The Satanic Roots of Rock by Donald Phau
Today, at almost any „heavy-metal” rock concert one can hear the audience being exhorted to rape and murder in the name of Satan. Lyrics such as the following are typical:
„We come bursting through your bodies
Rape your helpless soul
Transform you into a creature
Merciless and cold
We force you to kill your brother
Eat his blood and brain
Shredding flesh and sucking bone
Till everyone’s insane
We are pestilent and contaminate
The world Demonic legions prevail”
Any loving parent today would be horrified and shocked to learn that their sons and daughters are eagerly listening to such evil. Perhaps though, some may think privately, „If only we could return to the ‚good old days,’ with the music of the Beatles.” Little do most people suspect that it was with those innocent-looking Beatles, that most of the trouble started.
Modern electronic-rock music, inaugurated in the early 1960s, is, and always has been, a joint enterprise of British military intelligence and Satanic cults. On the one side, the Satanists control the major rock groups through drugs , sex, threats of violence, and even murder. On the otherside, publicity, tours, and recordings are financed by record companies connected to British military intelligence circles. Both sides are intimately entwined with the biggest business in the world, the international drug trade.
The so-called „rock stars” are pathetic puppets caught in a much larger scheme. From the moment they receive their first recording royalties, the groups are heavily immersed in drugs . For example, much-admired „stars” such as John Lennon of the Beatles and Keith Richard of the Rolling Stones, were heroin addicts. Richard had to obtain blood transfusions, replacing his entire heroin-laced blood supply, in order to get a visa to enter the United States.
The „rock stars” are also totally artificial media creations. Their public image, as well as their music, is fabricated from behind the scenes by controllers. For example, when the Beatles first arrived in the United States in 1964, they were mobbed at the airport by hundreds of screaming teenage girls. The national press immediately announced that „Beatlemania” had besieged the U.S.A. But the girls had all been transported from a girl’s school in the Bronx, and paid for their screaming performance by the Beatles’ promoters.
The money of the 1960s rock groups, which in somes cases mounted to hundreds of millions of dollars, was also totally under the control of mob-connected promoters. From 1963 to 1970, the Rolling Stones made over $200 million, yet the group’s members were all nearly bankrupt. None of them had any idea of where their money went.
Between 1963 and 1964 the Beatles and the Rolling Stones laid siege to Western European and American culture. This two-pronged invasion from England was well-planned and well-timed. America had just suffered the shock of the assassination of President John Kennedy, while in the streets the mass-based civil rights movement had just held a Washington, D.C. rally, led by Martin Luther King, of 500,000 people. The rock counterculture would be used as a weapon to destroy such political movements.
Later in 1968 and 1969, years which saw a mass strike of students and workers in the United States and Europe, huge, open-air rock concerts were used to head off the growing discontent of the population. The rock concerts were devised as a means for mass recruitment to the drug-saturated, free-sex counterculture. For the millions who came to these concerts, thousands of tablets of the hallucinogenic drug, LSD, were made freely avaliable. These drugs were secretly placed in drinks such as Coca-Cola, turning thousands of unsuspecting victims into raving psychotics. Many committed suicide.
Less than a half century ago, our young children studied violin and piano, learning about the great classical composers such as Bach, Mozart, and Beethoven. As will be shown, the same record companies who today promote Satanic „heavy-metal” rock have run covert operations to destroy the musical heritage of these great classical composers.
For the past thirty years, Western society has been under the gun of a deliberate plan of cultural warfare, with the purpose of eliminating Judeo-Christian civilization as we know it. These plans must not succeed. So that the reader can better combat this evil, we’ll go back nearly thirty years, when those four innocent lads from Liverpool, England, the Beatles, were just starting out.
Creating the Beatles
The Beatles first began performing in the late 1950s in jazz clubs in England and West Germany. These clubs, always located in the seediest part of the cities, served as a marketplace for prostitution and the circulation of drugs . Beatle biographer Philip Norman writes: „Their only regular engagement was a strip club. The club owner paid them ten shillings each to strum their guitars while a stripper named Janice grimly shed her clothes before an audience of sailors, guilty businessmen and habitues with raincoat- covered laps.”
The Beatles got their first big break in Germany, in August 1960, when they obtained a booking at a jazz club in Hamburg’s notorious Reeperbahn district. Describing the area Norman writes it had, „red-lit windows containing whores in every type of fancy dress, all ages from nymphet to granny…Everything was free. Everything was easy. The sex was easy… Here it came after you.”
Far from the picture of innocence, the Beatles, even in their first performances, were always high on a drug called Preludin, „John (Lennon), would be foaming at the mouth, he’d have so many pills inside him…John, began to go berserk on stage, prancing and groveling…The fact that the audience could not understand a word he said, provoked John into cries of `Sieg Heil!’ and `Fucking Nazis’ to which the audience invariably responded by laughing and clapping.”
Off the stage, the Beatles were just as evil. Norman continues, „while in Hamburg, John, each Sunday would stand on the balcony, taunting the churchgoers as they walked to St. Joseph’s. He attached a water-filled contraceptive to an effigy of Jesus and hung it out for the churchgoers to see. Once he urinated on the heads of three nuns.”
While in Hamburg, in June of 1962 the Beatles received a telegram from their manager, a homosexual named Brian Epstein, who was back in England. „Congratulations,” Epstein’s message read. „EMI requests a recording session.” EMI was one of Europe’s largest record producers, and their role in promoting the Beatles would be key in the future.
Under the the strict guidance of EMI’s recording director George Martin, and Brian Epstein, the Beatles were scrubbed, washed, and their hair styled into the Beatles cut. EMI’s Martin created the Beatles in his recording studio.
Martin was a trained classical musician, and had studied the oboe and piano at the London School of Music. The Beatles could neither read music nor play any instrument other than guitar. For Martin, the Beatles musicianship was a bad joke. On their first hit record, „Love Me Do,” Martin replaced Ringo on the drums with a studio musician. Martin said Ringo, „couldn’t do a [drum] roll to save his life.” From then on, Martin would take the simple little tunes the Beatles would come to him with, and turn them into hit records.
Lockwood and EMI
EMI, led by aristocrat Sir Joseph Lockwood, stands for Electrical and Mechanical Instruments, and is one of Britain’s largest producers of military electronics. Martin was director of EMI’s subsidiary, Parlophone. By the mid-sixties EMI, now called Thorn EMI, created a music divison which had grown to 74,321 employees and had annual sales of $3.19 billion.
EMI was also a key member of Britain’s military intelligence establishment.
After the war, in 1945, EMI’s European production head Walter Legge virtually took over control of classical music recordings, signing up dozens of starving German classical musicians and singers to EMI contracts. Musicians who sought to preserve the performance tradition of Beethoven and Brahms, were relegated to obscurity while „ex-Nazi” Party members were promoted. Legge signed and recorded Nazi member, the late Herbert Von Karajan, promoting him to superstar status, while great conductors such as Wilhelm Furtwangler were ignored.
From the beginning, EMI created the myth of the Beatles’ great popularity. In August of 1963, at their first major television appearance at the London Palladium, thousands of their fans supposedly rioted. The next day every mass-circulation newspaper in Great Britain carried a front page picture and story stating, „Police fought to hold back 1,000 squealing teenagers.” Yet, the picture displayed in each newspaper was cropped so closely that only three or four of the „squealing teenagers” could be seen. The story was a fraud. According to a photographer on the scene, „There were no riots. I was there. We saw eight girls, even less than eight.”
In February 1964, the Beatles myth hit the United States, complete with the orchestrated riots at Kennedy Airport, previously mentioned. To launch their first tour, the media created one of the largest mass audiences in history. For an unprecedented two Sundays in a row, on the Ed Sullivan Show, over 75 million Americans watched the Beatles shake their heads and sway their bodies in a ritual which was soon to be replicated by hundreds of future rock groups.
On returning to England, the Beatles were rewarded by the British aristocracy they served so well . In October 1965, the four were inducted into the Order of Chivalry, and were personally awarded the accolade of Member of the British Empire by Queen Elizabeth at Buckingham palace.
