As was previously discussed in the Introduction, the prophecies of the two witnesses were delivered in a manner that resulted in the generation of the 1960s having no idea that they were being presented with the prophecies of the two witnesses. It is possible to further substantiate this notion that the intended audience of the prophecies delivered by the two witnesses was not the generation of the 1960s by examining the music they released and the manner in which the two witnesses discussed their music during the interviews they participated in.
John and Paul were artists that operated way above the genius level during the time that they were fulfilling scripture by acting as the two witnesses. This is because they were also very inspired at this time. As this high level of inspiration melded with their already powerful artistic capabilities they successfully incorporated every aspect of the two witnesses into their lives and music, thereby fulfilling scripture related to the two witnesses in every detail.
The songs and albums they created contain within them many indications that support the claim that they were the two witnesses. This has to be because it is through the identification of these aspects of their music that the Christian public will be guided to the realization that John and Paul were the two witnesses. Seeing that John and Paul were the two witnesses then leads one eventually to the identification of the prophecies which in turn leads to eventual action by members of the Christian population to fulfill the prophecies.
To that end, John and Paul utilized many different components of their artistic efforts and subsequent creations in order to achieve this needed objective of providing enough information so that eventually it would be realized that the prophecies of the two witnesses could be found in the music they created. For example,
- They were very deliberate regarding the use of particular words throughout the period of prophecy.
- The use of colors was also given special attention by the two witnesses to insure that each particular use of a color was consistent in terms of the meaning being conveyed.
- There was also a strong, consistent numerological theme that ran through the period of prophecy.
- The use of homonyms was also of great interest to the two witnesses as the use of this literary technique allowed them to put forth a great deal of information in a manner that would easily remain undetected for many years.
By understanding that the period of prophecy started on November 24th, 1966 and ended on May 7th, 1970, we can see that the Lennon-McCartney music released during the period of prophecy started with the single Penny Lane / Strawberry Fields Forever and ended with the release of the single Let It Be / You Know My Name (Look Up The Number). Since this entire period is related to the two witnesses, we can say with certainty that all of the music of this time period was a single concept work. Of course, no one understood until now just what concept this entire body of work encapsulated. Now, however, it is understood that each song released during that time period was created with the sole intention of supporting the deliverance of prophecy by the two witnesses.
To that end, some of the songs they released during the period of prophecy have specific prophetic outcomes in mind. Being For The Benefit Of Mr. Kite would be one of those songs, as would Glass Onion. Other songs address the period of prophecy in a more general manner. For example, Ob-La-Di Ob-La-Da is a song that addresses the continual propagation of the bloodline of Mary Magdalene. It will be shown that each and every song released by the Lennon-McCartney duo during the period of prophecy supports their delivering of prophecy in one manner or another.
So how does this feat get accomplished? How does one go about releasing 3 ½ years of music across four albums, one E.P., nine single releases, and two movies in a manner so that no one will be able to understand that the content of all of these songs and movies are related to one another in a very deliberate, intricate, thematic manner? The answer to that question is that they had to mislead, purposely or not, the public about what they were doing. John and Paul were constantly being asked to explain their songs. At times this type of questioning became focused on a particular work to the point that they even had to outright lie about the origins and intended meanings of each song in order to put the constant questioning to rest. In other words, sometimes they could not get away with saying that the song in question was just nonsense, having little or no meaning.
More often than not John and Paul would explain away the meaning of a particular album, song, or lyric by saying that most of what they were creating musically was nonsense. After all, they would reason to the public, it is only rock and roll, right? What could be serious or profound about rock and roll? The public accepted this type of explanation over and over again, writing off the immense popularity of the artistic creations of John and Paul as simple happenstance.
It came to be understood while studying their music that the two witnesses told the public outright that they were being misled in regards to the intended meanings contained within their artistic efforts. This message was conveyed to the public through the use of a homonym. In this manner they informed everyone that what was being presented with their music was nothing more than trickery; a guise, and a very good one at that.
Sgt. Pepper was the first album released during the period of prophecy. The album cover is a fairly complex cover due to the large number of images found on it. What is very interesting in regards to the immediate topic at hand is that the phrase good guise is found on this cover, although it was placed on the cover in the form of the homonym good guys.
