The Beatle Mysteries, Sgt Pepper, and Solar Worship: An Interview with the Number Nine Site

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After posting a few articles on the enigma that is Paul McCartney on this site, quite a few people reached out to me with some ideas and articles regarding the construct that is Faul. One researcher who had a passion for the search of the truth, Desiree, has been studying the larger idea of the Beatles’ Mysteries for a number of years; the idea that the Fab Four from Liverpool were more than a seminal rock band from the 1960’s.  Her fantastic website, The Number Nine Blog, has done extensive work analyzing the rich symbolism of the Beatles’ records, films, and lyrics, and speculated on the possible occult origins of John, Paul, George, and Ringo.  In this interview, we discuss Egyptian Solar Worship, possible military industrial Beatles’s connections, and of course, Aleister Crowley and the work of Thelema.

This interview was concluded on June 27, 2016.

Q: Thank you Desiree, for taking some time out of your schedule to chat.  Before diving into your analysis, could you tell us how you became involved as a researcher of the Beatles and the Occult?

DH: Thank you James.  I am really excited about this, and flattered that you think my work is interesting enough for an interview! Haha.

I have been a HUGE Beatles fan- well, since forever. I grew up with their records played over and over in my home, and they just came to be like a part of me. My friends were hanging posters on their walls of the New Kids on the Block, and I filled my walls instead with Beatles posters.   I’m sure everyone can agree that the Beatles had something magical about them. Most Beatlemaniacs like me will attest that they are quite sure the Beatles are singing directly TO them. They just have a way of finding their way into your heart on a very personal level. At least, that’s what happened with me.

Sometime soon after 9/11 I started really getting into conspiracy theories and the like, and spent a good amount of time just learning about different theories and concepts. The topics which dealt with secret societies and the occult interested me the most, and I started doing my own digging into the philosophies and the histories of these elusive groups. Truly, it fascinated me to no end. Quite a few years later, I happened upon a very interesting video called “The Winged Beatle” by that elusive phony figure- iamaphoney on youtube. This was a Conspiracy AND it was about the Beatles?? I was hooked instantly.

Most of the topics I ramble on about on my blog have been directly inspired by a very extraordinary circle of men and women in “Strawberry Fields Beatles Mysteries” group on Facebook. The group primarily deals with the esoteric, synchronicity  and “strange happenings” that revolve around the Beatles.  I joined that group a couple years back, and from them, learned so many things that I would have never dreamed about prior. In the end, it made me love the Beatles that much more. I consider them geniuses- and often refer to them as the “Da Vinci’s of the 20th Century” because they were so damn good at what they did. They continue to amaze me even now.

Q: I definitely share your sense of the construct of the Beatles.  The Beatles Mysteries… I have to admit, when I found your website, I was immediately drawn to the idea of Mysteries related to the Beatles.  At a very high level, how would you define the “the Beatles Mysteries”?  

DH: Phew! Where to start with that one? Well, I suppose I would describe the “Beatle Mysteries” generically as anything pertaining to the Beatles that veers off from the normal sort of Beatles Story- and dives further down the rabbit hole of Beatles legends. This would include the esoteric, spiritual, mythologies, symbolism, mysticism, and supernatural aspects of those “Lovely Lads from Liverpool”.  The Paul Is Dead Mythology(?) is also a big part of my studies.

I Am The Walrus Beatles Foursome  Rock Train .

Q: On one of your very first articles posted to your website, you mention a 1964 Derek Taylor interview with the The Saturday Evening Post regarding the Beatles’ attitude towards Christianity.  When/where do you speculate the Beatles, as individuals, possibly shifted their perspective away from organized Christianity?  

