The original album cover of Yellow Submarine is a complex work even for those that realize that it needs to be approached from the perspective of the two witnesses. However, gaining an understanding of Yellow Submarine is important as it is of great significance in terms of the two witnesses in that it depicts an unfolding of events that relate directly to the two witnesses themselves as well as to the prophecies they delivered, particularly those prophecies related to the finding of the tomb of Mary Magdalene. This album cover is very controversial in that the cover symbolically references individuals that are alive today, or were recently alive; people that are very well-known to just about anyone that has a social aspect to their lives. Together, these two individuals played, are playing, or will play a significant role in the coming to pass of the two witnesses and the prophecies they delivered. Though all of what is being put forth here in The Good Guise: The Beatles, The Bible, Michael and Mary is technically an opinion,  all that is being said about the two witnesses is only possible because of and thru God, Jesus Christ and the power of prayer. You are just being told what has been made known to a person that has chosen to freely follow the will of Jesus Christ.
The picture on the cover is an interesting picture in and of itself when approached in a non-symbolic manner, one that could be deemed representative of the art that was widely created during the 1960s. However, its real value is able to be understood when the picture on the cover is approached in a purely symbolic manner.
To that end, there are many important symbols to be found on the cover of Yellow Submarine and this chapter will address each of them. Besides the depiction of the four Beatles on top of the hill, the picture also contains many supporting characters and symbols as well. For example, on or near the hill are three other individuals besides The Beatles, all of whom appear in the movie Yellow Submarine.  The one on the left side of The Beatles is dressed as a public official would be dressed. To the right of where The Beatles appear on the album cover is a person that is wearing a top hat, cloaked in a green robe and holding what appears to be a red scroll. Then, in the upper right portion of the picture is a person with a lightning bolt coming from his mouth, floating in the air and wearing a shirt with the number 23 on it.
There are also several other characters from the movie Yellow Submarine; two Bonkers are on the cover and both a Snapping Turk and a two-headed Blue Meanie are on the cover as well. Also, there is a person with long red hair lying face down on the hill being overshadowed by what appears to be a charging Blue Meanie named MAX from the movie. If a person observes all of these characters knowing that these characters also appear in the movie Yellow Submarine, there is a strong pre-disposition to conclude that what is on the cover of Yellow Submarine is a psychedelic amalgamation of various aspects of the Yellow Submarine movie. If we agree that this pre-disposed perspective is the correct one then our analysis must stop at this point, for there is no where further to go down that analytical pathway; we must conclude that the cover is something that contains no meaningful significance.
However, understanding that John and Paul were acting as the two witnesses during the time that this album was released allows us to hypothesize in advance that the album cover must contain some meaningful information that can be identified. If this cover is approached from the perspective that it is related to the two witnesses and also to the prophecies they delivered then the intended meaning of the album cover can be identified.
In addition to the various people and characters that appear on the cover, there are also quite a few significant items as well. For example, three items on the cover are important in that they establish an overall theme for the album cover.
The first of these three items is the bulls-eye that is located in the lower left portion of the picture, near the bottom of the hill:
A bulls-eye is something that is aimed at; it is a target, a destination, a goal. With a target having these characteristics we can conclude that the bulls-eye was placed here to symbolically represent an ending or a destination.
In order to find a starting point, or beginning, on the cover we need to look opposite the bulls-eye, on the other side of the hill, to the Snapping Turk.
The Snapping Turk is an odd character in that it has been constructed by combining the head of a person with the head of an animal. If we carry that observation a bit further it is apparent that when these two heads are separated apart from one another, the top half of the Snapping Turk appears to be the face of a person that could easily be viewed as a stereotypical representation of someone from the Middle East. The bottom half of the Snapping Turk takes on characteristics of its own as well when separated away from its top half, as it appears now to be the head of a dinosaur, or some prehistoric animal:
What is worth noticing at this time is the lower portion of the Snapping Turk, or the dinosaur’s head.
A dinosaur’s head proves to be very strong symbolically as it represents something that existed long ago. Because of this prehistoric connotation it is reasonable to say that the dinosaur’s head is on the cover to represent a beginning, just as the bulls-eye represents an ending. Together the dinosaur’s head and the bulls-eye establish a beginning-to-end framework; meaning that all the symbols on the hill in-between the two were intentionally placed there so that they would be viewed as operating between this beginning-to-end framework.
After identifying that the picture on the cover of Yellow Submarine contains a beginning and ending, an effort was put forth to determine what was in-between the two ends of this new continuum. Eventually, a third part of the picture was found to connect the bulls-eye and the dinosaur’s head together, and at that time it became apparent that what was being shown to us on the cover of Yellow Submarine was not a static, point-in-time conveyance of information. Everything came together nicely as it was realized that the hill on the cover of Yellow Submarine was not a hill at all; it was placed on the cover of Yellow Submarine to serve as a pictorial representation of the phrase time is a curve. At this point it became apparent that the picture on the cover of Yellow Submarine was a timeline.
By understanding that the cover of Yellow Submarine contains a time-line we see that a pretty significant conclusion about the picture has been reached by taking the time to define the relationship that exists between just three symbols on the cover of Yellow Submarine. By understanding how these symbols  interrelate it is now possible to say that the picture on the cover is a timeline.
It was also found that conclusions arrived at during earlier studies of the two witnesses proved to be very useful when they were incorporated into the analysis of this picture. For example, it had already been established that the two witnesses came and delivered critical information related to the manifestation of the prophecies put forth in Revelation 12 and 13, prophecies that facilitate the finding of the tomb of Mary Magdalene as well as the manifestation, identification and eventual destruction of both the first and second beasts in Revelation 13, the latter of which is associated with the number 666 in Revelation 13. With the prophecies of the two witnesses, who appear in Revelation 11, now just being made available to the public it is very reasonable to say that the events of Revelation 12 and 13 have not yet come to pass. Knowing this allows us to say that if what is conveyed in the picture addresses the events related to Revelation 12 and 13 then not only is the cover a timeline, but that it is in part a timeline of the future. As you shall see as this discussion continues, the timeline on the cover of Yellow Submarine does address the events put forth in Revelation 12 and 13, establishing that this timeline does end somewhere in the future.
