One of the traits PID researchers have noticed is the difference in personalities between the real Paul McCartney and the impostor, Faul. The latter seems to be insufferably arrogant - even to other star musicians. Here is an excerpt from a new article in which Phil Collins (Genesis) says he can't stand Sir(pent) Paul.
They're two legends of the music world.But Phil Collins has revealed a secret 14 year feud with his one-time 'hero' Paul McCartney.The musician has told The Sunday Times
that he's held a grudge against The Beatles star ever since Sir Paul
supposedly made a condescending remark backstage at a Buckingham Palace
gig... The former Genesis frontman, 65, admits he
stopped being a fan of Sir Paul, 74, when they both took part in the
Queen's Golden Jubilee celebrations back in 2002. 'I said, "Hey Paul, do you
mind signing this for me?" and he said, "Oh Heather, our little Phil's a
bit of a Beatles fan,"' the singer told The Sunday Times. 'And I
thought, "You f---, you f---." Never forgot it.' 'McCartney was one of my
heroes. But he has this thing when he's talking to you, where he makes
you feel... (like), "I know this must be hard for you, because I'm a
Beatle. I'm Paul McCartney and it must be very hard for you to actually
be holding a conversation with me".'...
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There is one-eyed Illuminati symbolism in the promotional video
Piano strings are splayed out like innards or like a maze or spider web
There are 13 beads on the power line, which is a satanic number
The music sounds like one is going down a tunnel [rabbit hole?]
The tension in the song feels like one is trapped in the psychological space of “Strawberry Fields”
The use of Aleister Crowley-inspired backwards music (reverse temporal loop) and weird musical dissonances in song (recorded twice and spliced together, but are not quite aligned) mirror a Batesonian schizoid split
The swirling sounds seem to map interior psychic space
The lyrics seem to create a double bind psychological loop that imposes social control
The Beatles are authority figures manipulating the inner mental space
They manipulate the listener by bringing him/her close, then dismissing them ("doesn’t matter much to me")
John Lennon (the singer) takes the role of the puppet master, in that he knows it’s a dream, but you might not
Lennon is a wishy washy persona that is embedding "wisdom" (first he says yes, then no)
"Let me take you down" appears to be a hypnotic suggestion leading to an altered state
"Nothing to get hung about" may refer to the Hanged Man in the Tarot, which could symbolize the death of the self
The tree metaphor could refer to the Tree of Life, or of Jesus being hanged on the cross or hanged from a tree. This could mean that the listener is free from making such a sacrifice
"No one I think is in my tree" could mean that there is no savior
"I mean it must be high or low" may be an inversion of the values represented by the Tree of Life
"Nothing is real" - does this mean everything is permitted? As in Crowley's "do what thou wilt" philosophy?
The lyrics suggest that you can’t know - turn on, tune in (to neural network in brain?), drop out, which destabilizes the personal identity
Hypnotic language and embedded hypnotic suggestions encourage the listener to not think, which furthers a dumbing down agenda, which leads to easier social control
These mind control techniques will be more effective if the listener does not notice
In my opinion, "Strawberry Fields Forever" appears to be an experiment in mass hypnosis. Certain concepts are being implanted in the listener's mind. The Illuminati will use any avenue available to them to increase their control. I think Paul McCartney was against using music to disseminate subliminal messages to the masses.
