For many in the ‘Baby Boomer’ generation, the Beatles were not just a fantastically popular band, but a symbolic representation of what was best about the era of their youth. The Beatles stood for Love, and Freedom, and Peace; and they stood against the extremes of the Cold War; that is, for common sense as opposed to either extreme Communism or mindless consumerism and capitalism. The Beatles were the polar opposite of Lyndon Johnson, and Richard Nixon; they were the quintessential voice of the civil rights movement, and the anti-war movement, and the Woodstock Generation (even though they had officially disbanded before Woodstock took place.)
However, even in their heyday, not everyone was equally impressed with the Beatles. Some were distressed by their rejection of Christianity, and their openly expressed alliance with Eastern religions. The Beatles’ work was also widely interpreted as encouraging the use of dangerous and addictive drugs, much to the dismay of the wiser & more socially prudent parents of the “flower children”.
Today, the debate rages on, as fundamentalist Christians (in particular) have increasingly noticed occult and even Luciferian messages in the Beatles’ music and imagery. While we see this primarily as a contrived false dialectic pitting fundamentalist Christianity (a bankrupt religious relic) against Satanism (another bankrupt fundamentalism), our purpose in writing this blog post is to look more deeply into the true purposes and the true alliances that the Beatles brought to the table.
John Lennon claimed that he wrote ‘I Am the Walrus’ to “throw together nonsense lyrics to confuse scholars trying to dissect The Beatles songs.” Lennon stated that he got the idea for the oblique lyrics when he received a letter from a student who explained that his English teacher was having the class analyze Beatles songs. Lennon answered the letter; and his reply was sold as memorabilia at a 1992 auction.
Lennon also claimed a drugged induced origin of the song in his 1980 Playboy interview: “The first line was written on one acid trip one weekend. The second line was written on the acid trip the next weekend, and it was filled in after I met Yoko. Part of it was putting down Hare Krishna. All these people were going on about Hare Krishna, Allen Ginsberg in particular. The reference to ‘Element’ry penguin’ is the elementary, naive attitude of going around chanting, ‘Hare Krishna,’ or putting all your faith in any one idol. I was writing obscurely, a la Dylan, in those days.”
Lennon was playing a game with hidden truths. ‘I Am the Walrus’ (like most lyrics and imagery from the Beatles) is not difficult to decode. In addition to being saturated with occult references, its meaning shows that Lennon treated the topic of genocide with amused detachment; and that he participated in the deliberate creation of the destructive ‘counter culture’, along with others such as Gordon Wasson and Gregory Bateson, a lifetime actor.
Lennon’s description of a ‘crying Walrus’ in the song comes from the poem The Walrus and The Carpenter by Lewis Carroll, which is from the sequel to Alice in Wonderland called Through the Looking-Glass (1871). In his 1980 Playboy interview, Lennon said: “It never dawned on me that Lewis Carroll was commenting on the capitalist and social system. I never went into that bit about what he really meant, like people are doing with the Beatles’ work. Later, I went back and looked at it and realized that the walrus was the bad guy in the story and the carpenter was the good guy. I thought, Oh, s–t, I picked the wrong guy. I should have said, ‘I am the carpenter.’ But that wouldn’t have been the same, would it?”
Lennon’s statement is an intentional misdirection. In Lewis’s poem, the Carpenter and the Walrus share the same moral position. That is, they are murderers that kill and eat the generation of ‘young oysters’ that they have fooled into walking with them. ‘The Carpenter’ would be widely recognized as a symbol of Jesus, or (more generally but esoterically) a representative of ‘Tektons’ or Masonic architects in general; but he is certainly no friend to the oysters, much less any critic of the capitalist system.
“It was so kind of you to come!
And you are very nice!
The Carpenter said nothing but “Cut us another slice:
I wish you were not quite so deaf–
I’ve had to ask you twice!”
“It seems a shame,” the Walrus said,
“To play them such a trick,
After we’ve brought them out so far,
And made them trot so quick!
The Carpenter said nothing but
“The butter’s spread too thick!”
“I weep for you,” the Walrus said:
“I deeply sympathize.”
With sobs and tears he sorted out
Those of the largest size,
Holding his pocket-handkerchief
Before his streaming eyes.
