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Was the 60's Golden Age of Rock a Psyop?

June 10, 2014

A hidden hand guided 1960's counterculture and rock music and you can bet it was the Illuminati. David McGowan doesn't find a smoking gun but says there are too many telltale signs to be a coincidence. For example, the majority of musicians came from a military or blue blood family background. 

Many of them had little or no prior musical ability and at the beginning, the music was performed by studio musicians. For example, The Doors' Jim Morrison's father was the Navy Admiral involved in the Gulf of Tonkin deception. Jim Morrison arrived on the scene with a repertoire of hit songs yet didn't play an instrument.  McGowen asks: How did he compose them?

There is also a satanist connection evidenced by a large number of murders and unexplained deaths. For example, Charles Manson wrote songs for the Beachboys' Dennis Wilson. McGowen's book is an encyclopedia of background detail on a dozen major 1960's groups.  Below is a short excerpt from an interview  in which he suggests the purpose of the counterculture was to alienate young Americans from their country, and alienate mainstream Americans from the anti war movement.

Thomas McGrath:  Am I right in presuming that you take it as a given fact that power networks are essentially infected by occultism? Are these cults essentially Satanic, or what?

(Left, David McGowen)

David McGowan:
Yes, I do believe that what you refer to as power networks, otherwise known as secret societies, are occult in nature. The symbolism can be seen everywhere, if you choose not to maneuver your way through the world deaf, dumb and blind. And I believe that it has been that way for a very long time.

As for them being Satanic, I suppose it depends upon how you define Satanic. I personally don't believe the teachings of either Satanism or Christianity, which are really just opposite sides of the same coin. I don't believe that there is a God or a devil, and I don't believe that those on the upper rungs of the ladder on either side believe so either. These are belief systems that are used to manipulate the minds of impressionable followers.

In the case of Satanism, it is, to me, a way to covertly sell a fascist mindset, which is the direction the country, and the rest of the world, is moving. Those embracing the teachings think they are rebelling against the system, but they are in reality reinforcing it. Just as the hippies did. And just as so-called Patriots and Anarchists are. I don't believe there has been a legitimate resistance movement in this country for a very long time.

Thomas McGrath:
Tell us about Weird Scenes Inside the Canyon. What is this new book's central thesis?

David McGowan: ...The music and counterculture scene that sprung to life in the 1960s was not the organic, grassroots resistance movement that it is generally perceived to be, but rather a movement that was essentially manufactured and steered. And a corollary to that would be that for a scene that was supposed to be all about peace, love and understanding, there was a very dark, violent underbelly that this book attempts to expose.

Thomas McGrath: How convinced are you by it and why?

David McGowan: Very convinced. It's been a long journey and virtually everything I have discovered - including the military/intelligence family backgrounds of so many of those on the scene, both among the musicians and among their actor counterparts; the existence of a covert military facility right in the heart of the canyon; the prior connections among many of the most prominent stars; the fact that some of the guiding lights behind both the Rand Corporation and the Project for a New American Century were hanging out there at the time, as were the future governor and lieutenant governor of California, and, by some reports, J. Edgar Hoover and various other unnamed politicos and law enforcement personnel; and the uncanny number of violent deaths connected to the scene - all tend to indicate that the 1960s counterculture was an intelligence operation.

Thomas McGrath:
You propose that hippie culture was established to neutralize the anti-war movement. But I also interpreted your book as suggesting that, as far as you're concerned, there's also some resonance between what you term "psychedelic occultism" (the hippie counterculture) and the "elite" philosophy/theology? You think this was a second reason for its dissemination?

David McGowan: Yes, I do. Hippie culture is now viewed as synonymous with the anti-war movement, but as the book points out, that wasn't always the case. A thriving anti-war movement existed before the first hippie emerged on the scene, along with a women's rights movement, a black empowerment/Black Panther movement, and various other movements aimed at bringing about major changes in society. All of that was eclipsed by and subsumed by the hippies and flower children, who put a face on those movements that was offensive to mainstream America and easy to demonize. And as you mentioned, a second purpose was served as well - indoctrinating the young and impressionable into a belief system that serves the agenda of the powers that be.

Thomas McGrath: One thing your book does very convincingly, I think, is argue that many if not most of the main movers in the sixties counterculture were, not to put too fine a point on it, horrendous, cynical degenerates. However, one might argue that a predilection for drugs, alcohol, and even things like violence and child abuse, does not make you a member of a government cult. You disagree?

David McGowan:  No. I've known a lot of people throughout my life with a predilection for drugs and alcohol, none of whom were involved in any cults, government or otherwise. And I don't believe that a predilection for drugs makes one a degenerate. The focus on drug use in the book is to illustrate the point that none of the scene's movers and shakers ever suffered any legal consequences for their rampant and very open use of, and sometimes trafficking of, illicit drugs.

The question posed is why, if these people were really challenging the status quo, did the state not use its law enforcement powers to silence troublemakers? I do have zero tolerance for violence towards and abuse of children, which some people in this story were guilty of. But that again doesn't make someone a member of a cult - though it does make them seriously morally challenged.

Makow CIA, Drugs and Cultural Control
McGowan interview with Kevin Barrett 
Gnostic media Interview with Dave McGowen Part 1
Part 2
McGowan's Website

 First Comment from James Perloff-

I have concluded that the arts are much like politics.  We are led to believe rockers become stars on their own talents, which generate album sales, just as we are led to believe that politicians become presidents based on their merits, which generate votes.  In reality there is usually a controlled process behind the democratic facade of each.

