John Lennon book - call for entries

Someone who is writing a book on John Lennon's death asked me to post this call for entries:

For those interested in possible publication in a book about John Lennon’s death, please email your personal experiences to lennonbook80@yahoo.com. Of particular interest are answers to the following questions:

What were you doing the day John Lennon died? Did anything unusual or out of the ordinary happen to you on that day?

Did you have any striking dreams prior to or immediately following John’s death?

I am also interested in receiving any dreams you have had about the Beatles.

All submissions will receive a response from the author.

___________________

Tina Foster
Author of The Splitting Image: Exposing the Secret World of Doubles, Decoys, and Impostor-Replacements
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Deep End: possible PID clue movie?

A movie starring Jane Asher (former girlfriend of Beatle Paul) from 1971 has been salvaged from obscurity. Was it censored for many decades because it revealed PID clues? The critically-acclaimed film is being re-released on May 6, 2012, so it might be worth watching to see if it reveals anything about James Paul McCartney's fate. It is quite possible, especially considering that another movie by the same director (Judd Bernard) outed the Illuminati's depopulation agenda.

Deep End: pulled from the water

• Ryan Gilbey
• guardian.co.uk, Sunday 1 May 2011 17.00 EDT

It's not uncommon for movies to drop out of circulation and simply disappear, as fans of Deep End will attest. Barely seen since its release in 1971, the film concerns Mike (played by John Moulder-Brown), a floppy-fringed 15-year-old who becomes dangerously infatuated with Susan (Jane Asher), his co-worker at the public baths. What's unusual about this prolonged absence is that it should have befallen a film so passionately admired. The influential critic Andrew Sarris thought it measured up to the best of Godard, Truffaut and Polanski. The New Yorker's Penelope Gilliatt called it "a work of peculiar, cock-a-hoop gifts". If something as venerated as Deep End can sink, what hope for the rest of cinema?

After years of being mired in rights issues, this vivid, rapturous film is about to return in a restored print. It's appropriate that such an elusive picture should transpire to not be quite what it seems. What could have been just another coming-of-age story is transformed by an absurdist sensibility, uninhibited performances and a heightened use of colour. Although considered a defining British work, as well as one of the most acute screen portraits of London, Deep End is actually a US/German co-production, written and directed by a Pole (Jerzy Skolimowski, best known then for co-scripting Polanski's Knife in the Water), and shot largely in Munich.

There are glimpses of the capital – the exterior of the public baths was in Leytonstone, London, while Soho is the setting for a dreamlike sequence in which Mike visits the boudoir of a prostitute whose leg is in a cast, before purchasing an excessive quantity of hot dogs from Burt Kwouk (Kato from the Pink Panther films).

Jane Asher remembers receiving the script. "It was a bit of a mess," she says. "Jerzy's English wasn't great at the time. I remember sitting up late every night rewriting my dialogue. But Susan was terrific to play. She's at that stage where she's completely aware of her sexual power and uses it ruthlessly. Now that I've got two sons of my own, I feel more protective of Mike, more so than back then, when perhaps I was a bit more like her myself."

Skolimowski maintains that he cast John Moulder-Brown as soon as the 16-year-old walked into his office. ("His charm and innocence were obvious.") The actor has a different recollection. "I was trying to be very sophisticated, smoking cigarettes and being cool," he says now. "I must have looked ridiculous. Jerzy thought I wasn't vulnerable enough, but the producer Judd Bernard persuaded him to give me a screen test, and that convinced him. I was going through the same adolescent period as Mike. Unlike him, I was lucky enough to have had girlfriends, but I still had that rawness. For me it became all about allowing emotions I understood as a teenager to have a life within the context of the scenes."

Despite his youth, Moulder-Brown was undaunted about working so intimately with Asher. "She had broken up with [her fiance] Paul McCartney by then, so there may have been some sensitivity about that – you know, better not start humming any Beatles tunes. But she didn't arrive as a celebrity, just a member of the team." The two actors' easygoing rapport is one of the film's joys, and a consequence of the playful atmosphere fostered by Skolimowski. "Jerzy is very charming," says Asher. "He's not one of those directors who use fear, but you still felt a core of steel. He knew what he wanted."

