In the wake of the JFK assassination, would soon arrive the seemingly perfect anecdote for America’s malaise. In 1964, four charismatic lads allegedly hailing from a dank and gray overcast port called Liverpool, appeared on the popular Ed Sullivan show and proceeded, armed with rough hewed guitars and sunny melodies, to pluck euphoria from the oak strong grip of sorrow, holding captive America’s hearts as well as their imaginations.

However, after more than sixty years since that eventful night on American television, cracks are starting to appear in the media sorcerer’s wall of spells.

And now, it is time to tear the wall completely down. 

One does not derive pleasure from having to slaughter this particular sacred cow.

Nevertheless, the truth must be told.

Under the smallest of scrutiny, the mythical story of four unknown musicians discovered at the dingy Cavern club in downtown Liverpool during Brian Epstein’s lunch break utterly falls apart. For, here was a man with aristocratic bearing, just happened to wander in to the smoky night club at lunch time to ‘discover’, as Epstein himself put it, “four rather ill-clad youths on a dimly lit stage with a presentation left something to be desired.”

It was often claimed, after the fact, Epstein had heard a record that happened to come into his shop, (Epstein was owner and chief manager of NEMS record franchise) featuring the unknown group accompanying minor pop luminary Tony Sheridan. Despite the fact, Epstein admittedly did not care for pop music, the future Beatles Svengali claimed this rather pedestrian musical ditty nonetheless evinced his considerable interest. This beginning scenario, firmly establishing the Beatles myth for posterity, simply strains credulity.

First off, does one genuinely believe an aristocratic gentleman, with no interest in pop music, would suddenly become enamored with the rather primitively recorded din of four unknown upstarts?

Secondly, social classes, even during this era, were greatly segregated in Britain, perhaps even more so than in America. For generations, gentleman from the upper classes in Britain have not sought the company of those belonging to lower and especially working classes. At the very least, it is fair to surmise a man of noble and aristocratic bearing, as Mr. Lorry in Dickens’ Tale of Two Cities put it, ‘a man of business’, would never have deigned to make it a habit of taking his lunch in the roughest part of downtown Liverpool. A man such as Epstein, would have undoubtedly considered the dingy Cavern club utterly ghastly, and would never have ventured in, at lunch time or any other.

That is, unless, a business meeting had been prearranged on behalf of someone belonging to a social station commensurate with Epstein’s own-someone, more than likely of great enough importance to have impressed the future Beatles manager wandering into the filthy Cavern was worth the time investiture.

The story attached to how Epstein first heard of the Beatles is suspect in the extreme. Now, in fact, Epstein’s surviving managerial assistant at NEMS, has told the truth about ‘My Bonnie’ by Tony Sheridan and the ‘Beat Brothers’. The original tale of young Liverpool ‘fan’ named ‘Raymond Jones’ purchasing the Beatles first recording, is now admitted to be a complete fabrication. Not only is ‘Raymond Jones’, the alleged customer, admitted to have been fabricated, Epstein’s assistant admits he was the one purchased the obscure recording. From approximately 12:52 to 13:50 in the following video, the true story of Epstein’s ‘discovery’ of the Beatles is told:

Not only is it admitted this mythical story was fabricated, but it was often rumored that Epstein, in collusion with BBC, ‘fiddled the charts’ in leading the Beatles first recorded issue on EMI, ‘Love me do’, to the upper reaches of the British pop lists. The engineered story of ‘Raymond Jones’ certainly lends credence to the claim the Beatles initial fame was in fact manufactured.

Then, there is the subject of the four individual Beatles. Producer George Martin, in several written, as well as spoken accounts, was first hand witness to the shockingly rudimentary instrumental skill sets of the four Liverpool would-be pop stars. Martin also claimed their self-penned original compositions were ‘not very good’, save ‘Love me do’, the bands first chart topping single. Despite their musical shortcomings, Martin claimed, it was the groups collective and individual personal charm that impressed him and EMI most.

