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Pepper Code
Redwel Trabant
In time the hidden truth shall be revealed
This book is dedicated to Beatles fans all over the world. Their
appetite for new stories knows no bounds I salute you.
I would like to thank in particular Richard M. Compton and Meagan
Leigh Compton for their amazing help in pointing out new clues, their
unwavering support and for their encyclopaedic knowledge.
I would also like to thank various anonymous contributors on Beatles
related web forums. Their capacity to suspend all forms of rational
belief defies logic; however, occasionally they do deliver spectacular
results!
Introduction
____________________________
If we begin with certainties, we shall end in doubts; but if we begin
with doubts, and we are patient in them, we shall end in certainties.
Sir Francis Bacon
There's nothing you can know that isn't known.
Nothing you can see that isn't shown.
Lennon/McCartney
Paul McCartney once said; We wanted the whole of Pepper to be so
that you could look at the front cover for years, and study all those
people and read all the words on the back.
Sgt. Peppers Lonely Hearts Club Band, like The Beatles themselves,
means different things to different people. To brand it as simply a
psychedelic album would be to do it as gross a disservice as it would
be inaccurate. To label it simply as the first ever concept album would
render it paternally responsible for the crimes of its 1970s prog-rock
offspring. Likewise, to claim it as undoubtedly the finest rock and roll
album of all time is to overstate its significance massively. However,
whatever it means to you, to me, or to anyone else, you cannot deny
the immense influence that the release of that single, twelve-inch,
slab of vinyl has had on successive generations and now, as we
approach its fiftieth anniversary, this influence shows no sign of
declining.
But is all as it seems? Should it all be taken at face value? After all,
Paul McCartney has his back facing the camera on the rear of the
cover, so, does this not imply that all should not be taken at face
value? It is my belief that the album, its lyrics, and most importantly
its sleeve design, contains clues to reveal a hidden message.
I believe that the album cover is a treasure map and the clues it
reveals can be used to crack a code that has lain previously
undiscovered since its release.
The purpose of this book is to demonstrate that the clues exist, that
they can be linked, and, finally, to decode their meaning. The Sgt.
Pepper Code is the Rosetta Stone that will allow you to tap into the
Holy Grail of Beatle mystery and symbolism.
I suspect that, like the album itself, the book will elicit a plethora of
varying theories and opinions and that is great. It is not for me to
dictate what is and what is not. I may suspect I am right but, I cannot
prove it, so I write this as a means that others may begin their own
investigations, seek out their own clues and their own truths. All I can
demonstrate categorically, without fear of rebuttal, is that the clues
exist. As an aperitif, here is an example.
The Sgt. Pepper album cover is famous for its montage of cardboard
cut-out celebrities. People The Beatles supposedly like and admire,
yet, they are arranged there to pay homage to The Beatles, not the
other way around.
One of this list of players, one of the characters that appears in the
cover crowd scene, one of the people we like, one of The Beatles
heroes was H. G. Wells. We will look later at Wells in greater depth
but, let us for a minute, consider one of his printed works, 1933s The
Shape of Things to Come and its 1936 film release rebranded as
Things to Come.
The film portrays a vision of a future history from 1940 to 2036 and is
set in the fictional British city of 'Everytown', which is based on
London. Successful businessman John Cabal cannot enjoy
Christmas Day, 1940, with the ominous news of possible war
looming. His guest Harding shares his worries, but over-optimistic
friend Passworthy believes it will not come to pass, or even if it does,
it will do some good by accelerating the rate of technological
progress. A bombing raid on the city that night then results in general
mobilization and global war.
Some-time later, Cabal, now piloting a biplane, shoots down a oneman enemy bomber. He lands and pulls the badly injured enemy from
the wreckage. As they dwell on the madness of war, they have to put
on their gas masks as a poison gas drifts ominously in their direction.
When a little girl runs towards them, the wounded man insists she
take his mask, saying he is done for anyway. Cabal takes the girl to
his aeroplane, pausing to leave the doomed man a revolver. The pilot
is left to dwell on the irony that he may have gassed the child's family
but yet he has saved her. He then shoots himself.
The war continues for decades, long enough for the survivors to have
forgotten why they are fighting in the first place. Humanity enters a
new Dark Age. The world is in ruins and there is little technology left
apart from the firearms used to wage war. In 1966, a plague called
the wandering sickness is spread by the unnamed enemy using its
last few remaining aircraft. Dr. Harding and his daughter Mary
struggle to find a cure, but with little equipment, it is hopeless.
By 1970, a local warlord called the Chief or the Boss has risen to
power in the south of England and has eradicated the sickness by
shooting the infected. He dreams of conquering the hill people in
order that he can obtain coal and shale to render into oil so his
biplanes can fly again.
On May Day 1970, a futuristic aeroplane lands outside the town. The
sole pilot, John Cabal, emerges and proclaims that the last surviving
band of engineers and mechanics have formed a civilization called
Wings over the World. They are based in Basra, Iraq, and have
renounced war and outlawed independent nations. The Boss takes
the pilot prisoner and forces him to work for Gordon, a mechanic
working on repairing the few remaining aeroplanes. Together, they
manage to fix a plane. When Gordon takes it up for a test flight, he
uses the opportunity to flee to alert Cabals friends.
Wings over the World then attacks Everytown with gigantic
aeroplanes and drops sleeping-gas bombs on the town. The Boss
orders his biplanes to attack but they are soon shot down. The people
of Everytown awaken shortly thereafter to find it occupied by the
Airmen and the Boss dead.
A montage follows, showing decades of technological progress,
beginning with Cabal explaining plans for global consolidation by
Wings over the World. By 2036, mankind lives in modern
underground cities, including the new Everytown.
However, all is not well. The sculptor Theotocopulos incites the
populace to demand a rest from the rush of progress, symbolized by
the first manned flight around the Moon. The modern-day Luddites
are opposed by Oswald Cabal, the head of the governing council and
great grandson of John Cabal. Cabal's daughter Catherine and her
boyfriend Horrie Passworthy insist on flying the spaceship. When a
mob rushes to destroy the space gun used to propel the spacecraft,
Cabal launches the ship ahead of schedule.
Cabal then delivers a speech about progress and humanity's quest
for knowledge, asking: And if were no more than animals, we must
snatch each little scrap of happiness, and live, and suffer, and pass,
mattering no more than all the other animals do or have done. It is
this, or that. All the universe or nothing. Which shall it be,
Passworthy? Which shall it be?
An interesting little tale culled shamelessly, from Wikipedia, however,
what is its relevance to The Beatles or to Sgt. Pepper? Well, it tells
the story of the rise of a new world order, a one government world
that is born from the seed of war and in which technology and
knowledge are king and where opposition here coming from the
artistic world is brutally suppressed. That the new civilisation
formed as it is from mechanics and engineers, is highly reminiscent of
a Masonic style secret organisation and their supposed formation by
highly skilled builders and architects should also be a key
consideration. Its issues, now extremely familiar, would have seemed
anathema to the audiences of 1936, or indeed 1966, and yet this
theme of secret knowledge and new world order are ones that are
repeatedly returned to in Sgt. Pepper, as I will demonstrate.
The Wings over the World, this new civilisation, is based in Basra in
Iraq, very near to the home of the ancient Sumerian civilisation and
Pepper will consistently refer back to the knowledge of the ancients
and to lost civilisations. But most intriguingly, Wings over the World
was the name that Paul McCartney bestowed on his 1975 / 76 world
tour with his then vanity project band, Wings.
Who gain the world and lose their soul they dont know they cant
see are you one of them?
The single, sole question asked on Sgt. Pepper and taken from the
song Within You, Without You, and as we shall see, it gets right to
the heart of the matter.
My views on Christianity are directly influenced by a book, The
Passover Plot by Hugh J. Schonfield. The premise in it is that Jesus
message had been garbled by his disciples and twisted for a variety
of self-serving reasons by those who followed, to the point where it
has lost validity for many in the modern age.
- John Lennon, The Boston Globe, reported on Dec. 12, 1980
This book, The Passover Plot would have an enormous influence on
John Lennon. He obtained it, as he did the works of Nietzsche, at the
Indica bookshop. The bookshop, along with its attached art gallery,
was owned and run by Barry Miles, John Dunbar and Peter Asher.
Lennons interpretation of the meaning of these books would lead
directly to the so called more popular than Jesus comments, and the
subsequent furore they caused, in 1966. This, in great part, would
lead to The Beatles deciding that they no longer wished to perform
live and to their re-invention as a solely studio based band.
This decision would have massive implications for both the band and
its management. Indeed, from this point onward The Beatles were
never the same band again. No longer were they the lovable moptops of old, beloved of both child and parent. Now they were longhaired, moustachioed, avant-garde gurus striding forth toward cultural
immortality.
Except, of course, that they had no perception of this themselves.
The Beatles had always been manipulated; packed off to Hamburg by
grasping management, transformed from 50s style bequiffed rockers
to a freshly coiffured elfin look by German art students, only to be
converted from leather-clad greasers to Pierre Cardin clad mods by
the shop owners son, Brian Epstein, and then subsequently deprived
of the services of their drummer at the behest of a producer of
comedy records.
But, for all of the above mentioned, whose own career paths would
reach stratospheric proportions thanks to the boys, this manipulation
was benign and caring, almost paternalistic in its nature.
But what of the new pack? The Miles, Asher, Dunbar triumvirate,
enhanced as it was by the influential art dealer Robert Fraser. This
was a new breed; left-leaning, socialist inspired vanguards of a
It is all too easy to start bandying around terms like Tavistock and
MKUltra and sounding like a conspiracy theorists wet dream when,
in reality, there is scant evidence for this level of involvement.
Nevertheless, it is interesting that when a spokesperson for the acid
generation was needed, it would turn out to be the cute Beatle that
stepped up to the plate. The Beatle, who by his own admission, had
only tried LSD a couple of times. The Beatle whose establishment
friend had died whilst driving under the, rumoured (by Marianne
Faithfull, then John Dunbars husband), influence of LSD. The very
same Beatle who could, very well, be the spokesperson for The
Man.
It is interesting also that for all the left-leaning, liberal agenda of the
Indica crowd their bottom line was, and is, the selling of product be
it avant-garde art, poorly typeset newspapers, books or records to
the masses and they certainly appreciated the marketing potential of
a Beatle to enhance that.
Puppets or puppeteers? Benign manipulators or malignant mindcontrol experts? The jury is still out; however, their influence is all
over the Sgt. Pepper concept.
