Paul hired a replacement in '66

[Perplexed]

Also, Lennon looks a bit like a rabbi in the hat, and the hot on the female busts; head looks like the type worn by Quentin Quisp. I don't think these impressions mean much, though...........

[Forum Manager]

Perplexed said:

If that is Teddy and Eleanor Roosevelt as busts in the photo, then well, in order to pass THROUGH the door behind those Beatles, one has to pass between the Roosevelts and under that pretty garden.

Roosevelt means "field of roses", or 'rose field'. Isn't "rose" a code term for "sub rosa" , or "utmost secrecy" in political spy jargon?).

So, it says symbolically that in order for you to get on the "inside", you'll have to get past all the secrecy.Some of the secrtes are close to the ground, and some of the secrets are up on a pedestal.

If you get past the four guys blocking the door, then you will be in the foyer of the house. There , the sunlight will come through the glass image above the door and you will see WHAT IS BEHIND THE PICTURE.

great observations!!!

[Perplexed]

There is a photo for auction on ebay called the Beatles Roses picture. John, Ringo and George are wearing a busy stripe pattern that makes the eye wiggle. Paul is wearing a solid colored shirt.

It is stylistically peculiar, interesting, and artsy.

It is very processed.

It is ebay item #3348857535

It seems to be backed by a photo of earth from space, which puts it in a late 69 70 frame.

[Scatterdome]

Delta said:

I think we can close the file on the tombstone-outline:

more from this shoot: www.nemsworld.com/beatles/tit/tit.htm

but, let us continue this elsewhere and let this thread return to the original topic.
maybe you could also, with all the knowledge you have, contribute to the original discussion.
I think your contribution could be of great help to develop these alternate theories.
This could also benefit the credibility of 60IF, exploring and researching other possibilities and perhaps, after being proven wrong, dismissing them. what do you think?

Well, I take it as a compliment that my thread has attracted so many new postings. However, any evidence that a different man was presented to the public as "Paul" after autumn 1966, or any evidence that illustrates that the Beatles intentionally gave us numerous "Paul Is Dead" clues, is compatible with both 60IF and my theory. (Unless a "Paul Is Dead" clue provided by the Beatles is from before autumn 1966, in which case it's only compatible with my theory.)

For this reason, from this point on it would make more sense to reserve this thread for observations relating to my theory, or else the size of this thread will get out of control very fast. I worry that some people may have already felt discouraged to make comments about my theory on this thread as it may appear to them that the subject has already moved on.

I have witheld several of my own observations from this thread because they are general evidence of the Paul-switch and the "Paul Is Dead" clues provided by the Beatles, and I hoped to keep this particular thread focused on the pros & cons of my theory. I will now post my first minor general observation on a new thread under the "James Paul McCartney" subject, under the heading "More evidence of the switch and the clues."

I am asking readers of this thread to please use my newer thread to add any further comments on the evidence of the switch or the "Paul Is Dead" clues provided by the Beatles. The new thread will not need much rhyme or reason; consider it a general depository for new observations which haven't yet been brought up on the messageboard, on the above two subjects.

[Scatterdome]

I just found another clue that may indicate that Faul, at some point, consciously joined the Illuminati, most likely as a member of the Freemasons, the largest and most blatant branch of the Illuminati tree. This may indicate a connection that would have more easily prompted (or enabled) the Illuminati to pick off Paul in Lagos in 1973; or, it may indicate a powerful reason why Paul would have decided to mastermind only one more album after Red Rose Speedway and then disassociate himself from close contact with Faul.

First, one must get a feel for the progression of the first six “McCartney” albums by listening to them again: (McCartney, Ram, Wild Life, Red Rose Speedway, Band On The Run, and Venus & Mars.) Here’s a summary of my review of these albums (elaborated in more detail in one of my previous postings on this thread.) McCartney: the third strongest album of the six. Ram: the strongest. Wild Life: the second weakest. Red Rose Speedway: the third weakest. Band On The Run: the second strongest. Venus & Mars: the weakest of the six, and the first time some serious cheesiness enters (permanently) the musical picture of any whole album attached to the name “McCartney.” My opinion of Venus & Mars indicates that it was probably the first time Faul was unconcerned with Paul’s stamp of approval on an album, even if Paul did supply a few of the songs. If this is the case, it was because either Paul was dead by the time Faul finished Venus & Mars, or had retreated from close contact with Faul after realizing that he had joined the Illuminati.

Perplexed said:

Roosevelt means "field of roses", or 'rose field'. Isn't "rose" a code term for "sub rosa" , or "utmost secrecy" in political spy jargon?).

On April 30, 1973, Red Rose Speedway was released, an album whose cover featured Faul with his mouth stuffed with a red rose. The red rose is the ancient symbol of the Rosicrucians, a secret society traceable back to the ancient Egyptian mystery schools, and who were undoubtedly integrated into the Freemasons after officially being disbanded. Faul’s decision to stuff his mouth with a red rose on that album’s cover is probably a powerful symbol that he had joined their side, and would never reveal any secrets that conflicted with their agenda.



You can read about the connection between the red rose symbol and the Rosicrucians, and the connections between the Rosicrucians and the Freemasons, on the official website of the Freemasons themselves. But keep in mind that this link will be a mix of fact and fiction, as they are not going to reveal clues that indicate the true conspiratorial nature of their ancient organization. I would suggest doing some internet searches for opinions from the other side, after checking this link out. Here is the Freemasons’ take on the connections, located in the second half of this webpage:

www.freemasonry.org/leonzeldis/AN%20ESOTERIC%20VIEW%20OF.htm

Happy sleuthing! If you’re paranoid, I would suggest doing this particular search from a public library.

