Andrew Wood: Fame and Dysfunkshun

Fame (fame) makes a man take things over
Fame (fame) lets him loose hard to swallow
Fame (fame) puts you there where things are hollow

Fame not your brain it's just the flame
That puts your change to keep you sane (sane)

Fame (fame) what you like is in the limo
Fame (fame) what you get is no tomorrow
Fame (fame) what you need you have to borrow

Fame (nein) it's mine is just his line
To bind our time it drives you to crime (crime)
Fame (fame)
Could it be the best could it be?
Really be really babe
Could it be my babe could it babe?
Could it babe could it babe?
Is it any wonder I reject you first
Fame (fame) fame fame
Is it any wonder you are too cool to fool
Fame (fame)
Fame bully for you chilly for me
Got to get a rain check on pain
(Pain)

What's your name?...
Feeling so gay

- David Bowie, "Fame"

I don't recall the name David Bowie coming up during Andrew Wood's interviews, but I have no doubt he was a fan. Bowie was the type of performer Andrew seemed inspired to emulate, especially given his known reverence for Elton John, Marc Bolan, and Freddy Mercury.

The song "Fame" appears on the 1975 album, "Young Americans" - which John Lennon actually participated in the recording of. It's interesting when we consider the cynical/dark tone of the "Fame" lyrics in light of Lennon's involvement. Lennon was perhaps the first modern pop icon that went out of his way to subvert people's idea of what a "famous person" is and how they aught to be regarded. The commentary within the tune has the feel of Lennon's views (at the time) of the "industry," if not his direct hand/voice.

Fame (fame) what you get is no tomorrow
Fame (fame) what you need you have to borrow

I suppose Bowie is saying that Fame can be fleeting, although this is ironic coming from a guy who enjoyed pop-star status for generations! But "no tomorrow" can also refer to death. How many pop icons and rock stars were exalted far above their status as "living beings" post-mortem? Jim Morrison, Elvis, Kurt Cobain, and probably Bowie as well - all likely have more fans today than they ever had living. The same could most certainly be said of Andrew Wood. What is this dark connection between fame and death?

PART 1: THEY DIE YOUNG

If we look at "the big 4" of early 90s Seattle Grunge Rock, all 4 bands involve singers that are now deceased! I'm talking about Soundgarden, Alice in Chains, Nirvana, and Pearl Jam. But wait, nobody in Pearl Jam died, so what am I talking about?

According to Jeff Ament, it was his sending out of demos to various individuals that lead to Mother Love Bone's 1990 major label deal. Andrew Wood died on March 19th of 1990 and their album was released exactly 4 months later on July 19th. Within a year, Ament and Gossard had already formed 2 bands - Pearl Jam and Temple of the Dog - both of whom released albums in 1991. While the latter seemed to be largely driven by Wood's friend and former roomate Chris Cornell, Pearl Jam was obviously built upon the momentum created by Mother Love Bone - even utilizing the same management. So in a sense, to put it rather grimmly, his death created Pearl Jam.

Andrew Wood has the unfortunate distinction of being the first high profile casualty of the 90s Seattle Grunge movement. I say this with appreciation of the fact that Andrew probably didn't identify with the "grunge" tag very much, but took it with a healthy sense of humor like many of his peers did. It's mostly out of convenience that I use the term here, whether it accurately describes the music or not.

Although I've been a casual Mother Love Bone fan since the early 90s, it wasn't until the past few years that I grew to appreciate their music and their enigmatic singer more fully. Probably like most of you reading this, I always assumed Andrew's tragic death was just another case of a talented young musician who couldn't tame his demons. But during the process of re-discovering his music, my curiosity grew regarding the details surrounding his death. Especially given how many of his peers have dropped dead since, and the murky details that usually went along with them.

