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ABOUT RAR: For those of
you new to this site, "RAR" is Rick Alan Rice, the publisher
of the RARWRITER Publishing Group websites.
Use this link to visit the
RAR music page, which features original music
compositions and other.
ATWOOD - "A Toiler's Weird Odyssey of Deliverance"-AVAILABLE
NOW FOR KINDLE (INCLUDING KINDLE COMPUTER APPS) FROM
CCJ Publisher Rick Alan Rice dissects
the building of America in a trilogy of novels
collectively called ATWOOD. Book One explores
the development of the American West through the
lens of public policy, land planning, municipal
development, and governance as it played out in one
of the new counties of Kansas in the latter half of
the 19th Century. The novel focuses on the religious
and cultural traditions that imbued the American
Midwest with a special character that continues to
have a profound effect on American politics to this
day. Book One creates an understanding about
America's cultural foundations that is further
explored in books two and three that further trace
the historical-cultural-spiritual development of one
isolated county on the Great Plains that stands as
an icon in the development of a certain brand of
American character. That's the serious stuff viewed
from high altitude. The story itself gets down and
dirty with the supernatural, which inATWOOD
- A Toiler's Weird Odyssey of Deliverance is the
outfall of misfires in human interactions, from the
monumental to the sublime.The
book features the epic poem"The
well as artwork by New Mexico artist Richard
Meets Larry McMurtry
I am offering another
novel through Amazon's Kindle Direct Publishing service.
Cooksin is the story of a criminal syndicate that sets its
sights on a ranching/farming community in Weld County, Colorado,
1950. The perpetrators of the criminal enterprise steal farm
equipment, slaughter cattle, and rob the personal property of
individuals whose assets have been inventoried in advance and
distributed through a vast system of illegal commerce.
It is a ripping good yarn, filled
with suspense and intrigue. This was designed intentionally to
pay homage to the type of creative works being produced in 1950,
when the story is set. Richard Padilla
has done his usually brilliant work in capturing the look and feel of
a certain type of crime fiction being produced in that era. The
whole thing has the feel of those black & white films you see on
Turner Movie Classics, and the writing will remind you a little
of Elmore Leonard, whose earliest works were westerns.
Use this link.
EXPLORE THE KINDLE
If you have not explored the books
available from Amazon.com's Kindle Publishing
division you would do yourself a favor to do so. You
will find classic literature there, as well as tons
of privately published books of every kind. A lot of
it is awful, like a lot of traditionally published
books are awful, but some are truly classics. You
can get the entire collection of Shakespeare's works
for two bucks.
Amazon is the largest,
but far from the only digital publisher. You can
find similar treasure troves at
Barnes & Noble site),Lulu,
Mind Control and Cultural
actions are based on imagination, belief, and faith, not on objective
observation - as military and political experts know well. Even science,
which claims its methods and theories are rationally developed, is
really shaped by emotion and fancy, or by fear.
And to control human imagination is to shape
mankind's collective destiny, provided the source of this control is not
identifiable by the public. And indeed it is one of the
objectives of any government's policies to prepare the public for
unavoidable changes or to stimulate its activity in some desirable
direction." - Passport to Magonia: From Folklore to Flying Saucers,
With this feature, we are
exploring how sophisticated governing forces have used an array of
creative tools - most notably the tools and assets of popular culture -
to influence societies and control the minds of men. Leveraging an
innate human tendency to make demigods of cultural heroes with
techniques learned in war time for manipulating human perceptions and
motivations, powerful forces have used sensory stimulations of all kinds
to steer the public in desired directions. Media companies, propaganda groups,
and public relations groups create events to exploit the sheep-like
behaviors of the public, knowing that people will naturally tend to do
what they see others around them doing. It is primordial, an important
survival instinct that you see in herd animals of all kinds. Flocks of
birds fly in formation for a reason, and it is the same reason that farm
animals cluster into groups.
Psychologists have learned that it is shockingly
easy to create a cultural gestalt. It is as easy as singing a certain
type of song.
