Everything exposed in this book to prove my identity is true and historically verifiable. I have added some fictionalization to establish that this book is a work of fiction if I ever have to prove in court that it is a novel…Since novels are fiction, this book does not break the nondisclosure agreement or vows of silence. ..A trial involving this material would last years longer than Paul tells me I have left…I want the world to know me before I am gone. I want you to know who I am. The world does not know me except for my role as Paul...All of our official stories are just that. Do not trust them. The real truths are presented in fiction, such as in this so-called novel…Look to this fiction for fact, and to my fact for fiction. - The Memiores of Billy Shears
In PART 1 we took a close look at occult symbolism and themes within the album art/photography for The Beatle's 1967 album "SGT Pepper's Lonely Hearts Club Band" [SPLHCB]. The majority of the information presented here was lifted from the book "The Memiores of Billy Shears," [TMOBS] which was first published on 09.09.09 [Sept 9, 2009]. My particular copy is the revised 2023 version. Within this "novel," William Shepherd [aka Billy Shears aka SGT Pepper] claims he REPLACED Paul McCartney in 1966, and has been playing that "role" ever since. For more on this, read PART 1
WARNING: As I stated in part 1, TMOBS is a work of black magic. So what good is there in exploring its' contents? The purpose here is to extract what it can reveal to us about the inner workings of a very effective, and very old social engineering machine. In the process, we are continually fed suggestions on various "spiritual" exercises and concepts. I would advise the reader to vigilantly recognize and reject the latter. For a better perspective on this particular aspect of the book, visit www.sageofquay.com for a layman's examination of Crowley's Thelema and how it connects with the book's New Age themes.
One of the most compelling aspects of TMOBS is the sheer abundance of "Paul is Dead" clues it points out, littered all over the place and bleeding right into the work of other artists contemporary with the Beatles, such as the Rolling Stones, the Who, and Donavan. Although we will continue to focus upon SPLHCB here, digressions are unavoidable given the multi-layered far reaching concepts presented one after the other. It is important to step back often and try to see the "big picture" here in order to appreciate the "smaller" details and how everything fits together into a giant mosaic. Again, what we are ultimately trying to expose here is the mental mechanics by which people are manipulated and controlled - so that they might recognize their own enslavement and one day know true freedom.
[Hand drawing supposedly done by John Lennon, depicting the "Beast" representing the Beatles.]
[click/tap on images in order to enlarge them without resolution loss]
[Exerpts from TMOBS will be roughly quoted where italics is used.]
You can learn how to play the game, it’s easy [from "All you need is love"]. The game we play alludes to the [SPLHCB album] cover where “LOVE” represents the knight, Queen, Bishop, and Rook. It’s easy unless you need a king, he’s dead...Letters above Lennon’s “beast” drawing says “love,” corresponding with our hands on Pepper’s back cover. Envision my “o” filling in the gap of the word “love.” Those letters correspond with the pieces we represent on the chessboard. Queen moves all around, represented by Paul’s “o”. John’s V is bishop, also pointing into his pants. Ringo is the rook (e) hat is flat like a castle. George’s hat suggests horse riding/knight. And as a knight wearing a little box says to Alice [in Wonderland], “you’re admiring my little box.” Now George wears one. And at their right, disposable wax pawns. No king among them [the "new" Beatles] = the king is dead. Checkmate, and that is why John wrote it below his picture...As in chess, I could learn to be the queen filling in for the checkmated king.
[The Rolling Stones released "Their Satanic Magesties Request" about 7 months after the Beatles released SPLHCB, seemingly in response to it.]
We, the good guys, showed our Crowley affiliation with his picture on Pepper’s, but did not explain his Illuminati connection. The Stones had the opposite image to sell. They were more blatantly satanic.
As mentioned in part 1, the Beatles were originally presented as mostly "clean cut" and "nice," while the Rolling Stones were a sort of "bad boy" counterpart to them. The "wax" depiction of the "old" Beatles shown on the cover of SPLHCB represents that era, which died with Paul. The "new" Beatles are presented on SGT Pepper with Billy as their leader. So the idea is that the Beatles have now taken on the more "evil" persona previously held by the Stones, who are now "the good guys" [as written upon the Shirley Temple doll's shirt, who wears Ruby red slippers]. But the funny thing is, the Stones did not tone down at all after this! So perhaps the more accurate interpretation here is that of a "leap-frog" in conceptual direction - where the Beatles would "one-up" the Stones, daring them to go still further. This, in turn, brings the fans with them deeper into the conceptual "abyss."