The cast were free to improvise, and were instructed to remain in character even if a take went awry. "There's a bit where I'm on my bicycle, riding alongside Jane's car," says Moulder-Brown. "I was supposed to stop the bike in front of the vehicle, but it was raining and the brakes didn't work, so the bike skidded, hit the pavement and I went flying. As I was in the air, I remember thinking, 'We've got to keep going because this is going to look great.' When I landed, I could just hear Jerzy calling out: 'Kip feelming! Kip feelming!'"

While the spine of the picture is Mike's growing obsession with Susan, there are priceless incidental pleasures along the way, notably a cameo by Diana Dors as one of the boy's more demanding clients. This blonde typhoon in polka dots makes the bewildered hero an accessory to orgasm, clutching him to her bosom as she conducts aloud a George Best fantasy ("Tackle, dribble, dribble, score!").

"What a lady!" Skolimowski exclaims. "Casting her was such an event. When she put on the ridiculous costume we had prepared, she looked at herself in the mirror and said, 'So. This is how you see me?' I said, 'You look fantastic!'"

"Jerzy would seduce people into doing whatever he wanted them to do," says Moulder-Brown. "In that scene with Di, she really bared her soul: this glamorous star suddenly allowed herself to be that vamping caricature."

Skolimowski's powers of persuasion extended beyond the cast. He had his friend Cat Stevens write But I Might Die Tonight, the movie's opening song. Markedly different was Mother Sky, a grinding 14-minute number by Can that plays during the Soho sequence. The two songs represent opposing impulses in both Mike and the film: the Cat Stevens is tender and hopeful, while the Can is "a bit of a downer", Skolimowski says.

From conception to completion, Deep End took scarcely more than six months. The consensus when it premiered at the Venice film festival in September 1970 was that it would have been a dead cert for the Golden Lion, if only the prize-giving hadn't been suspended the previous year. "The organisers had decided it should all be democratic," grumbles Skolimowski. "Every film equal, or some idiotic idea."

Early indications that the picture's downbeat ending might prove problematic for audiences were felt at the San Francisco film festival. "I was supposed to do a Q&A afterwards," the director says. "The organisers brought me to the cinema, they were so happy – 'Oh, the whole room is laughing and enjoying the film.' Then in the last five minutes the room fell silent. When it finished, there was no applause. They said to me, 'Let's forget the Q&A and go for dinner.' During the meal, some audience members came over and said, 'Look, you had such a fantastic film, 90 minutes of enjoyment and humour. Why did you ruin it with the last five minutes?' I told them, 'You know what? I made the film for those last five minutes.'"

Deep End never matched its critical success at the box office, and was soon relegated to the bottom half of a doomed-love double-bill with Zeffirelli's Romeo and Juliet. "It still seems very fresh to me," says Skolimowksi. "That surprised me. It hasn't aged." Moulder-Brown hasn't seen the film for 40 years. "I don't like watching myself. But I liked Deep End. It had charm. Whenever I went for auditions after that, it was always the one everyone mentioned." Asher believes the film's idiosyncrasies have helped insulate it from the ravages of time. "I don't think it's dated at all. But then it didn't fit its time even when it first came out. It always was an odd one."

• Deep End is rereleased on 6 May.

1. Deep End
2. Production year:1970
3. Country: Rest of the world
4. Cert (UK): 18
5. Runtime: 88 mins
6. Directors: Jerzy Skolimowski
7. Cast: Christopher Sandford, Diana Dors, Jane Asher, John Moulder-Brown

__________________________________________________

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.

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Faul McCartney, Templars, and Khashoggi

Faul McCartney, Templars, and Khashoggi

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Paul is Dead (PID) on Check the Evidence w/ Tina Foster

Paul McCartney is Dead Podcast (PID-cast) on Check the Evidence  [LINK]

Andrew Johnson and Tina Foster discuss PID evidence, clues and possible motivations for the murder and replacement of Paul McCartney.

Click to watch video: ODYSEE || BITCHUTE

Download - Tina Foster - Faul - PID - Discussion of the Evidence - 21 Jan 2012 

Recorded January 21, 2012

Was Paul McCartney "Replaced" By a "Double" in 1966?  This article by Andrew Johnson at Check the Evidence website discusses PID evidence, whistleblowers, and how Paul's image has been co-opted by the powers that be to further the Agenda.  Excerpt: Some years ago, I came across some evidence that Paul McCartney had been "replaced" by a "double" - some time in 1966. Paul was replaced by "Faul". This is, again, one of those stories which people can snort with laughter at, as it just seems unbelievable for so many reasons. A close member of my family who, like me, is a fan of the Beatles found it very difficult (impossible even) to entertain the notion that McCartney could have been replaced. Who can blame him - watching things like "Anthology" or any of the numerous Beatles-related documentaries and interviews makes is hard to believe that "Faul" could have the memories that were really Paul's. Nevertheless, the physical evidence is quite compelling - as shown in this detailed analysis here http://digilander.libero.it/jamespaul/fc1.html... Read More

Check the Evidence website [LINK]

__________________________________________________

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

Tina's blog: plasticmacca.blogspot.com

Email Tina at faulconandsnowjob at hotmail dot com.

