Many people don't know about it,
because back in the 60s, Europe was a different world
than the real West (i.e., Canada, USA).
In those days, the main exposure to vulnerable youth
was not through Television, which was live, and also an expensive luxury.
It was through the record industry and radio.
Many bands 'made it' through air-play on radio stations,
and the competition was done by record companies
pumping out and distributing "45s" (small single song records played at 45 rpm).
(I'm explaining this because most young people today don't really know
these details. Older folks can be impatient just a bit longer.)
The early bands in their early years (like Elvis, the Beatles, and Rolling Stones),
got exposure mostly through radio and records.
Why is this important?
Because even back in the early career of the Beatles,
songs were sometimes loaded with double-meanings.
This was no 'conspiracy' but more of a 'covert operation',
something like what Shakespeare himself used to do:
Shakespeare would write a play and perform it,
so that one part of the audience, the common masses,
serfs, merchants, blacksmiths (blue-collar workers)
would hear jokes and maxims that they would recognize and appreciate,
while the rich lords, and members of the king's court (upper class)
who sat high up in the balcony seats would hear and appreciate
the more sophisticated jokes and ironies (i.e., the secret mocking of the
uneducated farmers etc.).
So what you had was actually two simultaneous plays for two audiences.
The Beatles did something similar,
by using the audio alone as a medium to reach their massive common fan base,
while putting out VIDEOS which contained a different message,
and would completely alter the meaning of a song.
In those days, (with typically only one or two government-run TV channels),
the video portion of their message formed a separate media which
reached a completely different and more sophisticated older audience,
(namely middle-class and upper-class who could afford TV).
A perfect example of this Dual-Message targeted to different audiences
is the following song:
"You've Got to Hide Your Love Away"
The audio song has all the appearance of a simple but poignant and
well-written love-song, with no hint however of a homosexual sub-text.
One might well be accused of being a conspiracy-nut for suggesting
it is really all about homosexuality, and transvestitism,
if not for the video which was released alongside it.
The video is as old as the song, and features the Beatles' homosexual manager,
Brian Epstein, actually dressed up as a woman.
He is so well dolled-up, you might actually mistake him for a woman,
if you did not know him in person (something only virtual insiders would).
https://www.youtube.com/watch?v=jz7IjXu0DfQ
The extended exchanges of glances and meaningful stares between
all the band members and Brian Epstein speak volumes about the question.
Of course, homosexual behaviour was still a scandal in the 60s,
even though apparently rampant in private schools and in English society.
The recent revelations about massive pedophile rings operated by
the upper class to sexually abuse and traffic children, especially boys,
are quite enlightening in this context.
The Beatles were at the start simply a bar-band, with little conception of
a future beyond seedy bars in Germany (where they played for 10 years,
with little fame or financial success).
What propelled them to the 'top' was BACKING.
And that backing came from both the homosexual elite of Britain,
and even the Royal Family.
Brian Epstein was not a 'lone gunman' but represented by proxy
a whole cult and secret mafia of pedophiles and perverts.
Once the agenda was agreed upon, the backing (and fame) was secured.
Every edge was given them, including international gigs,
and access to the British philharmonic orchestra and professional
engineers and composers who helped to arrange and even ghost-write
and train these four fop-heads for their new role as
LGBT programmers for the brainwashing of the whole post-war baby-boom generation.
The whole point of the Beatles was to push an agenda,
one which has turned out to be surprisingly old and stale.
The truth of Lennon's homosexual experiments with Epstein and the other Beatles,
is actually moot and almost irrelevant, except to explain how they could
go along with the plan.
The Four Mop Tops, it must be remembered were the very first band
(among many quick copycats) to sport the new girlish long-hair style,
which in hindsight hardly looks like more than maybe a delay of haircut!
But its still a significant ice-breaker, as these BEFORE AND AFTER photos show:
"The MercyCats" pre-fame and pre-stardom haircuts.
The Gay MopTops: - sponsored by royalty, managed by the LBGT community.
The 'public persona' of the band,
that of being 'eligible bachelors' available to the mob of young girls at large,
was largely a complete piece of fakery.
Most of them got married young, which was kept secret.
The thing to remember is not that these were hardcore homos themselves,
but wild and careless experimenters who had no moral or ethical grounding,
and were themselves easily manipulated by jaded wealthy homo elite.
They took the money and the fame, a contract signed by satan himself,
the father of all homos.
because back in the 60s, Europe was a different world
than the real West (i.e., Canada, USA).
