When John Lennon previewed "Cold Turkey" for release as a Beatles song, it was rejected as being off-brand for the band: while this could be understandable from the subject matter of his withdrawal ordeal, and its extremely harsh stylistic treatment, the official video at its end includes a verification of his subliminal intentions, with a letter-by-letter etching scrawled into the film frame-by-frame, spelling out 'F-R-E-E-D-O-M,' then the entire word 'FREEDOM' appears, and quickly seen being scratched out, coinciding with a brief outro of oddly serene reversed tones. Of course John sought physical freedom by undergoing withdrawal as the title and lyrics suggest, yet the savagely repeated electric guitar riff appears to present the unfinished phrase,

'YOU KNOW THE SAVIOUR WANTED --!"

The concluding tones start with a musical approximation of the word 'Freedom' being vocalized, adding three more words, completing the thought that had been recurring in partial form during the strong riff. The theme does not have the Christ desiring freedom for Himself, but is more along the "Power To The People" concept. As primary Dreamweaver of The Beatles' Christ-Dream, Lennon assumed the role of an advanced theologian, capable of transposing the Creed and story of Jesus into small doses for consumption by the unwitting contemporary audience, strung together in a comprehensive format, having his group collectively task themselves with a series of projects comprising a Modern Remembrance. The failure of society to acknowledge his accomplishment eventually led to his resorting to Primal Therapy, to hopefully purge the madness of religion from his psyche, where his engaging in disbelief as a liberating game became culturally embraced as revealing a true atheist persona - although "I've seen religion from Jesus to Paul" could be interpreted as looking back at his collaboration with Paul McCartney. When Lennon attempted in interviews to hint at how his true intentions had not become common knowledge, it was to no avail: the public would believe the lyrics themselves, more than comments by the composers about them, or how the sounds in the songs were ironically crafted as their recording art. John explained his 1965 song "Girl" had explored the dubious notion of suffering in life to achieve some eventual spiritual reward, as being a forerunner of the idea behind his later song "God."

The guitar opening of "Across The Universe" presents a remark John might have uttered about his personal attitude, starting,

'Got NO -
Use For...'

- the remaining two notes finishing the phrase would be self-evident if tracking the musical-verbal crossover, allowing the instrument to speak as he said he was intending, but lacking that there is no coherent thought being conveyed.

As skilled arrangers, The Beatles were able to cover songs written by others in a mode suiting their own purpose. For the Larry Williams song "Bad Boy" the strong guitar opening repeats (both times followed by differently-phrased parts), a dramatic question -

'Will He
Save Himself?!'

A recurrent riff continues the enigmatic notion by further asking,

"How Could The
SAVIOUR
Save Himself?"

Transcribing basically notes for syllables in the instrumental middle section, John's trademark scream overlaps a reference to the Crucifixion, although the context is complicated, and the track was released after it was relevant for the stage when it was recorded.

While the crowd murmuring at the opening of "Sgt Pepper's Lonely Hearts Club Band" album was taken from a sound effects recording (complete with the indistinct shout), the orchestra tuning up begins that section of the Christ dream with strings suggesting,

'Jesus
Agreed -
To Be...'

- then a violin string being plucked provides,

'DUNKED!'

- before the phrase is completed with,

'By Cousin'

- so the stage was set for the loud electric guitar fanfare, beginning appropriately with,

'BAPTIZING MAN!
THREW WATER...'

After meditating in India, they took on the challenging stage for the White Album, using the obscure Infancy texts as a basis, departing from the Gospel material (as John said towards the end of his apologetic interview in 1966, they could not self-generate subjects to continue indefinitely, despite that being the prevalent perception): the strange chord opening "Back In The USSR" suggests the word

'TWELVE:'

- this is followed by two chords stridently proclaiming,

'Last -
Year -'

- before McCartney finishes by vocalizing,

"...Young!"

So this established the chronology for the Infancy material, regressing from the age of thirteen, representing adulthood in ancient Hebrew culture. While Prudence Farrow reclusively meditating to an excessive degree inspired "Dear Prudence," that component was merged with the musical adherence to the Christian format, where the first iteration of a gentle guitar riff in the song implies,

'Young King'

The Infancy texts being obscure to the Western audience means those stories would first have to be recounted, before explaining how they relate to the songs on the double album, whose stereo and mono versions had sometimes significant differences. However the penultimate track,
"Revolution 9," an unusual avant-garde collaboration between John and Yoko Ono with George Harrison, has a conglomeration of dissonant sounds and effects recognizably relating to the efforts by King Herod to destroy in His youth the figure whose Nativity was sought by the Magi through prophetic clues as an emerging King: one recurring loop aurally implies,

'The Herod
SLAUGH-ter!'

The timing for the issue of the final Beatles song, "Now And Then," was partially dictated by the technology becoming available to separate Lennon's vocal track from a recording where it was included with piano, emerging from the "Get Back" documentary chronology. The lyric, "If we must start again" demonstrated Lennon was giving up hope that their first effort as The Beatles would ever be acknowledged as a Modern Remembrance of Christ, and was finally open to McCartney's idea rejected at their break-up that they begin again, "From Square One": however this arrived too late to ever manifest, with electric guitar played in Harrison's style as a homage lamenting,

'We -
NEVER did'

- the orchestrally-scored section elaborated their newer version for the life of Christ had been fated to never have its earthly manifestation.

So the world, desiring to believe the band actually wanted to hold our hands, rather than performatively alluding to the Doubting Thomas story, was content to never allow glorification of Jesus as Lord of Spirits through the mystical power of contemporary popular music, thus evading what would potentially become a Great Mourning. The timing of the "Now And Then" release just before the return of Saturn from retrograde to direct motion in early November 2023 has ominous prophetic implications that cultural consensus opinion may not hold the last word.

While the French seer Nostradamus is acknowledged as plausibly predicting the 22 November 1963 JFK assassination in his quatrain VI.37, few have related its first line about 'ancient work' being accomplished with the coinciding release of The Beatles' second album. Two other quatrains also concerned the JFK incident: I.26, noting Jeane Dixon foreshadowing as 'bearer of claims,' and comparing with the nighttime killing of his brother RFK, ending the latter's presidential candidacy in turbulent mid-1968, confirmed by naming places then involved in anti-war protest-strikes; and I.65, alluding to the circumstances surrounding the death of JFK Jr, such as having recently departed from a ball game.

As with text transcriptions for supraliminal musical passages, proper analysis of the French prophecies is a complicated elusive endeavor. Neither the assassination of a Nepalese monarch from 1 June 2001 in II.15, nor the mid-January 2023 plane crash into Seti Gorge that appears the partial subject of X.88 mention Nepal by name: instead the seer seems keenly aware the scenarios set forth have singular solutions that could be determined by diligently pursuing in good faith. There are significant trending notions, such as some planetary alignments heralding later terms of power being pre-characterized: the May 2000 Taurean alignment included the Sun bearing the negative omen of a giant sunspot, foretelling its synchronicity with hail falling the size of an egg in the Chicago area, preceding George W Bush being given the presidency as a gift by the highest court, later to unveil his financially ill-fated economic stimulus plan in Chicago.