The Music of the Spheres
you doubt the existence of magic, or the ability to manipulate the world
through charms and incantations, consider the power of music. It
stimulates the human brain more than any other influence. It conveys
powerful emotions, including love, fear, hate, nostalgia, empathy,
excitement and more, and it always implies a rhythm structure that
people feel as frequency vibrations that resonate throughout their
entire beings. It excites the atoms within our watery beings. Music has the power to redirect human energy and for many
people it feels like one of the indispensable assets in their lives.
Many will confess that they couldn't get through a day without music. It
lifts them up where they belong in their own psychological orientation
to the world as they experience it.
For all those reasons,
music can be weaponized, or otherwise used as a tool for cultural
creation and social change. Short of fear and terror, it is hard to
identify any other impulse creator anywhere near as compelling.
Armies march to music. Religious people find ecstasy in its strains.
Children learn the basics of almost everything they learn through simple
songs designed to leverage the supernatural elements of sound to imprint
basic ethical guidelines on their impressionable minds, creating
behavior patterns that will remain with them their entire lives. Monks
chant and achieve enlightened states. Drums and bells are used in many
cultures to activate the spirits and to excite the senses.
The ancients believed in "the
music of the spheres", suggesting that all heavenly bodies vibrate with
a musical resonance. Modern scientists qualify that religious concept
with actual audible signals, showing the the universe has its own
natural frequencies and sounds. It is even suggested that the heavenly
bodies are living entities that communicate with one another across the
vastness of space through elemental signals, the language of which is
known only to the gods.
If music be the food of love, play on;
Give me excess of it, that, surfeiting,
The appetite may sicken, and so die.
That strain again! it had a dying fall:
O! it came o’er my ear like the sweet sound
That breathes upon a bank of violets,
Stealing and giving odour.
(William Shakespeare -
Twelfth Night, 1.1.1-7)
William Shakespeare, the English "Bard of
Avon", is a hard guy to get a handle on - or even to get an image of.
There are tons of depictions of the playwright and not many of them look
anything the same, as no portraits of him were commissioned in his
lifetime. It is hard to know if our sense of who he was is even based on
reality. Some suspect that the plays attributed to him were actually
written by Francis Bacon, Christopher Marlowe, or Edward de Vere, 17th
Earl of Oxford. His work was political, his language often filled with
meanings that might only be discerned by those familiar with the
subtexts of his day.
Whoever wrote the Shakespeare catalog, it
was filled with music. The Bard included music, or snippets of music, or
musical stage directions, in most of his works, and he was doing this
for an audience that had completely incorporated singing into their
every day personal lives. Shakespeare's England predated the development
of formalized vocal instruction that took root in Italy and eventually
replaced the everyday singer with the trained professional.
Here is what the author of Popular
Melodies of the Olden Time wrote: "...singing
was universal in England in Elizabethan times. The meadow, the street,
the barber-shop, rang with popular melodies. It is also, of course, well
known that the standard of vocal accomplishment in those days was not
high. We have authentic records of the much later introduction into
England of the Italian art of singing. With the advance of the art,
singing has become more and more the business of specialists, who sing
much better than anybody in Shakespeare's England, but who make ordinary
people ashamed to sing for their own or others' pleasure in company."
However much the Italians changed the
relationship between music and the average person, the average person
did not stop singing. They sang in the galleys of slave ships, and in
the cotton fields, and in the quarries. They sang in unison with their
brothers in arms, and they sang to their children, and to their fellow
parishioners and to each other. Music moves people and the urge to
express ourselves musically seems to be innate in human beings. We
don't have to be good at singing for the act of vocalizing to resonate
within us in satisfying ways.
In fact, while the Italians were cleaving
the musical world into a rare form available only to a priest class of
performer, and thus a second form for the howling dogs of the common
man, popular music was relegating "classical" music to the past-time of
the elite. The great opera halls of Europe would eventually stand as
precious architectural havens for a pretentious moneyed
class while pop music not only remained alive, but grew in its
We would eventually reach something like a
point of musical singularity, where the music of the common man, the
music of the street, would come to be seen as the authentic voice of how
people were really feeling. It became a barometer for societies
everywhere, a true measure of contentment or lack thereof, while the
classical form was relegated to being a historical relic. There are modern
operas being composed yet today, but their importance is almost nil.
