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:


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

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

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


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

The words of John Lennon during a UK radio-interview back in May 1969, just a couple or so months following his and his then new-wife Yoko’s famous ‘Bed-in’ for peace at the Amsterdam Hilton hotel in the Netherlands, Europe. Forty-nine years later, this quote from Lennon comes with a certain sting, given how he ended up in December ‘80. Now, were these the words of a man just talking off the top of his head, as it were? The sweeping, unconsidered ramblings of an attention-seeking, egotistical famous Rock-star maybe in search of a catchy, snappy – and provocative – little buzz-phrase that’ll hopefully guarantee him some top headline space in the newspapers and on radio and TV, and also, gain more publicity for his on-going media-fuelled campaign pitted against the machinations of the so-called ‘powers that be’? Or maybe he was speaking with some genuine fear for his safety? I mean, there he was, back in the late 1960s, making public his voice of criticism of the Vietnam War and coming out with statements like, “our society is run by insane people for insane objectives… I think we’re being run by maniacs for maniacal ends.” Here was one of the most famous men in the world, and at the peak of his influential powers, using that unique position to speak down the ‘Establishment,’ the very system, perhaps, that socially-engineered him into a top billing on the international stage (in effect, he was betraying his ‘masters’?). Can he really be blamed for comparing his possible fate to those of the slain Kennedy, King and Ghandi? Lennon is reported to have said in 1972, and this was during the period when he was being surveilled by the FBI let’s take into account, “listen, if anything happens to Yoko and me, it was not an accident.” It’s perhaps easy to envision then why Lennon talked about the prospect of becoming the target of somebody’s gun, especially when you consider it within the context of his life between 1969 and ’72, a time when not only was he was criticising the US’s involvement in Vietnam and those in the corridors of power but was engaged in numerous other causes and campaigns of an anti ‘Establishment’ flavour. Moving it back now, to 1966, a few short years before he became so involved with such activities, and it would appear perhaps that this fear of his, of being gunned down, was there too, well, if we’re to believe what his first, former wife, Cynthia, has recalled, for one. In her book, ‘John,’ she transports us to ‘66, in the midst of the ‘Beatles bigger than Jesus’ episode, when the band, during their US tour of that year, we’re told, were subjected to intense outrage bordering on the almost chillingly violent, particularly in the Christian-heavy Deep South of the country, all as a result of a magazine-interview that year in which The Beatles were described as being more popular than Christ in a comment by John.  Just prior to his American visit, according to Cynthia, who was married to him at that time, “he’d received a letter from a psychic, warning that he would be shot while he was in the States. We were both upset by that: The Beatles were about to do their… tour of the States… He had just made his infamous remark about The Beatles being more popular than Christ and the world was in uproar about it – cranky letters and warnings arrived by every post. But that one had stuck in his mind. Afraid as he was, he went on the tour, and apologised reluctantly for the remark.” When he returned from the American visit “in one piece, we were both relieved.” They both assumed that “the warning referred to that trip” in ’66 in amidst all the outrage that was going on. But what if it wasn’t as specific as that? Having not read this said mail from the psychic myself, I can only try and guess what exactly the content of it was, in particular, the precise nature of this warning that John was to be gunned down in the States, I mean, he might have remained “in one piece” in ’66 but 14 years later, he was indeed shot there. Keep that in mind whilst considering a visit to an astrologer he made in November 1969 during a trip to Greece with his then-new wife, Yoko. Accompanying them was Nico Mastorakis, a Greek broadcaster and film-maker. As you can hear below in a chat he recorded with Ono in 2000, John’s palm-reading led to him being warned that he ‘would be shot on an island.’ As result, he cancelled a planned boat excursion around the islands of the country on a yacht owned by Sixties music-star, Donovan and instead packed his bags and flew out, assuming that the predicted shooting would take place there. It’s only years later, following Lennon’s death that Mastorakis came to the realisation that it was a prediction that had been misunderstood, misread as a warning that the famous musician would be gunned down on an island in Greece specifically, not elsewhere in the world. After all, the Dakota Building, where the ex-Beatle had lived for most of the 1970s and outside of where he was shot dead, is in New York – on Manhattan Island.

In her book, ‘John,’ Cynthia recalled that “the psychic’s warning” that he received in 1966 that he’d be shot in the US “remained” in his “mind and from then on it seemed that he was looking over his shoulder, waiting for the gunman to appear. He often used to say, ‘I’ll be shot one day.’”

R. Gary Patterson, in ‘The Conspiracy Show’ interview, highlights a number of what are, quite possibly, ominous signs of an occult nature pertaining to how exactly Lennon was to meet his death, such as one particular photo featured in the accompanying booklet included in the soundtrack release of The Beatles’ 1967 TV-movie ‘Magical Mystery Tour.’ As you might indeed already be aware, below, is that very photograph of a mustachioed John standing beside a sign that reads out: ‘(T)he Best Way to Go’ followed by ‘M&D’ and then ‘COA,’  presumably a cut from the word, ‘coaches,’ as in bus, such as the one that was to take Lennon and his band-mates, in the film, on their mystery tour. Basically, it’s advertising the (presumably) fictious, ‘M&D Coach’ business. Numerous researchers and observers from an alternative-looking angle (such as yourself?) however see it different; The M, D and the C stand for ‘Mark David Chapman.’ Connect that with the words above them – ‘(T)he Best Way to Go is by’ – and you have, ‘The Best Way to Go is by Mark David Chapman.’  Also, and as Patterson notes in his interview, the Magical Mystery Tour soundtrack was first released towards the very end of 1967 on – December 8th.MagSome seven months later, in July 1968, The Beatles went on what has since been dubbed the ‘Mad Day Out’ around London. It was for a publicity photo-session and largely made up of scenes of the band visiting, briefly, various outside locations in the city, sitting on a park-bench, standing by a church-yard with a crowd of people, posing on a sidewalk… one of the photos taken had John lying down apparently playing dead with Paul, George and Ringo gathered around him…Mad… I’ll point out, for what it’s worth to you, that the words, ‘Mad Day Out’ totals up to nine letters. Anyway, Tom Murray, one of the photographers of the session, has said that, following John’s death in December ’80, the magazine, ‘Time,’ had considered using that photo but then “thought that too much.” A few months after that photograph was taken came the release of The Beatles’ self-titled double-LP, and nicknamed of course, the ‘White Album,’ and that included the Lennon-written track, ‘Happiness is a Warm Gun.’ Recorded at EMI Studios in Abbey Road, London in September that year, less than eight weeks after the Mad Day Out, he said the song was inspired by “the cover of a magazine that said: ‘Happiness is a warm gun.’ I thought it was a fantastic, insane thing to say. A warm gun means you’ve just shot something. ‘Happiness Is A Warm Gun’ was banned on the radio – they said it was about shooting up drugs. But they were advertising guns and I thought it was so crazy that I made a song out of it.” The magazine, he claimed, was first shown to him by Beatles producer, George Martin – and this is it, so I’m led to understand, said to be from the May ‘68 publication of ‘American Rifleman’…



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

The ‘Rock ‘n’ Roll’ album

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

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

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

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

Patterson continues:

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

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

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

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

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

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

the dakota
The Dakota

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

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

Conspiracy Show ep 155

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

Conspiracy Show ep 003

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

Conspiracy Show ep 108

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



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

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

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

‘John’ – Julia Lennon (pg. 9)