The 21 August 2017 solar eclipse was within a less extensive alignment, associated with Hurricane Harvey subjugating the South, prior to the re-lowering of the Crescent at the Capitol riot completion of lunar cycle, in X.95, and identified in VIII.88 by the coinciding feast for Saint Luxorius of Sardinia. The onset of the covid pandemic was long-before determined to involve Ceres from III.75, manifested by its convergence with Saturn, Pluto, Mercury and the Sun circa 11 January 2020; the March 2020 lockdowns were predetermined from following the Epistle guidance to add 73 years 7 months to the start of the Atomic Energy Commission; the death date for George Floyd was forecasted from III.93, as inciting massive anger, for 25 May 2020 using the feast for Saint Leo of Troyes, following Hurricane Dorian halting over the Bahamas in early September 2019. The BLM protests ensuing for about 7 months, over numerous deaths having occurred under malfeasant circumstances, figured into IV.100, involving the early July 2020 penumbral lunar eclipse with the Moon near Pallas, the light of Mars flickering via Neptune conjunct 13 June 2020 (the time of the release of an installation in my Beatle book series), and the 21 June annular solar eclipse as the King at Evreux alluding to the feast for Saint Leutfridis - the necessity to turn covid patients prone to prevent their suffocating in bed from VIII.85 was a parallel, where the planting of turnips timed from the festival for Neptune from antiquity was given responsibility for removing the light of Mars. In II.65 Saturn faded by its Great Conjunction with Jupiter when Mercury left Sagittarius for late 2020 (suggesting also the collapse of a parking structure in lower Manhattan occurring 18 April 2023), in tandem with I.51 correctly placing the Moon then at the head of Aries, with the initial reports of covid mutations, referring to the long cycle for Saturn reigning that culminated in the 6 January 2021 Capitol riot, which was foretold in X.61 as an event of enormous violence, associated with the 4 January 2021 lunar aspects for a protracted opposition between Neptune and Vesta (as pike and fire), and the destruction of documents before completion of the lunar cycle further appeared in I.62.