DH: That is a tough one. In 1965 all four Beatles had claimed to be agnostic. Although Ringo had hinted that some of the group were actually Atheists, but was afraid to say so. All four Beatles “officially” are recorded as having upbringings in the Christian faith. Both McCartney and Harrison were baptised as Roman Catholics, Lennon was confirmed of “his own free will” at the age of 15 and sung in the church choir, and Starr attended an Evangelical church in his childhood. It is purely speculation on my part where the gnostic ideals sprang from, but I would have to assume sometime after Lennon’s confirmation at age 15 (or 1955). In 1960 the boys started their long flirtation with the red light district in Hamburg- where they met the likes of Klaus Voormann and Astrid Kirchherr. Astrid and Klaus were into existentialism at the time, and Astrid has been described as a practitioner of Black Magic according to Lennon biographer Albert Goldman. Astrid had a HUGE influence on the Beatles, making the most significant image change of the band throughout their history- giving the Beatles their signature “mop top” haircut. Considering her influence on the boys at the time, they may have been infatuated with her mode of spirituality. It’s interesting that directly after meeting Astrid and Klaus in Hamburg, the Beatles good fortune and popularity began to skyrocket.

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From left to right : Macca, Kirchherr, and Harrison on holiday in April 1963

The influences could be there, but there were probably multiple facets of influences on the Beatles at this time. John had an Uncle in the Royal Antediluvian Order of Buffaloes according to some sources, and later, McCartney living in the Asher’s family home may also have had some Masonic/gnostic influences.

Q: You have a great write up on the influence of Kirchherr here.  You mention in the article that Kirchherr is somewhat of an enigma with not a lot of written background available.  Has your research led you to any further biographical findings regarding Kircherr?

DH: Not too much really, all that is said is that her father was a top executive in the Ford Motors Branch in Germany during World War II. Her family lived a very posh lifestyle, but that is as far as I can get before hitting brick walls. Astrid herself has briefly stated that her mother came from a very large family, her mother being one of seven siblings, but I can not seem to find a maiden name for her maternal side.    I would love any further information if there is any available.

Q: Have you picked up on any occult symbolism in the Beatles’ performances, songs, or even previous band names prior to the wave of Beatlemania that swept the world in the early 1960’s?  

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DH: Great question! Yes! There is so much, it would be impossible to mention EVERYTHING symbolic in this piece, but I will hit on a few key points.  Prior to Sgt. Pepper the symbolism seems to be not as prominent, but still detectable with an “eye” for these types of things. I think that Brian Epstein (being the great PR guy he was) kept a lid on most things pertaining to his “Loveable Liverpool Lads” that may have darkened the image of the Beatles.  As a starting point- Ringo Starr is an interesting name choice. “Ringo” being the only member that uses a pseudonym, and the only member of the band not hand picked by John.  Ringo Starr literally can be translated as “Ring of Stars” symbolic in its own right.

Then we have the name “Beatles” with an A. This is quite symbolic as well. Aleister Crowley has a work titled “The Winged Beetle”, and the Scarab or Dung Beetle in Egyptian Mythology is quite significant. The god associated with the beetle is Khepri- Khepri was strongly associated with rebirth, renewal, and resurrection as well as being a solar deity. Some tales tell of Khepri emerging from a cavern each morning at dawn. The Beatles with an “A” of course got their big break while performing at the Cavern Club in Liverpool.  Perhaps just a coincidence, but then you start to find interesting symbolism in some of their early album covers- such as their first album “With The Beatles!” (released on 11/22/63 in the US – same date as the JFK assassination) where all four Beatles are featured on the front with only one eye showing.  Their facial left halves (our right) have a shadow cast upon their faces. This brings to mind the left-hand path vs. the right hand path and the eye of Horus and of course that “all seeing eye” figure that seems to be here, there and everywhere.

  

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Beatles ‘65 (6+5=11 that magickcal number) album also shows occult symbolism in my opinion- all four Beatles featured under umbrellas (umbrella of protection?) and also holding broomsticks and wheat. It is just a very odd choice of photos to feature on that cover if the symbolism is not intended.  Revolver had some very interesting working titles such as; Abracadabra, The Magic Circle and Four Sides Of The Circle. And then we come to the Help! Soundtrack, Yesterday and Today, and Rubber Soul which could easily take entire books to explain the symbolism involved in them.