Up from the Dregs: The Rolling Stones
The credit for the origination of today’s blatantly Satanic „heavy metal rock,” goes to the English group, the Rolling Stones. Their rise to fame was closely connected with that of the Beatles.
The Stones, as they were called, were widely characterized as the counterparts to the Beatles. „The Stones” were „mean,” „dirty” and „rebellious,” whereas the Beatles were the well-groomed „Fab Four.” Though seemingly competitors, they were merely two sides of the same operation. The Stones’ first hit record was actually written by the Beatles, and it was Beatle member George Harrison who set up the arrangements for their first recording contract.
Following the same game plan as the Beatles, in the spring of 1963 the Rolling Stones appeared on one of England’s most popular family television shows, Thank Your Lucky Stars. Only this time, the reaction by the middle-aged viewers was quite different from that to the Beatles. Hundreds of angry letters were sent, with a typical letter stating „It is disgraceful that long-haired louts such as these should be allowed to appear on television. Their appearance was absolutely disgusting.”
The program, however, had exactly the planned effect. Rolling Stones’ manager Andrew Oldham was elated at the response. He told the group, „We’re going to make you exactly opposite to those nice, clean, tidy Beatles. And the more the parents hate you, the more the kids will love you. Just wait and see.”
In 1964, the Rolling Stones appeared on the Ed Sullivan Show, as the Beatles had done earlier. This time though, the coast-to-coast audience beheld the spectacle of the television studio being ripped to shreds by Stones fans. Sullivan said on the air afterward, „I promise you, they will never be back on our show.” The publicity, however, was exactly what was wanted. Within a few months, the group’s records were selling millions of copies.
The plan was now to use both the Beatles and the Rolling Stones as the means to transform an entire generation into heathen followers of the New Age, followers which could mold into the future cadre of a Satanic movement and then deploy into our schools, law enforcment agencies and political leadership.
In his book, The Ultimate Evil, investigator-author Maury Terry writes that between 1966 and 1967, the Satanic cult, the Process Church, „sought to recruit the Rolling Stones and the Beatles.” During this period, Terry reports that a photo of Rolling Stones leader Mick Jagger’s longtime girlfriend, Marianne Faithfull, appeared in an issue of The Process Magazine. The picture shows her supine, as if dead, clutching a rose. Terry’s book goes on to implicate the Process Church cult in the Charles Manson and Son of Sam multiple murders. It was the former lawyer for the Process Church, John Markham, who recently ran the frameup trial against Lyndon LaRouche.
A key link between the Rolling Stones and the Process Church is Kenneth Anger, a follower of the „founding father” of modern Satanism, Aleister Crowley. Anger, born in 1930, and a child Hollywood movie star, became a devoted disciple of Crowley.
Crowley was born in 1875 and was called the „Great Beast.” He was known to practice ritual child sacrifice regularly, in his role as Satan’s high priest or „Magus.” Crowley died in 1947 due to complications of his huge heroin addiction. Before dying, he succeeded in establishing Satanic covens in many U.S. cities including Hollywood. Anger, like Crowley, is a Magus, and appears to be the heir to Crowley.
Anger was seventeen years old when Crowley died. In that same year, 1947, Anger was already producing and directing films which, even by today’s standards, reek of pure evil.
During 1966-1967, when the Process Church is reported to be recruiting in London, Anger was also on the scene. Author Tony Sanchez describes that Rolling Stones’ Mick Jagger and Keith Richard, and their girlfriends Marianne Faithfull and Anita Pallenburg, „listened spellbound as Anger turned them on to Crowley’s powers and ideas.”
While in England, Anger worked on a film dedicated to Aleister Crowley, called Lucifer Rising. The film brought together the Process Church, the Manson Family cult, and the Rolling Stones. The music for the film was composed by Mick Jagger. Process Church follower Marianne Faithfull went all the way to Egypt to participate in the film’s depiction of a Black Mass. The part of Lucifer was played by a guitarist of a California rock group, Bobby Beausoleil. Beausoleil was a member of the Manson Family, and Anger’s homosexual lover.
A few months after filming under Anger’s direction in England, Beausoleil returned to California to commit the first of the Manson family’s series of gruesome murders. Beausoleil was later arrested and is now serving a life sentence in prison along with Manson. Having lost his star performer, Anger then asked Mick Jagger to play Lucifer. He finally settled upon Anton La Vey, author of The Satanic Bible and head of the First Church of Satan, to play the part. The film was released in 1969 with the title Invocation To My Demon Brother.
In London, Anger had succeeded in recruiting to Satanism the girlfriend of one of the Rolling Stones, Anita Pallenberg. Pallenberg had met the Rolling Stones in 1965. She immediately began sexual relations with three out of the five members of the group.
Anger, commenting on Anita, said, „I believe that Anita is, for want of a better word, a witch…The occult unit within the Stones was Keith and Anita…and Brian. You see, Brian was a witch too.”
One of the group’s friends, Tony Sanchez, writes of Pallenberg in his book, Up and Down with the Rolling Stones, „She was obsessed with black magic and began to carry a string of garlic with her everywhere–even to bed–to ward off vampires. She also had a strange mysterious old shaker for holy water which she used for some of her rituals. Her ceremonies became increasingly secret, and she warned me never to interrupt her when she was working on a spell.”
He continues, „In her bedroom she kept a huge, ornate carved chest, which she guarded so jealously that I assumed it was her drug stash. The house was empty one day, and I decided to take a peep inside. The drawers were filled with scraps of bone, wrinkled skin and fur from some strange animals.”
In 1980, the seventeen-year-old caretaker of Keith Richard’s New England estate was found shot to death in Anita Pallenberg’s bed. The death, ruled a suicide, was with Pallenberg’s gun. Richard’s house was located near the East Coast headquarters of the Process Church. According to an article in the English newspaper Midnite, a Connecticut police officer, Michael Passaro, who had responed to the „suicide” reported „strange singing” from the woods a quarter mile from the Richard’s mansion.
The newpaper continues, „There have been several bizarre satanic rituals in the area over the past five years. A local reporter attributed the outbreak of occultism to ‚rich people taking Acid.'”
In 1967, reflecting their ongoing association with Anger and the Process Church, the Rolling Stones released their first rock album openly celebrating the Devil, titled, Their Satanic Majesties Request. A few months earlier, the Beatles had released their first album dedicated to the promotion of psychedelic drugs , Sargeant Pepper’s Lonely Hearts Club Band. The album contained a fantasized version of an LSD trip, called „Lucy in the Sky with Diamonds”, or L.S.D. for short. It became a top seller.
Clearly, the Beatles’ album was dedicated to Satanist Aleister Crowley. It was released 20 years, nearly to the day, after Crowley’s death in 1947, and its title song began with the lyrics, „It was twenty years ago today…” The album’s cover featured a picture of Crowley.
One month after the album’s release, the Beatles shocked the world by announcing, publicly, that they were regularly taking LSD. Beatle member Paul McCartney, in an interview with Life magazine said, „LSD opened my eyes. We only use one-tenth of our brain.” They also publicly called for the legalization of marijuana.
The cat was now out of the bag, but the protests were few and minor. In England, the BBC banned „A Day in the Life,” and in the U.S.A., Maryland Governor Spiro T.Agnew, who would later be watergated, launched a campaign to ban „Lucy in the Sky With Diamonds.”
Creating the Counterculture
The year 1967 marked a significant escalation in open cultural warfare against the youth of the United States. The year saw the beginning of mass, open-air rock concerts. In the two years which followed, over 4 million young people attended a series of nearly a dozen of these „festivals,” becoming the victims of planned, wide-scale drug experimentation. Mind destroying hallucinogenic drugs such as PCP, STP, and the Beatles-promoted LSD, were freely distributed at these concerts. These millions of attendees would afterward return to their homes to become the messengers and promoters of the new drug culture, or what came to be called the „New Age.”
The first rock festival, „The First Annual Monterey International Pop Festival,” was attended by over 100,000 youngsters. The real purpose of Monterey Pop was the widespread distrubution of a new type of drugs , classified as psychedelics or hallucinogens, such as LSD. At Monterey, thousands of younger teen-agers were introduced to the new hallucinogenic drugs .
