Friday, March 18, 2005
No. IX: The Masonic Assassination of James Paul McCartney?
(Guest starring Doris Day & Charles Manson)
 RIGHT: From "Morals and Dogma of the Ancient and Accepted Scottish Rite of Freemasonry" by Albert Pike . . . to the "Free As a Bird" video[, by George Harrison]
Employing the several referenced and unreferenced sources, as well as rigorous application of Maybe Logic, the following is a most essential and most likely chronology of the death of James Paul McCartney and resultant fallout:
California, 1965.
Beatles spend several days tripping on LSD with Terry Melcher at his house. McCartney does not partake. The boys give him a bit of a hard time about it. Paul is, however, smoking prodigious amounts of cannabis, a habit the Beatles and he particularly have taken to since being introduced to the herb by Bob Dylan a year ago. [Regular consumption of the medicinal herb would also serve to largely neutralize any psychotronic harrassment.]
Melcher drops a bomb on the boys in the midst of these days of drugbonding. Some heavy information. His mother, Doris Day, isn't Doris Day at all! Day hasn't been around [she died/was put away in an institution] for eight or nine years! His stepfather and some shady characters he's involved with have been produced a double who has been starring in films successfully for years. The studios are getting tons of money from this number-one box office draw. Her leading men have all been compromised (homo)sexually or otherwise. All were all rewarded handsomely -- "To appear with Doris Day could make your career."
And out of all this, Terry gets this sweet pad, a guaranteed "in" in show business, and all the drugs he wants with no real hassle from LAPD. Attendant with this set-up are women too, of course. [Possibly particularly eager-to-please women from wherever Doris II came from...]
Paul was an admirer of Aleister Crowley (later pictured in the funeral scene cover of SGt. Pepper's), a British intelligence agent founding father of Hollywood occultism. Crowley also"laid the groundwork for the scientific study of mysticism and altered consciousness." He was rather frank in this study and thus had a history publishing its secrets.
Paul, hearing of the story of DORIS DAY, seems to have had a similar idea. The Beatles should, not unlike Crowley, reveal this mystery to the masses. This would evolve the thinking of the masses by revealing the occultic manipulation they were being subjected to. Paul was of ill health and had never wanted to be a professional musician for his entire life anyway. Why not slide away quietly and take a breather by having someone take his place for a while?
Their contract with EMI was up, they could do anything they wanted to creatively. Sign with a record label in the States and Paul could work with the boys in the studio and send a double out to do a movie. (Maybe even an American tour -- no passports or customs to deal with.) Then, the big revelation. Or maybe hold off a little longer, find a double for one of the other Beatles. There are different options. Tomorrow never knows.
It would not be an impossible task to find such a double; the group had some ready to divert the attention of the media and crazed fans while on tour. One who seemed particulary amenable to this idea they had met while playing in the Toronto andDetroit area, a member of the Canadian military who also had an affintiy for musicianship.
It was a rather brilliant plan. The band negotiated two one-album deals with EMI while they ran around the globe trying to get a new record deal from which to build on Paul's concept. Some songs on those albums telegraphed some of their intentions: "Paperback Writer," "Think For Yourself," "You Won't See Me," "Tomorrow Never Knows." Even the title of the second album, 'Revolver,' was a hint.
Whatever the legitmacy of Crowley's perceived rebellion against the occult establishment, the organized occultism that had emerged from his geographic milieu in Southern California, specifically the Agape Lodge of Ordo Templis Orientis, was by 1966 largely integrated into the international occult establishment. Melcher was a manifestation of this organization the whole time, and The Beatles' secret plan was not as secret as they may have thought.
Organized Illuminism was not happy with this plan. They had their own plans that decade for alchemical transformation of the mass psyche. The Apollo program's stagecraft was still on the agenda.
Revealing to the masses they were being manipulated decidedly was not.
An attempt to co-opt the independent-minded Beatles by drawing them into the occultic/Satanic "Process Church of Final Judgement" cult in London fails. (But indications are that the Rolling Stones, or at least Mick Jagger, joined up. His girlfriend appeared in a Process magazine and he composed music for Lucifer Rising, a film starring an actress prominent in the cult.)
Finally, a hit was ordered on Paul McCartney.
September 1966.
After the new record deal was finally completed, Paul and Beatles manager Brian Epstein returned to Britain and were almost immediately set upon and killed. Part of an intricately compartmentalized operation, the assassins likely were anti-communist Americans, convinced the Beatles were at the vanguard of a communist plot to undermine America's youth. Two organizations associated with propaganda linked the Beatles to the Commies were the KKK and/or the FBI, both organizations controlled by Scottish Rite Freemasonry, itself under the control of Illuminati for more than hundred years, since at least the time of Albert Pike.
Paul was killed for disloyalty, in accordance with ritual prescribed by the ninth degree of Scottish Rite Freemasonry. His head was severed.
Paul's body was eventually found decapitated, near a car. The commanding officer on the scene for Scotland Yard, also controlled by the Scottish Rite, recognized the Masonic handicraft on sight and moved to cover it up. Thus he immediately put out a cover story that McCartney had died in a car wreck.
