“Hey, Hey, We’re the Beatles”

Guest Post by Patrick O’Carroll

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, and 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.

Like an intrepid musical Lieutenant Columbo, Mike Williams of Sage O’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 late-summer 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 (being 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.” There are literally thousands of “Crowleyites.”

Crowley on the cover of the Sgt. Pepper’s Lonely Hearts Club Band album. It has been suggested that the cover also represents Paul McCartney’s funeral. The flowers in front may be covering a grave, which the “old” Beatles on the left, dressed in black, are sadly looking at.

Motivation: What Tavistock Wanted

In a nutshell, Tavistock is a Marxist organization working for the strictly-Marxist oligarchy (sic) to promote radical change; and the system is set up so that no NGO can even get any funding from the Talmudic London-New York Alliance unless it can demonstrate that it seeks to engage in radical change. The many Tavistock operations in the USA include the Rand Corporation, Stanford Research Institute (SRI), and its offshoot the Esalen Institute. The Marxist Tavistock Institute is behind the whole Aquarian Conspiracy, the New Age movement, and “Paulism.”

One of the key architects of the TAVISTOCK BEATLES PSYOP was Theodor Adorno, who came straight from the Frankfurt School of Cultural Marxism, which had been founded in 1923 by Jewish Talmudist Felix Weil.

After WW2, the Talmudic London New York Alliance ordered the OSS-CIA and MI6 to import the Frankfurt School into the USA and Britain, so as to incorporate Cultural Marxism into the entire Mainstream Media, entertainment, arts, and popular music of the West, with the aim of destroying Christianity and replacing it with the “New Age,” also called “Eon of Horus,” also called “Age of Aquarius,” and so as to quicken the establishment of the Talmudic “new” world order, with the world since then ruled ever more by the satanic Talmud (followed by the Talmudists).

The Talmudists are all those groups misguided by the Talmud (the original book of Babylonian Satanism and later of Canaanite Satanism); those groups including Zionists, Freemasons, “Illuminati,” Kabbalists, “Christian” Zionists, “Muslim” Zionists, “Noahides,” Sabbateans, Frankists, Sabbatean-Frankists, other Satanists, “Gnostic Dualists,” Bitheists, etc.

The purpose of the TAVISTOCK BEATLES was to exacerbate the “generation gap” that the Frankfurt School of Cultural Marxism had already launched in the USA, Britain and Continental Europe in the 1950s. The traditional Christian family was to become “old hat.” Their idea was that “old” yet healthy ideas must be presented to the next generation as “square,” like starting a family or living as people had lived for centuries. Any “old fogies” who opposed Tavistock’s Cultural Marxism would then be ridiculed as “fuddy-duddies” or “no longer with it.” This continued until 2020 with every new wave trend that came after the TAVISTOCK BEATLES repeating the same pattern. That also explains why Tavistock and British intelligence were willing to pay a fortune to manufacture the TAVISTOCK BEATLES, to pay for airtime in the world’s Tell-Lie-Vision networks, and to even report on the wholly manufactured, artificial Tavistock opinions, slogans and statements pronounced by the band’s members, or on press conferences they gave, and to pay inordinate regard to these as the “official opinions of youth,” although totally made-up. It was the most unparalleled Psychological Operation (PSYOP) ever seen.

Tavistock is the brainwashing organ that, for both Britain and the London-New York Alliance, has always been foremost at pushing World Marxism for Britain’s Marxist Fabian Society. Marxist approaches in history have always first sought to grab the children for brainwashing by the state and by mainstream media. The TAVISTOCK BEATLES and the sham “generation gap” were fiendishly ingenious ways to sever the psyche of the younger generation from the traditional values and convictions of every previous generation. The TAVISTOCK BEATLES were thus a poster child for the Cultural Marxism that the Talmudic “new” world order so badly needed.

Culmination: What Tavistock and the “Illuminati” Ended Up Achieving

Starting around the 1930s, Hollywood stars began popularizing divorce, and the pop counterculture of 1955-95 (led by the TAVISTOCK BEATLES) changed Western society even more. The 1968 movie The Odd Couple had two divorcees as its main protagonists, and it served as another advertisement to promote divorce. It was created and written by Zionist Neil Simon, directed by Zionist Gene Saks, and produced by Zionist Howard Winchel Koch. In 1970-75, the spin-off TV series The Odd Couple never achieved top ratings, but was still given several runs, and frequent reruns, across all the Tell-Lie-Vision networks of the world.