On Sunday, December 31, 2023 at 4:18:08 PM UTC-8, Curtis Eagal wrote:
> When John Lennon previewed "Cold Turkey" for release as a Beatles song, it was rejected as being off-brand for the band: while this could be understandable from the subject matter of his withdrawal ordeal, and its extremely harsh stylistic treatment, the official video at its end includes a verification of his subliminal intentions, with a letter-by-letter etching scrawled into the film frame-by-frame, spelling out 'F-R-E-E-D-O-M,' then the entire word 'FREEDOM' appears, and quickly seen being scratched out, coinciding with a brief outro of oddly serene reversed tones. Of course John sought physical freedom by undergoing withdrawal as the title and lyrics suggest, yet the savagely repeated electric guitar riff appears to present the unfinished phrase,
>
> 'YOU KNOW THE SAVIOUR WANTED --!"
>
> The concluding tones start with a musical approximation of the word 'Freedom' being vocalized, adding three more words, completing the thought that had been recurring in partial form during the strong riff. The theme does not have the Christ desiring freedom for Himself, but is more along the "Power To The People" concept. As primary Dreamweaver of The Beatles' Christ-Dream, Lennon assumed the role of an advanced theologian, capable of transposing the Creed and story of Jesus into small doses for consumption by the unwitting contemporary audience, strung together in a comprehensive format, having his group collectively task themselves with a series of projects comprising a Modern Remembrance. The failure of society to acknowledge his accomplishment eventually led to his resorting to Primal Therapy, to hopefully purge the madness of religion from his psyche, where his engaging in disbelief as a liberating game became culturally embraced as revealing a true atheist persona - although "I've seen religion from Jesus to Paul" could be interpreted as looking back at his collaboration with Paul McCartney. When Lennon attempted in interviews to hint at how his true intentions had not become common knowledge, it was to no avail: the public would believe the lyrics themselves, more than comments by the composers about them, or how the sounds in the songs were ironically crafted as their recording art. John explained his 1965 song "Girl" had explored the dubious notion of suffering in life to achieve some eventual spiritual reward, as being a forerunner of the idea behind his later song "God."
>
> The guitar opening of "Across The Universe" presents a remark John might have uttered about his personal attitude, starting,
>
> 'Got NO -
> Use For...'
>
> - the remaining two notes finishing the phrase would be self-evident if tracking the musical-verbal crossover, allowing the instrument to speak as he said he was intending, but lacking that there is no coherent thought being conveyed.
>
> As skilled arrangers, The Beatles were able to cover songs written by others in a mode suiting their own purpose. For the Larry Williams song "Bad Boy" the strong guitar opening repeats (both times followed by differently-phrased parts), a dramatic question -
>
> 'Will He
> Save Himself?!'
>
> A recurrent riff continues the enigmatic notion by further asking,
>
> "How Could The
> SAVIOUR
> Save Himself?"
>
> Transcribing basically notes for syllables in the instrumental middle section, John's trademark scream overlaps a reference to the Crucifixion, although the context is complicated, and the track was released after it was relevant for the stage when it was recorded.
>
> While the crowd murmuring at the opening of "Sgt Pepper's Lonely Hearts Club Band" album was taken from a sound effects recording (complete with the indistinct shout), the orchestra tuning up begins that section of the Christ dream with strings suggesting,
>
> 'Jesus
> Agreed -
> To Be...'
>
> - then a violin string being plucked provides,
>
> 'DUNKED!'
>
> - before the phrase is completed with,
>
> 'By Cousin'
>
> - so the stage was set for the loud electric guitar fanfare, beginning appropriately with,
>
> 'BAPTIZING MAN!
> THREW WATER...'
>
> After meditating in India, they took on the challenging stage for the White Album, using the obscure Infancy texts as a basis, departing from the Gospel material (as John said towards the end of his apologetic interview in 1966, they could not self-generate subjects to continue indefinitely, despite that being the prevalent perception): the strange chord opening "Back In The USSR" suggests the word
>
> 'TWELVE:'
>
> - this is followed by two chords stridently proclaiming,
>
> 'Last -
> Year -'
>
> - before McCartney finishes by vocalizing,
>
> "...Young!"
>
> So this established the chronology for the Infancy material, regressing from the age of thirteen, representing adulthood in ancient Hebrew culture. While Prudence Farrow reclusively meditating to an excessive degree inspired "Dear Prudence," that component was merged with the musical adherence to the Christian format, where the first iteration of a gentle guitar riff in the song implies,
>
> 'Young King'
>
> The Infancy texts being obscure to the Western audience means those stories would first have to be recounted, before explaining how they relate to the songs on the double album, whose stereo and mono versions had sometimes significant differences. However the penultimate track,
> "Revolution 9," an unusual avant-garde collaboration between John and Yoko Ono with George Harrison, has a conglomeration of dissonant sounds and effects recognizably relating to the efforts by King Herod to destroy in His youth the figure whose Nativity was sought by the Magi through prophetic clues as an emerging King: one recurring loop aurally implies,
>
> 'The Herod
> SLAUGH-ter!'
>
> The timing for the issue of the final Beatles song, "Now And Then," was partially dictated by the technology becoming available to separate Lennon's vocal track from a recording where it was included with piano, emerging from the "Get Back" documentary chronology. The lyric, "If we must start again" demonstrated Lennon was giving up hope that their first effort as The Beatles would ever be acknowledged as a Modern Remembrance of Christ, and was finally open to McCartney's idea rejected at their break-up that they begin again, "From Square One": however this arrived too late to ever manifest, with electric guitar played in Harrison's style as a homage lamenting,
>
> 'We -
> NEVER did'
>
> - the orchestrally-scored section elaborated their newer version for the life of Christ had been fated to never have its earthly manifestation.
>
> So the world, desiring to believe the band actually wanted to hold our hands, rather than performatively alluding to the Doubting Thomas story, was content to never allow glorification of Jesus as Lord of Spirits through the mystical power of contemporary popular music, thus evading what would potentially become a Great Mourning. The timing of the "Now And Then" release just before the return of Saturn from retrograde to direct motion in early November 2023 has ominous prophetic implications that cultural consensus opinion may not hold the last word.
>
> While the French seer Nostradamus is acknowledged as plausibly predicting the 22 November 1963 JFK assassination in his quatrain VI.37, few have related its first line about 'ancient work' being accomplished with the coinciding release of The Beatles' second album. Two other quatrains also concerned the JFK incident: I.26, noting Jeane Dixon foreshadowing as 'bearer of claims,' and comparing with the nighttime killing of his brother RFK, ending the latter's presidential candidacy in turbulent mid-1968, confirmed by naming places then involved in anti-war protest-strikes; and I.65, alluding to the circumstances surrounding the death of JFK Jr, such as having recently departed from a ball game.
>
> As with text transcriptions for supraliminal musical passages, proper analysis of the French prophecies is a complicated elusive endeavor. Neither the assassination of a Nepalese monarch from 1 June 2001 in II.15, nor the mid-January 2023 plane crash into Seti Gorge that appears the partial subject of X.88 mention Nepal by name: instead the seer seems keenly aware the scenarios set forth have singular solutions that could be determined by diligently pursuing in good faith. There are significant trending notions, such as some planetary alignments heralding later terms of power being pre-characterized: the May 2000 Taurean alignment included the Sun bearing the negative omen of a giant sunspot, foretelling its synchronicity with hail falling the size of an egg in the Chicago area, preceding George W Bush being given the presidency as a gift by the highest court, later to unveil his financially ill-fated economic stimulus plan in Chicago.
>