On the right side of the cover is a doll of Shirley Temple. This is a fairly often talked about item on the cover because her shirt contains the phrase, Welcome the Rolling Stones. What is not so commonly known is that the phrase good guys is printed on her left sleeve as shown below:
Those that are aware of the good guys phrase on her sleeve typically cite this as being a phrase that supports the still popular classification of the Rolling Stones as being the bad guys and The Beatles as being the good guys.
However, if one wants to extract the intended meaning of any aspect of what was put forth by the two witnesses during the period of prophecy, it must be remembered that everything they put forth to the public was done in support of that period of prophecy. If you are interested in deriving the intended outcomes of their artistic efforts during this time period you must keep this in mind as you analyze their work.
I eventually concluded that the wording on Shirley Temple’s shirt does not form two distinct phrases,
Welcome the Rolling Stones
It eventually was understood that the words flow down the front of the shirt and onto the arm forming one continuous statement,
Welcome the Rolling Stones good guys.
Of course, this sentence has no apparent meaning until one considers that the word guys is a homonym of the word guise. Once that distinction is made we have the following sentence in front of us:
Welcome the Rolling Stones good guise.
The phrase rolling stones has a very popular and concrete connection to Christianity as it was when Jesus Christ was resurrected that it was found that the stone that covered the opening to his tomb had been rolled to the side allowing one to pass through the opening to the tomb.  Because of this rolling stone variable found within the story of Jesus Christ’s resurrection we can say that the phrase rolling stone contains within it the symbolic connotation of being associated with a resurrection.
The prophecies of the two witnesses incorporate this notion of a symbolic resurrection as well for the prophecies were delivered with the intended result being the resurrection of the bloodline of Mary Magdalene. In addition, by recognizing that the word guise implies the act of willful deception, we can now see that the statement found on Shirley Temple’s shirt is quite deliberate and in full accordance with the efforts of the two witnesses. In addition to all of this, with the use of the word welcome implying the act of one initially arriving or of a beginning we can now understand that the phrase Welcome the Rolling Stones good guys is a poetic phrase meant to convey the following general thought:
Here we all are at the beginning of an effort
to bring about a resurrection in a deceptive manner.
Since we now understand that the prophecies are intended for the use of a future generation to help with the finding of the physical tomb of Mary Magdalene so that the rise of the first beast found in Revelation 13 can then take place, we can expound on this phrase found on Shirley Temple’s sweater even further and see that what was being said by the two witnesses is:
Here we are at the beginning of the prophecy of the two witnesses;
a period of prophecy that will result
in the resurrection of the bloodline of Mary Magdalene.
The prophecies that will make all this happen are going to be put forth in such a manner
that they will only be able to be seen by a future generation.
This is a correct understanding of the phrase welcome the rolling stones good guys and the manner in which John and Paul handled themselves while being questioned about the meaning of certain songs certainly supports this point of view.
Lucy In The Sky With Diamonds
For example, one of the more controversial situations that John Lennon found himself in was his having to provide a plausible explanation about the apparent underlying LSD insinuations many detected in the song Lucy In The Sky With Diamonds, a song we now understand to be derived directly from Revelation 12:1.
Upon this song’s release many started to assert that the song was about LSD for a couple reasons. First, the initial letters of the significant words in the song’s title formed ‘LSD’. In addition, the imagery of the lyrics of the song was conducive to what a person might experience while on LSD.
John Lennon was prodded to explain himself over and over again about how the song came about in many different interviews. He was questioned so much about this it is possible to observe how he handled this question in many different instances. This allowed his consistency regarding the terminology he used to be observed. He chose to not explain away the song as nonsense; instead, he decided to tell the public the truth about how everything transpired, but he did it in a very symbolic manner. By providing the explanation in this symbolic fashion he was successfully able to truthfully present the origin of Lucy In The Sky With Diamonds while still being able to successfully mask the meaning of what he was saying.
Whenever John Lennon was questioned about the origin or meaning of this song he would provide, more or less, the following explanation:
The song is not about the drug LSD.
One day my child drew a picture of a woman floating in the sky surrounded by stars, or diamonds.
I looked at the picture and came up with the name of the song.
It wasn’t until John Lennon was seen explaining the origin of this song in several different settings that it became apparent that his choice of words to explain the origin of this song was always the same; it was always very deliberate. He always talked about his child drawing the picture, although in at least one instance he did change the explanation up a bit by saying that his son drew the picture. Even with his choosing to use the word son he still put forth the notion that a young person, or child, was the creator of the drawing. 
