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.”

The Magic Christian 3

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…

The Magic Christian 2
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…

The Magic Christian 8

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)…

The Magic Christian 9

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”…

The Magic Christian 10

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.’

The Magic Christian 6

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…

Rosemary's Baby 4

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…

Rosemary's Baby 10

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’…

Rosemary's Baby 12

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.’

Rosemary's Baby 9

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.

The Magic Christian 4

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!


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

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

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


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

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



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

The ‘Rock ‘n’ Roll’ album

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

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

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

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

Patterson continues:

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

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

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

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

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

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

the dakota
The Dakota

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

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

Conspiracy Show ep 155

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

Conspiracy Show ep 003

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

Conspiracy Show ep 108

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



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

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

‘Come Together. John Lennon In His Time’ – Jon Wiener,+and+guilt+thinking+that+perhaps+love+and+peace+isn%27t+enough+and+you+have+to+go+and+get+shot+or+something&source=bl&ots=GDURSX-ACr&sig=N3pBZW21CozxGcJIf06J57Evl7k&hl=en&sa=X&ved=2ahUKEwjnl5jH7qXfAhWqQxUIHWGQDDYQ6AEwAnoECAgQAQ#v=onepage&q=sheff%20guilt%20for%20being%20rich%2C%20and%20guilt%20thinking%20that%20perhaps%20love%20and%20peace%20isn’t%20enough%20and%20you%20have%20to%20go%20and%20get%20shot%20or%20something&f=false

‘John’ – Julia Lennon (pg. 9)

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



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


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

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

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

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

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

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

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

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

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

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

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

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

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


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


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

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


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


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

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

The Real and the Fake Beatles

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

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

What is going on here?

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

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

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

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

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


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


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

Teen Screen magazine March 1966

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

Keith compilation

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

Keith Allison

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


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

2015-Keith and Peter Asher

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

Keith and Paul

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


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

Keith with The Crickets mid sixties

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

keith sgt.marked

keith sgt.credits

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

Allison in Sextette


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

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


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

July 8th 2018

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


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

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

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


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


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

Bertolt Brecht

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



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

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

YouTube:  Johnny and the Copycats – Start Thinking About Me

YouTube: Beatles Los Angeles Press Conference 1966,+watching+from+the+sidelines.+Well,+it+turns+out+that+when+the+camera+panned+by+to+capture+the+crowd+and+the+dancers,+we+were+included+in+some+of+the+shots.&source=bl&ots=GFkSKdNnWw&sig=fKcn-mHov8RKCSfnoXF3uJQ-WaE&hl=en&sa=X&ved=2ahUKEwiwromd49TdAhUDTcAKHZdAAjgQ6AEwAHoECAUQAQ#v=onepage&q=As%20Tommy%20performed%20for%20the%20Where%20Is%20the%20Action%20cameras%20Keith%20and%20I%20stood%20in%20the%20crowd%20along%20the%20wall%2C%20watching%20from%20the%20sidelines.%20Well%2C%20it%20turns%20out%20that%20when%20the%20camera%20panned%20by%20to%20capture%20the%20crowd%20and%20the%20dancers%2C%20we%20were%20included%20in%20some%20of%20the%20shots.&f=false

‘As Time Goes By’ – Derek Taylor

‘The Love You Make. An Insider’s Story of The Beatles’ by Peter Brown and Steven Gaines. (Pgs. 205, 207, 212, 227, 229, 241, 242)’d%20given%20stigwood%20the%20option%20to&f=false

YouTube: Sextette 1978

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