It’s not unusual to be deceived by anyone – by the entertainment/music industry image makers or by the professional sorcerers employed by the mainstream media. For decades, scores among the gullible have been deceived by the story which was floated out to the public during the 1960’s, that Beatle Paul McCartney was alleged to have been killed in a car accident and was replaced by a twin brother or perhaps another musician whose appearance was altered by surgical procedure. In retrospect, entirely dubious narratives such as these were likely to have been dredged up to refocus the public’s faltering attentions on a manufactured popular music group consisting of four marginally skilled minstrels capable of projecting charming public images whose fortunes were in decline after eschewing public appearances and announcing their retirement from live performances in sold out stadiums and arenas. After all, when it comes to considering what powers the gears of the music industry’s star making machinery, any publicity is good publicity, tragedy translates to profitability, and nothing moves units off the record racks faster than the story of a famous rock star’s tragic death. While some might dismiss that as cynicism writ large, it is chiefly the public’s fear of and morbid fascination with death which fuels the perpetual motion of such commercially profitable myths.
But there is also another newly discovered factor which serves to validate the premise that the historically accepted biography of Beatle ‘Paul McCartney’ is a bogus sham. A reinvestigation into the “Paul is Dead” myth has revealed that ‘Paul McCartney’ is a pseudonym for a hip-swiveling British pop singer originally known as Tommy Scott born with the surname of Woodward, a name historically associated with the British peerage, who was alleged to have originally hailed not from Liverpool but from Wales. Tommy Scott aka Woodward also has a connection to an actor/comedian who starred on the formerly popular television situation comedy show Seinfeld. The impetus for this reinvestigation was prodded by Tommy Scott aka Woodward’s connections with not only eccentric British record producer Joe Meek – SEE: Beatles Beneath Bee Gees Grease Paint – but also with Gloucestershire, the location of the recent terrorist bombing attempt which was alleged to have occurred near the township’s Royal Air Force base.
SEE: PM Dandy Andy’s Dubious Bomb Plot
TOMMY SCOTT & THE SENATORS
Though official mainstream biographical sources claim that Tommy Scott aka Woodward was born the son of a coal miner in Treforest, Wales, Wikipedia informs that he is primarily of English descent, with a paternal grandfather hailing from Gloucestershire, home of the joint American/British Royal Air Force base which was recently alleged to have been attacked by bomb wielding terrorists from Iran. The surname of Woodward has medieval and Anglo-Saxon roots and in centuries past was often associated with an official title given to royal manorial forest wardens charged with the responsibility of policing poachers of game on forestlands owned by noble lords or sitting monarchs. As has usually found to be the case with these sorts of investigations, there is also a military connection. The concept of war, after all, is the organizing principle of society and now, in the twenty-first century, with both Jesuit-directed CIA and British intelligence running out of phony enemies to fabricate and with the growing prevalence of digital technologies and robotics leading to the replacement of human resources in a majority of white- and blue-collar employment sectors, they’ve decided to declare war on the hoi polloi. Throughout history, war has been utilized by City of London and Vatican/Swiss bankers as a standard method of operation to not only thoroughly exploit commercial markets but also to manufacture and to consolidate the accumulation of debt. When considered in a modern context, the entertainment industry was created to work in accompaniment as a subversive form of sociopolitical propaganda and as an effective tool of psychological conditioning and behavioral pacification to ensure that the integrity of debt-based economic systems controlled by central banking monpolies remained intact and undisturbed by proletarian revolutionary agitations.
The date of birth listed for Tommy Scott aka Woodward, 1940, corresponds with the beginning of World War II, when Treforest, in Wales, underwent a period of industrial development and expansion to help with the United Kingdom’s war effort. Starting in 1936, three small factories and a paper mill were built under the managerial direction of Treforest Industrial Trading Estate, which later became known as Welsh Development Agency. When the war began to spread throughout Europe and as Britian’s involvement became increasingly drawn into the fray, local residents were displaced and their houses requisitioned by the Welsh government to make way for the wider expansion of Treforest’s industrial park, which consisted of companies established by businesspeople who were refugees from German-occupied Europe. Having spent most of his formative years in Treforest amidst the turmoil of war and industrial expansion, mainstream biographers claim that at the age of twelve, while demonstrating a talent for singing at family gatherings and performance engagements at local pubs, Tommy Woodward became stricken with tuberculosis. Note that number twelve which, when applied to the law of occult mirrored reversal, equals twenty-one or three sevens, which is Alistair Crowley’s joker intelligence code.
It is at this point in the established biography of Tommy Woodward aka Scott that a rather peculiar hole appears in the narrative. For the next several years, extending from his preadolescent bout with tuberculosis and on into the 1950’s, any traces of biographical details concerning Tommy Woodward’s life appear to be mysteriously unaccounted for until the year 1963, when Woodward changed his name to Scott and became the frontman for a Welsh pub rock/pop band called the Senators, an act which also featured drummer Chris Slade, who would later go to work with arena rock titans AC/DC and Jimmy Page’s The Firm. During this time, Woodward aka Scott’s vocal talents were said to have drawn the attention of Decca records and music recording executive Phil Solomon, whose family were the music recording label’s majority shareholders. Decca was also the label to which the legendary singer/actor Bing Crosby, identified as but one among a seemingly never ending slew of media generated character modifications, including Adolf Hitler, portrayed by King Leopold III of Belgium, son of Albert I of Belgium (aka Standard Oil magnate John D. Rockefeller), was signed under long term contract.