By the way, I should note that most Freemasons don't have a clue of the real purpose of their organization; to the lower level members, it's just a fraternity for post-grads, a place to drink beer with the boys and do occasional charity work. The knowledge is compartmentalized so that the members who advance ranks learn new secrets as they gain levels. For instance, the lower degrees are told that the "G" in the center of their compass-and-square symbol stands for "God," while Masons who advance to the highest levels learn that it stands for "Genetics," possibly only once they've reached the highest official degree; in the Scottish Rite, that would be the 33rd degree. (The "G" really stands for both; this ties in with the "divine" right of kings to rule based on bloodline, which has been a pretty strict rule throughout human history. Even the U.S. presidents are affected by this; over 30 of them were directly descended from King Charlemagne, as can be proven by researching the Burke's Peerage book, an official record of royal lineage, in your city library.) Masons that advance HIGHER than the official top-of-the-pyramid are members of the Illuminati.

Faul may not have ever advanced that high, if he is a Freemason; if he's participating in villainy, he doesn't necessarily know it. Lower-degree members are often given assignments from higher degree members, with the true reason for their assignment known only to the higher degree member.

[TheWatusi]

i think we may need to start a seperate thread concerning the beatles putting a picture of themselves in another picture as they did...and their attire and such....and it being their last photo session.....i really dont think thats all coincidence. i think it means Something. i think we should try to find that.

[Scatterdome]

TheWatusi said:

i think we may need to start a seperate thread concerning the beatles putting a picture of themselves in another picture as they did...and their attire and such....and it being their last photo session.....i really dont think thats all coincidence. i think it means Something. i think we should try to find that.

If no one else starts a new thread to discuss these photo clues, further exploration of them would fit nicely into my new thread, "More evidence of the switch and clues." I've already asked readers of this thread to migrate over there if they have comments to make that have nothing to do specifically with my theory, so it's a logical place to continue discussion of the photo clues that are already posted here. There's definitely something significant going on with these photos.

On that note, stay tuned- I've got another chunk of my theory that I plan to post on this thread today.

[Scatterdome]

If the comments about my theory on this thread are going to be few and far between, I think I understand the reason. People that know about the Illuminati usually don’t put themselves at risk by posting stuff about them on the internet; I’m doing it because SOMEONE’S gotta do it; the Beatles cover-up could not stay covered up this day unless the Illuminati wanted it to; therefore, trying to figure out how they fit into the story is essential to understanding the big picture. I figure that most of those who aren’t familiar with the “theories” are too bewildered my my ramblings at this point to post anything on my thread.

So, I will elaborate on a something I briefly touched on in my first post, as a launching point for the next chunk of my theory: If the Illuminati are the Beatles’ natural enemies, why did they allow them to get famous in the first place?

The Illuminati have always used the Machiavellian technique of controlling both sides of a conflict— including the global conflict between population growth and population reduction. Population reduction is accomplished by fairly obvious means- war, chemical additives in cheap food, etc. Encouraging population growth is accomplished by more subtle means, as I will now elaborate.

“Some people wanna fill the world with silly love songs / and what’s wrong with that?” – Faul, 1976

When the Beatles first stormed onto the scene, they were one of the Illuminati’s wet dreams come true: a band so potent and popular that they would lead the way in continuing the standard of keeping the radio filled with nothing but male-female relationship songs for the next generation. They knew the Beatles would spawn legions of imitators to ensure that this grand old tradition of 20th century popular music would continue. When 99% of the songs on the radio are about male-female relationships, the end result is a population brainwashed into believing the only important point of life on Earth is to reproduce as soon as possible, and that people who don’t accomplish this are unhappy failures.

When the Beatles first started smoking pot, the Illuminati weren’t too concerned, even though pot tends to be a catalyst for questioning authority. The “Help!” album (1965) was entirely comprised of male-female relationship songs like their previous releases, and the pot-induced change in the music was subtle. The next album, “Rubber Soul” (1965), had a few songs that may have cause the Illuminati more concern had they appeared on another band’s debut album: “Nowhere Man,” “The Word,” and “In My Life” were indications that the Beatles were finally starting to expand their lyrical subject matter, but they were still just 3 songs in a 99-song catalog that was, at that point, more influential on other musicians and the populace than any previous pop-musicians in 20th century history. (It is unlikely that their earlier covers of “Rock And Roll Music” and “Roll Over Beethoven,” while both excellent tracks, were seen as threats by the Illuminati.)

However, the instant “Tomorrow Never Knows” made its radio debut, the Beatles were instantly transformed into the Illuminati’s #1 enemy. The song was immediately banned from British radio due to its realistic recreation of the LSD experience. The Illuminati were well aware that the Beatles had pulled a coup on them with the release of “Revolver.” History (both modern and ancient) shows that when people are left to create their own government (“primitive” tribal societies) the shaman is the leader of the tribe. One role of the shaman, in most tribal societies, is to lead rituals, often taking hallucinogens such as mushrooms and peyote before leading the participants into a psychedelic musical trance. (In some languages, “shaman” and “musician” are the same word) As of “Revolver,” the Beatles were now inviting the entire world into a mind-expanding, soul-expanding psychedelic ritual, and the world accepted the invitation. More people tried LSD as a result of the Beatles’ public psychedelic transformation than any other reason; one might argue that “Revolver” was the symbolic birth of the counterculture.