In parallel, the legal system was gradually updated to encourage divorce, and in particular to encourage women to abuse the “law” so as to emasculate their ex-husbands financially, etc. After around 1985, it had grown dangerous to even get married, since that left both parties open to being “legally” abused by their “better halves.” Thus, the “Illuminati” had deliberately transformed marriage into a game of Russian Roulette. The bottom line is that Tavistock brainwashing was only one of multiple aspects of how the “Illuminati” changed Western society after WW2 in hopes of achieving the destructive goals decreed by the satanic Talmud.

Here are some stats that show how Tavistock managed to radically change Western society over the decades:

  1. In 1980, 63 percent of all US 25-year-olds were married; but by 2021, only 22 percent of all US 25-year-olds were married;
  2. In 1990, 28 percent of US births occurred outside of marriage; but by 2017, over 40 percent of US births occurred outside of marriage.

It was all a highly sophisticated plan, and the TAVISTOCK BEATLES played a key and major role.

First Major Smoking Gun with the Rubber Soul Album

On 11 Oct 1965, the four members of the TAVISTOCK BEATLES showed up at the Rubber Soul sessions without any of those songs yet composed. But, a mere 31 days later, on 11 Nov 1965, we are told that they had nonetheless allegedly managed the superhuman task of composing from scratch, rehearsing, arranging, singing upon, recording, and mixing sixteen original tracks, more than half of them highly memorable songs. The goal of George Martin and EMI was to release the finished album to record stores on 3 Dec 1965 (across Britain, the USA, and elsewhere) just in time for the highly lucrative Christmas market.

That meant that 11 Nov 1965 was the absolute cutoff date for recording because, thereafter, sequencing (i.e., deciding the order of tracks to go on LP sides A and B), lacquer approval, lacquer testing, lacquer cutting, work orders to print the record sleeves for the LP and 45-single, work orders to complete the artwork for both record sleeves (LP and 45-single), work orders to print the record labels for the actual wax disks, and work orders to ensure that all record labels and sleeves had been proofed and expunged of typos. In the event, the lacquer for Rubber Soul was cut on 17 Nov 1965. Keep in mind that perfectly-printed labels must be ready before the records are pressed, and that means that the sequencing had to have been completed much earlier than the sequencing date claimed by the Tavistock official narrative, which is 16 Nov 1965. Apart from that, the sequencing or ordering cannot begin unless the exact run times of the tracks are known beforehand.

Keep in mind too that, in 1965, it took about a week for the ink on such a colossal mountain of record sleeves and labels to even dry.

However, because the sequencing, lacquer cutting, labels and sleeves would have taken much longer to complete, we can safely assume that all these steps had been finished before 11 Nov 1965. And that can only mean that the recordings of all sixteen tracks were already in the bag, having been previously completed by session musicians, meaning all tracks were ready much earlier. And that means that the singers were merely being asked to sing to a playback of those completed tracks. Which means that the TAVISTOCK BEATLES were effectively the equivalent of the MONKEES, just as MONKEES lead-singer Davy Jones had so often stated in countless interviews over the period of 1970-2010.

The first fourteen songs done in these sessions were “Drive My Car”; “Norwegian Wood”; “Nowhere Man”; “In My Life”; “Michelle”; “If I Needed Someone”; “Think for Yourself”; “I’m Looking Through You”; “Girl”; “You Won’t See Me”; “The Word”; “What Goes On”; “Wait”; “Run for Your Life.” But, additionally, there were two songs (“Day Tripper”; “We Can Work It Out”) that would surely be included today, but in 1965 were released separately as a Double-A-Side 45-single, on 3 Dec 1965. In those days, it was considered “cheating the public” if singles got added to albums. George Martin often spoke of his regret that “Strawberry Fields Forever” and “Penny Lane” (both released on 13 Feb 1967) did not get included on the “greatest” TAVISTOCK BEATLES album Sgt. Pepper’s Lonely Hearts Club Band (released on 26 May 1967 during the same era), but released as a separate 45 by the same flawed logic. Belatedly, Martin judged that these two extra tracks might have made that “greatest” album even greater.