And yet, it was not so long after Epstein signed the contract offered by EMI, the band had a slew of classics recorded in less than one month after returning from a stint of club engagements in Hamburg, Germany. The testimony of Martin lends credence to the argument the Beatles, specifically Lennon and McCartney, were perhaps not-though their names appeared as such on the issued recordings-the composers of the groups compositions.

One must understand, especially during this era, it was rare for pop acts to compose their own material. The music industry, at the highest levels, is the most tightly controlled business. Nepotism rather than talent is what matters. All major stars, whether of music or film-one shall invariably find-are the sons and daughters of the rich and the powerful. With stockholders profits on the line, recording labels did not, and still do not take chances with new and unproven artists, even less of a chance on new artists composing their own material. Is it not, more than likely, EMI, given the four group members rudimentary instrumental abilities, would have hired song writing professionals with established track records, rather than taking a chance on allowing the group of unknown quantities to produce their own material? Is it not, more likely, top pop music writers of the era, such as Niel Sedaka, Carol King, Paul Anka, Phil Spector and perhaps even Burt Bacharach, were responsible for most of the Beatles early compositions?

See: Pop music much more than entertainment (Part III)

‘John Lennon’ stated, in an interview with Rolling Stone magazine’s Jan Wenner, he was the groups ‘invisible guitar player’, meaning his skill level was rather rudimentary at best, and in fact ‘poor’. Another clue demolishing the Lennon and McCartney myth as the composers of the classic Beatles songbook, is the contradictory, and seemingly ever changing accounts and recollections as to the mechanical nature of the alleged songwriting duo’s collaborations.

For example, the details of Paul McCartney’s accounts concerning his collaborations with Lennon have varied from decade to decade. Then again, the Beatles weren’t musicians so much as they were archetypes-archetypes portrayed by actors. One in particular, the character of John Lennon, was portrayed by one of the most talented, and even ingenious actors, impersonators, and comedic talents to have ever graced either stage or screen.

The Rothschild’s

In addition to handling the royal family’s banking affairs since the reign of Queen Victoria in the 19th century, the Rothschild European banking dynasty observed the burgeoning post-war pop music industry of the 1950’s to be potentially more than profitable. The Rothschild’s were major stockholders in EMI, and like any investor, desired to expand the profitability of their already enormous portfolio. Like their agents in the US, the Rockefeller’s, however, the notoriously cautious Rothschild’s do not stay rich by becoming hasty, or taking risks with their considerable investments.

Hiring Tavistock Institute to conduct studies, the family concluded, after the success of Elvis Presley in the US, they could exponentially increase their profit margins with a group of charismatic young personalities capable of generating the same sexually charged excitement Elvis produced on his own. The Rothschild’s agents that ran the music industry in Britain were Lew and Leslie Grade, Larry Parnes, and the Kray organized London crime family. The Grades, by all accounts, were shrewd businessmen, whose contacts were deep and foolproof, not only in entertainment circles, but within the realm of intelligence, where they regularly hobnobbed with the likes of MI6 chief Sir John Arthur Reid Pepper. Grade is mentioned by name in the Lennon penned song ‘A day in the life’ (I read the news today, oh boy, about a lucky man who made the ‘grade’) and Pepper is directly but slyly referred to in the title of the Beatles classic album ‘Sergeant Pepper’, released towards the latter part of the 1960’s.

Yes, folks, the Beatles were an intelligence operation, designed to primarily stimulate commerce, and secondarily to effect a social and political agenda, the result of which is still being felt today. One should recall the scripted remarks of John Lennon concerning Christianity:

“Christianity will go. It will vanish and shrink. I needn’t argue about that; I’m right and I will be proved right. We’re more popular than Jesus now; I don’t know which will go first-rock and roll or Christianity.”