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"Tomorrow Never Knows" & the Tibetan Book of the Dead

John Lennon wrote "Tomorrow Never Knows," the last track on Revolver, in January 1966. The song has been described by music critic, Richie Unterberger of Allmusic, as "the most experimental and psychedelic track on Revolver, in both its structure and production."

[Source] Some have claimed that the song was written under the influence of the psycho-chemical warfare agent, LSD, and was meant to describe an acid trip. However, the "LSD angle" appears to be a misinterpretation of the song. A re-examination of the song and lyrics reveals that "Tomorrow Never Knows" is actually quite metaphysical. It is describing what one experiences after death.

In the 1960s, prominent Indian yogis began travelling to the West to disseminate their knowledge. The Beatles met Swami Vishnu-Devananda, the founder of Sivandana Yoga, while filming "Help!" in the Bahamas in 1965. Swami gave the lads copies of his book, "The Illustrated Book of Yoga." George Harrison began studying yoga and Eastern religion, and in 1966, he traveled to India to study sitar with Ravi Shankar. [Source]

Harrison's interest in Eastern mysticism appears to have influenced Lennon. According to Peter Brown, the lyrics of "Tomorrow Never Knows" are based on the Tibetan Book of the Dead, also known as Liberation Through Hearing During the Intermediate State and the Bardo Thodol. The text is said to have been composed in the 8th century by Padmasambhava and re- discovered in the 12th century. (Evans-Wentz (1960), p. liv; and, Fremantle and Trungpa (2003), p. xi).

The Bardo Thodol describes what the consciousness experiences after death. The time after death and the interval between death and the next rebirth is known in Tibetan as the bardo, or "liberation." (Fremantle (2001: p.21)). This idea of liberation is related to bodhi in Sanskrit, which means awakening, understanding, or enlightenment. It is also related to nirvana, which means the end of illusion. The Bardo Thodol is recited by Tibetan Buddhist lamas over a dying or recently deceased person "in order for them to recognize the nature of their mind and attain liberation from the cycle of rebirth" [Source]. "Since the deceased's awareness is in confusion of no longer being connected to a physical body, it needs help and guidance in order that enlightenment and liberation occurs. The Bardo Thodol teaches how [one] can attain Nirvana by recognizing the heavenly realms instead of entering into the lower realms where the cycle of birth and rebirth continue." [Source]

The first bardo comes at the very moment of death, when there dawns the Clear Light of the Ultimate Reality. This is the very content and substance of the state of liberation, if only the soul can recognize it and act in a way to remain in that state. The instructions intended to be read at the moment of the person's death are designed to help him do this. He is told, first of all, to embrace this supreme experience not in a selfish and egoistic way but rather with love and compassion for all sentient beings. This will aid him in the second step, which is to realize that his own mind and self is identical with the Clear Light, implying that he himself IS the Ultimate Reality, "the All-good Buddha", transcending time, eternity, and all creation. If he can recognize this while in this supreme state at the moment of death, he will attain liberation-that is, he will remain in the Clear Light forever. This condition is called the "Dharmakaya", the highest spiritual body of the Buddha. [Source]

The lyrics of "Tomorrow Never Knows" describe the period after death when the consciousness is liberated.

Turn off your mind, relax and float down stream It is not dying

The consciousness does not die when the physical body dies.

Lay down all thought Surrender to the void It is shining

That you may see the meaning of within It is being
That love is all and love is everyone It is knowing

In the Tibetan Book of the Dead, the "void" is Reality, the All-Good (Source). It is not nothingness, but rather is "intellect itself, unobstructed, shining, thrilling, and blissful, is the very consciousness, the All-good Buddha." (Id.) The text describes own's own "consciousness, not formed into anything, in reality void, and the intellect, shining and blissful,-these two,-are inseparable. The union of them is the Dharma-Kaya state of Perfect Enlightenment. (Id.) One's "own consciousness, shining, void, and inseparable from the Great Body of Radiance, hath no birth, nor death, and is the Immutable Light-Buddha Amitabha." (Id.)