This alleged superhuman task for Rubber Soul was not possible, even for these supposed “geniuses,” although they were in fact largely mediocre musicians, especially the drummer.

So, to be honest, the official “truth” narrative put out by Tavistock could never have happened that way.

Even more absurd, the narrative tells us that four of the songs (“You Won’t See Me”; “Girl”; “I’m Looking Through You”; “Wait”) were recorded on the very last day of the Rubber Soul sessions, 11 Nov 1965. And it also claims that the four members had time to take a whole day off from the busy Rubber Soul sessions to receive MBEs from Elizabeth II on 26 Oct 1965.

Any songwriter knows that the general creative process means songs never get completed in such a short interval, and that, at best, probably at least half of their efforts would remain semi-finished over 30 days.

Yet, the Rubber Soul official narrative is claiming the impossible, namely that everything the four members touched got completed. Such a feat would only have been possible if most of those songs had been mediocre or even bad. Indeed, any band and their producer are just not able to compose from scratch, rehearse, arrange, sing upon, record, and mix sixteen original tracks in 30 days. Based on real-world logistics alone, this might only have been plausible if all of those tracks had been “second-rate fillers.”

Not just for the TAVISTOCK BEATLES, but for all Tavistock bands, the official “truth” narrative has always relied on public ignorance about how this whole process really works, with any rebuffs explained away by bogusly claiming that all the band members were “prolific geniuses.” Not true.

Keep in mind that, in 1965, the process to cut any record such as Rubber Soul would have taken at least 8-10 weeks (6 weeks at a bare minimum) after recording was done. That would have delayed the release date well beyond 3 Dec 1965 and hence missed the Christmas market; unless, of course, all the recordings had already been completed, so that these British “MONKEES” could just show up and sing along to the pre-existing playback, which is clearly more plausible.

In reality, the industrial brainwashing process takes a bit longer. And, in fact, the TAVISTOCK BEATLES album Rubber Soul was created from Jan until Oct 1965. First, all the songs were written and arranged, and all instrumental tracks recorded by professional session musicians under the direction of George Martin. Other steps completed before 10 Oct 1965 included final song titles, run-times, sequencing, and the printing of labels and sleeves. In early 1965, the TAVISTOCK BEATLES were busy making the album and movie Help! and came to the studio on 11 Oct 1965. Then they spent the next month recording vocals and harmonies over the existing (completed) instrumental tracks. From 17 Nov till 3 Dec 1965, the mono lacquer was cut, the 45-single and album were pressed and packaged, and the pressings were delivered to record stores in time for the Christmas market.

Second Major Smoking Gun with the Revolver Album

Perhaps an even bigger smoking gun was the Revolver album, which the TAVISTOCK BEATLES released on 5 Aug 1966, but then went on tour immediately after that release date.

But guess what never happened? The TAVISTOCK BEATLES did not play a single song from their new Revolver album on that entire tour. So, what does that tell us?

It proves that the TAVISTOCK BEATLES had been taught how to sing all the tracks when recording Revolver, but they were never taught how to play them, never had time to rehearse them. They released the Revolver album, but they were not yet even able to play its most easily stage-playable tracks like “Taxman,” “Doctor Robert,” or “I’m Only Sleeping.”

Furthermore, in 1962-66, a total of about 90 tracks were attributed to the TAVISTOCK BEATLES as songs that they allegedly wrote, and recordings on which they allegedly played. However, when you look at the live performances by the TAVISTOCK BEATLES in all that period of 1962-66, they only managed to play about 25-30 of those original compositions. So what happened to the other 60-65? The answer is that no band would have left out the majority of its compositions if that band had in reality been the songwriters and the real musicians playing on the original recorded tracks. There is too much evidence that points to teams of professional session musicians being the actual players on the recordings and to the members being taught only how to play a small subset, maybe one-third of the whole repertoire, of original recorded tracks.

