Firing A New Humanity Pt.3 - Technocracy Rising

The Central Intelligence Agency owns everyone of 

any significance in the major media.

~ Former CIA Director William E. Colby

(succeeded by George H.W Bush)

http://www.youtube.com/watch?v=wSbyrwNbW7U

In the previous part, we examined some symbolism associated with the energetic manipulation of the masses. So what plans do the powers that be have in store for humanity?

It is becoming ever more apparent in the music and entertainment industry of a push towards the synergistic merging of humanity with technology. With the rise of dance, rave and techno-funk scene of the late 1980's up to present day mainstream music, we have to ask the question, why is this type of programming being foisted on our youth?

The imaging visible in popular music today used to be the preserve of techno groups like Daft Punk, Basement Jaxx and Royksopp. Now artists such as Madonna, Beyonce, Kyle, Kanye West and Rihanna (to name but a few) all have similar stage shows where they parade in robotic attire, aided by military precision dance acts with laser lighting effects. If we step back for a moment to take a broader look, is there a deep-rooted message here about where humanity as a species is being "guided"?

Not so long ago in his excellent series of videos exposing the fraud who poses as the present day Paul McCartney, the poster Iamaphoney drew attention to developments which are taking place at The European Organisation for Nuclear Research at Cern, Switzerland.

Cern is a major centre for subatomic research regarding the so-called "God Particle." It hosts a seventeen mile underground ring called the "Large Hadron Collider" which itself houses six particle detectors, and according to scientists will help recreate conditions present one billionth of a second after the Big Bang.


^ Known as "The Cathedral," note the similarity between it's structure and Mayan Calendar symbolism presented in Part 2. The Grid



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"The internet, as we know it, could be obsolete within a decade. Forget dial-up; forget broadband: The future, it seems, is The Grid.

Harnessing PC power globally

It's the brainchild of CERN, the European Organisation for Nuclear Research based in Geneva.
It's there that Sir Tim Berners-Lee first invented the internet, so it's appropriate that the next stage in its evolution should emerge there.

But what is the Grid?

In fact, it is a spin-off from another major research project. For several years, the particle physicists at CERN have been building a device called the Large Hadron Collider. 

Knowing they would need massive processing capability to cope with the data from the new device, the scientists set about integrating thousands of computers all around the world. 

Professor Tony Doyle, technical director of the project, says: "We need so much processing power, if all the computers were here at CERN there would be a problem getting enough electricity to run them.
"We had to have a new network powerful enough to send the data instantly to research partners in other countries." 

That network of linked computers - connected by superfast fibre-optic cable and combining together to act as one giant super-computer - is the Grid and, one day, it won't just be for scientists. We'll all be connected to it. 

It's not actually a new principle. SETI@home is a programme for PCs which is helping to analyse the data of the Arecibo radio telescope in Puerto Rico. 

It's been downloaded by half a million public-spirited people who allow the spare processing power of their personal computers to be used remotely by the astronomers to number-crunch their scientific data.
But while SETI@home runs on private PCs and over existing telephone cables, CERN's Grid uses fibre-optic links to dedicated resources in major computer centres and can therefore handle much more complex calculations. 

The long-term possibilities for home entertainment are immense.
It's estimated that connection speeds could be 1,000 times faster than current broadband capabilities. 

Imagine being able to download feature films in the blink of an eye, or the entire Beatles back catalogue in less than a second. Grainy webcam images would be replaced by crystal clear pictures and sound, and video gaming would be transformed. 

According to Professor David Britton, a leading figure in the Grid project: "With this kind of computing power, future generations will have the ability to communicate in ways older people like me cannot even imagine."

And there are also medical applications. It's already been used to help research anti-malarial drugs.

Researchers used the Grid to analyse 140 million different compounds - a process which would have taken 420 years to complete on a conventional internet-linked computer. The Grid might soon be used to help unlock the secrets of the human genome." [Source: Paul Brennan, Unlocking the Internet of the Future, April 10, 2008]

^ According to Steve Jobs of "Apple," the Large Hadron Collider will spit out all the data which presently exists on google every year. The Grid went online on 3rd October 2008. Cern 666

In his book "The God Particle," Fermilab Director Leon Lederman explains Cern physicists will finally understand why matter contains mass, thus giving humanity the keys to a bright future of scientific endeavour. However, is there more to the Cern experiment than simply finding answers to a few long held scientific questions regarding subatomic particles?