Another aspect of the two witnesses that proved useful now was that it had also already been established that color usage by the two witnesses throughout the period of prophecy takes place in a very deliberate manner,  meaning that reds, yellows, greens, whites, blacks and blues found on the cover of Yellow Submarine should be evaluated from the perspective that the usage of these various colors is symbolic and carries with them similar meanings each time a particular color is used by the two witnesses. To that end, it had been established through an analysis of the two witnesses’ lyrics that the following general meanings were being conveyed by the two witnesses whenever they referenced various colors. The intended meaning that was conveyed by the two witnesses with the use of colors in their lyrics is summarized briefly here as follows:
Red is used to convey information related to Mary Magdalene. This color is used to symbolize Mary Magdalene because the most significant event related to her during the period of prophecy is the re-emergence of her bloodline; a reemergence that will take place once her remains are found and scientific analysis is performed on her remains. All of this culminates with the positive identification of her living descendants. The use of the color red by the two witnesses, though, is widened to include all aspects of Mary Magdalene. For example, the color red is at times used to reference her directly, and at other times to reference the prophecies that relate directly to Mary Magdalene. In general, anything having some connection to Mary Magdalene can be referenced in a symbolic manner through the color red.
Green is used by the two witnesses when they wish to convey information about prophecy in general. The color green was chosen by the two witnesses to represent those topics tied directly to prophecy because Revelation 11:4 describes the two witnesses by stating that:
They are “the two olive trees”
If we extend that symbolic two olive trees paradigm further, we can see that the two witnesses understood that prophecies delivered by olive trees could be symbolically viewed as being olive oil, and since we already understand that the Bonkers on the cover represent the two witnesses  it is possible now to understand why it is that they are offering, or delivering, two olives with their outstretched arms. The two witnesses then took this relationship they established between prophecy and the color green and expanded it to include anything that can be directly related back to this notion of prophecy.
Blue is used by the two witnesses to convey information pertaining to the suppression of the true plan of Jesus Christ; a plan that culminates with the manifestation of the Establishment. At times it is used to represent various organized religions, many of which unfortunately place their very existence above the plan of Jesus Christ and also above the salvation of their parishioners. The color blue also, at times, represents a person’s lack of ability to detect and acknowledge prophecies being delivered by God. Since prophecy is represented by falling rain and the resulting collection of water, a blue sky is one that is free of clouds, or rain. Understanding these symbolic inter-relationships allows the conclusion to be reached that when a person is under blue skies it is impossible to detect or acknowledge the existence of prophecy. We could say that those under blue skies are having the prophecies suppressed from them, and that this suppression comes at times from within the individual and at other times from an outside source.
Yellow is used to represent those things that are holy in the sense that the subject matter being conveyed with the color yellow is directly related to God and Jesus Christ. This association comes from the relationship that is established when we elect to view the word sun as a homonym of the word son. Sun, as a homonym of son serves to represent Jesus Christ and God in all manners perfectly when we think of the sun as being a symbolic manifestation of Jesus Christ, since he is the way and the light. This concept is put forth in The Gospels in John 8:12, which states:
When Jesus spoke again to the people, he said,
“I am the light of the world.
Whoever follows me will never walk in darkness,
but will have the light of life.”
Again, in John 9:5, the same idea is put forth:
While I am in the world, I am the light of the world.”
With the sun being what lights this world of ours, most would agree that this homonym is an accurate one as it is Jesus Christ who lights the way as we work our way towards various goals, such as the Establishment, or salvation.
White serves to identify the cultural environment that the two witnesses came from and it also identifies to whom they delivered the prophecies. During the time of the two witnesses the white race was primarily the dominant race of people in the sense that they contributed most significantly to the construction of the final iron civilization. The two witnesses spent a fair amount of time pointing this out to us. The color white serves to identify the two witnesses as being Gentiles, as this is one of the characteristics of the two witnesses. In Revelation 11:2 it is stated that those that are to measure the outer court are Gentiles:
But exclude the outer court; do not measure it,
because it has been given to the Gentiles.
They will trample on the holy city for 42 months
It is this association between Gentile and white that the symbolic meaning and subsequent usage of the color white was constructed around.
Black was used by the two witnesses to represent Mary Magdalene and the effect that she has upon the Establishment. When Mary Magdalene is found and scientific analysis is performed on her remains it will be stated, or proven, that she was married to Jesus Christ. However, through all of this talk about her being married to Jesus Christ we must remember that the conclusion that Jesus Christ was married to her is an incorrect one. The religion of Islam, however, will use what information they can gather related to this supposed marriage to convince many that Jesus Christ was indeed married to Mary Magdalene, all in the name of converting Christians to Islam. Islam will conclude that this marriage proves that Jesus Christ was not the Son of God, but just a prophet. By merging Mary Magdalene with Jesus Christ through this falsity of a supposed marriage we will see the plan of Jesus Christ shift to a murkier, blacker territory, one that must be entered into so that the anti-Christ can come into being.
When the world begins to accept the assertion that Jesus Christ was married to Mary Magdalene the beginning of the emergence of the anti-Christ will be in process, for it is from her reestablished bloodline that the anti-Christ comes. From a numerological standpoint we can substantiate this observation as well.
As is disclosed in the discussion of Being For The Benefit Of Mr. Kite,  the two witnesses show us that the number 666 is just a different way of writing the number 9. The significance of the number 9 within the works and lives of the two witnesses is such that all occurrences of it can be incorporated to some degree into a cohesive understanding regarding the anti-Christ. Also, you have already seen that when John Lennon changed his name legally from John Winston Lennon to John Winston Ono Lennon that he changed the numerological value of his name from 1 to 9. 
In consideration of the above observations, it is appropriate to look at what happens when Jesus Christ is merged with Mary Magdalene from a numerological standpoint.
If the name Jesus Christ is converted to a single digit his numerological value is 7.
J E S U S C H R I S T
1 + 5 + 1 + 3 + 1 + 3 + 8 + 9 + 9 + 1 + 2 = 43, and 4+3 = 7
That Jesus Christ reduces down to the number seven is in perfect accordance with scripture and also with the unending goodness and completeness that exists within God and Jesus Christ. Seven is the number that represents completeness in every aspect from a biblical perspective, and Jesus Christ can have no other number associated with his name.
If we perform the same numerological analysis on Mary Magdalene her name is able to be reduced down to 2:
M A R Y M A G D A L E N E
4 + 1 + 9 + 7 + 4 + 1 + 7 + 4 + 1 + 3 + 5 + 5 + 5 = 56, and 5+6 = 11, and 1+1 = 2
When we add the two names together they total the number 9, just as John Lennon’s name totaled 9 once he incorporated Yoko’s name into his. Now we are better able to explain why he went through the whole ordeal of changing his name from 1 to the number 9; he emulated what will happen once it is concluded that Jesus Christ was married to Mary Magdalene. In effect, with the acceptance that Mary Magdalene was the wife of Jesus Christ an environment will arise that will allow the anti-Christ to come into existence. Now we can see very clearly how it can be said that the life of John Lennon at times emulates in a measurable manner the very life of Jesus Christ, for with his name change he was telling us that we should take a look at what happens when two people are united. In this case, we are supposed to examine the outcome of what happens when Jesus Christ and Mary Magdalene are merged together through a supposed marriage.
It is in this manner that the two witnesses use the color black during the period of prophecy. 