The poor quality of musicianship that the TAVISTOCK BEATLES managed live was also the reason why Tavistock felt obliged to sponsor “screaming girls” to drown out or submerge the substandard live musicianship of the TAVISTOCK BEATLES. Tavistock and MI6 spent a fortune on “screaming girls.” On 7 Feb 1964, at JFK Airport NYC, the “screaming girls” were bussed in from a single school in Brooklyn and paid 20 USD each (equal to astronomically more in today’s dollars) to scream for the TAVISTOCK BEATLES on their arrival from London.

The last live stage performance by the TAVISTOCK BEATLES was in Candlestick Park in San Francisco CA on 29 Aug 1966, which was less than two weeks prior to Paul McCartney’s death, with yet more “screaming girls.”

Thus, the Revolver album was also highly significant in that it was the last TAVISTOCK BEATLES album to feature Paul McCartney. Many say McCartney was ritually assassinated on 11 Sep 1966 and replaced by the vastly more prolific Billy Shears. Thus, Revolver rounded off the first half, or first four years, of the TAVISTOCK BEATLES chronicle that ran in total for around 8 years from 1962 until 1970.

A Basic Question of Time

The TAVISTOCK BEATLES never had any real time to write songs, and no one still believes that they composed everything “in between times in hotel rooms.” Tours by the TAVISTOCK BEATLES swallowed up the following percentages of days: 1962 = 226 days (62 percent); 1963 = 247 days (68 percent); 1964 = 173 days (47 percent); 1965 = 54 days (15 percent); 1966 = 39 days (11 percent); and then two movies (Hard Day’s Night in 1964 = 53 days (15 percent), and Help! in 1965 = 51 days (14 percent)). So, in reality, they left the composing to the pros.

The Session Musicians

Some bands, such as Led Zeppelin, Cream, and Toto, were themselves formed when a bunch of professional session musicians got together, so it is safe to assume that bands like those did play on their own recordings.

But, in the period 1962-66, it is highly unlikely that any members of the TAVISTOCK BEATLES played on their finished recordings. The music business can only survive and make a profit on the basis of bringing in top-notch musicians who will get the job done in the least amount of time. You cannot afford to do “a million takes” with semi-professional musicians such as the TAVISTOCK BEATLES. In 1966-70, it is likely that at least Billy Shears was playing on most of his tracks. Indeed, in the movie Let It Be, the body language of the other three members (Lennon, Harrison, Starr) strongly suggests that they were deferential or obsequious to the more knowledgeable and talented Shears (who incidentally is probably about 4 or 5 inches taller than both Paul McCartney and Linda Eastman, who were both around 5’9″).

We can speculate that the top session musicians probably included George Martin, Eric Clapton, Vic Flick, Big Jim Sullivan, Jimmy Page, and possibly also members of the Wrecking Crew based in Lost Angeles CA. Apart from that, Theodor Adorno frequently played keyboards, e.g. harpsichord on the recording “Piggies.”

In the 1970s, fabled drummer Bernard Purdie surprised the world with his claim that he had been hired to drum on the final recordings of a total of 21 TAVISTOCK BEATLES tracks, although not credited, and he has stuck to this claim ever since. Purdie explained how, at the Capitol Studios in NYC, he drummed to finished recordings sent over from London, and that there were a total of four drummers on all the final recordings of the TAVISTOCK BEATLES tracks in 1962-70. A relative of session drummer Ronnie Verrell confirmed to Mike Williams that Verrell was one of the other three. Another drummer was probably the Scot Andy White who, even according to the Tavistock “truth” narrative, officially drummed on “Love Me Do” and “PS I Love You.” The fourth drummer may well have been Ginger Baker of Cream, or Hal Blaine of the Wrecking Crew.

The Tavistock Songwriters

By all accounts, the top two songwriters for Tavistock were George Martin (who would have had both musical influence and lyrical influence) and Theodor Adorno (who would have had mostly just musical influence given that his native language was German). The top Tavistock songwriters wrote songs suited to the voices of the total of five vocalists—John Lennon, George Harrison, Billy Shears, Paul McCartney, and Richard Starkey (Ringo Starr).