The first experimentation with LSD was begun in the early sixties, in the Haight-Ashbury section of San Francisco. The project was run by a joint CIA-British intelligence task force under the code-name MK-Ultra. Part of the project called for the free distribution of 5,000 tablets of LSD through a commune known as Ken Kesey’s Merry Pranksters. LSD’s after-effects were then closely studied.
Kesey, a so-called „poet” and convicted drug felon, became famous for driving around California in a painted- up bus with his commune, the Merry Pranksters, distributing LSD-laced Kool Aid to the unsuspecting.
The effect of LSD is to make the victim psychotic, along with the inability to discern reality from drug-induced hallucinations. For many, this psychosis (also called a „bad trip”) could and did lead to suicide. When an individual is given LSD without his knowledge, the psychosis-producing capabilities of the drug are amplified, and usually leave the victim with permanent brain damage.
The organizer of the Monterey festival was John Phillips, a member of the rock group the Mommas and the Papas. Phillips, as we shall see, was a drug pusher and closely tied in with the network of Satanists around Charles Manson and director Roman Polanski.
Phillips appointed a board of directors to promote and finance the concert. The members of the board brought together a network of British intelligence operatives and Satanists. The board of directors included Andrew Oldham (the Rolling Stones manager), the Stones leader Mick Jagger, Beatle Paul McCartney and Phillips’ friend, record producer Terry Melcher, the son of Doris Day.
The concert, including the staging and the huge innovative outdoor amplification, was run by Phillips. It was the first time that an American audience was exposed to such openly demonic British groups as The Who, and Jimi Hendrix. At the conclusion of their act, The Who, in a drug-crazed frenzy, destroyed all their guitars, amplifiers, and drums. Hendrix simulated masturbation with his guitar, on stage, while performing at ear-splitting volume levels.
There was massive, open use of drugs . Author Robert Santelli, in his book, Aquarius Rising, writes „LSD was in abundance at Monterey. Tabs of `Monterey Purple’ were literally given to anyone wishing to experiment a little.” The police made no arrests, setting another precedent for future outdoor concerts.
There was a larger scheme in operation. The scheme was tied into MK-Ultra and it involved using Satanists around Phillips, along with agents such as Ken Kesey and Timothy Leary. The plan was to turn nearby San Francisco into a Satanist gaming preserve, mass recruiting and perverting young run-away teenagers.
Phillips had earlier written the music to a song called „San Francisco” which sold over 5 million copies. The song called for youth throughout the country to come to San Francisco „with flowers in their hair.” The song was a rallying cry to tens of thousands who came flooding into San Francisco in the summer of 1968 to join the new „hippie” movement, misnamed the Summer of Love. Some who came became the prey for the likes of Charles Manson, who recruited his cult-„family” exclusively from runaway youth.
Manson and the Rock Stars
Charles Manson has been portrayed as a lone psychotic who had hypnotic power over his „Family”. In reality, Manson was well-known to a whole network of Hollywood actors, actresses, promoters, partners and rock stars, and was providing sex and drugs to many of them.
In his autobiography, Papa John, Phillips tells of an invitation he received to join Terry Melcher and Beach Boy member Dennis Wilson, at Wilson’s mansion. Wilson said, „This guy Charlie’s here with all these great-looking chicks. He plays guitar and he’s a real wild guy. He has all these chicks hanging out like servants. You can come over and just screw any of them you want. It’s a great party.”
Manson’s entire „Family” moved into the Beach Boys’ mansion for nearly a year. The Beach Boys, who have performed at the White House, are the top recording group of EMI’s subsidiary, Capitol Records.
On Sunday, August 10, 1969, Manson sent four members of his cult for their last visit to Melcher’s house. This time Melcher wasn’t there, but the actress Sharon Tate, wife of movie director Roman Polanski, and three others, were. When the group left, Tate and the others had been savagely mutilated and murdered. As for Phillips, in June 1980, he was arrested for running a large-scale drug wholesaling operation.
The Age of Aquarius
The largest concert after Monterey Pop, the „Woodstock Music and Art Fair,” would be what Time magazine celebrated as an „Aquarian Festival”‚ and „history’s largest happening.” The term „Aquarian” was carefully chosen. The Aquarian age signified that the „Age of Pisces,” which is the age of Christ, had come to an end.
At Woodstock, a small town in upstate New York, nearly half a million youth gathered to be drugged and brainwashed on a farm. The victims were isolated, immersed in filth, pumped with psychedelic drugs , and kept awake continously for three straight days, and all with the full complicity of the FBI and government officials. Security for the concert was provided by a hippie commune trained in the mass distribution of LSD.
Once again, it would be the networks of British military intelligence which would be the initiators. Woodstock was the brain child of Artie Kornfeld, the director of EMI’s Capitol Record’s, Contemporary Projects Division. The original funding was provided by the heir of a large Pennsylvania-based pharmaceutical company, John Roberts, and two other partners. It was another pharmaceutical company, the Swiss-based Sandoz Laboratories, which had first synthesized LSD. Roberts would later be accused of using his company for the mass drugging of the attendees.
Little adequate preparations were made for the nearly half a million people who came. Joel Rosenman, one of the three partners, writes, as the concert neared, „Food and water were clearly going to be in short supply, sanitary facilities overtaxed, tempers short, drugs overabundant. Worst of all, there was no way for anyone who wanted to, to leave.” Sitting in your own excrement was actually part of the plan, as John Roberts jokingly wrote, „We’re going to hand out bananas at the gate to bind our patrons.”
A hippie commune called the Hog Farm, had a special role at Woodstock. The Hog Farm was led by a man nicknamed Wavy Graver, who was a former member of Ken Kesey’s MK-Ultra operation, the Merry Pranksters. Communes like the Hog Farm were commonly found in the remote parts of California and served as the breeding grounds for Satanic cults, as well as terrorist groups. Members of these communes continually interchanged with other communes and were the recruiting grounds for the Process Church and Manson. Hog Farm member Diane Lake was a member of Charles Manson’s Family, at the time of the massacre of Sharon Tate and her guests.
On August 14, one day before the scheduled opening, the entire festival security force, comprised of 350 off-duty New York City cops, pulled out. A spokesman for the New York police claimed that no official arrangement was ever made with the city, a claim the promoters vehemently denied. In an August 15, 1969 New York Times article, the head of Woodstock’s security said, „Now I don’t have any security at all. I’ve been struck. We’re having the biggest collection of kids there’s ever been in this country without any police protection.” Not surprisingly, the Hog Farm was put in charge of security.
Woodstock funder and director John Roberts, openly admitted that he was well aware of the Hog Farm’s connection to drug distribution. He writes, „their fee was simply transportation to and from the festival… a peace-keeping force that looked, talked, and smelled like the crowd would be both highly credible and highly effective… and the most important, they were wise in the ways of drugs , knowing good acid from bad, good trips from bummers, good medicine from poison, etc.”
The Hog Farm at the time was living in New Mexico’s mountains. Roberts chartered a Boeing 727, at a cost of $17,000, and flew 100 of them to New York.
To clear the final path for the planned drugging of half a million youngsters, the district attorney for the area agreed privately that there would be no arrests or prosecutions for violations of drug laws. John Roberts writes, „The District Attorney…recognized early on that many of our customers would be using illegal drugs , but also recognized that such use would be the least of our problems over the course of the weekend. He acted, therefore, with compassion and good grace throughout.” Roberts also writes that he was meeting continuously with the FBI up to and including one day before the start of the concert, and had their full cooperation.
The Expriment Begins
Two days before the scheduled start of the concert, 50,000 kids had already arrived in Woodstock. drugs immediately began to circulate. Many people brought their babies and, as Roberts says, even they were drugged. Roberts writes that at a nearby lake, „the tots swam naked, smoked grass, and got into the music.”