IanSingleton777 said:

As John Lennon commented in his 1980 Playboy interview: "we must remember to THANK the U.S. Army and CIA for developing LSD. They thought they were making something to CONTROL us, but they made something that FREED our minds instead..."

The Illuminati knew that killing the Beatles at this point in time would cause more harm than good to the Illuminati agenda (see my earlier post on martyrdom), and so they had to use alternate methods to keep the situation under control. The numerous difficulties experienced by the Beatles on their last tour following the release of “Revolver” are a strong indication of the Illuminati were now trying to throw a wrench in their works. The following is a quote from George Harrison about the last Beatles tour, taken from the modern-day interview shown in the “Beatles Anthology” videos (1996.) (When viewing this quote in the video, note how Faul attempts to interrupt him several times.)

“We said all those things that happened, like people threatening Ringo, or threatening us, or saying the plane was going to crash, hurricanes hitting, race riots, student riots- there was always something that we pulled into town… there was always some big thing going on and we’d come into the middle of it, this mania, and it’d just be like chaos. So it was just becoming too difficult on the nervous system- that’s what I thought.”

This may have been the strongest reason the Beatles would’ve come up with the “Paul Is Dead” plan: they knew the Illuminati existed by 1966, and knew that the eventual discovery of the truth of the Paul-switch would help bring them down by opening people’s minds to the idea that the whole world really can be fooled, even when the conspirators are constantly advertising the truth in symbols.

Paul was the perfect choice to be the “dead” Beatle in this plan. He already wanted to leave, but was willing to continue to contribute songs to the Beatles. He started his musical journey with the Beatles with the simple desire to make his living playing music for people; but when things escalated to the level of war against the Illuminati, he just didn’t want to fight from the frontlines; the “Paul Is Dead” plan allowed him to write songs (and books?) in peace while ensuring that the Beatles didn’t have to back down. “Sgt. Pepper’s” was a defiant step further into psychedelic shamanism, and its cover art was so blatantly full of “Paul Is Dead” clues that it was their most powerful visual metaphor for the Illuminati’s similar displays.

John, on the other hand, had a powerful emotional motivation to fight this battle in public. When he was 17, his mother Julia was killed in a hit-and-run by a drunken off-duty cop (a symbol of corrupt government authority) and so was motivated to continue to publicly fight the ultimate corrupt government authority (The Illuminati) when it became apparent that the Beatles were their #1 enemies. His courageous behavior after the Beatles’ breakup, especially during his political activist phase in the early ‘70s, is another example of this.

Hopefully this post will provide some further insights into the strange, mysterious, dramatic trajectory of the Beatles’ career and post-breakup events. And if my theory is correct, then they were among the greatest heroes of the 20th century.

[Nick109]

If paul hired a replacement then why did Brian also go?

[SunKing]

Nick109:

[glow=red,2,300]WELCOME!!![/glow]

Your answer was my answer.
See it at:

60if.proboards21.com/index.cgi?board=paul&thread=1063219993&action=display&start=0

[Scatterdome]

Nick109 said:

If paul hired a replacement then why did Brian also go?

This theory does not deal with the idea that Brian was also replaced; that's part of the plotline of 60IF. I came up with this theory independently of 60IF, to provide an alternative in case 60IF turns out to be bogus. It was inspired by three factors: the forensic evidence, the known history of the Beatles, and theories about the Illuminati.

I'd like to see some photographic evidence that Brian was replaced. I still haven't got to reading all of this messageboard; if it's on here somewhere, I'd appreciate a private message sent to me telling me where I can find some.

[Scatterdome]

JamesPaul said:

THE REFERENCE

Well, now that I’ve seen some evidence on the new "Brian Epstein" subject, I’m now open to the possibility that there was a “Frian” who filled in for Brian after autumn 1966. Frankly, the guy on the left looks Mediterranean, and the guy on the right looks very English; if there were no captions, most people looking at these two photos would assume they are two different men.

I will become more open to the possibility of "Frian" as I see more evidence; so far, these initial comparisons seem pretty solid.

However, so far I haven’t found any ways in which the possible existence of "Frian" conflicts with my theory. If there was a “Frian,” then under my theory, Brian and Paul dropped out together for the same reasons I already posted on this thread. If Paul continued to ghostwrite for Faul, then Brian probably continued to “ghostmanage” for Frian, the mouthpiece.

If Frian’s death was a suicide, then it was for the reasons I posted earlier on this thread; he just couldn’t handle this freaky situation, though he initially thought he could.. If it was murder, then it was because Frian, unlike Faul, was judged by the Illuminati to be incapable of keeping up the illusion.

Until now, I thought the only evidence for Frian’s existence, unlike the STRONG evidence for Faul’s, was 60IF. These initial comparisons have now opened my mind to the possibility of “Frian,” but I’d like to see more. I’m going to do some more research, to find more photos and see where these photos first appeared.

