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As a child, I rushed to see The Beatles’ first movie, A Hard Day’s Night, at the local movie theater. I don’t remember much about it, except that it was packed with tearful, screaming girls, including me. We couldn’t make out the dialogue over the clamor, but it didn’t matter. John, Paul, George, and Ringo were in the same room as we were. Okay, maybe not in person, but their presence on the big screen was enough. I also recall angry teenage boys circling the theater in their cars, screaming for another reason: jealousy. They just couldn’t compete with the Fab Four.
How could four men have such an influence on us—and, actually, the entire world? Personally, I never questioned The Beatles’ unprecedented popularity. However, Joseph Niezgoda has done just that, presenting his theory in The Lennon Prophecy: A New Examination of the Death Clues of The Beatles. Niezgoda claims to be the ultimate Beatles and John Lennon fan, so his findings were troubling even to him. What could be so disconcerting? His theory is this: John Lennon sold his soul to the devil.
The Lennon Prophecy first explains early contracts with the devil, from Biblical references to Faust and beyond. Niezgoda uses this as a base, then takes us through a chronological journey of the life of John Lennon from childhood, his years with The Beatles, up to his death. After years of disappointments, how did the Beatles’ popularity suddenly soar in 1960? Niezgoda asserts that this is when Lennon solidified his twenty-year pact with the devil.
We can all predict that, with this line of reasoning, Lennon’s killer, Mark Chapman, must have been possessed by the devil. But how about the role of manager Brian Epstein? After all, he was a significant contributor to the success of The Beatles. Niezgoda maintains that he served as an intermediary between Lennon and the devil. Once the Beatles’ popularity was assured, Epstein was no longer needed, and therefore he was disposed of. He tragically died at age 32.
We all remember the “Paul is dead” rumor. Symbols were found on album covers and lyrics. So many teenagers like me tried to play “Revolution # 9” backwards to get to the truth. Niezgoda believes that we all misinterpreted the symbolism, as this was actually about John, predicting his own death. He has examined numerous album covers, Lennon’s comments and behavior, as well as accounts by close associates in order to prove his point.
Niezgoda presents a strong case in interpreting hidden signs in Lennon’s work, and he’s thoroughly researched his topic. However, he still didn’t persuade me. I believe that many of the accounts were purely coincidental. I also rebuke the notion that Lennon’s behavior could be considered as proof. Many rock musicians of the time expressed anti-Christian sentiments and studied the occult, numerology, and the like. Also, many were troubled individuals, like John. That said, I found Niezgoda’s interpretations fascinating. He explores The Beatles years in depth, which, alone, kept me engaged.
I recommend The Lennon Prophecy to those who appreciate an unusual take on music history, as well as long-time Lennon and Beatles fans. Like me, they’ll savor the memories.