In part 1 we learned of a "game" where one draws a straight line from the face of a person on the cover of SPLHCB, through Paul/Billy's heart, to see where it leads. In the case of Crowley, it seems to lead right to Shirley Temple, and all of the concepts representing Paul's bloody death in a car crash - which we also covered in part 1. A connection is being made between Crowley's influence and this incident. I don't want to extrapolate much more than that here, but this seems to hint what forces were at work.
I am what people would commonly explain as being “possessed” by Paul...When I did SPLHCB it was obviously not Paul’s style. I am revealing a lot about my private self in hopes that before I cross over back to Linda, I can pull myself back together to be not 2 Pauls but one William...It [my Beatles career] had a downside for me. It isolated me from friends and relations. I became the lonely Sgt Pepper wanting to get back home., a nowhere man fool on the hill, one of the lost and miserably lonely people that we described in our songs...These tears from hurting lonely hearts were shed by Paul’s family, friends, Jane Asher, bandmates, me, and others. In my life as William, I was not as successful. Still, it was my life. You may be rather surprised to discover how much that matters. I WAS...The earlier roles I played [such as Vivian Stanshall] did not take over [as the Paul role did].
[Family tree I found on a Rumble video, showing a possible link from Aleister Crowley to William "Billy Shears" Shepherd]
SONG LYRICS
"It was twenty years ago today, SGT Pepper taught the band to play" - SGT Pepper's Lonely Heart Club Band
That is PART of why I wrote “It was twenty years ago today, Sgt Pepper taught the band to play.” Until I made that song about MY band, the album had no focused concept. When I sing “the teachers that taught me weren’t cool” I was singing about old school days but also more specifically recent Beatle-craft schooling…
Aleister Crowley died on December 1st, 1947. The Beatle's SPLHCB album was released in 1967, twenty years later. Given that Aleister Crowley is pictured on the album cover, this is probably something worth considering. Are they saying that Crowley influenced them? Billy backs this up in TMOBS by heavily hinting that he is not just steeped deeply into Crowley's occult religion [Thelema], but may even be related to him somehow. According to Mike Williams [sageofquay.com] Thelema IS the religion of the New World Order. Crowley's presence is on the album - if not directly operating THROUGH William "Billy Shears" Shepherd. Perhaps this "Beatle-craft schooling" [The Craft = Freemasonry] is a subtle reference to the teachings of Thelema, within the Beatles.
“Let me introduce to you, the one and only Billy Shears”…That’s to tell you that Billy is Sgt Pepper and the Beatles is now his band. On the cover we contrast the old drag fab 4 with the new. Bill or Billy are my nicknames. William, Will, Billy, or Bill….
[A Google search will typically designate Ringo as being the Billy Shears character introduced in the song "SGT Pepper's Lonely Hearts Club Band," simply because he sings the 2nd track - which is presumably sung from the perspective of Billy.]
WITH A LITTLE HELP FROM MY FRIENDS
Everyone sang better than Ringo. He was the junior member. It made sense for Ringo to play the role of the insecure newcomer who is a bit apprehensive about singing out of tune…Had they [the audience] known to listen for changes in Paul, they would have understood the song’s meaning too soon. That is why Ringo sang as if he were I...They tie it in [on the track "I'm the Greatest"] by Ringo singing “Yes, my name is Billy Shears. You know it has been for many years.” Making my debut as Billy Shears, through Ringo, I asked for, and got by with, help from my friends.
“With a little Help” answers the question from Don [Donavan], “Over Dusty Years I ask you, what it’s been like being you?” I imagined the world asking that. Using Ringo’s voice I answer (because it is less polished) I answer Donavan as if in interview. Ringo gives answers as I would. “What do I do when my love is away?” I missed her terribly. I need her help to do this work, but that doesn’t fit the song. “Are you sad because you’re on your own?” No (that is a lie, I was in denial).