> The 21 August 2017 solar eclipse was within a less extensive alignment, associated with Hurricane Harvey subjugating the South, prior to the re-lowering of the Crescent at the Capitol riot completion of lunar cycle, in X.95, and identified in VIII.88 by the coinciding feast for Saint Luxorius of Sardinia. The onset of the covid pandemic was long-before determined to involve Ceres from III.75, manifested by its convergence with Saturn, Pluto, Mercury and the Sun circa 11 January 2020; the March 2020 lockdowns were predetermined from following the Epistle guidance to add 73 years 7 months to the start of the Atomic Energy Commission; the death date for George Floyd was forecasted from III.93, as inciting massive anger, for 25 May 2020 using the feast for Saint Leo of Troyes, following Hurricane Dorian halting over the Bahamas in early September 2019. The BLM protests ensuing for about 7 months, over numerous deaths having occurred under malfeasant circumstances, figured into IV.100, involving the early July 2020 penumbral lunar eclipse with the Moon near Pallas, the light of Mars flickering via Neptune conjunct 13 June 2020 (the time of the release of an installation in my Beatle book series), and the 21 June annular solar eclipse as the King at Evreux alluding to the feast for Saint Leutfridis - the necessity to turn covid patients prone to prevent their suffocating in bed from VIII.85 was a parallel, where the planting of turnips timed from the festival for Neptune from antiquity was given responsibility for removing the light of Mars. In II.65 Saturn faded by its Great Conjunction with Jupiter when Mercury left Sagittarius for late 2020 (suggesting also the collapse of a parking structure in lower Manhattan occurring 18 April 2023), in tandem with I.51 correctly placing the Moon then at the head of Aries, with the initial reports of covid mutations, referring to the long cycle for Saturn reigning that culminated in the 6 January 2021 Capitol riot, which was foretold in X.61 as an event of enormous violence, associated with the 4 January 2021 lunar aspects for a protracted opposition between Neptune and Vesta (as pike and fire), and the destruction of documents before completion of the lunar cycle further appeared in I.62.
>
> The timing of the onset of the war against Ukraine was years-before determined as proceeding from late January 2022 using elements given in I.16 (Saturn midway through Aquarius in a sextile lunar aspect linking to Sagittarius, with Saturn also nearing the midpoint of its direct motion phase). The Dobbs decision delivered 24 June 2022 established through IV.70 the Pyrenees as a codeword, referencing the 'quite contiguous' feast for Saint Eurosia on 25 June. The prisoner exchange freeing Brittney Griner appearing in several quatrains (notably IV.58) grounded its timing circa early December 2022.
>
> The final line of II.92 was associated with the early January 2023 fraught series of failed votes for Speaker of the House, leading towards anticipation of massive fatalities at the nephew of a great one, manifested 6 February 2023 by the sibling quakes at the Turkey-Syria border on the feast for two nephews of Saint Patrick. The copycat coup of the Brasilia insurrection figured in X.79 synchronized with a Mercury solar conjunct 7 January 2023 (foretelling also the Infrastructure Plan, as ironically set against concern over the rogue Scorpion police unit in Memphis), in parallel with the latter portion of II.66 (whose first half apparently concerned the 28 October 2022 hammer attack on Paul Pelosi, who had escaped injury by his captor until the summoned police arrived).
>
> The 2 February 2023 Venus Lunar Grand Trine with the South Node on the feast for Saint Joan of Lestonnac (hinted by 'l'estomac') figured into X.17 appeared a Revelation illumination as the Cup Babylon mixed for herself, presenting the unidentified 'first pillar' for VIII.29 (viewed retrospectively from being set at the 21 March 2023 Vernal Equinox, with Venus and her mythical mother Juno meeting at the Node): two quatrains had identified Venus as Mystery Babylon through its Friday 9 September 2022 lunar opposition (alluding to an all-day Grand Trine [Friday in X.95] and one concurrently manifesting at the Venusian lunar opposition [VIII.96]). Geneva coordinates were used because of it mention in IX.44 and the gigantic subterranean LHC machine with immense power, finding a precise Pediment formed by the locally-plotted Vertex intruding on an aspect between Venus and Saturn on 17 March 2023 (as in I.54). The 'mix for her double' divine command seemed carried out 27 April 2023 with two Pediments in the Geneva chart during the Neptune lunar trine: while the Moon was again in Cancer with Pallas as on 2 February, the new addition of Mars falsified the order to use the same Cupbearer constellation (I.94, VI.89).
>
> The second 'pillar' Grand Trine configuration occurred 3 June 2023 at the birthdate for Duke Cesar of Vendome, consisting of Venus, Neptune and the Moon (in the non-oceanic water sign Scorpio), following by a few hours the tragic train derailments in India. The third pillar for VIII.29 should be the first of two Vestal Edifices (in V.66, where the years-prior discovery of an ancient aqueduct in ruins was foretold), as a configuration in late June 2023 involving Vesta, Ceres and Pluto.
>
> With the Mars lunar opposition at constellation midpoints on 4 August 2023, the Balance of V.42 manifested; Mercury and Pallas in the same sign as Mars conjoined 8 August, death date for Saint Eusebius of Milan in the Lombard region, thus revealing the Maui wildfires as the fateful Lombardy precursor. The Apocalyptic implications of VI.16 suggest an imminent incident near the Black Forest would make the prior occurrence seem like a cozy fire at some tavern by comparison.
>
> The Moroccan quake and Libyan flooding preceded a further fourth pillar long-term Grand Trine where Pluto was switched out (with Vesta and Ceres retained) for Saturn mid-September 2023, for the splitting of that pillar dedicated to Saturn in VIII.29. Saturn had entered Pisces in March, however Pluto at a cusp forestalled its sustained reign, until several months later, when it had retrograded back near the cusp, fatefully commencing its return to direct motion circa 4 November (the return of Saturn being a critical cataclysmic thematic element), with an extensive series of reigning cycles. The Urn found beneath the Saturnin Edifice corresponded with a subsequent sustained Grand Trine of Jupiter with Mercury and Lilith, during one of the Saturnin cycles (beginning on the 6 December feast of Saint Nicholas), wherein the Vertex daily positioned in approach to Venus ('bien proche' meaning 'well-approached' place not far from Venus in IV.68) formed a second opposing Grand Trine with Saturn and Vesta daily, creating a Star of David configuration locally for the Geneva charts. The Vertex daily completing the Grand Trine with Saturn and Vesta became more precise, as Vesta retrograded into a trine with Saturn that ended that Saturnin reigning cycle 13 December 2023 12:25 pm CET: the ensuing Vestal reign from 13 December 2023, as Saint Lucy's day in IX.68, lasted about a week, foretelling a horrible throne, which included the 18 December volcanic eruption in Iceland after weeks of quakes, same day as the strong quake in the Gansu province of China (a recurrence from 22 July 2013).
>
> The two quatrains using Corinth and Ephesus respectively for Neptune and the Moon, where three nights of the world trembling is foreseen, appeared fulfilled as a precursor 28 December 2023 3:44 pm CET, when the Neptune lunar trine presented as a false Grand Trine with Venus 3.5 degrees in variance: since Venus had progressed into the non-Oceanic sign of Scorpio, this had the Moon in Cancer, thus 'swimming in two seas' with slow-moving Neptune still in Pisces, after having retrograded by several degrees, compared with the 3 June 2023 configuration; so the perplexity appeared as the dubious status with Venus debased by a false rapport satisfying X.28.
>
> The phrasing 'Saturne d'or' from IX.44 should mean a Saturnin cycle either preceding or following a solar reign (since the preposition 'de' can mean either 'for' or 'from' the golden Sun inference), but this could be clarified by V.11 indicating a solar reign arriving when Saturn no longer occupies any reign, and such an interval appears when the final Saturnin cycle concludes with the Sun entering Aquarius 20 January 2024 - at that time sea travel is warned as unsafe. The African continent would tremble, Asia would be changed, and the subsequent brief Venusian reign (interrupting Plutonian reigns for less than two hours) on 23 January 2024 should mark the cessation of shaking for Africa. In I.46 something stupendous shortly follows the global trembling incident, implying the sequence of the purifying Warning event followed by witnessing the Great Miracle at Garabandal; X.60 has blood and sword as New Years' gifts, with fire, trembling earth, water (paralleling fire and flood in I.2), also mentioning 'unfortunate reluctance.' In V.16 a sustained Phantom appears at a Rhodes date, presumably for Saints Clement and Agathangelos honored on 23 January. The Third Secret of Fatima begins with a flaming Sword, like the one wielded by an angel to guard Eden, continuing into a papal ambush also foretold in V.22 (subsequent to the terrifying incident).