Another pertinent event that took place in 1966 was a Time
magazine article asking Is God Dead? Clearly, one cannot prove
that John Lennon or The Beatles or any of their inner-circle read this
article but its theme, and its subsequent parallels to the Paul is
Dead? theory, are intriguing when viewed in the light of the obvious
religious soul searching that the band were undertaking.
Clearly the Time piece didnt influence Lennons comments to the
journalist Maureen Cleave that sparked the more popular than
Jesus outrage. That interview was conducted in March 66 and the
Time magazine didnt appear until the following month, however, the
Time article was inspired by Friedrich Nietzsches much-quoted
postulation God is dead and Lennon, at this very time, was heavily
influenced by both Nietzsche and The Passover Plot.
The theme that Lennon took from The Passover Plot was that Jesus,
far from being born of a virgin as the Son of God, was in fact a master
manipulator who carefully engineered his position.
Indeed, he had attempted to fake his own death on the cross, so that
he could be resurrected and duly considered the true messiah.
Paul McCartney in the book Many Years from Now by Barry Miles
would set the scene for the origins of Sgt. Pepper as: We were fed up with being the Beatles. We really hated that fucking
four little mop-top boys approach.
Then suddenly on the plane (returning from Kenya) I got this idea. I
thought, lets not be ourselves. Lets develop alter egos so we do not
have to project an image which we know. It would be much more
free. What would really be interesting would be to actually take on the
personas of this different band.
An interesting comparison can also be drawn with The Beatles and a
movie that came out in the same year as Sgt. Pepper entitled
Privilege.
In the movie, which is set in the future, the main protagonist is a pop
star entitled Steve Shorter, the most influential character in Britain.
We are presented with a creation of pop star as prisoner and are
introduced to Shorter when we see him being handcuffed, stuffed into
a sack, and carried to the stage where two uniformed guards
physically dump him out onto the boards.
They then hit him with sticks and lock him in a cage. Dazed and
bleeding, he sings just the one song.
Visually, the camera cuts back and forth from shots of the caged
singer and his audience, which is filled with tearful, screaming,
yearning little girls. They love him. They want him. As long as hes
safely out of reach up there on the stage, they desperately desire
him.
This is the psychology that the pop idols managers cynically exploit in
Privilege and the analogy of that to the mop-top Beatles and their Ed
Sullivan staged arrival in America to hordes of screaming teenage
girls is plain to see.
The astounding achievement of Privilege is that it uncannily predicts
the 21st century Britain of today. A world in which there is no
discernible difference in the policies of the major political parties.
Factions are bad because they divide the nation and the population is
told that the new motto is We must all conform. An almost perfect
parable of the anodyne, corporate controlled, media-centric UK of
today with its Were all in it together mantra that allows the rich to
get richer whilst the working classes are pitched against one another
to fight over the scraps. Divide and conquer.
In the movie the government decides to use Shorter as a symbol of
the new national unity. His managers agree. The three most
influential power groups in the country (church, state and public
relations) stage a public ceremony in which the singer is divested of
his handcuffs, confesses his sins and is set free to embrace the new
fascist state.
It is the perfect forerunner of the modern day phenomena whereby
we are now constantly spoon-fed the pseudo-tragic backstories of
saccharine sweet American Idol / X-Factor contestants. Equally it
embodies the Z-list non-entities that peer out from the covers of
Hello or OK magazines to declare their semi miraculous recoveries
from their self-induced drinks/drugs/gambling/sex addiction
nightmares.
These media manipulated smokescreens are designed to ensure we
remain in our Disneyfied blinkers whilst world government lurches
wildly to the right. Proof, if any were needed, of the worlds love for
the endearing charms of the redeemer. He who has renounced his
sins shall conquer the earth.
The Beatles perfectly encapsulate the Privilege model. Four,
streetwise but lovable, cheeky-chappie, working class lads swept
from the slums of Liverpool to miraculously conquer the world and, as
reward, are invited to nestle at the bosom of the Establishment.
It has been claimed [HERE] that John Lennon read John Fowless
book The Magus around the time that he was away filming How I
Won the War in 1966, which would segue perfectly were it to be a
formative influence for the embryonic Sgt. Pepper concept.
In the book the main protagonist, according to Wikipedia, becomes
embroiled in the psychological illusions of a master trickster, which
become increasingly dark and serious.
The book is set on a Greek island and features twins, fake deaths
and an aging Magus who induces the main character, Nicholas Urfe,
into a number of staged situations whereby he loses his ability to
determine what is real and what is deception. In essence Nicholas is
Alice in his own version of Wonderland being guided through the
various nodes of the tree of life in some forced attempt to make him
re-evaluate his views of the world around him. As such there are
clear parallels with the nothing is real statements espoused on
Strawberry Fields Forever and the concept of taking on the
personas of this different band from Sgt. Pepper. It is a forced
initiation ceremony. On the Sgt. Pepper cover we also find twin
Beatles, a fake death and an aging Magus inhabiting a staged
fantasy world. They share this world with a number of authors in
whose works are contained codes and ciphers, hidden meanings,
allegories and fantastical scenarios and gurus and actors and
psychologists and, or, secret society members. You are being invited
to journey through this world and, in so doing, to become initiated.
Perhaps the biggest single influence in the creation of this concept is
Lewis Carrolls Alice books. Essentially, Sgt. Pepper is The Beatles
through the Looking Glass.
So, from out of this conspiratorial stew, we shall delve, prod, and
probe our way through a forensic autopsy upon the carcass of the
worlds most famous funeral scene, all the whilst trying to pick out any
pairings, partnerships, codes, titbits and tall tales from the mass of
clues that is The Beatles, Sgt. Peppers Lonely Hearts Club Band
LP.
This, updated, version of The Sgt. Pepper Code will conclude with,
what I believe to be, an elegant and simple solution to the code. A
solution that I hope you will agree with.
Ultimately, any solution would need to be both simple and elegant as
the protagonists had only a short period of time in which to formulate
it, however, there is a wealth of material, of potential clues, that we
must evaluate before we can arrive at any solution.
It is this journey that I now wish to share with you all.
Yes, this is my interpretation of Sgt. Pepper; it will differ from yours
and you almost certainly wont agree with my deductions. But read
the book, read it from start to finish, hear all about the clues and
codes and then tell me there is nothing there.
So, as John Lennon said on Lucy in the Sky with Diamonds: Picture
yourself in a boat on a river, because were going on a journey.
So, to where can we trace back the origins of the Sgt. Pepper code?
The answer would appear to be 1965 and The Beatles second
movie, Help! In the film we find The Beatles embroiled within a plot
line that has them fleeing a mystical eastern cult, lead by a high
priestess, who worship a goddess figure and sees the band
searching for a lost temple.
The album cover features the group with their arms positioned to
spell out a word in flag semaphore. According to cover photographer
Robert Freeman; I had the idea of semaphore spelling out the letters
H.E.L.P. But when we came to do the shot the arrangement of the
arms with those letters didnt look good. So we decided to improvise
and ended up with the best graphic positioning of the arms.
On the UK Parlophone release, the letters formed by the Beatles
appear to be N.U.J.V., whilst the slightly re-arranged US release on
Capitol Records appeared to feature the letters N.V.U.J. The original
photograph used on the UK album was reverse printed. Holding it up
to a mirror reveals the letters L.P.U.S., which, when pronounced
phonetically becomes Help Us.
at the end of the question from Within You, Without You, Who gain
the world and lose their soul they dont know they cant see are
you one of them? . Unless, of course, it was all highly intentional.
Read again the question asked, Who gain the world and lose their
soul they dont know they cant see are you one of them?, this
could be a description of Freemasonry, a mission statement for the
Illuminati, a recruitment campaign for the Rosicrucians or, at the very
least, the strap line for the latest Dan Brown novel, it is all very Da
Vinci Code.
Look at the lyrics at the beginning of this song, We were talking
about the space between us all and the people - who hide
themselves behind a wall of illusion.
Firstly, look at The Beatles. There is no space between them all; was
that just a coincidence or a deliberate concept designed to reinforce
the statement? Secondly, consider just who are the people hiding
themselves behind a wall of illusion? At first glance one could argue
that The Beatles are referring to the celebrities who appear on the
record cover with them, except, of course, they are all visible. Or are
they?
We shall look later on at some of the characters who, for whatever
reason, fell by the wayside or were simply removed or airbrushed out
of the picture. For now we shall focus on a row of figures that were,
quite deliberately, by dint of being placed immediately behind The
Beatles, hidden from view on the final cover shot. Hidden behind a
band who were dressing up as somebody else, these people are
literally hiding behind a wall of illusion.
Who are these hidden people? Well, interestingly, none are who they
claim to be for they are all actors in character. There is Sophia Loren
and Marcello Mastroianni from the film Marriage Italian Style, there
is actor Timothy Carey appearing as he does in a scene from Stanley
Kubricks The Killing, and finally, and most significantly, there is the
actress Bette Davis dressed as Queen Elizabeth I from the film The
Private Lives of Elizabeth and Essex.
Harrison and Starr. But Paul McCartney, still at this time safely
ensconced in the bosom of the similarly minded and educated Asher
family, lapped up the influence and teachings of Fraser and his
acolytes from the Indica Gallery.
In the Beatles Anthology McCartney says While the others had got
married and moved out to suburbia, I had stayed in London and got
into the arts scene through friends like Robert Fraser and Barry Miles
and papers like the International Times. We opened the Indica
gallery with John Dunbar, Peter Asher and people like that.
Indeed, when McCartney decided to publish his memoirs, Many
Years from Now, he chose Barry Miles as its author, one of that
same Fraser/Indica set and founder of the McCartney funded paper
International Times. In this book McCartney says, The most
formative influence for me was Robert Fraser.
It is Frasers influence that would lead The Beatles to abandon the
original artwork for the cover of Sgt. Pepper, designed by the Dutch
psychedelic artists, The Fool, and bring them into the sphere instead
of Peter Blake.
However, we are getting ahead of ourselves, I shall return to this
subject shortly.
It is Frasers more malevolent influence that would bring The Beatles
and The Stones into contact with the cinematic works, and
acquaintance, of occultist film-maker and Aleister Crowley adept,
Kenneth Anger. Angers influence, and contacts, in turn, would then
permeate deep within the hearts of both these camps formulating and
regulating their works for a long time forward, possibly, even to the
present day.
As mentioned above, Fraser was present at the Redlands home of
Stones guitarist Keith Richards when he and his party were the
recipients of the famous bust that would ultimately lead to the brief
jailing of Mick Jagger, the very brief jailing of Keith Richards and the
rather more substantial incarceration of Fraser himself; the victim of
his self-inflicted heroin addiction.
was, chipped tooth and all. It came through my lip and split it.