The use of colors by the two witnesses is as important an aspect as any to be found on the cover of Yellow Submarine. For example, the transitioning that takes place from one color to another as we move along the timeline is intentionally done to convey information related to each period along the timeline. The earliest background of significance on the timeline is where the two witnesses appear on the timeline as Bonkers. Both of the Bonkers are shown against a white background to show us that it is the Gentile that contributed significantly to the iron civilization and the creation of the two witnesses. In effect, the color white shown here with the Bonkers is intended to convey, in part, that the two witnesses are Gentiles, thereby satisfying that scriptural requirement.
Regarding the white background that the two witnesses  are shown against, other album covers released during the period of prophecy also continue on with this same theme as well. The Beatles (The White Album) is entirely white with just the words The Beatles stamped on the cover. We could say that on the album cover of The Beatles (The White Album) they again are featured against a white background, though in a textual format instead of a pictorial one.
Another instance in which this Beatles against a white background theme occurs is on the Sgt. Pepper cover. Many have concluded that the people featured behind The Beatles on the cover are stars and that these same stars appear once again on the cover of the Magical Mystery Tour E.P. What is happening, though, on the cover of Sgt. Pepper is that The Beatles are not featured against a star-studded background, but a white background. The only black person on the cover is Sonny Listen and he is shown next to The Beatles, not behind, allowing him to be excluded from those that comprise the background. For now, it should just be noted that everyone behind The Beatles on the cover of Sgt. Pepper is white or an acceptable variation thereof.
So here now we have an interesting observation – The Beatles are repeatedly depicted against a white background; once on Sgt. Pepper, again on Yellow Submarine, and yet again on The Beatles (The White Album). Why are they choosing to depict themselves in this manner? The reason is two-fold; first, the two witnesses wanted it to be very clear to all that they are Gentiles, a non-middle eastern culture. This is in accordance with scripture found in Revelation 11:2 as the two witnesses are said there to be Gentiles.
Secondly, there is a line in Lucy In The Sky With Diamonds that helps to clarify how the two witnesses employed the use of the color white. That line is:
Rocking horse people eat marshmallow pies
Regarding this lyrical phrase, it was a relatively straight-forward effort to determine that the rocking horse people portion of the phrase symbolically represents the children  of God, the ones that Jesus Christ says we all must be if we are to come to him. Eventually, it was also realized that what the two witnesses were saying with this phrase in Lucy In The Sky With Diamonds with this reference to white, or marshmallow, pies was that we should think of the prophecies of the two witnesses, who were two white Gentiles, as being contained in their albums, or pies, and that these pies should be understood to be white, or marshmallow, as well. We should think of this
Rocking horse people eat marshmallow pies
line in Lucy In The Sky With Diamonds as meaning the following:
Those that follow Jesus Christ realize that prophecies are to be found within the albums of the two witnesses.
With this realization those children of God begin to seek and find, or eat, those prophecies.
Returning to the cover of Yellow Submarine, as we move up the hill from where the two witnesses appear the background changes from white to one of blue hues. The color blue is used here to let us know that it is during this time period that great efforts are made to suppress the real plan of Jesus Christ at both the individual and societal level. This makes sense as at this point of the timeline we are edging nearer to the end of the iron civilization. This time period provides the foundation for Revelation 12 and 13 to come to pass. It is also near the end of this time period that Revelation 12 begins to materialize as this is when it is realized that John and Paul were the two witnesses.
During this time period the world continues to move farther away from Jesus Christ. This moving away from Jesus Christ, though, is in perfect accordance with his overall plan as the day is nearing that this civilization will be removed and replaced by the Establishment. Islam, on the other hand, strengthens during this time period. This is necessary since it is from Islam that the anti-Christ comes from.
During this blue portion of the timeline material gain and wealth will become the predominant driver of mankind. Though it could be argued that the desire to accumulate great personal wealth has always been around, this period will differ in that business and material gain will be emphasized as never before; on a scale as never before. Countries as a whole will be exploited; massive groups of people will be shifted in and out of a new work force – a world work force. This will allow for great power and wealth to be amassed among a very small percentage of people as never before. This great power and wealth will be utilized to bring the anti-Christ to its position of power.
As we continue upwards along the hill in a right-to-left fashion, we go past the time period of the blue background, arriving at the top of the hill. At the top of the hill there is no background, just The Beatles. All we can say about the background colors at this point is that the time period prior to the emergence of this period of The Beatles features a blue background, while the time period immediately after The Beatles is one that is dominated by various reddish hues.
Because of this change of background color before and after The Beatles it would be reasonable to say that it was this appearance of The Beatles at the top of the hill that brought about the change of background color.
But what does The Beatles standing on top of the hill represent, or symbolize? It has already been determined that the Bonkers on this cover of Yellow Submarine represent the two witnesses, who we know were John and Paul from November 24th, 1966 to May 7th, 1970. If The Beatles, or John and Paul, are represented on the cover by the Bonkers, then what does this depiction of the four Beatles represent if not The Beatles themselves?
This question was answered while studying the movie Yellow Submarine. The aspect of the movie that is relevant here is the scene in the movie in which The Beatles are traveling in their yellow submarine and they look out the window, or portal, of the submarine only to see another identical group of Beatles passing by in another yellow submarine. This scene in the movie symbolizes this great resurgence in an interest in the works of The Beatles some time long after they had come and disbanded.
This picture at the top of the hill on the cover of Yellow Submarine is symbolic and intended to convey the very same notion – that during this time period of the timeline the music  of The Beatles will become of great importance, in a manner as never before. In addition, with the four individual Beatles being used to symbolically represent their music we are being shown that their music should be regarded as a body of work. Classifying their music as a body of work becomes very important later on when we turn our attention towards deriving a correct understanding of what is being said in Revelation 11, for in Revelation 11:8-11 it is the bodies of the two witnesses that come to life after three and a half days, or 35 years:
Their bodies will lie in the public square of the great city,
which is figuratively called Sodom and Egypt, where also their Lord was crucified.
For three and a half days many from every people, tribe, language and nation will gaze
on their bodies and refuse them burial.
The inhabitants of the earth will gloat over them and will celebrate by sending each other gifts,
because these two prophets had tormented those who live on the earth.
But after the three and a half days the breath of life from God entered them,
and they stood on their feet, and terror struck those who saw them.
It seems, now that we better understand what is being depicted on the cover of Yellow Submarine, that we are now able to generate a very tangible understanding of what is being stated in Revelation 11:8-11. It is this realization that the music of the two witnesses – their body of works – contains prophetic value that these biblical passages are referring to. Once it is understood that prophecy is embedded in their music their music will, in a symbolic manner, come to life once again and become much more popular as their musical works are examined from the perspective that prophecy is contained in them.