>
> Looking within the final Saturnin cycle, a Lunar Grand Trine of Mars with Lilith was found, which appears to activate into cataclysmic onset when Venus rises for Geneva 19 January 2024 6:08 am CET [12:08 am EST / 18 January 2024 9:08 pm PST], manifesting an offset doubling effect, and complying with the requisite series of astrological and hagiological-historical parameters.
>
> https://groups.google.com/g/alt.prophecies.nostradamus/c/W9XmaiXOKFE/m/QmU_smJWAwAJ
>
> The prophecies have also esoterically documented my attempts to bring society into awareness of the subliminal nature of the band's collective projects, in a manner obviously beyond my control, starting about fourteen years ago. My book series began with the release of Book 2 ("The Comedy Of Eros," 21 December 2009): X.74 documents the completion of the Great Seventh Number as preceding the 2010 Winter Olympic Games, referred to as those of Sacrifice, because of a luge athlete perishing before the opening ceremonies; the seer elaborated this would not be far from the millennial turn, with those buried emerging from their tomb insinuating the excavations at the Valley of the Golden Mummies in the Bahariya Oasis of the western desert region of Egypt, commencing in 1999, after the site was discovered in 1996. The Great Seventh Number hinted at the Seventh Bowl being poured on the air for the Ascension theme during the initial stage, beginning the regressive Remembrance. As in the recent Ringo Starr release title, the subliminal formatting between stages was continually 'rewinding forward.'
>
> Book 3 ("Not Full So Black," 28 July 2011) corresponded to the 'initial success and ghostliness' in X.44, alluding to the shadow of the 11 July 2010 total solar eclipse visible in the South Pacific - 'From Seven, then the Shadow as King, initial success and ghostliness.' Dramatically breaking through the American market (with an historic appearance on The Ed Sullivan Show) coincided with an album release whose sleeve featured a dark void with half-faces emerging for a spectral effect (and extensive use of ethereal double-tracking for vocals), accompanying subliminal inferences to the Risen Christ visiting the Apostles. An Epistle passage related, where the protection of Mars was invoked for its lunar conjunct 27 July 2011, stripping the honor from Jupiter with its previous 23 July 2011 lunar union.
>
> With Book 4 ("A Heard Dream's Rite," 28 March 2012), the spotlight in the cover image was taken for the Sun rising at the third month in I.23, recapping the conclave of cardinals in April 2005 as the 'field of Mars' for the 13 April Mars-Neptune conjunction, insinuating the Vatican Leak Scandal addressed by Pope Benedict XVI 30 May 2012, followed by his resignation 28 February 2013. The symbolic elevation of the Sun also appears as a theme in V..24. The subject matter regressed into the first appearances of the Risen Christ, to the Ten Apostles without Thomas (and of course also excluding the betrayer Judas Iscariot), to two disciples on the road to Emmaus, ascending to The Father, and at the Tomb with Mary Magdalene.
>
> Continuing the backwards cycling, Book 5 ("The Quality Of Mersey," 19 June 2020) concerned the time Jesus spent within the Sepulcher, the Holy Shroud, and remorse by Saint Peter over his previous three denials at the Crucifixion: beyond the Mars-Neptune conjunction 13 June 2020 and other elements already mentioned figuring in IV.100, it appeared blandly in VIII.85 line 3 as the Annex (further installment) from a northern nation designated as Aquilon; the 8 June 2020 date hinted by Rouen was for the feast of bishop Saint Gildard, indicating the day the Holy Shroud tangent became a writing focus (explaining why the carbon dating test for authenticity was misleading) - Evreux for Saint Leutfridis implied his feast on 21 June, when there was an annular solar eclipse, and the book became available in paperback.
>
> The massive 120,000-word Book 1 ("A Temple Of Many Mansions," 3 September 2017) encompassing 1830 to 1980 was first released in two parts before being combined, under the separate title "The First Twelve" (meaning commentary on the first twelve chapters of Revelation). "White Versus Red" concerned a succession of Marian apparitions through the Carrollian era, with release 17 August 2012 matching the chronology of I.83: the 'foreign folk dividing gains' foretold concurrent news of polling towards the US presidential election (between Obama and Romney); 'Saturne en Mars' insinuated the Saturn-Mars conjunction 15 August 2012 - 'His appearance furious' suggested my cover artwork, where a waking instantaneous astral projection (reworked more accurately for the 2017 version as a frontispiece) of a spherical astral form was figuratively altered as emanating lightning bolts, to depict divine anger. Yet this should not have contained the Deific Throne, as a more powerful manifestation of the robed figures seen alongside whose heads where in orbs of light, but instead likely represented one of the astral Twelve Gates, described as resembling pearls. The text was intended to resolve major issues from the early portions of Revelation, skipping through history with Nostradamus' quatrains sometimes used for phases included the Second World War, in a more detailed historical manner than was required to merely explain the ancient vision itself, going into the second part ("Archangels And The Dragon," 24 April 2014); temporal synchronicities between the Garabandal Marian episodes and The Beatles' early period were explored, commencing with the first Marian audience (after angelic encounters from 18 June 1961) coinciding with the band's return from a second Hamburg residency 2 July 1961. The association of the 21 August 2017 solar eclipse in VIII.8 with 'several colors' corresponded to reconceived cover artwork, suggesting the varied colors reported in the Great Aurora of 1938, with the addition of a flying airplane.
>
> Garabandal visionary Conchita was first informed of the Warning on 1 January 1965, when the other girls had long-ceased having such experiences: she was also told that angel Michael would deliver the fourth and final Marian message on 18 June 1965, the day when work was being completed for the "Help!" album: the message was that the prior messages from years ago had not been heeded, that the Cup of Divine Wrath then filling was now overflowing, and to consider the Passion of Jesus. While she had been given the date when the Miracle would become visible after the Warning, with the instruction to make an announcement eights days prior so witnesses would assemble, when Conchita subsequently learned on 13 November 1965 (while the "Rubber Soul" album was being completed) there would be no more Marian encounters, she pleaded to be taken then - the response was that would mean appearing before God, when her hands should be full of works glorifying divinity for the sake of humanity, and as it was her hands would appear empty.
>
> The sustained Marian apparitions viewed by massive crowds at Zeitoun, Egypt, occurred at the Coptic Church where it was believed the Holy Family had settled during their time of escape from Herod's Slaughter of the Innocents, designed to eliminate young Jesus as a political rival. The apparitions could be filmed, commencing from April 1968, circa the "Hey Jude" era, when The Beatles had regressed into the Nativity stages.
>
> A Beatle photo session from October 1964 yielded two images involving champagne, which were subsequently used in 1965 for album covers specific to issue in France and Italy, territories which together had comprised ancient Gaul: thus they insinuated by a clever pun the 'wine mixed with gall' from the Crucifixion account. This had pre-emerged in I.51 as 'Gaul and Italy,' obliquely referencing the fateful current cycles for Saturn reigning. A subsequent Book 6 is planned, revealing how the fourteen songs on the "Help!" album correspond with the equal number for Stations of The Cross. The incredible physical trauma of Christ's Passion was scarcely discernible through the subliminal musical approach, with listeners left to ponder instead the autobiographical and countercultural implications of the title track, or the immense talent displayed with the string arrangement of "Yesterday," easily dismissing the lyric about an overhanging shadow.
>
> John Lennon expressed displeasure with his work on "It's Only Love," corresponding with the Station where Jesus falls for the third time, apparently being more concerned with failing to introduce some additional emotive twist present in other efforts, than the overall effect of the song as a popular recording. Yet the lack of development may offer unintended poignancy, by virtue of its stark simplicity.
>
> The recurrent instrumental hook phrase there suggests, with minor variations, a 'mystical voicing' of the pure core event of the scene -
>
> 'FELL,
> For The
> THIRD TIME'

