After outlining the major theories regarding the replacement
of Paul McCartney of The Beatles in 1966, we would like to progress to a
tentative theory of our own regarding his murder. We admit that the physical
evidence is slim, but there are other sources of evidence which lead one to
piece together a plausible narrative of his assassination.
The Evidence
We acknowledge that there is no corpse, making a case of
murder a bit more challenging than usual. The primary fact is that Paul was
replaced in 1966, a fact confirmed by the forensic work of Carlesi and Gavazzeni
published in 2009 showing that the individual masquerading today as Paul
McCartney is indeed a different person than the Paul of 1966 and prior.
The evidence that we have about the circumstances of his
death relies in part upon the lyrics and clues from Beatles albums beginning
with Sgt. Pepper’s Lonely Hearts Club Band. Although many so-called clues are
ambiguous and could have alternative interpretations than those put forth by
the Paul Is Dead community, we believe that their cumulative weight, bolstered
by various statements of former Beatles, Heather Mills, and Sir Paul McCartney
support the thesis that Paul is Dead.
The Publicity Stunt
There are many who claim, frothing at the mouth and shaking
their heads more violently than Baby ever shook It, that the Paul Is Dead rumor
is a gigantic publicity stunt. That allegation is a complete and total
non-sequitur. We could concede that
someone perpetrated a publicity stunt without at all undermining our contention
that Paul is dead.
Did the Beatles really need a publicity stunt c. 1967-69
when Sgt Pepper’s Lonely Hearts Club Band, Magical Mystery Tour, and Abbey Road
albums had rocketed the Beatles to the apex of their fame?
The bottom line is that a publicity stunt neither proves nor
disproves death – the argument is almost infantile.
The Theory
The theory we maintain concerning the sequence of events
preceding and following McCartney’s death may be briefly stated. McCartney was
assassinated sometime between August 25 – 27, 1966, somewhere between Seattle
and Los Angeles – our hunch being San Francisco - and returned to England where
the body was staged in a fake automobile accident discovered September 11.
Beginning as early as August 28, McCartney imposters were
used until a permanent replacement could be doctored to resemble the dead
McCartney, the switch operation completed in late November by the time
recording for the Sgt Pepper album began.
The Explanation
The last known appearance of Paul McCartney was at the
August 25, 1966 Seattle concert, after which date he is seen no more. What the
public does see is a cavalcade of Paul imposters all of whom look distinctly
different from the others. This person is often known as Faul, but we will
identify his real name following.
If Paul was last seen on August 25, it would be reasonable
to assume that he died near the place of his last known presence. He was en route
to Los Angeles that evening, where on August 28 a fake Paul gave a press
conference with the other Beatles.
That his managers had an imposter in place so quickly
suggests that certain parties had planned the murder well in advance. And the
fact that a fake one was seen landing in San Francisco suggests that he had
died August 25-27. But of course this is not necessitated by any of the facts -
simply a reasonable conjecture.
The Dates
We are aware of other dates given for his death, especially
the one provided cryptically in the drum on the cover of Sgt Pepper. The drum
date is said by many to be November 9, 1966, but others argue that the day and
month should be flipped to give 9/11/1966, a matter to which we shall return.
The Body
Some allege that the walrus reference by John refers to
Paul’s body, to which a rescue worker likened Paul’s condition when it was
recovered from its death scene. While the story is certainly apocryphal, we
could run with it by stating that a body submerged under water would bloat,
coming to resemble a walrus, meaning that Paul was dead quite a few days before
being discovered.
More critical skeptics will dismiss the walrus clues as merely
a reference to Lewis Carroll’s poem, but we will show how Beatles’ communications
are layered with meaning, making fixation on a singular interpretation fraught
with error.
We accept the 9/11 argument
because it corresponds with the time of decomposition required to assume the
state of a “walrus”. Brian Epstein also announced on October 3, 1966 that The
Beatles would tour no more, meaning that the November date of death is too
late.
Why would a manager announce to the world that a band of
monumental popularity would stop touring, especially when Paul commented that
they would continue to play before fans? Was he lying? Certainly life on the
road was a pain, but to abruptly state that the band would stop touring when it
had heavenly bills to pay is absurd. The only reasonable explanation is that
Paul was dead.