It's worth noting here that a film called "SGT Pepper's Lonely Hearts Club Band" came out in 1978, which starred Peter Frampton as Billy Shears and Billy Preston as Sargeant Pepper.
I pinched a line from him [William Shakespeare] for “With a little help from my Friends.” As if the press asks how it feels to be the new Paul, the song flows like an interview. Same with “Baby you’re a Rich Man.” The first of these uses “lend me your ears”…those words come from the play Julius Caesar...I allude to this speech to establish the SGT Pepper scene. - Mark Antony standing over Ceasar’s corpse to share words for burial, a funeral oration. Shocked Romans gather for Caesar as each of the Pepper’s mass gathers for Paul...inserting Paul’s name where Shakespeare penned Caesar…” I come to bury Paul, not praise him...So let it be with Paul.” Antony’s negative speech triggers a resistance…if I were to speak negatively of Paul, saying that he was some Satan worshipper, most readers would angrily resist it. Going too far causes others to push back. That was what Antony intended for Caesar.
BBC banned “With a little Help.” With that same concern [pro drug references], BBC banned "Fixing a Hole," "Lucy In the Sky with Diamonds," and "A Day in the Life." As premeditated, the cooperating media helped the world contemplate government trying to block the Beatles from encouraging drug use. Fans sided with the band, objecting to those who would block it. Many people tried drugs because of that celebrity [Beatles] endorsement. Publicity from the ban boosted album sales. Millions of people suddenly opposed those who opposed drugs. It turned fans against their governments. William recycled “I get High” from “ I wanna hold your hand.” (Which had a light overdub “I can’t Hide”)
LUCY IN THE SKY WITH DIAMONDS
Paul first promoted LSD in Life Magazine, June 1967 - a month after “unveiling” SPLHCB…The album, especially with "Lucy in the Sky," was the new door to a psychedelic parallel universe.
[Lucy O'Donnell - supposedly the girl Julian Lennon drew as a child, inspiring his father to write "Lucy in the Sky with Diamonds."]
[The alleged picture drawing Julian Lennon drew inspiring his father to write "Lucy in the Sky with Diamonds."]
After reading [Lewis] Carrol, John has “the girl with kaleidoscope eyes.” She’s “the girl with the sun in her eyes.” Don [Donavan] thought of needing special eyes to see me…that girl paralleled Paul. We cannot discern enough with our programmed vision. We need help, or altered eyes, to see the truth...
Julian [Lennon] drew his nursery school classmate Lucy O’donnell "in the sky with diamonds"…We built the song around Alice [in Wonderland] as if high on LSD….Lucifer the light bearer. Pretend you are Adam and Eve in the garden paradise partaking of the forbidden fruit. [The song] Connects this with Bavarian Illuminati, Gnosis. The main message is that psychedelics facilitate higher consciousness…we were conveying through images of Lewis Carroll. Many Paul codes could only be broken by reading Carroll…[makes reference to John's "Beatle Beast" drawing we looked at earlier] think of John singing L.S.D. to remember he is “diamonds.”
Note how the above asks the reader to pretend you are Adam and Eve "partaking of the forbidden fruit." He's making it very clear that the point here was to encourage sin and blasphemy, without stating it outright. He then sort of brands it with the phrase "psychedelics facilitate higher consciousness." Now ask yourself why Sir Paul McCartney, if he is indeed behind TMOBS, would inject so much blatant blasphemy into his big "disclosure novel" and depict the Beatles themselves as a sort of LEADER in blasphemic propaganda? Would Sir Paul McCartney even ALLOW someone to blasphemy like this in a novel, claiming to do so in HIS name? 666 pages of Paul McCartney lore, hundreds of thousands of copies sold worldwide, and no legal action from Sir Paul McCartney in over 13+ years of publication?