Although I'd like to use official documents obtained through Freedom of Information Act (FOIA) requests as source materials here, the process to obtain such materials has proven more challenging than in other cases [such as the Dimebag Darrell or Chris Cornell blogs I have done]. I will get into the mundane details regarding that later, but for now let me just say that the 2005 documentary "Malfunkshun: The Andrew Wood Story" is probably the best resource the general public has [a book by Scot Barbour seems to be in the works as I type this]. As far as I know it is the only official documentary on the topic, written or otherwise, which was produced in cooperation with the Wood family and former friends/bandmates.

PART 2: DYSFUNKSHUN

"We did alot of drinking. Dave and I. Alot of drinking and fighting and screaming…both physically and emotionally. And that’s what they saw. So that was love…Andy thought love had to hurt…I’m just now learning that it doesn’t have to hurt, it’s not supposed to hurt at all!" - Toni Wood [Mother]

The first striking thing I noticed about Andrew's mother Toni, is that she seems to have his same animated, somewhat child-like sort of demeanor. She also tends to play to the camera to the point you may start to wonder how much of it is authentic and how much is acting.

[Toni and Dave Wood]

“My dad was fucked up [laughs] laying on the ground or something!” - Brian Wood

In the film, Andrew's brother Brian tells a disturbing story about how the Wood family went out on a boat ride once when the 3 brothers were kids. It ended with them getting all tangled up in other boat's lines and with Dad [Dave] passed out drunk on the floor of the boat. Although Brian laughs and makes humor out of it, it's really not too funny. Laughter is obviously Brian's coping mechanism, as it is for many of us who live through traumatic experiences as children. Better to laugh than cry after all! Brian then gets into brief heartbreaking details of being homeless for a few years later in life.

According to Toni, young Andrew sort of instinctually became the cheerer-upper in this dysfunctional family. His entertaining persona was probably built there initially. And while it's endearing to picture little Andrew bringing smiles and joy to his "screwed up" family, it's also very sad. It seemed to become his "responsibility" to make everyone in the room feel good, and probably robbed him of a normal nurturing childhood - which his mother clearly laments in the film. It's easy to see how Andrew latched onto drugs so early in life, especially with the accessability on the streets.

"People seemed to think it meant all sorts of things from penis to female clitorises. Your mother loves your bone and all this incest…"

I never gave the band name "Mother Love Bone" much thought before researching for this blog, it just seemed like an appropriately humorous/ambiguous stream-of-consciousness sort of title to me. Much like Ultramega Ok or Badmotorfinger or Down on the Upside [Soundgarden titles]. Even the name "Pearl Jam" has that slightly goofy, abstract wink that sorta says "we know what it means and you don't!"

Clearly Andrew was bothered by some people's choice to associate incest with the name Mother Love Bone ["bone" being likened metaphorically to "penis"]. But would Andrew have been as bothered if there wasn't a plausable logic to this interpretation? I'm not saying he intended to suggest incest with the title, but I AM saying that its' ambiguous nature allows for that possible translation, whether intended or not. I mean, if they stuck with the name "Lords of the Wasteland" would anyone be drawing incest from that? Obviously not. And if they did, it'd be much easier to shrug off without a 2nd thought.

Andrew's rehab therapist concluded that he often used humor to avoid addressing his insecurities, but that his knowledge of these insecurities was apparent in the lyrics he wrote. Great lyrics are really no different than great poetry. The words are often up to interpretation, and can even contain meanings the author him/herself did not necessarily intend. Could it be that incest was perhaps a "freudian slip" contained in the name Mother Love Bone? Believe me, it's not an interpretation I LIKE to entertain, but Andrew brought it up in the interview and now it's got me wondering.

"He would wear his mom's panties and he would fuckin tell you about that!" - Friend of Andrew

I believe Andrew's flamboyant/exhibitionist personality was largely influenced by some sort of abuse he suffered, which I will not elaborate upon because I can only conjecture as to what it was. But with parents getting black out drunk and violent around the kids regularly, one can imagine any number of scenarios in which young Andrew and his brothers suffered all types of abuse and probably irreparable damage.