“O Oysters,” said the Carpenter,
“You’ve had a pleasant run!
Shall we be trotting home again?
But answer came there none–
And this was scarcely odd, because
They’d eaten every one.
Thus the basic framework of Lennon’s song is a poem about genocide. Lewis Carroll clearly indicates this with his description of “sand” that for some reason the Walrus and Carpenter hate and wish that it would be cleared away. Carroll is using sand as it is used in Genesis to indicate a people or generation.
“that in blessing I will bless thee, and in multiplying I will multiply thy seed as the stars of the heavens, and as the sand which is upon the seashore. And thy seed shall possess the gate of his enemies.” Genesis 22:17
Carroll stays within his genocide theme by bringing to mind the apocalypse of the Prophet Daniel with his idea that “seven maids with seven mops swept for half a year” – in Daniel it is half a “week”.
The passage ‘foresees’ the conclusion of the poem wherein the ‘young oysters are ‘swept away, that is eaten.
The Walrus and the Carpenter
Were walking close at hand;
They wept like anything to see
Such quantities of sand:
“If this were only cleared away,
They said, “it would be grand!”
“If seven maids with seven mops
Swept it for half a year.
Do you suppose,” the Walrus said,
“That they could get it clear?”
“I doubt it,” said the Carpenter, And shed a bitter tear.
“O Oysters, come and walk with us!
The Walrus did beseech.
“A pleasant walk, a pleasant talk,
Along the briny beach:
We cannot do with more than four,
To give a hand to each.”
I Am the Walrus’s opening line; “I am he as you are he as you are me and we are all together” is based on the folk song “Marching To Pretoria,” which begins with the lyric;
“I’m with you and you’re with me and we are all together.”
The purpose of Lennon’s paraphrasing is to begin his linkage to genocide. In this case, he uses the song that was sung by the Boers during the Boer war as they marched from Cape Town to Pretoria. This march ended badly, as they were captured and placed in Camp Irene, the infamous British concentration camp that housed many Boer women and children.
The Irene Concentration Camp was built with the intention that it would be one of the camps that would house Boer woman and children, driven from their land by the British “scorched earth” policy. This policy dictated the destruction of the farms and lands of Boer soldiers. The conditions in the camp, located on the chilly southern side of the town, were extremely primitive. Life was exceptionally hard, and very little notice were taken by the authorities of the deaths that their lack of interest in the inmates caused.
The population increased rapidly in these poor conditions. In April 1901, it was recorded that the Irene Concentration Camp accommodated approximately 3 703 inmates, of which 317 were sick and 49 had perished. By the end of 1901 more than 800 people had died.
The next line of Lennon’s song describes the journey the Boers made while singing the song.
“See how they run like pigs from a gun see how they fly
I’m crying”
The ‘Boers’ (Lennon is using the word ‘pig’ to create a pun between ‘Boer’ and ‘boar’) are running from the guns of the British. The description of pigs ‘flying’ relates back to Carroll poem which questions whether pigs can fly.
“The time has come,” the Walrus said,
“To talk of many things:
Of shoes–and ships–and sealing-wax–
Of cabbages–and kings–
And why the sea is boiling hot–
And whether pigs have wings.”
Carroll’s above passage is not gibberish, but relates to the Apocalypse described in the book of Revelation, which describes the sea going dry, and the seven ‘seals’. Lennon’s dense coupling of imagery from Carroll’s poem, and apocalyptic references to the Boer War, shows that he understands Carroll’s real meaning.
The song “I am the Walrus” was featured in the Beatles’ film “Magical Mystery Tour”, in which the walrus was shown cavorting with a troop of figures dressed in white. Are these “Eggmen” or are they the victorious ones dressed in white, as described in Revelation 3:5? The imagery from the film shows many other mysterious characters whose symbolism has yet to be entirely worked out, at least not by the authors of this website; but the reader is invited to speculate:
Getting back to the lyrics: notice above that Lennon does not quote the first line of ‘Marching to Pretoria’ but changes the words to “I am he” rather than “I’m with you”. This expression comes from Aleister Crowley, the esoteric Freemason whose doctrine was mentioned by Lennon in the aforementioned 1980 Playboy Interview:
“The whole Beatle idea was to do what you want, right? To take your own responsibility, do what you want and try not to harm other people, right? DO WHAT THOU WILST, as long as it doesn’t hurt somebody…”
Crowley wrote:
“Let him train himself to think BACKWARDS by external means, as set forth here following:
(a) Let him learn to write BACKWARDS. . .