It could be argued that this interpretation of the four Beatles on the cover of Yellow Submarine is incorrect because even today the Beatles still remain popular. To be clear, their music is still very popular. Their music still gets air time, other bands cover their songs and revenues are substantial regarding Beatles-related products. In this light, a significant surge in popularity based solely on their music is difficult, at best, to comprehend since The Beatles are still very popular.
No, the surge in popularity that is depicted here on the cover of Yellow Submarine with the four Beatles on top of the hill and again in the movie where The Beatles see themselves passing by in another submarine symbolizes a resurgence in their music that comes from the realization that prophecies are located inside the Lennon-McCartney works that were released between November 24th, 1966 and May 7th, 1970. Once it is understood that prophecies in the form of anagrams, anagrams that tell where the tomb of Mary Magdalene is located, are inside these works this reemergence of an interest in their music will occur.
Studying the depiction of The Beatles bodies of work here on the top of the hill on the cover of Yellow Submarine allows for some interesting observations to be made. As can be seen on the cover, John Lennon is making a hand sign known as, among many names, the Il Cornuto, or the Horned One.  Another aspect of this hand gesture worth mentioning is that if the hand signal has an upwards direction to it then it is being used to ward off evil, or misfortune, from the person under the sign. If it is pointed downwards then it is functioning as a call to bring evil, or misfortune, into the person directly associated with the sign.
Many people also call this sign the devil sign or devil horns. This is a gross misrepresentation of the sign, according to the likes of Aleister Crawley. Aleister’s position as I understand it is that any acknowledgement of the Devil, or Satan, is also an acknowledgment of God and Jesus Christ so if one chooses to say that Satan exists they are also acknowledging that God and Jesus Christ must exist as well. Surely anyone that acknowledges that both God and Satan exist understands that Satan can never establish himself for eternity as Jesus Christ can. Satan is just a tool that God employs as needed to further the Establishment, and will be discarded after he is used as needed. 
By flashing this sign over Paul McCartney’s head, now that we understand that this portrayal of The Beatles on the cover of Yellow Submarine represents their bodies of work, we can conclude that Paul McCartney’s music was being designated as being more pure, or free, from evil.
With a resurgence of interest in the bodies of works that were released by the two witnesses comes also a shift from a blue background to a red background on the cover of Yellow Submarine. This is a correct color transition as the first manifestation of the prophecies of the two witnesses will be those events surrounding and including the locating of the tomb of Mary Magdalene. The cover of Yellow Submarine reflects this chain of events perfectly by showing us that the color red comes into prominence to the left of where The Beatles appear on the top of the hill on the cover of Yellow Submarine.
This reddish hue continues, varying somewhat, on towards the bulls-eye. Just before the bulls-eye the background turns green. This color is used here to show us that at this time it will be acknowledged by all that prophecies were indeed delivered by God through the two witnesses. After Mary Magdalene is found just as is being described here, and after all of the other aspects of the prophecies have manifested themselves as well, including the coming to pass of the anti-Christ, the prophecies will be fully acknowledged in a widespread fashion.
So far, we can say that the following has been derived from the cover of Yellow Submarine:
The cover is a timeline that features the two witnesses delivering their prophecies to a world that is in the process of suppressing those things that serve to further the Establishment. Eventually, it is realized that prophecies are contained in the bodies of works created by John and Paul. The prophecies are identified and acted upon and the tomb of Mary Magdalene is found. As time goes by and the anti-Christ comes and goes, it is realized that the prophecies of the two witnesses played a critical role in all that has taken place.
The vision that is detailed in Revelation spans some 19 chapters, and those chapters contain some 317 passages, or verses. Of those 19 chapters, the two witnesses are directly mentioned in only one, Revelation 11. Also, the prophecies that they delivered relate directly to only two of the 19 chapters, Revelation 12 and 13. What is interesting is that throughout all 19 chapters there is only one person that is referenced directly by name, and that reference takes place in one of the chapters that the two witnesses prophesied about.
The only person that is mentioned by name in all of Revelation is someone name Michael, and the reference to his name appears in Revelation 12:7, which is part of a larger passage, Revelation 12:7-9:
And there was war in heaven.
Michael and his angels fought against the dragon, and the dragon and his angels fought back.
But he was not strong enough, and they lost their place in heaven.
The great dragon was hurled down—that ancient serpent called the devil, or Satan,
who leads the whole world astray.
He was hurled to the earth, and his angels with him.
Since the two witnesses only delivered information related to Revelation 12 and 13, and since they seem to have incorporated almost every aspect of Revelation 12 & 13 into their period of prophecy, it seemed probable that they would also address this person named Michael during the period of prophecy. However, of the 69 or so songs that the two witnesses released during the 1,260 day period, none of them make reference to a person named Michael. Then, as the individuals on the cover were being studied it became apparent that this Michael referenced in Revelation 12:7 is on the cover of Yellow Submarine.
In an effort to better understand the symbolic value of the various people, other than The Beatles that appear on the cover of Yellow Submarine, the characteristics of each of the other non-Beatle figures were identified.
On the left hand side of the cover is a person that has the following characteristics:
- He has a white moustache.
- He is dressed as a statesman would be dressed; one that perhaps had prior military experience.
- He is wearing a hat similar to one that a public servant might wear.
- He is holding onto a creature.
On the right hand side of the hill is an individual that:
- is wearing a top hat, one that a successful businessman might wear.
- is holding onto what appears to be a red scroll.
- is wearing a green cloak.
- has a white moustache.
Floating up in the air on the right hand side of the cover is a man that:
- is pumped full of air, floating in the sky.
- has a lightning bolt coming out of his mouth, resembling a long tongue.
- has the number 23 on his chest.
While considering how these variables might be of some use as far as figuring out what these characters were intended to symbolize, it was noticed that one of these characters successfully embodies the characteristics of Michael Jordan, the famous athlete that attained stardom while playing basketball for the Chicago Bulls. When a person that only knows of Michael Jordan through the media is asked to describe the major characteristics of Michael Jordan the typical response is that:
- He was known as ‘Air Jordan’, or ‘His Airness’. This title was given to him because of his ability to travel great distances after leaping into the air. He earned this title early in his basketball career while participating in a slam dunk contest. Michael Jordan was able to run and leap forward from the free throw line and slam dunk the basketball. This feat is a near impossible task, so he rightly achieved the ‘Air Jordan’ title.
- He was known for the manner in which he displayed his tongue while playing basketball.
- He wore the number 23 throughout his entire career. There was a moment near the end of his career that he wore another number, but he switched back to the number 23 because he was not comfortable in any number besides the number 23.