Wendell Willkie become the Republican Party's Presidential candidate in 1940 even though he had been a registered Democrat before that year, and a poll taken 7 weeks before the convention showed only 3 percent of Republicans favored him.  All it took was big money from J.P. Morgan and an artificial media frenzy to get him the nomination.  Likewise, less than 4 percent of registered Democrats favored Jimmy Carter 7 months before the 1976 Democratic convention.  But with David Rockefeller's Trilateral anointing, he was suddenly on the cover of Time and Newsweek, the New York Times ran a series puffing him, the Wall Street Journal called him the best Democratic candidate, all the TV networks featured him, etc.

Dr. John Coleman (former MI6) has shown that the Beatles were largely a Tavistock creation.  When they first arrived at JFK International Airport, the TV networks treated them as if they were royalty or the Pope; the screaming teenage girls were reportedly bussed in and paid to put on an act; the Beatles were put on the covers of Life and Newsweek.  Of course, they then became the cultural icons of the sixties--pushing drugs, free sex, and revolution.  "Go ahead, guys, grow your hair long--that's what pretty girls want: long-haired drugged-up revolutionaries."  I do agree that some of the hits of 60s rock groups were probably written for them.  One possible clue to this: some of these groups would have a fantastic top 40 hit, but when you bought the album, all the other songs would be junk.

If we had enough Rothschild money behind us, Henry and I could be elected President and Vice President--or climb to the top of the music charts.   Any preference, Henry?

Scruples - the game of moral dillemas

Comments for "Was the 60's Golden Age of Rock a Psyop?"

Peter R said (June 12, 2014):

John Lennon was supposedly killed because he was starting to talk about the control and corruption of our culture by the Frankfurt School,
Tavistock Institute, etc., of which he had first hand experience. The Beatles' claim that they were more famous than Jesus sounds precisely like
it had been laid into their mouths by Tavistock characters, which is evidence of the hatred the Parisees/rabbis and many other Jews still hold
against Jesus. It's also evidence of the ongoing cultural war, financed by the money Jews, they continue to wage against Christianity.

"We're going to make the West so corrupt, it stinks", said Willi Muenzenberg. Today it certainly does.

Looking at homosexual "marriage" and all the other filth these snakes have brought us, Muenzenberg and his brood of communist well poisoners got more than they could have wished for.

Mike said (June 11, 2014):

Very interesting article on the possibility of rock music as a tool of the satanic elite. John Todd spoke and wrote about this, and so did David Nobel. During the Bayside, NY apparitions of the Blessed Virgin, the seer, Veronica Lueken, also reported that rock music was used by satan and the Illuminati to destroy youth.

On the surface, and without any background information, it seems absurd, however the more one investigates it, the more it appears to be real. Today, celebs like Kanye West, Katy Perry, Bob Dylan, Snookie, and many others have admitted selling their souls to the devil. Jay Z, Beyonce, and Rhianna appear to be Illuminati puppets and flat-out satanists. Miley Cyrus has all the earmarks of an MK Ultra mind control subject.

Dan said (June 11, 2014):

I must add here that it was often typical that sons of top brass got easy draft deferments. It's important to know that Morrison was a University of Southern California film student, in the same class as George Lucas (Star Wars) and Francis Ford Copola. (The Godfather, Apocalypse Now - and and father of Nicholas Cage who started in all those films glorifying Freemasonry and witchcraft).

The other members of The Doors were also USC film majors. The founder of the student rock band was Ray Manczarek. Ray grew up in Chicago taking private piano lessons. He's the one that composed the tunes for Morrison's poetry.

I heard lots of high school amateur bands that could play those tunes. McGowan is correct that talent wasn't how someone got selected by what Joni Mitchell called "the star maker machine". Talent is a dime a dozen. The selection depends on what you will do. Agents who present the signing pen require humiliating acts, and sacrifices. Ask anybody who ever tried to get an actor's guild card.

I also have an obligation to warn that it is a grave mistake to think of Satanism as 'the flip side of Christianity'.

Infandous said (June 10, 2014):

In response to Barry; If you read Morrison's biography, "No One Here Gets Out Alive", you would know that he had no musical training of any kind before moving to L.A. It stands to reason that in his years with the Door's he may have picked up a little piano, however.

Also, he wrote all of the song and poems in a span of less than 2 years....and then never wrote anything again. A bit strange. As to the Doors as musicians, I'm a musician myself and their performances on mid-60's live recordings I've heard sound like competent amateurs, at best.

None of the members were in bands previously. In any case, if you read McGowan's book you will find that some of the Laurel Canyon band members were musicians from the start. A few were quite gifted. They were used as the core of a number of bands whose members didn't play any musical instruments before joining these bands. So he's not suggesting that all the music was "ghost written", as you mention, but that most of it was written by a small number of actual musicians.

Barry said (June 10, 2014):

Regarding your opening comment about The Doors, it is not true that Jim Morrison did not play an instrument. He had some piano background, which is evident in a backstage scene from the documentary The Soft Parade. Besides, the voice is an instrument. I have "composed" melodies with my voice many times. As told by keyboardist Ray Manzarek, Jim would sing his poetry in a melody to Ray, who would then transpose it to piano and the band would then create the song from that small piece. Not so far-fetched a way to come up with hit tunes. Anyway, their biggest hit, Light My Fire, was written by guitarist Robbie Krieger, not Morrison.

None of this is to disagree with the premise that the 60s music scene was a fabrication and a psyop. Nonetheless, give credit where credit is due. Many of the 60s hits were in all likelihood ghost-written, but I don't believe that to be the case with The Doors.

It can be clearly observed by watching Doors live footage that the three instrumentalists were incredibly accomplished, and that Morrison was, if nothing else, a natural performer with crooning and musical timing skills that were closer to Sinatra than Presley.

Henry Makow received his Ph.D. in English Literature from the University of Toronto in 1982. He welcomes your comments at