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



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

Ever seen this photograph before? I hadn’t until I stumbled across it on the ‘net not that long ago and, upon seeing it, just felt that I had to share it here for your interest and perusal. Significant to most due to it being the last said photo to have been taken of Ringo Starr and John Lennon together before his assassination, it is, of course, notable also for the T-shirt he’s wearing…


According to the websites I’ve seen it posted on, the photo originates from sometime circa late 1970s. 1979 according to some, 1978 to at least one other. Presumably, it would have been snapped in New York where Lennon had been residing for the majority of that decade. Anyway, there it is, emblazoned across his T-shirt, that notorious old pyramid and eye pic. Okay, I’m assuming that most folk who come reading here, perhaps you yourself, will need no mention from me about the darkly-occult/conspiratorial elements this symbol is said to represent, so, do forgive me. Please don’t think me as patronising if you’re familiar with that, but for the sake of any newbies reading this, I’ll just summarise very quickly through the words of David Icke – from one of his numerous books on the alternative history of the world, ‘The David Icke Guide to the Global Conspiracy (and how to end it)’ – what, essentially, it’s about.
So, as seen on the American one dollar bill, the pyramid with the detached capstone with eye dubbed the ‘Eye of Providence’ and/or the ‘All-Seeing Eye,’ a prominent symbol within Freemasonry…


“The pyramid and the All-Seeing Eye, or pyramid with the capstone missing,” Icke states, is a “major Illuminati symbol… The pyramid is the pyramid of control and the eye represents ‘the watchers,’ or at least that’s the symbolism on one level.” He doesn’t elaborate too much into any other levels of this symbolism but I’ll hazard a guess and presume what he means in part by that is that not any one symbol is necessarily an emblem exclusive to a negative/dark-side such as ‘the watchers,’ but can be seen and/or used for/by the positive too. A very good case in point, the eye, within certain cultures, far from it being deemed wholly a motif of and for the ‘Illuminati’ and suchlike, is thought to ward off the ‘evil eye’ of envy. I know this from my own background, British-born to Greek-Cypriot parents, both Greece and the nearby island of Cyprus are hugely influenced by Christianity and the church in one way shape or form, deeply ingrained as they are in the fabric of everyday regular life, but, juxtaposed with, what at least one priest I know personally who hails from that part of the world would, I’m sure if I were to put it to him, declare is ‘Satanic,’ and that is, the popular, daily presence of and high regard for eye symbolism. Walk into a shop or someone’s house, or step into a taxi-cab and there, amongst one or two icons of Jesus and/or the disciples and a ‘Holy Saint of someone or other,’ you might see a round, mostly blue-coloured gemstone-like ‘evil eye’ hanging from a wall, or a rear-view mirror. They’re not there to signify or celebrate darkness, but to deflect it. Within Greek-Cypriot homes and communities they’re used to keep at bay the negative, damaging, ill-wishing vibes of jealousy be that from a work-colleague, or indeed a friend or relative. Available in many sizes and forms, you can wear the eye too, as a necklace or a bracelet or wristband for example. I have one, small it is, like a shined-up pebble and that sits on my desk next to my computer where I type these articles up. This is it…


Not wanting to put words into Icke’s mouth, but, a symbol, such as the pyramid and the eye, is, on one level, dark, negative, malevolent, and on another, light. Positive. The direction it can ultimately take between the two is for the person armed with the emblems to determine. A knife in one man’s hand might be used to murder another, whilst in the possession of someone else it’s slicing loaves to feed and provide sustenance. It’s not the knife at blame but the person holding it. It’s about the intent. With regards to Lennon and that T-shirt, the question is (as far as I’m concerned anyway) what was his intention? Again, for any newbies, from David Icke, “the All-Seeing Eye is… in the symbol of the MI5 wing of British Intelligence. The All-Seeing Eye is the symbol of the American television network, ‘Columbia Broadcasting System,’ better known as ‘CBS’… In 2002, the deeply sinister ‘US Defense Advanced Research Projects Agency’ (‘DAARPA’), the research and development arm of the Department of Defense, launched the ‘Information Awareness Office,’ a propaganda operation with the potential for mass-surveillance. It chose a familiar symbol – the pyramid and All-Seeing Eye. There are so many I could point out, but if you are new to this you’ll be able to see them all over the place now…”IAO-logo It’s a symbol of course that, in one shape or form, has been massively prevalent, a mainstay even, within the music-world whether it be in album-cover artwork, or the logos of record companies and labels or in the videos that their bands and solo artists appear in. If we’re to believe what some of Lennon’s detractors have claimed, such as author, researcher and self-proclaimed ‘former intelligence-agent-turned-whistleblower,’ John Coleman, that The Beatles were controlled and steered by the All-Seeing ‘watchers’ in order to corrupt the Sixties youth generation of the western world, then maybe, yeah, John chose to wear the symbol as a subliminal badge of honour, allegiance and obedience to his masters, as so many famous musicians have done both past and present. On the other hand, this is a guy who during the late 1960s and early ’70s used his powerful, influential profile to speak out and protest in criticism of what ‘the Establishment’ – or as it was known back then amongst the young, ‘the man’ – had inflicted upon the world and he was seemingly such an outspoken and proactive campaigner against the Vietnam War that US President Nixon actively conspired to have him deported from the United States whilst the FBI collected a file on him, monitored his live shows and the content of his music-recordings and even tried to set him up in a drug-bust. Britain’s MI5, it’s claimed, was monitoring him too. As far as I’m aware, in all the years that Lennon spoke out against ‘the man’ in countless newspaper/magazine/radio/TV interviews he never mentioned ‘Illuminati’ or ‘pyramids of control’ or the ‘New World Order,’ however, when he did speak out against the forces who conspire against us, he often (IMO) got it pretty bang on point. There are countless quotes I could add here to illustrate this, but here’s just a couple. In 1966, he’s said to have opined, “the trouble with government as is it is that it doesn’t represent the people. It controls them. All they seem to want to do – the people who run the country – is keep themselves in power and stop us knowing what’s going on… I’m not saying politicians are all terrible men. It’s just the system of government that I don’t like. It’ll be hard to change.” In 1968, he declared, “I think all our society is run by insane people for insane objectives… I think we’re being run by maniacs for maniacal ends… I think they’re all insane…” These are quotes that resonate deeply today, decades after his death, and that were uttered years before the mass-internet,  long before the emergence of the ‘alternative’/conspiracy-site media and the digital-age ‘Truthers,’ who, in one way shape or form, echo his words. Lennon, in some respects, was a prototype of all of them. In his book ‘Come Together. John Lennon in His Time,’ Jon Wiener, the historian and journalist who staged a successful decades-long legal battle to have the FBI release its secret documents on John, features a quote by Robin Blackwell. He’s a former editor of ‘Red Mole,’ a short-lived British ‘revolutionary’ newspaper of the early ‘70s, and he recalls that, at that time, the-then former Beatle “was setting up a project with a not-very-well-assorted group of people who were into alternative technology, alternative media, alternative politics and lifestyles.” However, it never came to pass. Lennon was also a fan, financial supporter of and personally acquainted with Mae Brussell one of the early conspiracy researchers, she’d been at it since the days of the JFK assassination, when today’s veterans such as David Icke would barely have been out of wearing short-pants. Also, Paul Krassner, a major mover and shaker in the Sixties counter-culture in the US is said to have spoken to John back in the early ‘70s about the possibility that many of the leading singers and musicians who’d died up to that point in time had been taken out, murdered by ‘the man.’ He told Lennon about his “theory that, with all the political assassinations, there were also cultural assassinations. I was wondering what he thought about the possibility that the deaths of Janis Joplin, Jim Morrison, Jimi Hendrix… may have been made to look like suicides, because they were rebels and role-models on the crest of the wave. John said, ‘no, no, they were just going in a self-destructive direction.’ A few months after that, when things must have gotten really heavy with him, he reminded me of that conversation and said, ‘listen, if anything happens to Yoko and me, it was not an accident.’” John is said to have made that warning to Krassner some time in 1972 when the FBI / US Government was hot on his tail. Lennon, by many accounts, was a voracious reader and seeker of knowledge in a wide range of topics from world affairs and politics to philosophy, religion and the occult. He might not have spoken openly about ‘the Illuminati’ or the ‘pyramid of control’ whilst in the glare of the media’s attention, but, of course, that doesn’t prove he was ignorant of such things. His associations with the likes of Krassner and Mae Brussell might add credence to this possibility, and John’s T-shirt, by my estimations, may very well suggest this too. He was comfortable enough to wear it again a year or two later. Below, a scan of a page from the website ‘’ and that features a photo of John from, it’s claimed, 1980. From what I can see, it was most probably taken by now-veteran photographer to the Rock-stars, Bob Gruen. The blurb next to it and that gives us some background on the contents of the tee concludes that Lennon probably bought it “for a laugh” as if (I assume) he thought the whole Illuminati connotations of it ridiculous. Whatever, some might find it sadly ironic, if not inevitable given his biting outspokenness against governments, the military and so-called world-leaders, that it wouldn’t have been too long after this photo was taken with him wearing it that he met his end at the behest of ‘the watchers.’ (CLICK TO ENLARGE)…