This figure on the cover of Yellow Submarine that is wearing the number twenty-three,  floating in the air  with his lightning-bolt tongue  hanging out does contain the very same characteristics used to describe Michael Jordan. This observation can not be disputed. However, these three similarities that exist between Michael Jordan and the figure on the album, though they do point us in Michael Jordan’s direction, will need to be supported by other pertinent observations in order to reach the point that we can feel comfortable saying that indeed Michael Jordan is on the cover of Yellow Submarine.
What also works out well about this correlation between Michael Jordan and this figure on the cover is that his first name is identical to the only first name that is mentioned in the Book of Revelation – Michael. Though this in and of itself is again not reason enough to assert that this is Michael Jordan on the cover, it certainly helps us down the path towards that conclusion when we couple this observation with the characteristics of the figure as described above.
But then, as the other two figures mentioned here were also being evaluated, the following consideration was made. That is, since the figures on the cover of Yellow Submarine were all now seen as being part of a story taking place on a timeline, it was reasoned that it is very probable that the three different individuals currently being analyzed were actually depictions of the same person, but just at different points of time on the timeline. If we continue with this line of reasoning, the figure floating in the air would represent Michael Jordan during the time that he was a world-famous basketball player. The two remaining figures on the timeline – the figure in the top hat holding a red scroll, and the figure dressed as a distinguished statesman – would therefore represent Michael Jordan during later stages in his life.
What is interesting with this theory is that if we look at the life of Michael Jordan today from a public perspective the figure wearing the top hat and a green robe on the cover of Yellow Submarine accurately represents the current state of Michael’s life, though in a very symbolic manner.
First, the figure on the cover is wearing a top hat, and a tall one at that. With the top hat being an item worn by a successful businessman, we must agree that this symbol applies well to Michael Jordan’s life as he has done very well financially. The height of the top hat indicates that not only is this businessman a successful one, but a very successful one at that. A green robe is being worn by this figure on the cover, and my initial inclination was to conclude that this color was used here to indicate that during this time period Michael would be inundated, or covered, with the prophecies of the two witnesses. It was initially understood that this green cloak indicated that Michael should be given sole access to the prophecies of the two witnesses. After all, the two witnesses are holding two olives in an outward fashion with outstretched hands in the immediate direction of this figure on the cover.
However, what is also being conveyed here with the green cloak is that the great wealth that Michael Jordan has accumulated is to be used in conjunction with the prophecies to locate, exhume and protect the tomb of Mary Magdalene. With both the prophecies and his cloak colored green we can surmise that just as the will of God played a huge roll in the delivering of the prophecies by the two witnesses, so did the will of God play a huge role in the accumulation of wealth by Michael Jordan. He achieved, it certainly seems at this point, his level of wealth for a very specific purpose – to participate directly in the manifestation of the prophecies of the two witnesses.
The red scroll that is being held by this figure also makes sense from this perspective as well since the prophecies deal primarily with the location of Mary Magdalene’s tomb. The red scroll represents here that he comes into possession of the prophecies that aid him in the recovery of her tomb, for it is the prophecies that were put forth that contain the information needed to locate the tomb.
As a result of this line of reasoning while studying this figure on the cover, it was concluded that it was Michael Jordan that was to play a significant role in the recovery of the tomb of Mary Magdalene. Michael Jordan was eventually contacted indirectly through one of his business entities. The intent of that contact was to deliver to him the three anagrams that had been already generated so that he could then put forth the effort to locate the tomb of Mary Magdalene, since this is what the cover of Yellow Submarine was indicating that he should do at this point of his life.
A staff member of his company sent notification stating that Michael was not interested in being provided this information. At that point the attempts to provide him with exclusive access to the prophecies ceased. However, the end result of this research regarding the Michael that appears in Revelation was that enough information was derived from both the cover of Yellow Submarine and the life of Michael Jordan for the conclusion to be reached that these three figures on the cover of Yellow Submarine are all representative of Michael Jordan.
However, the initial inclination that Michael Jordan should have exclusive access to the prophecies was apparently a misguided one as he showed no interest in learning more about the two witnesses. That Michael Jordan should have sole possession of the prophecies was an inclination that was, and still is, theoretically correct, but also one that has not taken place yet.
Now, after some three years of having derived the three anagrams, or messages of prophecy, it appears that the prophecies are intended for the general public since there is no interest at this time from Michael Jordan to obtain and work with the prophecies. The upcoming release of the prophecies to the general public will accomplish exactly what it is supposed to accomplish; that is, the prophecies, once out in the public realm, will eventually fall into the hands of a person or organization that will be able to find the tomb of Mary Magdalene. Only time will tell who that person might be and it could well still be Michael Jordan. However, his ultimate role in the matter of furthering the Establishment is something that must come from within him.
To that end, but not necessarily regarding him specifically, our relationship with God and Jesus Christ is an incredible one; one that many can not comprehend or conceptualize. The general inability of the human being to understand how they are inter-related with God thru Jesus Christ stems possibly from what is an observable underlying contradiction that appears to exist within our relationship to God and Jesus Christ. On one hand, the plan of God is absolute; that is to say, it is an absolute that the Establishment will one day come into being in a measurable, observable manner. The typical human being, though, generally misunderstands and therefore misapplies this realization regarding God and Jesus Christ. There are two courses of action that a person typically takes once it is realized by them that the Establishment is something that can not be stopped.
The first of these courses of action is that a person settles into an existence in which they classify everything as being predetermined. They reason that since the Establishment is an absolute that must take place one day then everything, including all that they do, is predetermined. More often than not the typical person sees this as a signal that it is perfectly acceptable to remain centered on their own existence and not the Establishment. They reason that since the Establishment is an absolute then I don’t need to do anything to overtly help along the establishment.
To a degree this line of reasoning is correct as it is true that any given person can choose to do absolutely nothing consciously while they are alive to further the Establishment, and the Establishment will still take place. However, what is left out of this line of reasoning is the realization that, although the Establishment is not dependent on any individual’s actions, the Establishment is dependent on specific actions of some individuals. The average person, if they ever arrive at this point of reasoning, still typically considers that this group of some individuals is a group that does not include them. Of course, this is where the fault in their reasoning lies for all of us are part of this group of some individuals.
Then again, a large number of people don’t even believe in God, so the notion of an Establishment is an incomprehensible, funny, mythological, or prehistoric concept. Without having an active relationship with God, the non-active believers and the non-believers are reduced down to having nothing to do but live their lives focusing on themselves. The song I, Me, Mine incorporates well this reduction down to self-centeredness that one goes through as a result of an inability to consciously participate in what is occurring on a much larger scale than each of our individual lives.