GETTING BETTER
Donavan, one of Paul’s friends who expected the replacement [of Paul], was eager to meet [the new] Paul...Called him “D.O.P.” (Duplicate of Paul) which Billy did not like. Sounded like “Dope”. I corrected him with “D.I.P.” (Duplicate In Paul). He said “DIP. So, you’re the big dip? That’s wild!” DIP evolved into “Dead In Paul.” Don comforted me with his “Epistle to Dippy.” December 1966…[while] we were working on Sgt Pepper’s, Donavan recorded “Epistle to Dippy..” He sang that I am “Getting a little bit better no doubt.” I replied yes, “I admit it’s getting better. A little better all the time.” It (his song) was about me and Paul. I sing “it’s getting better” then John sings “It can’t get no worse.” Besides agreeing with Don in the lines “I have to admit it’s getting better, a little better all the time.” I sing backwards: After all, Paul is dead. He lost his hairs, head.” Ringo used it later : “You were in a car crash, and you lost your hair.” (From “Don’t pass me by”) If you play Donavan’s “Dippy Epistle” and then “Sgt Peppers” then back to Dippy again, you would likely notice we pinched ideas and content, but also in tone.
Much Be-etter! Be-etter! Be-e-e-etter! (Lewis Carrol) “It’s getting better all the time (better better better)…”Then you can start to make it better better better better (Hey Jude)
These references to Paul "losing his hair," from the perspective of TMOBS, have to do with the idea that Paul's head was badly damaged during the alleged "car accident" which took his life. TMOBS is filled with puns, some of which are shockingly graphic, making light of the gory mess created when Paul's head was traumatized upon his death. I'm not exactly sure what to make of this gruesome sarcasm. Is it mocking the reader for believing any of it? Does it simply demonstrate Billy's warped/desensitized sense of humor, having endured so much trauma himself?
FIXING A HOLE
My left handed writing is not natural enough to look right. But even “if I’m wrong [left], I’m right where I belong” (“Fixing a Hole”) I’m saying, “even if I’m the wrong guy, this is where I belong.”...Crowley said “say two things at once"...The lyrics ensure we hear the “correct” thing, without acknowledging the “wrong” thing…”On “Fixing a Hole” hear “Beatle” instead of “People.” I subtly reference the wax Beatles…made by Madame Tussaud’s [wax museum] “See the Beatles standing there” I mean the dead wax effigies. “See the people standing there” refers to the crowd we made behind us. John describes some members of the crowd standing in a row in “I am the Walrus”.
SHE'S LEAVING HOME
After waiting almost an hour to talk to the man about repairing Paul’s car, I was anxious to have the car rebuilt but was late for our meeting with John. “She’s leaving home” ends almost about that hour “Friday morning at 9 o’clock she’s far away…the point is to understand that she is truly gone…Paul was slain “that morning at 5 o’clock as the day begins”…figuratively, the sacrificial lamb lost its fleece at dawn, less than an hour before sunrise. George points to the time on the back of Sgt Peppers later when he sings "caressers fleeced you in the morning light/casualties at dawn" [from the song "When We Was Fab"]
Note that Billy states above that "Paul was slain..." and goes on to compare him to a figurative "sacraficial lamb." Was his death REALLY an "accident," or is more being hinted at here? Recall an earlier quote where Billy said that simply announcing to the world that Paul was a "Satan worshipper" would have provoked resistance from the public.
Reading the back [album] cover…notice “love” spelled with our hands, but you cannot see my letter “o” because I am turned around...[someone] Left a hole in the Beatles love that I must fix, along with the hole in Paul’s head. Some fans knew it was not Paul’s back - Billy’s back. Paul came back as Billy.
WITHIN YOU WITHOUT YOU
George posits that in exchange for the world, my soul was sold as one of those “who gain the world and lose their soul.” He knowingly asks if I am “one of them.”
George wrote it. It was his advice and warning to me. Many others had tried to turn me into Paul, George told us it had to come from within me, and not in every outward aspect. He said I'm one of the people who hides behind a wall of illusion. “Try to realize it’s all within yourself. No one else can make you change.” …(George said) I should care more about love than about playing and posing as Paul. John understood, and reminded me from time to time. That idea formed the foundation of “All you need is Love.” We were talking about the space between us all…making us subject and object rather than being fully perceived as one. I symbolize the empty space on the back of Sgt Pepper when we spelled LOVE with our fingers, except that Paul was dead and concealed - my fingers were not showing. I…secretly made an "O" with my hands, while I was standing in for Paul. Only those who saw the false Paul (Faul) could see the meaning...he sang “I’m looking through you. You’re not the same.” To see the “O” you had to look through me. On another level, George was saying that all life energy goes on. That intelligence is inside and outside of us. Life energy flows on within us and without us, meaning inside and out, here, there, and everywhere. These words from George in this song were his very best and are fairly close to what he said when we were talking about it before he wrote the song...