Researcher William Henry believes the public is being kept in the dark about what the broader implications of the Cern project entails. Recently, he gave an account of a conversation between one of Cern's top scientists, Bob Stanek, and CBS reporter, Steve Kroft, in October 2008.

Asked why scientists are interested in recreating what the universe was like a nanosecond after the Big Bang, Stanek told Kroft, "It's in humans interests to know everything right?" Kroft replied, "Well you might want to know, but spending eight billion dollars to find out... it must be important?"
Stanek: "So let me ask you this question - because we've studied the interactions of photons and electrons and elementary particles, we can understand how to take the light that bounces off me and you into that camera and take that signal and put it into Mom and Pop's living room.
Now... imagine in ten years, twenty years time, will we be able to take, instead of our photons, me and you and put us in Mom and Pop's living room! So you tell me, is that worth it...?"

Kroft incredulous: "transport people...?" Stanek - "you tell me is that worth it... is that worth eight billion dollars?" [Source: A Trip Inside the Big Bang Machine, September 28, 2008]

As Henry points out, there's alot more going on at Cern than just a wild goose chase for some "God particle." He stated (and this has been alluded to in the movie "The Prestige"), theoretically if you teleport an individual what happens is the old molecular structure is broken up and a new one is recreated in the new designated location. In other words the individual to be tranported through space and time is actually replicated/copied and then dematerialised, while a new copy of that individual materialises at the new location. I don't know about you people, but if that's the case I'll quite happily stick with trains, planes and automobiles.

Taking this on board, let's watch Iamaphoneys Paul is Dead 70 O vid -

http://www.youtube.com/watch?v=3ej6TrOijeg

Firstly, we're led to the cover of the "Yesterday and Today" album (otherwise known as "The Butcher" cover) which created a lot of controversy on its release. It features the Beatles wearing white smocks and covered in decapitated baby dolls and pieces of meat. This is next linked to the "Apple/Ring of Fire" (2.03) we've seen quite often in Iamaphoneys vids, followed by the suitcase left in Cern.

Like I've said before, there are many different layers of meaning to symbolism like this. What comes through strongly to me is, as Paul was replaced by "a good replica" (Faul's description of himself) without many taking notice, we too may go on to be replaced by poorer replicas of ourselves, dumbed down from repetitive programming (junk TV, idiotic movies and music), poor standard food, substance abuse and never really looking within to acknowledge the potential each and everyone of us holds to make life better for ourselves and others. If William Henry is correct about physical teleportation we may even become physically replaced by "hard copies" of ourselves... neat.

Something else to keep in mind, Bill/Faul now musically goes under the name "The Fireman" (Ring of Fire) in his collaborations with Youth (Martin Glover).

Cern may be indicative of a rebirth for humanity, will it ultimately be a good thing for us? People can make up their own minds on it. For me, it's too much tinkering, looking outside of ourselves for answers we all hold in our own DNA. Humanity's technological developments are far outpacing our conscious evolution and this to me is disturbing. The war on human consciousness and the ultimate dumbing down/control of humanity is well underway.

The Borg Agenda 12 of 88

http://www.youtube.com/watch?v=dQtHegXI8Ps

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All Go(o)d Children Go To Heaven

Hey Jude

Hey Jude was released as the first single by the Beatles on their new Apple label in August 1968. It topped the charts in Britain and spent nine weeks at number one in the US.

The official spin was that Paul wrote the song for John's son, Julian, to comfort him during his parents' divorce. As we have been presenting in this blog, Paul McCartney was no longer with the Beatles at this point. In the given footage, the man playing the role of McCartney on piano appears to be wearing some form of facial prosthetic -



^ Look closely at the corners of Fauls mouth. It's as if the lips stop yet the mouth continues to crease outward. Also examine the skin - where are the facial indentations which Paul had, the scars from the moped accident some years before...? Did they just magically disappear? Some people argue that he was in make-up, but the scars would still show. The skin appears to be unusually smooth and does not look natural on close inspection.