But I got up and we went along to my cousins house. When I
said, Don't worry, Bett, but I've had a bit of an accident, she
thought I was joking. She creased up laughing at first, but then
she went Holy...! I'd really given my face a good old smack; it
looked like I'd been in the ring with Tyson for a few rounds. So
she rang a friend of hers who was a doctor.
He came round on the spot, took a needle out and, after great
difficulty threading it, put it in the first half of the wound. He was
shaking a bit, but got it all the way through, and then he said,
the threads just come out Ill have to do it again! No
anaesthetic. I was standing there while he rethreaded it and
pulled it through again.
In fact that was why I started to grow a moustache. It was
pretty embarrassing, because around that time you knew your
pictures would get winged off to teeny-boppery magazines like
16, and it was pretty difficult to have a new picture taken with a
big fat lip. So I started to grow a moustache - a sort of Sancho
Panza - mainly to cover where my lip had been sewn.
It caught on with the guys in the group: if one of us did
something like growing his hair long and we liked the idea, wed
all tend to do it. And then it became seen as a kind of
revolutionary idea, that young men of our age definitely ought to
grow a moustache! And it all fell in with the Sgt. Pepper thing,
because he had a droopy moustache.
That this accident happened is beyond doubt the injuries at any rate
- as there is photographic evidence to prove it, however, exactly
when is an issue still open to debate. No date is given in the piece
above for the accident but it is widely held to have occurred on
December 26, 1965. We must remember that when McCartney
recalled this event it was many years later, however, his comment
that it was an incredible full moon has to be questioned as lunar
records state that the moon was in its new moon phase at this point.
Further doubt concerning this incident can be cited on the grounds
that in the videos for Paperback Writer and Rain, filmed on the
same day in May 1966, and some six months after the alleged
incident, Paul still clearly has a broken tooth. No moustache either,
despite McCartneys protestations of embarrassment! Michael
McCartneys book Thank U Very Much also confirms this story,
though dates it to 1966.
As already mentioned, Tara Browne came from an influential and well
connected family and stood to inherit a sizable sum from the
Guinness family legacy had he lived. He was connected, through the
marriage of a Guinness cousin, to the Rothschilds and an interesting
Knights Templar connection can be found in the family crest, which
adorns his headstone. It bears the image of a double-headed eagle,
an image which according to Jacques De Molay, Templar founder,
means A black two-headed Eagle is GOD;
No matter though, at least for those of us from the school of nonbelievers. Of more interest perhaps is the fact that the date, 9
November 1966, is an important one in the Beatle lexicon for it is the
(official) date when John Lennon first met Yoko Ono at her Unfinished
Paintings and Objects exhibition held, perhaps unsurprisingly, at the
Indica Gallery. Oh, by the way, one Robert Fraser sponsored the
event.
Before we depart this subject, however, it would be remiss of me not
to mention another candidate as being the subject of the funeral
scene.
Stuart Sutcliffe was a member of a proto-Beatles, that traded under
various names such Long John and the Silver Beetles, and Stuart
was a major player in The Beatles early Hamburg days.
Tragically Stuart died on April 10, 1962, and this event is marked by
his inclusion on the Sgt. Pepper cover.
When The Beatles released Sgt. Peppers Lonely Hearts Club Band
in 1967 it was, quite rightly, universally lauded as breaking musical
barriers and set the template for rock albums for decades to come.
What is, perhaps, not quite so well known is the story behind the
record cover itself and the concealed story that it contains. Here, for
the first time, we shall attempt to break the code of the Sgt. Pepper
cover and decipher the treasure trove of clues that it contains.
So, let us start at the beginning. As discussed in the previous chapter
Paul McCartney had struck up a friendship with the art gallery owner
Robert Fraser and it was he who took Paul to Paris to meet
Alexandre Iolas in 1966. Iolas acted as agent for the artist Rene
Magritte, who Paul admired greatly, and Paul was shown a number of
Magrittes works. He chose two oils Cibria and The Countess of
Monte Christo, which he bought. Magritte was on the initial shortlist
of candidates to be included on the album cover but who, for some
unknown reason, was omitted from the finished piece.
The visit proved to be a timely one as Magritte would die the following
year in August 1967. One of his last works was a painting etitled Le
Jeu de Mourre (The Guessing Game). Fraser brought the painting to
Pauls house in Cavendish Avenue and, seeing Paul was busy with
other things, placed it on a table and left unannounced. Paul bought
it. It was a painting of a large apple and it is widely believed that this
is the work that would inspire the Apple logo.
Having educated his young friend with a crash course in art history it
was Robert Fraser who commissioned his client, Peter Blake, to paint
a copy of Sir Edwin Landseers 1851 painting The Monarch of the
Glen to hang above McCartneys fireplace in 1966. Quite what the
significance of this painting is remains unclear, but both McCartney
and Landseer resided in St. Johns Wood in London, an area that in
ancient times belonged to the Knights Templar. It is possible that the
area was used as a deer reserve for hunting and that the picture
commemorates this, however, the Knights Templar are also the
model for all manner of ancient and modern secret societies, and as
we shall see the Pepper cover seems to reference a large number of
these secret societies.
Let us examine this list for a second; no fewer than eight of this
original list will fail to appear on the finished piece; Hitler for reasons
that will become apparent shortly. As for the rest however, we shall
need to seek the reasons as to why this should be. Of the survivors
from the above list is James Joyce, who does appear but is not
formally listed. It seems bizarre that so many get the chop when the
very concept was that these were people we like and our heroes,
not to mention Jann Haworths claim that The Beatles hadnt made
sufficient suggestions.
Additionally, of these original suggestions there is indeed a woman
included; Richmal Crompton. Crompton was responsible for writing
the Just William series of books that The Beatles, in particular John
Lennon, were fans of. In some of the Pepper out-take photos there is
an image of what appears to be a young boy. The images are blurry
and out of focus but I have wondered if it may be of an early Just
William incarnation? It seems most likely that it is an image of
William Graham who portrayed the character in 1940s.
Peter Blake: Yes he is on there - you just cant see him. Hitler
and Jesus were the controversial ones, and after what John
said about Jesus we decided not to go ahead with him - but we
did make up the image of Hitler. If you look at photographs of
the out-takes, you can see the Hitler image in the studio. With
the crowd behind there was an element of chance about who
you can and cannot see, and we werent quite sure who would
be covered in the final shot. Hitler was in fact covered up
behind the band.
What all this does suggest, however, is that The Beatles list was revisited. In Many Years from Now it states that Lennon added Lewis
Carroll and Edgar Allan Poe later and this may be a truly startling
revelation.
Stuart Sutcliffe, the former Beatle member who sadly died aged 22, is
another who is missing from the initial list but who subsequently
appears. It is inconceivable that his appearance could be attributed to
anyone other than one of The Beatles; again, most likely, John
Lennon.
Bob Dylan, friend and influence and not to mention the man who
would introduce The Beatles to marijuana, is there though he too is
missing initially. Would he have been a Blake, Haworth or Fraser
suggestion? It seems unlikely.
Talking of musical influences, there is no Elvis and no Buddy Holly.
One can only ask why? Likewise, Brigitte Bardot is nowhere to be
the budget. So Haworth resorted to blue paper for the sky, and blackand-white cut-out photographs for the heads and bodies.
Gene Mahon, a designer who was hired as co-ordinator on the
project, selected the more than sixty photographs collected from
libraries and magazines and supervised the enlargements. These lifesize cut-outs were then hand-coloured and glued to hardboard
sheets.
I hand-tinted all the photographs for colour, and nailed them to
batons on the back wall, said Haworth. Then put the front row in 3D. Thats an old movie trick.
Michael Cooper was a business partner of Robert Fraser and an
excellent photographer so he was commissioned to do the shoot. For
the cover, Blake and Haworth constructed a life-size sculptural
collage of cut-outs, plants, props and wax figures in Coopers
Chelsea studio. Each life-size cut-out figure was placed in position
behind the constructed stage and The Beatles, decked out in their
faux military uniforms rented from Burmans theatrical costumers,
came in and were photographed by Cooper.
Peter Blake explains some of the problems he faced using a staged
set rather than a photographic collage:
Its a retouched photograph. In the original photo the blue
paper behind them, which represented the sky, was slightly
bumpy so it was retouched. And there was an artificial palmtree on the right-hand side which was rather gloomy, so it was
completely retouched and then became a rather badly painted
palm-tree. It was all done by a professional re-toucher but not
very sympathetically. I was very unhappy with it. It killed
whatever wed done. It was meant to be a happening, an
environment, but all that got lost. Looking back, it would have
been much easier to have just made a collage. I could have
done it in a couple of days.
I worked in Michael Coopers studio for a fortnight constructing
the set, fixing the top row to the back wall and putting the next
about six inches in front and so on, so that we got a tiered
effect. Then we put in the palm-tree and the other little objects. I
wanted to have the waxworks of The Beatles because I thought
they might be looking at Sgt. Peppers band too. The boy who
delivered the floral display asked if he could contribute by
making a guitar out of hyacinths, and the little girl wearing the
WMCA Welcome the Rolling Stones, Good Guys sweatshirt
was a cloth figure of Shirley Temple, the shirt coming from
Michael Coopers young son Adam.
The Beatles arrived during the evening of March 30. We had a
drink, they got dressed and we did the session. It took about
three hours in all, including the shots for the centre fold and
back cover. Im not sure how much it all cost. One reads
exaggerated figures. I think Robert Fraser was paid 1,500 by
EMI, and I got about 200. People say to me, You must have
made a lot of money on it but I didn't because Robert signed
away the copyright. But it has never mattered too much
because it was such a wonderful thing to have done.
As with all things Pepper however, I have also come across some
information pertaining to the jumper that is worn by the Shirley
Temple doll on the Sgt. Pepper sleeve that is contradictory to Blakes
version. This story comes from the August 1966 edition of Hit
Parader magazine and tells the tale of a young woman named Mary
Scruggs aka Mary Ann May.
From the magazine version it would appear that young Mary entered
a competition organised by the local AM radio station, W.M.P.S. to
design some artwork for the chance to meet The Rolling Stones
backstage at a gig in Memphis.
Whilst most entrants took the standard pencil and paper route, Mary
went down the knitwear path. According to the article, she was 17, a
Senior at Immaculate Conception High School and an officer in a
local Rolling Stones Fan Club.