["Big brother is watching you..." - George Harrison, from the Dick Cavett show 1971]
WHEN I'M 64
George, Ringo and I met for the first time…I was at the piano…we got things going with “When I’m 64,” a song Paul had written and enjoyed. It was the first song recorded that ended up on that album. [the] First song for which I sang lead…Jim Mccartney [Paul's father] was not 64 until 7 July 1966, 66 days before Paul died. Entering EMI alone on 8 December, I became nervous, concerned my voice was obviously lower than Paul’s. I told him [George Martin] that I would sound more like Paul if we sped up the track. The master take had been in C Major but we sped it up to Db major [C#]…My new Paul Polish made it more Paulish.
I can remember listening to this song as a child and noticing that the pitch had a peculiar quality. Now, all these years later, I decided to slow the vinyl record down to the key Billy claims it was actually recorded in. Low and behold, it sounds much more "normal" and I have no doubt this raising of the pitch was done intentionally as Billy claims. This reminds me of a blog I did about Black Sabbath some time ago, where I noted that the entire "Paranoid" album is not in E Standard tuning, but a slightly raised one - which I concluded was the result of the entire album being slightly sped up.
SGT PEPPER'S LONELY HEARTS CLUB BAND (REPRISE)
“SGT Pepper’s Lonely” during "reprise" covers fake back masked message: “It was a fake mustache” which ties our cutout disguises to our facades.
These "back masked" messages are explained by Billy to be backwards messages, which can only be heard by playing the music in reverse. This "fake mustache" one is easy to find on youtube, or you can reverse it yourself. Digital music is fairly easy to reverse these days through various applications, but I just used my physical vinyl LP. And yeah, it's there.
We would play our vocal tracks backwards and listen for any sounds that resembled utterances that we wanted. Our hidden messages were always about Paul. Multi layered tracks going forward provided another way to conceal our Paul messages. In that closing line after “hearts” I shout “Paul is dead!” After “club” I shout “Really dead!” You hear it subconsciously. After a little bit more I shout “we’re the band, the greatest band of all time” then on the final chord “Sgt Pepper’s Band!” So faint, may not hear to at all.
On the Sgt Pepper’s cutout the largest letters say SGT PEPPER’S BAND. These are to tell you Paul died and John gave me the band to keep it going.
LOVELY RITA/A DAY IN THE LIFE
[Tara Browne (4 March 1945 – 18 December 1966) was a London-based Irish socialite and heir to the Guinness fortune. His December 1966 death in a car crash was an inspiration for the Beatles' song "A Day in the Life"...Browne induced his friend Paul McCartney's first LSD trip in 1966, at Browne's home in Belgravia - wiki]
I liked the “Rita Meter Maid” sound. John added “ahhh Paul” at :21-:23 to clarify the song’s subject and “you’d better believe it” at the end…she [Rita] was a young hitchhiker who, in this book, is Donna. The fiction is that Paul could not keep his eyes off of her. “He didn’t notice that the lights had changed.” The “Death Cab” [for Cutie] lyrics are similar to those by John’s [song]. “The traffic lights changed from green to red…they both wound up dead.” Comparing lyrics: “Someone’s gonna make you pay your fair share” to “got the bill and Rita paid it.” The Beatles got the BILL [me], costing the lives of Paul and Rita [star crazed Donna] They both paid the fare for that fateful ride into the new Beatles phase. Borrowing details from Tara Browne’s death, John said Paul ran a red light - to instill the idea that Paul died in a crash without giving details.
If you recall from part 1, we noted that part of the "Paul is Dead" conspiracy theory involves Paul dying in a car accident while riding with a passanger named Donna. But is that entire story a cover for something much more sinister which the book reveals in code here and other places? "to INSTILL the idea that Paul died in a crash" certainly leaves doubt as to whether he actually did. Was he killed in some other manner and then made to have an "accident?"
It’s [The Beatle “Beast's”] power and fame came because of the great miracle that deceived the whole world. For after the head of the man was wounded unto death (for “he blew his mind out in a car), the beast made it well again, according to the eyes of the world.
