No Sympathy for the Devil


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No Sympathy for the Devil

By Timothy Spearman

When the Rolling Stones wrote “Sympathy for the Devil,” they envisioned a figure that had been around orchestrating events since the time of Jesus down through the wars and revolutions of the modern era. The Stones were right of course. The Illuminati secret societies have manipulated the New World Order of Lucifer into being. Indeed as the Stones say. And I was ’round when Jesus Christ / Had his moment of doubt and pain. Made damn sure that Pilate / Washed his hands and sealed his fateIn the ancient world, the Medes met in Medea to perform their magic rites. It was an early form of psychological warfare in essence. The Medes or sorcerers would deploy powerful hexes in the form of mantras, thought suggestion, drug-induced programming, talismans, amulets, symbols, etc.These spells could be used to control the minds of followers or enemies alike. Spell the word right and you would cast the right spell. As the word ‘media’ implies, the modern day media is controlled by silicon sorcerers and their apprentices that inherit much from the ancient Medes. The idea that writers and artists exercise free speech and enjoy freedom of speech has never been true. Research has shown that most of our illustrious writers and artists of history have belonged to secret societies or their intelligence agency counterparts, which held their artistic careers to ransom. A glance at the list of ‘navigators’ found on the Priori of Sion list dug up by the researchers of “The Holy Blood and Holy Grail” shows that Leonardo da Vinci, Sir Isaac Newton, Victor Hugo, Claude Debussy, and many other illustrious geniuses of European history were Grand Masters of this secret society, and that some of them belonged to more than one.While attempts have been made to discredit the ‘navigator’ list by Pierre Plantard and others as a hoax, there are more reasons than not to regard it as authentic. The Freemasons have long asserted that the author of the Shakespeare plays was a Freemason. Masons wrongly assert that Sir Francis Bacon wrote the plays. Considering they were responsible for the deception that has caused most of us to believe that the commoner Will Shaksper wrote the plays for the last 400 years, their information can hardly be trusted. The man who wrote the plays was Edward de Vere, the Earl of Oxford, a secret agent employed by the crown and a member of Bacon’s secret writing societies Fra Rosi Cross and the Honourable Order of the Knights of the Helmet.He was paid 1,000 pounds a year as the Lord Chamberlain of England to stage theatrical performances for Queen Elizabeth. One of the greatest writers in history was a slave of the Freemason-controlled establishment and was no freer than the Hollywood artists of today controlled by the Freemasons and their American intelligence affiliates.
Research has shown that Mozart did not enjoy any freedom of speech either and was compelled to write operatic works exalting Freemasonry before the masses, “The Magic Flute” notwithstanding. There have even been suggestions that he was murdered for revealing well guarded Freemason secrets in “The Magic Flute”. The fact that he was buried in a pauper’s grave is compelling evidence for this, since being denied a proper Christian burial was a serious punishment reserved for those who betrayed the Order. There is evidence to suggest that our modern pop icons may be no freer than the great artists of history. Much has been made of the subliminal satanic messages found in the “backward masking” of the LPs of rock bands of earlier eras. In fact, Kate Bush’s song “Experiment IV” seems to be a subtle reference to the MK-Ultra programs she may have been forced to partake in, which according to the lyrics of that song, seem to have involved the use of music “to kill people from a distance.”
Much has been said about the Beatles’ Abbey Road album, mainly because of suggestions that Paul was dead. On the album cover, we see the four musicians crossing a crosswalk. Paul appears barefooted in black and there were suggestions that he may have been killed and that the Beatle’s were subtly informing the public of his death through their album cover. However, we need to be reminded that John is dead, not Paul. They are crossing a crosswalk remember. Think of the passion of Christ and the stages of the cross.The album cover is symbolic of John’s future death, not Paul’s. John leads the procession in pearl white, God’s colors. He is followed by Ringo in a cassock representing the presiding priest. He is followed by George Harrison dressed as the gravedigger and Paul as the corpse awaiting burial. When we consider that Abbey Road Records produced most of the greatest song material of the era, an album of the same title is suggestive. “Abbey Road” and “crosswalk” have interesting resonances. An abbey is a temple. Hiram Abif, hero of Freemason legend, died in the Temple of Solomon. Sol-om-on is not the name of the Isrealite king, but a synthesis of the three names for the sun god in Hebrew, Egyptian and Indian just as Israel stands for Is-Ra-El, representing the sun god triune of ancient Egypt, Isis, Ra and El. According to the legend of Hiram Abif, the purported architect of Solomon’s Temple was confronted by three assassins called the Three Juwes, Jubilo, Jubila, and Jubulum by name, who wished to know the secrets of the Master Mason Degree. When Hiram Abif refused to divulge the secrets, the three ruffians attacked him, administering blows in turns with the architectural devices they carried as