Far from Lennon buying the T-shirt “for a laugh,” he may have been drawn to it because it appealed to his apparent interest in ancient knowledge and history. Here’s a photo of John and Yoko Ono in Egypt by the pyramids in, I’m guessing, the late ‘70s some time (?)…


Below, an excerpt from ‘Lennon in America: 1971-1980, Based in Part on the Lost Lennon Diaries’ by author Geoffrey Giuliano. In it, he details what’s said to have went on when John and Yoko visited Egypt in 1977 and became involved in “a clandestine archaeological dig.” The trip came at a time when the Lennons had begun to “seriously” invest their finances in art, and “while the centrepiece of several valuable paintings was a Renoir, the bulk of their investment was poured into Egyptian artefacts. Relics included a skull, an infant’s breastplate, and a seven-foot lion statue.” Indeed, Ono herself has spoken of her interest for collecting Egyptian antiquities, and which she does, not only because they make a sound financial investment, but also for their “magic power.” In 1980, she said, “to make money, you have to spend money. But if you are going to make money, you have to make it with love. I love Egyptian art. I make sure to get all the Egyptian things, not for their value but for their magic power. Each piece has a certain magic power.” In the excerpt below, Giuliano also mentions a man by the name of Sam Green, an old friend of Yoko’s and “a flamboyant globe-trotting art-dealer… the black sheep from a privileged family… The son of illustrious professors, Green was an ingratiating personality who sought out the company of celebrity millionaires” including Greta Garbo and, it might interest you to know, a member of one of the ‘Illuminati bloodline families,’ Cécile de Rothschild. According to the family’s own website, she was a woman who “inherited many Rothschild passions: motoring, haute-cuisine, yachting, wine, gardening, golfing and painting. Aged 13, she was given by her father Cézanne’s ‘Les Baigneuses,’ and this item formed the basis of her considerable collection which included a number of works by Picasso.”

According to Giuliano’s book:

Sam Green learned from one of his colleagues about a clandestine archaeological dig being conducted in Egypt to unearth an ancient temple. The project, however, needed funding to complete the excavation. When Green relayed this news to Yoko, she could barely wire the money to Cairo fast enough, and began planning a visit to the site. Lennon, too, excited by the prospect of an intercontinental hunt for artefacts, couldn’t wait to get on the plane… John plunged enthusiastically into his sketchbook, drawing romantic Egyptian deserts dotted with camels and Bedouins. He purchased the proper wardrobe, got himself a new passport photo… At the same time, Yoko and Sam Green were finalising the details of a complicated plan to sidestep the Egyptian authorities. Because Egypt’s ancient national treasures were under assault by international art poachers, its governmental authorities instituted safeguards to protect these sacred gravesites, and even resorted to aerial searches to catch would-be raiders. John, eavesdropping from the next room on Yoko and Sam’s conversation, was thrilled to hear that accompanying them would be a cache of potent marijuana…

Arriving in Cairo, the Lennons checked into the ‘Nile Hilton.’ John took a nap before venturing into the city to purchase a wardrobe for the excavation. He ran into Thomas Hoving, former director of New York’s Metropolitan Museum of Art, who was in Cairo on his own expedition for art. An enraptured John spent his first night exploring one of the seven wonders of the ancient world, the great Cheops Pyramid, built by Pharaoh Khufu, founder of the Fourth Dynasty, around 2680 B.C. Afterwards, he took in the nightly Giza light-show extravaganza, a gaudy commercial tourist attraction he enjoyed thoroughly.

The next day Lennon awoke energised and refreshed. An ardent history buff, he enthusiastically toured the pyramid at Saqqara, which he found even more fascinating than the Cheops site. As he explored the underground chambers, he ran his hands across the hieroglyphics and marvelled at the intricacy of the ancient artwork on the stone walls. Coming upon an open sarcophagus, Lennon was unable to resist the temptation and recklessly tore off a scrap of material as a souvenir. Only later did he wonder if his blasphemous action had incurred the mummy’s curse; he was worried enough to call an emergency meeting with one of Yoko’s mystics.

While Lennon was exploring various sites, Ono was finalising details for the proposed visit to the illicit excavation. The more intent she became, the more Green feared her presence might cause problems. An internationally known celebrity couple wasn’t likely to go unnoticed by the Cairo authorities. Green used Thomas Hoving as a means to discourage Yoko’s plans. He concocted a story that the renowned art director had gotten word of their scheme for obtaining artefacts and stood prepared to alert the authorities himself unless all parties left Egypt immediately. Marlene Weiner, Yoko’s psychic du jour, confirmed the imagined threat, telling her that a certain assertive six-footer they’d meet in Cairo should be avoided. It wasn’t clear if Green encouraged her to make this statement… She (Yoko) was concerned enough to abandon the plan. Surprisingly, John wasn’t all that disappointed by the abrupt turn of events. He had already had his fill of Egypt and was more than anxious to go home.

In the book ‘John Lennon: A Biography,’ Jacqueline Edmondson, its author, notes that John, according to what Sam Green recalled, “believed he had lived” in Egypt “in a previous life.” As you might be well aware, in past articles on both this website and its parent, ‘Conspiro Media,’ I’ve shared the thoughts of veteran symbologist, Robert Richard Hieronimus Ph.D. who suggests that, whoever came up with the band-name, ‘The Beatles,’ may have been unconsciously inspired to do so by the lure of ancient Egyptian motifs, such as the insect, the scarab beetle. He says, “the beetle is actually – in ancient Egypt – a very, very sacred symbol.”

