“The Beatles are Divine Messiahs. Prototypes of a new young race of laughing free men.”
Today’s graphic was originally going to be used for an updated version of my old “Paul McCartney Is Dead And Replaced By An Impostor” post. Then, quite by happenstance (as per usual), I acquired a free copy of R. Gary Patterson’s The Walrus Was Paul—possibly the most definitive book on this particular modern folktale. Suddenly, I realized that I’d have to rethink & rewrite the post…as Patterson brings up a whole bunch of archetypal/mythological aspects to the theory that I hadn’t considered before.
We could start with the fact that the whole “Paul Is Dead” rumor started on October 12—Aleister Crowley’s birthday. Curiously, the author doesn’t point this fact out—this is the same guy who wrote the definitive book (in my opinion) on rock n roll & the occult, Hellhounds On Their Trail (updated/retitled as Take a Walk on the Dark Side: Rock and Roll Myths, Legends, and Curses).
But the significance of the date “popped out” at me immediately; and keep in mind that Crowley was on the cover of Sgt. Pepper’s Lonely Hearts Club Band, and that McCartney absolutely was familiar with his work.
Then we move over to the “religious” overtones of the entire conspiracy theory, which Patterson compares to the resurrection of the fallen hero gambit:
“The Beatles’ McCartney could have been that archetypal man, joining the ranks of literary heroes who died young and were later reborn as gods, like Achilles or Alexander. This may have paralleled Lennon’s statement that the Beatles were more popular than Christ…In this symbolic state McCartney may have represented a Christ figure born again not for the spiritual redemption of mankind, but raised like the Phoenix from the ashes of ignorance and intolerance to lead the way to wisdom and love.”
Patterson then ties this all into the myth of the Fisher King, as well as Giambattista Vico’s cyclical theory of history (which Patterson believed the history of the Beatles mapped in microcosmic form; quod est inferius est sicut quod est superius.). It’s the idea that the Beatles somehow ushered in this New Age, using (consciously or unconsciously) the “myth” of Paul’s death and resurrection as a ritualistic tool for that express purpose.
(Beatle=beetle=scarab=Ancient Egyptian symbol of resurrection)
And of course, as Patterson points out, in front of the entire procession on the Sgt. Pepper album cover is…Kali. (Or…”Kali.” A rough dime-store approximation of said goddess.)
If the whole “Paul Is Dead” thing was a conscious hoax on the part of the Beatles, then we are going back into “You Created A Joke Religion And It Became Real. Now What?” territory. Because The Walrus Was Paul also goes into just how deeply Charles Manson believed that the Beatles and their lyrics were part of a Biblical prophecy-type thing (conveniently placing Manson as the fifth Beatle):
“According to Charles Manson, there were still other references cleverly hidden throughout the White Album. There was the mention in ‘Honey Pie’ that ‘my position is tragic/Come and show me the magic of your Hollywood song.’ Manson believed that the Beatles wanted and needed his influence and involvement to help fulfill the deadly prophecy of ‘Helter Skelter.’ He was to provide the direction through his magical ‘Hollywood Song.’ Later, in the same song, the Beatles continue with ‘Oh honey pie you are driving me frantic/Sail across the Atlantic/To be where you belong.’ The lyric also mentions that ‘I’m in love but I’m lazy’ which Manson interpreted as meaning that he must make the first contact and lead the world to the brink of the apocalypse. Apparently, on many occasions, Manson and his family members unsuccessfully placed phone calls to the Beatles’ management trying to make contact with the four ‘angels of revelation’…”
Now: Manson is the guy who actually wrote a song for Beatles’ “rival” The Beach Boys (“Cease To Exist,” which was turned into “Never Learn Not To Love”)…the song title “Helter Skelter” infamously tied to the Sharon Tate murder…Sharon Tate’s husband Roman Polanski directing the movie Rosemary’s Baby…a movie shot at the Dakota apartments…Beatle John Lennon being shot outside his home at the Dakota…
So as the whole “Paul Is Dead” thing interpreting clues in the lyrics, was like this fun LARP-thing the public did…Manson was not only conducting his own parallel (11:11) deep-dive of Beatles lyrics, but managed to become “part of the story.”
And if you go into the timeline between 1968-1974 (which I’ve touched upon in “Tripping The Manson-Nixon Line,” and will revisit in an upcoming Manson post)…that’s some weird synchronous shit! You literally can’t make up all those coincidences even if you tried.
Anyway…I could go on and on. “Paul Is Dead” is one of the useless topics I like to revisit every now and then and keep-to-date on. I don’t think Paul McCartney died and was replaced with a double…but I keep an open mind regarding the more esoteric aspects of this story. Like the Flat Earth theory, it will “suck you in” if you broach that particular rabbit hole.
As for my own revised “Paul Is Dead” post…I think I’ll wait until next October 12, though November 9 (the date of Paul’s “death” according to the legend; we can go through the numerological/sync significance of the number 9 all day, and of course reversed it’s “9/11”) might also be good.
I had recently played around with the idea of creating a sort of “Paul Is Dead”/Bruno Borges type cryptogram game. But working with codes, with all the math, was very confusing to me.
And then I thought: this entire blog, in a way, is a type of cryptogram; and really, the most effective type cryptogram, because I’m not consciously using it as a cryptogram!
As always, the Weirdness is the lifesblood that sustains me.
Have a good Sunday/11:11