In those days, the main exposure to vulnerable youth
was not through Television, which was live, and also an expensive luxury.
It was through the record industry and radio.
Many bands 'made it' through air-play on radio stations,
and the competition was done by record companies
pumping out and distributing "45s" (small single song records played at 45 rpm).
(I'm explaining this because most young people today don't really know
these details. Older folks can be impatient just a bit longer.)
The early bands in their early years (like Elvis, the Beatles, and Rolling Stones),
got exposure mostly through radio and records.
Why is this important?
Because even back in the early career of the Beatles,
songs were sometimes loaded with double-meanings.
This was no 'conspiracy' but more of a 'covert operation',
something like what Shakespeare himself used to do:
Shakespeare would write a play and perform it,
so that one part of the audience, the common masses,
serfs, merchants, blacksmiths (blue-collar workers)
would hear jokes and maxims that they would recognize and appreciate,
while the rich lords, and members of the king's court (upper class)
who sat high up in the balcony seats would hear and appreciate
the more sophisticated jokes and ironies (i.e., the secret mocking of the
uneducated farmers etc.).
So what you had was actually two simultaneous plays for two audiences.
The Beatles did something similar,
by using the audio alone as a medium to reach their massive common fan base,
while putting out VIDEOS which contained a different message,
and would completely alter the meaning of a song.
In those days, (with typically only one or two government-run TV channels),
the video portion of their message formed a separate media which
reached a completely different and more sophisticated older audience,
(namely middle-class and upper-class who could afford TV).
A perfect example of this Dual-Message targeted to different audiences
is the following song:
"You've Got to Hide Your Love Away"
The audio song has all the appearance of a simple but poignant and
well-written love-song, with no hint however of a homosexual sub-text.
One might well be accused of being a conspiracy-nut for suggesting
it is really all about homosexuality, and transvestitism,
if not for the video which was released alongside it.
The video is as old as the song, and features the Beatles' homosexual manager,
Brian Epstein, actually dressed up as a woman.
He is so well dolled-up, you might actually mistake him for a woman,
if you did not know him in person (something only virtual insiders would).
| Original Video for Hide Your Love Away | |
https://www.youtube.com/watch?v=jz7IjXu0DfQ
The extended exchanges of glances and meaningful stares between
all the band members and Brian Epstein speak volumes about the question.
Of course, homosexual behaviour was still a scandal in the 60s,
even though apparently rampant in private schools and in English society.
The recent revelations about massive pedophile rings operated by
the upper class to sexually abuse and traffic children, especially boys,
are quite enlightening in this context.
The Beatles were at the start simply a bar-band, with little conception of
a future beyond seedy bars in Germany (where they played for 10 years,
with little fame or financial success).
What propelled them to the 'top' was BACKING.
And that backing came from both the homosexual elite of Britain,
and even the Royal Family.
Brian Epstein was not a 'lone gunman' but represented by proxy
a whole cult and secret mafia of pedophiles and perverts.
Once the agenda was agreed upon, the backing (and fame) was secured.
Every edge was given them, including international gigs,
and access to the British philharmonic orchestra and professional
engineers and composers who helped to arrange and even ghost-write
and train these four fop-heads for their new role as
LGBT programmers for the brainwashing of the whole post-war baby-boom generation.
The whole point of the Beatles was to push an agenda,
one which has turned out to be surprisingly old and stale.
The truth of Lennon's homosexual experiments with Epstein and the other Beatles,
is actually moot and almost irrelevant, except to explain how they could
go along with the plan.
The Four Mop Tops, it must be remembered were the very first band
(among many quick copycats) to sport the new girlish long-hair style,
which in hindsight hardly looks like more than maybe a delay of haircut!
But its still a significant ice-breaker, as these BEFORE AND AFTER photos show:
"The MercyCats" pre-fame and pre-stardom haircuts.
The Gay MopTops: - sponsored by royalty, managed by the LBGT community.
The 'public persona' of the band,
that of being 'eligible bachelors' available to the mob of young girls at large,
was largely a complete piece of fakery.
Most of them got married young, which was kept secret.
The thing to remember is not that these were hardcore homos themselves,
but wild and careless experimenters who had no moral or ethical grounding,
and were themselves easily manipulated by jaded wealthy homo elite.
They took the money and the fame, a contract signed by satan himself,
the father of all homos.
