NOTE FROM MIKE WILLIAMS - Please note some of the perspectives in the post are exclusive to the author, Patrick O'Carroll, and may not reflect my positions. For readers who are interested in the Beatles as a deep-state Tavistock entity, I recommend two of my presentations: Did The Beatles Write All Their Own Music (April 2020) and The ADDENDUM: Did The Beatles Write All Their Own Music (April 2023).
NOTE FROM JAMES PERLOFF - When I was a freshman at Colby College (1969-70), a friend in my dorm called me to his room. He had a lot of sound equipment. He played one of the Beatles’ albums backward. You could pretty distinctly hear a voice repeating “Paul is dead.” This was something of a rumor in those days, but we had no way to check into it (no Internet then). In my 2013 book, Truth Is a Lonely Warrior, I briefly wrote (based mostly on Dr. John Coleman’s work) about the Beatles having most of their music written for them by the Tavistock Institute and how so many of the “screaming girls” had been hired. Then, about two weeks ago, my friend Patrick O’Carroll sent me an email. Drawing largely on the work of Mike Williams, it fleshed out many details of how the Beatles were orchestrated and affirmed the 1966 death of the original Paul McCartney. I thought it was significant, and asked Patrick if I could publish it as a guest post. (For younger readers who might not get the title of Patrick’s post, it lampoons the song “Hey, Hey, We’re the Monkees.” The Monkees were an artificially created rock band who were notorious for neither writing their songs nor playing the instruments on their pop hits.) Patrick can be reached at tequila.mockingbird@gmx.ch. Mike Williams’ website is http://sageofquay.com/.
For those who would like to see how things were comparably falsified in the American music scene during the sixties and seventies, I recommend Weird Scenes Inside the Canyon by the late Dave McGowan, who demonstrated the orchestrated success of many bands, and their surprising connections to U.S. military and intelligence services.
by Patrick O’Carroll
[Source] Like an intrepid musical Lieutenant Columbo, Mike Williams of Sage of Quay has focused his past seven years, since 2016, on dazzlingly debunking what he calls “The Cinderella Story,” which means the official “truth” narrative that Tavistock and British intelligence have desperately tried to feed the gullible populace for their own flagship pop project or crown jewel known as the TAVISTOCK BEATLES. Mike has shown time and time again that “The Cinderella Story” is a steaming pile of You-Know-What.
Mike has spoken about two enormous smoking guns that prove beyond doubt that the TAVISTOCK BEATLES were really no more than the equivalent of the MONKEES. In May 2020, Mike already dubbed this phenomenon with the witty yet highly descriptive designation “Hey, Hey, We’re the Beatles.”
We need to bear in mind that none of the members of the TAVISTOCK BEATLES was either a genius or even an above-average musician, especially not prior to the late summer of 1966 when Billy Shears took over for the jettisoned Paul McCartney. When the TAVISTOCK BEATLES first came to him in late 1962, record producer George Martin viewed them as “very charming people” who were not professional players and who had zero songs composed so far that were hit material. Nowadays, we know for sure that their songwriting talents remained poor throughout their careers because professional Tavistock songwriters wrote the vast majority of the songs they recorded. But people are free to believe otherwise, in which case they may well be choosing to live in Fantasy Land.
In broader terms, the TAVISTOCK BEATLES were a social-engineering project designed to transform Western society, in particular by attacking Christianity. It also remains “coincidental” that the two main protagonists of the disastrous Vatican II shifts designed to destroy Traditional Catholicism also went by the names John and Paul (Popes John XXIII and Paul VI). Furthermore, Tavistock viewed the whole pop counterculture of the 1960s as a way to destroy Christianity and to debase the West, so as to hasten the arrival of the “new” world order.
Mike calls the TAVISTOCK BEATLES “the Pied Pipers of the Eon of Horus,” which references Crowley’s term “Eon of Horus.” Note: the notorious Satanist Aleister Crowley loved to refer to the Age of Aquarius as the “Eon of Horus,” to the Age of Pisces as the “Eon of Osiris,” and to the Age of Aries as the “Eon of Isis.” Crowley’s acolytes still pervade the music business today; they are known as “Crowleyites.”
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