I am he as you are he as you are me And we are all together See how they run like pigs from a gun see how they fly I'm crying
Sitting on a cornflake waiting for the van to come Corporation tee shirt, stupid bloody Tuesday Man you been a naughty boy. You let your face grow long I am the eggman, they are the eggmen I am the walrus, goo goo g' joob
Mister City Policeman sitting, pretty little policemen in a row See how they fly like Lucy in the sky, see how they run I'm crying, I'm crying I'm crying, I'm crying
Yellow matter custard dripping from a dead dog's eye Crabalocker fishwife pornographic priestess Boy you been a naughty girl, you let your knickers down I am the eggman, they are the eggmen I am the walrus, goo goo g' joob
Sitting in an English garden waiting for the sun If the sun don't come You get a tan from standing in the English rain I am the eggman, they are the eggmen I am the walrus, goo goo g' joob goo goo goo g' joob
Expert texpert choking smokers Don't you think the joker laughs at you? (Ho ho ho! He he he! Ha ha ha!) See how they smile like pigs in a sty, see how they snied I'm crying
Semolina pilchard climbing up the Eiffel Tower Elementary penguin singing Hare Krishna Man you should have seen them kicking Edgar Allan Poe I am the eggman, they are the eggmen I am the walrus, goo goo g' joob goo goo g' joob Goo goo g' joob goo goo g' joob Goo gooooooooooo jooba jooba jooba jooba jooba jooba
Dr. Hans Utter discusses “I am Walrus” at approx. 1:45:00 in the video below:
Dr. Hans Utter – “Music, Mind Control, and Psychobiology, Pt. 6” – #237
Briefly summarizing what Dr. Utter says, he mentions that there are odd musical elements and refers to Alan Pollack, who wrote the following:
The song is ostensibly in the home key of A Major, but a number of harmonic factors keep you off balance and give the song what I sometimesdescribe as a perilously high center of gravity... The overall effect of the orchestration is surreal in a manner analogous to that of a colorized classic film. The overlay of orchestra and chorusunderscores various details of imagery in the words and music with exaggerated gestures suggestive of some crazy cartoon soundtrack... You're also thrown off balance by the radio intrusion...The chord progression of the outro itself is an harmonic Moebius strip with scales in bassline and top voice that move in contrary motion...
The human centipede in the video looks like lobotomized mental patients
"Sitting on a cornflake" is an example of spatial distortion
"I am He" refers to the merging of the individual with the hive mind (identity distortion)
The animal masks are dissociative from the individual
"Pigs" are a reference to Charles Manson
Binary values become opposing forces that subsume individual - one gets caught in a cybernetic loop within the mind (for ex. the more rebellious one becomes, the more one has to bow to counter-culture gods)
The system takes on its own momentum and will eventually destroy itself or create its opposite (resulting in no equilibrium)
Psychological language might be operating directly on the consciousness
In my opinion, "I am the Walrus" attempts to implant unreal imagery in the listener's mind. It was an experiment in mind control. The Beatles (post Paul McCartney), aligned with the Tavistock Institute, were agents of change. The Beatles were being used to disseminate distorted music with the intention of distorting people's thinking. The Illuminati masters do not want their subjects to be able to think clearly. As long as people's thinking is hindered, they are susceptible to control. Psychedelic music combined with LSD confused many people's thinking. Control was the primary objective.
For centuries, philosophers, psychologists, and politicians have sought to control public opinion. Early on, it was discovered that people were susceptible to being manipulated by music. In these interviews, musicologist Dr. Hans Utter discusses the history, theory, and outcomes of musical mind control. It is my opinion that Paul McCartney was replaced in furtherance of the Illuminati social-engineering agenda. Understanding the mechanics of mass mind control through music is part of the PID puzzle.
_____________________________________
The Power of Music - Hans Utter
Hans Utter : Music and Mind Control
Dr. Hans Utter - “Music, Mind Control, and Psychobiology, Pt. 1” - #232
Dr. Hans Utter - “Music, Mind Control, and Psychobiology, Pt. 2” - #233
Dr. Hans Utter - “Music, Mind Control, and Psychobiology, Pt. 3” - #234
Dr. Hans Utter - “Music, Mind Control, and Psychobiology, Pt. 4” - #235
Dr. Hans Utter – “Music, Mind Control, and Psychobiology, Pt. 5” – #236
Dr. Hans Utter – “Music, Mind Control, and Psychobiology, Pt. 6” – #237
Dr. Hans Utter – “Music, Mind Control, and Psychobiology, Pt. 7 (Conclusion)” – #238
We who investigate the Paul-Is-Dead phenomena frequently wonder if all of the Sgt. Pepper album's intentional clues have been found (there are many) or if there are more clues when one looks even deeper than before. I (and I can only speak for myself) also wonder if profound coincidences or somehow mystical synchronicities are a factor, as well.
Case in point. First, view this video of Faul telling us that one celebrity was left off of the Sgt. Pepper cover art, so first watch this...