Even if Michael Jordan decides that an absolute rejection of all that the two witnesses accomplished, including their prophecies, is his final position, there is still great value to be had by having correctly identified him as being on the cover of Yellow Submarine. That is, by identifying each of these three individuals on the cover as being Michael Jordan at different stages of his life it is now possible to determine not only the general length of this portion of the timeline – one human being’s life span – but it is also possible now to see what years have already elapsed and also what years will eventually elapse as the events shown on the timeline transpire, for everything between the first and last appearance of Michael on the cover can be easily tracked by knowing that it is related directly to the life of Michael Jordan as it goes by. For example, we already know that Michael was a popular basketball star in the 1990’s, so we can conclude that this figure on the cover of Yellow Submarine appears on the timeline around that time period as well.
We also know that Michael has transitioned into the second phase of his public life, which is signified by the figure on the cover of the album that is wearing a top hat and a green robe while holding what appears to be a red scroll. This portion of the timeline can be said to be occurring at this very moment, and it may well span 20 years or more. We won’t know the actual length of it until it has ended.
Furthermore, we can see that the final stage of Michael’s public life will be one that revolves around his being a statesman to some degree. In this final portrayal of him on the cover of Yellow Submarine he is holding an animal, or beast, by the tail, indicating that he has captured, or taken control of something. Of course, since this time period of Michael’s life has not yet taken place it can not be exactly known how this portrayal of him on the cover of Yellow Submarine will manifest itself but when in Revelation 12 it is Michael that defeats the dragon there is the strong potential that this last depiction of Michael embodies the essence of those specific passages.
The above discussion of the role that Michael Jordan plays indicates that at best we can only say that what his ultimate role will be is still unknown. This type of situation – in which an individual’s actions remain unclear while the Establishment continues to move forward as planned – was addressed by the two witnesses, providing to us a way that we should think about what is going on at the individual level of those that have the potential to play a major role in the Establishment.
During an interview on December 5th, 1980, John Lennon made the following comment:
“Sometimes you wonder, I mean really wonder.
I know we make our own reality and we always have a choice,
but how much is preordained?
Is there always a fork in the road and are there two preordained paths
that are equally preordained?
There could be hundreds of paths where one could go this way or that way –
there’s a choice and it’s very strange sometimes. . .
In effect, the two witnesses stated that if an individual is slated to fulfill a task as willed by God and if that person chooses not to do it then God will alter his plan so that a different person will complete the task. No person can alter the outcome of the plan of Jesus Christ and of God. One person may be able to change the chain of events somewhat in the short term, but God has the ability to keep things on track from all angles in the long run even when we consciously go against the direct will of God. 
We should approach the timeline from a different angle at this time and spend some time looking at the beginning of the timeline to understand what is being conveyed to us regarding that time period. During the early stage of the timeline we have a scene in which a red-haired lady dressed in blue is lying face down. Overshadowing her is a charging Blue Meanie, and directly below these two figures is the top portion of the Snapping Turk. These three figures work together early on in the timeline to show that Mary Magdalene is hidden away during the time that Islam, or organized religion in general, exerts a great deal of energy to suppress the plan of Jesus Christ. The figure lying down with the long red hair is a symbolic representation of Mary Magdalene. This figure is tied to Mary Magdalene in two specific ways. The first way is through the flowing red hair. The length of the hair identifies this figure as being a female and her red hair serves to establish that this figure is Mary Magdalene, since we already understand that the color red is used to convey information related to Mary Magdalene. Here she is hiding her face against the ground, indicating that she is trying to remain undetected during this portion of the timeline. The charging Blue Meanie is rushing over her, showing that organized religion will stop at nothing to attain the power they seek in this world. Both Christianity and Islam are represented at times by the color blue, although it is from the religion of Islam that the anti-Christ specifically comes. This distinction between whether or not the color blue references Islam more than Christianity will become a moot point because when the anti-Christ comes fully into power Islam will absorb most of Christianity into itself, as this is what The Bible indicates will happen.
Islam is also more dominant than Christianity during this time period along the timeline and this is signified by the top half of the Snapping Turk, which symbolically represents the birth and growth of Islam through the prominent display of the fez. Islam gains in strength as shown by the charging Blue Meanie soon after it gains a secure position in the world. During this time the true meaning of the message Jesus Christ delivered is suppressed. Islam is further emphasized at this point of the timeline indirectly by name as it is from the Snapping Turk that the image of the person wearing the fez comes from. With Islam being the main religion in Turkey, it is possible to establish an Islamic connection to the Snapping Turk, a connection that allows us to conclude that Islam is an aggressive, attacking religion as the term Snapping implies.
What is also interesting about the figure on Yellow Submarine that represents Mary Magdalene lying face down is that it is near her belt that a single five-pointed star can be seen. This star is placed here to represent Mary Magdalene’s offspring. This single star may also indicate that she had just one child, although this is not enough information upon which a firm decision about this can be reached regarding the number of children she had.
The cover of Magical Mystery Tour is filled with stars that resemble the single star near Mary Magdalene’s belt on the cover of Yellow Submarine. The multitude of stars on the cover of Magical Mystery Tour shows us that the bloodline of Mary Magdalene has not only continued up until the current day, but that it has flourished as well. If a bloodline reproduces every 25 years, over the course of a 2,000 year period it is very likely that at least 80 generations within the blood line of Mary Magdalene have come and gone since her birth. If each of those generations produced only a single child we would see that at the present moment only one child would be alive today. However, if each of the 80 generations produced two children from each person born into the bloodline, the number of offspring that would be alive today is astronomical. At any rate, this is what the stars on the cover of Magical Mystery Tour are intended to convey to us – that the bloodline of Mary Magdalene is alive and well today, and that this bloodline is a numerous one at that.
Another aspect worth noting is that the hill on the cover is lined along the entire surface with two different colors; one being of a green hue and the other being a reddish hue. These colors are there to point out that throughout the entire timeline the underlying variables that are causing all of these events shown on the timeline to take place are the power of prophesy, or information delivered through the will of God, and the specifics of those prophecies that deal with the reemergence of Mary Magdalene. Each is ever-present throughout the course of the entire timeline but it is only at certain times that these variables ascend to a dominating level.
So, at this point it is possible to say that we have been able to gain an understanding of the story that is being told from the beginning of the timeline to the end of the timeline. At a high-level we could say that the following is being conveyed to the public through the picture that is on the cover of Yellow Submarine:
- The cover on Yellow Submarine is a timeline, one that starts at the dinosaur’s head,  runs along the surface of the hill,  and then ends at the bulls-eye  on the other side of the hill. The timeline begins at the time that Mary Magdalene has recently died and been hidden away.
 The timeline concludes when Michael Jordan is an elder statesman, or shortly thereafter.
- The beginning of the time line takes place from the time that Islam comes into existence  up to the point that Michael Jordan first appears on the scene as a famous basketball player.  During this time period Islam has exerted great energy attempting to suppress the true plan of Jesus Christ.  In general the religion of Islam knows that if it can find Mary Magdalene it can then use this information to deceive Christians by showing that Jesus Christ was not the Son of God. Islam is determined to show that Jesus Christ was a normal human being, and not the Son of God, by asserting that he was married and had children.