George Martin probably wrote “Michelle” for lead vocalist Paul McCartney, who recorded it nine months before his death. Thomas E. Uharriet hinted that Donovan Phillips Leitch might have been one songwriter. Besides McCartney, the other lead vocalists were Billy Shears (who was the lead vocalist for many ballads such as “Hey Jude” and “The Long and Winding Road”), John Lennon (who was the lead vocalist for “Tomorrow Never Knows” and “Strawberry Fields Forever”), George Harrison (the lead vocalist for “While My Guitar Gently Weeps” and “Long, Long, Long”), and Ringo Starr (who was the lead vocalist for “Octopus’s Garden”).

Effectively, George Martin and Theodor Adorno were directing and managing the whole Psychological Operation called the TAVISTOCK BEATLES. But this pair did not have the time to write all the music, so they picked songs from a selection of compositions that had been written by a crack cadre of professional songwriters.

Mike Williams (a songwriter) opines that there were just a handful of professional songwriters.

But, the author (a former songwriter) begs to differ. In fact, Tavistock would have decided on at least 20, and probably more, top songwriters, each delivering up to 3-5 truly memorable songs in the 1960s to yield a total of 100 very memorable songs. This key project could not be left to chance, so they decided to throw everything at it, with no holds barred, and all the propaganda money could buy.

Note: The TAVISTOCK BEATLES are known for more than 20 times the truly memorable songs that most major bands achieve in their entire careers, even if those careers lasted much longer than just eight years. The reason is that Tavistock and British Intelligence were paying for not just eight years, but for the next century too, because they already knew in 1962 that they were manufacturing a PSYOP for the whole Talmudic “new” world order, and that they were manufacturing a standard template with the implicit demand that all future bands should follow it.

In the early 1960s, Lennon and McCartney were two guys in their 20s, who could not read or write music, who had no musical training, and whose résumé consisted of playing covers in clubs and bars. When you think about it, how on Earth could they have any semblance of ability to compose such classic songs, especially when so many of those songs (such as “Yesterday,” “Eleanor Rigby,” or “In My Life”) contained clear evidence of highly advanced musical composition and ability? And later, when Billy Shears arrived on the scene, the idea that he might have had the talent to compose “The Fool on the Hill,” “Penny Lane,” or other sophisticated pieces, is just as unlikely.

The Proof that Paul McCartney Was Replaced

For several decades, there has been a mountain of proof that Paul McCartney was replaced in 1966. Forensic science has long demonstrated this, and just some of those proofs are shown here. This is the territory of Conspiracy Fact, since all “theory” expired long ago.

Real Identity

Mike Williams simply refers to FALSE PAUL as “Billy” since that is what TAVISTOCK BEATLES insiders call him. Other theoretical names include William Wallace Shepherd, William Shepherd, William Shears Campbell, William Campbell, and the “Billy Shears” of Sgt Pepper’s. But most folks call him BILLY SHEARS. He is likely a top-level Freemason and may have family ties to Scottish “blueblood” William Wallace (dubbed “Braveheart”) who led Scotland during the first war of Scottish Independence in 1296-1328. Billy Shears may also have family ties to Monaghan-Ireland since he made a point of marrying Heather Mills in Glaslough-Monaghan on 11 Jun 2002.

Insiders call him “Billy”

Most TAVISTOCK BEATLES insiders refer to Billy Shears as “Beatle Bill,” or simply as “Billy.”

The Concert for George took place on 29 Nov 2002 at London’s Royal Albert Hall. There, as the following clip shows, Billy Shears first hugs George’s son Dhani Harrison to offer condolences on George Harrison’s death, but then George’s wife Olivia Harrison greets Billy Shears by openly hailing him with “Hello, Billy”:

The following clip is from a 1971 breakfast scene at Lennon’s mansion in Weybridge-Surrey (this is also part of the 1988 movie Imagine). Here, Lennon and Harrison acknowledge that they are now “the Fab Three” and then mock Billy Shears as “Beatle Bill,” stating that he had just hit #5 in Sweden with his new single “Another Day”:

The following clip is from the 1984 movie Give My Regards to Broad Street. Here, the grinning Billy Shears is introduced with the interrogation: “You know William?”:

In the 2010 documentary The Winged Beatle, Billy Shears slips up as he explains a guitar riff to the other three Beatles saying: “You used to do it, lads (as seen in your films).” Thus, Shears was implicitly distinguishing himself from the other three Beatles regarding the early days, prior to the death of Paul McCartney on 11 Sep 1966. In effect, Billy Shears was letting the cat out of the bag on camera that he had replaced Paul.