Egyptian god Khepri

That’s because it was likened to the “ancient Egyptian beetle-headed god, Khepera, who represented the rising or morning sun. Khepera was among the original creation gods in Egyptian mythology… The scarab was held as a symbol of resurrection and fertility as beetles were believed to be the incarnation of Khepera. There is no reason to believe that whoever came up with the name ‘The Beatles’ was consciously intending to link their name with the Egyptian god of rebirth, but conscious or not, they chose a name which reflected what they were to accomplish – the act of creation. Later in life, John Lennon is reported to have become interested in world mythologies and especially in Egyptian magic. He may have begun to realise that symbols carry psychic energy even when they have not been consciously selected. Some might say synchronicity (meaningful coincidences) played a role in the naming of the most revered Rock and Roll group in history. Like attracts like.” You can read (and hear) more of Robert’s analysis about this (if you haven’t already) in this link:

According to what The Beatles themselves have said publicly about the origins of the band name, well, it’s a bit confusing and muddled in places because each member that’s spoken about it has recounted a different version of events to the other – but what they are all unanimous on is that it was derived, possibly, from ‘beetles.’ Indeed, for a time, in their earliest days, they did call themselves, The Silver Beetles. Some of the credit for this has been attributed to Stuart Sutcliffe, John Lennon’s friend from his art-college days in Liverpool. According to George Harrison in the official Beatles biography/documentary ‘Anthology,’ “it’s debatable where the name came from. John used to say that he invented it, but…” he went on, “there was The Crickets, who backed Buddy Holly, that similarity; but Stuart was really into Marlon Brando…” There’s a movie in particular Brando starred in, 1953’s ‘The Wild One,’ which follows the exploits of American motorcycle gangs ‘BRMC’ (‘Black Rebel Motorcycle Club’) led by Johnny Strabler (Brando) and the ‘Beetles’ whose head was Chino (played by Lee Marvin). Harrison recalled, “in the movie The Wild One there is a scene where Lee Marvin says: ‘Johnny, we’ve been looking for you, the Beetles have missed you, all the Beetles have missed you.’ Maybe John and Stu were both thinking about it at the time…” Interestingly, as an aside, one of the characters in the film is called ‘Gringo.’ However, there does appear to be a bit of a glitch in George’s account, because, the movie wasn’t released in the UK until 1967. Back in working-class Liverpool in the 1950s, before the days of internet and home-videos and DVDs, neither Harrison or his fellow band-mates would have been able to access it, unless of course they had friends in the motion-picture industry (highly doubtful, right) or physically went overseas to see it. According to McCartney, “it was John and Stuart who thought of the name. One April evening in 1960, John and Stuart announced: ‘Hey, we want to call the band The Beatles.’ We thought, ‘hmm, bit creepy, isn’t it? – It’s all right though, a double meaning.’ One of our favourite groups, The Crickets, had got a dual-meaning name: cricket the game, and crickets the little grasshoppers (we‘ve spoken to The Crickets since, and found that they hadn‘t realised that we had a game called cricket. They never knew they had a second meaning.)” For his part, John recalled, “I was looking for a name like The Crickets that meant two things, and from crickets I got to beetles. And I changed the BEA, because ‘beetles’ didn’t mean two things on its own. When you said it, people thought of crawly things and when you read it, it was beat music.” In the very early days of The Beatles’ fame the band did indeed adopt the beetle as part of their image, as this logo from their drum-kit shows. It ‘s said to have been designed by a Liverpool sign-writer by the name of Tex O’Hara…


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

1963-February 17th-


There’s beetles imagery again to be seen in The Beatles’ debut big-screen movie ‘A Hard Day’s Night’ from 1964. Here’s a scene from it…

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

After I came across the photo of Ringo Starr and John with his eye and pyramid T-shirt, my original plan for posting it up here was to keep it all really plain and simple, just to share the pic and add maybe a small, brief couple of paragraphs with a bit of background info and some of my passing thoughts on it all. But then – call it synchronicity if you like – I found myself coming into contact with breaking events in the news of a Beatles-related matter and that have, to some degree or other, connections and connotations to ancient Egypt and pyramids. As a result, I’ve included them here too, it seemed like the logical thing to do because it adds more depth, perhaps, to the possible significance behind what John is wearing in the photo. And so, what happened is, one afternoon as I was contemplating how to get this article together, miles away in London, Paul McCartney was outside ‘Abbey Road Studios,’ the place of course where The Beatles recorded most of their music (and that was known at the time as ‘EMI Studios’). He was posing for a photograph on the zebra-crossing outside, the one made famous (as well as occult-icily notorious) by The Beatles after they walked across it for the cover of their album ‘Abbey Road.’ I came by the photo (and video) that same day, July 23rd (2018), when it was published in a brief article on the news-site, ‘MailOnline.’ It reported that, “Paul looked in great spirits as he headed out to the crossing to strike a pose on it – 49 years after the famous album cover was shot in the same location. The legendary musician was back at his old stomping ground for a secret gig…”


Being that I was working within a ‘pyramid’ frame of mind at the time, upon looking at the article, I was instantly reminded of the fact that the ‘Abbey Road’ album was originally going to be called ‘Everest,’ a title, it’s claimed, that was inspired by the brand of cigarettes regular Beatles and EMI Studios recording-engineer, Geoff Emerick smoked at the time.


According to a quote I picked up from ‘The Beatles Encyclopaedia: Everything Fab Four,’ and that is itself credited to an interview with renowned Beatles historian Mark Lewisohn, McCartney claims the idea behind Everest came about because the band “were stuck for an album title, and the album didn’t appear to have any obvious concept, except that it had all been done in the studio and it had been done by us. And Emerick used to have these packets of Everest cigarettes always sitting by him, and we thought, ‘that’s good. It’s big and it’s expansive.’”

‘Everest’… A fan’s impression posted online

But, as “good” and “expansive” as it might have looked to them, and as attracted to the pyramid imagery of the idea as they might well have been, McCartney, according to the official Beatles documentary, ‘Anthology,’ claims that the band “never really liked that, but we couldn’t think of anything else to call it. Then one day I said, ‘I’ve got it!’ – I don’t know how I thought of it – Abbey Road! It’s the studio we’re in, which is fabulous.’” That’s not exactly how it’s reportedly remembered by one of the studio-team working on it. John Kurlander was an EMI Studios employee at the time and was assistant-engineer on the ‘Abbey Road’ album. The Beatles might have “never really liked” the Everest idea, but according to what he’s quoted as saying, they did talk of actually flying to the mount itself to take cover-photos for it. “It was around July, when it was very hot outside, that someone mentioned the possibility of the four of them taking a private plane over to the foothills of Mount Everest to shoot the cover photograph. But as they became more enthusiastic to finish the LP someone – I don’t remember whom – suggested, ‘look, I can’t be bothered to schlep all the way over to the Himalayas for a cover, why don’t we just go outside, take the photo there, call the LP Abbey Road and have done with it?’ That’s my memory of why it became Abbey Road: because they couldn’t be bothered to go to Tibet and get cold!” McCartney’s “secret gig” at Abbey Road Studios that the MailOnline article references featured a “star-strewn guest-list” including Hollywood actors Johnny Depp and Orlando Bloom and the singer Kylie Minogue and rapper Stormzy. The set-list was a combination of Beatles, Wings and solo numbers as well as brand new songs from his forthcoming album, which is to be titled, ‘Egypt Station.’ Here’s a graphic for it…


Out in September, Egypt Station’s imminent release was announced on Paul McCartney’s birthday – June 18th – following a series of cryptic posts of symbols and Egyptian-themed graphics on his ‘Twitter’ page in the preceding days. It began with a doodle…


Then a few days later… This:


And this:


Then a day later – June 18th – this:


And then, finally, this

Just over a month after the announcement, McCartney spoke about the album at some length during a live onstage Q&A with broadcaster, musician and front-man of Brit band, Pulp, Jarvis Cocker. Paul said, “what I thought was – these days, you know – you got the big stars like Beyonce, Taylor Swift… Their songs are – in a way – a collection of singles – they’re all great commercial tracks – but it doesn’t kinda roll through like a Pink Floyd album used to. And so I thought, well, I can’t compete with that kind of Taylor Swift thing… So, you know… maybe what I can do is just do a sort of what used to be called a ‘concept album.’” On McCartney’s official website, he’s quoted as saying, “I liked the words ‘Egypt Station.’ It reminded me of the ‘album’ albums we used to make… ” He told Jarvis Cocker that the album begins “with a station noise, so you’re sort of in a station, and then a choir swells out of that, so it’s like Heavenly Station now – you’re trippin’ dude. And then it goes into the first song.” From what I could gather at the time of posting this article, the songs on the album – two of which I’ve heard – shared no common theme, lyrically that is, to suggest they were part of “a concept.” Indeed, according to McCartney’s official website, what ties all the unrelated tracks together is the idea that they’re all connected – to a music-journey, from one ‘station’ to another: “True to the inspiration behind its title, Egypt Station’s 14 songs combine to convey a unique travelogue vibe. Between the opening and closing instrumentals ‘Station I’ and ‘Station II’, each song finds Paul capturing a place or moment before transporting the listener seamlessly to the next destination. Stops along the way include an acoustic meditation on present day contentedness (‘Happy With You’), a timeless anthem that would fit on virtually any album of any McCartney era (‘People Want Peace’), and an epic multi-movement closer clocking in at seven minutes with a song suite structure harkening back to the days of Paul’s previous combos (‘Despite Repeated Warnings’). The result is a kaleidoscopic journey through myriad musical locales and eras, yet firmly rooted in the here and now…” The title, ‘Egypt Station,’ originates from a lithograph of the same name that McCartney created back in the late 1980s. He told Jarvis Cocker, “I did a painting, it had Egyptian iconography in it ‘cos I like that kind of thing – and just to remember it, I called it ‘Egypt Station,’ ‘cos it had sort of Egyptian things…” And here it is…


Any way, after painting it, according to Paul, “I never thought any more of it, but people quite liked it, and, I was looking at it one day and I thought, ‘quite a nice title that – Egypt Station.’ So I thought, ‘well, that could be the new album’s title… the painting could be the cover.’ So, that’s where it started, and then we got some really good art-directors who took it somewhere.” And here’s Egypt Station, the album-cover…


As for the actual lithograph and the inspiration behind it, Paul told Jarvis Cocker, “the thing was, I like kind of looking at reference books, history books often for old symbols. So, on the cover of Egypt Station… I’ll often see statues or Aztec, that kind of… So, I like those, and if I like the image, I’ll put it in the painting and just put other things in it, there’s a guy in there who’s definitely not Egyptian – and I’ll just mess it up so it kind of becomes kind of like a little surrealist composition.” On the website ‘,’ he gives more details about the symbols he was inspired by for the lithograph. He claims that his “original inspiration” was drawn from looking at a picture “with Egyptian symbols and shapes” from “a reference book on Egypt.” He goes on, “I was interested in the way they drew sunflowers, so two appear on the left and on the right. It was a nice shape, so I took that and then I also love the way they symbolise trees. I like the way they reduce a tree to just some very simple symbols.” I might be seeing it wrong but the lithograph/album-cover also shows the horned features of what looks like might be either an onyx or a ram, both of which are ancient Egyptian symbols, with the latter, of course, having been in some shape or form quite a prominent feature in McCartney’s post-Beatles recording career. His second album following the band’s break-up was ‘RAM,’ which was credited to Paul and his then-wife, Linda.


Aside from the album’s title and its front-cover – which was photographed at McCartney’s farm in Scotland – the only other reference to a ram of any type is the track, ‘Ram On.’ The lyrics, to me, don’t mean anything…

Ram on, give your heart to somebody
Soon, right away, right away
Who’s that coming now, they’re coming
Who’s that coming now, now, baby?

McCartney’s reported to have said the album-title came to him one day as he was driving. “I remember driving… and deciding that ‘Ram’ would be a good title for the album, then the picture came, and you can ‘ram’ a door down, and a ‘ram’ is a male, like a stag. It just seemed like a good word.” In 1977, six years on from RAM’s release, Paul brought out an instrumental, orchestrated version of it, but did so anonymously. Titled ‘Thrillington,’ it was credited to the ram-headed Percy ‘Thrills’ Thrillington…


Although McCartney is said to have overseen the recording of the album (indeed, he was the producer) he didn’t play on it, and Percy Thrillington was the fictional character he and his wife Linda created to be its star – no one was to know it was a Paul production. In the run-up to its release, the couple paid to have short Press-reports printed in the ‘classified’ sections of the newspapers about what ‘Thrills’ was up to. “Percy Thrillington has been persuaded to prolong his stay in Paris as he finds the springtime atmosphere most conducive to creativity,” read one. “Percy Thrillington, despite excesses on both social and business time, hopes to lend his support to today’s daffodil ball,” read another, and so it went on. According to the sleeve-notes of the album, Percy was “an enigmatic figure” who was born in Coventry, England in 1939 then “wandered the globe” as a young man, studied music and “gained expertise in conducting and arranging as well as the marketing end of the music business.” But his “long ambition” was to form his own orchestra and to record, which he did “after he met Paul McCartney who helped Thrillington secure a recording-contract.” It wasn’t until many years later, at the tail-end of the 1980s I‘m led to understand, that McCartney began saying anything in public about his role in the creation of the ‘Thrills’ character. He’s reported to have commented that it was “one of our madcap publicity schemes.” The actual orchestrator of ‘Thrillington,’ a man who’d been hired by Paul after previously working with producer Phil Spector as an arranger on the Beatles’ 1970 album ‘Let It Be,’ was Richard Hewson. He’s spoken in not very glowing terms about the credit for the RAM reworking going to Percy Thrillington over McCartney. “I wasn’t totally for it.” He thinks that maybe Paul “felt it was a better way to show his crazy ideas, but if he’d released it as ‘Paul McCartney Orchestral’ or something, it might have sold much better, because it didn’t sell very well… It’s a mystery that I’ve never quite figured out why he did it.” Well, there’s all sorts of mysteries surrounding the former Beatle, that’s for sure. He’s quoted as saying, “you could say that Percy Thrillington was Richard Hewson, or just a fictitious leader of a band that never appeared anywhere. We’ve put out some weird and wonderful things like that occasionally.” Then, interestingly, he reportedly went on to say, “we would put clues into songs about certain things, because if people are going to play mind games with our lyrics then we can play mind games with them.” Is “we” referring to Paul with Linda, or, Paul and his fellow Beatles, or both? Anyway, “Thrillington was one of those” in his catalogue of “mind games.” Many of course have held the Percy Thrillington character up, what with his ram’s head, as yet another occult clue connecting McCartney to ‘Satanic’ sympathies, and the horned deities Moloch and Baphomet are often illustrated as examples of this. But, I’m going to return specifically to Robert Hieronimus’s contention that either one, some or all of The Beatles were consciously or subconsciously attracted to ancient Egyptian motifs relating to rebirth / creation. We’ve already taken a look at the said significance of both the scarab beetle and Khepera in this. But, I’ll suggest… what about the ram, which has featured often enough in McCartney’s work for it, I think, to be mentioned and considered here? For example, maybe – just maybe – part of the “mystery” that Richard Hewson claims he can’t figure out behind the apparent importance to Paul of Percy ‘Thrills’ Thrillington can be explained by another ram-headed figure, the ancient Egyptian god, Khnum…


Khnum, like the beetle-headed Khepera, is regarded a god of creation. He’s the creator of human-beings, the bringer of life. He’s been described as the maker of the ‘cosmic egg.’