- The cover of Yellow Submarine was created some time during the early to mid-1960’s, about the same time that Michael Jordan was born, which was in 1963. 
- The appearance of the Bonkers on the cover of Yellow Submarine represents the two witnesses, showing us that the time line has progressed to the late 1960’s where they appear on the timeline. We also see that Michael Jordan appears on the timeline shortly after that in three forms, the first being the form of the person that is floating in the air. Understanding that this is a caricature of Michael Jordan allows us to conclude that this portion of the timeline took place in the 1990’s. This allows us to draw some pretty sizable conclusions, and the biggest of those is this: Since we are now able to see what portions of the timeline have already taken place it is possible that we might be able to identify which event is to take place next on the timeline.
- The prophecies are delivered during the time that the Bonkers appear on the timeline. These prophecies are such that they show where the tomb of Mary Magdalene is located. This information is made available to Michael Jordan but he is not initially interested in being provided with exclusive access to the prophecies, paving the way for the prophecies to be released to the general public.
- Michael Jordan’s life shifts from that of famous basketball star to that of successful business man.  By identifying the three figures in the picture as being Michael at different points in time we are able to conclude that this portion of the timeline is taking place from around the year 2005 onward.
- While Michael is still a businessman a general awakening takes place, one that recognizes that the works of John and Paul contain prophecies directly from God. This causes a resurgence of interest in both The Beatles and Jesus Christ. A search for the tomb of Mary Magdalene takes place during this time period and the tomb is located. The search and possibly the finding of the tomb of Mary Magdalene takes place sometime after the year 2005 but before Michael Jordan becomes a noted Statesman. 
- When the prophecies are seen as existing within the works of the Lennon-McCartney duo, the general dominating variable in the world will shift from one of religious oppression to one that emphasizes more the power of Mary Magdalene.  All of this takes place as a result of the search and possible location of her tomb and eventually the positive identification of those alive today that are part of her bloodline. The events needed to bring about the rise of the anti-Christ are well under way at this time.
- After the tomb is located, or around the time that the tomb is located, Michael Jordan shifts his career towards that of statesman. With Michael Jordan being born in 1963, if he lives to be 90 years old, we can conclude that the tomb of Mary Magdalene must be located and the reign of the anti-Christ must come to pass prior to his passing away in 2053. In all actuality, it will need to take place sooner than later as much of what transpires in Revelation 12 takes place after the tomb is located.
- Once the prophecies have manifested themselves and the general public becomes aware of all that has transpired an increase in the level of consciousness that is accepting of prophecies coming true takes place, bringing us to the end of this particular timeline. Jesus Christ is seen as the Son of God by most everyone alive and the Establishment nears completion.
Outside of the analysis of the timeline that is on the cover of Yellow Submarine there are aspects of the picture that are important and worth discussing as well. After having identified that this cover is a timeline of the future and after having also shown that the portion of the timeline – a timeline that was created around the time that Michael Jordan was born – that depicts Michael Jordan in the first two stages of his public career is an accurate portrayal of what has transpired to date in Michael’s life, an effort was then put forth to determine who exactly drew this picture. When one looks at the drawing there is no apparent signature to be found on the cover, which is somewhat unusual given that the picture was so prominent in its day.
Inquiries were made to try to determine who did draw this picture, a picture that has been shown here to be a timeline of the future and one that is also directly related to the events that are put forth in Revelation 12 and 13. Inquiries were made to try and find out who drew this album cover. Inquiries were made to individuals that were involved with the creation of the movie Yellow Submarine to no avail. Two authorities even provided their input regarding the identification of the artist that drew this picture, and one of them stated that Peter Maxx drew the picture.
Peter Maxx was a famous author around the time that this album cover was released so it seemed plausible that he was the artist as the style of the cover of Yellow Submarine is such that it could be seen as his. Peter Maxx was contacted through email regarding this matter and he stated that he was not the artist. He was asked if he knew who drew this picture that is on the cover of Yellow Submarine and he responded by saying that he did not know who drew the picture. All he had to say was that he is often associated with the picture but that it is not his. This answer he gave regarding his not knowing who drew the picture seemed unusual. How could it be that a prominent artist such as this would not know who drew one of the most widely disseminated pictures of the 1960’s?
As the following symbol on the cover was being studied
several observations were made:
- This symbol is located on the hill before the beginning of the timeline. Because of this, it can not be intended to depict an event that will happen within the time period of the timeline.
- This is a picture of two Blue Meanies side by side, or of a two-headed Blue Meanie. A hand is holding a red, or pink, flower; presumably a rose. The Blue Meanie that is holding the rose is licking the rose.
- The Blue Meanies are wearing what appear to resemble hats that are similar to Mickey Mouse ears.
With all of these variables being considered while trying to determine who did draw the picture on the cover of Yellow Submarine, it became apparent that this symbol was the signature of the artist that drew the picture. It made sense, as the entire cover is symbolic in every other detail, that the signature of the artist would be placed on the cover in a symbolic manner as well. It turns out that quite a few conclusions were able to be arrived at just from this single area of the album cover once it was realized that this is the signature of the person that drew the cover of Yellow Submarine.
The characteristics of this two-headed Blue Meanie that is located just below the dinosaur’s head on the cover of Yellow Submarine were considered at this time. We already know that the cover of this album is a timeline and the latter portion of this timeline has not yet taken place. Of course, how does one rationally explain that an accurate timeline of the future is what is on the cover of Yellow Submarine? It could be said that everything happened because God made it happen but with that being said what we should try to understand is how God made it all come to pass within the bounds of our tangible, collective, earthly reality. Though God is a metaphysical entity which none of us have ever seen, we should be willing to acknowledge that our reality comes directly from God. He makes all things come to pass, and we must acknowledge that he makes all things come to pass in a manner that are in accordance with both the spiritual world and the world we live in.
With that being said and accepted as an undeniable premise that can not be deviated from, when we understand that the location of the tomb of Mary Magdalene is going to be found, we should consider how it is that Mary Magdalene’s tomb has been preserved to this day. Throughout each generation since Mary Magdalene’s death it stands to reason that some person or group would have had to maintain the tomb; its location would need to be known yet maintained a secret and the tomb would have to be moved when needed. In short, the finding of the tomb will not be the result of purely metaphysical events; acts completed by human beings also have had to play a significant role in the preservation of Mary Magdalene’s tomb.
If we accept that the tomb of Mary Magdalene must have been handled periodically, then those that were given this task of handling her tomb must have examined the contents of the tomb. One hypothesis about how this accurate timeline that is on the cover of Yellow Submarine was created is that the contents of the tomb of Mary Magdalene are more than just mortal remains. When we acknowledge that Mary Magdalene’s tomb is real and the prophecies are accurate it is no longer a stretch of one’s rationale to consider that the likelihood of religious documents also being part of the contents of her tomb is very probable.