When her entry was chosen as the winner she gave the sweater to
Mick Jagger, reportedly at his request. Far from dumping it as soon
as she departed he seems to have taken care to bring it back to the
when Peter was brought in; they changed it in good ways. The clock
became the sign of The Beatles in front of it, the floral clock
metamorphosed into a flowerbed. Our heroes in photographs around
us became the crowd of dignitaries, and it was them that was
presenting us with something, except no one was getting presented
with something any more. So the idea just crystallized a bit. Which
was good. It took a lot of working out but its one of the all-time
covers, I think, so that was great.
A girlfriend named Suki Potier was in the car with Tara Browne when
he was killed. Suki was an English model. Almost immediately
following the crash, Potier started dating Brian Jones, who had also
been a great friend of Taras. Suki would later share Joness fifteenthcentury farmhouse with him for the last few months before his
untimely death.
Tara Browne was with Paul McCartney when he crashed his moped
in 1965, and received facial injuries.
When in 1967, The Beatles released Sgt. Pepper it included the song
A Day in the Life. The song has become famous for its lyrics
describing a car accident. John Lennon has confirmed that the lyrics
for A Day in the Life were written about the death of Tara Browne, or
that Guinness child as he refers to him. He blew his mind out in a
car. He didnt notice that the lights had changed. A crowd of people
stood and stared. Theyd seen his face before, nobody was really
sure if he was from the House of Lords.
Tara Brownes father was indeed a member of the House of Lords,
the longest serving ever, I believe; though rarely seen in attendance.
Furthermore, it has been suggested that Paul McCartney was in the
car with Tara Browne when he was killed. Alternatively, some people
have suggested that McCartney died that night and Tara replaced
him in The Beatles, or that it was really Brian Jones in the car crash.
Add to this the rumours of a homosexual relationship between Jones
and Browne or, Browne and McCartney.
It is an interesting fact that both John Paul Getty II and Keith Richards
named their sons Tara after Tara Browne. So, could it be that the
story of Apollo and Hyacinthus was employed as an analogy for the
Tara/Paul/Brian triangle? Certainly McCartney embraced the
pseudonym Apollo C. Vermouth when he produced the song Im the
urban spaceman for the Bonzo Dog Doo Dah Band, who appeared
alongside The Beatles in the film Magical Mystery Tour, and who
later repaid the favour by recording the song Mister Apollo.
Interestingly, hyacinths are sometimes associated with rebirth and
what should appear on the Browne family crest that appears on
Still not convinced? Then let us consider some lyrical clues. In the
first song on the album, Sgt Peppers Lonely Hearts Club Band we
are invited to meet the albums KEY character, an ACT, apparently,
that weve known for all these years. So let me introduce to you,
the one and only BILLY SHEARS. The emphasis is mine however
the implication is not. Billy is short for William and Shears is an
amalgam of shake and spear, or, in other words, Shakespeare.
Consider also the song that Billy then sings for us, A little help from
my friends which contains the line LEND ME YOUR EARS and Ill
sing you a song and Ill try not to sing out of KEY.
Here we are being given a line from a Shakespeare play, Julius
Caesar, and being told that it is the key!
Reading from the bottom line up, and excluding the italicised line, we
can see the word GHOST appears. I have highlighted the relevant
letters in bold for ease of reading.
Could this be a reference to the Holy Ghost? The italicised line above
includes the words without you. Could this be another pointer to the
song Within You, Without You which talks, as we know, about the
people who hide themselves behind a wall of illusion?
Let us start with a list of the Sgt. Pepper characters: 1. Sri Yukestawar Giri (Guru)
2. Aleister Crowley (Dabbler in Sex, Drugs and Magic)
3. Mae West (Actress)
4. Lenny Bruce (Comic)
5. Karlheinz Stockhausen (Composer)
6. W. C. (William Claude) Fields (Actor/Comic)
7. Carl Gustav Jung (Psychologist)
8. Edgar Allen Poe (Writer)
9. Fred Astaire (Actor)
10. Richard Merkin (Artist)
11. The Vargas Girl (by Artist Alberto Vargas)
12. * Leo Gorcey (Actor)
13. Huntz Hall (Actor with Leo Gorcey, one of The Bowery Boys)
14. Simon Rodia (Creator of Watts Towers)
15. Bob Dylan (Musician)
16. Aubrey Beardsley (Illustrator)
17. Sir Robert Peel
I do not believe that it is too much of a stretch to say that the Sgt.
Pepper album performs the function of a Masonic initiation ceremony
for the listener. As you look at the front of the sleeve you will see the
twin torch pillars known as Boaz and Jachin that represent Solomons
Temple. The pillars in this instance are symbolized by the Diana Dors
and Sonny Liston characters.
Jachin is derived from the Hebrew word for moon, so Jachin, on the
right and represented by DIANA Dors, is the moon, the Goddess
figure, and Boaz, on the left and represented by SONNY Liston, is the
sun God.
Diana, a moon Goddess, was the twin sister of Apollo. Interestingly,
there is a Dianic Temple in Cefalu, Sicily, where Aleister Crowley had
his Abbey of Thelema. The site of St. Pauls Cathedral in London is
also believed to be located at the site of where a temple dedicated to
Diana once existed. Apollo is linked to Lucifer, the light bearer.
Queen Elizabeth I was also the subject of a Dianic cult in which she
was the chaste, virgin moon goddess.
In a set of Tarot cards the twin pillars of Jachin and Boaz are
represented by the High Priestess card.
We should not underestimate the pagan symbolism that is on display
here as it is the key to understanding the underlying point that the
Sgt. Pepper code reveals.
The original pillars in the Temple of Solomon were decorated with two
hundred carved pomegranates (highly symbolic fruit believed by
some to be the forbidden fruit from the Garden of Eden. Maybe The
Beatles simply substituted the pomegranate for an apple as the
modern bible does. The pomegranate symbol was used by Henry
VIII, father of Queen Elizabeth I, and also the Holy Roman Emperor
Maximillian I who was a leading Rosicrucian and whose family crest
bears the same double headed eagle as Tara Brownes family). The
pillars were wreathed with seven chains and adorned with lilies. It is
also possible that they were designed to have flames at the top,
possibly as beacons of light.
As you can see from the image above Royal Arch degree masonry
tracing boards feature the twin pillars as well as a symbolic coffin at
the bottom of the piece. This is reminiscent of the Sgt. Pepper sleeve
and its grave scene. It is also highly reminiscent of the frontispiece
from Bacons final work, New Atlantis, and uses the twin pillar theme
to represent the Pillars of Hercules as the end of the known world and
the entrance to another world of hidden knowledge.
Some Masonic tracing boards also depict a third, central, pillar.
This legend, loosely, has its historical basis in 1st Kings 7 and 2nd
Chronicles 2. King Hiram of Tyre sent a skilled man, also called
Hiram, to Israel to help King Solomon build the Temple of the Lord.
Hiram Abiff, a widows son from Tyre, skilful in the working of all
kinds of metals, was employed to help build King Solomons Temple.
The legend tells us that one day, whilst worshipping the Grand
Architect of the Universe (GAOTU) within the Holy of Holies, Hiram
was attacked by three ruffians, (called Jubela, Jubelo & Jubelum
and known collectively as The Juwes) who demanded the Masters
word, that is, the secret name of God.
The first ruffian, named Jubela, struck Hiram across the throat with a
24 inch gauge. The second ruffian, named Jubelo, struck Hirams
breast, over the heart, with a square. The third ruffian, named
Jubelum, struck Hiram upon the forehead with a gavel, whereupon
Hiram fell dead. His blood, therefore, was shed within the temple.
Hiram, having been killed, was carried out the East gate of the
Temple and buried outside Jerusalem on Mount Moriah, incidentally
where Jacob had his dream of a ladder unto heaven.
Early the following morning, King Solomon visited the temple and
found the workmen in confusion because no plans had been made
for the days work. Fearing evil had befallen Hiram, King Solomon
sent out twelve Fellowcraft Masons to look for Hiram. King Solomon
himself accompanied the three who journeyed towards the East.
Having finally located the grave of Hiram, Solomon and his fellow
Masons exhumed the body. A search was made for the Masters
word (the Name of God), but all that was found was the letter G.
Finding the word lost, a lament went up: O Lord, my God, is there no
help for the widows son?
They first took hold of Hirams body with the Boaz grip of the first
degree. This failed to achieve its purpose.
They then re-positioned their hold upon Hiram's body using the
Jachin grip of the second degree. This also failed to accomplish its
purpose.
Solomon finally raised Hiram from the dead by using the third degree
grip of the Master Mason, the five points of fellowship, and by uttering
in Hirams ear the phrase Ma-Ha-Bone.
These first three degrees are based upon the legend. The Scottish
and York Rites base themselves largely upon the Hiramic legend that
follows after Hiram Abiffs resurrection.
Hiram Abiff has been raised from the dead. However, he soon leaves
the legend, for he has been ushered into a more glorious existence.
Solomon is left to continue building the Temple. Many decisions have
to be made. Solomon first selects seven expert masons to guard the
Temple, before holding a requiem for the departed Hiram Abiff.
Solomon then appoints seven judges to hand out justice to the
workmen building the Temple.
Five superintendents are installed to oversee the continuing building
of the Temple. Solomon then focuses upon apprehending the
assassins of Hiram Abiff. He appoints nine Masters, who begin the
search for the assassins. The first assassin is discovered asleep. He
is stabbed in the heart and head and then decapitated.
It is upon this tale that the basis for the Masonic initiation ceremony is
formed. Within these ceremonies the candidates those being
initiated will find themselves being held down and turned around
and being asked for a secret password.
So, to return to Getting Better we see it includes some intriguing
lyrics; in the first verse:
Its getting better all the time
I used to get mad at my school (No, I cant complain)
The teachers who taught me weren't cool (No, I cant complain)
Youre holding me down (Oh Oh)
Turning me round (Oh Oh)
Filling me up with your rules (Oooh)
But, I digress, the clues lie in the words; I thought it would be nice to
lose our identities, to submerge ourselves in the persona of a fake
group and Just a word game, really. That, perhaps, sums it up best.
Lewis Carroll appears on the cover and, as we have already seen,
Carroll is the key. A lot of the clues on Pepper appear to be wordgames that point to Alice in Wonderland and reflect the increasing
loss of identity that the band feels. In late 1966, immediately prior to
developing Pepper, The Beatles were reeling from their shock
expulsion from the Philippines, the fallout from Johns bigger than
Jesus comments and the decision to stop touring.
There also appears to have been some attempts to unsettle The
Beatles and their management. In 1966 Brian Epstein formed
Nemperor Records with Nat Weiss and then, in early 1967, he
negotiated a deal with Robert Stigwood concerning joint ownership of
NEMS. Meanwhile there is some evidence that a Beatle, or two, had
approached Allen Klein about representation.
