns to her flat one day after having been out, to see a vase of roses sitting before her, a gift from her husband. She walks over and smells them. There are more of these placed around the apartment. Now, for whatever reason, as I watched this, I felt as though these have been included in the film as some kind of veiled/hidden message because hardly any mention is made about them. The flowers don’t affect the course of the plot in any way shape or form, but something got me to feeling that they were being given centre stage in a very subtle and occult way. This particular scene actually opens with the roses. They’re right up in front of us on the screen, and the surrounding room in the apartment from which Rosemary will appear is in the hazy distance…

Rosemary's Baby 14

Then Rosemary appears…Rosemary's Baby 15

Rosemary's Baby 5

‘Stop and Smell the Roses,’ the 1981 album from Ringo…


Later, Rosemary and her husband hold a party at their apartment and a friend who turns up for it brings with him a bunch of red roses…

Rosemary's Baby 11

She takes them into the kitchen and hands them over to another guest who takes a sip of her drink (below) whilst Rosemary goes and gets a vase. The two women talk to each other, keeping the film’s narrative moving and the roses are not mentioned hardly at all, but they remain in the scene as the central visual point…

Rosemary's Baby 16

Rosemary's Baby 18

Rosemary's Baby 17

After the party has ended, there amongst the mess left behind by the guests in one of the apartment’s rooms, just about the only thing left standing and untouched is the vase of roses, meanwhile, Rosemary and her husband argue, the flowers merely there – again – as a silent image…

Rosemary's Baby 19

I dunno, maybe I am reaching too far here. As I mentioned earlier, I wouldn’t have added the above caps to this article had I not seen the earlier noted ‘a rose is not a rose’ scene in The Magic Christian. Furthermore, I can see another possible occult message in the form of a ‘rose’ in this film. Sir Guy Grand meets with his corporation’s board of directors, all of them with a red rose in their lapel.

The Magic Christian 11

He sacks them all and orders them to leave behind them on the desk as they make their way out their pencils, and the roses…

The Magic Christian 12

The rose is a deeply symbolic motif in occult thinking with ingrained connections of course to Freemasonry. There’s also a breed of beetle that’s called, Rose Chafer. It’s mainly green in colour and, according to the website, ‘The Wildlife Trusts,’ the “adults feed on flowers, particularly Dog Roses…”

beetle rose
Rose Chafer beetle

As has been mentioned in great detail in past articles here on ‘The Occult Beatles,’ this insect, especially the type known as ‘scarab,’ was a much highly revered deity during the ancient days of the Egyptian empire and, I think, it’s not too fanciful to ponder on the possibility that – either consciously or otherwise – this might have been the root behind the name, ‘The Beatles’ – although this has never even been hinted at let alone admitted publicly by any member of the band of course.

Red rose
1973’s ‘Red Rose Speedway’ album by Paul McCartney and Wings

So there you have it. Even if you don’t buy into the ‘Helter Skelter’ theory as the cause for the killings by Manson’s associates back in August ‘69, or indeed, even if you hold the view that there were no so-called ‘Tate murders,’ and that the whole thing was a staged non-event, a fake (as postulated, most famously, by the researcher, Mile Mathis), none of this erases any of the content that’s set within the images I’ve collected together to show you in this article, it makes no difference to that.

All the sixes again; Ringo filming The Magic Christian.

After all, if indeed occult clues or suggestions were deliberately added into the movies I’ve highlighted here, I would suggest that it would have mattered not if ‘Helter Skelter’ was a real murder-plot, or if Sharon Tate was actually killed. Either way, it could have/would have been complimentary to whoever/whatever was behind putting them there.