That ignorance and hate may mourn the dead It is believing

The ignorant mourn the dead. They do not understand the opportunity death offers. It is a chance to be liberated from the cycle of birth, death, and re-birth.

But listen to the color of your dreams It is not living

"The Bardo Thodol teaches that once awareness is freed from the body, it creates its own reality as one would experience in a dream." (Source) This state is not living, it is not dying. It is simply being.

Or play the game existence to the end of the beginning

If a soul does not attain liberation, s/he will be drawn back into the cycle of birth and death.

As I have stated in the past, I do not believe the Beatle pushed the LSD agenda. I feel that this song has been falsely interpreted in order to make it seem as though the Beatles promoted LSD. I hope this re-interpretation will help shed Light on what I believe Lennon and the other Beatles were trying to accomplish: using songs to educate and enlighten others to raise consciousness.

__________________________________________________

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

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1965 Melody Maker interview with Paul McCartney

In this interview from the March 27, 1965 issue of "Melody Maker," James Paul McCartney talked about not telling Beatles' fans what to do. If you read the article carefully, you might pick up on some incongruities, such as Paul saying he would never leave England, yet he supposedly went to live in Scotland a few years later.

The most telling aspect about the article, in my opinion, is that Paul and the other Beatles refused to tell their fans not to drink. It is hard to imagine the Beatles being used to further an agenda, especially pushing LSD, if they were not team-players. Paul makes it clear in this interview they would not exploit their popularity to influence people to do anything.

********

During the group's stay in Austria, John Lennon was angered by the crowds who flocked to the set, ruining assorted shots; and he let them know it, loudly, most definitely and often crudely. Charm was not one of his major personality quirks. That was more Paul than anyone else in the group. George was funny, Ringo was a comedian, John was abrasive, and Paul was confident and often charming, perhaps more conscious of the press than the others. Not that he courted publicity. He was simply more thoughtful. Over dinner at the Hotel Edelweiss in Obertauern, Austria, he spoke with Coleman. Asked Coleman, "Do you think you have some sort of responsibility to your fans? Do they look up to you?"

PAUL: "No, it would probably be a nicer answer if I said yes, we have a responsibility to fans. But I can't be noble for the sake of it. The answer's no. I don't believe we have any responsibility frankly, and it takes a bit of saying. It's insulting the intelligence of a lot of young people to say we have. We used to get requests from people, asking us if we'd go to a meeting and tell loads of people they shouldn't drink. What do they take us for? We'd get laughed at if we said the youth of Britain shouldn't drink. It'd be bloody impertinent. I haven't the right to interfere with anybody else's life. Do you think just because a Beatle said, 'Don't go beating people up.' the crime figures would go down? They wouldn't. And it's a cheek to expect us to do it. And I'd feel a right nit saying, 'Thou shalt not drink'."

COLEMAN: "Is the image of the Beatles changing?"

PAUL: "Yes I think it is. At least I do feel it is switching a bit now. Let's get one thing clear though. It's other people looking at us that creates the image. We can't create it. We can just notice it and sort of say, 'Ah, well...' I think it is good that it's changing, as well. You ask how is it changing? I'd hesitate to use the word maturing. That word has certain connotations. People who are mature are respectable, ordinary, and I think dull. They use the word mature when what they mean is that people are in a rut. I hope we're not mature. My feeling about our changing image is this: Everybody goes through certain stages of growing up. For us, this is one of them. People are simply realising that we're growing up."

COLEMAN: "How will you feel, how will you react, if 'A Ticket to Ride' does not go immediately to number one?"

PAUL: "It would be a terrible drag and then I'll really pay attention to the knockers who say the Beatles are slipping. I mean, think of those horrible quotes we'd have to give people. 'Proves there's room for everybody.' we'd say, if it goes in the chart at number fifteen. Seriously, if it doesn't get to the top first go, I'd say damn and blast it, because as you know I never swear. I might say flipping heck! Come off it. Truthfully, I'd feel very depressed and I'd be in a disappointed mood."

COLEMAN: "Do you expect it will hit number one immediatly?"