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Someone previously commented on this Smothers Bros piece (Intro into Hey Jude). Was Faul irritated by the mask just as the song was beginning? See the way he blows lightly to one side (54 seconds in) -

Hey Jude (The Lyrics)

As I've said above, the song was supposedly written for Julian to cheer him up, and on one level maybe this was the case. However, on closer inspection, there is a much deeper encoding to the song. Symbolically who is Jude/what does he represent in the greater global awareness?

Thaddaeus Jude is, of course, the Patron Saint of hopeless cases/lost causes, and was one of the Twelve Apostles (Disciples of Jesus). Saint Jude is someone whose help is sought when all hope is lost. Jude was also a brother of Jesus.

Here is an excerpt from the Prayer to Saint Jude - "Come to my assistance in this great need that I may receive the consolation and help of heaven in all my necessities, tribulations, and sufferings, particularly (state your request) and that I may praise God with you always."

With the above in mind lets take a deeper look at "Hey Jude" (the bold typo underneath each verse is my own interpretation of the lyrics) - Hey Jude, don't make it bad
Take a sad song and make it better
Remember to let her into your heart
Then you can start to make it better Let go of the old/bring on the new
Open up the heart chakra, all healing begins
with an open Heart/Harry (fourth/bridge) chakra


Hey Jude, don't be afraid
You were made to go out and get her
The minute you let her under your skin
Then you begin to make it betterDon't be fearful
You were created to ascend/succeed
Go within (under the skin)
and life will improve


And anytime you feel the pain, hey Jude, refrain
Don't carry the world upon your shoulders
For well you know that it's a fool who plays it cool
By making his world a little colder
Na na na, na na, na na na na^Self explanatory


Hey Jude, don't let me down
You have found her, now go and get her
Remember to let her into your heart
Then you can start to make it better"Jude," your case is not hopeless anymore
as you're being shown what to do
remember to keep an open heart


So let it out and let it in, hey Jude, begin
You're waiting for someone to perform with
And don't you know that it's just you? Hey Jude, you'll do
The movement you need is on your shoulder
Na na na, na na, na na na na, yeahInhale and exhale (breath meditation)
Why are you waiting
It's only you who can help you
Freedom is to be found in the upper chakras (on your shoulder)


Hey Jude, don't make it bad
Take a sad song and make it better
Remember to let her under your skin
Then you begin to make it better
Better, better, better, better, better, oh! ^Already explained above


So we can see there is a deeper layering to this song when we look at it closely. Art is not fixed. There are many interpretations to paintings and music. "Hey Jude" to me is an ode from the initiated to the masses (Jude) that everything is ok and all is not lost. It is up to each and everyone to make their way, but help is at hand.

You Never Give Me Your Money

In the last line of the above song are the words - "One, two, three, four, five, six, seven... all good children go to heaven."

What is being hinted at here is for people to work on expanding their consciousness. Start doing some sort of chakra work whether it's kundalini or kriya yoga, or energy work like Reiki etc. All these things help lift the vibratory frequency of the individual and the planet. The more we can detach from labels, the playing out of old dramas and mind patterns, the higher we can raise our frequency. There's no point pretending to be all "light and love" (polite for the sake of it) yet harbouring destructive tendencies within. We have to be honest with ourselves and others, speak truthfully for the most part and meet whatever challenges come head on. Like it's said, "onwards and upwards" on the spiral staircase.

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Firing a New Humanity Pt. 2 - Here Comes the Sun (and the Moon)

Mayan long count Calendar

Something I've examined over the last number of months is the vast amount of sun symbolism associated with the Beatles, and indeed the music and entertainment industry as a whole. Sun symbolism is something which is all around us in Western society yet we don't question why it's there and what it represents.

The Christos/Avatar frequency is represented by the numeric pattern 999. Nine is the number of universal oneness, harmony and the chi, ki or prana (depending on your culture) which flows through the chakra and meridian systems of all earthly bodies. Those who resonate with the nine tend to be selfless, compassionate and caring of others. The nine is representative of completion, death and rebirth into new beginnings and new understandings - We can take 9 as the whole.