Death of The Beatles
Not only was he dead, but so were The Beatles. The
difference between 1966 Beatles and 1967 Beatles is stark and chasmic, the two
irreconcilable. Clearly someone wanted the band and its influence for reasons other
than entertainment.
The Beatles were a shock and awe band, inspiring and
promoting behaviors in teenagers which were alarming to older generations. They
were the wedge which higher powers wanted to embed in the social structure of
America - and the world - for divide and conquer tactics. Besides, the world
needed to be distracted from the murder of President Kennedy.
Some say that the Beatles were a product of the Tavistock Institute
founded in part by Aleister Crowley. Although a reasonable proposition, one
which we have come to endorse, it has limited evidence. Yet it is hard to
imagine such young men wielding so much power without a wizard behind the
curtains pulling levers. Indeed there is abundant evidence showing that crowds
were paid to show up for The Beatles appearances, especially in America,
meaning that these powers were very anxious for this band to succeed.
Our best guess is that Tavistock gained control of the
second, post Paul Beatles.
The Rosetta Stone
Wizards there were indeed as one sees on the Sgt Pepper
album cover. Perhaps the most disturbing figure on the cover is that of
Aleister Crowley. Why would a monstrous, vile, Satanic person such as Crowley
appear on the cover of the Beatles’ album?
The standard and best answer is that the cover represented
favored characters of the Beatles, the cover designers, and perhaps some
executives at record publisher EMI. Numerous accounts given by John Lennon and
George Harrison support the claim that these persons were heroes of the band
members. Supposedly the album cover was the brain child of Faul who also
claimed that the characters on the cover were band picks. Adolf Hitler was
dropped at the last minute as too controversial.
As such, it is very clear that the Beatles – certainly John,
George, and Faul – were Satan devotees to varying degrees, the most convincing
evidence being their endorsement of Aleister Crowley, a somewhat remote figure
today, but even more obscure, especially to American audiences, in 1967. We
suspect that the Beatles thought that they were being clever with their veiled
references to Satanism, but time has divulged fully the truth of their
loyalties.
Now there are those who say that the characters on the cover
also represent those which the band disliked, but this is a stretch belied by
the statements of the various Beatles and an eisegetical reading of the event.
Redwel Trabant, author of the Sgt Pepper
Code, stated consistently in his essays that the persons selected were
those whom they admired in some fashion, Adolf Hitler included.
An argument against our Satanic readings of the Beatles’
religion is that their interests were more those of dabblers and curiosity
seekers than that of true believers. More importantly, we would argue that Faul
was the prime mover of this development – the true believer.
Paul the Satanist
Now regarding Faul, there is one argument that he was Ian
Iachimoe, an owner of the occult art gallery Indica where Yoko Ono exhibited
and met John Lennon. William Shears Campbell is said to be Ian Iachimoe, and
Billy Shears is the band leader introduced at the beginning of the Sgt Pepper
album, which in turn would be Faul McCartney. Lennon, incidentally, publicly
met Ono in 1966 at Indica around the time of McCartney’s death. Did he know her
prior to his public meeting with her? Ono is a witch and intelligence agent –
making her a perfect Tavistock client or agent.
The Motive
Perhaps the most puzzling aspect of the McCartney murder is
motive, of which many have been put forth. We believe that The Beatles’
apparent opposition to the Viet Nam war is a plausible explanation for his
death, but we think it is too shallow.
Others have noted that Paul, after an encounter with Mark
Lane, became convinced that President John Kennedy was murdered by a conspiracy
rather than through the idiotic lone nut theory manufactured by the
perpetrators.
Offering to lend his talents to a musical on the subject,
authorities may have feared that the popular entertainer would open way too
many minds; so they murdered him as they did so many other witnesses.
The realization that a band this powerful needed to be
controlled probably inspired the Powers That Be that they could hijack the
group for their own needs. In particular, with the Viet Nam war escalating, and
the Bush Crime Syndicate needing a market for its drugs being shipped out of
the Golden Triangle, the Beatles’ advocacy of drug use could be a huge boon to
their trade.