The Beatles were tired of being perceived as the cute mop-tops and
of being corporate cash cows and, so, were confused about their
identities and futures. I believe this the reason that they sought to
embed within Pepper a number of Alice in Wonderland clues that
could be seen as metaphors for the journey upon which they had
embarked, the knowledge and wisdom that they were absorbing and
the strange, schizophrenic nature of their public and private
personas.
For example, when in Alices Adventures in Wonderland, Alice
encounters the Hookah-smoking Caterpillar he asks who she is and
she says I hardly know, Sir, just at present-at least I know who I was
when I got up this morning, but I think I must have changed several
times since then.
Is that why on the Pepper cover we have both a Hookah pipe and a
caterpillar next to one another?
When talking about Lucy in the Sky with Diamonds John said this:
The images were from Alice in Wonderland. It was Alice in the
boat. She is buying an egg and it turns into Humpty-Dumpty.
The woman serving in the shop turns into a sheep, and the next
minute theyre rowing in a rowing boat somewhere - and I was
visualising that. There was also the image of the female who
would someday come save me a girl with kaleidoscope eyes
who would come out of the sky. Its not an acid song.
My belief is that as Humpty Dumpty assists Alice to understand the
nonsense poem Jabberwocky, then we should use the Alice clues
on Pepper to help understand its message.
We know that it was not just John Lennon that was obsessed with all
things Alice.
Paul McCartney said of Lucy in the Sky with Diamonds:
John had the title and he had the first verse. It started off very
Alice in Wonderland: Picture yourself in a boat, on the river
It's very Alice. Both of us had read the Alice books and always
referred to them, we were always talking about Jabberwocky
and we knew those more than any other books really. And
when psychedelics came in, the heady quality of them was
perfect. So we just went along with it. I sat there and wrote it
with him: I offered cellophane flowers and newspaper taxis
and John replied with kaleidoscope eyes. I remember which
was which because we traded words off each other, as we
always did ... And in our mind it was an Alice thing, which both
of us loved.
As mentioned earlier, McCartney was given a set of Alice statuettes
which, it has been said, Paul arranged as nodes to form a tree of life
structure in his garden at Cavendish Avenue.
Perhaps that is why there is a tree of life present on the Pepper
cover.
Do you see the walrus peering out from in-between Diana Dors?
That the clue is meant to be there was pointed out by The Beatles in
the video they produced for A Day in the Life for the Pepper
twentieth anniversary in 1987. Both ends have been mirrored for no
obvious reason.
But does this actually constitute a clue given that nobody discovered
it, even after the twentieth anniversary video hint above?
Is the walrus even deliberate? To embed a walrus into a palm-tree
that only becomes visible when a mirror is applied to a certain point of
the record cover does seem, on the face of it, somewhat
preposterous.
However, as we have seen, Peter Blake said:
Its a retouched photograph. In the original photo the blue
paper behind them, which represented the sky, was slightly
bumpy so it was retouched. And there was an artificial palmtree on the right-hand side which was rather gloomy, so it was
completely retouched and then became a rather badly painted
palm-tree. It was all done by a professional re-toucher but not
very sympathetically.
I accept that the above statement does not constitute proof, but
nevertheless, the mere fact it was professionally re-touched does
lend some credence to the fact that it was deliberate and that the
walrus was purposely embedded.
If we read the four young Oysters as being The Beatles then this
could possibly be a reference to their treatment since achieving fame.
In the poem the Oysters are lured from the sea by the Walrus and the
Carpenter and they are eaten. The Beatles feel as though they have
been consumed by the music industry. Is that why the walrus on the
Pepper cover seems to be devouring the doll?
Still not convinced? Well, we have playing cards, a la Alice in
Wonderland, in that we have Hearts, Clubs and Diamonds on
Pepper, though no Spades; so maybe we have to do the digging?
A strange choice to start with you may well think. Issy Bonn was a
noted British radio and music hall star of the 1940s and 1950s and
was perhaps best known for singing My Yiddish Mama. As such the
band may well have known him; however, I believe he was included
because of the position of his waving hand directly above Paul
McCartneys head.
This following tale has been widely touted by the Paul is Dead
believers as being another clue. They claim that the hand is an
illustration of some sort of death symbol. Indeed, there are other
examples post Sgt. Pepper and into Magical Mystery Tour of
photographs or cartoons where a hand is placed above McCartneys
head. It would appear that this is designed to display some
significance however; I would dispute the claim that it is a symbol of
death.
Anger would cement his relationship with the occult in his film Lucifer
Rising. Originally due to star Bobby Beausoleil as Lucifer, the film
had to be abandoned when the footage mysteriously disappeared.
When Anger accused Beausoleil of stealing the film Beausoleil would
flee only to re-emerge later in the bosom of Charles Manson and his
family; an acquaintance that would lead to his lifetime incarceration
for murder. What did remain of the film footage was assembled
alongside concert footage of Jagger and the Stones and was
released under the title of Invocation of my Demon Brother.
When Anger later decamped to London he would find a willing patron
for his work in the form of John Paul Getty, another of Robert Frasers
close circle of friends. With this funding Lucifer Rising was
resurrected, phoenix like from the ashes, and filming resumed with
Mick Jaggers then girlfriend, Marianne Faithful, cast as Lilith and
Donald Cammell in Beausoleils old role as Lucifer.
As a further aside to this remarkable chain of connections, Cammell,
whose father wrote a biography of Aleister Crowley, would go on to
produce the film Performance which starred Jagger as a faded pop
star, as well as Keith Richards then girlfriend, and serial Stones
groupie, Anita Pallenberg.
Previously, in 1954, Kenneth Anger released the film Inauguration of
the Pleasure Dome which starred actress Marjorie Cameron as The
Scarlet Woman. The Scarlet Woman is a major feature in Crowleys
Thelema mysticism and is a mother Goddess. Interestingly a Scarlet
Woman image can be found on the Sgt. Pepper cover in the form of
character No: 80: Four-Armed Indian Doll of the Indian Goddess
Lakshmi. Lakshmi is a Hindu mother Goddess and she is also the
personification of the spiritual energy, called Kundalini, within us and
the universe.
She would return to live in Malibu, and in 1954, would star in Kenneth
Angers film, Inauguration of the Pleasure Dome.
Dennis Hopper, another friend of Robert Fraser and strangely absent
from the Sgt. Pepper cast, is said to have found Cameron frightening.
They co-starred in Night Tide, a black and white film made by Curtis
Harrington (Harrington was a close friend of Kenneth Anger and who
also appeared in Inauguration of the Pleasure Dome).
Whilst there is no actual appearance by Kenneth Anger on the cover
of Sgt. Pepper there may be several subtle allusions to his influence
on The Beatles and Robert Fraser provided in the cover. The
inclusion of the child actor Bobby Breen (No: 66) is, on the face of it,
a strange one.
Whilst he may have been a favourite of someone on the project,
Peter Blake would be my candidate if this is the case, it seems
unlikely. There is an obscure connection to him and Lenny Bruce (No:
4) in the sense that Bruce name checked him, and Hitler, in a sketch
he once performed.
My belief is that his inclusion is a nod to Kenneth Anger. Anger claims
to have been a child star having appeared in the 1935 movie version
of William Shakespeare's A Midsummer Night's Dream. He is quoted
as having said: I was a child prodigy who never got smarter. He also
claims to have danced with Shirley Temple, and this may, at least
partially, explain why she merits inclusion on the cover no less than
three times!
Clearly, none of this is conclusive, however, it is clear that Anger was
a highly influential figure at this stage of The Beatles career and he
leads us neatly to our next character for consideration, Shirley
Temple.
Shirley Temple (No: 58, 72 and 73) appears three times according to
the official booklet. I have speculated that this may have something to
do with wishing to make a subtle allusion to the OTO Order of the
Temple of the East as she appears twice on the eastern side of the
sleeve. I also feel that this could be because they are alluding to a
The image of Shirley Temple above comes from the 1934 movie
Bright Eyes in which Temples character has a mother called Mary
who is killed in an automobile accident.
One of these images, the one to the extreme east is seated upon
what is listed as cloth grandmother figure (No: 72). We are told that
this figure is illustrative of Shirley Temple via the official booklet,
because, in reality, all we see is an anonymous childs doll.
It is interesting to note that by the time Pepper was re-visited for the
twentieth anniversary the cloth grandmother figure has been
replaced. In her place we find Albert Schweitzer. Albert Schweitzer
was an internationally renowned humanitarian and physician who had
been influenced by Rudolf Steiner who was a Rosicrucian mason.
Schweitzer was not a freemason, but was greatly honoured by them;
in 1960 he received the Matthias Claudius medal, the first non-mason
to receive it. He had devoted a large part of his life to the study of the
historical Jesus.
However, returning to Shirley Temple. She is clearly highly
significant, but what of the third, largely obscured image of her hidden
by the waxwork Beatles. If I am correct about the positioning being
important and about her being chosen more for the word play of her
surname, then what of this westward placement?
We shall explore this theme further, but I believe it represents the
spread of Freemasonry and its principles across the Atlantic to the
United States of America.
Once again, this surely cannot be coincidental and implies that the
number 33 may be significant.
Sir Francis Bacons cipher number is 33, that being the numerical
value of his surname in a simple cipher.
33 is also an important number in Masonic symbolism. It is the
number of the highest grade of the Scottish Rite and is the degree
gained by our master masons. It is also the number of years Christ
walked on the earth.
In 1988, some 21 years after the release of Sgt. Pepper, the Beatles
released Past Masters, Volumes One and Two, on compact disc.
Past Master is a Masonic term used to describe the former
Worshipful Master of a Masonic Lodge. If you should have any
remaining doubt as to the Masonic implications of Beatles recordings,
the album Past Masters contains exactly 33 recordings.
Another 33 mason was Walt Disney. Disney does not appear on the
record cover; however, there are subtle references, primarily in the
use of the Snow White statue (No: 85). I have read claims that the
stone figure on the cover (No: 78) is Disney, though I personally
doubt this. My personal belief is that this represents a headstone and
is designed to amplify the funereal aspect of Pepper.
We should not forget though that in the Disney fairy-tale the Queen
attempts to kill Snow White through the use of a poisoned apple. Or
that The Beatles song, Do you want to know a secret? was inspired
by the song Im wishing from the Disney Snow White movie.
There are, as already stated, twelve (known) freemasons on the
cover. Other than the aforementioned H.G. Wells, Karl Marx and
Aleister Crowley we can add; W. C. Fields (No: 6), Sir Robert Peel
(17), Stan Laurel (28), Oliver Hardy (30), Tom Mix (40), Oscar Wilde
(41), T. E. Lawrence (of Arabia)(53), Aldous Huxley (18) and Issy
Bonn (47).