But that cover story was quickly revoked under the order of higher-ups and the entire incident was hushed up and disappeared down the memory hole.
The intelligence agencies and EMI are told to cover-up the death, for the sake of would-be-suicidal Beatlemaniac fans, and convince the Beatles to replace Paul with a double. But the agencies make clear that part of the deal is the switch must remain a secret under pain of death. (The lesson is soon driven home with Guinness heir Tara Browne's 'accident'.)
Lennon [with the counsel of his new friend Yoko Ono] and George and Ringo ultimately decide to accept the offer as the only way to carry out Paul's plan, spread his message of love, and honor his memory. The public funeral given Paul was the cover of the Sgt. Pepper's album, with the cardboard cut-outs the guests and the drumskin containing a mirror-printed epitaph "IONE IX ^ HE DIE" designed by a pseudonymous man named "Ephgrave." BEATLES as part of the deal had negotiated unprecedented budgets and creative freedom (other than the caveat of maintaining the fiction that Paul is alive) from EMI. And they will need it to pull the charade off.
But the real Paul, being dead, can no longer eventually unveil the charade and reveal to the masses the brainwashing they're under. So Lennon et al., under the black cloud of the death threat, will have to play a dangerous game in order to get the message across. They will have to place into the albums clues that can get through the EMI execs yet reach the fans with the message.
But after the Pepper LP, and the Magical Mystery Tour EP and film, it is evident the message had not gotten across. Despite rumors circulating among the British fanbase, the faux "PAUL" is largely accepted as Paul by the masses, and the doppelganger increasingly enjoys the role life has given to him. Guinness heir and McCartney friend Tara Browne [and possibly others] had already been killed to keep this secret, a rather open secret among much of the British and music establishments. BEATLES feel increasingly trapped.
They attempted to lay out the story in a 1968 "Doll's House" concept album, but the effort was smashed by higher-ups who saw the allusion to Ibsen as too obvious. The project evolves into The BEATLES ("White Album") as Lennon et al continue to put clues in their songs.
Meanwhile, that rat-bastard Melcher is working on the cryptocracy's Charles Manson operation in order to discredit the pro-peace counterculture, as well as the Beatles and Lennon.  Manson was in touch with the Process Church when he moved to Southern California from the San Francisco area. Manson described Melcher as "a touch" whenever he and his 'family' -- that odd collection of misfits largely composed of other government mind-control subjects and informants -- was short on funds. Maury Terry reports Manson regularly used Terry Melcher's credit cards. Manson's programmers based at the China Lake naval base and elsewhere had given Manson the subliminal suggestions to rechristen Susan Atkins as "Sadie." The christening seemed prescient when "The BEATLES" was released the next year.
By the time The BEATLES ('White Album') is nearing completion, Lennon spends days on LSD putting together a mosaic of clues on the White Album's poster and, having by now drawn the connection made between Paul's execution and the Ninth Degree of Scottish Rite Freemasonry, in Revolution #9. (Lennon refered to Edgar Allan Poe's being kicked to death by Masonic assassins in his impressionistic LSD-fueled recollection of the discovery of James Paul's body, "I Am The Walrus.")
After "The BEATLES" album is released, "the Manson family" takes it to heart, just as programmed by their mind-masters in the cryptocracy. Two key figures at the scene of Tate-La Bianca murders were Tex Watson and Sadie Atkins, who displayed symptoms of being mind control subjects. (Another, Bobby Beausoleil, starred in and like Mick Jagger contributed music to the aforementoined Process Church film, Lucifer Rising.) The first attacks, in which killed Sharon Tate, her unborn child, and four others were killed, the "piggies" were even stabbed with forks and knives. Atkins and Beausoleil, with others in the "family," were manipulated to appear at the grisly crime scene [though the slaying were carried out by professinals], and may have been hypnotically implanted with memories of committing the acts.
And in a pointed message to Lennon et al., the murders took place at Terry Melcher's residence (leased by manipulator Melcher to Tate and her husband Roman Polanski), the very spot Paul came up with the plan to reveal to the world what Harrison would later characterize as "the space between ourselves and the people who hide behind the walls of illusion.".
So not only was the peace-commune counterculture weakened in this psy-op murder campaign; but so were the Beatles, Lennon, and ultimately anyone who would look for a "hidden" message in the Beatles' work. The corrupt go-along-to-get-along Los Angeles DA Vincent Bugliosi picked up the "helter skelter" angle (sans cryptocratic brainwashing, natch) and went to court (and then the bank) with it. (The album-cover clues pointing to Paul's death came into the American public consciousness in the fall of 1969, after the 'Manson' murders but before Bugliosi's prosecution.)
Thus Paul's plan was ultimately diverted. Perverted, too. Instead of exposing occultic brainwashing, the faux Paul was used to perpetuate such brainwashing. The dissociative state of the masses is only worsened by seeing the clues right in front of them while continuing to 'believe' Paul and the doppelganger are the same man. McCartney's radical plan to raise the consciousness of the masses was usurped by faux PAUL's silly love songs which serve to dumb them down.Labels: beatles, masons
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