George Harrison often referred to Billy Shears openly as “FAUL” (i.e. False Paul). In an Australian interview, Harrison stated: “. . . as soon as we do that, FAUL will be free of any problem he may have with us.”

In 1976, Billy Shears didn’t attend the funeral of Jim McCartney (father of Paul who had died in 1966) for fear of being rattled by the McCartney family. No surprise there. Paul McCartney’s real younger brother is Peter Michael McCartney, who also went by the name Mike McGear during his career as a minor pop star.

Thus, among insiders who have ties to the TAVISTOCK BEATLES, and among leading researchers, it has long been acknowledged as an open secret that the “Paul Is Dead Conspiracy” is not “theory” but fact.

Satanic Pacts

In his 2012 book The Memoirs of Billy Shears, Thomas E. Uharriet stated that Kenneth Anger’s crowd organized for a satanic pact to take place on 23-24 Oct 1963. This was after the success of the first album Please Please Me (released 22 Mar 1963) and just before the second release With the Beatles (released 22 Nov 1963), with this followed by the spectacularly successful TAVISTOCK BEATLES tours of North America and the world.

In his 2008 book Lennon Prophecy, Joseph Niezgoda posits that Lennon entered into a satanic pact in Dec 1960 with a runtime of precisely 20 years (meaning “Death for Success” running for 20 years, followed by Lights Out). Of course, that would have taken Lennon to Dec 1980, the very month he was assassinated. And that means that Lennon may have entered into two separate satanic pacts, one by himself and one with McCartney.

On page 116 of The Memoirs of Billy Shears, Thomas E. Uharriet also states that the “Illuminati” declared war on Christianity on 11 Sep 1962. On the very same day, the TAVISTOCK BEATLES recorded the album version and the US single version of their very first hit, “Love Me Do,” at EMI Studios in London.

“Death Cab”

On the rainy morning of 11 Sep 1966, Paul McCartney died in a car crash on Dewsbury Road, London NW10, a crash that may well have been instigated. Many say that MI5’s Maxwell Knight finished Paul McCartney off with a silver hammer, as a part of an assassination which was in fact a satanic ritual, and that this act was later commemorated by the TAVISTOCK BEATLES song “Maxwell’s Silver Hammer.” The original motivation for the assassination is said to have been a “plain old” Faustian Bargain generally dubbed “Death for Success.”

It is also said that Ian Fleming used Maxwell Knight as the model for the character “M” in his James Bond novels.

On 11 Sep 1966, Paul McCartney gave a ride to a girl who died alongside him. Thomas E. Uharriet does not reveal her full identity; he merely calls her Donna, and he associates her name with the later macabre clue “Mac Donna” by which he means the song “Lady Madonna” that Tavistock still attributes to Billy Shears. The dead girl was also memorialized as “Cutie” in the song “Death Cab For Cutie” which Billy Shears released while playing, or more properly acting, the persona known as “Vivian Stanshall.” The US band DCFC (Death Cab For Cutie) was formed in 1997, and based its band name on the same song title and on the same still-not-fully-identified girl.

Others say that Paul McCartney was merely replaced, but did not die.

The Three “Mackers” Theory

Many say there were three “Mackers” (McCartneys). The following mid-1960s photo in NYC seems to show three “Mackers” at the same time; one standing on the left, one crouched in the middle, and one seated on the right:


The most undeniable item of biometric data proving Paul was replaced is that Paul James McCartney and Linda Louise Eastman (both deceased) were about 5’9″, whereas Billy Shears is quite a bit taller at 6’1″ or even 6’2″.