A poll conducted at the festival by the New York Times showed that 99 percent of those attending were using marijuana. Local sheriff deputies, totally overwhelmed, reported that no arrests were being made for drug use. The New York Times of August 17 quoted one deputy,” If we did (make arrests), there isn’t enough space in Sullivan or the next three counties to put them in.”
The use of marijuana was not the worst. Following the design of the original MK-Ultra project, the mass distribution of LSD came next, much of it in LSD-laced Coca Cola, as Kesey’s Pranksters had done five years earlier. Roberts jokingly relates the following, „a particularly abrasive cop ….had been handed an LSD-spiked Coke while directing traffic. Long after all automobiles in the area had congealed to a standstill, the hardhat was still out on the road waving them on. Finally they led him away.”
For the next three days, the nearly half a million young people that arrived were subjected to continual drugs and rock music. Because of torrential rains, they were forced to wallow in knee-deep mud. There were no shelters, and no way to get out. Cars were parked over eight miles away. Rosenman writes that the key to the „Woodstock experimen”‚ was „keeping our performers performing around the clock…to keep the kids transfixed…”
Within the first 24 hours, over 300 kids reported to medical authorities, violently ill. The diagnosis: they were having „bad” LSD trips. Thousands more would follow. On August 17, the New York Times reported: „Tonight, a festival announcer warned from the stage, that ‚badly manufactured acid’ (a term for LSD) was being circulated. He said: ‚You aren’t taking poison acid. The acid’s not poison. It’s just badly manufactured acid. You are not going to die…. So if you think you’ve taken poison, you haven’t. But if you’re worried, just take half a tablet.'”
The advice, to nearly 500,000 people, „just take half a tablet” was given by none other than MK-Ultra agent Wavy Gravy.
With a growing medical emergency on hand, a call went out to New York City for emergency medical personnel. Over 50 doctors and nurses were flown in. By the end of Woodstock, a total of 5,000 medical cases were reported.
Altamont: the Making Of a Snuff Film
The last major rock „festival” of the 1960s was held at Altamont racetrack, outside San Francisco. The featured performers were the Rolling Stones, who now reigned supreme in the rock world, since the Beatles had broken up. The suggestion for the concert came from MK-Ultra agent Ken Kesey.
This time, the audience was whipped into a frenzy, in open praise of the Devil. The result was a literal Satanic orgy. At its conclusion, four people were dead and dozens beaten and injured. Mick Jagger, the lead singer of the Rolling Stones, played the part of Lucifer. The performance marked the beginning of the „heavy-metal” concerts of today.
Over 400,000 people attended the Altamont concert with far less preparation than even Woodstock. Food, and even water, were nearly unavailable. But plenty of drugs were to be found. Like Woodstock, the concert would become the vehicle for the mass experimentation of drugs , especially LSD. Author Tony Sanchez describes the scene as people gathered at Altamont:
„By midmorning there were more than a quarter of a million people milling around, and things were becoming chaotic. There was a lot of bad acid (LSD-DP) around, and people were freaking out all over the place. Everybody was getting stoned out of his skull to pass the long hours before the music was to start–Mexican grass, cheap California wine, amphetamines …
„By midday virtually everyone was tripping…A man was almost killed as he tried to fly from a speedway bridge–another acid case. On the other side of the site a young guy screamed for help as he fell into the deep waters of a drainage canal. The stoned-out freaks looked on bemused as he sank beneath the surface. No one seemed sure if he had been real or an hallucination. It didn’t matter anymore anyway, he was dead. Elsewhere doctors were kept busy delivering babies to girls giving hysterical premature birth.”
The descent into Hell would continue. The Rolling Stones had hired, for a reported $500 worth of free beer, the motorcycle gang Hell’s Angels to act as security guards for the concert. Their real payment, however, was in drug sales. The Hell’s Angels, an outlaw gang made up of robbers, rapists and murderers, were the known controllers and sellers of drugs on the entire West Coast.
When the festival did open, the crowd of nearly half a million people waited for more than one and a half hours for the Stones to appear. It was only when nightfall arrived, allowing for the use of special lighting effects, that the group finally came on stage. Mick Jagger, the lead singer, was dressed in a satin cape, which glowed red under the lights. Jagger was imitating Lucifer.
Author Sanchez next describes what he calls a preplanned „Satanic ritual.” As the group began playing, „strangely several of the kids were stripping off their clothes and crawling to the stage as if it were a high altar, there to offer themselves as victims for the boots and cues of the Angels. The more they were beaten and bloodied, the more they were impelled, as if by some supernatural force, to offer themselves as human sacrifices to these agents of Satan.”
Standing in the crowd in front of the stage, with his girlfriend, was a black man by the name of Meredith Hunter. Hunter would soon be singled out for human sacrifice.
The Stones had just released a new song entitled, „Sympathy for the Devil.” It had quickly become the number one record in the country. The song begins with Mick Jagger introducing himself as Lucifer. As soon as he began to sing it at Altamont, the entire audience rose up and began dancing in a wild frenzy.
Sanchez descibes what happened next, „A great six foot four grizzly bear of a Hell’s Angel had stalked across to Meredith (Hunter) to pull his hair hard in an effort to provoke a fight …A fight broke out, five more Angels came crashing to the aid of their buddy, while Meredith tried to run off through the packed crowd. An Angel caught him by the arm and brought down a sheath knife hard in the black man’s back. The knife failed to penetrate deeply, but Meredith knew then that he was fighting for his life. He ripped a gun out of his pocket and pointed it straight at the Angel’s chest… And then the Angels were upon him like a pack of wolves. One tore the gun from his hand, another stabbed him in the face and still another stabbed him repeatedly, insanely, in the back until his knees buckled.
When the Angels finished with Hunter, several people tried to come to his aid, but an Angel stood guard over the motionless body. `Don’t touch him,’ he said menacingly. `He’s going to die anyway, so just let him die.'”
It was never proven that Meredith actually had a gun. Later, arrests were made. No one was ever indicted because no one person would step forward as a witness out of fear of retaliation by the Angels.
Throughout the bloody killing the Rolling Stones continued to play „Sympathy for the Devil.” The entire group watched from the stage as Meredith Hunter was killed right before them. In addition, incredibly, the entire murder was professionally filmed by a film crew hired to film the concert. Shortly thereafter the film was released throughout the country with the title of a Rolling Stone’s song, „Gimme Shelter.”
Was the murder preplanned by Satanists? In his book, The Ultimate Evil, author Maury Terry tells how Satanic cults circulate among themselves films of their human sacrifices. These films are called „snuff films.” Terry relates that one of the seven Son of Sam murders in New York City was actually filmed from a nearby parked van. The film was then purchased by a rich Satanist. „Gimme Shelter,” which was a box-office hit, can still be purchased or rented today for only a few dollars, at your local video store.
Behind „Heavy-Metal” Rock
The same year as Altamont, 1969, marked the beginning of the evil career of Ozzie Osbourne. Osbourne formed the band Black Sabbath. The group modelled itself on the Rolling Stones. The next fifteen years would witness a procession of young drugged-out rock performers, like Osbourne, each competing for the „big money” and the recording contracts that came with it. The key criteria of those who would „make it” was their ability to portray decadence and evil. These were the „heavy-metal” groups.
In 1985, New Solidarity newspaper, which has since been forcibly shut down by the federal government, conducted an interview with Hezekiah Ben Aaron, then the third-ranking member of the Church of Satan. Ben Aaron is now a devout Christian. In the interview, Aaron revealed that it was his Church that started such „heavy-metal” rock groups as Black Sabbath, The Blue Oyster Cult, The Who, Ozzy Osbourne, and many others. The Church of Satan was then led by its high priest, Anton LaVey. Many report, however, that LaVey, a former circus lion tamer, was just a front man for the real high priest, Kenneth Anger, the man who earlier recruited the Rolling Stones to the occult.
The following is an excerpt from that interview: „I was working for the Church…the Church had other people who were middlemen for other companies. There were middlemen for Apple [set up by the Beatles], Warner Brothers, and other record companies. Someone would come to me and say, `I have a tape recording, and I’d like for you to check it out. I’d like to see if you would be interested in sponsoring a Rock group.’ I’d say `All right, I’ll check it out.’ A few days later Ben Aaron would call back and set up another meeting.