The Divine Masculine frequency is that of the 666. Six, often referred to as the "pregnant number" or the number of love, is representative of a caring, nurturing individual. However the higher we increase the frequency (6666) it comes to denote the outer-self, the ego or action part of the persona (left brain orientated), sun symbolic. Mainstream Christianity tends to regard the 666 as evil, the anti-Christ. I understand this fear and loathing but it is completely misplaced. The 666 is not anti-Christ, it is a very important part of the Christ frequency. However those in the know who manipulate humanity push the Divine Masculine elements in society to its fullest. The history (his story) is that of a patriarchal humanity. An important balancing and harmonizing element has been left out.

The 333 frequency is indicative of the Divine Feminine, her story, the missing link. When I talk about Divine Masculine and Divine Feminine, I don't simply mean male and female, but the yin/yang energy frequencies we all hold. The Divine Feminine (333) is naturally stronger in women but both sexes are connected to each frequency. Obviously, women in the limelight of the music and entertainment industry (Madonna, Lady Gaga and Beyonce come to mind) tend to channel more of the Divine Masculine 666 frequency (ego, sex, outer-image persona) compared with the more well-balanced, everyday worldly woman. The 333 is representative of the link to higher-self, looking within, intuition, introspection, right-brain and moon symbolism.

Before we go any further lets take a look at a simple nursery rhyme we were all taught growing up - "Humpty Dumpty" and add another dimension to it. Humpty Dumpty (999 - Christos/Avatar)

Humpty Dumpty (999) sat on a wall,
Humpty Dumpty had a great fall,
All the King's horses (666) and all the King's men (666),
Couldn't put Humpty together again.... why not???

Not until all the Queen's horses (333) and all the Queen's maidens (333) help out the King and his men, only then will we put Humpty Dumpty (999) back together again.

So even The Fall of Man can be hidden in a nursery rhyme in plain sight.
Where can we see examples of this sun (666) and moon (333) symbolism?

At the top of the post, I've placed the Mayan calendar which dates back to at least the 6th century BC (it is much older than this). There are eight significant pointers on the calendar and if we were to draw a line straight down through the centre and then a line across, we have what is referred to as a "Sun Cross." Next, if we draw two diagonal lines, we have a Lunar/Moon Cross. So the calendar numerically can be represented as 999 (unity consciousness), a 666 central Sun Cross (Divine Masculine) and a 333 Lunar Cross (Divine Feminine).[Please support this blog by clicking on our sponsors' ads - Thanks!]

If you look at the Pagan "Wheel of the Year" you can see what I'm pointing at. The Sun Cross is made up of the four festivals, Yule, Litha, Ostara and Mabon, while the Lunar festivals are Samhain, Imbolc, Beltane and Lammas.

Take a look at the flag of the United Kingdom -

Do you see what I see? Hmmm.... it's a massive "Wheel of the Year" sigil on the flag of Great Britain (also on the Mayan calendar). So what is it telling us?

^ As you can see, "The Union Jack" is made up of three flags "St. Andrews" of Scotland, "St. Patricks" of Ireland (now Northern Ireland) and the St. Georges Cross of England.

An important point to note is that the St. Georges Cross in the Union Flag (the central Sun Cross) is dominant/to the fore with the diagonal Lunar (333) crosses of Scotland and Ireland in the background. This is telling us two things - The real powerbase is in England (land of the Sun Cross) and the 666 Divine Masculine frequency is subjugating the 333 Divine Feminine energies. The Union Jack "Wheel of the Year" symbol is not balanced/harmonious - The yin and yang are not in alignment.

Another good example of this symbolism of subjugation of the Divine Feminine is at St. Peters Square at the Vatican, Rome -

Again it's the Pagan Wheel of the Year (same as on The Union Jack). We have the Sun Cross in the centre and the narrower Lunar Cross with a large male phallus symbol (the obelisk) at the centre.

Think about it - Why are there no women priests at the Vatican (in Catholicism)?

If the Divine Feminine is naturally stronger in the female (greater intuition, nurturing, stronger link with higher self) wouldn't women make stronger links to the one (unity consciousness) moreso than men? How could they be any worse, look at all the sexual abuse scandals which have come to light over the last two decades. Why aren't male priests allowed to get married?
At least if there are no female priests... why are male Catholic priests made to take a vow of chastity? Why do we worship the Sun of God (666 incomplete frequency) on a Sun/day?