On 7 Nov 1969, Life magazine published findings that showed that Billy Shears has a span of 2.62 inches between his pupils, whereas Paul McCartney’s same span was 2.5 inches. The same report in Life gave findings by Professor Henry Truby of the University of Miami that proved that the voiceprint or sonogram of Billy Shears singing “Hey Jude” was different from Paul McCartney’s sonogram on “Yesterday.” Truby characterized the disparity as “suspiciously different.” It is well-known that the voiceprints of Shears and McCartney do not match. Virtually no one inside the music business still believes that “Paul” stayed the same from 1962 until 1970.

A scientific team in Italy, consisting of Francesco Gavazzeni and Gabriella Carlesi, conducted a major biometrical analysis of the two separate protagonists who played “Paul” both before and after Sep 1966. The scientists found discrepancies in the facial features that could not be accounted for by error or plastic surgery.

The original article was entitled CHIEDI CHI ERA QUEL BEATLE (“Ask Who Was the Beatle”) and was first published in the Aug 2009 Italian edition of Wired magazine:


In Jan 1980, Billy Shears flew into Tokyo for a tour of Japan with his band Wings. But customs officials found about 8 ounces of cannabis in Billy’s luggage, so they arrested him and liaised with Interpol. Interpol provided the Japanese authorities with the fingerprints of Paul McCartney from his 1960 arrest in Hamburg. Unsurprisingly, the Japanese found that they differed from the fingerprints they had just taken from Shears. Then, MI6 was obliged to intervene with top-level “pop-star diplomacy” in order to save Shears from several years of prison in Japan.

In 1962, the real Paul McCartney had had a well-known relationship with Erika Hübers in Hamburg, Germany, which produced their daughter Bettina Hübers. McCartney had been paying child support. But after Billy Shears assumed the identity of Paul McCartney, Shears kept paying this child support although the child was not his. Nonetheless, Shears stopped paying this child support around 1980. The consequence was that, in 1982, both mother and daughter filed a paternity suit against Billy Shears because they felt that he owed them more than just child support (despite the fact that Shears was not the real father, which was the real reason he did not want to keep paying). In the course of this lawsuit,  Shears was obliged to submit DNA to the law court in Germany, but it was found to be a mismatch for paternity. No surprise there.

Finally, the signature of Billy Shears does not match either that on Erika’s letters from the original Paul McCartney, nor signatures by Paul McCartney that are displayed in the TAVISTOCK BEATLES museum.

The biometric data are incontrovertible, but Mike Williams also mentions ample evidence of plastic surgery.

Songs and “Writers”

Although Tavistock probably wrote 90 percent of the music for the TAVISTOCK BEATLES, there are songs that are still nonetheless attributed to the grand total of five TAVISTOCK BEATLES members today:

Paul McCartney may have partly written the songs “Yesterday,” “Eleanor Rigby,” and “She Loves You.”

Billy Shears may have partly written “Hey Jude,” “The Fool on the Hill,” and “Penny Lane.”

John Lennon may have partly written “Revolution,” “Sun King,” and “Norwegian Wood.”

George Harrison may have partly written “While My Guitar Gently Weeps,” “Something,” and “Old Brown Shoe.”

Richard Starkey (Ringo) may have partly written “Octopus’s Garden,” “Don’t Pass Me By,” and “What Goes On.”

But although, after 1966, Billy Shears managed to eclipse Paul McCartney, many regions such as Germany and Scandinavia still regard “Yesterday” as the best TAVISTOCK BEATLES song of all time. By 2023, Billy Shears has had almost 60 years playing “Paul McCartney, TAVISTOCK BEATLES member,” compared to the four very brief years that the original Paul McCartney had in the same role. Thus, on the basis of the sheer weight of endurance alone, it is no real wonder that Billy Shears managed to totally eclipse Paul McCartney.

Tavistock Lampoons Tavistock

More evidence that the TAVISTOCK BEATLES were a Tavistock project came in 1978, when the Monty Python team (another Tavistock operation) released the movie The Rutles; All You Need Is Cash. The Rutles were a case of one Tavistock crew lampooning another; because, if nothing else, the Monty Python team were well aware of the entire agenda of the Zionist London-New York Alliance, for which they themselves worked. The same team became famous for countless sketches in which they illustrated how the whole world is basically backwards.