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Q: Right, that brings us to one of my favorite analyses completed on your website regarding the infamous Butcher Cover.  Your site does a fantastic job covering some of the Egyptian myths and the idea of Solar Worship. What would you point out in respect to this cover that made sense to you in respect to the first album cover version of the Beatles’ Yesterday and Today?

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DH: The Butcher Album as most probably know, was a very controversial album. Released in June 1966, or 6/66 it was the Beatles 11th overall (US & UK) album release. It coincided with John’s controversial “more popular than Jesus” remark which caused considerable controversy in the Bible Belt states of the US. This was really the first time in Beatles history that the Beatles image had been questioned, and tarnished to some degree. The grotesque cover featured the Beatles in lab coats with 13 slabs of meat and doll parts. The photographer of that session, Robert Whittaker remarked that the complete vision went unrealized. The album was intended to be a gatefold forming a triptych of images, the left side symbolizing the Birth of the Beatles, the right symbolically representing the death of the Beatles, and the center image, the infamous “Butcher Cover” we have today representing the apotheosis of the Beatles. Regardless, even without the envisioned gatefold, the album in my opinion is still revealing deep symbolism.

The meat could symbolize the 13 pieces of Osiris- that Isis had to put back together after he was slain by Set according to the Egyptian mythological tale of Isis and Osiris. The doll parts could symbolize the falcon-headed God Horus, the god-child of Isis and Osiris.  Crowley taught that the Abrahamic religions were “Osirian” religions – rooted within the “Aeon of Osiris” dominated by patriarchal values. He taught that this aeon would fade away and be replaced with something else. Crowley interpreted he was to help aid the ushering in the new age, or the “aeon of Horus”, which was controlled by the child god, symbolized by Horus. The butcher cover says to me that the Beatles have “killed” or “butchered” the old ways- and are now helping to usher in the new age, the age of acting upon your own will, and self-realization. The age of Horus.

Q: With such interesting symbolism placed on a Beatles’ cover, my next question goes to the who/what/why of the placement of the symbolism.  Do you think the John, Paul, George, and Ringo group as a whole made a deliberate decision to emphasis a reference to Egyptian mythology at this stage of the game?  Or do you find any validation that the Beatles were ultimately a tool or mouth piece of a larger agenda, whether it be British Intelligence, the Tavistock Insitute, or something more nefarious?

DH: That is the million dollar question really. Personally, I like to think that The Beatles indeed recognized at least some of the symbolism and sought to include these things encoded within their music and art. Were they trying to tell us something? In the case of the Butcher album, we do have the photographer, Robert Whittaker admitting that the idea was purely his. However, this may have been a way to simply save face for the Beatles and Epstein as that album was so controversial and quickly pulled off the shelves and replaced with another more “appropriate” cover. If the symbolism present on the Butcher cover was an isolated incident, then I might have to agree with Whittaker. However, it is not an isolated incident. Not by a long shot.

If you look at the HELP! soundtrack cover, the boys are displaying the same type of imagery. On the front cover of the Help! album, The Beatles are not spelling H-E-L-P in semaphore, they are actually holding positions of rituals used in The Hermetic Order of the Golden Dawn. George = in Osiris Slain, John = in Sign of Typhon/Apophis, Paul = in Isis Mourning, Ringo = in the Earth Sign, or the position of the Magician card of the tarot (as above, so below). I won’t go into much more detail on this album cover here- but the point being is that throughout the Beatles career, we see references to Crowley’s Thelema and the Greater/Lesser Mysteries that cross over photographers and even over Managers etc.

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So then, we are left with the possibility of either the Beatles perpetuating this imagery on purpose, or someone or a group of someones pulling the strings from behind the curtain. I can not say for certain which this was- but the Beatles were allowed a lot of creative independence, so at the very least they probably approved of the imagery they were personifying. The sixties was a turbulent time, as we know. We also know now that many musicians and entertainers were indeed used for various tasks in espionage and social engineering/programming during this time and before it for the US. I can not really rule this out concerning the Beatles. I hesitate to name any one group or organization specifically responsible, however, other researchers have pointed to Tavistock and even the Ford Foundation (which is interesting in respect to Astrid Kirchherr). But I continue the search always trying to keep the times in perspective. After all, they did coin it “The British Invasion”! Probably not really so far off in my opinion.