A commonly held feeling today is that
truth is not delivered in an aria, but rather with a gritty, rhythmic
urgency, wherein the voice of the singer is often not an object of art,
but an artifact of real-life experience.
Our bohemians and our rascals became our truth tellers,
our soothsayers, and our opinion leaders.
Strangers in a Strange Land
referenced above, music - or more to the point, the lyrics of music -
have always been larded with viewpoints and expressions of extreme
emotion, and creative artists have been elevated to levels of special
status in societies worldwide. That
creation of this class of entertainment demigods was magnified in impact
and importance with the development of technologies, from radio through
television and the eventual development of the internet and digital delivery
systems. Those have all served to sanctify the place of popular music in
The early radio age produced a raft of
creative artists who were more-or-less homogenous in their personalities
and their promotion of more-or-less "wholesome" fun. Early radio stars
like Bing Crosby created a template for a reassuring brand of popular
music that portrayed stability and patriotic brotherhood. That music has
imprinted on the world and continues to this day to represent a message
best recognized in our "traditional" Christmas music. The style is a
message in itself, and for many people it resonates with comforting
images from childhood.
had begun to change during the 1930s,
when Folk music, which sometimes served as a vehicle for expressing
political viewpoints, created iconoclasts like Woody Guthrie and Pete Seeger. Then it really began to change in the 1950s, with the "McCarthy
Era", when particular viewpoints and political associations got
entertainers banned from the industry. What survived was another
messaging not of a strident resisting type, but rather a neutered
blandness broken only occasionally by some special character - a Little
Richard, Jerry Lee Lewis, or Elvis Presley - who would break out, like a
shooting star in an otherwise frozen sky.
Throughout all of this, people were
watching, listening, and learning.
There was a tremendous emphasis placed
on research into human psychology and behavioral studies in the 1930s
and thereafter. Though much of it was centered outside of the United
States, much of it was funded by the Rockefeller Foundation, and
much of the research was an extension of the work of Sigmund Freud and
his disciples. World War II provided an extraordinary laboratory for
studies of the human mind and for the development of techniques for
taking minds apart and rebuilding them anew.
The experiences of
captured GIs in WWII made U.S. intelligence people nervous. While
research into behavioral engineering had been going on in the U.S.,
Canada, and Great Britain for decades, the Korean War in particular told
U.S. intelligence that our Asian adversaries had taken mind control
techniques to a whole new level. A hysteria developed over the fear of
"brainwashing" and from this grew popular treatments such as "The
Manchurian Candidate", in which an American G.I. returns from the Korean
War unconsciously programmed as an assassin.
While Americans were
growing more and more fearful of such war craft, and the possibility
that it could be executed without the public being aware it was
happening, media messaging became more sophisticated, and it expanded
its number of forms.
In the 1950s, particularly with the
growth in the number of television sets sold in the U.S., it became
possible to gain maximum exposure for carefully crafted images and
MESSAGING: Advertisers began experimenting with
subliminal messages in 1947. The practice was particularly prevalent
in movie theatre advertising, where words would be flashed
imperceptibly across the screen, suggesting that viewers feel
thirsty and go buy something from the snack bar. It was not found to
be effective, in early studies, but in the last decade techniques
have become more refined. Imaging studies show that our brains do
respond to subliminal messaging, with measurable impacts on activity
levels in the amygdala, which processes emotions, the insula
(involved in conscious awareness), the hippocampus (involved in
processing memories) and the visual cortex.
See "A Short History of the Rise, Fall and Rise of Subliminal
Messaging" in Scientific American.
We saw the expanded use of commercial jingles to fix buy messages in
our minds, and began to see personalities like Jackie Gleason become
cultural icons for adult viewers, and the likes of teenaged Ricky Nelson
become cultural icons to the young. Elvis Presley was a breakout artist by
anybody's standards and he demonstrated, as Frank Sinatra had more than
a decade earlier, that young people were especially vulnerable to
celebrity culture. They identified with "stars" and they wanted to
emulate them in everything they did.