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

In the book ‘The Egyptian Hieroglyph Metaphysical Language’ by Egyptologist Moustafa Gadalla, we get a direct connection shared between Khnum, the ‘cosmic egg,’ as well as the beetle, which was, in Robert Hieronimus’s words, “a very, very sacred symbol,” because scarabs roll large balls of dung to lay their eggs in, and that eventually hatch with their young from there, a behaviour that Egyptians saw as an act of spontaneous self-creation hence its association with the life-giving sun-god, Khepera who “was said to be self-created, born of his own substance.” In his book, Moustafa Gadalla notes the significance of this particular species of insect through his translation of Horapollo Nilous:

To signify… birth… or the world, or Man, they (Egyptians) draw a scarab… dung-beetle_mgr-8468ssit takes some cow-dung and makes a round ball of it, very much in the shape of the world. Rolling it with its hind legs from east to west, it faces the east, so as to give it the shape of the world, for the world is borne from the east to the west.

Gadalla adds:

The Universal Bubble is egg-shaped and therefore the universal bubble is also called the Cosmic Egg.

Egyptian texts refer to Khnum as the one who:

“made the cosmic egg.”  

Khnum represents the Cosmic Egg and all creation within it, as affirmed by references to his attributes in the Egyptian text as being: 

– The modeller
– Governor of the House of Life – being the Cosmic Egg
– Maker of heaven and Earth, and the tuat, and water and the mountains
– The maker of things that are
– Creator of things that shall be 

… the Cosmic Egg has same definitions as the ram-headed Khnum. Khnum is therefore almost always depicted next to or within the Cosmic Egg.

Khnum is, from my understanding, strongly associated with ancient Egyptian solar symbolism. According to one account I’ve read, he‘s described as being “soul of the sun-god,” Ra. The beetle-headed deity Khepera is allied with this sun-god too. Indeed, as mentioned earlier, in Robert Hieronimus’s words, “Khepera… represented the rising or morning sun.” He was the “Egyptian god of rebirth.” In his book, ‘The Secret Teaching of All Ages,’ the mystic, scholar, author and 33rd Degree Freemason, Manly P. Hall states, “Ra, the god of the sun… As the creator of the universe he was symbolised by the head of a scarab and was called Khepera, which signified the resurrection of the soul and a new life at the end of the mortal span. The scarab was the emissary of the sun…” Khnum is said to represent the nocturnal manifestation of the sun before it rises again the next day with Khepera. Below, a representation of what I understand to be the ancient Egyptian god, Nun holding up the barque (boat / barge) of Ra – and in the middle, the beetle…


Incidentally, with regards to Ra (pronounced: ‘Rah’), in 1977, the same year as the release of ‘Thrillington,’ its anonymous orchestrator, Richard Hewson, formed a studio project that would go on to enjoy a Top 10 UK hit single in the 1980s with ‘Clouds Across the Moon.’ He called it the RAH Band. According to his official website, he chose this name because he “was lucky enough to have the initials R.A.H. (Richard Anthony Hewson).” He doesn’t go into why that’s “lucky” for him… Nothing to do with ancient Egyptian symbolism, is it? I can only wonder.




Also (below) from the ‘Back to the Egg’ album, inner-sleeve artwork from the vinyl edition. I have no idea what it is, or where it was taken – perhaps maybe the roof of a church or cathedral?… But, what’d’ya think… Sun symbolism?…


‘Back to the Egg’ was Wings’ seventh and final studio-album before they split, and was recorded with an all-new line-up of the group. Released on the back-end of the Punk explosion and amidst the rise of New Wave, listening to it, you can hear these influences. There’s a hard-Rocking element to it, perhaps the hardest from all their recorded output as a band since forming in 1971. McCartney is reported as saying in 1979, “it was just a sort of back-to-the-beginning kind of feeling for us while we were making it. We were sort of trying different things, while we were making it, and that seemed to sum it up – Back to the Egg. A back-to-square-one kind of thing, you know?” Back to square one – back to the egg – complete with a band line-up of fresh members – the dawn of a new day, the rising of the sun. Rebirth – although they would part ways and split within a year or two later… to pinch a phrase from another Beatles blogger, Paul, from then on, was no longer a “Beatle with Wings” (beetle with wings).
Manly P. Hall states, “because of its relationship to the sun, the scarab symbolised the divine part of man’s nature. The fact that its beautiful wings were concealed under its glossy shell typified the winged soul of man hidden within its Earthly sheath.”


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


Given that at the time of RAM’s release in 1971 McCartney was involved in a legal dispute against John, George and Ringo to have their partnership formerly dissolved, was continuing to exercise his hostility towards Allen Klein the notorious New York music-biz boss who’d become business-manager of The Beatles after he was voted in by all the band except Paul (who refused to sign with him), and was bickering in public with Lennon, some have commented that the copulating beetles pic was a deliberately-placed metaphor alluding to the bad vibes and sense of betrayal that McCartney was likely feeling. According to author Christopher Sandford in his book, ‘Man on the Run: Paul McCartney in the 1970s,’ the “nature-photography library-shot of two beetles copulating” on the RAM album-cover “was interpreted in various ways: fucking Beatles, fuck The Beatles, fucked by The Beatles, Paul insists that its inclusion was purely accidental. ‘It was just a funny shot,’ he protests. ‘A photograph of two beetles shagging. I mean, that had to get on the cover. Then afterwards, you go, ‘oh, but they were beetles.’ To me they were just a couple of ladybirds or something. I swear to God I didn’t think about that. The thing is, whatever you do gets interpreted. And I don’t see half of it coming.’” Maybe Paul ‘didn’t see it coming,’ but – given the legal, personal and financial turbulence that he was getting from his strained relations with his ex-Beatles – one can’t be blamed for interpreting the copulating beetles as his reaction to this. There is, in Sandford’s words, a “fuck you” connation to RAM. Some of the songs on it, lyrically, are perceived to have been written as digs aimed at McCartney’s estranged partner, Lennon (most notably ‘Too Many People,’ ‘Dear Boy,’ and ‘3 Legs’). Also, the album’s title can be construed as an aggressive one if we’re to believe that it conjured up in Paul’s mind the picture of ‘ramming a door down.’ In the official mini-documentary, ‘Ramming,’ when he talks about how the word, ‘ram,’ came to him, he says, “Linda and I were travelling through Scotland… As I’m driving I’m just thinking… and I just hit upon the word, ‘ram.’ It’s a strong, it’s (a) male animal. And then there’s the idea of ramming – you know – pushing forward strongly. Very short, very succinct kind of title.” He was drawing a line in the sand and moving on – solo. Same as Back to the Egg, perhaps RAM should be regarded, symbolically, as a rebirth / a re-creation?… The ram in action. Recalling the previously-mentioned song ‘Ram On’… There’s an interesting idea put forward by the guy behind the website ‘,’ that the track’s title might relate to a pseudonym that McCartney had used previously in the past. He’d adopted it briefly in his pre-fame Silver Beetles days after the band were booked to back a singer by the name of Johnny Gentle on a concert-tour of Scotland in 1960, a major achievement for the group who‘d struggled to get any big breaks. Paul says, “now we were truly professional, we could do something that we had been toying with for a long time, which was to change our names to real show-biz names… George became Carl Harrison after Carl Perkins, John was Long John… ” Paul became, Paul Ramon. “It’s French,” he’s recalled. “Ra-mon, that’s how you pronounce it.” Okay… but how about seeing it as: ‘Paul ram on’? Nine years later, in amidst the dying days of The Beatles, during the squabbles and the fall-outs, McCartney adopted the pseudonym again, this time to be used as a credit on a song he’d guest-played on titled ‘My Dark Hour.’ It was by the American musician/song-writer Steve Miller and released on his 1969 album titled, in case you’d like to know this, ‘Brave New World.’ Is Paul Ramon an A.K.A. for ‘ram on,’ RAM, the ram?… All and the same? Whether intended or not, in whatever variant these words have appeared, they have been a source of expression for him, from his days as a struggling teenage Silver Beetle and then out the other end of the Beatles’ split in the late ‘60s and early ‘70s.