PART 3: MR FADED GLORY

Xana LaFuente was apparently "picked out" by Andrew's friend and drummer from Malfunkshun, Regan Hagar. The story is quite endearing, and has a sort of magical fairy tale quality to it. Andrew gets out of rehab, and he is brought to a thrift store where he is to court an employee there who was picked out for him. They follow her as she leaves the store and at some point Andrew approaches her as if it was destiny. They immediately become a couple and are both living with Chris Cornell shortly thereafter.

There are a couple of things that I find a little strange about the above. First off, no other women are mentioned anywhere in Andrew's life outside of his mother. I would think he had lots of them around and maybe he did, but only 1 made the history books? Also, the manner in which Andrew met Xana was essentially "arranged." Obviously they were both into it, but odd nonetheless. Why did a guy as popular, magnetic, and exotically attractive as Andrew need to be charitably "hooked up" by a friend?

Xana [Xena?] was "a head taller than him" and apparently beat him up regularly. They are both said to have sported bruises in public, presumably from their "rough love." This makes me think of Toni's comment that "Andy thought love had to hurt." Did he simply replace that same "love" [abuse] with his potential love interest(s)?

All parties interviewed seem to agree that nobody was aware of the severity of Andrew's drug problem, except Xana - whom Andrew painfully confided in [according to her]. The picture we get is of a bawling, self loathing Andrew begging Xana to help him kick his habit, and others ignoring her plea to pay attention and take note. Everyone else was most concerned about keeping the Mother Love Bone ship moving and following through on this major label rock star path set before them. And I think the guilt carried by his former band mates is palpable in their vacant stares. I'm not judging them, just putting this down for the big picture view here.

According to Xana, she came home late one night and found Andrew unconscious in their apartment, apparently having overdosed.

"He was fine, he was breathing heavy. He was just in a heavy unconscious sleep…What’s weird is that by the time the paramedics came, they like did all of this stuff to him and then all of a sudden it was like well we’re gonna have to pronounce him dead. And I signed the papers where they pronounced him dead...And [later] I went to Harborview [hospital] and he was alive again…" - Xana

I've heard of people who were revived after being "dead" for a few minutes. In fact, I think Nikki Sixx of Motley Crue has such a story in his book. But it doesn't sound like Xana observed him "dying" even temporarily, it sounds like he was in a heavily doped up slumber. Seems like we are missing something here.

Let's look at the timeline of events as presented in the film...

Friday 3.16.90:
10:10pm: Xana calls 911
10:34pm: Patient REVIVED and placed on respirator

To "revive" means to "restore to life or consciousness." Where are these documents Xana signed pronouncing Andrew "dead" less than half an hour before this?

Sat 3.17.90
12:40am: patient admitted to trauma intensive care
8:00am: Patient improving, CT scan shows brain swelling
8:00pm: Patient’s breathing improves, condition hopeful.

It doesn't sound like Andrew is conscious at this point, but hard to tell conclusively from these notes.

Sunday 3.18.90
8:00am Blood pressure stabilized, pupils reactive.
2:00pm Removed from paralysis medications, patient restless.

I'm not sure why paralysis medication was needed, but it would be good to have more information on everything administered to him and how much, for the obvious reason that these could have potentially contributed to his death - and the hospital would of course want to cover their own asses if that was the case. I'm not sure how to translate "patient restless" if he was unconscious still. I assume he was moving around a lot or twitching?

More than 10 hours of nurses notes missing from hospital records.

Now what is this all about? This was the detail that caused me to realize I would need to obtain some official documents. But hospital records are generally reserved ONLY for immediately family or those authorized by them. However, sometimes these become part of the investigative report - which is generally public record at some point. But was an investigation even conducted here? I don't think so.

Monday 3.19.90
11:20am: Patient unresponsive, no reflex, no signs of brain function
3:15pm: Removed from life support.

I don't doubt that a legitamate overdose death may have occured here, but there is just not enough information to rule out the possibility that other factors may have been at play, especially during those 10 hours of "missing hospital records!"