To that assemblage we can supply additional knowledge on Tyrone
Power (42) whose father was a Mason, as was the father of English
actress Diana Dors (70). This Masonic upbringing clearly rubbed off
on her because on her death it was discovered that her final will and
testament was full of Masonic symbolism and was written using a
cipher code.
She is also somewhat of a curious choice for the cover. The blonde
bombshell that always set Beatle hearts racing was Brigitte Bardot
and yet on the finished article we have Marilyn Monroe and Diana
Dors.
Dors was well known within showbiz circles for the extremely risqu
sex parties she would host, with her husband, at her house. These
soirees would attract the cream of the entertainment industry and
would often lead to photographs being taken of stars in compromising
situations through a two-way mirror.
Aside from the Masonic connotations already ascribed to her
inclusion perhaps we should add the possibility that she also
represents the Scarlet Woman. For the complete Pepper word-play
concept to work, she, rather than Bardot, has to be included.
Lewis Carroll (52) was not, to the best of my knowledge a freemason,
however, he was rumoured to have been a Rosicrucian like Sir
Francis Bacon and, curiously, the son of a Mason is in England
called a Lewis. Neither was Dr. David Livingstone (44) a Mason
however; a Masonic lodge in Scotland is named after him.
Edgar Allan Poe (8) is also not a known Mason, but his works contain
references to Freemasonry and he was clearly an interested
observer. At least four of his books contain references and it is
possible he was murdered because he was revealing details of
Masonry or was deemed to be critical of the practice.
We shall explore in far greater detail the writers depicted on the
album shortly however, we should consider first Carl Gustav Jung (7)
and down another avenue that Sgt. Pepper takes us. Jungs
grandfather was a Mason and his ancestors may have been
Rosicrucian founders. Jung did a lot of research in symbolism,
including Masonic symbolism and was the first psychologist to study
weird coincidences and to name them synchronicities. Sgt. Peppers
Lonely Hearts Club Band is full of synchronicities.
He is another with links to the OTO like the psychoanalyst Sigmund
Freud, who some claim appears on the cover though this is actually
James Joyce and the Tavistock Institute, and this website states: -
James Joyce
Joyce is one of three Irish writers that appear on the cover, the other
two are George Bernard Shaw (No: 48) and Oscar Wilde (No: 41).
Wilde was famously jailed for his homosexuality although,
presumably in an attempt to conform to Victorian standards, he was
married with children. His wife, Constance, along with another Pepper
grandee, the artist Aubrey Beardsley, and the ubiquitous Aleister
Crowley were members of the Hermetic Order of the Golden Dawn,
which was an magical society formed in 1888. George Bernard
Shaws one time mistress, Florence Farr, was also a member of the
order. Another interesting connection with Alice in Wonderland
stems from the fact that Samuel Liddell MacGregor Mathers (who cofounded the Hermetic Order of the Golden Dawn and who was a
long-time associate of Aleister Crowley) was related to Alice Liddell,
the girl upon whom the Alice adventures were based.
The links to Crowley, secret societies and occult organisations just
keep on coming.
Another interesting author featured on the cover is Stephen Crane
(No: 46). Crane is another who died young when he was just 28
years old, and is perhaps most famous for his short story called The
Open Boat. It concerns four men who struggle to survive in a lifeboat.
The one most determined to keep the group together dies in the
ordeal; the other three then act as interpreters of the event.
This has been proposed as being a metaphor for Paul McCartney
and the Paul is Dead theories.
Continuing the theme of those who appear on the cover and who died
young is the poet Dylan Thomas (No: 19). Thomas died not long after
his 39th birthday in New York, his death exacerbated by his chronic
alcoholism.
It is worth noting the work of another writer, one who does not
actually appear on the cover, but who is featured if you apply The
Beatles word play clues. On the Sgt. Pepper cover we have Johnny
Weismuller as Tarzan. The Tarzan series was written by Edgar Rice
Burroughs who, as I say, does not appear, but Edgar Allan Poe and
William Burroughs do. Edgar Rice Burroughs is another whose father
was a mason.
In the Tarzan series, Tarzan goes looking for a lost American, John
Blake, who is quoted as saying my father is a thirty second degree
Mason and a Knight Templar.
In the stories Tarzan also encounters a high priestess who worships
the flaming God. This appears to be clearly designed to represent
the mother Goddess and sun worship. In a set of Tarot cards it is the
High Priestess card that bears an image of the twin Masonic pillars of
Boaz and Jachin. Sgt. Pepper represents these with the use of the
Sonny Liston and Diana Dors mannequins.
Tarzan, far from being the feral ape-man that he is depicted as, is
actually John Clayton, Earl Greystoke, and is the son of a British Lord
and Lady who were marooned on the Atlantic coast of Africa by
mutineers. Burroughss other famous character is John Carter, a
supposedly immortal human from Earth who is marooned on Mars.
That both lead characters have the initials JC and share almost
supernatural abilities allows us to detect a clear Jesus Christ
analogy? In fact according to Wikipedia, Burroughss narrator in
Tarzan of the Apes describes both Clayton and Greystoke as
fictitious names implying that, within the fictional world that Tarzan
inhabits, he may have a different real name. Here we have another
nod to hidden identities and secret authorships, and Burroughs often
wrote about characters with split or double personalities. This is yet
another clue that leads back to Sir Francis Bacon.
Burroughss tales about the adventures of John Carter, a confederate
soldier, who is transported to Mars, was turned into a film by Disney
in 2012.
Incidentally, Johnny Weismuller (No: 45) is believed to have assumed
the identity of his brother in order that he could qualify to compete for
America as a swimmer.
The final writers that appear on the cover reveal yet more links with
Crowley and the intertwining nature of some of the relationships of
the characters involved. Take for example Aldous Huxley, H.G. Wells
and our friend Aleister Crowley.
I will use a quote from Huxley that may get to the very heart of what
Sgt. Pepper pertains too:
There will be, in the next generation or so, a pharmacological
method of making people love their servitude, and producing
dictatorship without tears, so to speak, producing a kind of
painless concentration camp for entire societies, so that people
will in fact have their liberties taken away from them, but will
rather enjoy it, because they will be distracted from any desire
to rebel by propaganda or brainwashing, or brainwashing
enhanced by pharmacological methods. And this seems to be
the final revolution.
Aldous Huxley, Tavistock Group, California Medical School, 1961.
Huxley was an initiate of a group called the children of the sun which
incorporated the offspring of Britains greatest minds, and would go
on to run the CIA MK-ULTRA drug programme, possibly in
collaboration with the Tavistock Institute. Huxley would meet Crowley
through H. G. Wells and be initiated into the OTO.
Continuing this line of thought, let us add a space within the word
they so that it then becomes the-y. Here things become more than
a little bit spooky.
To reveal the code we must examine the lyrics to the song Shes
Leaving Home.
Firstly, take a pencil and paper and, starting at the beginning of the
song lyrics, search for the letter Y. If you then go back three letters
from each Y, and jot down the letter, you will reveal a hidden code.
Example:
Wedne[s]daY morning at five oclock as th[e] daY begins
Sile[n]tlY closing her bedroom door
Leaving the note that she hoped woul[d] saY more
She goes downstairs to the kitchen clutching her handkerchief Qui[e]tlY turning the backdoor[r]
keY
SENDER.
Ok, that doesnt mean too much, so let us carry on with this
experiment, ignoring any lyrics in brackets.
She (We gave her most of our lives)
Is leaving (Sacrificed most of our lives)
Home (We gave her everything money could buy)
Shes leaving home after living alone
For so [m][a]nY Yea[r]s, b[Y]e bYe
MARY.
SENDER MARY.
The code seems to end at this point, but not before having spat out
the cryptic message above. Now, I am not a statistician, however, I
would imagine the odds on that message appearing randomly would
be pretty large?
With codes, you must have a sender and a receiver. If Mary, via
The Beatles, is the sender, then are we, the listening public, the
receiver?
Melusine always left church prior to the hearing of the mass. After
pondering the matter he decided to have her forcibly restrained by his
knights while the service took place. Thus restrained, Melusine
reportedly tore herself from their grasp and flew, birdlike, through the
roof, taking two of the couples children with her and was never seen
again.
So, it would appear that, the Ashers are descendants of a
metaphorical union between the son of God and the daughter of
Satan!
Alternatively, could Mary be Mother Mary? The virgin Mother of Christ
and, incidentally, also the name of the mother of Paul McCartney.
It has been held by many that the Templars were followers of the
female Goddess figure, or, at very least in re-establishing the
feminine aspect of divinity that had been excised by the church. It
should be noted that their patron, St. Bernard of Clairvaux had an
absolute obsession with Mary and was responsible for her being
named the queen of Heaven and the Mother of God.
It is interesting to note that Mrs. McCartney had some intriguing
relatives; one of whom, her uncle, invented the gas meter the
original meter maid? whilst another, Pauls cousin, Bert Danher was
a famous creator of crosswords.
It appears that a Beatle had a code maker in the family. According to
Danhers obituary in the Daily Telegraph he was the greatest
inventor of anagrams and he particularly enjoyed linking two clues
together so that the solutions created a homophone; thus the clues
fairy-like and ghost made elfin and spectre, or botanical
gardens and beast made Kew and brute.
Perhaps the most telling tribute is Danher also liked to signal his
authorship in cryptic puzzles by beginning 1 Across with a musical
clue.
Ultimately, I guess we will never know to which Mary the code refers?
Maybe it is a reference to both, but that the code exists within the
lyrics surely cannot be an accident.
ancient ley line, known as the Mary line, that connects a series of
churches all with the name St. Mary's and that ends at an ancient
site of Dianic worship.
The starting point for this startling alignment is St. Mary-le-Strand, an
ancient church that also has a holy well nearby. The next St. Marys
is St. Mary-le-Bone where a church is known to have stood since at
least 1200 and is where Sir Francis Bacon, yes him, again, was
married in 1606.
We then pass through the site of Kilburn Priory and its holy well and
on to St. Marys in Willesden Green, where again we find an ancient
well indeed the name Willesden is believed to be a corruption of
Welles Dun, the hill of wells, and where there is a statue of a Black
Madonna.
Unusually, St Josemara Escriv, the founder of Opus Dei, came to
St. Marys Willesden every time he was in London to pray at the site
of the shrine. On the Feast of the Assumption, 15 August 1958,
Escriv held his annual rededication Mass for Opus Dei in this
Anglican parish church of Willesden. Because of this, Opus Dei
members and many other Catholics make the pilgrimage to
Willesden.
