Picking up where we left off with the last post, speculations were offered as to the genuine source of some of pop musics biggest classics. These are songs which have for decades provided an annuity to not only the recording companies, but continue to be a huge bulwark for the industry itself.

If one’s ears are truly attuned, they will hear trends based upon old tried and true formulas recycled repeatedly. The music industry, in terms of trend setting, is a revolving wheel that keeps on spinning, only the names of the artists change, as well as the haircuts and the fashion.

In the last post, we discussed the formation of one of pops most indelibly influential acts, the Beatles. Not only did this classic group provide the soundtrack to an entire post-war, baby boom generation, but the prevailing commercial formula in terms of style, fashion, and musical oeuvre.

All this provided a blueprint, for not only future acts to follow, but for any future artist dreaming of making any sort of impact on the pop charts.

THE BEATLES AS PSYCHOLOGICAL OPERATION

But as we began to outline in the last blog installment, the mythical fame of the Beatles was entirely manufactured by the media sorcerers. In truth, though individually charismatic, the members of the group had very little to do with the indelible imprint they were to leave on popular culture. They were utilized as an instrument by London’s Tavistock institute as a social and behavior experiment, to influence a massive change of human consciousness and global perception. Judging from the robust longevity of cultural influence, it is more than fair to say the Beatles were possibly the most successful of media psychological operations.

In retrospect, if one can see past the mythical glitter and objectively observe, everything the group uttered to the media was tightly scripted. This was done for the purpose of aligning public perceptions with new mass behavior patterns conducive to strengthening the debt based global economic system. The London Crown Temple Bankers wanted to stimulate overseas trade in America, to open new post-war markets provided by the mass migrations of urban demographics to the newly built suburban housing projects. But there was also an important philosophical component in molding new pubic perceptions. In order for this psychological operation to meet with success, central organizing principles anchoring the old society, namely religion, had to be hobbled, or eradicated altogether, in lieu of new consolidating faith.

Has one never wondered why the fab four’s visits to the Maharishi in India were so heavily publicized? One will also notice that around this point in time, and extending into the seventies, new spiritual concepts were being propagandized by the media sorcerers. Yoga, and other new age activities and religious themes were heavily promoted during this era. It can be argued this was the true purpose of the artificially created myth of the Beatles, to be employed in the service of promoting the new globalist new age faith that would eventually replace the established philosophies in the minds of the public.

One glaring example can be cited: John Lennon’s famous, or infamous, statement concerning Christianity disappearing from public consciousness, adding particular emphasis on the futility regarding argument against this fact. In taking this theme a step further, Lennon also claimed, playing his role as brooding rebel to the hilt, that  Jesus himself, representing a religious archetype, was a ‘stinking, garlic eating bastard’.

With the Beatles at the height of their manufactured fame, statements like this, which also included well-placed quips from Paul McCartney about the burgeoning drug culture, had a huge impact on the youth already conditioned into accepting without question the group as virtual demigods.

One can almost imagine the Tavistock social engineers, placed around their neat round tables, formulating which emotionally charged talking points would garner the most public impact. Turns out this volatile statement uttered publicly by a young John Lennon nearly caused a riot in some southern American cities, fostering a huge backlash against the group. But this too was all part of the psychological operation, in keeping the groups name constantly in sight of the public eye. Although in protest, the groups records were thrown into huge bonfires by angry church going southern baptist american’s, this played right into the crux of the marketing plan set up to keep the Beatles at the top of the pops.

This is surely what manager Brian Epstein had in mind in artificially stimulating recording sales, in that the rioters may have burned the groups recordings in huge open air bonfires, but they had to purchase them first!

In keeping with the theme the Beatles fame was artificially constructed, one must remember Epstein was the general manager of a chain of commercial venues specializing in the sale of the latest recordings, representing the largest supplier and distributor in Northern England. With his prior connections to Tavistock, EMI, and BBC, is it such a stretch to suggest Epstein may have purchased the records himself in a distribution buy back scheme, in order to, as they used to say at the time, ‘fiddle the pop charts’?

HIT POP SONGS ARE NOT WRITTEN BY YOUR FAVORITE ARTISTS!

To some, this may not be an astounding revelation. But there is considerable reasonable doubt to be cast upon the myth of the Beatles as the composers of their own classic compositions. Before you abscond from the web page, please, here me out. It hurts me just as much as it does you, in helping to destroy the myth of childhood idols. And for me personally, not just during childhood, but well into adulthood, the Beatles represented the fine china of pop craftsmanship. But were the members themselves responsible for the creation of that classic collection of songs?