In “A Day in the Life” following the “say two things at once” idea from Aleister Crowley, we blended the word “Paul” with “Lord.” “Nobody was really sure if he was from the house of Paul.” I shall be known as “Lord Paul.” (99 in simple Gematria) George calls Paul “Lord Krishna.” ..In Ringo’s song “Don’t Pass me By” he says he is sorry he doubted Paul’s death dreams [premonitions of his own death] “I’m sorry that I doubted you, I was so unfair, you were in a car crash, and you lost your hair.” Similar to “he blew his mind out in a car” and “here comes old flat top.” John doubted which is why he had to laugh at the photograph. John became horrifically hysterical…"A Day in the Life" has sounds of backwards car crashes.
….I sought for each of us to include our heroes [on the cover of SPLHCB], or legends who were significant to our dead-Paul theme. Crowley was not the biblical beast but was someone whose influence supported the agenda. Hitler, though tied to the same agenda, was alive. John invited him to our simulated funeral…if Hitler had died, he would have met Paul on the other side…John tried to assert an alpha role by refusing to take Hitler off the cover. George Martin urged him to bend on this one. Although he did not care who supported Hitler, he did care about profit. EMI vetoed Hitler’s depiction…Descretion prevailed over disclosing EMI’s Nazi affiliation…Martin had to hire mostly ex-Nazis from Germany to play for our recording sessions. Many ex-Nazis [or Nazis still] were on EMI’s payroll. He [John] was glad he was overruled on that one, but still resented his lack of influence on the cover. Album cover is credited to Peter Blake, however I was the one who told him exactly what I wanted.
There is a lot to unpack in the above quote, but I will leave it up to the reader to explore further. What I will comment upon is the fact that British Record Label giant EMI has come up on my radar often lately. Particularly when I did the blog on the band Queensryche and noticed a curiously strong British/3rd Reich influence there, at least in the beginning. EMI will be featured more prominently in some of my future blogs.
THE ROLLING STONES CONNECTION
["Flowers" was released on June 26, 1967 - exactly one month after SPLHCB, which came out May 26, 1967.]
Their [Stones] “Between the Buttons” album was started the month before Paul died. They then reworked the lyrics to make Paul songs. Having those songs on the Stones album made us even more bold to include Paul clues on SPLHCB, which was released about 5 months later. They played “Paint it Black” on Ed Sullivan on 9.11.66 [in grieving] They were skeptical of me taking Paul’s part. That changed with SPLHCB. They all confessed…I was a better Paul than expected and getting better all the time. It blew them away. It blew the whole world away. Our seminal record was far beyond anything any band had made before...We wrote about Paul but I called the shots. He [Brian Jones] convinced the Stones that they needed a muse from heaven or hell that could do for them what Paul was doing for the Beatles through Billy. The Stones were working on “Flowers.” Our cover had Beatles and Paul in flowers, theirs had the band as if they were flowers. Brian told me those flowers were their gift to Paul. It contained goodbye songs to him. Released the same month as our funeral album, SPLHCB.
When Brian Jones died…Writer Fred LaBour…reported on clues we provided but also embellished them….named me William Campbell…He seemed to know that Billy Shears was merely my stage name (I meant it to sound like “Billy’s here”) Arbitrarily after (Glen Campbell), LaBour set Campbell as my last name. Coincidentally, I have Campbell relatives.
“Won’t get Fooled Again” lyric…Recognizing Sgt Pepper’s role in changing the world…new drug-friendly moral code, Pete explains that part of the worldwide agenda. “And the morals that they worship will be gone.” The world’s values, toppled by Sgt Pepper’s, were liberating to our generation. “We were liberated from the fall [Paul’s Death] that’s all / but the world looks just the same/ and history ain’t changed cause the banners they all flown in the last war”…”Meet the new boss, same as the old PAUL” [slight overdub] me ending the band in 1970 made it time for PETE to tell the story in 1971. I, looking like Paul, became the new Beatle boss…but you will also hear the final S, making the word unintentionally sound like “Pauls.”
"And the parting on the left...Is now parting on the right"
"...And the beards have all grown longer overnight"
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