There was/is clearly an agenda within the higher echelons of Catholcism to subjugate the Divine Feminine energies and keep women out of the fold at all cost. How much easier it is to control the masses when our link to higher-self (333 intuitive/Goddess) is cut off.

To look at it symbolically - If Jesus is the sun/son... then who is the moon (333), and why are they hiding her?

Jesus the son/sun (666) cannot alone be representative of the Christ frequency (999)... do you see? There is a deliberate fragmentation of the energies going on here and it's still being played out.

Here are two short vids worth watching regarding sun symbolism -

So we come to the Beatles -

In the opening scene of the movie "Help" (1965), we are introduced to a religious cult about to carry out a ceremonial human sacrifice. The sacrifice cannot take place however as the "sacrifical ring" is not on the victim's finger. It turns out Ringo from the Beatles has the ring and the cult gives chase.

Symbolically, the Beatles are from England, land of the Sun Cross. Just like the biblical scribes Matthew, Mark, Luke and John, the four Beatles are Ringo, George, Paul and John (same amount of syllables).

Why do we have "The Fab Four" in a film laced with so much religious symbolism and dark connotations? In the first few lines, we have a chant to the "black mother of darkness." The sacrifical victim is a young woman who is placed on a round table. This young lady about to be sacrificed is symbolic of the subjugation of the Divine Feminine frequency while the round table on which she's laid is the sun. Wasn't this film supposed to be a light-hearted comedy with the worlds favourite band... so why all the dark symbolism? It reminds me of Stanley Kubrick's "Eyes Wide Shut" which itself, although devoid of a human sacrifice, drew the audience's attention to the darker rituals which go on unbeknownst to most. (Kubricks final movie was heavily edited after he mysteriously died, so there may have been a sacrifice in the original footage). Considering Paul McCartney was himself double replaced in the band in late '66, could there be a possibility that he too was sacrificed?



There are plenty of examples of sun symbolism in music vids throughout the years. To take just two examples -



"Every Breath You Take" by The Police

Note at the beginning (ashtray and circular drum illuminated). Moving into the chorus, the curtain pulls back to reveal a large Sun Cross on the window. Also note the use of light and shade. For much of the video we see only one of Stings eyes at any one time, a pointer to the "All Seeing Eye." This becomes most apparent when the curtain draws back to reveal the Sun Cross - notice only one side of Stings face (with one eye) remains visible.

For anyone looking to research the rise of American rock n'roll in the 60's, Dave McGowan's online articles about the Laurel Canyon connection are highly recommended. McGowan points out that many big bands from the 60's/70's had links to the intelligence/military community. For example Stewart Copeland's father ("The Police") was a CIA agent. The above song is supposed to be about a stalker... Is it simply about a stalker or is that window cleaner with the peeked cap a spook?



"666 Conducer" by BRMC

"No one knows her name (333 - we know her number)... but they see her youth and use her..." (again subjugation of the Divine Fem).
"You're a 666 conducer, how do you do the things you do sir" (666)

These guys know the score or at least those behind the band do. Watch at the very beginning of the vid how the bass drum illuminates to become the sun. This track is from an album called "Baby 81." Their following album was released on 1st Nov 2008 at 3.33am - The album was titled "The Effects of 333."

The next part will be focusing on some of the symbolry in Iamaphoney's vids. Iamaphoney has done fantastic work in bringing a whole new light to the replacement of Paul McCartney esp on you tube.

I also want to acknowledge the brilliant insights from the poster McMenek1 on the David Icke forum, which are included in, and inspired this post.

Join the discussion: Paul is Dead Miss Him forum

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Paul is Dead - German movie summary

"Paul is Dead" is a German movie by Hendrik Handloegten that was released in 2000. It won several awards in Germany, including the Studio Hamburg Newcomer Award, the Lucas Award, and the Adolf Grimme Award. [Source]

Here is my summary of the movie. Beware - it definitely contains spoilers!

In the beginning of the movie, Tobias sees the white VW Beetle from the Abbey Road album, license plate LMW 28IF, driving in the city. The driver is a British man who stops at a store. While there, he drops a cigarette pack with a number on it in the trash. Tobias picks it up and starts tailing the car.