Below, the links to the threads on the ‘Weird Scenes’ FaceBook page that inspired me to compose this here article. Thanks to them!…




REFERENCE LINKS:’s%20it%20all%20about%20manson&f=false

Manager Rudi Altobelli dies

‘Helter Skelter. The Shocking Story of the Manson Murders’ – Vincent Bugliosi with Curt Gentry.,+a+guy+showed+up,+picked+up+my+guitar,+and+started+playing+a+lot+of+songs+on+it.+His+name+was+Charlie.+He+was+a+friend+of+the+girls+and+now+of+Dennis.+His+songs+were+off-the-cuff+things+he+made+up+as+he+went+along,+and+t&source=bl&ots=nxc6IT5Fzn&sig=ACfU3U2-3GXTfmFYGkxwA9nHSju09jF5Jw&hl=en&sa=X&ved=2ahUKEwi59tWs-5TkAhUUtXEKHR_GBjQQ6AEwDHoECAoQAQ#v=onepage&q=After%20a%20while%2C%20a%20guy%20showed%20up%2C%20picked%20up%20my%20guitar%2C%20and%20started%20playing%20a%20lot%20of%20songs%20on%20it.%20His%20name%20was%20Charlie.%20He%20was%20a%20friend%20of%20the%20girls%20and%20now%20of%20Dennis.%20His%20songs%20were%20off-the-cuff%20things%20he%20made%20up%20as%20he%20went%20along%2C%20and%20t&f=false

YouTube: John Lennon on Charles Manson and putting subliminal messages in Beatles songs.

Rosemary’s Baby:

The Beatles official 50th anniversary box-set book (published, 2018)

Mia Farrow accuses Beatles pal Maharishi Mahesh Yogi of groping her

Susan Atkins 12/1/69 Caruso/Caballero Interview

Susan Atkins… (Convicted)

YouTube: The Magic Christian (1969) – Ringo Starr, Peter Sellers

YouTube: Eye of the Devil [1967]

Eye of the Devil

YouTube: The Thirteen Chairs:

YouTube: Witchfinder General

The Swan Hotel. Lavenham.

Hauntings in Lavenham

YouTube: John and Yoko: Apotheosis filming report.

YouTube: John Lennon and Yoko Ono – Apotheosis movie 1970

Church of Satan History: The Church of Satan

Church of Satan History: Hell on Reels

Was Famed Satanist Anton LaVey the Technical Adviser on Rosemary’s Baby?

7 Things You Should Know About Roman Polanski’s ‘Rosemary’s Baby’’s%20baby&f=false

Anton Szandor LaVey

From the Church of Satan Archives

Scottish Daily Mail: Sammy was a little devil

Roll up, roll up for Magical Mystery Talk!

Magical Mystery Talk

Many months ago now, I began to entertain the idea of creating and participating in a regular series of podcasts in which I and fellow Beatles enthusiasts/researchers discuss topical news/events/developments to do with the band and that are doing the rounds in the mainstream media, but of course, chatting about them and analysing them from the angle of the occult and the conspiratorial. What you have here, in this post, is a result of that thinking. I’ve hooked-up with two fellow investigators and commentators of such things and together, the three of us hope to deliver regular doses of discussion at various points during each year, the one posted below being the first of many (we hope!) and to be regularly titled, ‘Magical Mystery Talk.’ Joining me in the trio is Mark Devlin, a long-time friend of my ‘Occult Beatles’ site as well as my other blog, ‘Conspiro Media.’ I’ve guested on a number of occasions on his ‘Good Vibrations’ podcast series and, just a few weeks ago, I was honoured to appear on the bill with him at a date on his ‘Occult Aspects of The Beatles/McCartney Conspiracy’ tour of Britain. I don’t think it’s too bold to state that he’s the UK’s leading speaker on occult/conspiracy subjects to do with the world of music, and indeed, he’s also the author of the books, ‘Musical Truth’ volumes 1 and 2. Accompanying us on this magical mystery trip is Desiree Hall (a.k.a. dizzydey). I’ve long been a subscriber to and a fan of her Beatles blog, ‘The Number Nine,’ and she was, to me, an obvious name to contact to ask to take part in this new venture. She’s US-based (California), Mark and I work mainly from the United Kingdom.