While becoming familiar with the manner in which John Lennon was handling this question regarding Lucy In The Sky with Diamonds a continuous reading of The Bible was taking place and at that time The Bible was being read with an emphasis on The Gospels. One very popular story found throughout The Gospels is the conversation that Jesus Christ has with his disciples in which he is asked what they must do so that they may gain entrance to heaven. Jesus Christ answered this question in always the same manner by saying in so many words that no one can get into heaven or get close to the son or the father unless they do so as a child.
A good example of this is found in Matthew 18:13:
And he said,
“Truly I tell you,
unless you change and become like little children,
you will never reach the kingdom of heaven.
At the time that the above passage was being read, it had already been noticed that many key phrases and concepts found in The Bible were also found within the work of John and Paul. In this case, the connection was made between the uses of the word child by Jesus Christ in The Gospels and also by John Lennon while providing this explanation about Lucy In The Sky With Diamonds. By coming to understand that the two uses of the word child were connected, it seemed highly likely that he was telling us something entirely different then what was initially gathered by those listening to him talk about Lucy In The Sky With Diamonds.
After coming to understand that there was a direct connection between Jesus Christ’s use of the word child and John Lennon’s use of the word child in regards to Lucy In The Sky With Diamonds, every use of the word child or concept thereof to be found within the works of the two witnesses was located and documented and the results were pretty impressive. John and Paul released some 69 songs during the period of prophecy and it was found that about 21 of those songs  mentioned the word child directly or implied it in one way or another. Of all words and phrases that John and Paul chose to reuse throughout the period of prophecy it is the word child that is most widely used.
The manner in which the concept of child was put forth by the two witnesses varied. Sometimes the concept of child was put forth by John and Paul in a very subtle manner. For example, the following line appears in the song Lucy In The Sky With Diamonds:
“Rocking horse people eat marshmallow pies”
The phrase rocking horse people is just one manner in which they put forth the concept of child, for the answer to the question, who rides on rocking horses? is children. The process of unlocking, so to speak, the meanings that were hidden away within the lyrics of John and Paul was in process at this point. With this new understanding of what was being said by John and Paul it was possible to establish a very strong pattern of consistency regarding word usage within the works that they created during the period of prophecy. Seeing these consistencies served to further strengthen and justify the redefining of many of the words that they were using.
A closer look into the explanation that John Lennon provided to the public regarding the origin of the song Lucy In The Sky With Diamonds then took place. A copy was located on the Internet  of the picture that he claims that his son drew. It is to your advantage to obtain a copy of the entire drawing for your review. For the purposes of exemplifying the point of this discussion it is only necessary to examine certain portions of the drawing.
John Lennon’s claim that Julian drew the picture seemed to be a bit out of place once a good look at the picture took place. Lucy In The Sky With Diamonds was recorded on 3/1/1967 which meant that this picture had to have been drawn some time prior to that date. Julian was born on 4/8/1963, meaning that Julian had to be less than four years old when he drew this picture. After looking at this picture, one’s initial reaction, when trying to make sense of John Lennon’s story, has to be along the lines of there is no way that a three year old drew this picture, as there are too many aspects of this picture that indicate otherwise.
For example, the sharpness and precision of the angles used to create the star in the sky as shown above, as well as the manner in which the points of that star are filled in with various colors, indicates that a person much older than three years old drew the picture.
The lady in the picture above also has a more mature sophistication to her than a three year old can typically conceptualize, even though the lady is drawn in a very abstract manner. The most striking example of this is that the lady shown above has a very thin waistline, meaning that the artist had to understand that a thin waistline, or hourglass figure, is a distinguishing feature when comparing males to females.
Also, the sharp jagged lines coming from the left edge of the picture above shows that the artist was able to create both sharp, bold strokes and delicate, subtle lines as needed. To do this the artist must have gone through a wide array of fairly mature emotions while creating this picture, emotions almost certainly much more mature than a three year old might be able to generate within him or her self.
I checked with various educational outlets on the Internet to find out what type of drawings a three or four year old might normally create. The following example was located of a picture that supposedly contains a fair amount of complexity when created by a child around three or four years old:
As you can see, the technical and emotional aspects of this picture and the one associated with Lucy In The Sky With Diamonds differ drastically.
It was concluded that John Lennon’s son Julian could not have been the artist of the now famous drawing that led to the creation of the song, Lucy In The Sky With Diamonds.