Tobias listens to a Beatles special on the radio hosted by Allen Banks. The quiz question is: “What does John say at the end of Strawberry Fields?” Tobias goes to a music store where the owner (Roger) speaks English. Roger tells him about PID. Roger warns Tobias he is not allowed to tell anyone. He seems to be worried about the driver of the Beetle finding out.

Tobias tells his friend, Helmut, about what he has discovered. Tobias thinks that on Nov. 6, 1966, Paul left the studio after fighting with the others. He got into his Aston Martin and drove off. At the intersection of Abbey Road and Wellington, Paul got into an accident with this mysterious white Beetle. Paul was crushed and beheaded. The driver of the Beetle escaped injury. Brian Epstein kept it a secret and replaced Paul with a double.

Tobias shows his friend the height differences, the OPD (OPP) patch, the P?/violin bass on the Sgt. Pepper album cover, the grave, the hands over Paul’s head, John’s sign of the beast on Yellow Submarine, the black carnation on “Your Mother Should Know,” the Abbey Road funeral procession, Faul's being barefoot on Abbey Road (because the Mafia buries people like that), Faul smoking with his right hand, and the 28IF licence plate. Paul would have been 28 if he had lived. They also notice the man standing by the police van on Abbey Road.

Tobias and Helmut call the number on the cigarette pack, which is answered by the caretaker of their school. They stake him out, but that is a false lead.

Tobias tells his brother that Billy Shears is the name of Paul's double. Billy was a young musician from Liverpool who played with the Beatles at the Kaiserkeller in Hamburg on 6 Oct. 1960. He had a big nose, and got made fun of for it. On 17 Nov. 1960, Billy had had enough. He set fire to the room that Paul and Pete Best were staying in. The cinema burned down. Paul and Pete were arrested, and all the Beatles were deported back to Liverpool. After Paul died, Brian Epstein remembered Billy, and paid to get him a nose-job.

The radio announcer on the Beatles special talks about the Russ Gibbs' 1969 radio show that started the "rumor" that Paul was dead. Then the announcer says the story is stupid because Paul would have been 27, not 28, when Abbey Road came out. He also said John said “cranberry sauce” at the end of "Strawberry Fields Forever," and not “I buried Paul” as Roger had told Tobias.

Tobias’ brother is then at a bar and tells Roger about his brother and the PID story. Roger takes off right away. Tobias goes to Roger’s flat looking for him. He crawls in through a window. The white Beetle drives up with Roger and the mysterious British driver. Tobias hides in a closet. Roger and the British man come in the apartment, whereupon the British man starts shooting his gun at random things in the flat. Tobias panics and runs out. The two give chase after him. Tobias manages to get to his house before they catch up to him, and they drive off.

In the next scene, Tobias is at school, where they are introduced to their new English teacher - Mr. Billy Reash. "Reash" is “Shear” backwards. Reash is the mysterious British driver of the white Beetle. He is also from Liverpool. Reash walks right up to Tobias and asks him his name. When Tobias does not answer, he says, “I think I will call you ‘Paul.’” Tobias is afraid, but nothing ends up happening to him.

At the end, Tobias is awakened by his brother, who tells him John Lennon had been shot. Tobias cries, “Billy!”

__________________________________________________

Tina Foster is the author of

Plastic Macca: The Secret Death and Replacement of Beatle Paul McCartney &

The Splitting Image: Exposing the Secret World of Doubles, Decoys, and Impostor-Replacements

Email Tina at faulconandsnowjob at hotmail dot com.

Tina's interviews on Youtube

Forbidden Secrets of the Illuminati:

The Luciferian Deception

ALIEN INVASION:
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The bigger they are, the harder they Faul

"I look pretty tall but my heels are high."

~ The Who, from "Substitute"

Paul McCartney may have been smaller than "Faul,"

but his stature as a musician is colossal.