On Sunday, December 31, 2023 at 4:18:08 PM UTC-8, Curtis Eagal wrote:
> When John Lennon previewed "Cold Turkey" for release as a Beatles song, it was rejected as being off-brand for the band: while this could be understandable from the subject matter of his withdrawal ordeal, and its extremely harsh stylistic treatment, the official video at its end includes a verification of his subliminal intentions, with a letter-by-letter etching scrawled into the film frame-by-frame, spelling out 'F-R-E-E-D-O-M,' then the entire word 'FREEDOM' appears, and quickly seen being scratched out, coinciding with a brief outro of oddly serene reversed tones. Of course John sought physical freedom by undergoing withdrawal as the title and lyrics suggest, yet the savagely repeated electric guitar riff appears to present the unfinished phrase,
>
> 'YOU KNOW THE SAVIOUR WANTED --!"
>
> The concluding tones start with a musical approximation of the word 'Freedom' being vocalized, adding three more words, completing the thought that had been recurring in partial form during the strong riff. The theme does not have the Christ desiring freedom for Himself, but is more along the "Power To The People" concept. As primary Dreamweaver of The Beatles' Christ-Dream, Lennon assumed the role of an advanced theologian, capable of transposing the Creed and story of Jesus into small doses for consumption by the unwitting contemporary audience, strung together in a comprehensive format, having his group collectively task themselves with a series of projects comprising a Modern Remembrance. The failure of society to acknowledge his accomplishment eventually led to his resorting to Primal Therapy, to hopefully purge the madness of religion from his psyche, where his engaging in disbelief as a liberating game became culturally embraced as revealing a true atheist persona - although "I've seen religion from Jesus to Paul" could be interpreted as looking back at his collaboration with Paul McCartney. When Lennon attempted in interviews to hint at how his true intentions had not become common knowledge, it was to no avail: the public would believe the lyrics themselves, more than comments by the composers about them, or how the sounds in the songs were ironically crafted as their recording art. John explained his 1965 song "Girl" had explored the dubious notion of suffering in life to achieve some eventual spiritual reward, as being a forerunner of the idea behind his later song "God."
>
> The guitar opening of "Across The Universe" presents a remark John might have uttered about his personal attitude, starting,
>
> 'Got NO -
> Use For...'
>
> - the remaining two notes finishing the phrase would be self-evident if tracking the musical-verbal crossover, allowing the instrument to speak as he said he was intending, but lacking that there is no coherent thought being conveyed.
>
> As skilled arrangers, The Beatles were able to cover songs written by others in a mode suiting their own purpose. For the Larry Williams song "Bad Boy" the strong guitar opening repeats (both times followed by differently-phrased parts), a dramatic question -
>
> 'Will He
> Save Himself?!'
>
> A recurrent riff continues the enigmatic notion by further asking,
>
> "How Could The
> SAVIOUR
> Save Himself?"
>
> Transcribing basically notes for syllables in the instrumental middle section, John's trademark scream overlaps a reference to the Crucifixion, although the context is complicated, and the track was released after it was relevant for the stage when it was recorded.
>
> While the crowd murmuring at the opening of "Sgt Pepper's Lonely Hearts Club Band" album was taken from a sound effects recording (complete with the indistinct shout), the orchestra tuning up begins that section of the Christ dream with strings suggesting,
>
> 'Jesus
> Agreed -
> To Be...'
>
> - then a violin string being plucked provides,
>
> 'DUNKED!'
>
> - before the phrase is completed with,
>
> 'By Cousin'
>
> - so the stage was set for the loud electric guitar fanfare, beginning appropriately with,
>
> 'BAPTIZING MAN!
> THREW WATER...'
>
> After meditating in India, they took on the challenging stage for the White Album, using the obscure Infancy texts as a basis, departing from the Gospel material (as John said towards the end of his apologetic interview in 1966, they could not self-generate subjects to continue indefinitely, despite that being the prevalent perception): the strange chord opening "Back In The USSR" suggests the word
>
> 'TWELVE:'
>
> - this is followed by two chords stridently proclaiming,
>
> 'Last -
> Year -'
>
> - before McCartney finishes by vocalizing,
>
> "...Young!"
>
> So this established the chronology for the Infancy material, regressing from the age of thirteen, representing adulthood in ancient Hebrew culture. While Prudence Farrow reclusively meditating to an excessive degree inspired "Dear Prudence," that component was merged with the musical adherence to the Christian format, where the first iteration of a gentle guitar riff in the song implies,
>
> 'Young King'
>
> The Infancy texts being obscure to the Western audience means those stories would first have to be recounted, before explaining how they relate to the songs on the double album, whose stereo and mono versions had sometimes significant differences. However the penultimate track,
> "Revolution 9," an unusual avant-garde collaboration between John and Yoko Ono with George Harrison, has a conglomeration of dissonant sounds and effects recognizably relating to the efforts by King Herod to destroy in His youth the figure whose Nativity was sought by the Magi through prophetic clues as an emerging King: one recurring loop aurally implies,
>
> 'The Herod
> SLAUGH-ter!'
>
> The timing for the issue of the final Beatles song, "Now And Then," was partially dictated by the technology becoming available to separate Lennon's vocal track from a recording where it was included with piano, emerging from the "Get Back" documentary chronology. The lyric, "If we must start again" demonstrated Lennon was giving up hope that their first effort as The Beatles would ever be acknowledged as a Modern Remembrance of Christ, and was finally open to McCartney's idea rejected at their break-up that they begin again, "From Square One": however this arrived too late to ever manifest, with electric guitar played in Harrison's style as a homage lamenting,
>
> 'We -
> NEVER did'
>
> - the orchestrally-scored section elaborated their newer version for the life of Christ had been fated to never have its earthly manifestation.
>
> So the world, desiring to believe the band actually wanted to hold our hands, rather than performatively alluding to the Doubting Thomas story, was content to never allow glorification of Jesus as Lord of Spirits through the mystical power of contemporary popular music, thus evading what would potentially become a Great Mourning. The timing of the "Now And Then" release just before the return of Saturn from retrograde to direct motion in early November 2023 has ominous prophetic implications that cultural consensus opinion may not hold the last word.
>
> While the French seer Nostradamus is acknowledged as plausibly predicting the 22 November 1963 JFK assassination in his quatrain VI.37, few have related its first line about 'ancient work' being accomplished with the coinciding release of The Beatles' second album. Two other quatrains also concerned the JFK incident: I.26, noting Jeane Dixon foreshadowing as 'bearer of claims,' and comparing with the nighttime killing of his brother RFK, ending the latter's presidential candidacy in turbulent mid-1968, confirmed by naming places then involved in anti-war protest-strikes; and I.65, alluding to the circumstances surrounding the death of JFK Jr, such as having recently departed from a ball game.
>
> As with text transcriptions for supraliminal musical passages, proper analysis of the French prophecies is a complicated elusive endeavor. Neither the assassination of a Nepalese monarch from 1 June 2001 in II.15, nor the mid-January 2023 plane crash into Seti Gorge that appears the partial subject of X.88 mention Nepal by name: instead the seer seems keenly aware the scenarios set forth have singular solutions that could be determined by diligently pursuing in good faith. There are significant trending notions, such as some planetary alignments heralding later terms of power being pre-characterized: the May 2000 Taurean alignment included the Sun bearing the negative omen of a giant sunspot, foretelling its synchronicity with hail falling the size of an egg in the Chicago area, preceding George W Bush being given the presidency as a gift by the highest court, later to unveil his financially ill-fated economic stimulus plan in Chicago.
>
