One for the Road.

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


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

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

A Knights Templar (CLICK TO ENLARGE)

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

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

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

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

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

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

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

Helena Blavatsky

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

The Beatles with the Maharishi

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

Theosophical Society logo

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

Alice Bailey

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

Annie Besant

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

Fabian Society: Wolf in sheep’s clothing

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


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

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

Pierre Teilhard de Chardin

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



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

If you can stomach it…

‘Imagine’ (World Version):

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

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

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


‘Her Majesty’ from ‘Abbey Road’:

And in the end…

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

‘Max Theon’

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

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


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


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

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



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

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

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

Our story

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

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The ‘Magical Mystery Talk’ podcast series continues…

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

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

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

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

This podcast was recorded on December 2nd 2019…



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

Here's Some Clues for You All

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

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

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

labianca fridge

death to pigs


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

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

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

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

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

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

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

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

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

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

Here’s Roman Polanski beside that door…

Roman pig

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

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

The Magic Christian 1

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

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

PIGGIES (lyrics)

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

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

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

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


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

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

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

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

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

harp duo

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

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

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


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

panther dove

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

Eye of the Devil-9

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

before after

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

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

The Witch Finder General-1

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

The Thirteen Chairs Lavenham-2

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


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

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

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

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

Rosemary's Baby 8

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

Rosemary's Baby 1

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

Rosemary's Baby 2

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


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



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

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

Rosemary's Baby 3

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

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


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


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

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

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

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

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

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

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

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

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

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

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

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

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

Whoa, oh, oh, oh
Silver hammer man


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


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


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

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

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

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

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

lavey and junior
Davis Jr. with Anton LaVey.

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

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

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

Jay Sebring.

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

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

The Magic Christian 5

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

Rosemary's Baby 14

Then Rosemary appears…Rosemary's Baby 15

Rosemary's Baby 5

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


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

Rosemary's Baby 11

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

Rosemary's Baby 16

Rosemary's Baby 18

Rosemary's Baby 17

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

Rosemary's Baby 19

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

The Magic Christian 11

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

The Magic Christian 12

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

beetle rose
Rose Chafer beetle

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

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

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

All the sixes again; Ringo filming The Magic Christian.

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

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




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

Manager Rudi Altobelli dies

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

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

Rosemary’s Baby:

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

Mia Farrow accuses Beatles pal Maharishi Mahesh Yogi of groping her

Susan Atkins 12/1/69 Caruso/Caballero Interview

Susan Atkins… (Convicted)

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

YouTube: Eye of the Devil [1967]

Eye of the Devil

YouTube: The Thirteen Chairs:

YouTube: Witchfinder General

The Swan Hotel. Lavenham.

Hauntings in Lavenham

YouTube: John and Yoko: Apotheosis filming report.

YouTube: John Lennon and Yoko Ono – Apotheosis movie 1970

Church of Satan History: The Church of Satan

Church of Satan History: Hell on Reels

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

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

Anton Szandor LaVey

From the Church of Satan Archives

Scottish Daily Mail: Sammy was a little devil

Roll up, roll up for Magical Mystery Talk!

Magical Mystery Talk

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

In ‘Part 1’ of the podcast series…

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

Jack Malik – Yesterday

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

Charles Manson

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

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

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


This podcast was recorded, August 19th 2019…






‘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!


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