The walrus taunt

I was reading this morning about about British playwright and director Edmund Goulding, and learned that in his early years he first pranced onto the stage playing the walrus in Alice in Wonderland. Just curious, I looked for the walrus in Through the Looking Glass, and came on the poem The Walrus and the Carpenter. It is 18 stanzas containing 108 lines for those who pay attention to the number game. The “carpenter” is not a significant character, that is, he could have been any profession but the word “carpenter” was a better fit for the verse. It was not chosen by Lewis Carrol, but instead by his editor. It’s the walrus that matters.

The carpenter and the walrus walk along the beach and lure oysters to follow them – this as the oysters know there are 8 months (again with the numbers!) that they should not go ashore. The two amass a large following, and then feast of them, the walrus hiding behind a handkerchief to disguise how many he has eaten.

That is about as obvious as poetry ever gets for this accountant. I was triggered because of the song I am the Walrus, supposedly written by John Lennon, more likely by the writing committee for the handlers behind that group. There are certain works written by spooks that spooks love to litter in their various operations, such as Catcher in the Rye and Alice in Wonderland. 

img_1369There is debate among Beatleologists about whether the walrus was Paul or John, and the cover of Magical Mystery Tour leaves us guessing. In the song Glass Onion John says “well here’s another clue for you all, the walrus was Paul.” He’s probably lying again. More likely the walrus was all of them, the entire Beatles operation from Intelligence all the way down to lowly Ringo.

Here is my take: The Beatles were a spook operation, perhaps writing some of their own music, but all the world is a stage. They were reciting their lines as instructed. Intelligence likes to mess with us, and telling us right to our face that they are luring us into a trap even as they do it would be just like them, saying “look how clever we are, how stupid you are.”

In the Paul is Dead psyop, the walrus is said to be a symbol of death, another clue for us all. That was misdirection. The whole point of the Beatles’ use of the walrus symbol was to mock us. Somewhere out there John is laughing. He is 76 now. We don’t know  his real name. I imagine he is living a privileged life of crumpets and tea, cavorting with grandchildren, watching the wheels. He certainly had his way with us.


PS: Lennon was born on 10/9/1940 – 10+9+1+9+4=are you kidding me?

About Mark Tokarski

Just a man who likes to read, argue, and occasionally be surprised.
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18 Responses to The walrus taunt

  1. Phillip Solesky says:

    Very good post! What’s far more annoying are the number of people (particularly, in our age bracket) who idolize the Beatles and especially John Lennon.


  2. lux says:

    Speaking of The Beatles, John Lennon and funny numbers …

    One of the first songs allegedly written by Lennon was “One After 909,” a railroad song that tells the tale of a guy whose girl says she’s leaving him on the train known as the “one after 909” and he tries to catch the same train, etc.

    Well, in railroad numbering systems it’s common to use odd numbers for trains going in one direction (for example, Westbound) and even numbers for trains going in the opposite direction (e.g., Eastbound).

    So, if one were going to catch a train going in a particular direction and that train was the “one after 909,” what would be the number of that next train?

    Liked by 2 people

  3. marsinvirgo says:

    8 days of Hanukkah


  4. tyronemccloskey says:

    Joe Atwill at has the song include allusions to some counter-revolutionary victories for the British army, including the second Boer war (the…’I am he as you are me’… segment) and the Easter rebellion in Ireland (the…’get your tan from standing in the English rain’… segment) I imagine the allusion to the Eiffel Tower in the song is a taunt to the French regarding Britain’s help in liberating them in WWII-
    Atwill uses what seems to my mind as a very malleable technique in interpretation known as ‘Typology’- It’s not really in play in his analysis of the song, but it has allowed him to create a history of the gospels that I have a hard time buying- He also emphasizes the carpenter character as alluding overtly to Masonic themes in the foundation poem by Carroll and thereby overlays the song with Masonic import- I would agree that’s why the editor placed that character in the poem- Editors are just more handlers, making sure the agenda is served even as the talent plays with other parts of the brain that don’t require a paradigmatic foundation for support-

    PS- Edgar Allan Poe is referenced in the song- He died young-ish at 40 and all records, including death certificate are lost- Wonder if he was repurposed-


    • I would say the song is too layered and full of historical references for a Lennon in his twenties to have written. Same with Sgt. Pepper. These songs were probably written at the Asher residence by a committee with George Martin, Margarett Asher, some talented songwriters, a spook with the guiding theme, and perhaps both McCartney’s and both Lennon’s in attendance but not having large input. I cannot understand otherwise why in the mid-60s a family, the Asher’s, puts in a front of allowing their daughter’s boyfriend to move in with them. It was not done in proper circles.


      • tyronemccloskey says:

        I agree, grown-ups wrote those songs- I doubt it was Adorno, though they were probably conversant with his theories-
        This seems obvious, but I was pondering celebrity names and I assume the Lennon moniker was chosen to allude to Lenin when the Lennon character began flouting his cartoon politics and singing songs like “Working Class Hero”, which is really just a come-all-ye to follow another commie guru over the cliff-


        • Not to me-too, but when I suspected his name was Stanley, I thought too that Lennon and Lenin was intentional.