In other words, it is highly likely that documents within the tomb of Mary Magdalene detail when and how the tomb will be discovered. If this is the case then we have an explanation as to how it is that an accurate timeline of the future is located on the cover of Yellow Submarine. It is now possible to say that the cover of Yellow Submarine was drawn by someone that had read those texts that describe the circumstances surrounding the discovery of her tomb.
The most rational, tangible explanation as to how the timeline on the cover of Yellow Submarine came to be drawn is that is was drawn by the last person that had possession and access to the tomb of Mary Magdalene.
This theory is substantiated if we examine how this symbolic signature is presented to us on the cover of Yellow Submarine. What pulls everything together regarding this theory is that the Blue Meanie is grasping and licking a red rose, as the grasping of the rose  signifies possession of the tomb of Mary Magdalene and the licking of the rose implies that the contents of the tomb were tasted, or inspected. This was included in the signature to signify that the artist that drew this picture had a direct connection to Mary Magdalene; that the artist was the last person responsible for the tomb of Mary Magdalene.
That the Blue Meanie in this symbolic signature is wearing what appears to be a Mickey Mouse hat, or a resembling variance thereof, is significant. If one were to assume that the tomb of Mary Magdalene would only pass from generation to generation through the hands of prominent people in the sense that these people would need to have the financial means to handle whatever situation may arise regarding the safe guarding of the tomb, then this hat would most likely have been placed here to show us that Walt Disney was the person that last had possession of Mary Magdalene, as he is the person the public most closely associates to the creation and propagation of Mickey Mouse.
Once the hypothesis was formed that Walt Disney was the person that drew the cover of Yellow Submarine, as well as also being the person that was last responsible for the tomb of Mary Magdalene the following was determined:
Walt Disney passed away on December 15th, 1966. What is significant about this date is that it shows that his death took place at more or less exactly the same time that the period of prophecy commenced, which began on November 24th, 1966. Though some three weeks difference exists between the start of the period of prophecy and the death of Walt Disney, we could say that for all intents and purposes the beginning of the period of prophecy and the death of Walt Disney happened at the same time, as the variance in time is minimal.
Also, it was considered that if Walt Disney was as significant as is being theorized here then surely he would be identified to some greater degree elsewhere in the works of the two witnesses. A review of the lyrics of the two witnesses turned up nothing of value in this regard, so attention was turned towards the artwork found on the covers of the musical releases of the two witnesses.
While reviewing the cover of Sgt. Pepper’s Lonely Hearts Club Band it was at first easy to check and see if Walt Disney was on the cover, as this album includes a list of each person that is on the cover. However, it was noticed that there is at least one item on the cover that can be attributed to Walt Disney; a small Snow White figure is on the ground in the scene shown on the cover.
Then, as the individuals on the cover were being reviewed it was found that there was one person on the cover of Sgt. Pepper that was not identified by name. That person appears on the cover in the form of a bust that is placed on the ground. With the bust placed on the ground it is easy to visualize the bottom portion of the bust’s body extending down into the earth, as if this person was in the process of descending downwards or rising upwards. Since Walt Disney died around the time that the cover was made it was considered that perhaps this bust, though purportedly to be a bust of the mythological Sgt. Pepper, was a bust of Walt Disney. Could it be that Sgt. Pepper was derived from Walt Disney? A review of the facial characteristics of Walt Disney shows that there was a period of his life in which he bore a very strong resemblance to this bust of Sgt. Pepper:
Though Walt Disney had facial expressions that were more genial in nature than the one on the bust, it is not unreasonable to say that this bust resembles Walt Disney.
Once this conclusion was arrived at, songs like When I’m Sixty-Four and With a Little Help from My Friends took on an additional perspective. For example, Walt Disney died just 10 days after completing his 64th year of life, and if he did provide information to the two witnesses prior to his death we would be able to see that indeed he was needed at the age of 64. 
By understanding that the location of the tomb of Mary Magdalene was known by Walt Disney it further explains how it is that the locations spelled out in the anagrams are accurate because Mary Magdalene was moved to that location prior to Walt Disney’s death. In short, we begin to understand that, though John and Paul were the two witnesses, much of what was accomplished through their efforts was a result of other individual’s efforts, individuals that came in contact with The Beatles during this time period. The two witnesses did get by with a little help from their friends.
It makes sense that the person most involved in the tomb of Mary Magdalene is shown in an anonymous fashion as this on the cover of Sgt. Pepper. Also, it was noticed that the Snow White figure was placed above the letter ‘B’ and the bust appears above the letter ‘E’, forming the word ‘BE’. With this observation great progress was made regarding the Let it Be theme that was subsequently found to run continuously through their music throughout the entire period of prophecy. 
Another aspect of Walt Disney that is worthy of mention is that Walt Disney was born in Chicago. This in itself carries no real significance but when it is coupled with the realization that Michael Jordan became famous while in Chicago it becomes worthy of mention that the only two people identified as having a significant role regarding the efforts of the two witnesses both have a strong Chicago connection. Also, the identification of the two witnesses as being John and Paul also took place in Chicago. In addition, the writing of this book is taking place in Chicago. An attempt was made to write this book in another city but it was not possible to make that happen.
So the question must be asked at this point – why is such a strong connection to Chicago, Illinois, USA emerging during this account of the two witnesses? The answer to this question is one that will be answered as Revelation continues to progress.
A final aspect of the cover of Yellow Submarine to be addressed is the area of the cover that is on the inside of the hill, or timeline. In this area is a depiction of The Beatles playing various instruments. This depiction of them playing is a pictorial representation of the lyrical phrase and the band begins to play found in the song Yellow Submarine. After establishing that the phrase the band begins at ten to six ties back conclusively to Revelation 11:3  we can interpret all references to the band as being a reference to the two witnesses. All this particular picture on the cover is telling us is that this release is a work during the period of prophecy, one in which the two witnesses are putting forth statements and prophecies in full accordance with scripture.
Also appearing inside the hill is the phrase nothing is real. This phrase is one that contains prophetic value in that after gaining a proper understanding of the usage of this phrase one of the messages of prophecy that provides information regarding the location of the tomb of Mary Magdalene can be identified. What is worth noting about this phrase is that it also appears in the song Strawberry Fields Forever. The appearance of this phrase on the cover of Yellow Submarine and also in the song Strawberry Fields Forever is intentional and was done to serve as a linguistic connection between Yellow Submarine and Strawberry Fields Forever. The phrase also appears in the song Glass Onion but the purpose of its appearance there is to point out the other two aforementioned occurrences of the phrase.