He continues, `I’d hand you $100,000, and you wouldn’t sign anything. What you wouldn’t know is that a mirror on the back of the wall is a one-way mirror and we’re tape recording and photographing, or video taping everything that goes on. The payback, if you fail to make the group work, is really bad. Sometimes it’s up to 60% on the dollar.”
Aaron’s interview continued: „we send you to a store, we provide you with uniforms and we provide you with amplifiers. It’s all paid through the money we gave you. We set you up with a road tour. We set you up with engagements. We book you.”
Aaron then explained that if the group did not make it he was given orders to collect the money or make other „arrangements.” These „other arrangements,” perhaps, are the key to the dozens of reported rock star „suicides.” The underworld drug mafia has ample means to eliminate non-payers. Some readers may remember the following statement Beatle John Lennon made to the international press back in 1966:
„Christianity will go. It will go. It will vanish and shrink. I needn’t argue about that. I’m right and I will be proved right. We are more popular than Jesus now.”
Hopefully, he will be proven to be wrong.
The former rock star Ralph Rieckermann candidly explains on camera how he attended parties where guests paid big bucks to see people get killed.
If regular people knew what the occult elite did behind closed doors, they would be horrified, terrified and completely baffled by the fact that they hold most of the world’s wealth and power. While there is a massive concerted effort to keep these truths out of the public space, sometimes some of that disgusting, stinking truth leaks out in unexpected places.
In a TMZ segment from 2012 with the former bassist of the rock band Scorpions, Ralph Riekermann admits he attended snuff parties, where guest paid over $100K to watch a live murder. And, judging by his facial expression, he was not joking. Here’s the video. (Sorry in advance for the extremely unfunny and obnoxious TMZ crap before and after the actual video footage).
At the end of the video, Riekermann says he attended another party that was so revolting that it made him want to throw up. What was he referring to? I am not sure, but I have the feeling it involved children…
One thing is for sure, these “snuff parties” attended by celebrities are simply a symptom of the deeper mind state of the occult elite which revels in the ritualistic abuse, suffering and murder of innocent people. Why? Because a) they are literally evil and multi-generational satanists b) they perceive the non-elite as a sub-human species that can be exploited at will and c) they believe that the ritual sacrifice of people (the younger the better) releases occult power that is highly potent.
This mind state is behind strange initiation ceremonies members of the occult elite must go through such as David Cameron placing his genitals in the mouth of a dead pig after joining Oxford University dining society. Speaking of which, it is a rather strange coincidence that a “piggy” bank is seen jumping out of Cameron on the Economist 2015 cover I analyzed in this article.
When one understands what happens behind closed doors, one also understands that something is terribly wrong in the higher echelons of society.
In June 2015, three years after the segment aired on TV, Riekermann took to YouTube and released an official statement where he dissociates himself from these parties.
Whether or not Riekermann was actively involved in all of this is however irrelevant and does not change the fact that these “parties” actually exist. He did not deny that he saw some truly disgusting things going on there – and that’s what the world needs to know.
Xaviant Haze has put together an interesting article, building on the excellent research of Dave McGowan on the mysterious world of Laurel Canyon, that connected the early folk rock music scene to Satanism and military intelligence. In particular, Haze makes mention of a strange 1983 B-movie called Wavelength, about a young couple who discover aliens being held by the US government for experimentation in an underground base in Laurel Canyon. In Haze’s words, the movie “drops hints about where to look when confronted with the Canyon conspiracy.”[i]
This is a topic I deal with in my book, Black Terror White Soldiers, where I add my own findings as well. As McGowan has shown in his multipart “Inside the LC,” many of those musicians, like David Crosby, John Phillips of the Mamas and the Papas, and Frank Zapa grew up on military bases. Zappa’s father was a chemical warfare specialist assigned to the Edgewood Arsenal in Aberdeen, Maryland, a facility deeply enmeshed in MK-Ultra experiments, and where numerous Nazi scientists were employed under Operation Paperclip.[ii] Zappa, in the early years, was Laurel Canyon’s father figure, leading an entourage in a residence dubbed the “Log Cabin,” where, in the words of Michael Walker, author of Laurel Canyon, there “raged a rock-and-roll salon and Dionysian playground.”[iii]
Many of these musicians were involved in MK-Ultra, a known “mind-control” operation of the CIA, whose real focus was the spread of LSD through the Haight-Ashbury scene of San Francisco, to produce the 60s counter-culture scene, as per the dictates of the notorious Frankfurt School of psychologists. The chief evangelist of the project was Aldous Huxley, the kingpin of the CIA’s subversion of culture, and author Brave New World, a dystopia about a society drugged into servitude.
Huxley also wrote The Doors of Perception, which exploded the fascination with the “mind-expanding” possibilities of drugs. Jim Morrison, who named his band The Doors after the book, and one of the earliest to arrive on the Laurel Canyon scene, was the son of US Navy Admiral George Stephen Morrison, who was in command of the warships that purportedly came under Viet Cong attack, in the false-flag operation known as the Gulf of Tonkin incident of 1964.
Key to the CIA’s MK-Ultra operation was the soundman for the Grateful Dead, known as Owsley Stanley, or “Bear.” At only fifteen, he “voluntarily committed” himself to St. Elizabeth’s Hospital in Washington DC where, as Colin Ross explained in The CIA Doctors, Dr. Winfred Overholser Sr. funded LSD research through the Scottish Rite Committee and was at the center of the mind control network[iv] St. Elizabeth’s is also where presidential assailants, serial killers or other federal cases are kept, such as Ezra Pound and John Hinckley, Jr. who shot Ronald Reagan.
After a stint in the US Air Force, beginning in 1956, Stanley moved to LA, where he worked at Pasadena’s Jet Propulsion Laboratory, founded by Jack Parsons. Parsons was a leader of the Agape lodge, the American chapter of Aleister Crowley’s Ordo Templi Orientis (OTO), and also one of the first known contactees of the so-called “Nordic” aliens. Likewise, Crowley claimed in 1919 to have contacted an extraterrestrial named Lam, which looked much like the iconic “greys” that have now come to be associated with alien contact.
Along with L. Ron Hubbard, the founder of Scientology, beginning in 1946, Parsons started the “Babalon Working,” a series of rituals designed to manifest an individual incarnation of the archetypal divine feminine called Babalon, and to conceive a child through sexual magic. Parsons wanted to create a Moonchild, as outlined in Crowley’s occult novel by the same name.[v]
Parsons associated with Anton LaVey, the founder of the Church of Satan, who was also heavily influenced by Kenneth Anger, who enjoyed cult status in Hollywood as author of two controversial Hollywood Babylon books, and as underground experimental filmmaker of Crowley-inspired films that merged surrealism with homoeroticism and the occult. Anger became acquainted with notable countercultural figures, including Tennessee Williams, Keith Richards, Jimmy Page, Mick Jagger and his girlfriend Marianne Faithfull, which he involved in his Crowley-themed works, Invocation of My Demon Brother (1969) and Lucifer Rising (1972).
Anger also introduced Led Zeppelin guitarist Jimmy Page to Aleister Crowley, who became the owner of one of the world’s largest collections of Crowley memorabilia, including Crowley’s notorious Boleskine estate on the shores of Scotland’s Loch Ness. As explained by Gary Lachman, founding member of the New Wave band Blondie, and now author, in Turn Off Your Mind: The Mystic Sixties and the Dark Side of the Age of Aquarius, “tales of pacts with the Devil followed Zeppelin throughout their career, and stories of orgies, black masses and satanic rites were commonplace, mostly centered around the infamous Chateau Marmont off the Sunset Strip.”[vi]
Page composed a soundtrack for Anger’s Lucifer Rising, a film for which Crowley associate and OTO member Gerald Yorke was credited as a consultant. Yorke had also been the personal representative of the Thirteenth Dalai Lama to the West.