These scripted remarks were all part of an agenda, to demoralize Christianity in the West, reinforce vapid materialism whilst incrementally conditioning the masses for the arrival of a ‘new age’, Aquarian religion. Does one think it was an accident the four Beatles traveled to India to meet with the Maharishi yogi?

‘Reality show’

The Beatles were nothing more than a manufactured ‘reality show’, complete with actors, film set directors, producers, and script writers, the four characters portrayed by actors. Just as the popular series of 007 spy films featuring the seminal figure of James Bond released during this era, the main characters were played by different actors, contracted to play a role as the series went on.

See: Actors in history’s grand stage play (part V)

‘Paul is dead psyop’

Before one reveals the main actor portrayed the character known to the world as ‘John Lennon’, some historical background is needed to understand just how the creation of a pop muscial group became the focal point of a major intelligence operation.

The year was 1940, and British intelligence, at the behest of MI6 Chief Control and upon the authorization of Prime Minister Winston Churchill, set up a nexus of spy networks in the US, centered in New York city. The head of the agency BSC, or British Security co-coordination, was headed by John Arthur Reid Pepper. This is the gentleman blatantly referred to on the cover of the Beatles seminal pop masterpiece, ‘Sergeant Pepper’s Lonely Hearts Club Band. There are a slew of MI6 agents pictured on the cover of this record, the most infamous of which was Alistair Crowley, recruited by the Home Office as a counter-intelligence agent in the 1890’s.

The primary mission of the BSC was to mobilize pro-British opinion and commercial interests in America. As a colossal web of news manipulation and black propaganda was woven, involving the Herald Tribune, New York Post, Baltimore Sun and Radio New York Worldwide, America found itself embroiled in yet another world war. The fictional stories disseminated from Rockefeller Center would be picked up as legitimate stories nationwide by other radio stations and metropolitan newspapers. During this era, this extensive network was utilized to spread anti-German propaganda. Later, this very same surviving network was utilized to generate enormous publicity for what came to be known as ‘Beatlemania’.

This is the spy network that would have most likely been responsible for disseminating the ‘Paul is dead’ psyop. But, this was just a cover for the fact that some of the initial actors playing the roles of John, Paul, George, and Ringo had moved on to other commitments or assignments, post 1966. One speculates the ‘original’ Paul McCartney may have been portrayed by Pepper’s son, Paul Michael Reid Pepper, later to be replaced by Tara Browne. This is where the story get’s interesting, and where yet another royal connection with a classic pop group is found.

It has been written that Lennon was inspired to write ‘A day in the life’ upon having read about the tragic death of socialite Tara Browne in 1966 at age 21(777, or black jack, the joker laughs at you). Browne was the son of Dominick Browne, the fourth Baron of Oranmore and Oonagh Guinness, heiress to the Guinness liquor fortune.

More than any other clue embedded in the so-called lyrics penned by the Beatles, the alleged Tara Browne car crash on the night of December 17, 1966 while driving a Lotus Elan, practically gives the entire show away, if one knows where to look. The latter detail of the story, concerning the Lotus, is where more occult or masonic significance comes into play. Per the Theosophical Society, the lotus represents a graphic allegory:

“Not only is the lotus the symbol of the creative power of nature, it represents the prolific life giving energy of earth, of the sacred Mount of Meru, upon which sits the four angels or princes of the four quarters of heaven. The lotus is also the two-fold type of the Divine and human hermaphrodite, a being of dual sex.”

This is additionally significant because Tara Browne was known to dress up as transvestite ‘Amanda Lear’. This is where the high degree masonic concept of the mirror or reversal reflection becomes relevant. One believes, Tara was a woman who dressed as a man. Tara Browne’s role as Amanda may have reflected her actual sex. Perhaps, this may be the secret Heather Mills, McCartney’s second wife, claimed she harbored and threatened to expose, just after the couple’s bitter divorce.

The actor Tara Browne presently playing ‘Paul McCartney’, may be a woman in disguise.