One of the differences between Paul McCartney and Faul that stands out is the difference in height. Paul's "official" height was 5'11":

The Celebrity Heights website lists his height as 5 ft 10 in (178 cm), with a "peak height" of 5 ft 11 in (180 cm). The other Beatles' heights are also given:

John Lennon's height: 5 ft 10 in (178 cm)

George Harrison's height: 5 ft 10 in (178 cm)

Ringo Starr's height: 5 ft 6 in (168 cm), although "there seems to be no reliable figure on Ringo's height." [from Celebrity Heights]

If one compares the heights of the Beatles over the course of their history, one will notice that the relative heights seem to fluctuate. In the beginning, the heights were more even. In the latter years, a great discrepancy between Paul's and Ringo's height becomes apparent. If images do not show in the blogger window, simply click on them to see them full size. 

Muhammad Ali's height was 6 ft 2.5 in (189 cm) [source: Celebrity Heights]

The wax figures of the Beatles made by Madame Tussaud's Wax Museum show the lads' heights. Paul is a bit taller than Ringo, but there does not seem to be a great height disparity. Madame Tussaud's figures are "based on hundreds of precise measurements... [M]ore than 250 precise measurements of the body... with calipers and cloth tape measures." [source: The Unique Art of Wax Figure Making]

At some point, something curious happened. The heights became very uneven. This is most obvious between Paul and Ringo.

Paul was a little bit taller than his father, but Faul is a great deal taller:

Faul's height seems to vary when compared to Mal Evans:

Paul's height also seems to vary when compared to Jane Asher:

What is going on here? Faul may be nearly six feet tall, but the real Paul McCartney was not that tall. "Anonymous" has offered his estimations of Paul's and Faul's heights based on the length of the instruments, which are a known quantity. Using the Hofner violin bass (30 inch scale) and other instruments as a yardstick, Anonymous has determined that Paul was actually 5'7" to 5'8," and not 5'11" as we have been taught. Faul is about 2.5 inches taller than Paul. Using Ringo's 20 inch diameter bass drum, Anonymous calculated Paul's height to be approximately 5'7" to 5'8".

After Paul was eliminated, the carefully controlled media distribution concealed the height difference from the public. Faul is most often shown playing piano, sitting down, or with his feet or lower legs obscured, unless there is no instrument in hand. Faul also switched to using an Epiphone, which is about 4 inches bigger, making the size ratio seem consistent.

Anonymous also used the length of Faul's English Horn (Cor Anglais), which he is seen holding on the Sgt. Pepper album (1967). Anonymous used its length (31.14 inches) to calculate the heights.

In addition to using instruments to calculate the heights, Anonymous matched up the shin bones. Using this method, he revealed again that Faul is taller than Paul was. Anonymous has added some of his own comments to these images.

It seems that our efforts to uncover the truth about Paul's replacement have been complicated by out-right photo-tampering. Pictures of Paul and Faul have been altered to conceal the height difference. The Powers that Be are re-writing history.

Anonymous predicted that new full-lenth photos of Faul would appear as a "response" to his efforts, and indeed they did. On March 25, 2010, there were suddenly a new series of Sir Paul pictures from LIFE magazine on Google Search. It seems that the Hofner ratio was modified in those pictures. However, it appears the revisionists mis-calculated the scale and made Faul even smaller than Paul was - a petite 5'3" - 5'4". From Anonymous:

Here is the absolutely corrupt LIFE photo manipulation, the obvious obliteration of truth.
These pix were either posed with a really huge Hofner, or someone has been tweaking reality, The revisionist reality of Big Paul converted to Little Paul, even smaller than the original.
Stinks of some cover-up beyond ego.
LIFE has done some twisting before, as in the Re-born Macca of 1966.
These guitars are all calibrated to be equal in bulk & size on this panel. Paul is not 5ft 3 inches.

Let us not forget LIFE Magazine's role in convincing everyone that "Paul was still with us."

Special thanks to "Anonymous" for his research and images.

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Tina Foster is the author of

Plastic Macca: The Secret Death and Replacement of Beatle Paul McCartney &

The Splitting Image: Exposing the Secret World of Doubles, Decoys, and Impostor-Replacements

Email Tina at faulconandsnowjob at hotmail dot com.

Tina's interviews on Youtube

Forbidden Secrets of the Illuminati:

The Luciferian Deception

ALIEN INVASION:
Reptilians, Cetaceans and Frequency Wars on Planet Earth