weapons. John and the three musicians represent Hiram and the Three Juwes. Remember that it is John who died, not Paul.Forget the media spin and the myths of popular culture. It is well known by those who lived through the Beatles’ era that Charles Manson was heavily influenced by the Beatles. The “Sgt. Pepper’s Lonely Hearts Club Band” album cover, said to show the face of Aleister Crowley, represents the devil or Satan as the band leader. “Pepsi” is the Egyptian word for Satan. “Dr. Pepper” and “Sgt. Pepper” would be variations on the theme. Manson believed that the Beatles were modern day prophets that were giving him messages through their music and found a multitude of hidden meanings in their lyrics. He would also use his interpretation of chapter 9 of Revelation to support many of his beliefs. It may even be the case that Manson’s MK-Ultra programmers may have even used Beatles’ song lyrics to trigger Manson’s programming.This would grant them plausible deniability as it would merely appear that Manson’s response to the Beatles was delusional and psychotic. The haunting repeated Beatles’ mantra found on the White Album “Number 9, Number 9, Number 9” has puzzled many a code-breaker. In ancient pagan numerology, the number 9 is the number of the circle, which was a symbol of infinity or immortality. Take the zodiac, for instance, which comprised a 360° circle. The numbers 36 and 360 add to 9 if their components are separated and added: 3+6=9 3+6+0=9. Much medieval magic revolves around the number 9. It was considered one of the most potent of numbers because it was composed of the all powerful 3 that representing the Trinity: 3 + 3 + 3 = 9. The number nine was sacred to the pagan goddess of death, the underworld and Hell, the realm of the dead. The hidden occult meaning of “number 9” could not be more disturbing in its implications.
Charles Manson taught his disciples that they were living in the Age of Armageddon, which he referred to as “Helter Skelter.” It may be that Manson took his cue from the revolutionary propaganda of the Beatles. John Lennon of the Beatles was quoted as saying, “Christianity will go. It will vanish and shrink. I needn’t argue about that: I’m right, and I will be proved right. We’re (the Beatles) more popular than Jesus now…”
A decade after the Tate-LaBianca murders, it was reported that satanic “backward masking” had been detected in some Beatles’ songs. This article appeared in the San Antonio Light, Monday, February 1, 1982.The headline read: “Backward masked Satan promos found on some Rock’n Roll Records.” “Backward masking” consists of the subliminal technique of concealing messages. Such masking was not only found in Beatles’ songs, but also in those of other rock groups, such as Led Zeppelin, Queen, Black Oak Arkansas, and the Electric Light Orchestra. Messages that can only be heard when the song track is played backwards are implanted in the songs. This is done by placing the speed of the turntable in neutral position, then spinning it by finger backwards at sufficient speed to pick up the voice. The Led Zeppelin song, “Stairway to Heaven,” played backwards purportedly contains the words: “My sweet Satan…. the one who will be sad who makes me sad, whose power is Satan.” When played forward, the lyrics say, “Yes, there are two paths you can go by; but in the long run there’s still time to change the road you’re on.”
The Black Oak Arkansas song, “The Day Electricity Came to Arkansas,” allegedly contains the backward message, “Satan, Satan, Satan, he is god.” Although the Beatles make no overt references to Satan in their White Album, the satanist Manson was deeply influenced by the song track “Revolution No. 9”. Charles Manson believed the Beatles were telling him what to do through their songs. Manson’s disciples also believed that the Beatles’ songs were speaking to Manson, especially in the White Album.
On the White Album is a song called “Honey Pie,” The song lyrics state, “Oh honey pie, my position is tragic / Come and show me the magic / Of your Hollywood song.” The song goes on to say: “Oh Honey Pie you are driving me frantic / Sail across the Atlantic / To be where you belong.” In January and February of 1969 following the release of the White Album, Manson and his disciples tried to contact the Beatles through several telegrams, letters, and telephone calls to England to invite the musicians to join them in Death Valley, but their attempts to contact the Four Lads failed.
The Beatles song “Revolution 9” contains a segment that, played backward, has another message. The repetition of “number nine, number nine” in reverse says, “Turn me on dead man.” The lyrics to “Revolution 1,” as shown on the jacket insert, reads: “You say you want a revolution / Well you know / We all want to change the world… / But when you talk about destruction / Don’t you know that you can count me out.” However, when you listen to the record, after the word “out” you hear the word “in”. Later on in the song, the lyrics say, “You say you got a real solution / Well you know / We’d all love to see the plan.” This is most probably a reference to the “Order Out of Chaos” motto of the Luciferians and their Freemasonry. Their Hegelian problem-reaction-solution agenda to advance the New World Order requires destruction or chaos out of which they cause a reaction that requires a solution, which is greater order and totalitarian control. “The plan” probably refers to the “Great Work of Ages” otherwise known as the New World Order of Lucifer that is intended to replace the Old World Order of God.

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