If anyone finds some major incompatibilities between my theory and the possibility of the existence of “Frian”, please post something here. For now, since this is so new to me, I’m temporarily undecided…

[Scatterdome]

I may have just figured out a major breakthrough for my theory involving a couple of clues on the inside sleeve of Magical Mystery Tour, of which the second clue seems to back up a distinctive, essential element of my theory: the idea that Paul lived after '66 and stayed on board as a songwriter (and possibly as an instrumental contributor in the studio). A situation where, in effect, there were 5 Beatles involved with the creation of every album from Sgt. Pepper's onwards: John, George, Ringo, Faul, and Paul!

In brief, here's the clue, as written in the sleeve (or booklet):

AWAY IN THE SKY, beyond the clouds, live 4 or 5 magicians.
By casting WONDERFUL SPELLS they turn the Most
Ordinary Coach Trip into a MAGICAL MYSTERY TOUR.
If you let yourself go, the Magicians will take you away to
marvellous places.
Maybe YOU'VE been on a MAGICAL MYSTERY TOUR
without even realising it.
Are you ready to go?
SPLENDID!

A much fuller investigation and discussion of this clue (starting with the accompanying "Little Nicola" clue) begins on the bottom post of the first page of the thread at the following link:

"More evidence of the switch and the clues"
60if.proboards21.com/index.cgi?board=paul&action=display&thread=1063892646

[Scatterdome]

In the last week, I have uncovered several new possible angles to my theory, some involving Terry Draper. Fueling my revelations were two new bits of potentially solid evidence, which I will need the help of some of the more technically-oriented members of this forum to verify!

First was my new analysis of the “Day Tripper/We Can Work It Out” single. If “Yesterday” (released on the Help album in the UK on 8/6/65) was an early sign that Paul wanted to leave (“Now I need a place to hide away…”), then maybe the “Day Tripper/We Can Work It Out” single (Released on 12/3/65) could be about the Faul plan in the works! If Sgt. Pepper/Billy Shears=William Sheppard and Blue Meanie=Illuminati, then using the same established phonetic symbolism, then maybe Day Tripper=Terry Draper! (I think Terry was likely chosen for Klaatu partly because his name sounds like a Beatles song, to continue a theme started by the choice of Moody Blues co-founder Denny Laine (Penny Lane) for Faul's band Wings. Klaatu may have been James Paul's musical outlet after being bound to Faul; Day Tripper begins with the line: “Got a good reason for taking the easy way out…”)

And going with that theme, then “We Can Work It Out” could be Paul’s plea to John (and maybe George and Ringo) to consider the plan! (“Try to see it my way / Only time will tell if I am right or I am wrong. While you see it your way there's a chance that we may fall apart before too long.”)

Check out the full lyrics at these links:
“We Can Work It Out”:
www.lyricsdepot.com/the-beatles/we-can-work-it-out.html
“Day Tripper”:
www.lyricsdepot.com/the-beatles/day-tripper.html

The next revelation happened while I was watching the last tape of the Anthology after drinking some strong tea. Towards the beginning, during the White Album sessions, there is some video of Faul singing the end of “Rocky Raccoon.” As the song ends, the video cuts, in what seems (or is made to seem) to be real time, to what appears to be James Paul in the control booth, feverishly scratching his head and saying, “I wanna hear that, boy, I wanna hear that.” The side-profile appears to be that of James Paul! The low angle of the jawbone reveals itself in the last few frames before the video cuts to “Sexy Sadie.” Of course, that could simply be another special effect, as we know the Anthology has been doctored.

But then, later into the tape, a photo is shown as the soundtrack plays a clip from “Come Together.” It appears to be John and James Paul sitting down together, working on a song. The weird thing is, the photo is clearly from 1968 or later, as John has very long hair! They are sitting very close together, and John is smiling warmly. The side profile looks far more like James Paul than Faul. It would be easy to dismiss this as more photo doctoring, but no amount of doctoring could fake the warm vibe between the two men in the photo-- they are clearly enjoying each other’s company. I’m not at all saying they look gay in the photo, but it is hard to imagine John in '68 or '69 sitting so closely to Faul and looking so happy! What appears to be another photo taken of the same occurrence appears a minute earlier during the lyric clip from “Golden Slumbers”: “Once there was a way to get back homeward…” Whoever John is sitting next to seems to have a short chin, and overall looks like a disheveled James Paul!

PLEASE, someone post these photos to see whether I’m right or wrong… I don’t know how to transfer stills from a video tape onto my computer.

The other bit of “hard evidence” that I hope others will examine involves Klaatu. I don’t have time to post my new Klaatu theory as I’m going to work now, but for now I hope someone will check this out:

If James Paul didn’t die in ’73, I think he may have partially abandoned Faul and formed Klaatu as an outlet for his wilder songwriting inclinations. (MUCH more on this when I get back) I just bought the first two Klaatu albums. At precisely 2:28 in the song “California Jam,” it sounds like James Paul sings a one-word cameo: “California!” A crowd sound effect enters the song before this happens, and after the word is sung, the crowd goes nuts, as if a superstar has made an appearance! The voice does not sound at all like the other Klaatu vocalists—Terry’s voice spectrum matches Paul in the sing-songy, light style, but what are the chances he could also duplicate James Paul’s distinctive belting voice? Even Faul can’t do that! It sounds EXACTLY like James Paul’s belting voice from “She’s A Woman,” “I’m Down,” etc…

Anyway, I’ll be back soon to fill you all in on my Klaatu theory. But in the meantime, I hope someone will post the stills and photos discussed earlier in this post…

[PaulBearer]

If there are clues in the lyrics prior to Sgt. Pepper, it may be about their secret plans to abandon EMI for RCA since their contract with EMI expired in the middle of '65, something which we have only recently discovered.