As time goes on, and given my own personal experiences in the music industry, I’m tending toward the idea someone else may have been responsible. Granted, many of you should rightfully regard the following as gross speculation, and yet my educated opinion is empirically based, and not wholly wild conjecture.  Not so long ago, although in the time span of pop culture, considered ancient history, there existed a song writing team based in Los Angeles, called the Matrix. The compositions they created were recorded and charted high for just about every famous pop artist of their particular era. Turns out, this was not an isolated case. For if one examined the songwriting and publishing credits, those were usually attributed to the artist featured on the CD sleeve. The actual composers however, remained unknown, and usually credited as producers, or executive producers.

Though the public may not be largely aware, the practice of ghostwriting in the music industry is quite prevalent, not just in pop and rock, but especially in the contemporary country and western genre. Believe it or not, this practice also extends to the book publishing business as well. Many of the famous authors one may  have included on their bookshelf, may have been written by someone other than the pen name appearing on the cover.

Concerning the subject of the Beatles, one has to wonder, if in retrospect, their classic compositions were not also ghostwritten.

Given that Beatles mastermind producer George Martin publicly admitted the Beatles were not virtuoso instrumentalists when they first arrived at EMI studios to record their debut singles, one can then freely speculate as to whether or not the boys from Liverpool weren’t assigned similar song doctoring. Research indicates in the early sixties, before the advent of the Beatles mass popularity, there existed a similar consortium of song doctors, like the contemporary Matrix song writing team. This was centered in New York, and the location of the studio was called the Brill building. Noted composers such as Carole King and the Julliard trained Neil Sedaka, were responsible for not only writing top ten hits for several and varying artists such as Connie Francis and Gene Pitney, but their own well regarded solo material.

Sedaka was noted for being particularly meticulous in working his songwriting craft. Having been classically trained, he adopted an almost scientific approach to pop songwriting, that would prove to be quite innovative for its era. One must remember, that all major record companies and their distribution outlets are owned and controlled under one corporate umbrella, leading back to the Crown Temple banking system in London.

Is it such a stretch that EMI, with a brand new group it planned to invest the heaviest media promotion, would dare gamble on allowing four unknown and largely unskilled instrumentalists to attempt to compose their own material?

With so much at stake riding on the success of the Beatles, does it not follow by dint of logic, EMI, George Martin, and Brian Epstein, would look to an already well established stable of composers, complete with a long resume of top forty hits to their credit? In that case, Neil Sedaka and his team of accomplished colleagues toiling at the Brill building would have fit the bill.

In the early sixties, Sedaka had already racked up an impressive streak of more than seven top forty hits from 1960 to 1962. This was well before the boys from Liverpool landed at JFK to crowds of screaming females, which by the way, were hired by Epstein from a catholic girls school in Manhattan, specifically for the task of providing a raucous reception America would not soon forget.

Following this line of speculative reasoning, I recently went back and searched for audio of Sedaka’s early hits of the late 50’s and early sixties. Lo and behold, if the chord structures, the air tight tautness of the arrangements, even the lyrical subject matter and content, did not nearly or identically match those classic hits issued by EMI for the Beatles from 1963 to 1965. Curious too, that Sedaka had virtually abandoned his own lucrative solo career during this time, perhaps to totally dedicate his musical skills in creating the classic hits adored by future generations?

This is not to diminish the overall musical approach of the group that became so influential. Rather, it was George Martin’s genius to apply Sedaka’s meticulously crafted arrangements to a combination of amplified guitars and pounding percussion. In combination with the Beatles stellar vocal harmonies, this proved to be a most delicious musical cocktail that America was sure to consume with great relish.

BEATLES NUMEROLOGY

Then, there is the subject of the Beatles discography, with particular attention paid to the release dates chosen by EMI. Their first single issue, ‘Please, please me’, was released 22 (2+2=4, or the door of perception through which an idea is placed in the public mind, also representing double 11, or master builder in the Scottish rite of Freemasonry.) March, ’63 (3+9=12, 21 flipped in the mirror, or triple 7, the media spell magnified three times for maximum penetration into the human conscious mind).

It is also noteworthy that ‘Meet the Beatles’, was released November, 22, ’63, the same day as another infamous media psychological black magic operation, the JFK assassination.

Could it be more than coincidence, all of this was planned in advance by the social engineers at Tavistock in London, to create a new order out of the social confusion, grief, and chaos wrought by such a publicly traumatizing event?

Given what we’ve learned so far about history being scripted by the media sorcerers throughout the 20th century until the present day, my guess would be a resounding affirmative!

NEXT UP: The biggest secret of the bible, part III!