PART 4: MUNDANE DETAILS

[You must tap/click on images in order to view/enlarge them at the proper resolution]

And now we come to the mundane details regarding my search for documents. In episode 8 of my "Off the Cuff" video series [found HERE] I briefly documented my attempt to get information through the Freedom of Information Act [FOIA] request system. I got nothing from the King County Sheriff's department, but I was provided with a link to https://digitalarchives.wa.gov, which is where I found the above death certificate - so there is no reason to think it is not official.

Seattle Sheriff's Dept also suggested I contact the Seattle Police Department, which I did and found that I had already done so in 2021! Here is the message I got from them:

Our Records Management System Analyst was able to locate the incident described in your request, 1990-106895. However, this case file is past retention, and was not retained, and is therefore no longer available. As a courtesy, we have provided the Records Management System summary of the incident. It is available for you to download.

Our Analyst was also able to determine from the summary that it appears SPD sent Mr. Wood to detox. We suggest that you file a request with the Medical Examiner's Office for more information/details.

The requested record 02-549050 meets the statutory definition of public records, and as such, they are required to be maintained and disposed of in accordance with the provisions of 40.14 RCW. The record was destroyed prior to receipt of your request pursuant to the Secretary of State approved Record Retention Schedule, RCW 40.14.060.

Explanation: Agencies may destroy records in compliance with appropriate records retention requirements. See, BIAW v. McCarthy, 152 Wn. App. 720, 218 P. 3d 196 (2009); see also, Daines v. Spokane Co., 111 Wn. App. 342, 44 P.3d 909 (2002) (holding that there is no private right of action under RCW 40.14).

As you can see, the records I was seeking were either destroyed or are otherwise not available to the general public. That is the reason I initally back-burnered this blog because I was hoping to eventually obtain information elsewhere. But what you see on this page is all I could dig up so far. From what I can tell, a proper police investigation was never conducted because, I assume, it was never questioned whether Andrew Wood died as a result of overdosing himself.

Andrew had a substance abuse problem, without doubt! And he may very well have overdosed in a tragic moment of self-sabotage. But perhaps if a proper investigation was conducted, we'd have a different view of this event. Was Xana and Andrew's apartment ever examined for signs of foul play? Did anyone bother to confirm whether Xana was actually working that night and whether she really did drive some people 20 miles out of her way, causing her to arrive home too late? Has anyone tried to find out what occured during those 10 hours of missing hospital notes? Has anyone checked to see who all visited Andrew there and how long he may have been left unattended? Were all procedures carried out properly and ethically by the hospital? I don't claim that there aren't good answers to all of these questions consistent with the current narrative, and maybe some of you know something I don't. But until I get those answers I don't see how one can be sure there was no foul play involved here because I see plenty of opportunities for it and a potential motive, which I will get into at the end of this.

While the Death Certificate indicates "Acute Opiate Intoxication" as the secondary cause of death, the primary cause of death was "Hypoxic Encephalothopy." I don't know anything about the latter, except that it seems to occur in infants at birth sometimes. Has anyone looked into the frequency of a heroin overdose leading to such a condition? Has it occured to anyone to explore whether "Hypoxic Encephalothopy" could have been caused by improper use of a respirator or other measures taken while Wood was in the hospital?

Let's not forget that he was presumed dead by paramedics, according to Xana, before being revived at the hospital. And let's also not forget that his condition appeared to only improve up until just after that 10 hour "black out" in the hospital's records. There is good reason to investigate this death further, and I don't believe it was ever done at all as I stated earlier. Not all investigations yield information we expect, but the purpose of them is to arrive at the truth of what occured, not to confirm or deny details me or you PREFER. But not performing an investigation at all when certain key details are murky certainly isn't going to tell the whole story, and may even allow flasehoods to be accepted as truth.

If we view MLB from the perspective of someone like Michael Goldstone, who signed the band and who now works for Q-Prime, Andrew's drug issues would be regarded as a potential liability for the newly annointed group. These industry types do not invest money into a band just out of good will or to "support the arts." They expect a return, and when we consider how quickly and efficiently Andrew left this world and how Pearl Jam seemed to rocket to fame in their place, I just wonder if a certain "business decision" may have played a part in Andrew's death. A decision the band members themselves may or may not necesarilly have been aware of.