[Scatterdome]

Since I first started formulating my theory, this constant has ran through it:

Scatterdome said:

I am more sure that Band On The Run was the last album in which Paul was the dominant creative force than I am of the idea that he actually died during its recording. He may have simply felt that after that album, any decline in subsequent albums' quality would not necessarily compromise his anonymity.

Now, after some recent discoveries, I now believe it more likely that after Band On The Run, James Paul, either by his own free will or because Faul's Illuminati controllers wished it so, drastically reduced his involvement with Faul’s career and formed Klaatu with Terry Draper (chosen for the same reason that Moody Blues co-founder Denny Laine was chosen to help prop up Faul-- his name sounds like the name of a Beatles song, and we were supposed to eventually see the synchronicity) as an outlet for his true, continuing songwriting evolution. Illuminati-controlled EMI knew the illusion was complete at this point, and therefore were more interested in a bland Faul-puppet to serve their musical agenda anyway; they would have undoubtedly preferred the idea of tamed, less progressive, more commercial “Paul McCartney” music digested by the public. James Paul may have made a deal with EMI along the lines of contributing a few of his tamer songs to every Faul album in exchange for a record deal for Klaatu, the band that would give him an outlet for all the wilder, more psychedelic and progressive songwriting where his heart was really at. I don’t think James Paul was with the Illuminati—instead, I think in this matter their interests happened to be mutual!

For those unfamiliar with the famous part of the Klaatu story, here is a brief recap:

A reviewer named Steve Smith concluded that Klaatu contained one or more of the Beatles working anonymously together, in a review printed 8 months after the first album’s release in August 1976. Klaatu did not provide any names or photos of band members in their album or press releases. This spawned a “rumour” that Klaatu was actually a secret reunion of the Beatles, and Capitol Records did nothing to quell the rumours. When Klaatu finally “revealed” themselves as Canadian session musicians Terry Draper, John Woloschuk and Dee Long, sales declined accordingly and the band slipped into obscurity.

On Klaatu’s official website there is a 1980 interview with John Woloschuk and Dee Long, who detail their own version of events, which of course only contains the elements of the story that they would tell the public up front:
www.klaatu.org/klaatu17.html

Now let’s suppose that there was some truth to the rumour. This would explain a lot… I will now use the cheesy present-tense storytelling method which I have used on this thread to elaborate; it seems the most effective way to convey these scenarios in a way that makes it easier to picture:

After four Faul albums, James Paul, feeling musically constricted and spiritually too far removed from Faul, who James Paul knows has joined a branch society of the Illuminati, no longer wants to keep using Faul as his main outlet for songs, and Faul’s Illuminati controllers, at this point, prefer a more tame and commercial Faul to one conveying James Paul’s continuing psychedelic evolution anyway. James Paul masterminds Band On The Run and after that, forms Klaatu.

Terry Draper is enlisted as the perfect choice for the "Paul-esque" voice In Klaatu. Paul probably had his pick of hundreds of musicians with a similar voice who he could've drafted in for the role, but by selecting a musician with a name similar to a Beatles song, he continues the phonetic pattern established by drafting Denny Laine into Wings to help prop up Faul, and provides both a major clue and another analogy of Illuminati behavior: having symbolism be the deciding factor in a major decision.

With Klaatu, Terry, Dee and John sing in their own natural voices, learning the melodies from James Paul; Terry sings the most leads in the band, but the other vocalists are also enlisted to add variety to the proceedings. James Paul experiments with many new eclectic directions, contributing songs that reflect new influences from King Crimson to Sesame Street, as well as his famous long-standing influences such as Brian Wilson, resulting in music on the first Klaatu album that sounds like the follow-up to the wilder side of Band On The Run. He plays bass in his distinctive style and sings just the aforementioned one-word vocal cameo in “California Jam,” with the intention of providing a MAJOR clue…

Clue-packed lyrics abound, telling the continuing story of James Paul, in some cases more blatantly than any Beatles lyrics. I will post some analysis later, but for now here is a link to the lyrics of their first two albums:
www.klaatu.org/lyrics/347est_lyrics.html#album1-1 (3:47 E.S.T.)
www.klaatu.org/lyrics/hope_lyrics.html#album2-1 (Hope)

I think that James Paul conceived Klaatu as a band project, meaning he probably let the others contribute to some of the writing. However, to me his involvement sounds the strongest on the first album, 3:47 EST; Hope contains many songs heavier and "proggier" than anything on 3:47 EST, although that may just be a sign that James Paul was just experimenting with harder rock. But there are two songs on Hope that may point towards a sad ending to this story after all: “Madman” and “Long Live Politzania” seem to tell the story of James Paul having gone insane, in his own words. (Is Hope Klaatu’s Saucerful Of Secrets?) But that may have just been in the spirit of the King Crimson-style heaviness intended to color the album.

I am going to need to find and listen to the other three Klaatu albums before I attempt to track James Paul any further than 1977.

Until then, I wish someone else here would offer an opinion on who sang the word “California” at 2:28 in the song “California Jam.” This is potentially SOLID evidence, people! Don’t be shy...

And speaking of solid evidence, have any of you examined the segments of the Anthology that I mentioned in my previous post? Still waiting for an opinion on that, too…

Paul said:

If there are clues in the lyrics prior to Sgt. Pepper, it may be about their secret plans to abandon EMI for RCA since their contract with EMI expired in the middle of '65, something which we have only recently discovered.