Q: OK, so as we’ve discussed offline, the year 1966 seems to be a critical year of the history of the Beatles.  That year included the Lennon/Christ comments, the above mentioned Butcher Cover, Revolver, which you have mentioned working titles of songs such as “Four Sides to a Circle,” “Magic Circle,” and “Abracadabra”…and then of course, the fall of 1966 and the emergence of a possible imposter Paul McCartney.  From your research, how would you be summarize the whole Paul is Dead construct?  What do you think ultimately of the construct of Faul?

DH: In all honesty, I am on the fence on the concept of “Faul” as a permanent and sole replacement of Paul McCartney. I am not a forensics expert by any means, but looking at certain photographs does raise a few questions. The supposed “clues” left by the Beatles are indeed interesting as well, and point to some very intriguing questions that will probably never be answered. What I do know for certain is that it was dangerous being a Beatle. They were constantly receiving death threats and were witness to a lot of violence and utter fanatic chaos while on tour. They had a disastrous encounter while on tour in the Philippines in July 1966 leaving many of the Beatles entourage and security personnel stalked and ultimately beaten as they tried to leave the country. I really can not discount the idea of touring doubles, decoys or look-alikes simply for safety and investment insurance.  

I also know for certain that Sir Paul post-66 seems to use a lot of double/twin/mirror imagery in his music and art, and continually brings up the “Paul is Dead” phenomenon every decade or so- as to not let the “rumor” fade into obscurity. The major question I have is to why he would continue to perpetuate the reality of his “stolen identity” if it is indeed true? He has the means and the authority to squash this rumor like a (ahem) beetle if he wanted to… why keep it alive all these years later? Sir Paul McCartney has incredible influence and wealth in the industry to pretty much do whatever he wants to. Would it really be so far-fetched to fathom the possibility of a hired look-alike to send out to less desirable events or interviews, so that he could have a bit more privacy or take a vacation without the press following his every move? It has been done before, by political leaders and even celebrities in the past- why not with the Beatles?  

Also, as we have seen, the Beatles seemed to have at least somewhat of an admiration for the Mysteries and/or Crowley from a very early age. A big part of the initiation rituals in similar schools of thought is the concept of birth/death/and resurrection, working towards the ultimate goal of immortality.  This could be what we are seeing in the post-66 symbolism regarding the occult “death” and symbolic “rebirth” of McCartney. It could possibly be an allegory of what he was going through at the time.   Of course, this is all speculation on my part. There are a lot of interesting mysteries in this ongoing “Paul is Dead” saga, and a lot of unanswered questions. I am not going to rule out the possibility of “Faul” completely, but at the same time I am not going to rule out the opposite either. I just don’t know, so I remain agnostic about the issue.  

Q: Fair enough…I too feel there is some truth to the possibility, but definitely can not attest to it one way or another as I personally was not on hand during that time period. The intrigue and romance of the PID movement is definitely alive and well today, as I’ve learned over the past few months.  

Leaving 1966, we head into the Summer of Love in 1967 and what many people consider to be the Beatles defining artistic statement: Sgt Pepper’s Lonely Heart’s Club Band.  You mention in your work that you have spent countless hours analyzing, researching, and possibly decoding some of the hidden messages tucked away on the Sgt Pepper album cover.  For someone new to the Beatles’ Mysteries, what would consider to be your top 5 first order occult symbols/message findings that were possibly intentionally encoded on that album cover as a starting point for reference?  