(b) Let him learn to walk BACKWARDS. . .
(c) Let him. . . listen to phonograph records REVERSED.
(d) Let him practice speaking BACKWARDS. . .
(e) Let him learn to read BACKWARDS. . .
(f) Instead of saying “I am he” let him say “eh ma I”(Crowley, Aleister. Magick:Liber ABA, book four, 1994 Ordo Templi Orientis edition, p. 639)
Crowley has another connection to the Apocalypse: he claimed to the Great Beast mentioned in the biblical book of Revelation. In 1904, he claimed to have received a ‘bible’ describing the apocalyptic period, LiberAL vel Legis (The Book of the Law). It contains Crowley’s famous dictum “Do what thou wilt shall be the whole of the Law.”
The Book of the Law states:
“This book shall be translated into all tongues: but always with the original in the writing of the Beast; for in the chance shape of the letters and their position to one another: in these are mysteries that no Beast shall divine. Let him not seek to try: but one cometh after him, whence I say not, who shall discover the key of it all.
The fact that Lennon was deliberately using Crowley’s line is made clear from the fact that the ‘backwards talking’ Crowley describes is also a part of another poem from Through the Looking Glass – ‘Jabberwocky’.
Carroll wrote:
“It was like this, ‘YKCOWREBBAJ sevot yhtils eht dna ,gillirb sawT‘ ebaw eht ni elbmig dna eryg diD ,sevogorob eht erew ysmim llA .ebargtuo shtar emom eht dnA’
She puzzled over this for some time, but at last a bright thought struck her. ‘Why, it’s a Looking-glass book, of course! And if I hold it up to a glass, the words will all go the right way again.” This was the poem that Alice read. JABBERWOCKY ‘Twas brillig, and the slithy toves Did gyre and gimble in the wabe; All mimsy were the borogoves, And the mome raths outgrabe.”
Later on, Humpty Dumpty presumed to expound the meaning of Jabberwocky, explaining, among other things, that “‘toves’ are something like badgers — they’re something like lizards — and they’re something like corkscrews.” So we’re still not sure what this means, but it sounds ominous.
In the next lines Lennon describes another South African massacre, the “Bloody Tuesday” that occurred in South Africa in 1946 when striking gold mine workers, marching peacefully, were fired on by police. This image is important as it confirms the previous connection to the Boer War. The naughty boy whose let his face grow long, may be a reference to Oom Paul, the leader of the Boers whose long and bearded face appears on the Krugerrand gold coin.
Sitting on a cornflake waiting for the van to come
Corporation teeshirt, stupid bloody Tuesday
Man you been a naughty boy. You let your face grow long
Lennon then describes ‘egg men’ — both as himself and as some other group; followed by the expression ‘goo goo goo job’.
I am the eggman, they are the egg men
I am the walrus, goo goo goo job
This concept relates to Carroll’s character Humpty Dumpty, who I believe is a metaphorical embodiment of the Catholic Church and its founders, the Flavian Caesars, who were the original “masters” who used mangled meanings and “impenetrability” to create the subtext in the Gospels for their glory.
“I don’t know what you mean by ‘glory,’ ” Alice said. Humpty Dumpty smiled contemptuously. “Of course you don’t—till I tell you. I meant ‘there’s a nice knock down argument for you!’ ”
“But ‘glory’ doesn’t mean ‘a nice knock-down argument’,” Alice objected.
“When I use a word,” Humpty Dumpty said, in rather a scornful tone, “it means just what I choose it to mean—neither more nor less.”
“The question is,” said Alice, “whether you can make words mean so many different things.”
“The question is,” said Humpty Dumpty, “which is to be master—that’s all.”
Alice was too much puzzled to say anything, so after a minute Humpty Dumpty began again. “They’ve a temper, some of them—particularly verbs, they’re the proudest—adjectives you can do anything with, but not verbs—however, I can manage the whole lot! Impenetrability! That’s what I say!