That could be the case, PB; if all of the clues of a plan-in-the-works that I’m hearing from “Yesterday” through Revolver are merely about the contract issue, then there likely was no Faul plan in the works prior to autumn 1966, for it surely would have come out in their songs in the same manner as the post-autumn ’66 clues.

But I am of the opinion that the pre-autumn-’66 clues really are that strong, and that anyone should be able to see this possibility when regarding the potential clues with an open mind-- meaning a mind truly open to the possibility that 60IF, which now contains not one but two completely different versions of Paul’s “death,” may not be the truth. For example, with the 60IF document temporarily cleared from your mind, just try to say “Terry Draper Day Tripper” aloud, back-to-back, without considering that the eerie phonetic similarity is not a coincidence, especially now that we know that the Beatles have established a symbolic language where the names “Sgt. Pepper” & “Billy Shears” are inspired by the name William Sheppard, and, more recently, that “The Blue Meanies” in Yellow Submarine symbolize the Illuminati. Next, put on Past Masters 2, make note of the first line of “Day Tripper” (“Got a good reason for taking the easy way out”), and then re-read my whole theory!

By the way, for any readers who haven’t figured out that the “Blue Meanies” in Yellow Submarine symbolize the Illuminati, CASE CLOSED, check out the discussion starting with my post on page 3 of the thread “Are there clues in Yellow Sub?”, to which I will provide a link to the third page here:
60if.proboards21.com/index.cgi?action=display&board=60ifclues&thread=1064668996&start=30

Here is a link to the thread that reveals strong evidence that the Beatles were aware of the Freemasons by the time they filmed Help:
60if.proboards21.com/index.cgi?board=document&action=display&thread=1068757073

One more thing: Please, will someone post stills from the segments from the Anthology that I mentioned in my previous post?

(NOTE: I have modified this post to remove all references to Terry Draper having worked with the Beatles while they were together. SilverBeatle pointed out that Terry Draper had just turned 14 when the Beatles released "Day Tripper;" therefore, he could not have been an early choice for Faul. Rather, he enters the story in the early '70s; I think vocal analysts were drawn into thinking it was Terry singing on "Hello Goodbye" and other tracks probably because they only had a vague understanding of the Klaatu/Beatles connection. And since I posted this, Paul Bearer pointed out the phonetic similarity between "Penny Lane" and "Denny Laine," so let the record show that he was the first to point that out. (Credit is due!) Links to a fuller discussion of this new angle are on my post at the bottom of this page.

Of course, Klaatu could be lying about their age, purposely adding to the mystery for a good cause; we are talking about a band that didn't reveal their identities until their fourth album. But until some Canadian who attended school with one of them comes forth and provides evidence that they're older, my hunch is that Terry is the age he says he is. -- JMP, 12/10/03)

[Scatterdome]

Good news everybody… you can check out that part of “California Jam” without ordering a Klaatu album! (Although I would recommend buying the 2-for-1 CD containing the first two albums; it's an excellent bunch of songs, and the lyric clues are best understood in their musical context!)

On the official Klaatu homepage, there is a 1 ½ minute sample taken from the middle of “California Jam,” and in this sample, the cameo occurs at precisely 1:28!

So now that you all have easy access to the clip in question, maybe we’re going to make some real progress solving this mystery collectively now!

Here is the link to Klaatu’s home page; just click on “The Music” and you’ll find it. (I couldn’t do a direct link to the music page)
www.klaatu.org

[gm1276]

Scatterdome said:

Good news everybody… you can check out that part of “California Jam” without ordering a Klaatu album! On the official Klaatu homepage, there is a 1 ½ minute sample of “California Jam,” and in this sample from the middle of the song, the cameo occurs at precisely 1:28!

So now that you all have easy access to the clip in question, maybe we’re going to make some real progress solving this mystery collectively now!

Here is the link to Klaatu’s home page; just click on “The Music” and you’ll find it. (I couldn’t do a direct link to the music page)
www.klaatu.org

That voice is f**king scarily close to James Paul's

[Perplexed]

Yes it does. It sounds like Paul.

[Scatterdome]

The Klaatu article posted by Eggman, written by Wilder Penfield III for the April 7, 1977 edition of the Toronto Sun, contains some good information on Klaatu. Here are some excerpts; the original text in boldface italics, my commentary written in plain text:

The Klaatu album debut was released here last August on Daffodil and in the rest of the world on Capitol-EMI. A press release said that the quartet preferred to be known by their music alone.
Quartet? Klaatu "revealed" themselves as the trio of Terry Draper, Dee Long and John Woloschuk on their fourth album, Endangered Species, and subsequent biographies list the band as always having been a trio, although one Dee Long biography suggested producer Terry Brown was considered an "unofficial" fourth member. But who is this fourth member from their original press release? An article in Sound's July 1980 issue, from an interview after Klaatu "revealed themselves," contains the following: "Fourth member Terry Brown has since bowed out of active involvement in the group since his position was purely as a technical advisor and producer." Odd that when they were anonymous in 1977, their press release listed them as a quartet, if the "fourth member" referred to was just their producer...

THE NAME: Klaatu was the peace-promoting space creature played by Michael Rennsie in the 1951 science-fiction movie, "The Day The Earth Stood Still."
- The movie reveals that "Klaatu" means "been here before."
Been here before? Self-explanatory!