> The 21 August 2017 solar eclipse was within a less extensive alignment, associated with Hurricane Harvey subjugating the South, prior to the re-lowering of the Crescent at the Capitol riot completion of lunar cycle, in X.95, and identified in VIII.88 by the coinciding feast for Saint Luxorius of Sardinia. The onset of the covid pandemic was long-before determined to involve Ceres from III.75, manifested by its convergence with Saturn, Pluto, Mercury and the Sun circa 11 January 2020; the March 2020 lockdowns were predetermined from following the Epistle guidance to add 73 years 7 months to the start of the Atomic Energy Commission; the death date for George Floyd was forecasted from III.93, as inciting massive anger, for 25 May 2020 using the feast for Saint Leo of Troyes, following Hurricane Dorian halting over the Bahamas in early September 2019. The BLM protests ensuing for about 7 months, over numerous deaths having occurred under malfeasant circumstances, figured into IV.100, involving the early July 2020 penumbral lunar eclipse with the Moon near Pallas, the light of Mars flickering via Neptune conjunct 13 June 2020 (the time of the release of an installation in my Beatle book series), and the 21 June annular solar eclipse as the King at Evreux alluding to the feast for Saint Leutfridis - the necessity to turn covid patients prone to prevent their suffocating in bed from VIII.85 was a parallel, where the planting of turnips timed from the festival for Neptune from antiquity was given responsibility for removing the light of Mars. In II.65 Saturn faded by its Great Conjunction with Jupiter when Mercury left Sagittarius for late 2020 (suggesting also the collapse of a parking structure in lower Manhattan occurring 18 April 2023), in tandem with I.51 correctly placing the Moon then at the head of Aries, with the initial reports of covid mutations, referring to the long cycle for Saturn reigning that culminated in the 6 January 2021 Capitol riot, which was foretold in X.61 as an event of enormous violence, associated with the 4 January 2021 lunar aspects for a protracted opposition between Neptune and Vesta (as pike and fire), and the destruction of documents before completion of the lunar cycle further appeared in I.62.
>
> The timing of the onset of the war against Ukraine was years-before determined as proceeding from late January 2022 using elements given in I.16 (Saturn midway through Aquarius in a sextile lunar aspect linking to Sagittarius, with Saturn also nearing the midpoint of its direct motion phase). The Dobbs decision delivered 24 June 2022 established through IV.70 the Pyrenees as a codeword, referencing the 'quite contiguous' feast for Saint Eurosia on 25 June. The prisoner exchange freeing Brittney Griner appearing in several quatrains (notably IV.58) grounded its timing circa early December 2022.
>
> The final line of II.92 was associated with the early January 2023 fraught series of failed votes for Speaker of the House, leading towards anticipation of massive fatalities at the nephew of a great one, manifested 6 February 2023 by the sibling quakes at the Turkey-Syria border on the feast for two nephews of Saint Patrick. The copycat coup of the Brasilia insurrection figured in X.79 synchronized with a Mercury solar conjunct 7 January 2023 (foretelling also the Infrastructure Plan, as ironically set against concern over the rogue Scorpion police unit in Memphis), in parallel with the latter portion of II.66 (whose first half apparently concerned the 28 October 2022 hammer attack on Paul Pelosi, who had escaped injury by his captor until the summoned police arrived).
>
> The 2 February 2023 Venus Lunar Grand Trine with the South Node on the feast for Saint Joan of Lestonnac (hinted by 'l'estomac') figured into X.17 appeared a Revelation illumination as the Cup Babylon mixed for herself, presenting the unidentified 'first pillar' for VIII.29 (viewed retrospectively from being set at the 21 March 2023 Vernal Equinox, with Venus and her mythical mother Juno meeting at the Node): two quatrains had identified Venus as Mystery Babylon through its Friday 9 September 2022 lunar opposition (alluding to an all-day Grand Trine [Friday in X.95] and one concurrently manifesting at the Venusian lunar opposition [VIII.96]). Geneva coordinates were used because of it mention in IX.44 and the gigantic subterranean LHC machine with immense power, finding a precise Pediment formed by the locally-plotted Vertex intruding on an aspect between Venus and Saturn on 17 March 2023 (as in I.54). The 'mix for her double' divine command seemed carried out 27 April 2023 with two Pediments in the Geneva chart during the Neptune lunar trine: while the Moon was again in Cancer with Pallas as on 2 February, the new addition of Mars falsified the order to use the same Cupbearer constellation (I.94, VI.89).
>
> The second 'pillar' Grand Trine configuration occurred 3 June 2023 at the birthdate for Duke Cesar of Vendome, consisting of Venus, Neptune and the Moon (in the non-oceanic water sign Scorpio), following by a few hours the tragic train derailments in India. The third pillar for VIII.29 should be the first of two Vestal Edifices (in V.66, where the years-prior discovery of an ancient aqueduct in ruins was foretold), as a configuration in late June 2023 involving Vesta, Ceres and Pluto.
>
> With the Mars lunar opposition at constellation midpoints on 4 August 2023, the Balance of V.42 manifested; Mercury and Pallas in the same sign as Mars conjoined 8 August, death date for Saint Eusebius of Milan in the Lombard region, thus revealing the Maui wildfires as the fateful Lombardy precursor. The Apocalyptic implications of VI.16 suggest an imminent incident near the Black Forest would make the prior occurrence seem like a cozy fire at some tavern by comparison.
>
> The Moroccan quake and Libyan flooding preceded a further fourth pillar long-term Grand Trine where Pluto was switched out (with Vesta and Ceres retained) for Saturn mid-September 2023, for the splitting of that pillar dedicated to Saturn in VIII.29. Saturn had entered Pisces in March, however Pluto at a cusp forestalled its sustained reign, until several months later, when it had retrograded back near the cusp, fatefully commencing its return to direct motion circa 4 November (the return of Saturn being a critical cataclysmic thematic element), with an extensive series of reigning cycles. The Urn found beneath the Saturnin Edifice corresponded with a subsequent sustained Grand Trine of Jupiter with Mercury and Lilith, during one of the Saturnin cycles (beginning on the 6 December feast of Saint Nicholas), wherein the Vertex daily positioned in approach to Venus ('bien proche' meaning 'well-approached' place not far from Venus in IV.68) formed a second opposing Grand Trine with Saturn and Vesta daily, creating a Star of David configuration locally for the Geneva charts. The Vertex daily completing the Grand Trine with Saturn and Vesta became more precise, as Vesta retrograded into a trine with Saturn that ended that Saturnin reigning cycle 13 December 2023 12:25 pm CET: the ensuing Vestal reign from 13 December 2023, as Saint Lucy's day in IX.68, lasted about a week, foretelling a horrible throne, which included the 18 December volcanic eruption in Iceland after weeks of quakes, same day as the strong quake in the Gansu province of China (a recurrence from 22 July 2013).
>
> The two quatrains using Corinth and Ephesus respectively for Neptune and the Moon, where three nights of the world trembling is foreseen, appeared fulfilled as a precursor 28 December 2023 3:44 pm CET, when the Neptune lunar trine presented as a false Grand Trine with Venus 3.5 degrees in variance: since Venus had progressed into the non-Oceanic sign of Scorpio, this had the Moon in Cancer, thus 'swimming in two seas' with slow-moving Neptune still in Pisces, after having retrograded by several degrees, compared with the 3 June 2023 configuration; so the perplexity appeared as the dubious status with Venus debased by a false rapport satisfying X.28.
>
> The phrasing 'Saturne d'or' from IX.44 should mean a Saturnin cycle either preceding or following a solar reign (since the preposition 'de' can mean either 'for' or 'from' the golden Sun inference), but this could be clarified by V.11 indicating a solar reign arriving when Saturn no longer occupies any reign, and such an interval appears when the final Saturnin cycle concludes with the Sun entering Aquarius 20 January 2024 - at that time sea travel is warned as unsafe. The African continent would tremble, Asia would be changed, and the subsequent brief Venusian reign (interrupting Plutonian reigns for less than two hours) on 23 January 2024 should mark the cessation of shaking for Africa. In I.46 something stupendous shortly follows the global trembling incident, implying the sequence of the purifying Warning event followed by witnessing the Great Miracle at Garabandal; X.60 has blood and sword as New Years' gifts, with fire, trembling earth, water (paralleling fire and flood in I.2), also mentioning 'unfortunate reluctance.' In V.16 a sustained Phantom appears at a Rhodes date, presumably for Saints Clement and Agathangelos honored on 23 January. The Third Secret of Fatima begins with a flaming Sword, like the one wielded by an angel to guard Eden, continuing into a papal ambush also foretold in V.22 (subsequent to the terrifying incident).