The Key Role of Tavistock-Hamburg

Yet more evidence that the TAVISTOCK BEATLES were a Tavistock project is in the often-overlooked fact that Hamburg is the main Tavistock city in Germany, from which Tavistock launched its attack on German Christianity. Christianity is the main world religion being assailed by the Talmudic “new” world order. Immediately after WW2, Zionist Britain moved to reestablish the vice-cesspool that the NSDAP had successfully purged, particularly from Berlin in Weimar times (1918-33). Hamburg is the biggest city in the British Sector. It was mostly in Hamburg that Tavistock Torturers tortured German POWs to death in 1945-55. Zionist Britain also moved to reestablish the ReeperBahn as the red-light district in the area of St Pauli Hamburg. The Zionists also established Flensburg, in nearby Schleswig-Holstein, and also the whole of nearby Denmark, as the top porn hubs feeding all of post-WW2 Europe. Flensburg mail-order firm Beate Uhse AG was the top porn supplier to all of Central Europe in 1965-95.

Hamburg is tagged HH, meaning “HansaStadt Hamburg,” because Hamburg was a key member of the Hanseatic League, and hence one of the oldest “Illuminati” cities having strong ties to Scandinavia (particularly Sweden, which until 1721 was one of the Great Powers), to the English monarchy, and later to the Zionist London-New York Alliance.

Today, Hamburg is still called “MedienStadt Hamburg ” because it is the principal media city in Germany and Northern Europe. The Zionist publisher Axel Springer was born in Hamburg and was a top Talmudic Freemason and “Friend of Israel.” The Zionist powers (US, GB, FR, RU) gave him full control over most of Germany’s biggest newspapers and magazines after 1945. Springer’s Zionist propaganda rags still include Bild, Spiegel, and Stern.

Tavistock used Hamburg as a social engineering center for destroying German Christianity. It thus very much stands to reason that Tavistock sent its entire TAVISTOCK BEATLES operation for a trial run to Hamburg (HH), given that Hamburg readily supplied the almost-perfect controlled environment for the early part of the whole social engineering PSYOP that became the world PSYOP known as the TAVISTOCK BEATLES.


For seven years, Mike Williams has been hitting it out of the park and, by now, he has become the foremost PID (“Paul Is Dead”) truth-teller in the world, apparently accepting more and more interview requests by the month.

This whole “HEY, HEY, WE’RE THE BEATLES” process was used for the TAVISTOCK BEATLES not just for Rubber Soul but for all their LP records and 45-singles released starting in 1962.

But the Revolver album delivered even more powerful confirmation that the TAVISTOCK BEATLES were merely the equivalent of the MONKEES because they just sang to playback by professional session musicians. At the same time, it is likely the TAVISTOCK BEATLES members were all better (or less bad) musicians than the MONKEES, whose only spark of real talent may well have been the lanky Texan Mike Nesmith.

A record-industry insider confirmed to Mike Williams: “You figured it out. And, at some stage, anyone who intends to once again just regurgitate the CINDERELLA STORY is going to have to address what you put out there.”

Record producer Mike Stock (of Stock Aitken Waterman) also corroborated Mike’s findings in multiple interviews.

Today, as a musician and songwriter, Mike Williams is sometimes asked about his influences, to which he replies: “I used to tell folks I was influenced by the Beatles, but now I just say I was influenced by TAVISTOCK.”


That makes Mike a citizen of the world, since there are very few folks left in the world that have not been influenced by Tavistock, or indeed unwittingly marinated in Tavistock propaganda.

Recently, Mike gave some pointers to the best Sage O’Quay shows of the past seven years that might help bring newcomers up to speed with the whole truth about the TAVISTOCK BEATLES, and these are shown here:


And an excellent recent interview with Mike may be seen here:


Overall, the detective work by Mike Williams, a musical Lieutenant Columbo, has been groundbreaking, original, and innovative. Mike has forced Tavistock’s official “truth” narrative to lose ground and fall behind, hopefully soon to the point of capitulation. After all, the real truth has only ever been “HEY, HEY, WE’RE THE BEATLES.”

Picture of James Perloff

James Perloff

James has been writing for alternative media since 1985 when he began contributing to The New American magazine. He is the author of six books, the subjects of which range from COVID-19 to political history to creationism.

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