- In the movie, when the President asks Klaatu where he comes from, he answers "Venus and Mars."
Faul's follow-up to Band On The Run was Venus & Mars, released on 5/27/75. I think that not only was Faul referring to Klaatu (the group concept that James Paul must have been planning as a musical escape in which to expand his musical evolution by the time he (J.P.) wrote "Picasso's Last Words" for Band On The Run), but he (Faul) was making an analogy to illustrate that him and James Paul had gone their separate ways after Band On The Run. ("Paul is from Venus, Faul is from Mars.") I think that "Anus Of Uranus" is James Paul's hilarious retort, although it's only hilarious in its musical context. Check out the lyric link from my earlier Klaatu post-- he's basically calling Faul an assh*le! To ensure that we knew he was talking about Faul, the next song on the Klaatu debut album after "Anus Of Uranus" is "Sub-Rosa Subway," another obvious reference to a Faul album, in this case one in which I think Paul was more involved with its production and writing, but not as involved as on Ram and Band On The Run-- Red Rose Speedway.

The song "Around The Universe In 80 Days," from the second Klaatu album, Hope, contains the following stanza:

Now the earth is just beginning to learn of our existence /
All life in space must learn to live as one
Maybe now is the time for friendship with our neighbors /
For our planet is the second from the sun

So the protagonist is from Venus, the second planet from the sun? My interpretation of this is that Paul is saying he's from Venus, and Faul is the "Anus of Uranus"; in other words, even if Faul would like to think he's Mars in his analogy, he's actually much further from the sun! ;D

- Ringo was Klaatu on the cover of "Goodnight Vienna."
The shiny robot is Gort, Klaatu's bodyguard; Ringo is dressed as Klaatu:


- The last thing Paul McCartney said at a Boston Wings concert was, "I'll see you when the earth stands still."
I don't personally know if Faul said that, but if it he did...

- In Delaware the Wings stage was postered with blow ups of Marvel Comic covers; one of them featured "The Hulk Klaatu Confrontation."
I don't know if that one is true either, but if it is...

- (Faul album) "Venus & Mars" contains full credits except for a thanks to "Terry and Ken." The Klaatu album was, in fact, recorded by two prominent engineers named Terry and Ken.
Interesting that Faul could have been thanking the men who were the engineers on Klaatu's debut; also interesting that Klaatu member Dee Long later went on to produce albums for Faul!

Here's the link to the article I'm quoting, which was originally provided by Eggman on another thread.
www.deelong.com/klaatu.htm

[gm1276]

Chris said:

;D :DScatterdome - I was thinking about the Bill(Faul)/Klaatu connection the past few days. As I was listening to the song snippets. I wonder if Bill/Faul worked with Terry Draper on Sgt. Pepper, MMT, Hey Jude, Abbey Road or Let it Be Since we've been musing over the possibility of Terry being one of the Paul vocal imitators, maybe they know each other. This would account for the many references that you've just cited. I think that it might very well be Bill/Faul imitating Paul at the end of California Jam. That album was debuted in 1977 Bill/Faul already had a nice solo career going. You make references to certain songs being responses to Bill/Faul songs & albums. What if Bill/Faul had a falling out with Terry Draper. Then it would make sense for Terry ( or his bandmates ) to write songs making fun of Bill/Faul ...After all, he's known for not being the easiest guy to get along with !!!

It's just a different spin on your scenario, is all...

Love to all...

Chris ;D

Nope, no way in hell it's "Faul" if he exists. SAME vocal qualities...I'd like to see Curious examine this one. Scatterdome, [glow=red,2,300]YOU'RE THE MAN!!!!![/glow]

To the mods, move this thread to a more frequently visited forum so everyone can see how amazing Scatterdome's theory, and its off shoots are.

[Scatterdome]

Thank you, gm1276!

It turns out I was probably wrong about one detail (that Terry worked with the Beatles while they were together), but discovering this has actually brought my theory into clearer focus for me rather than weaken it. I have modified this thread accordingly... I'll provide the links to the threads where I discuss this new discovery; there's enough text from me on this thread already!

"LENNON & DYLAN"
60if.proboards21.com/index.cgi?board=other&action=display&thread=1064531785&start=0

"RUBY TUESDAY LYRICS"
60if.proboards21.com/index.cgi?board=60ifclues&thread=1070378430&action=display&start=0

More thoughts on the symbolism of the Klaatu character:

I still have not seen the movie (and that will be corrected soon) but according to plot summaries that I have read, Klaatu comes to Earth on a mission to deliver a message of gravest importance to mankind. Now, if my theory is accurate, this is exactly the Beatles' purpose for coming up with the Faul plan: to deliver a message of gravest importance to mankind, as I've been saying all along! (See my earlier posts on this thread if you're not familiar with message to which I'm referring.) No wonder James Paul identified with Klaatu...

"Little Neutrino"

Across your open mind I trace erratic lines in motion and in time

I fought a battle won to the surface of the sun through fires on and on

It's only you it can't be me for I myself refuse to be
I am someone you'll never know / I am the little neutrino

Solus is not far away / It's face is brighter than a day / so don't turn me away

It's only you / it can't be me for I myself refuse to be
I am someone you'll never know / I am the little neutrino

And now I'm passing through the one who's known as you and yet you'll never know I do

The song is sung through a heavily distorted "robot" vocal effect. I wonder if this is the one song on the first two Klaatu albums where James Paul actually sings lead?

