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
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?