In ‘Part 1’ of the podcast series…

We discuss the recently-unleashed big-screen British film, ‘Yesterday,’ directed by English movie-maker, Danny Boyle, perhaps best known for the flicks, ‘The Beach,’ ‘Slumdog Millionaire,’ and the ‘Trainspotting’ excursions. This latest release of his, the screen-play of which was written by ‘Four Weddings and a Funeral’ writer, Richard Curtis, centres around the exploits of a budding but struggling singer/songwriter by the name of Jack Malik who wakes up one day after some form of brief world blackout to unexpectedly find that no one has ever heard of The Beatles or their songs either, they just don’t exist. Quickly noticing that friends of his are complimenting him personally in this new reality for the quality of tunes he sings and plays on his acoustic guitar, assuming that he wrote them, such as the Lennon & McCartney standard, Yesterday, he decides to continue this on a larger scale, passing off all the writing-duo’s songs as his own and, as a result, eventually reaching the edges of international stardom. This role of Jack’s as, effectively, an impostor posing as a genius composer, will – and has – prompted viewers of the movie to make comparisons to the P.i.D. scenario (‘Paul is Dead’), and, perhaps, especially because Malik’s post-blackout world deception starts after he’s the victim of a road-crash.

Jack Malik – Yesterday

On the subject of movies, we also explore briefly some intriguing, and what folk have perceived to be (including myself), suggestive scenes and images perhaps pertaining to The Beatles and the so-called ‘Manson murders’ in a couple of old films that were released and/or shot quite a while before August 1969, the date that the killings took place in a well-to-do area of Los Angeles – 50 years ago this month of course.

Charles Manson

On viewing these, one might be tempted to think that some of them are occult, symbolic clues (predictions if you so like, or warnings) of the carnage that was to follow, a thought that might be bolstered by the fact that both movies include involvement from Roman Polanski, widower of Sharon Tate, the actress who was murdered during the killing-spree by Charles Manson’s so-called ‘family’ and killings that are said to have been inspired by ‘secret messages’ he and his collective got from The Beatles’ 1968 ‘White Album’ and in particular the track from it, ‘Helter Skelter,’ which, it’s claimed, they perceived to be the announcement of an impending apocalyptic Race-war between Blacks and Whites. The films in question are the 1968 horror, ‘Rosemary’s Baby’ starring Mia Farrow and directed by Roman, and the 1969 Beatles-backed ‘The Magic Christian’ featuring Ringo Starr in a co-lead role with Peter Sellers, whose name has been linked to the events and the various characters surrounding the murders, as has actor’s, Yul Brynner, who has a brief cameo in this flick alongside Polanski whose appearance in the film is also short.

Echo in
Ringo and wife, Barbara, at premiere of new Laurel Canyon docu-film, ‘Echo in the Canyon.’

Also, in mind of the Tate murders, there’s an LA flavour to taste in another subject up for discussion in the first episode of this podcast, and that’s the recent release of a new movie-documentary looking back at the reported contributions made by US bands back in the 1960s in the Los Angeles region of Laurel Canyon. Ringo has been interviewed for this film, so, Desiree, Mark and myself discuss this to an extent and ponder on the links The Beatles have had in some shape or form (and continue to have) with this location, a location that was brought to the attention of all three of us thanks to the work of the researcher, the late David McGowan and his book, ‘Weird Scenes Inside the Canyon: Laurel Canyon, Covert Ops & the Dark Heart of the Hippie Dream.’


This podcast was recorded, August 19th 2019…






Vigilance noted.



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 months 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…

The video begins with various symbolic images that foreshadow what is about to happen. Here, a hypnotic spiral pattern over a page of text.
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… 

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…

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.

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…

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.
… 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…


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.”

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…


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.

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.

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.

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.

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”…


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:


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


 Inside the elevator: More trauma by the idiots…


 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…


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


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

… 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…

Emma finds herself sitting alone in the room. There’s no more furniture. How long was she dissociated for?
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…

“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.

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’:

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.

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.”

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 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.

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.





Ordo Ab Chao | Symbols and Symbolism,David,The%20Biggest%20Secret.pdf

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

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

Royal Victoria Hospital,+Psychotherapy+and+Group+Analysis&hl=en&pg=PP1&redir_esc=y#v=onepage&q&f=false

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








‘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):


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.

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.


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:



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

Start time: 1pm

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

Further info:



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:



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

Start time: 7.30pm

Admission: £5 on the door.

Further info:

Occult Beatles presentation flyer

More from Mark Devlin:



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…


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)…




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)…


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: There’s also some discussion about what’s been posted here taking place on this site’s ‘FaceBook’ partner-page, ‘Conspiro Media’:  as well as at the group, ‘Strawberry Fields Beatles Mysteries’: 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 Robert Freeman – All You Need Is News!