SOURCES:
Malfunkshun: The Andrew Wood Story
Seattle Police Records Department
Seattle Sheriff Records Department
digitalarchives.wa.gov
Wikipedia

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The Real SGT Pepper: PT 2

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"

This blog was researched, written, and continues to be maintained by 1 person. If you enjoyed it and would like to encourage more of them, donations can be made by clicking the button below.

CLICK HERE for part 1.

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Acid, Music, Mindcrime

The Real SGT Pepper: PT 1

On May 26, 1967 the Beatles released what some critics have called one of the most influential Rock albums of all time, "Sgt. Pepper's Lonely Hearts Club Band" [SPLHCB]. In order to appreciate this influence, one must bear in mind that Rock and Roll was one of the more mainstream forms of music at the time. A significant aspect of this influence upon the Rock n Roll genre [and Pop Culture in general] concerns the layers of occult symbolism and themes embedded within the album's art work, lyrics and the music itself. While this type of thing may have been done here and there previously, SPLHCB set a new standard in this area and raised the bar quite a bit higher. And for 50+ years, fans have ranged from vaguely curious to obsessive, trying to decode it all. But it wasn't until fairly recently that someone purportedly involved with the group has come forward to acknowledge and comment upon all of this out in the open. That person is William Shepherd, aka "Billy Shears" aka "Sgt. Pepper."

Although "The Memoirs of Billy Shears" was first published in 2009, very few people I have spoken with have even heard of it. Which is interesting when you consider how long it has already been out and the fact that Gregory Paul Martin, son of the "5th Beatle" Sir George Martin, wrote the forward AND recorded the audio version. Now in it's 4th printing, the 2023 version has even more footnotes packed into its 666 pages.

The sheer vastness and depth of information contained within the book should speak for itself to any inquisitive Beatles fan - but I will add to the above comment about Gregory Martin, that this book was first published on 09.09.09. Besides the obvious occult numerology contained within that date, it also happens to be the same date that the entire Beatles remastered catalog was re-issued, according to Billy and Wikipedia. You don't have to buy into ANY "Paul is Dead" conspiracies to notice the basic genius in releasing a book like this simultaneously with the re-issuing of the band's catalog. Obviously, it's going to help sell WAY more of the albums. So on the most cynical level, it could be viewed as a brilliant and highly entertaining form of advertising. But more importantly, the shared date of 09.09.09 indicates to me that the money behind the Beatles re-issue campaign is also behind the Billy Shears books - of which there are several supplementals, as well as high end websites. If this was all "not ok" with BeatleCorp, I would think they would have put a stop to the "Memoirs of Billy Shears" [TMOBS] campaign, which is clearly profiting off of the Beatles, years ago.

The idea that the Beatles Corporation would be behind the publishing of such a book raises a lot of very important questions - which TMOBS provides quite a bit of response to. It is not my intention to address all of the information contained within this dense book, but to instead focus mostly upon the album SPLHCB. For a much wider view, see the work of Mike Williams, at www.sageofquay.com.

***CAUTION***

TMOBS is certainly unique. Although it seems to self identify as a "novel," I would also classify it as a work of powerful BLACK MAGIC. Some might view a blog like this as a form of advertisement - an observation I cannot honestly discount completely. But I also don't think the insight this book provides into the inner-workings of social engineering by way of entertainment is something that can be totally ignored without consequence. An autopsy is unpleasant, but with the right approach and protective equipment, can provide vital insight into things. If one views the reading of "Memoirs" as a sort of gruesome, but necessary autopsy, perhaps one can both appreciate the caution required while also respecting the vital information yielded in the process.

[Notice Paul's likeness depicted on the left, "Revolving" OUT of the picture on the cover of the Beatle's 1966 album "Revolver." Was this an early clue anticipating Paul's "exit?"]

WHO IS BILLY SHEARS, WHO IS SGT PEPPER, AND IS PAUL DEAD?