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DH: Sure, Sgt. Pepper is nothing short of a masterpiece, it seems to contain layers upon layer of meaning- like an onion. The five most prominent points in my opinion, in brief:

  1. There are at least 11 known Freemasons pictured in the crowd of “lonely hearts” on the Sgt. pepper cover.
  2. There are at least 17 known USO entertainers from the WWII/Cold War era in the crowd as well, some of which have been determined to be agents or associated with military Intelligence.
  3. Placing a mirror in certain key areas on the cover reveal hidden images and/or coded messages.
  4. There seems to be significant wordplay associated with the names of the characters and the various items featured on the cover.
  5. Certain lyrics within the album seem to confirm some of the hidden imagery on the cover.

Q: Taking the Sgt Pepper’s album cover to another level of complexity, you did a wonderful analysis wherein you overlaid the four Beatles from Pepper’s cover onto a Masonic Tracing Board.  (I’ll add your article here…).  This analysis is fascinating…how did you begin this analysis?  What are some points of interest you find most compelling about this supposition of images?

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DH: This image overlay was really surprising to me. Initially, I was researching Marlene Dietrich who is one of the “lonely hearts” placed next to George Harrison, when I realized that her born name was actually Marie Magdalene Dietrich. I thought that name was highly significant, considering the wordplay that seems to be going on with names on this cover. “Magdalene” means “tower” in Hebrew, so I just thought it might be interesting to see what happened if I aligned Ms. Dietrich with the “beauty” pillar from the 1st degree masonic tracing board. To my surprise, a lot of interesting things aligned!

The first thing I noticed was Paul McCartney (or whoever that is-) aligned with the “Wisdom” pilar and the “all seeing eye” directly above his head. This could be symbolic of one who has achieved “enlightenment” or “illumination”. Rays from the eye are surrounding his head. The “ART” from the words Lonely Hearts on the drum skin bleed through the base of the pillar. Possibly for “MccARTney” as a confirmation- not sure.

John aligns with the “strength” pillar- which I think is quite fitting. And Ringo (Richard StarKey), seems to be holding the golden key (the key to immortality or ascension??). Jacob’s Ladder is ascending straight into Ringo’s head which might be significant from a Gnostic point of view.  There is so much more going on here though, but I find that if this symbolism was intended, it may possibly be telling a story of initiation into a secret society, or “making the grade” to a higher echelon/degree of said secret society.  

Q: The Sgt Pepper cover enigma doesn’t quite end with that.  You had sent me this image tooMoving on to a possible third level of possible symbolism attached to Sgt Pepper is this image you shared with me:

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How did that image come about, and what do you think is the message?

DH: This image was discovered by Horseloverphat a few years ago, although his blog seems to no longer be available).  It was made by mirroring the Sgt. Pepper album diagonally. He has done a great job pointing out the symbolism in it, but there could be more here as well.

I’m not sure that I understand the symbolism fully myself, but I will do my best to explain how I interpret this intriguing enigma.  First thing I noticed is the O.T.O influence with the Sgt. Pepper drum skin transformed into the O.T.O. lamen. At the base of the image there is a phallus, made of red hyacinths flowers which is similar to the “A” in Crowley’s signature, although not perfect. However, the symbolic nature of the phallus is of great esoteric significance.

For me, this image is telling a creation story ( a creation of the “born-again” Beatles??). We have the phallus at the base, above which the “Frankenstein” bust is seemingly transformed into semen. Above that we have a vesica piscis, a symbol of the feminine form. These are all symbolic in nature of the creation of life.

Atop this kaleidoscope pyramid, we have two Crowleys’. This might be significant because of the two-headed eagle associated with the 33rd degree of freemasonry which Crowley obtained somewhat sinisterly. Most of your readers are probably familiar with Crowley’s history with freemasonry, it is a truly fascinating story, it seems to make a lot of sense in this context. The “Double” Crowley’s also brings to mind psalm 118.22 of the Bible: “The stone the builders (Masons’) rejected has become the capstone”. Crowley is featured normally on the cover on the far “left hand” side. Now, transformed, he has become the capstone of this symbolic pyramid.