I will start a new thread analyzing the lyrics to every song on the first two Klaatu albums, but I want to listen to the CD a few more times. (A very pleasurable task indeed-- that 2-for-1 CD containing the first two Klaatu albums is one of the best CDs I've ever heard!)

As far as moving this thread goes, gm1276-- I think it's better that this thread stays under the "James Paul McCartney" subject. The three subjects listed above it are listed under the "60IF" category, and this theory is an alternative to the 60IF document. Putting it there would likely clutter the thread up with useless posts from newbies saying, "but 60IF says this is what happened!" Plus, this thread actually has higher visibility in this subject, since there's currently only 38 threads under "James Paul McCartney," so it's usually on the first page of the thread listings.

[bilthy]

check out this link to author WILLIAM SHEPHERD, there is some vague bio info (...born at the end of the hitler war)
but no photo . does anyone know who this guy is ? (says he currently lives in sussex)

hem.passagen.se/aibpeter/
the writing here definitely shows the author to be studied in the truth, politics, money, spirituality.....

maybe paul and billy sheppard switched and the real paul retired to the countryside to hide and write.

elsewhere on this site there is previous evidence that billy sheppard was known to the beatles. introduced to them by mal evans. there are also threads discussing records by billy pepper and the pepper pots doing beatles covers. billy sheppard listed as one of the members.

[beldabeast]

Delta said:

Hi to all!

After having visited this forum almost every day since about two months or so, I’ve got quite used to the fact that the Paul McCartney of today is very possibly not the same person as the one in the early 60’s and before. The first time I noted 60IF, was after seeing it the link to Sun King's website in one of the national newspapers of the country I live in. Now, don’t get too excited, it wasn’t frontpage. It was nothing more than a brief mentioning of the link in the “Interesting & Odd links”-section on the “PC&Internet”-page.

During these last weeks, I also took the 60IF-story as something that could be a very possible explanation of all the visual and other clues. I read the FAQ, saw all of Sun King’s and Uberkinder’s webpages and checked the forum frequently.
However, when I read Scatterdome’s hypothesis, the major picture of this seemed to me to be equally, if not more, imaginable compared to 60IF. For several reasons, among others (some of which Scatterdome already mentioned):

- the lyrical clues on Revolver that Scatterdome points at, are just as clear as the ones on the post ’66-albums (I don’t think the word “clues” is right in this respect, they’re just autobiographical expressions, just like many other songwriters are inspired by their own personal experiences, in this case a dramatic career-change);

- try to listen to “got to get you into my life” with the idea that Paul wrote this to express the feeling that he is just about to regain his personal and/or artistic freedom, for whatever reason; also listen to the power of his vocal performance: it’s ecstatic, just like someone who was about to be released from whatever restrained him (I think we all, at one time or another, have been in certain situations to be able to relate to this kind of feeling);

- replacing Paul with Faul could be kept a secret more easily when the people that had to keep it a secret, did it as a personal favour (family, friends, people Paul worked with); a secret, however, that is being kept under strong negative pressure, is less likely to hold; this could explain why everybody involved, especially family and friends, were so dedicated at first to “play the game” until, that is, Faul started to irritate the people he worked with, with his arrogance and "mental incompatibility" with the other Beatles; that could have been the moment when the pressure was added by third parties that had much to lose by the truth being uncovered;

- the clues that tell "Paul is dead" could very well be meant as protection; who would go looking for him if he's not there anymore?

- it could explain the continuation of a continuing AND developing “Paul”-factor in songwriting in the post ’66-era, which is one of the larger discussions elsewhere on this forum.

Scatterdome’s hypothesis can IMHO explain the switch equally as well as 60IF. However, to fully accept that this hypothesis is a viable possibility, one also needs to accept that 60IF may not be the absolute truth. Even if it indeed was written/dictated by George Harrison. He could have had his reasons: for instance, revealing the replacement-operation out of resentment towards the powerstructure without compromising Paul's real situation (being still alive).

By the way: the details are less important here, it’s about the major picture of the subject of this thread: that it’s possible that Paul could have lived on after being replaced.

In addition to Scatterdome’s posts: when listening to “For no one” (assuming “Revolver” is Paul’s farewell-record), this song could give an even more dramatic insight into why Paul wanted to leave The Beatles: he could have felt that he was, as an active member, no longer useful to the group and all the things related to it, given his personal situation: his health, not into LSD, too many other people that had started to have a growing influence (and were minimizing his artistic freedom) and/or maybe other things.

Which is why I have said many times we should focus
on proving there is a FAUL. Which I am sure is the tack that SK will take when he goes public with this .

I have FAINT hopes that James Paul is alive and well somewhere .
These are based on the fact that we still can not identify the location of the accident .
UK is a fairly small island . There are fewer wide open places than here in the USA .
We know Brian and James Paul were returning from Scotland or the airport and we have a good general idea of their destination.
But we seem unable to pinpoint the location of the accident .
It reminds me of the Lady of the Lake local legend here .
There are four different parts of the lake she supposedly drowned in .

Then there is that Africa thing . James Paul may be hiding ( or was) there .

Whatever the case may be , there ARE two Pauls

[Rojopa]

That hypothesis could be viable, however, there are still questions that arise....Such as why the clues in the songs about Paul being dead, everything points to Paul dieing instead of him just leaving.