For those new to all of this, there has been a persistent rumor going clear back to 1966 that "Paul is Dead." That is, Paul McCartney, bass player and lead singer of the Beatles. Well, how can Paul be DEAD if he continues to release music and perform as of the day I typed this out?

According to TMOBS, Paul McCartney, along with a passenger named Donna, died in either a car accident or some sort of Satanic ritualistic manner [both?] on September 11, 1966. At some point, he was either decapitated or his head was brutally smashed in some way. This was something he apparently foresaw and had repeated nightmares about [and sang, in code, about in songs such as "Eleanor Rigby," which appeared on his last album "Revolver."] Those close to him knew about it, as did the other Beatles and those around them, and others high up within the industry. A man was chosen in advance to replace him, someone with similar looks and the talent to do it convincingly. That man's name is William "Billy Shears" Shepard, a.k.a. Sgt Pepper.

It is not required for you to immediately believe the above to appreciate the information contained in this blog. But it is necessary to be basically familiar with this "myth" in order to understand what is being referred to and communicated within the various songs, statements, and quotations referred to below. And while I do quote the book extensively here [where italics are used], I won't always stick strictly to the quotes in order to communicate the basic point. This is not an easy thing to communicate, and even the book itself doesn't lay it all out in a totally linear manner. I am just one of many people attempting to interpret certain aspects of it in a manner that is perhaps a little easier to digest in one sitting. You can always go to the book yourself to verify, get it in the proper context, and form your own opinions.

[click/tap images in order to enlarge without resolution loss]

The album included costume cutouts. Sargeant's stripes, SGT Pepper drum skin badge, fake mustache. My mustache covered a plastic surgery scar. The others wore fake mustaches to see us all as equally altered.

The focal point is the drum. We…hid a date on the drum skin. Hold a mirror up to the words “lonely hearts” to indicate the date. Holding a mirror half way down those words makes it possible for the world to see how I live as Paul. (Looking through the bent back tulips) I ONE IX HE <> DIE pointing to me…with a diamond. IX = 9, I ONE = 11…Paul McCartney’s expiration date, 11 September 1966, 11-9-66 or 11-9. We left years off in casual writing then, I wanted to add the year to the drum skin but could not make it look right...Mal Evans, Peter Blake, and I worked together with the year as part of the drum clue…I ONE IX 1966…in the mirror it looked like LONELY IBEE I said, “Lonely Hearts!” We wrote it out in capital letters and could see that it resembled I ONE IX <> HE DIE. That is how I came up with the full title and decided to have me on the cover standing above the pointer. I said Joe Ephgrave (Epitaph Grave) designed the drum skin. It is a clue...Americans saw 11/9 as Nov 9, 1966. The night John met Yoko, which some saw as the death of the Beatles for those who blamed her. It was not Yoko, it was me…the absence of Paul…Drum “X” also equals “Xd out Paul.”

ALBUM ART VISUALS

If you are like me, you probably spent a lot of time staring at the album cover and artwork for SPLHCB while listening to it. As a child, I didn't know who many of the people depicted on the cover were, but there was a distinct mixture of both creepiness and nostalgia I got from it. Whether it was the dead looking wax Beatle mannequins, the haunting faces of old people I did not recognize, or just the general vibrant life gone past it depicts. And yet, it must have appeared strikingly new and fresh to those who are old enough to have purchased it when it first came out.

The Sgt Pepper cover depicts a funeral gathering with several symbolically significant characters attending to bid farewell, or welcome, to Paul McCartney. My original plan was to have all who died already on the cover...who would welcome Paul into their spirit world…to greet Paul. Then we decided to add our list of heroes.

Six weeks before Paul died, [Bob] Dylan had an accident on a motorcycle. Newspapers called it a near death experience. John insisted on including the hero who almost died.

The reason Stuart Sutcliffe [original Beatles bass player] was in the crowd and not Pete [Best, original Beatles drummer] is because Stu had already died.