Currently, I am working on a full analysis of this image and its symbolism. It should be posted on my blog soon, but as you can see, there is a lot going on here- and it is taking me a bit of time to work through it all and explain things somewhat coherently. But looking at this one has to wonder how it could possibly be just a coincidence, the symbols seem to be blatant and intentional.

Q: No doubt about it…that is fascinating symbolism. I look forward to what else you connect in your future research, as the Crowley tie ins most certainly appear to exist. Have you found any secondary symbolism to the wordplay or music  attached to Pepper’s closing track, Lennon’s “A Day in the Life”?

DH: “A Day in the Life,” another great masterpiece by the Beatles, and one of my favorites.  “A lucky man who made the grade” may be referencing a grade obtained in relation to the OTO or other occult organization. “Somebody spoke and I went into a dream” always reminded me of programming or hypnotism in an odd way, perhaps a trigger word of sorts. The lyric “I’d love to turn you on” is interesting in respect to the white album’s follow up backmasking of “turn me on dead man” in the form of the “number nine number nine…” Track loop. This song specifically however reminds me much more of the Paul is Dead clues than anything else. The ending loop in the inner groove of the record seems to repeat “never to see any other way”, but when played backwards seems to reveal “we’ll all be magick supermen”. The Beatles backmasked many of their tracks, a Day in the Life is one of many. My favorite is on the Sgt. Pepper reprise, in reverse they seem to say “Apple star- it was a fake moustache”.

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Other songs however, do seem to imply a connection with Crowley and/or the occult such as Strawberry Fields Forever. When played in reverse, the song seems to say “we will sing it man, will will be reverse” Crowley had written that initiates should learn to read and speak backwards, constantly listen to music and movies backwards, and devise his own methods in reverse “within his own ingenium.” One example Crowley gave for this was “for “I am he” let him say “he am I”( kind of sounds like “EMI”??). We all know the Beatles loved to put backmasked lyrics in their music. John Lennon in my opinion was an absolute master at this.

Q: What would you list as your top 5 favorite Beatle songs?  Do you have a preference on period of Beatles’ music over another?

DH: Oh that is the toughest question yet! Hands down favorite Beatles song is “Something” by George Harrison on Abbey Road. After that, it is difficult for me to pick favorites. I really enjoy their later music best, abbey road is a great album all the way through. I love a lot of the early tunes that the Beatles played live so brilliantly like long tall Sally, and I’m down. But the psychedelic goodies of Sgt. Pepper era and beyond are probably highest on my list of favorites. A Day in the Life, Getting Better, I Am the Walrus, Oh! Darling… Oh so great. I am sure I missed like 100 others.

Q: It’s interesting that when researching Paul’s initial solo tours track listing, Long Tall Sally always appeared as the finale.  Maybe another PID clue / reference for the rest of us to track down? Keeping in line with the idea of a possible Faul McCartney and other conversations I have had, what are your top 5 favor post 1966 Paul McCartney compositions?  Do you have a top 5 least favorite Macca post 1966 compositions as well?

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DH: Long Tall Sally was the perfect finale. Paul always rocked it! Maybe a Paul Is Dead clue is in there?! I wouldn’t doubt it, they seem to be everywhere. A little predictive programming perhaps?

Post 66, I would have to include Blackbird, Martha My Dear with the Beatles, but post-Beatles efforts I really enjoy a lot of Wings music. Maybe I’m Amazed is one of those classics that just couldn’t possibly be any better, Helen Wheels is a personal favorite. It seems to me he really tries to push the boundaries of his music, hitting a wide variety of genres. McCartney does have a lot of “tin pan alley”-type tunes that can get overdone at times. I think he really needed John Lennon to inspire and compete with him (If that is really the same guy of course!). They were the perfect team.