Ironically, although Lennon claimed he had penned ‘A day in the life’ after having read the account of the Tara Browne crash in the Daily Mail, McCartney has constantly downplayed the connection:

“The verse about the politician blowing his mind out in a car we wrote together. It has been attributed to Tara Browne, the Guinness heir, which I don’t believe is the case, certainly as we were writing it, I was not attributing it to Tara in my mind. In John’s head it might have been.”

It is also most noteworthy, in continuing with the occult theme, that a Beatles compilation recording was released on March 7, 1988, entitled Past Masters. The term ‘master’, in this context, has a double meaning. It is a term not only describing the master tape of a final recording mix, it is also a reference to the ‘master’ of a masonic lodge, most likely the Order of the Garter, or perhaps the Order of Saint John, both of which are headquartered in London.

1966

The question of why, after their final live performance at Cow Palace in San Francisco in 1966, just two years after making their debut in America, the Beatles decided to no longer tour, has never been satisfactorily addressed. One believes identifying the actors playing the roles, and examining the subsequent trajectory of their careers, may hold the key to a possible explanation.

Sonny Bono

Sonny Bono, during the period of the early sixties, was often referred to as the right hand man of legendary music producer Phil Spector. A musician and vocalist, Bono aided the legendary Spector in setting up his studio and preparing the session musicians to better reproduce the signature ‘wall of sound’, for which Spector became famous. Bono would also serve as a percussionist on several of Spector’s early recording sessions with the Ronette’s and other ‘girl’ groups.

Ambitious in his own right, Bono was noted as both an opportunist and a hustler, not reticent about seeking out any chance to further his career in the music business. Spector himself would go on to later produce both the Beatles (Let it Be) as well some of John Lennon’s post Beatle recordings. Given Spector’s studio was located in New York, the headquarters of BSC, it is most likely Bono would have jumped at the chance to involve himself in a potentially high profile music project, away from the rather dictatorial and mecurial Spector, to work overseas with the comparatively mild mannered George Martin.

Vein hand pattern and ear bio-metric photo analysis, indicate a near match with the character known to the world as Ringo Starr.

The date 1966 also coincides with the period of time Sonny Bono had paired up with Cher, yet another back-up singer in the stable of Phil Spector, to record their first hit album and embark on a successful sold out world tour. As an ambitious man, looking to forward his music career and increase his overall fame index, and considering the Beatles popularity was on the wane in America during this time, Bono may have been looking to jump ship, and sign on with yet another potential hit act, accompanied by the opportunity to star in his own television special.

‘Papa’ John Phillips

John Phillips, best renowned performing as one quarter of the top selling popular musical group Mamas and Papa’s, possesses a very interesting, if not notable pedigree. On his mother’s side, one was able to discover a connection to the British peerage, a John Freeman, esquire, an attorney by trade and sworn member of the middle Crown Temple. The family line seems to extend into the Irish peerage as well, with a relation to Guthrie of Baron Orau and Browne castle and Baron Oranmore. That’s right, folks, Browne castle, and Dominick Browne. Thus, another royal connection is made with regard to a classic pop group.

Also noteworthy, is the fact the Phillips family are major stockholders of Phillips electronics, headquartered in the Netherlands. ‘Papa’ John Phillips was a competent guitarist and a melodic tenor, adroit at harmonizing his voice with other performers. Suffice to say, he would have been a nice fit for one looking to put together a hit pop act. Phillips father had military intelligence connections, and Papa John became, beginning in 1966, a notable and leading figure in the blossoming Laurel Canyon music scene that birthed not only Mama’s and Papa’s, but the Doors, the Grateful Dead, Jefferson Airplane, and others. It is likely, Philips remained on assignment from his intelligence masters in California, subsequent to what would be the Beatles final performance at Cow Palace in San Francisco. Both vein hand pattern and facial recognition analysis indicates one may have discovered the host actor portrayed the Beatles character known to the world as George Harrison.