Okay, you’re now pretty much travelling on the last leg of this article, and, at this point, I’m going to take you down what I think will be a bit of a humorous route for some reading this, here’s some more about the ram-headed Khnum The Creator, or, more to the point, a fellow ancient Egyptian creation deity who’s closely associated with him, a female, described – depending where you look in your research – as his consort and/or his counterpart. Her name was Heqet (Hekat), goddess, it’s said, of life-giving and rebirth (here we go again) and she too was represented in the form of a human’s body with an animal’s head – that of, a frog – she was worshipped in the form of a frog(!). Anyone old enough to remember this from 1984?…


Alright, stop sniggering… Released as a single back in ‘84, ‘We All Stand Together’ by Paul McCartney and The Frog Chorus is – yes indeed – not only considered a very embarrassing, deeply low-quality point in his musical catalogue, but a source of much making fun of at his expense (but it did get into the British Top Ten singles chart reaching Number Two – twice!). If you’re too young (or lucky) never to have heard what all the ribbing’s about, you can listen to the song below. It was featured in the animated short ‘Rupert and the Frog Song’ starring the vintage comic-strip children’s character Rupert Bear – you’ll see him in the vid, it’s actually a scene from the film which was released in cinemas back in ‘84, a one-off production produced, financed and partly written by McCartney.

Okay… yeah… thing is, I have actually considered the esoteric aspects of this video… Heh, heh.. now you’ve seen it all, eh? An occult analysis of the Frog Chorus. However… think about it… the song probably did get a lot of the listening public all bewildered at the time of its release with them wondering what the hell possessed McCartney to record such a thing. Okay, sure, it was the song from a kid’s film, so people shouldn’t have expected a Rock/Pop masterpiece, but, why frogs? The ‘Rupert Bear’ stories, since they began back in the 1920s, have featured a wide array of regular characters in animal form such as Edward Trunk the elephant, Bill Badger the – well – badger, and Willie the mouse, to name a few, but rarely (if ever) anyone of a froggy or toad-like demeanour. In the ‘Rupert and the Frog Song’ film-short however, the story revolves almost entirely around Rupert and lots and lots of frogs – there’s hardly next to no sight of his usual cast of friends – with the exception of less than a minute’s-worth of an appearance of a couple of them in passing. So here’s Rupert, on the big-screen for the first time ever (as far as I’m aware), and his regular co-stars are almost nowhere to be seen. But… there’s lots and lots of frogs. What possessed McCartney indeed? Well, not stupidity I’m sure, and ancient Egyptian symbolism translated through a modern children’s cartoon isn’t far-fetched as a possible explanation for it all, is it?… I mean…

The ‘Rupert and the Frog Song’ film-short – which lasts around 12 minutes in length – follows one particular day in the life of Rupert, when he goes off for a walk in the countryside and accidentally discovers a cave leading to a secret world inhabited by talking frogs. He sneaks in and, with the moon having risen, he watches the ‘Frog Song’ spectacle, a musical extravaganza that only takes place once every couple of hundred years, and which is the actual full performance of ‘We All Stand Together’ as seen in the video above. During this rarest of rare events, the frog queen and king rise out of the water…


Heqet is symbolically connected to the Nile, as is Khnum, who’s also been dubbed “the king of frogs.”
The 19th century poet and writer and researcher of ancient Egypt, Gerald Massey, states in his written work ‘Ancient Egypt: The Light of the World’:

The frog was a lunar type… The name of the frog in Egyptian is Ka, whence the Lunar Lady, who was represented as a Frog, is designated Mistress Heka or Hekat, who was consort of the Solar God Khmun-Ra. An inscription in the ‘British Museum’ tells us that under one of his titles Khmun was called “the King of Frogs.” There is no proof, perhaps, of his being a Frog himself, but his son, Ptah, had a Frog-headed form, and his consort, Hekat, is the Frogess. Khmun-Ra is the nocturnal sun, and Hekat, his consort, is a representative of the Moon that transforms in the lower hemisphere, as the tadpole emerges from the waters in the form of a frog…

Below, a screen-cap from a scene from the ‘Rupert and the Frog Song’ film. It’s from the bit after the so-called ‘frog king and queen’ emerge from the water. I’ve also added the pic of Heqet within it for comparison…


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

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

In the book ‘The Coffin of Heqata (Cairo JdE 36148): a Case Study of Egyptian Funeray Culture of the Early Middle Kingdom,’ its authors Ah and Harco Willems write, “there is… an analogy between the mysterious birth process of the frog (Heqet) and that of the scarab (Khopri / Khepera). The Egyptians believed that both were born spontaneously from the Earth. As a result of this self-generative aspect, the gods came to be understood as creators and as such as being involved in the process of solar (re-)birth. The coupling of Khopri and Heqet finds an interesting parallel in a regeneration amulet depicted in a Kushite relief of King Arnekhamani. It shows a scarab bracelet with frog’s legs.”
Now, I’ll be the first to admit that I’m no wizened expert when it comes to ancient symbols. I have a basic understanding and its that which guides me in putting together articles such as this one. So, as a result, there could be a lot I’m missing in my analysis – that’s certainly the case with regards to the ‘Rupert’ film. Any way… moving on now…

You’ve probably seen the pic below before (?). It’s the coat of arms that was granted to famed Beatles producer Sir George Martin in 2004. He was knighted by the UK’s Queen Elizabeth in the late ‘90s and, yep, it’s got beetles on it…



Assuming that those insects on the arms are meant to represent his close connection to The Beatles, I really don’t know why he chose only to feature three on there, although I am aware that some supporters of the ‘Paul is Dead’ theory/conspiracy have suggested it’s a clue hinting at McCartney’s ‘death’ in 1966. Also, for whatever reason, one of the beetles on there, is slightly larger than the other two.
According to the website ’,’ here’s what the coat of arms represents, but there’s no explanation for the apparent ‘missing beetle/Beatle’ or the larger one:

Arms: Azure on a Fress nebuly Argent between three Stag Beetles Or five Barrulets Sable.

Crest (upon a Helm with a wreath Argent and Azure): A House Martin proper holding under the sinister wing a Recorder in bend sinister mouthpiece downwards Or.

Badge: A zebra statant proper supporting with the dexter foreleg over the shoulder an Abbot’d Crozier Or.

And, so I’m led to understand, the words at the bottom of it, ‘amore solum opus est,’ translate to, ‘all you need is love.’