Anger and the Laurel Canyon groups were closely associated with Vito Paulekas, his wife Zsou and Karl Franzoni. Vito also happened to be first cousin of Eva Paul, wife of Winthrop Rockefeller.[vii] According to Barry Miles, in his book Hippie, “The first hippies in Hollywood, perhaps the first hippies anywhere, were Vito, his wife Zsou, Captain Fuck [Franzoni] and their group of about thirty-five dancers. Calling themselves Freaks, they lived a semi-communal life and engaged in sex orgies and free-form dancing whenever they could.”[viii]
Vito and his wife Zsou’s three-year-old boy was the first candidate to play in Kenneth Anger’s Lucifer Rising, before dying of a tragic accident, ascribed in the documentary Mondo Hollywood in morbid sarcasm, as “medical malpractice.” The child died on December 23, 1966, the very winter solstice heralded the Age of Satan by LaVey, who performed the role of the devil in Anger’s Invocation of My Demon Brother alongside Mason “Family” member, Bobby Beausoleil. Zsou suggested the fall occurred during a “wacky photo session,” which may be connected to the fact that, according to Beausoleil, some of Anger’s film projects were for private collectors: “Every once in a while he’d do a little thing that wouldn’t be for distribution.” According to biographer Bill Landis, Anger was at one time investigated by the police on suspicion that he had been producing snuff flicks.[ix]
According to Miles, Vito operated “the first crash pad in LA, an open house to countless runaways where everyone was welcome for a night, particularly young women.”[x] By the mid 1960s, the group had expanded into a guesthouse known as “the treehouse” at the Log Cabin. The “treehouse” attendees included Mick Jagger Marianne Faithfull, members of the Animals, Mark Lindsay from Paul Revere and the Raiders, Alice Cooper who joined Zappa’s Mothers of Invention, Janis Joplin, and Roger McGuinn and Mike Clarke from the Byrds. Journalist John Bilby recalls, “Tim Leary was definitely there, George Harrison and Ravi Shankar were there.”[xi] Zappa took over the commune in 1968.
Also included in the pack was Kim Fowley, who had spent time working as young male street hustler, but had his greatest success creating the Runaways, featuring Joan Jett, who were recently the subject of a film in 2010. Fowley crassly attired the band in leather and lingerie, and boasted, “everyone loved the idea of 16-year-old girls playing guitars and singing about fucking.”[xii]
It was the Runaways’ lead singer, Cherie Currie, who co-starred with Robert Carradine in Wavelength. Robert, who would later star in Revenge of the Nerds, is one of a number of prolific actors in the “Carradine family” of American actor John Carradine. As McGowan points out, according to authors such as Craig Heimbichner (Blood on the Altar), Martin P. Starr (The Unknown God), and John Carter (Sex and Rockets), Dennis Hopper and John Carradine, were both members of the Parsons’ Agape Lodge of the OTO, alongside, actor Dean Stockwell, and science-fiction writer, Robert Heinlein. According to Gregory Mank in Hollywood’s Hellfire Club, John Carradine and John Barrymore were also members of the so-called “Bundy Drive Boys,” who engaged in such practices as incest, rape and cannibalism.[xiii] Robert’s brother was David Carradine of Kung Fu fame, who later died in what appeared to be a ritualistic murder.
„There’s something happening here
What it is ain’t exactly clear”
Join me now, if you have the time, as we take a stroll down memory lane to a time nearly four-and-a-half decades ago – a time when America last had uniformed ground troops fighting a sustained and bloody battle to impose, uhmm, ‘democracy’ on a sovereign nation.
It is the first week of August, 1964, and U.S. warships under the command of U.S. Navy Admiral George Stephen Morrison have allegedly come under attack while patrolling Vietnam’s Tonkin Gulf. This event, subsequently dubbed the ‘Tonkin Gulf Incident,’ will result in the immediate passing by the U.S. Congress of the obviously pre-drafted Tonkin Gulf Resolution, which will, in turn, quickly lead to America’s deep immersion into the bloody Vietnam quagmire. Before it is over, well over fifty thousand American bodies – along with literally millions of Southeast Asian bodies – will litter the battlefields of Vietnam, Laos and Cambodia.
For the record, the Tonkin Gulf Incident appears to differ somewhat from other alleged provocations that have driven this country to war. This was not, as we have seen so many times before, a ‘false flag’ operation (which is to say, an operation that involves Uncle Sam attacking himself and then pointing an accusatory finger at someone else). It was also not, as we have also seen on more than one occasion, an attack that was quite deliberately provoked. No, what the Tonkin Gulf incident actually was, as it turns out, is an ‘attack’ that never took place at all. The entire incident, as has been all but officially acknowledged, was spun from whole cloth. (It is quite possible, however, that the intent was to provoke a defensive response, which could then be cast as an unprovoked attack on U.S ships. The ships in question were on an intelligence mission and were operating in a decidedly provocative manner. It is quite possible that when Vietnamese forces failed to respond as anticipated, Uncle Sam decided to just pretend as though they had.)
Nevertheless, by early February 1965, the U.S. will – without a declaration of war and with no valid reason to wage one – begin indiscriminately bombing North Vietnam. By March of that same year, the infamous “Operation Rolling Thunder” will have commenced. Over the course of the next three-and-a-half years, millions of tons of bombs, missiles, rockets, incendiary devices and chemical warfare agents will be dumped on the people of Vietnam in what can only be described as one of the worst crimes against humanity ever perpetrated on this planet.
Also in March of 1965, the first uniformed U.S. soldier will officially set foot on Vietnamese soil (although Special Forces units masquerading as ‘advisers’ and ‘trainers’ had been there for at least four years, and likely much longer). By April 1965, fully 25,000 uniformed American kids, most still teenagers barely out of high school, will be slogging through the rice paddies of Vietnam. By the end of the year, U.S. troop strength will have surged to 200,000.
Meanwhile, elsewhere in the world in those early months of 1965, a new ‘scene’ is just beginning to take shape in the city of Los Angeles. In a geographically and socially isolated community known as Laurel Canyon – a heavily wooded, rustic, serene, yet vaguely ominous slice of LA nestled in the hills that separate the Los Angeles basin from the San Fernando Valley – musicians, singers and songwriters suddenly begin to gather as though summoned there by some unseen Pied Piper. Within months, the ‘hippie/flower child’ movement will be given birth there, along with the new style of music that will provide the soundtrack for the tumultuous second half of the 1960s.
An uncanny number of rock music superstars will emerge from Laurel Canyon beginning in the mid-1960s and carrying through the decade of the 1970s. The first to drop an album will be The Byrds, whose biggest star will prove to be David Crosby. The band’s debut effort, “Mr. Tambourine Man,” will be released on the Summer Solstice of 1965. It will quickly be followed by releases from the John Phillips-led Mamas and the Papas (“If You Can Believe Your Eyes and Ears,” January 1966), Love with Arthur Lee (“Love,” May 1966), Frank Zappa and The Mothers of Invention (“Freak Out,” June 1966), Buffalo Springfield, featuring Stephen Stills and Neil Young (“Buffalo Springfield,” October 1966), and The Doors (“The Doors,” January 1967).
One of the earliest on the Laurel Canyon/Sunset Strip scene is Jim Morrison, the enigmatic lead singer of The Doors. Jim will quickly become one of the most iconic, controversial, critically acclaimed, and influential figures to take up residence in Laurel Canyon. Curiously enough though, the self-proclaimed “Lizard King” has another claim to fame as well, albeit one that none of his numerous chroniclers will feel is of much relevance to his career and possible untimely death: he is the son, as it turns out, of the aforementioned Admiral George Stephen Morrison.
And so it is that, even while the father is actively conspiring to fabricate an incident that will be used to massively accelerate an illegal war, the son is positioning himself to become an icon of the ‘hippie’/anti-war crowd. Nothing unusual about that, I suppose. It is, you know, a small world and all that. And it is not as if Jim Morrison’s story is in any way unique.