O.K., so the guy who got left out and did not appear on the Sgt. Pepper cover was Leo Gorcey of The Bowery Boys movies. On screen, he was considered to be the leader of the gang. Originally, the Bowery Boys were a real gang of rough, tough, fighting firemen, about which the 2002 Scorsese movie Gangs of New York was made. The leader of the real, original gang was "Bill the Butcher." Those of us who study PID clues may raise an eyebrow considering the weird, recalled by the Capitol label in June 1966, 'Butcher Cover,' which was originally intended for the album Yesterday and Today. Bill the Butcher was shot dead, in a similar scenario as Rocky Raccoon, and his last words were, "Goodbye boys."
In 1945, Leo Gorcey, the star of a Hollywood movie series called Dead End Kids, demanded that the producer double his salary, which was refused. Gorcey quit the series and started a new one called, The Bowery Boys. One of the gang was played by Billy Benedict. In 1952, the Bowery Boys series movie release was Hold That Line in which Billy is replaced by Gil Stratton, who plays the role of 'Junior' (reminds me of the Faul song Junior's Farm). We've all heard the chant 'hold that line, block that kick' on The Beatles (the white album) in John Lennon's experimental Revolution 9.
It would be interesting, if one could find a copy of the Bowery Boys movie, Hold That Line, to see if its soundtrack contains the exact same chant, 'hold that line, block that kick' and if it could have been the actual source used as the sound sample mixed into Revolution 9.
Wikipedia has this plot summary for the Bowery Boys movie, Hold That Line...
The members of the local university's trust make a wager that anyone can succeed in college if just given the chance. They enlist the boys to attend the university to prove the theory. While the boys do not become academic scholars, Sach invents a "vitamin" drink that makes him invincible. They all join the football team and Sach becomes the star player, leading them to the big championship game. A local gambler sees an opportunity to make some money and he kidnaps Sach to prevent him from playing. Slip and the rest of the gang rescue Sach and return him to the game. Sach is out of "vitamins", so Slip plans a ruse on the playing field that distracts the other team and allows him to score the winning touchdown. Afterward, Sach cannot reproduce his "vitamin" formula, but he produces a new concoction that allows him to fly.
The role of Sach is played by the actor Huntz Hall, who, in the 1930's, appeared in both the Broadway play and then the film version of Dead End. In 1943, he appeared in the film, Don't Kill Your Friends. He was arrested for marijuana possession in 1948. After Leo Gorcey and Huntz Hall split up when Gorcey left the Bowery Boys in 1956, they reunited in 1966 in the movie, Second Fiddle to a Steel Guitar.
About the production of Hold That Line, Wiki has this note...
This is the first appearance of Gil Stratton, Jr. as a member of the gang, replacing William Benedict. Stratton was unhappy as a Bowery Boy, and he tried to keep himself as inconspicuous in the films as possible; he often gave his dialogue to Leo Gorcey or Huntz Hall.
Gil Stratton also had a part in The Wild One, in which the Lee Marvin character taunts the Marlon Brando character with the line, "the Beatles missed you."
A photo of Leo Gorcey was included in Peter Blake's original design for the Sgt. Pepper album cover, but was removed when Gorcey's agent demanded a fee for its use. Blake replaced it with a photo of Huntz Hall, who ended up representing the Bowery Boys on the Sgt. Pepper cover.
Hall replaced Gorcey.
One wonders what the significance of all this is, if any, but a question does come to my mind --- could the original Paul have demanded more money, like double what he was getting in 1966, and did he threaten to quit The Beatles unless he received that much more money, and could it be that he was subsequently shot dead and replaced? Faul plays the role of Paul at the going rate, but later laments 'You never give me your money, you only give me your funny paper.'
Gorcey demanded double his money, which was denied him, thus ending Dead End Kids and he went on to demand money from the Beatles, but that time, he was replaced. The amount he wanted, some say $5,000 and others say it was only $400 was a small sum indeed for the wealth of EMI, so I doubt Faul's explanation, 'he wanted money, so screw him.' I think it was something symbolic. Gorcey demanded money, so he was out and Huntz Hall replaced him. The demand for money resulted in a replacement. Was that the symbolism intended?
How deep does the rabbit hole go and is it made of intentional clues, strange coincidences, mystical synchronicities, or all three? How many odd connections remain undiscovered?