Marilyn Monroe was there because she had already been murdered by then, apparently by government operatives. It was not a suicide as they claimed.

John loyally wanted Hitler there to greet Paul. “How do you know where Paul is?” John asked, meaning he could be in hell.

Draw a line from TE Lawrence [of Arabia] through my heart to the far side, you may see a hookah. Connects to Arabia. Our first choice was Ghandi from India, but we didn’t want to offend Indian fans. Same with Jesus. Look for more lines through the heart and where they lead.

["Wax" Beatles, meant to represent the "old" Beatles with original Paul, which are now "out of date"]

John’s comment in the London Evening Standard, March 1966, that the Beatles were “more popular than Jesus” prompted a cardboard Jesus idea. They decided it was unwise, in light of people burning their records and such...This album overtly launched the drug revolution...The intention [with religious figures] was to make drugs/religion incompatible, so fans would have to choose one. Choosing drugs would distance them from Christianity/religion.

Gloomy wax figures made them [the Beatles] look dark, down, and out of date - especially in contrast to the bright and lively present “pallbearer” group. [the "new" Beatles with Billy] The idea for the wax Beatles was from Tweedledum's lines to Alice [from "Alice in Wonderland"] “If you think we’re wax-works, you aught to pay, you know. Wax-works weren’t made to be looked at for nothing.” Notice [wax] Paul’s head, it is small like his frame. My head is more elongated, more oval...

All wax eyes look down at the gravesite below, except John. What John looks at can be discovered by placing your square across the cover for a straight line that intersects all others crossing through my chest. Continuing that line through me, you’ll be looking at the breasts of Diana Dors, UK sex symbol.

Carl Jung’s shadow from his glasses looks like a 3rd eye. A ray from his 3rd eye through Paul’s heart points to the 3rd eye on a statue from John’s house.

[to retain resolution, click/tap on images before attempting to enlarge them]

Palm above the head = sign of death. Paul-M. Off to the side is Paul-M substitute. (Wax substitute)

Centered on the bottom - see statue of Shiva, the destroyer. 2 hands pointed down to Paul’s grave. One pointing to the wax Paul, and one to me, to whom Paul’s head is figuratively affixed. Beheading that mystical boy, who bestows that new head on another. Confers the rule of that head that I wear like a crown, to the replacement Shiva destroys, enhancing me, transforms me into a mystery idol.

I am the wild card with the likeness go the ace of spades, being the substitute for Paul. Hold a ruler from Oscar wild’s head to my heart and see where it goes. It goes to the card that has gone wild on Shirley’s lap. Look through the wild card to see the wild card. Extending that line takes you to the driving glove.

Car rolling off of Shirley Temple represents the “fatal car crash” that caused the head injury, represented by the split headed doll [#1 in the image above]. Turned off tv = news black-out…Ruby slippers on the Shirley Temple doll. The red emphasizes the blood dripping down Shirley’s clothes and her bloody driving glove. Wizard of Oz allusion.

On our album cover, it singles out Paul and most unpredictably The Rolling Stones...Shirley Temple’s shirts says “welcome The Rolling Stones good guys.” Now “the good guys” were calling “the bad guys” good.

This alludes to the fact that the Beatles were originally presented as sort of "clean cut" and somewhat conservative - summed up by the "Wax Beatles" on the cover. "Good guys," if you will. Whereas the Rolling Stones were manufactured to play their opposite. The "bad guys." Billy seems to indicate that this "script" was flipped with the release of SPLHCB. Also note - "Ruby Tuesday" is the same "Stupid Bloody Tuesday" John refers to in "I am the Walrus." That is, it was on a Tuesday that he was informed of Paul's death. [Ruby = red = blood]. According to Billy, both songs refer to the same thing.