During the early years of its heyday, Laurel Canyon’s father figure is the rather eccentric personality known as Frank Zappa. Though he and his various Mothers of Invention line-ups will never attain the commercial success of the band headed by the admiral’s son, Frank will be a hugely influential figure among his contemporaries. Ensconced in an abode dubbed the ‘Log Cabin’ – which sat right in the heart of Laurel Canyon, at the crossroads of Laurel Canyon Boulevard and Lookout Mountain Avenue – Zappa will play host to virtually every musician who passes through the canyon in the mid- to late-1960s. He will also discover and sign numerous acts to his various Laurel Canyon-based record labels. Many of these acts will be rather bizarre and somewhat obscure characters (think Captain Beefheart and Larry “Wild Man” Fischer), but some of them, such as psychedelic rocker cum shock-rocker Alice Cooper, will go on to superstardom.
Zappa, along with certain members of his sizable entourage (the ‘Log Cabin’ was run as an early commune, with numerous hangers-on occupying various rooms in the main house and the guest house, as well as in the peculiar caves and tunnels lacing the grounds of the home; far from the quaint homestead the name seems to imply, by the way, the ‘Log Cabin’ was a cavernous five-level home that featured a 2,000+ square-foot living room with three massive chandeliers and an enormous floor-to-ceiling stone fireplace), will also be instrumental in introducing the look and attitude that will define the ‘hippie’ counterculture (although the Zappa crew preferred the label ‘Freak’). Nevertheless, Zappa (born, curiously enough, on the Winter Solstice of 1940) never really made a secret of the fact that he had nothing but contempt for the ‘hippie’ culture that he helped create and that he surrounded himself with.
Given that Zappa was, by numerous accounts, a rigidly authoritarian control-freak and a supporter of U.S. military actions in Southeast Asia, it is perhaps not surprising that he would not feel a kinship with the youth movement that he helped nurture. And it is probably safe to say that Frank’s dad also had little regard for the youth culture of the 1960s, given that Francis Zappa was, in case you were wondering, a chemical warfare specialist assigned to – where else? – the Edgewood Arsenal. Edgewood is, of course, the longtime home of America’s chemical warfare program, as well as a facility frequently cited as being deeply enmeshed in MK-ULTRA operations. Curiously enough, Frank Zappa literally grew up at the Edgewood Arsenal, having lived the first seven years of his life in military housing on the grounds of the facility. The family later moved to Lancaster, California, near Edwards Air Force Base, where Francis Zappa continued to busy himself with doing classified work for the military/intelligence complex. His son, meanwhile, prepped himself to become an icon of the peace & love crowd. Again, nothing unusual about that, I suppose.
Zappa’s manager, by the way, is a shadowy character by the name of Herb Cohen, who had come out to L.A. from the Bronx with his brother Mutt just before the music and club scene began heating up. Cohen, a former U.S. Marine, had spent a few years traveling the world before his arrival on the Laurel Canyon scene. Those travels, curiously, had taken him to the Congo in 1961, at the very time that leftist Prime Minister Patrice Lumumba was being tortured and killed by our very own CIA. Not to worry though; according to one of Zappa’s biographers, Cohen wasn’t in the Congo on some kind of nefarious intelligence mission. No, he was there, believe it or not, to supply arms to Lumumba “in defiance of the CIA.” Because, you know, that is the kind of thing that globetrotting ex-Marines did in those days (as we’ll see soon enough when we take a look at another Laurel Canyon luminary).
Making up the other half of Laurel Canyon’s First Family is Frank’s wife, Gail Zappa, known formerly as Adelaide Sloatman. Gail hails from a long line of career Naval officers, including her father, who spent his life working on classified nuclear weapons research for the U.S. Navy. Gail herself had once worked as a secretary for the Office of Naval Research and Development (she also once told an interviewer that she had “heard voices all [her] life”). Many years before their nearly simultaneous arrival in Laurel Canyon, Gail had attended a Naval kindergarten with “Mr. Mojo Risin’” himself, Jim Morrison (it is claimed that, as children, Gail once hit Jim over the head with a hammer). The very same Jim Morrison had later attended the same Alexandria, Virginia high school as two other future Laurel Canyon luminaries – John Phillips and Cass Elliott.
“Papa” John Phillips, more so than probably any of the other illustrious residents of Laurel Canyon, will play a major role in spreading the emerging youth ‘counterculture’ across America. His contribution will be twofold: first, he will co-organize (along with Manson associate Terry Melcher) the famed Monterrey Pop Festival, which, through unprecedented media exposure, will give mainstream America its first real look at the music and fashions of the nascent ‘hippie’ movement. Second, Phillips will pen an insipid song known as “San Francisco (Be Sure to Wear Flowers in Your Hair),” which will quickly rise to the top of the charts. Along with the Monterrey Pop Festival, the song will be instrumental in luring the disenfranchised (a preponderance of whom are underage runaways) to San Francisco to create the Haight-Asbury phenomenon and the famed 1967 “Summer of Love.”
Before arriving in Laurel Canyon and opening the doors of his home to the soon-to-be famous, the already famous, and the infamous (such as the aforementioned Charlie Manson, whose ‘Family’ also spent time at the Log Cabin and at the Laurel Canyon home of “Mama” Cass Elliot, which, in case you didn’t know, sat right across the street from the Laurel Canyon home of Abigail Folger and Voytek Frykowski, but let’s not get ahead of ourselves here), John Edmund Andrew Phillips was, shockingly enough, yet another child of the military/intelligence complex. The son of U.S. Marine Corp Captain Claude Andrew Phillips and a mother who claimed to have psychic and telekinetic powers, John attended a series of elite military prep schools in the Washington, D.C. area, culminating in an appointment to the prestigious U.S. Naval Academy at Annapolis
After leaving Annapolis, John married Susie Adams, a direct descendant of ‘Founding Father’ John Adams. Susie’s father, James Adams, Jr., had been involved in what Susie described as “cloak-and-dagger stuff with the Air Force in Vienna,” or what we like to call covert intelligence operations. Susie herself would later find employment at the Pentagon, alongside John Phillip’s older sister, Rosie, who dutifully reported to work at the complex for nearly thirty years. John’s mother, ‘Dene’ Phillips, also worked for most of her life for the federal government in some unspecified capacity. And John’s older brother, Tommy, was a battle-scarred former U.S. Marine who found work as a cop on the Alexandria police force, albeit one with a disciplinary record for exhibiting a violent streak when dealing with people of color.
John Phillips, of course – though surrounded throughout his life by military/intelligence personnel – did not involve himself in such matters. Or so we are to believe. Before succeeding in his musical career, however, John did seem to find himself, quite innocently of course, in some rather unusual places. One such place was Havana, Cuba, where Phillips arrived at the very height of the Cuban Revolution. For the record, Phillips has claimed that he went to Havana as nothing more than a concerned private citizen, with the intention of – you’re going to love this one – “fighting for Castro.” Because, as I mentioned earlier, a lot of folks in those days traveled abroad to thwart CIA operations before taking up residence in Laurel Canyon and joining the ‘hippie’ generation. During the two weeks or so that the Cuban Missile Crisis played out, a few years after Castro took power, Phillips found himself cooling his heels in Jacksonville, Florida – alongside, coincidentally I’m sure, the Mayport Naval Station.
Anyway, let’s move on to yet another of Laurel Canyon’s earliest and brightest stars, Mr. Stephen Stills. Stills will have the distinction of being a founding member of two of Laurel Canyon’s most acclaimed and beloved bands: Buffalo Springfield, and, needless to say, Crosby, Stills & Nash. In addition, Stills will pen perhaps the first, and certainly one of the most enduring anthems of the 60s generation, “For What It’s Worth,” the opening lines of which appear at the top of this post (Stills’ follow-up single will be entitled “Bluebird,” which, coincidentally or not, happens to be the original codename assigned to the MK-ULTRA program).
Before his arrival in Laurel Canyon, Stephen Stills was (*yawn*) the product of yet another career military family. Raised partly in Texas, young Stephen spent large swaths of his childhood in El Salvador, Costa Rica, the Panama Canal Zone, and various other parts of Central America – alongside his father, who was, we can be fairly certain, helping to spread ‘democracy’ to the unwashed masses in that endearingly American way. As with the rest of our cast of characters, Stills was educated primarily at schools on military bases and at elite military academies. Among his contemporaries in Laurel Canyon, he was widely viewed as having an abrasive, authoritarian personality. Nothing unusual about any of that, of course, as we have already seen with the rest of our cast of characters.