>
> Looking within the final Saturnin cycle, a Lunar Grand Trine of Mars with Lilith was found, which appears to activate into cataclysmic onset when Venus rises for Geneva 19 January 2024 6:08 am CET [12:08 am EST / 18 January 2024 9:08 pm PST], manifesting an offset doubling effect, and complying with the requisite series of astrological and hagiological-historical parameters.
>
> https://groups.google.com/g/alt.prophecies.nostradamus/c/W9XmaiXOKFE/m/QmU_smJWAwAJ
>
> The prophecies have also esoterically documented my attempts to bring society into awareness of the subliminal nature of the band's collective projects, in a manner obviously beyond my control, starting about fourteen years ago. My book series began with the release of Book 2 ("The Comedy Of Eros," 21 December 2009): X.74 documents the completion of the Great Seventh Number as preceding the 2010 Winter Olympic Games, referred to as those of Sacrifice, because of a luge athlete perishing before the opening ceremonies; the seer elaborated this would not be far from the millennial turn, with those buried emerging from their tomb insinuating the excavations at the Valley of the Golden Mummies in the Bahariya Oasis of the western desert region of Egypt, commencing in 1999, after the site was discovered in 1996. The Great Seventh Number hinted at the Seventh Bowl being poured on the air for the Ascension theme during the initial stage, beginning the regressive Remembrance. As in the recent Ringo Starr release title, the subliminal formatting between stages was continually 'rewinding forward.'
>
> Book 3 ("Not Full So Black," 28 July 2011) corresponded to the 'initial success and ghostliness' in X.44, alluding to the shadow of the 11 July 2010 total solar eclipse visible in the South Pacific - 'From Seven, then the Shadow as King, initial success and ghostliness.' Dramatically breaking through the American market (with an historic appearance on The Ed Sullivan Show) coincided with an album release whose sleeve featured a dark void with half-faces emerging for a spectral effect (and extensive use of ethereal double-tracking for vocals), accompanying subliminal inferences to the Risen Christ visiting the Apostles. An Epistle passage related, where the protection of Mars was invoked for its lunar conjunct 27 July 2011, stripping the honor from Jupiter with its previous 23 July 2011 lunar union.
>
> With Book 4 ("A Heard Dream's Rite," 28 March 2012), the spotlight in the cover image was taken for the Sun rising at the third month in I.23, recapping the conclave of cardinals in April 2005 as the 'field of Mars' for the 13 April Mars-Neptune conjunction, insinuating the Vatican Leak Scandal addressed by Pope Benedict XVI 30 May 2012, followed by his resignation 28 February 2013. The symbolic elevation of the Sun also appears as a theme in V..24. The subject matter regressed into the first appearances of the Risen Christ, to the Ten Apostles without Thomas (and of course also excluding the betrayer Judas Iscariot), to two disciples on the road to Emmaus, ascending to The Father, and at the Tomb with Mary Magdalene.
>
> Continuing the backwards cycling, Book 5 ("The Quality Of Mersey," 19 June 2020) concerned the time Jesus spent within the Sepulcher, the Holy Shroud, and remorse by Saint Peter over his previous three denials at the Crucifixion: beyond the Mars-Neptune conjunction 13 June 2020 and other elements already mentioned figuring in IV.100, it appeared blandly in VIII.85 line 3 as the Annex (further installment) from a northern nation designated as Aquilon; the 8 June 2020 date hinted by Rouen was for the feast of bishop Saint Gildard, indicating the day the Holy Shroud tangent became a writing focus (explaining why the carbon dating test for authenticity was misleading) - Evreux for Saint Leutfridis implied his feast on 21 June, when there was an annular solar eclipse, and the book became available in paperback.
>
> The massive 120,000-word Book 1 ("A Temple Of Many Mansions," 3 September 2017) encompassing 1830 to 1980 was first released in two parts before being combined, under the separate title "The First Twelve" (meaning commentary on the first twelve chapters of Revelation). "White Versus Red" concerned a succession of Marian apparitions through the Carrollian era, with release 17 August 2012 matching the chronology of I.83: the 'foreign folk dividing gains' foretold concurrent news of polling towards the US presidential election (between Obama and Romney); 'Saturne en Mars' insinuated the Saturn-Mars conjunction 15 August 2012 - 'His appearance furious' suggested my cover artwork, where a waking instantaneous astral projection (reworked more accurately for the 2017 version as a frontispiece) of a spherical astral form was figuratively altered as emanating lightning bolts, to depict divine anger. Yet this should not have contained the Deific Throne, as a more powerful manifestation of the robed figures seen alongside whose heads where in orbs of light, but instead likely represented one of the astral Twelve Gates, described as resembling pearls. The text was intended to resolve major issues from the early portions of Revelation, skipping through history with Nostradamus' quatrains sometimes used for phases included the Second World War, in a more detailed historical manner than was required to merely explain the ancient vision itself, going into the second part ("Archangels And The Dragon," 24 April 2014); temporal synchronicities between the Garabandal Marian episodes and The Beatles' early period were explored, commencing with the first Marian audience (after angelic encounters from 18 June 1961) coinciding with the band's return from a second Hamburg residency 2 July 1961. The association of the 21 August 2017 solar eclipse in VIII.8 with 'several colors' corresponded to reconceived cover artwork, suggesting the varied colors reported in the Great Aurora of 1938, with the addition of a flying airplane.
>
> Garabandal visionary Conchita was first informed of the Warning on 1 January 1965, when the other girls had long-ceased having such experiences: she was also told that angel Michael would deliver the fourth and final Marian message on 18 June 1965, the day when work was being completed for the "Help!" album: the message was that the prior messages from years ago had not been heeded, that the Cup of Divine Wrath then filling was now overflowing, and to consider the Passion of Jesus. While she had been given the date when the Miracle would become visible after the Warning, with the instruction to make an announcement eights days prior so witnesses would assemble, when Conchita subsequently learned on 13 November 1965 (while the "Rubber Soul" album was being completed) there would be no more Marian encounters, she pleaded to be taken then - the response was that would mean appearing before God, when her hands should be full of works glorifying divinity for the sake of humanity, and as it was her hands would appear empty.
>
> The sustained Marian apparitions viewed by massive crowds at Zeitoun, Egypt, occurred at the Coptic Church where it was believed the Holy Family had settled during their time of escape from Herod's Slaughter of the Innocents, designed to eliminate young Jesus as a political rival. The apparitions could be filmed, commencing from April 1968, circa the "Hey Jude" era, when The Beatles had regressed into the Nativity stages.
>
> A Beatle photo session from October 1964 yielded two images involving champagne, which were subsequently used in 1965 for album covers specific to issue in France and Italy, territories which together had comprised ancient Gaul: thus they insinuated by a clever pun the 'wine mixed with gall' from the Crucifixion account. This had pre-emerged in I.51 as 'Gaul and Italy,' obliquely referencing the fateful current cycles for Saturn reigning. A subsequent Book 6 is planned, revealing how the fourteen songs on the "Help!" album correspond with the equal number for Stations of The Cross. The incredible physical trauma of Christ's Passion was scarcely discernible through the subliminal musical approach, with listeners left to ponder instead the autobiographical and countercultural implications of the title track, or the immense talent displayed with the string arrangement of "Yesterday," easily dismissing the lyric about an overhanging shadow.
>
> John Lennon expressed displeasure with his work on "It's Only Love," corresponding with the Station where Jesus falls for the third time, apparently being more concerned with failing to introduce some additional emotive twist present in other efforts, than the overall effect of the song as a popular recording. Yet the lack of development may offer unintended poignancy, by virtue of its stark simplicity.
>
> The recurrent instrumental hook phrase there suggests, with minor variations, a 'mystical voicing' of the pure core event of the scene -
>
> 'FELL,
> For The
> THIRD TIME'