["W. C. Fields was originally chosen for the title role of the Wizard (after Ed Wynn turned it down, considering the part "too small"), but the studio ran out of patience after protracted haggling over Fields' fee." - wiki]

Dorothy enters another dimension, aided by a wizard. Paul goes to another dimension and helps us back here at home. Wizard uses false appearances to make people think he is great and powerful, when he is just another guy from Kansas. We used false appearances to seduce our audiences. If you follow the [ruby] slippers through my heart, which is the way of discerning reality on the album, the line goes through WC fields. He was the original wizard choice for the 1939 version [of "the Wizard of Oz" film].

We have Tarzan (Johnny Weissmuller) looking at my butt, a joke about my role as Queen of Hearts, standing in for Paul, in the heart of that album cover...It all passes right through me, representing the departed Paul. All is centered in his heart. I am there as the Queen standing in for the king. Think of both Pauls as one. That is Paulism. I am not Paul since he is dead, but his spirit continues through me.

"Paulism" is a phrase used in TMOBS several times, and I assume it's simply a way to refer to this alternate reality - which Billy seems to be stating is the ACTUAL reality we have not been aware of or have not totally acknowledged. But I don't pretend to have that particular concept completely understood. The book presents some very abstract information, and is intentionally ENCODED on many levels.

A straight line from Burroughs crosses my heart and goes to my fingers. He wrote “Dead Fingers Talk.” Continuing that Burroughs line goes to yellow hyacinth flowers that spell "Paul?" To have you ask if he is bur-roughed in the ground below flowers made to look like his bass.

Paul’s rugby trophy looks like an “I” after the “L” forming: “Beat Lies”. Below “lies” is the word “Paul.” Spelled in yellow hyacinth: “Paul Lies” dead, and we lie to cover it up. Paul’s name is in the flowers, shaped into a 4-string bass. One of the strings is missing to symbolize the loss of “the late Paul”...We wrote PAUL in a hyacinth arrangment as Paul’s bass guitar. Paul’s band ended with him. All could read BEATLES in those flowers since it too had died.

The street that Donna appeared to be headed for was Leso. There is an “O” at the end. BEATLESo…intentional and obvious misalignment of the first word. Be AT Leso…Leso is a street in Mesocco, Switzerland. About 666 miles south-east of London. Leso is Italian for “Injured.”

I looked Leso street up online, and it does appear to exist in Mesocco, Switzerland. Exactly how far it is from London, I did not attempt to calculate.

We don't find out much about Donna, the lady who supposedly died in the car with Paul on 9.11.66. She is made out to be a fan in some scenarios, and someone simply needing a ride in others. Although TMOBS makes it clear that Paul's head was badly bashed, or altogether removed - the exact manner in which he died seems to be buried within somewhat of a riddle.

Shirley Temple's bloody "driving glove" referenced earlier is a clue I am not sure what to make of - but seems to connect her more specifically to the alleged car crash.

[That's] Billy’s back, not Paul’s on the back of the album...On Sgt Pepper I stand with my back to the audience because I am the conductor...We were the first [band] to provide lyrics on the cover.

When I said [publicly] “OPD” is “Ontario Police Dept” that was as honest as I could be without revealing the true meaning. Investigators discovered there is no such dept, it encouraged the conspiracy buffs while it could point to something which was correct generally. From “A” police dept. We conspicuously displayed the patch to the side. The police explanation also worked because of the “Sargeant” title. We intentionally bent the OPP patch to make the final P look like a D. A mechanic from the garage of the Ontario Provincial Police gave the patch to John after a Toronto concert, 17 August…My uniform has an “OPD” patch. [officially pronounced dead] Omitting P and D from Shepard leaves Shear. 20 years before SPLHCB was released, another Billy Shears is said to have passed away [the year Crowley died] but promised to return in 20 years. IF he died, he must have risen. Although I am the Billy Shears from SPLHCB, it doesn’t mean I am the only one in the music world. [Crowley dies at 72. 7 + 2 = 9)

Billy makes it obvious that he is knee deep into the occult and numerology, allocating the number "9" to himself often. He also speaks quite a bit about Aleister Crowley and hints that there is some sort of relation between "the Master Therion" and himself. When I said I believe TMOBS to be a work of Black Magic, I was serious.

CLICK HERE for part 2.

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