Thus Faul’s interview in 1967 admitting that he used LSD was
basically a paid advertisement for drugs being sold by the US government
imported from Southeast Asia.
As we have noted elsewhere, the post 1966 Beatles were
worlds apart stylistically and musically from the pre 1967 band. This
difference, then, is what the cover of Sgt Pepper symbolizes – the death of the
old Beatles and the birth of the new, an evolution which probably could not
have occurred with Paul still in the band.
There were also the messy underworld connections of the
Beatles, due in part to manager Brian Epstein’s heavy gambling habit, wherein
ownership of the Beatles may have passed into new hands as a settlement of
debt. Perhaps Paul was the fly in the ointment whose presence and objections
were no longer needed.
While all of the above are probably part of the stew, we
believe that Faul’s lust for fame and fortune fueled his conspiracy to remove
Paul from the band in order to remake it into a blatantly Satanic outfit to
lure millions into the dark world of Lucifer.
In any event, unless Paul was a human sacrifice, his
elimination may have been required because he would not go along with the new
direction the band’s handlers wanted to take it. He was the fool on the hill
thinking he could chart his own course.
The Beatles ended their US tour in San Francisco’s
Candlestick Park, San Francisco being the frothy home of Anton Lavey, Ken
Anger, and the Church of Satan.
The Culprits
So where are we? We are at the point of nominating a
murderer – if not a group of murderers. We believe that Faul was the front man
of the coup who was assisted by Paul’s brother who has gone along with the
conspiracy for pecuniary and religious reasons. Both are Satanists, and human
sacrifice is part and parcel of that occultic faction. The motive was fame and
money for their part, and for the handlers, a vast new drug market whose supply
was brought under the control of the Bush Crime Syndicate.
Many state that Beatles’ albums and lyrics are replete with
clues about the murder of Paul. To a point we agree, though many are
intentionally misleading and may well reference the death of Tara Browne. But
the scariest part of that phenomenon is that there are so many knowledgeable
clues that one must wonder how anyone but the murderers could know so much. And
we cannot rely upon them to be entirely truthful – only half truthful as a good
Satanist would be.
One of the principles of the occult is to hide meaning in
symbols which only the initiate knows. Speaking forward and backward was one of
the many skills Crowley urged upon his adepts. Indeed the Beatles albums are
replete with these artifacts, a fact which Faul acknowledged in the Beatles
Anthology.
We don’t expect many supporters
of our view, to put the case mildly. The details are gruesome and a shock to at
least 2-3 generations of music lovers. However, we must follow the facts and
fit them most consistently with the personalities and actions of the people
involved. To suppose that Faul murdered Paul seems an outrageous claim to most
Beatles fans and observers, but Satanism, to say the very least, is entirely
outrageous itself.
The Art
Thanks to Clare Kuehn, we
discovered an astonishing work of art, executed by John sometime during 1966 –
71, in which he depicts a dead man bludgeoned death, holding a shovel, attended
by his dog, on a bright sunny day. Kuehn likens the drawing to the fool tarot
card, linking it to The Fool on the Hill song.
We agree that the picture
sympathetically depicts the death of a loved one. We would argue also that the
picture evokes painful loss and clues relating to the death. The shovel in our
mind indicates that Paul dug his own grave, so to speak, by attempting to defy
powers who had other ideas for his life or band than what Paul may have had in
mind, or broached subjects they wished to remain covered up.
In short, the art work was John’s
extraordinary record to us about the events on and around September 11, 1966
which took from the world The Beatles and gave it Sgt Pepper’s Lonely Hearts
Club Band.
The only point upon which we are
dogmatic is that Paul McCartney was murdered on or before September 11, 1966.
Others are subject to new interpretations, and new clues. The power of the media
is enormous, and we are gullible to its seductions. What the media gives, the
media takes away.
Reference
Clare Kuehn, Mass Shootings & Paul Is Dead, http://youcanknowsometimes.blogspot.com/2013/12/paul-is-dead-new-j-lennon-clue-ignore.html, accessed 2/21/2014
Copyright 2014 Tony Bonn. All rights reserved.