Finally, after travelling through Wembley, we arrive at Harrow-on-theHill and the church of St. Mary the Virgin. The first recorded church at
this site dates back to 1094, however, the church sits next to a
wooded area known as the grove and it is long held that this marks
the spot of an extremely ancient pagan ceremonial site where Dianic
worship took place.
Yet again, there is an ancient well and, even more remarkably, the
hilltop marks the centre point of an enormous pentagram that is
marked out by the surrounding five hills, all at the pentagonal angle of
72.
According to the Zohar, the degrees of Jacobs ladder were to the
number of 72.
The name of God, lost with the death of Hiram Abif, is composed of
72 letters according to the cabalistic tradition.
This sacred geometry gives the area a remarkable symmetry with
Rennes-le-Chateau in France with its five hills and amazing tales of
buried Templar treasure. Not to mention the painting of The
Shepherds of Arcadia by Poussin with its encoded clues and
symbolism that is believed to depict the Rennes-le-Chateau area.
For an alignment to pass through the point of so many St. Marys
seems remarkable and when you add to that the fact that so many of
the sites are of great antiquity it points to something else.
The fact that the churches share the same name, and a female one
at that, would point to the sites being chosen for their antiquity. It is
well known that Christian churches are placed on the sites of old
pagan places of worship, and it would appear that these may share
an historic allegiance to the mother Goddess.
To strengthen this, Paul McCartney built a hexagonal meditation
chamber in his garden in Cavendish Avenue, St. Johns Wood, back
in the sixties. Could it be that he was aware of this alignment and
tried to tap into its power?
As another short aside, the author A.A. Milne, he of Winnie the Pooh
fame was born very near to the site of Kilburn Priory. Rolling Stone
Brian Jones would live and die in Milnes old house in Surrey,
Cotchford Farm, where the author created his famous Winnie the
Pooh works which featured the Christopher Robin character with
whom Jones so clearly related.
That we can decode and claim so many clues that can be traced
back to the Templars and Sir Francis Bacon is nothing short of
extraordinary.
Further clues can be extrapolated too, the Templars are again long
associated with the quest for the Holy Grail, and if we look at a line
from the dream sequence in A Day in the Life we find Found my
way downstairs and drank a cup. Found a Cup. Found a Grail.
Pushing it a bit? Well, possibly, but consider the Baconian clues
contained in Being for the Benefit of Mr Kite.
Bishopsgate is mentioned as the location in the lyrics though this was
not part of the original poster feature that Lennon used for inspiration.
That particular show was to be held in Rochdale in Lancashire; so
why mention Bishopsgate?
True, it probably scans a lot better than Rochdale, and it clearly
rhymes with late, but could there be another reason? I believe so,
possibly two. Firstly, Bishopgate was home to both Anthony Bacon brother of the aforementioned Sir Francis, and possible co-author of
some of the works of Shakespeare as well as Shakespeare himself.
Could it be that the two lived together? If so, what was the nature of
their relationship? Was Anthony one of Bacons good pens, one of his
team of secret writers?
As we have already seen the Pepper cover is loaded with Baconian
references; could this be another?
This assertion can be strengthened by the line in the lyrics that talks
about a Hogshead of real fire. This comes from a line in the original
poster but does serve as yet another Baconian clue as Bacon would
often use references to hogs, sows, pigs, boars or swine as a clue to
the true authorship of a work he published under a pseudonym.
Secondly, the area of Bishopsgate in London, now home to
numerous banking organisations, has traditionally been split into two
areas known as within and without; references to their location as
either being part of the City of London or falling just outside the city
boundaries.
Well, what song should appear on the album immediately after Being
for the benefit of Mr Kite? Answer: Within You, Without You
coincidence? Happenstance? Or something else?
In 1984 Paul McCartney would make further reference to the area in
his film, Give My Regards to Broad Street, Broad Street station, now
demolished, being in the Bishopsgate area. The film, whilst not a
critical success, is interesting in that McCartney makes reference to
the Paul is Dead phenomena.
At one point, Paul enters the BBC building and is introduced by an
old man to another with the question, Do you know William? which
is a tongue-in-cheek reference to the myth that Paul McCartney
actually died in 1966 and was replaced in The Beatles by a look-alike
named William Campbell.
Just to add further meat to the bone, one of the families referred to in
the lyrics of Being for the benefit of Mr Kite are the Hendersons. An
anagram of Hendersons is Her Sons End. A reference, possibly, to
the illegitimate sons of Queen Elizabeth - Bacon and Essex - being
the end of the Tudor line of royal descent?
Let us next consider the very end of the album and a phenomenon for
which The Beatles have become synonymous; backwards messages:
The Beatles have long been fascinated by including backwards
recordings into their work. This began in 1965 with the inclusion of
some backwards guitar in their track Rain. By the time of Sgt.
Pepper the band had experimented considerably with these
procedures and a backwards message was included at the very end
of the LP.
Immediately after the song A Day in the Life comes a curious little
repeated vocal segment which says It really cant be any other way.
When played backwards, this message becomes Ill fuck you like
Superman.
Paul McCartney told his biographer Barry Miles that in the summer of
1967 a group of kids came up to him complaining about the lewd
message hidden in it when played backwards. He told them:
parts that are being sung by the parents of the missing girl. For
example: She (We gave her most of our lives)
is leaving (Sacrificed most of our lives)
home (We gave her everything money could buy)
As stated before this occurs on both the vinyl and the CD version
which was released some twenty years later. Plenty of time to spot
and correct the error, if, of course, it is an error? Lets look at it again;
The Beatles twice tell us something is wrong, but what?
Fun is the one thing that money cant buy, well according to The
Beatles, the one thing money cant buy you is love. It has been
claimed that in the picture of The Beatles on the Pepper back cover
George Harrison positioned his hand in a certain way, not to point to
the printed lyrics, but to make the letter L, the first letter in the word
LOVE, as The Beatles appear to be spelling out the word LOVE
with their hands. In addition to George pointing his fingers in the
shape of an L, Johns hands are arranged in a V shape, and
Ringos clasped hands form an E.
The reality is that this picture has been reversed, as can be seen by
the position of Georges medal on his tunic. So, if this claim were true
then The Beatles would actually be spelling the word EVIL with
McCartneys back making the letter I.
However in the year 2006 The Beatles, through George Martin and
his son Giles, released a remix album called Love in which George
Martin also promised a prize to those who could crack a code found
in the album. Maybe love is the code? After all Iamaphoney
discovered that when you put a mirror to the word LOVE on the LP
cover it became CODE.
One in which there is a gang called The Beetles. Timothy Carey who appears on the Sgt. Pepper cover although he is obscured by
George Harrison - also stars as a member of The Beetles as does
Jann Haworths uncle Joe, brother of Ted. Marlon Brando starred in
Candy based on a Terry Southern novel and which also featured
both Ringo Starr and Anita Pallenberg.
Terry Southern (No: 20) was a friend of Sgt. Pepper photographer
Michael Cooper and was a Robert Fraser selection for the cover.
Southern produced the film The Magic Christian which starred Ringo
Starr (again) and featured Roman Polanski, Southern also worked on
tightening and brightening the film Eye of the Devil which starred
Polanskis wife and future Manson family victim Sharon Tate.
Southern also worked with Stanley Kubrick on the screenplay of the
film Dr. Strangelove. Kubrick, although not on the cover, gets a
partial reference via the use of the Timothy Carey character from the
Kubrick movie The Killing. Careys visage is obscured by George
Harrison in the finished piece. Kubrick, around this time, was being
wooed by The Beatles to direct a version of Lord of the Rings that
they were interested in making. For me, it is Kubrick and not Carey
that is at the heart of this reference. All of Kubricks films were filled
with symbolism and strange, coded, references. Kubrick was, like
The Beatles, illuminated.
The Beatles would also salvage unused footage from another Kubrick
film, Dr. Strangelove, for the Flying segment on the Magical Mystery
Tour movie. In the book/movie for Dr. Strangelove, the dis-arm code
used to diffuse the bomb was P.O.E., short for Peace on Earth
and is another link to Edgar Allan Poe (No: 8). The Dr. Strangelove
character was based on the ex-Nazi and Operation Paperclip
scientist Werner Von Braun who came to the US to help develop the
rocket-programme that Jack Parsons had done so much to initiate.
Not only does Edgar Allen Poe appear on the Pepper cover, but he is
also mentioned in the song I am the Walrus. There is even
speculation that the inspiration for the song Blackbird came from his
epic poem titled The Raven, and the inclusion of the word
Eldorado, heard on Revolution #9, may stem from his poem of the
same name.
linked to Robert Fraser, Kenneth Anger and OTO key man Jack
Parsons wife Marjorie Cameron.
No: 24, Tommy Handley was a Liverpool comedian who died in 1949.
He became famous for his long-running radio series I.T.M.A. (Its
That Man Again) in which he replaced Adolf Hitler as That Man.
Mae West, No: 3, who famously, when first approached for
permission to use her image turned down The Beatles, stating, What
would I be doing in a Lonely Hearts Club?; also starred with Ringo
Starr and Tony Curtis in the film The Sextette.
No: 5 is Karl Heinz Stockhausen. Aside from sharing a first name with
Karl Marx there are not too many links, however, he was McCartneys
choice and as a contemporary German composer he was noted for
his use of electronic sounds.
It is known that several frantic telegrams were sent to Stockhausen to
ensure his participation. This implies that he was integral to the
overall look and feel of the project. There have been rumoured
links with his music and experiments and the use of sound or music
as triggers in mind-control programming.
Stockhausen claimed he came from a planet orbiting Sirius, and that
he was put on Earth to give voice to a cosmic music that will change
the world.
There are numerous mannequins on display on the record cover
two hairdressing dummies, Beatles waxworks, Sonny Liston and
Diana Dors to list but some but even The Beatles waxworks come
complete with an interesting back-story.
Fast forward three years to the Pepper shoot and two are smiling and
two are not. At the risk of starting a whole new conspiracy, not only
has Paul been replaced but so has RINGO!!
Via the website of the auctioneers Cooper Owen I discovered that the
dismembered heads of the waxy marionettes had sold for 70,000
back in 2005. Furthermore, the blurb revealed that: The waxworks
were borrowed from Madame Tussauds who are credited on the back
of the album for the shoot that took place at photographer Michael
Coopers studio on 30th March 1967.
Except, I then discovered that, the accompanying photograph
revealed a further anomaly.
This next image, taken behind the scenes of the album photo-shoot,
shows us the headless corpses of our Pepper dummies, well three of
them anyway.
Why did they not use the original dummies complete with the collarless Pierre Cardin suits?