BEATLES CONNECTION
The self-referential lyrics to Glass Onion, a song which appears on the track listing for the Beatles double record The White Album, released in 1968, were said to have been composed by John Lennon (aka Rod Stewart/Mike Nesmith/Steve Jobs) in reaction to his annoyance over music fan’s penchant for over analysis. A lyric in one of the song’s verses alludes to the animal costumes worn by the Beatles in the movie Magical Mystery Tour: “I told you about the Walrus and me, man. I tell you we’re as close as can be, man. Well, here’s another clue for you all. The Walrus was Paul.”
Turns out, the ‘clue’ given by John Lennon – SEE: Rotten Apple Biting Beatle Gets Busted – was meant as misdirection to lead the public and Beatles fans away from ever considering that the walrus costume to which Lennon referred is the clue that ‘Paul McCartney’ was a costumed fabrication with an actor cast by British intelligence working in cooperation with Tavistock Institute of Human Relations in portrayal of the iconic role.
Though initially, Tommy Scott and the Senators worked with noted British record producer Joe Meek, their records failed to chart in the UK. It wasn’t until Woodward aka Scott became affiliated with Gordon Mills, the man who would become his manager, that his career as a pop singer began to see wider exposure and would eventually hit paydirt. Mills persuaded Woodward to dump the Senators and move to London, where there existed greater potential for expanding the artist’s notoriety. Mills was a music industry colleague of both Les Reed and Burt Bacharach, who were both accomplished and reputable professional songwriters. Regarding Reed, Wikipedia quotes All-Music Guide, an online music database: “In the mid-1960’s, it was unusual for a British singles chart not to list a Les Reed song.” It was Reed and Mills who were credited with penning what would become Scott’s signature hit song, ‘It’s Not Unusual’. Mills also brought together what was essentially an all-star lineup of studio musicians for Scott’s recording session, including Led Zeppelin’s Jimmy Page and Reginald Dwight, who would later become known as Elton John, and Alan White, a drummer/percussionist who also worked with the Beatles and their record producer, George Martin. When ‘It’s Not Unusual’ began a rapid ascent towards the summit of popular music chart positions, both in Britain and in America, Mills suggested to his brightly burgeoning star that he change his name – from Tom Woodward aka Scott to Tom Jones, after the moniker of the lead character in a popular award-winning British film, the script for which had been adapted from Henry Fielding’s novel, The History of Tom Jones, A Foundling, first published in 1749.
TOM JONES=PAUL MCCARTNEY
During an interview with talk show hostess Dini Petty which first aired in 1995, Tom Jones revealed that Paul McCartney had originally intended to place Long and Winding Road, the song he’d written for the Beatles album Let it Be, with him to record. At the twelve-minute mark of the video, which is available for viewing on You Tube, Jones explains how although the two men had discussed the song over drinks at a pub, he somehow missed the opportunity to record the classic song due to bad career timing. Image comparison, ear biometric, and facial recognition analysis confirms that not only is Tom Jones the host acting template which was modified into the media generated character fabrication known as Beatle ‘Paul McCartney’ but also proves the entirety of Jones’s intriguing historical anecdote involving ‘McCartney’ and the Beatles song Long and Winding Road was a colossal fabrication.
Furthermore, although they may have offered some creative input from time to time, what was alleged to have been the legendary song composition duo of Lennon/McCartney, credited with producing the bulk of the Beatles song book, existed largely as a music industry myth. Popular music artists under contract matched with songs written by composers or assembled brain trusts of composers with a proven track record has been standard practice in the music industry since its inception, the profitable formula upon which corporate recording executives have always relied to remain in business, and it was their continued reliance upon that proven formula which allowed the Beatles to develop into a powerful commercial force.
As observed in the succession of images posted below, the epidermal structures of the respective eyes, brows, noses, nasolabial folds, and lips, as well as the outer and inner portions of the ears are proportionally identical.
Below in succession: Tom Jones, Paul McCartney
Tom Jones (aka Paul McCartney) was also modified into actor/comedian Michael Anthony Richards who is most noted for his casting as Cosmo Kramer on the television situation comedy, Seinfeld, which also starred Jerry Seinfeld (aka Barack Obama, Usama bin Laden, Jerry Epstein). While both Jones and his modified character scheme ‘McCarteney’ have been knighted by the British monarchy, according to masonrytoday.com, Jones’s other character modification, Michael Anthony Richards, is a member of Riviera Masonic Lodge No. 780 in Pacific Palisades, California.
SEE: Curtain Draws on Nina Jankowicz Show
Below in succession: Tom Jones, Michael Anthony Richards