The entire Liverpool Sound Collage album is a bit too avant garde for my taste (the Plastic Beetle track in this collection is worth hearing), but it is interesting. I am not really a fan of the new release with Kanye and Rhianna four five seconds, in fact, I have not really appreciated most of his duet efforts really- The Girl is Mine, Ebony and Ivory etc. But overall, I can appreciate his music of all eras, although his solo efforts can not compare with the Beatles compositions. I can see how Paul Is Dead researchers hone in on the differences of his music pre and post 66. There does seem to be a shift of style present. I must confess however, that I am much more of a post-Beatles Lennon fan than a Macca fan, so I am probably biased. 🙂

Q:  Given where your research has led you, and given some of your breakdowns on your site, how best would you describe the idea of the Beatles and Solar Deity Worship? You’ve pointed out so many Solar references in the body of their Beatles and post-Beatle work.  What clues or symbols led you to begin to correlate this idea of Solar Worship in the material of the Fab Four?

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DH: The first inklings I received about the solar deity symbolism was within that group I mentioned at the beginning of the interview. A member there by the name of David Ames (his fantastic blog of caverns is linked) pointed out the interesting correlations With Khepri/Be(a)tle synchronicities, and the idea of McCartney resonating with various solar deities- RA, Osiris, Apollo, and even Crowley (who said he could be called “little sunshine” in a court hearing- 666 being the number of the sun). But for myself, it was researching the Butcher Album symbolism that really made things hit home initially. From there, my crazy Beatle rantings began.

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The Beatle Astronaut, JPM

You have stirred up my greatest dilemma here though. Part of me wants to believe that the idea of the Beatles solar worship was simply a way of working a mythology into their legend. Like Joseph Campbell’s Monomyth or “The Hero’s Journey”. The Beatles story is truly of epic proportions- and they were the heroes of their generation. They were literally worshiped by millions of people across the globe. Maybe they really did think they were bigger than Jesus. I can’t even imagine the size of their egos during Beatlemania.

On the other hand, there sure seems to be a heck of a lot of references to Crowley/Thelema/OTO etc. etc. certain ones are difficult to dismiss outright. We now know Crowley was used in British military Intelligence, and his influences seem to have a great impact on the entertainment industry of the 20th and 21st centuries. It is possible the Beatles were also used for British Intelligence, as well as initiated into an occult group. It is a touchy subject for a lot of Beatles fans to deal with, myself included. But I feel it is time to rethink the Beatles, and doing so has made me so much more knowledgeable of the reality of our world, and how it really works. The Beatles may have been trying to tell us something… We just need to listen more carefully.

Even if you dismiss everything discussed here, and go with the official “Loveable Lads from Liverpool” narrative, the Beatles story is STILL an epic adventure story of monumental proportions. The adventure of all adventures. As Beatles biographer Philip Norman stated “the Beatles is not a natural story, it is a supernatural story.” I tend to agree.

Q: You’ve already really covered quite a bit of ground on your site, from the previously mentioned occult Beatle tie ins to Astrid Kirchherr, to the Egyptian mummified corpse currently located in Yoko Ono’s apartment.  Where are you thinking of taking your research next?  Have you considered publishing a book on your examinations of the Beatles’ Mysteries?

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DH: My blog is fairly new, I have just begun to get all my thoughts out in text for others to read. I have so many articles left to write, many drafts started waiting for the right moment of inspiration to complete. I would like to do a full synopsis of all the Beatles album covers eventually, as well as their films. I would also like to expand on the doubles/doppelgänger/twinning/mirroring/reflection concept because it just seems important, and ever present. As above, so below right? I also want to focus a bit more on John Lennon, his story in all of this is truly fascinating (to me at least). The circumstances surrounding his death seem almost programmed or pre-planned.

As for a book, unfortunately, I just don’t see that happening. I am not out to profit from this by any means, it is truly just a passion that I enjoy discussing with intelligent, like minded people-Like you, James.  I am just thrilled that you took the time to read my blog and found it interesting enough to warrant an interview! That makes it all worth it. Thank you so much for the opportunity. I really appreciate yours and everyone’s passionate dedications researching in these “fringe” fields, our combined efforts truly shines a light on the bigger picture. And in some strange way, they do seem to be all connected. Remember, Life is very short and there’s no time for fussing and fighting my friends,  Come Together. 🙂 Thank you again James and your readers!