And now, for all who have bothered to read this far, one shall be duly rewarded with the grand revelation, the actor portrayed music legend John Lennon:

Peter Sellers, most famous for his roles in the Blake Edward’s directed Pink Panther movies featuring the bumbling detective Inspector Clouseau, Sellers was known during the span of his career as a master impersonator, possessing perfect comic timing and penetrating wit. In one of his earliest film roles, Stanley Kubrick’s Dr. Strangelove, Sellers portrayed not one, but three leading roles. It is interesting to note, that the date of Sellers death in 1980, roughly corresponds with not only his final appearance on film, but the death of the character he portrayed, John Lennon.

However, here’s where the plot thickens.

‘Get the Knack’

If one recalls, right around the time of Lennon’s death, the media sorcerers were working the public into a frenzy concerning a Beatles reunion. Well, as it turns out, the death of the music legend was not what precluded such a grand possibility. Upon analyzing the alleged assassination of Lennon, anomalies were observed. For one, the identity of the accused assassin, Mark David Chapman, turns out to be a blatant alias.

In addition, earlier, one detailed New York city as the headquarters of the BSC, the British Security Cooperative, set up a number of decades ago by John Arthur Reid Pepper and overseen by MI6. No doubt, the intelligence community was still overseeing the handling of the Lennon character, as well as stage managing the psychological operation the public came to know as Lennon’s shocking assassination at the hands of a ‘mentally disturbed’ fan. The mental health meme seems to be featured every time intelligence runs a psychological operation involving a lone armed assassin.

In examining photographs of Lennon’s assassin, one was immediately struck with a discrepancy between the height measurements listed in the alleged police mug shots released and published by mainstream media outlets, separated by a number of years. The older Chapman, is taller than the younger man alleged to have shot Lennon that fateful night outside the Dakota. Stark discrepancies were demonstrated during comparative photographic ear bio-metric analysis. These are the telltale signs of a psychological operation. Further still, it appears the host actor portrayed Lennon, went on to star in yet another role, that of lead singer Doug Feiger of one hit wonder pop act The Knack.

Best known for their hit single ‘My Sharona’, the Knack was summarily panned by music critics for their blatant Beatles-like image and sound.

One was astonished to discover, facial recognition indicating Peter Sellers and Doug Feiger to be a near match in terms of identity. Not only did the Knack’s debut record appear on the Beatles American label Capitol, but the cover photo presentation nearly mimics the photographic style of the fab four’s debut, Meet the Beatles. Not that surely many would notice, but if one bothers to scroll down the track listing of the bands debut record, ‘Get the Knack’, one comes to a cut entitled ‘Oh Tara’.

Could this be an inside joke concerning Tara Browne, the host actor replaced the original Paul McCartney in 1966?

For what it is worth, here is a sample lyric and one can decide for themselves:

“Oh Tara, squeeze my heart and then you let it go/oh Tara, my oh my/I can’t help falling though I wouldn’t try/I can’t explain no I don’t know how/and all my talking means nothing now/ it only frightens you anyhow/you’ll never know what you done to me/the agony and the ecstasy/ooh Tara it’s alright/but I miss you tonight”

When one considers the lyrics within the context of the aforementioned information concerning Tara Browne and Peter Sellers, one has to admit the hidden meaning is rather curious.

Be that as it may, it becomes apparent, more than the Pink Panther’s Inspector Clouseau, perhaps more than any role he had ever portrayed, Peter Sellers enjoyed being cast as a rock star. Well, let’s face it folks, can one blame him-after all, doesn’t everyone who remembers the Beatles, wish they could be a rock star too? As yet another rock star, Rod Stewart, once sang, ‘some guys have all the luck’.

 

9 thoughts on “Actors in history’s grand stage play (part VI)

      1. The elites consider the progress of commerce to be paramount, that and shaping the political, social and moral environment to tolerate and even condone their criminal status quo. That is the main thrust of the content-the actors are merely tools-a means to a very nefarious end.

        Liked by 1 person

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s