Lennon again mentions ‘flying pigs’, relating to Carroll’s metaphorical description of the Apocalypse. He also describes ‘Lucy in the Sky’ which of course is LSD, the drug that was promoted to youth by the Beatles. Lennon then goes on to state that he is the Walrus. In other words that he knew – and enjoyed- destroying the unsuspecting oysters that listen to his music. Lennon is ‘crying’ sarcastic tears; perhaps because there are no children left to destroy with the drug.
Mister City Policeman sitting, pretty little policemen in a row
See how they fly like Lucy in the sky, see how they run
I’m crying, I’m crying
I’m crying, I’m crying
For an example of Lennon’s public disingenuousness, it is difficult to beat his account of the meaning and origin of the phrase “Lucy in the Sky with Diamonds.” As Victorino Matus explained in the Weekly Standard, 6/9/2004:
Maybe this isn’t as important as the G-8 summit (also receiving little coverage), but for Beatles fans everywhere, it is the equivalent of realizing, after all these years, that Alger Hiss really was a spy.
FOR THOSE NOT INDOCTRINATED, it seems fairly obvious: “Lucy In The Sky With Diamonds” is a mnemonic for LSD. … And not too long after the song came out in 1967, most people figured this out. Yet, for decades, the Beatles continued to deny the reference to LSD–claiming that, in fact, the title of the song came from a drawing by Julian Lennon, John’s son, who was 3 years old at the time. As is revealed in the Beatles Anthology (and collected from other sources like Rolling Stone), Lennon is adamant that it’s all happenstance:
I saw Mel Tormé introducing a Lennon-McCartney show, saying how “Lucy In The Sky With Diamonds” was about LSD. It never was, and nobody believes me. I swear to God, or swear to Mao, or to anybody you like, I had no idea it spelt LSD. This is the truth: My son came home with a drawing and showed me this strange-looking woman flying around. I said, “What is it?” and he said, “It’s Lucy in the sky with diamonds,” and I thought, “That’s beautiful.”…. the images were from Alice in Wonderland. It was Alice in the boat. She is buying an egg and it turns into Humpty-Dumpty. The woman serving in the shop turns into a sheep, and the next minute they’re rowing in a boat somewhere–and I was visualizing that. There was also the image of the female who would someday come to save me–‘a girl with kaleidoscope eyes’ who would come out of the sky. It’s not an acid song.”
…Fast forward to this month’s Uncut interview with Paul McCartney, who explains that “A song like ‘Got to Get You Into My Life,’ that’s directly about pot, although everyone missed it at the time.” “Day Tripper,” he says, “that’s one about acid. ‘Lucy in the Sky,’ that’s pretty obvious. …
Another possible reference, noticed recently by David Richards, is that Lucy may be Lucifer – that is, Venus, or Sirius the morning star, among the “Diamonds” or other stars in the sky.
Yellow matter custard dripping from a dead dog’s eye
Crabalocker fishwife pornographic priestess
Boy you been a naughty girl, you let your knickers down
I am the eggman, they are the egg men
I am the walrus, goo goo goo joob
Above Lennon brings in the seemingly nonsense phrase “goo goo goo job.” He is relating to the work of another careful student of magic and the occult – James Joyce. Joyce’s passage, from Finnegan’s Wake, also relates to the Four Horsemen of the Apocalypse of the Book of Revelation.
“cramp for Hemself and Co, Esquara, or them four hoarsemen on
their apolkaloops, Norreys, Soothbys, Yates and Welks, and,
galorybit of the sanes in hevel, there was a crick up the stirkiss
and when she ruz the cankle to see, galohery, downand she went
on her knees to blessersef that were knogging together like milk-
juggles as if it was the wrake of the hapspurus or old Kong
Gander O’Toole of the Mountains or his googoo goosth she
seein, sliving off over the sawdust lobby out ofthe backroom, wan
ter, that was everywans in turruns, in his honeymoon trim, holding
up his fingerhals, with the clookey in his fisstball, tocher of davy’s,
tocher of ivileagh, for her to whisht, you sowbelly, and the
whites of his pious eyebulbs swering her to silence and coort;”
To decode Joyce’s apocalyptic passage would require too long a digression for this post. However it is obvious that Lennon could not have selected three frameworks for his song that used a symbolic framework as rare as Revelations’ Apocalypse by accident.