Remember, according to Blake:
Paul and John said I should imagine that the band had just
finished the concert, perhaps in a park. I then thought that we
should have a crowd standing behind them, and this developed
into the collage idea I wanted to have the waxworks of The
Beatles because I thought they might be looking at Sgt.
Peppers band too. The Tussauds figures were a key part of
Blakes interpretation of the concept: It was a comment on the
fact that the record wasnt really by The Beatles but by Sgt.
Peppers Lonely Hearts Club Band, so The Beatles themselves
were in the audience watching Sgt. Peppers band
If that were truly the case surely you would use the most stereotypical
image of the band going?
Why would you use two previously unknown versions of Paul and
Ringos heads?
Perhaps, the answer harks back to an earlier incarnation of The
Beatles called Long John Silver and the Beetles?
One member of Long John and the Silver Beetles was Stuart
Sutcliffe. Stuart died and was replaced by Paul. Also, Pete Best was
in Long John and the Silver Beatles before he was replaced by
Ringo.
So, is that why the Paul and Ringo waxwork mannequins on the Sgt.
Pepper cover are replacements?
The use of the mannequins may also imply a link to Project
Mannequin. Project Mannequin is rumoured to be a Tavistock
Institute funded programme that seeks to use mind-control
techniques to manipulate people into committing acts beyond their
control. Similar in many ways to the film The Manchurian Candidate
Project Mannequin is also rumoured to have access to alien
technology that allows a viewer to see into the future using Looking
Glass technology. There are many and numerous Alice in
Wonderland and Lewis Carroll references in The Beatles canon;
could these be looking glass ties?
Indeed, there is a connection with Lewis Carroll that goes from Sgt.
Pepper and beyond in McCartneys songs, Hey Jude and Getting
Better.
In the Through the Looking Glass books, it seems that the White
Queen has a habit that when she says the word better, she repeats
it over and over again, each time getting more high pitched and
louder until it ends in a squeal. At which time she completely
transforms herself into a new creature or a new location. McCartney
repeats this lyrical trick within these songs.
Aubrey Beardsley (No: 16), produced illustrations for Oscar Wildes
(No: 41), play, Salome.
No: 19, Dylan Thomas, a Welsh poet who died in New York in 1953.
Thomas wrote a poem entitled My World Is Pyramid, which some
translate as having illuminati connotations.
Dylan Thomas wrote the radio and stage play Under Milkwood. The
film version of Under Milkwood starred Peter OToole (who also
played T. E. Lawrence, No: 53, in the film Lawrence of Arabia) and
Victor Spinetti (Sgt. Spinetti from Magical Mystery Tour and who
also appeared in A Hard Days Night and HELP! as well as coauthoring Lennons In His Own Write).
Thomas was friends with Victor Neuburg and upon his death said:
Vicky encouraged me as no one else has done ... He
possessed many kinds of genius, and not the least was his
genius for drawing to himself, by his wisdom, graveness, great
humour and innocence, a feeling of trust and love that wont
ever be forgotten.
Neuburg was an acolyte of Aleister Crowley and was initiated into his
magical Order the A A . In 1909 Crowley took Neuburg to Algiers,
and they set off into the desert, where they performed a series of
occult sex-magick rituals in an attempt to summon Choronzon.
Richard Lindner (No: 29): In 1941 he went to the United States and
worked in New York City as an illustrator of books and magazines
and made contact with German emigrants Albert Einstein (No: 61)
and Marlene Dietrich (No: 67). His artwork would be an inspiration for
Yellow Submarine.
He would later teach at Yale University, home of Skull and Bones the notorious undergraduate senior secret society. New members of
Skull and Bones are assigned secret names, by which fellow
Bonesmen will forever know them.
The skull and bones symbol relates to the skull ceremonies of the
Knights Templar who were believed to have worshipped the severed
head of St. John the Baptist known as the Baphomet. Often mistaken
for Satan, it represents the duality of male and female, as well as
Heaven and Hell, or night and day, and is signified by the raising of
one arm and the downward gesture of the other, similar to the
semaphore signal being given by Ringo on the cover of the Help LP
and the Magician card in the Tarot deck.
Bob Dylan (No: 15): In July of 1966, Dylan was involved in a very
serious motorcycle accident and spent many months in seclusion and
shares with McCartney the distinction of being the subject of
speculation that he actually died in an accident and was replaced.
Interestingly, Dylan in his 2012 album Tempest makes some Pepper
references in his tribute to John Lennon, Roll on John. In the song
the lyrics contain I heard the news today, oh boy, and Another day
in your life both referring to A Day in the Life.
It is interesting to note that the song appears on an album entitled
Tempest. The Tempest is a Shakespeare play, believed to be his
last. Roll on John is the last song on the album.
The song preceding Roll on John on the album is the title track
Tempest and is a 14 minute account of the sinking of the Titanic.
Shakespeares The Tempest is believed to have been a story based
on the real-life shipwreck of the Sea Venture in 1609 on the island of
Bermuda while sailing towards the British settlement at Jamestown,
Virginia. The lyrics to Roll on John contain numerous references to a
sea voyage, presumably from England to America, just like the
journey of the Titanic.
Could it be that Bob Dylan, who also appeared on the cover of
Pepper is acknowledging this and could it be that Dylan sees himself
as a song writing contemporary of Lennons and, as such, an
equivalent of one of Bacons good pens; his band of fellow writers
and Knights of the Helmet?
It is interesting that whilst Francis Bacon employs the use of cipher
keys to hide, or obscure, information, The Beatles often refer to doors
and keys in the Sgt. Pepper lyrics. Keys open doors and by
understanding the word-play and allusions employed by The Beatles
we can crack the Sgt. Pepper code.
He is, of course, right. The mythology never stops and maybe this
merely adds to that, however, whilst some of my clues may well be
dead ends, I do believe that the Sgt. Pepper code does exist, and
that the record sleeve is a treasure map waiting to be decoded.
Why a walrus? Well the Walrus and the Carpenter is a poem that
appears in Through the Looking Glass and whilst the walrus on the
cover is something of a magic-eye type image which not everybody
can see, it is confirmation that we are on the right track. Interestingly
Beatles producer, George Martins father was a carpenter and via the
cover we can discover a curious coincidence. To produce the walrus
we must put a mirror to the elbow of the gold dressed Diana Dors
who stands next to the palm-tree. Dor in French means gold and in
1987, twenty years after Peppers release, George Martin produced a
documentary about the album that was called It was Twenty years
ago today for which he would win a coveted Palme Dor (Golden
Palm) award at the Cannes film festival.
Either by accident or design, The Beatles have concocted a clue for
the future from the past.
But what is the relevance of the walrus? Well apart from numerous
Beatle references; I am the walrus, the walrus was Paul etc. the
Walrus was also the name of Capt. Flints pirate ship in the book
Treasure Island. A book John had read as a child and which clearly
influenced him.
I never see myself as not an artist, he said to me that
morning. I never let myself believe that an artist can run dry.
Ive always had this vision of bein 60 and writing childrens
books. I dont know why. Itd be a strange thing for a person
who doesnt really have much to do with children. Ive always
had that feeling of giving what Wind in the Willows and Alice in
Long John Silver, the infamous pirate from the Treasure Island book
served upon the Walrus as did his colleague, Billy Bones. As we have
already noted, a previous incarnation of The Beatles was called Long
John Silver and the Beetles.
From Magical Mystery Tours: My Life with the Beatles by Tony Bramwell
because to find the treasure you must first find the dead pirates
skeleton which points to the correct path.
Billys bones - Skeleton point? The skeleton points in the direction we need to go. Back (to
Pepper).
On the Pepper cover, Billy Bones represents the dead pirate and it is
he who will lead us to the treasure.
Of course, up to now, I have avoided getting too heavily immersed
into the topic of PID (Paul is Dead). The Pepper cover does indeed
show a funeral scene and, in the Treasure Island book, Pauls
character Billy Bones does die. Upon this event the protagonists
discover that the key to the dead mans chest hangs around the neck
of Billy Bones. It is in this chest that they discover a book and the
map to Capt. Flints treasure. The book contains the strange legend
Off Palm Key he got itt (sic).
We have already deduced that Lewis Carroll is the key, and, as
confirmation, he is standing next to the palm-tree. If we seek further
confirmation perhaps we can find it in the personage of Issy Bonn
who stands directly behind Paul/Billy.
The Beatles have again concocted a clue for the future from the past.
Therefore, above we have Paul, as Billy Bones who does die, and
below a grave for the dead Beatle Stuart Sutcliffe.
Ben Gunn is a pirate who has been marooned on Skeleton Island for
many years and it is he who has already discovered, and recovered,
Capt. Flints treasure.
So, The Beatles, having killed of their mop-top personas, are
presenting us with alternate identities and, in so doing, are illustrating
a memorial to their former selves and to their fallen comrade, Stuart
Sutcliffe.
Sutcliffe, of course, does amongst the Pepperati in tribute to his own
tragic and premature death. Sutcliffe, of course, was in a proto
version of The Beatles indeed he was a member of Long John
Silver and the Beetles. After Stuarts departure Paul would, of course,
replace Stuart on bass guitar.
The main strains of the Paul is Dead/Paul was Replaced myth
originated from the fact that what we see on the Pepper cover is a
grave also adorned with a floral tribute in the shape of a bass guitar
that, according to some, spells the word PAUL.
I repeat; Paul replaced Stuart on bass. Add to that the fact that Stuart
Sutcliffe died on a Tuesday and the significance of the line Stupid
Bloody Tuesday takes on greater meaning. The song that the line
comes from? I am the Walrus, of course.
STU PID Bloody Tuesday.
Could it really be as simple as that?
Ultimately, I believe so.
The Beatles devised a system whereby through gaining an
understanding of the assembled cast one could travel,
metaphorically, on a magical mystery tour through a golden door to a
temple on a mystery land let us call it Pepperland where there
exists treasure; knowledge.
Hidden knowledge, available only to those who have been initiated,
and through gaining this knowledge one is returned to a world of
child-like excitement and awe as encapsulated in books such as
Alice in Wonderland and Treasure Island.
Why else would John Lennon tell us: Picture yourself in a boat on a
river, if not to travel this epic journey of understanding.
On the cover of this book is a legend: In time the hidden knowledge
will be revealed.
That time is now.
Of course when the Sgt. Pepper code was devised I dont expect
anybody envisaged that it would take fifty years to solve, but, it is
After all, it was John in a scene from Magical Mystery Tour who wore
a hat with a HEART on it in a scene that took place in a CLUB where
he was watching a BAND.
John is telling us that everything leads back to Pepper!