Since John and Paul had already been identified as being the two witnesses the process to try and determine exactly why John Lennon chose to present this particular explanation as he did started. The correct conclusion was eventually reached once the use of the word child in his explanation about Lucy In The Sky With Diamonds and the use of the word child by Jesus Christ in The Gospels were seen as having the same underlying meaning. Now it was understood that both John Lennon and Jesus Christ attached the very same meaning to the word child.
What John Lennon was saying as he explained the origin of Lucy In The Sky With Diamonds was that the religious child within him was the one that drew the picture. In other words, there was within him the desire to get close to God through Jesus Christ and after he successfully achieved this he drew this picture as a result of, amongst other variables, reading the biblical passage found in Revelation 12:1.
This explanation, of course, begs the question,
Just how did both Jesus Christ and John Lennon define the word ‘child’?
The answer to this question was found by examining what the two witnesses had to say about this notion of child. John Lennon once commented on the You are here canvas as it relates to the film Smile by Yoko. During an interview on August 24th, 1968  He said the following:
If you show a child a film,
there are no preconceived ideas about what a film should be,
but most adults have all this preconception about what everything is…
So here we have an incredible amount of information being presented to us by the two witnesses as we have just been provided a very plausible way to explain what Jesus Christ meant when he was speaking about getting into heaven. Both John Lennon and Jesus Christ were saying that you must approach the concept of heaven, God, and even Jesus Christ himself with no preconceptions. In other words, this whole business of getting into heaven is something that must take place on an individual basis, with no significant input from anyone else. This is a revolutionary way to interpret what Jesus Christ was saying for by attaching this notion of having no preconceptions to approaching religion many implications come to light immediately in terms of the practical application of this information.
This idea of practicing religion on an individual basis has a biblical foundation. For example, it is stated in The Bible that there will come a time that all people will commune directly with God. Jeremiah 31:33-34 states:
This is the covenant I will make
with the house of Israel after that time,”
declares the Lord.
“I will put my law in their minds and write it on their hearts.
I will be their God,
and they will be my people.
No longer will they teach their neighbors,
or say to one another, ‘Know the Lord,’
because they will all know me, `
from the least of them to the greatest,”
declares the Lord.
As this statement manifests itself the most significant observable change will be that the role of organized religion will change dramatically, or, in all probability, even cease to exist. One thing that happens when a person becomes involved with any organized religion is that they are educated from a religious point of view. This educational process results in their being filled with conceptions about heaven, God, and Jesus Christ. This, of course, is in conflict with the biblical passage above, not to mention the very teachings of Jesus Christ.
This drastic change in the prominence of organized religion makes perfect sense once one understands that the day will come when the Establishment takes place, for when it comes no churches will be needed. This idea that organized religions will be eliminated is again found near the very end of Revelation in Revelation 22:17:
The Spirit and the bride say, “Come!”
And let those who hear say, “Come!”
Let those who are thirsty come;
and let all who wish
take the free gift of the water of life.
Here at the very end of Revelation, after the Establishment has come into being in perfect accordance with the words of prophecy found in The Bible, we are now being told that it is possible to receive the water of life for free. As you know, all organized churches require, in various ways, its members to pay a fee for receiving the word of God, this water of life. The use of the word free here in Revelation 22:17 carries with it the implication that organized religions have gone by the way side because if they had not we still would not be able to access this water of life for free.
By realizing that the use of the word child carries with it this notion of no preconceptions we find that we are able to make great strides forward in gaining a very meaningful understanding of scripture as it relates directly to the Establishment. It is the two witnesses who provided the information needed to make those great strides.
When the Establishment is fully in place each of us will commune directly with God through Jesus Christ in each of our own unique manners. We will no longer have to depend on anyone telling us how to approach or not to approach Jesus Christ because Jesus Christ will be readily accessible to each and every one of us directly.
The explanation that John Lennon provided regarding the origin of Lucy In The Sky With Diamonds, coupled with the good guys phrase found on the Sgt. Pepper cover, substantiates very well the notion that the entire period of prophecy was delivered to the public in the form of a guise. These two examples provided in this chapter are but two of many similar types of examples that have been identified that support this claim. An incredible amount of religious and spiritual information was conveyed by the two witnesses in the form of a guise, information that proves critical when one seeks to not only understand the religious framework that we are all operating in, but also to contribute to it. This information was delivered in such a manner that it becomes apparent that what the two witnesses accomplished was indeed intended for some future generation.