Q: It is most certainly my pleasure!  You research and conclusions are well thought out and you have definitely opened up my eyes to the idea of the Beatles’ Mysteries.  I highly recommend everyone to check out Desiree’s website, The Number Nine Blog; whether one is a Beatles fan or not, there is a tremendous amount of work completed in respect to Mystery schools, occultism, and Freemasonry. I am looking forward to keeping up with your work, and possibly completing a collaboration in the near future.

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12 thoughts on “The Beatle Mysteries, Sgt Pepper, and Solar Worship: An Interview with the Number Nine Site

  1. Hard to imagine so much in-depth study of the Beatles and yet to miss the fact that Paul and Mike McCartney were twins, and that both stepped in and out of the role of “Paul” up until 1990 or so, when “Mike” (we really don’t know which is which) became the permanent Paul. The other, the one we originally knew as Paul, simply retired, but lives (or lived) openly in Liverpool as John Haliday.

    This is all supported by not just evidence but compelling evidence.

    http://mileswmathis.com/paul8.pdf
    https://pieceofmindful.com/2016/06/22/afterthought-john-halliday-outed-as-paul/

    But more to the point, in our work on this subject, and given the ease of discovery of twins, I can only conclude that there is an industry of Beatles worship that is designed to mask evidence in plain sight. Given that ease of discover, I can only conclude that “Desiree” is just another misdirection agent.

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    1. I read that article too by Miles Mathis – he does some fantastic, detailed work that is well documented (the one on Hawkings has some serious implications, IMO). Is his June 22nd 2016 the first “proof” on the idea of a Macca double published? I’m not as familiar to the history of information presented in the Faul construct as others might be.

      The idea of a imposter Macca aside, do you think there is a secondary layer of symbolism to the album covers, songs, and films of the Beatles (Egyptian Mystery tie ins, or something else)? Personally, I found the connections made by the NumberNine blog very interesting.

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      1. Miles Mathis is very intriguing. I love the piece he did on the twin Paul’s.
        TheNumberNineBlog has a whole category of twinning/double imagery used throughout Paul’s and John’s careers. (More so in Pauls).
        That Mathis article is relatively new, he has a fantastic- very I spring (for me) article on John Lennon too! I’m a big fan.

        Liked by 1 person

      2. I can only be certain that four (five actually) men in their mid to late 20s in Liverpool did not have the depth or background to construct those album covers, so that they existed as part of the Beatles project, and the albums (and probably much of the music) was put together by others.

        I really don’t pay much attention to the occult. Being raised in an intensely religious home, I see it as no more than the same jelly on a different slife of toast. All of those symbols and statues never affected me after I reached age of reason, and same with occult symbols. They have no power.

        Those people that brandish them around, as on Beatles Album covers, are speaking in code to one another. People like having secrets. It makes us feel special, even powerful, I suppose.

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  2. KG

    “Lennon’s reading of The Passover Plot showed him that culturally rich narratives were strung together from assortments of details.

    It followed, therefore, that the artist’s task is merely to provide the details; the consumers of the art object can be counted on to weave the narrative.”

    — Matthew Schneider

    http://anthropoetics.ucla.edu/ap0802/beatles2/

    “Conspiracy theorizing is a mode of Gnosticism that can be counted on to arise spontaneously in the presence of any spatially or chronologically linked sequence of events lacking a self-evident originator and purpose. As it did on the originary scene, the mind abhors the cognitive vacuum of effects without causes; and where those causes are not glaringly apparent (and sometimes even where they are), a story will be concocted to account for them. To John Lennon (who ought to know) Hugh Schonfield was the unacknowledged master theorist of Beatlemania, for this shy and retiring Oxford don quite unintentionally, but accurately, pointed to the mythopoetic potentialities lurking in contemporary celebrity worship.”

    — Matthew Schneider

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