It was in 2001, if I’m not wrong, that McCartney was granted his coat of arms by, according to, the previously-noted “College of Arms, part of the royal household. McCartney had originally applied for the coat of arms in 1997, the year he was knighted, but the death of his first wife Linda from cancer in 1998 delayed its design and approval.” Pictured below, “the coat depicts a guitar held by a Liver bird, a reference to his musical career and his Liverpool roots…” You might not be able to see it with a casual glance, but if you focus and look, according to the BeatlesBible, “the shield, featuring two black curved emblems, is divided in two” and “the resulting four shapes” resemble “beetles’ backs,” they “symbolise McCartney and his fellow Beatles…” A page on the website of ‘The Heraldry Society’ describes it as: “The four bits of beetle-back made by the flaunches, represent the four Beatles.” The motto at the bottom of the coat of arms, “ECCE COR MEUM (‘Behold My Heart’) refers to the oratorio written while his first wife Linda was dying.”


So there you have it, of his own volition, McCartney, through the imagery of his coat of arms, has aligned his family name in a most permanent fashion to the beetle, insect of inspiration for ‘The Beatles’ and a highly revered deity of ancient Egypt. Whether its inclusion is a reference in some degree or other to its occult associations to rebirth and creation, who am I to know, I‘m just some bloke blogging, so, there’s not much else I can do but offer up, as I’ve done in this article, some photos, album-art, words and names for your consideration. I do suggest though that what you should take into account if you choose to consider what I’ve posted is, McCartney’s comments during his Q&A with Jarvis Cocker when he spoke about the inspiration behind his Egypt Station lithograph. He said the images on it were derived from reference books he enjoys reading on ancient symbols, including Egyptian iconography because, “I like that kind of thing.” If that’s true, well, I’d lay money that, as he was flicking through the pages, he would have come across the figure of Khepera who was after all, in Robert Hieronimus’s words, “a very, very sacred symbol.” So, whether you believe McCartney has consciously been paying homage in his work to this deity or not, I’m of the view that he is fully aware of him, he has come across him. When that might have occurred, I don’t know, was it during the 1980s when he created his lithograph, or in his ‘ramming’ days of the 1970s, or back in the beginning when he was Paul Ramon of The Silver Beetles? Get an answer to that and you might find it to be a welcome clue if you’re of the opinion of or suspect that, yes, McCartney was indeed aligning himself with ancient gods of creation and rebirth. The same applies to John Lennon. He too I’m sure would’ve had knowledge of deities such as Khepera even if he wasn’t consciously drawing inspiration from them – after all, if nothing else, not only had he visited Egypt and its pyramids, but his wife was a collector of its antiquities for their “magic.”

And it’s on the subject of pyramids, actually, that I’m wrapping this article up now…

When news of McCartney’s new Egypt Station album was beginning to surface on the ‘net, someone I know brought my attention to one of the symbols that Paul was posting on social-media in the run-up to its official release-date announcement. Here it is, an image that was pointed out to me because it reminded them of something that they knew would’ve struck me…


I didn’t notice it, I didn’t click until it was spelt out for me, but, that symbol… Well, it don’t half look like the logo for this website’s parent, ConspiroMedia (!) and as devised and designed by myself and artist, Robbie Allen (I gave Robbie some ideas and a theme and he ran with it with gusto)…

Final Conspiro Media

Now… I for one am not going to suggest for one minute that it was an inspiration for McCartney and his design-team behind the Egypt Station album, but… there it is.



UPDATE (September 4th):

Over two weeks on from posting this article and I’ve stumbled across some brand new data published in the public domain that, certainly, deserves to be added to this analysis…

With Egypt Station just a few days away from release now, the promotion ahead of it has been regular, and on August 14th, a series of symbols were posted to McCartney’s Twitter page, sixteen in total to be exact, one for each track on the new album. I’ve screen-capped the ones that I think might be of particular interest to you… and I’ve saved the best, most telling one for last. Up first though, here’s the one for the song ‘Caesar Rock’…

Caesar Rock

Track 15, ‘Station II’…

Station II

And finally, for the track ‘Confidante’… what do we have here?…It’s a beetle of course along with that pyramid-type (ahem – Conspiro-ish) symbol. But what’s most striking to me is that it’s making reference, specifically, to the scarab, not merely as just an insect, but as the ancients regarded it, the sun-god…

scarab confidane

To anyone looking at this right now who’s not sold on the idea I’ve outlined in this article, that McCartney is, either consciously or not, identifying with and channelling into ancient Egyptian symbolism, well, yeah, okay, the album’s called ‘Egypt Station’ so maybe it should come as no shocker that he’s picked out old sun symbols from Egypt to include in the artwork such as the scarab (in other words, there’s nothing deeply significant to see here), but, this ain’t nothing new, not really. After all, where did the title of this fresh collection of songs come from in the first place but his own lithograph dating back thirty years or so, and of course, the beetle also features on his coat of arms and inspired the name of that band he used to be in. Add this to all the other stuff I’ve highlighted in this article from his life and career and, well, maybe this idea deserves the time for consideration at least.




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

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

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

YouTube: ‘John Lennon, Our World Is Run By Psychopaths “THE WORLD IS RUN BY INSANE PEOPLE”‘’t%20represent%20the%20people%20it%20controls%20them&f=false,+Ono+was+finalizing+details+for+the+proposed+visit+to+the+illicit+excavation.+The+more+intent+she+became,+the+more+Green+feared+her+presence+might+cause+problems.+An+internationally+known+celebrity+couple+wasn%E2%80%99t+likely+to+go+unnoticed+by+the+Cairo+authorities.+Green+used+Thomas+Hoving+as+a+means+to+discourage+Yoko%E2%80%99s+plans.+He+concocted+a+story+tha&source=bl&ots=aUqdvWJg1V&sig=01ooBO9gWVmROt1wgwQcRm8FoPI&hl=en&sa=X&ved=2ahUKEwjby66FhsbcAhUTQMAKHXudAC0Q6AEwAHoECAEQAQ#v=onepage&q=While%20Lennon%20was%20exploring%20various%20sites%2C%20Ono%20was%20finalizing%20details%20for%20the%20proposed%20visit%20to%20the%20illicit%20excavation.%20The%20more%20intent%20she%20became%2C%20the%20more%20Green%20feared%20her%20presence%20might%20cause%20problems.%20An%20internationally%20known%20celebrity%20couple%20wasn%E2%80%99t%20likely%20to%20go%20unnoticed%20by%20the%20Cairo%20authorities.%20Green%20used%20Thomas%20Hoving%20as%20a%20means%20to%20discourage%20Yoko%E2%80%99s%20plans.%20He%20concocted%20a%20story%20tha&f=false;+again,+lions+and+panthers.+The+scarab+was+the+emissary+of+the+sun,+symbolizing+light,+truth,+and+regeneration.&source=bl&ots=l-jhU174cI&sig=ssnXzXktgXioYQPj4k3z-Xqz5mg&hl=en&sa=X&ved=2ahUKEwjCvout89ncAhWoCMAKHX4DDvkQ6AEwAXoECAkQAQ#v=onepage&q=Initiates%20of%20the%20Egyptian%20Mysteries%20were%20sometimes%20called%20scarabs%3B%20again%2C%20lions%20and%20panthers.%20The%20scarab%20was%20the%20emissary%20of%20the%20sun%2C%20symbolizing%20light%2C%20truth%2C%20and%20regeneration.&f=false

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

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