There is, however, an even more curious aspect to the Stephen Stills story: Stephen will later tell anyone who will sit and listen that he had served time for Uncle Sam in the jungles of Vietnam. These tales will be universally dismissed by chroniclers of the era as nothing more than drug-induced delusions. Such a thing couldn’t possibly be true, it will be claimed, since Stills arrived on the Laurel Canyon scene at the very time that the first uniformed troops began shipping out and he remained in the public eye thereafter. And it will of course be quite true that Stephen Stills could not have served with uniformed ground troops in Vietnam, but what will be ignored is the undeniable fact that the U.S. had thousands of ‘advisers’ – which is to say, CIA/Special Forces operatives – operating in the country for a good many years before the arrival of the first official ground troops. What will also be ignored is that, given his background, his age, and the timeline of events, Stephen Stills not only could indeed have seen action in Vietnam, he would seem to have been a prime candidate for such an assignment. After which, of course, he could rather quickly become – stop me if you’ve heard this one before – an icon of the peace generation.
Another of those icons, and one of Laurel Canyon’s most flamboyant residents, is a young man by the name of David Crosby, founding member of the seminal Laurel Canyon band the Byrds, as well as, of course, Crosby, Stills & Nash. Crosby is, not surprisingly, the son of an Annapolis graduate and WWII military intelligence officer, Major Floyd Delafield Crosby. Like others in this story, Floyd Crosby spent much of his post-service time traveling the world. Those travels landed him in places like Haiti, where he paid a visit in 1927, when the country just happened to be, coincidentally of course, under military occupation by the U.S. Marines. One of the Marines doing that occupying was a guy that we met earlier by the name of Captain Claude Andrew Phillips.
But David Crosby is much more than just the son of Major Floyd Delafield Crosby. David Van Cortlandt Crosby, as it turns out, is a scion of the closely intertwined Van Cortlandt, Van Schuyler and Van Rensselaer families. And while you’re probably thinking, “the Van Who families?,” I can assure you that if you plug those names in over at Wikipedia, you can spend a pretty fair amount of time reading up on the power wielded by this clan for the last, oh, two-and-a-quarter centuries or so. Suffice it to say that the Crosby family tree includes a truly dizzying array of US senators and congressmen, state senators and assemblymen, governors, mayors, judges, Supreme Court justices, Revolutionary and Civil War generals, signers of the Declaration of Independence, and members of the Continental Congress. It also includes, I should hasten to add – for those of you with a taste for such things – more than a few high-ranking Masons. Stephen Van Rensselaer III, for example, reportedly served as Grand Master of Masons for New York. And if all that isn’t impressive enough, according to the New England Genealogical Society, David Van Cortlandt Crosby is also a direct descendant of ‘Founding Fathers’ and Federalist Papers’ authors Alexander Hamilton and John Jay.
If there is, as many believe, a network of elite families that has shaped national and world events for a very long time, then it is probably safe to say that David Crosby is a bloodline member of that clan (which may explain, come to think of it, why his semen seems to be in such demand in certain circles – because, if we’re being honest here, it certainly can’t be due to his looks or talent.) If America had royalty, then David Crosby would probably be a Duke, or a Prince, or something similar (I’m not really sure how that shit works). But other than that, he is just a normal, run-of-the-mill kind of guy who just happened to shine as one of Laurel Canyon’s brightest stars. And who, I guess I should add, has a real fondness for guns, especially handguns, which he has maintained a sizable collection of for his entire life. According to those closest to him, it is a rare occasion when Mr. Crosby is not packing heat (John Phillips also owned and sometimes carried handguns). And according to Crosby himself, he has, on at least one occasion, discharged a firearm in anger at another human being. All of which made him, of course, an obvious choice for the Flower Children to rally around.
Another shining star on the Laurel Canyon scene, just a few years later, will be singer-songwriter Jackson Browne, who is – are you getting as bored with this as I am? – the product of a career military family. Browne’s father was assigned to post-war ‘reconstruction’ work in Germany, which very likely means that he was in the employ of the OSS, precursor to the CIA. As readers of my “Understanding the F-Word” may recall, U.S. involvement in post-war reconstruction in Germany largely consisted of maintaining as much of the Nazi infrastructure as possible while shielding war criminals from capture and prosecution. Against that backdrop, Jackson Browne was born in a military hospital in Heidelberg, Germany. Some two decades later, he emerged as … oh, never mind.
Let’s talk instead about three other Laurel Canyon vocalists who will rise to dizzying heights of fame and fortune: Gerry Beckley, Dan Peek and Dewey Bunnell. Individually, these three names are probably unknown to virtually all readers; but collectively, as the band America, the three will score huge hits in the early ‘70s with such songs as “Ventura Highway,” “A Horse With No Name,” and the Wizard of Oz-themed “The Tin Man.” I guess I probably don’t need to add here that all three of these lads were products of the military/intelligence community. Beckley’s dad was the commander of the now-defunct West Ruislip USAF base near London, England, a facility deeply immersed in intelligence operations. Bunnell’s and Peek’s fathers were both career Air Force officers serving under Beckley’s dad at West Ruislip, which is where the three boys first met.
We could also, I suppose, discuss Mike Nesmith of the Monkees and Cory Wells of Three Dog Night (two more hugely successful Laurel Canyon bands), who both arrived in LA not long after serving time with the U.S. Air Force. Nesmith also inherited a family fortune estimated at $25 million. Gram Parsons, who would briefly replace David Crosby in The Byrds before fronting The Flying Burrito Brothers, was the son of Major Cecil Ingram “Coon Dog” Connor II, a decorated military officer and bomber pilot who reportedly flew over 50 combat missions. Parsons was also an heir, on his mother’s side, to the formidable Snively family fortune. Said to be the wealthiest family in the exclusive enclave of Winter Haven, Florida, the Snively family was the proud owner of Snively Groves, Inc., which reportedly owned as much as 1/3 of all the citrus groves in the state of Florida.
And so it goes as one scrolls through the roster of Laurel Canyon superstars. What one finds, far more often than not, are the sons and daughters of the military/intelligence complex and the sons and daughters of extreme wealth and privilege – and oftentimes, you’ll find both rolled into one convenient package. Every once in a while, you will also stumble across a former child actor, like the aforementioned Brandon DeWilde, or Monkee Mickey Dolenz, or eccentric prodigy Van Dyke Parks. You might also encounter some former mental patients, such as James Taylor, who spent time in two different mental institutions in Massachusetts before hitting the Laurel Canyon scene, or Larry “Wild Man” Fischer, who was institutionalized repeatedly during his teen years, once for attacking his mother with a knife (an act that was gleefully mocked by Zappa on the cover of Fischer’s first album). Finally, you might find the offspring of an organized crime figure, like Warren Zevon, the son of William “Stumpy” Zevon, a lieutenant for infamous LA crimelord Mickey Cohen.
All these folks gathered nearly simultaneously along the narrow, winding roads of Laurel Canyon. They came from across the country – although the Washington, DC area was noticeably over-represented – as well as from Canada and England. They came even though, at the time, there wasn’t much of a pop music industry in Los Angeles. They came even though, at the time, there was no live pop music scene to speak of. They came even though, in retrospect, there was no discernable reason for them to do so.
It would, of course, make sense these days for an aspiring musician to venture out to Los Angeles. But in those days, the centers of the music universe were Nashville, Detroit and New York. It wasn’t the industry that drew the Laurel Canyon crowd, you see, but rather the Laurel Canyon crowd that transformed Los Angeles into the epicenter of the music industry. To what then do we attribute this unprecedented gathering of future musical superstars in the hills above Los Angeles? What was it that inspired them all to head out west? Perhaps Neil Young said it best when he told an interviewer that he couldn’t really say why he headed out to LA circa 1966; he and others “were just going like Lemmings.”
To Be Continued …