Sitting in an English garden waiting for the sun
If the sun don’t come
You get a tan from standing in the English rain
I am the eggman, they are the egg men
I am the walrus, goo goo goo joob goo goo goo goo job
References to the sun (an esoteric symbol of divinity) are ubiquitous in Beatles lyrics, though getting a tan in the rain seems about as likely as pigs flying. Lennon goes on to ridicule the generation of drug smoking youths that the ‘expert textperts’ (the elitist and occultist wordsmiths that control the media) have produced.
Expert textpert choking smokers
Don’t you think the joker laughs at you
(Ha ha ha! He he he! Ha ha ha!)
See how they smile like pigs in a sty, see how they snied
I’m cryingSemolina pilchard climbing up the Eiffel Tower
Elementary penguin singing Hare Krishna
Man you should have seen them kicking Edgar Alan Poe
Lennon’s statement “Kicking Edgar Allen Poe” is an indication to search for clues within the works of the Edgar Allen Poe, another author who was fascinated with occult and Masonic themes. The word POE is spelled out in capital letters in the CD’s liner notes.
The capital letters P O E relate to the apocalyptic movie Dr. Strangelove. Terry Southern, the movie’s author, appeared on the Sargent Pepper album cover (along with Aleister Crowley, Lewis Carroll, James Joyce, Edgar Allen Poe, and 61 other notables.) At one point in the film, the characters are desperately seeking to recover a lost secret code that could be used to recall the bombers that are about to destroy the planet. The disarmament code was some lost permutation of the first letters of “Purity of Essence” or “Peace on Earth” or simply POE (or OPE or EOP…). The point of the missing code is that there will be peace on earth once there is purity of essence – when there are only the ‘chosen people’ on the planet following the Apocalypse.
I am the eggman, they are the egg men
I am the walrus, goo goo goo joob goo goo goo joob
Goo goo goo joob goo goo goo joob
Goo gooooooooooo jooba jooba jooba jooba jooba joobaJooba jooba
Jooba jooba
Jooba jooba
John Lennon’s assassin (Mark David Chapman, 1980) was carrying a copy of Catcher in the Rye, a book that we will show on this site is a symbolic representation of a Freemason Initiation. It is possible that the purpose of the book was to issue a warning to other like Lennon that knew the truth and were tempted to speak the truth.
Lennon may have been murdered because shortly before the attack he gave an interview in Playboy where he said that the Beatles music was the product of “craftsmen” and that he did not want to continue being a “craftsman”. The expression “craftsman” is understood by magicians, occultists and Freemasons as a representation of their art, and would never be misunderstood by the author of ‘I Am the Walrus’.
In 1988, the Beatles released a compilation album, ‘Past Masters’, featuring 33 of their best-known songs. This is another Masonic reference: upon retirement, a Master Worshipful Mason receives the rank of Past Master: typically, after attaining the highest rank of thirty-third degree.
Lennon stated:
“I had become a craftsman and I could have continued being a craftsman. I respect craftsmen, but I am not interested in becoming one.”
“When the Beatles played in America for the first time, they played pure craftsmanship. Meaning they were already old hands.”
Lennon also spoke the truth about the origin of LSD, this would not have been approved by his higher level handlers who would not wish any scrutiny of MK Ultra.
“We must always remember to thank the CIA and the Army for LSD. That’s what people forget. Everything is the opposite of what it is, isn’t it, Harry? So get out the bottle, boy… and relax. They invented LSD to control people and what they did was give us freedom.”
In these words of John Lennon, we as Beatles fans find some comfort; that perhaps Lennon himself did not buy into the genocidal agenda of the oligarchs; or perhaps that once he recognized it, he rejected it. The Beatles’ advocacy of the ideals of Love, Peace and Freedom may have been genuine, rather than contrived; and as we reject the Luciferian, occult and genocidal garbage, we need not also abandon all hope for their ideals, nor need we engage in a wholesale rejection of their work.
Discuss in forum!