        • PS: Who is “Adorno”?


          • Theodore Adorno from the Franklin School, author of “The Authoritarian Personality” which was a direct attack on white Christian men under the guise of psychology.


          • tyronemccloskey says:

            That guy- One John Coleman, an admitted “ex” spook for MI6, wrote a book called something like The Committee of 300 where he asserts that Adorno wrote the Beatles songs- Coleman is the only source for this so take it, and him, with cow sized salt lick-


          • All brand new. Thanks!


          • Phillip Solesky says:

            Yes, he wrote another book as well, but I don’t remember the name of it. It now looks like a clear case of limited hangout/misdirection. However, it was the first time my eyes were opened to the fact that the Beatles didn’t write any of their own stuff and were a total psyop.


          • Vexman says:

            That was the title “Socialism: The road to slavery” . It’s an interesting play of letters in dr. John Coleman, when you do the search this is what may hit you in the face : “Mander , Name Meaning English: of uncertain origin. It may be a nickname for a beggar, from an agent derivative of maund ‘beg’ (probably from Old French mendier, Late Latin mendicare); this word is not attested before the 16th century, but may well have been in use earlier.”, from here: . Note the amusing word combination that appears in the description at the above link – agent derivative 🙂

            As much as Coleman is another false guru at his best, it was him who opened my eyes to the idea that all those mysterious and catch-me-if-you-can names of groups of people in power – are organised and logistically driven from one office. Something I was implying the other day when considering notorious religious connotation to the rulers.


          • Should have said Frankfort School… Duh!


  5. Jen Moore says:

    Watch the John Lennon 75th Birthday Celebration. The most unusual part was “Paul’s” video, cheerily wishing John a Happy Birthday.
    Watch Let Him Be. A lot of folks in there, young and old, that look like family. Just sayin’
    Interesting photos from Neil Aspinall’s funeral. Wish George Martin’s had been public.
    Klaatu. ‘Nuf said.
    Was it Dr. Phil who sang…”nothing really matters, anyone can see, nothing really matters…”


  6. lux says:

    I was a rock musician in the 1960s (yes, I’m that old) in the San Francisco Bay Area and worked a lot in those days. I’m quite familiar with what it means to have a working “garage band” during that era and to work the kinds of venues that the Beatles allegedly worked. I played at the Fillmore and I worked with some excellent and talented musicians, even one who is now in the Rock and Roll Hall of Fame. I also did some song writing and recording and have experienced the song publishing process. I say this only to point out that I am not only a fan but a person speaking from some experience.

    For many years I went along with the idea that The Beatles wrote all those famous songs and assumed they were the song-writing geniuses that they were made out to be. But, now, after a whole lot of media fakery water has flowed under my bridge I can look at The Beatles in an entirely new light.

    It is now unreal to me that they wrote those songs. Perhaps they wrote a few but there is no way that The Quarreymen, an alleged skiffle/R&B/rockabilly band working in rough & tumble rock clubs and bars could suddenly turn into pop geniuses and write the world’s most popular love songs and ballads. If you look over the history and background of successful songwriters you don’t see that sort of genre transition anywhere else. Writers with rock ‘n roll or blues backgrounds don’t suddenly start cranking out hit middle-of-the-road (MOR) pop tunes and love ballads. It just doesn’t work that way in real life. Song writing is hard and composers don’t suddenly change genres and write in musical styles that they’re not intimately familiar with.

    So, where did the songs come from? I think they probably came from the same place all the popular music was coming from in those days – from a host of talented songwriters in England and the USA who were ghost writing for The Beatles. Writers who were already known or soon-to-be-known as great writers in their own right. People like Carol King, Neil Sedaka, Billy Joel, Elton John, Paul Simon and many others. Maybe even Buddy Holly (still very much alive after his fake plane crash but that’s another story),

    The Rolling Stones were a similar situation. In the beginning they recorded mostly other peoples’ blues and R&B material but then, according to Rock n’ Roll mythology, their manager, Andrew Loog Oldham, allegedly locked Mick Jagger and Keith Richards in a room and told them he wouldn’t let them out until they’d written a song. The legend is that they then wrote “As Tears Go By” which was a hit for Marianne Faithfull and was later recorded by The Stones as well.

    Does it seem realistic that these ragged blues musicians who couldn’t write a lick up to this point would suddenly, in one evening come up with — not only a song — not only a HIT song — but a hit song that was completely out of their milieu — a hit MOR pop song like “As Tears Go By”?

    I don’t think so.

    Jagger’s explanation for this miracle was, “So what Andrew Oldham did was lock us up in the kitchen for a night and say, ‘Don’t come out without a song.’ We sat around and came up with ‘As Tears Go By’. It was unlike most Rolling Stones material, but that’s what happens when you write songs, you immediately fly to some other realm.”

    Yeah, they flew to some other realm all right. Right to some other songwriter who had already written it and submitted it to the Stones’ manager the day before. That’s my belief anyway. And, those who don’t agree would probably buy that Muddy Waters wrote “Jingle Bells,” Chuck Berry wrote polkas and Ledbelly wrote “Puff the Magic Dragon.”


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