PAUL: "It's not a question of expecting, but hoping. It's always hope rather than expectancy. Once you start expecting success you get blase'. We'll never get to the stage of releasing rubbish because we know people will buy it. Disaster. We've always been terrified with each new release and we're the same now. We like it, but people might hate it and that's their right. This business of singles has always been a real worry for us, and I mean this because every time, we've tried for something different and we have done it this time. Not that we've got the Black Dyke Mills Band backing us! The worst attitude anybody in the chart can have is: 'The last one did ok so this one will.' All I can say is, let us pray."

COLEMAN: "Are the Beatles knockers moving in?"

PAUL: "One thing on this subject has always struck me as stupid. You get people who say things like: 'A bit of criticism is always good for you. Being taken down a peg and getting advice never hurt anyone.' It's a load of rubbish. I've never met anyone yet who liked being criticised, even when the criticism was meant as advice. Let's face it, our knockers aren't interested in helping us, or giving us advice. They're simply malicious. Another thing I hate is where somebody tells you his opinion after the event, you know the sort, 'Well, if you want my honest opinion, I didn't like it in the first place.' We've had a lot of that and we hate it. It's cowardly. We've always been worried about knockers. Isn't everyone? If somebody walked up to another person in the street and said, 'That's a lousy jacket you're wearing,' he'd be a knocker. And the bloke wearing the jacket would hate it; so do we. If the knockers are moving in now, we don't like it. We don't like Clever Henrys."

COLEMAN: "What are your feelings about invasion of privacy?"

PAUL: "Mainly yes, we resent it a bit. It depends on my mood. If I'm away on holiday and photographers start chasing, I get fed up. But if the photographer's okay and asks if I'd pose for a picture or something, and he's reasonable about it, I'm not annoyed. After all, you've got to face the fact the press is after you, haven't you? It's when people start sneaking pictures and wrecking a private holiday that I get temperamental."

COLEMAN: "What do you think of John's idea of becoming a record producer in partnership with you?"

PAUL: "I don't mind the idea, as long as he lets me set up the mics for him. Just to keep my hand in, like. Seriously I'd love it. It'd be a challenge."

COLEMAN: "What do you dislike about show business?"

PAUL: "Shaving. Right, I'll answer that properly. Those daft people who go back stage after an opening night and say, 'Dahling, you were super.' Women in show business who swear like troopers to make everybody know they are in show business. Show biz women who act like men. I hate this type. All the 'Oh dahling types. Horrible. Also people who talk around, calling each other 'love'. Not the 'luv' that shop assistants in the North mean, but the show biz 'love'. This type is often the floor manger on a TV show. It is so affected. They think these affectations make them individual. Actually they are following every known rule in the book and falling into every possible show biz trap that makes them UN-individual. To me, this is one of the drags of show business."

John iterrupted saying, "That's it, Paul. Have a bash. Have a go."

COLEMAN: "How aware are you of personal images?"

PAUL" "I used to panic about images, because I'm very easily influenced, impressionable, truthfully. I used to worry about whether we should smoke on photographs. Then I realised it would be daft not to. I used to panic about being seen anywhere with Jane, because I used to have this old fashioned idea that recording people were never seen out with girlfriends. Now, I don't care much. No, these things don't matter to me or any of us, because we don't really believe in images. We never talk about them, except to send up the word image."

COLEMAN: "How would you define a hanger on?"

PAUL: "There are various kinds of hangers on, we find. Some hang on because they can tell their friends they've met the Beatles. Big deal.Some hang on because it's their job to do so. The very worst kind of hanger on is the one you discover was a hanger on three weeks after he's left your company."

COLEMAN: "Do you think anyone will ever have greater success than the Beatles?"

PAUL: "Yes. I think they might easily. Nobody thought Elvis's successes could ever be surpassed, but I think we might have surpassed one or two of his, haven't we?"

COLEMAN: "Would you ever leave Britain to live abroad?"

PAUL: "No definitely not. Out of everywhere I've been, I like England best."
And George added, "Leave England? Never. Best country in the world to live in."

COLEMAN: "How would you like to be remembered?"

PAUL: "With a smile."
John replied, "I won't be interested in being remembered. I'll be in a mental home and Melody Maker will run articles saying, 'Now, direct from the mental home, we present John Lennon in Blind Date.' No I'd like to be remembered as the one with the twinkle in his eye."

George said, "I just don't care." And Ringo added, "I'd like to be remembered as Mrs. Starkey's little boy."

********

Paul is remembered with a smile... and gratitude.

__________________________________________________

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

Add Tina as a friend on MeWe

Forbidden Secrets of the Illuminati:

The Luciferian Deception

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