MINDS OF MEN
further, it would be useful to watch this (very) long documentary
detailing the history of research into mind control that began in the
1930s and continues to this day. It is an old school documentary,
consisting largely of grainy black & white footage from the days before
color TV, but it is also a creepy and sobering experience that may leave
lingering feelings of paranoia and will certainly put this article in
make great intelligence operatives, or spies. People tend to drop their
guard around them, to invite them into their private places with open
arms, and to hold them above suspicion. For that reason, the likes of
William Shakespeare, Chistopher Marlowe, Roald Dahl, Ian Fleming, Harry
Houdini, Julia Childs and many other well-known people have been
revealed to have acted as spies for their governments.
Most often these
people are volunteers for the cause, but not always. The whole game
changed with the development of the mind control techniques detailed in
the above video "Minds of Men". Scientists found ways to create
operatives who may not even realize that they are being used. Consider
this excerpt from George Estabrook's Hypnotism, in which he
explains how U.S. intelligence agencies create "the perfect spy":
"We start with an excellent subject... we need a man or woman who is
highly intelligent and physically tough. Then we start to develop a
case of multiple personality through hypnotism. In his normal waking
state, which we will call Personality A, or PA, this individual will
become a rabid communist. He will join the party, follow the party
line and make himself as objectionable as possible to authorities.
Note that he will be acting in good faith. He is a communist, or
rather his PA is a communist and will behave as such. Then we
develop Personality B (PB), the secondary personality, the
unconscious personality, if you wish, although this is somewhat of a
contradiction in terms. This personality is rabidly American and
anti-communist. It has all the information possessed by PA, the
normal personality, whereas PA does not have this advantage... My
super spy plays his role as a communist in his waking state,
aggressively, consistently, fearlessly. But his PB is a loyal
American, and the PB has all the memories of PA. As a loyal
American, he will not hesitate to divulge those memories."
Dylan wrote "Blowin' In the Wind", killed Folk music, and introduced The
Beatles to marijuana. He could have stopped right there and rightfully
claimed to have had as much impact on popular music as anybody in the
20th Century, and maybe beyond.
Dylan is a mythical
character, a wandering Jew who roamed away from his Minnesota roots in
1960 to go visit his music idol Woody Guthrie, who was dying in
Greystone Park Psychiatric Hospital in New York. He was Bobby Zimmerman
then, but he was going to become something new. He chose the name Dylan
as a nod to the Irish poet Dylan Thomas.
pilgrimage to Guthrie's bedside represented something like a ritual
passing of the torch, a spirit transfer, though young Bob was hardly the
heir apparent. There was an entire generation of worthy inheritors
between Guthrie and Dylan, but somehow the light was to become his.
Dylan, who sounded just like Woody Guthrie in his earliest incarnation, received a spirit he would carry within him the rest of his life.
Dylan claimed to have also had a previous mystical experience with Buddy
Holly, who he saw perform live in his hometown. "He looked me right
straight dead in the eye, and he transmitted something. Something I
didn't know what. And it gave me the chills." Holly died in an airplane
crash three days later.
Bob was open to psychic
experience, which can be heard in the music he has made throughout his
career. (See "Isis" in the right panel.)
Dylan got his big business
break in 1962 when he was signed to a management deal by Albert
Grossman, who was a co-founder of the Newport Folk Festival, where Dylan
became a star. Producer John Hammond then signed him to Columbia
Records. Hammond reportedly didn't
think much of Dylan's guitar or harmonica playing, or of his singing,
but he responded to something about him that struck him as authentic. It
is a story similar to that which you hear about George Martin's initial
interest in The Beatles. These producers weren't looking for raw musical
talent so much as they were looking for artists who could speak to the
people in the streets. They were looking for artists who could connect.
And then for a short
period, between 1963 and 1965, Bob Dylan seemed to become a conduit for
a music unlike any he had ever written before, or would ever write
again. As he told Ed Bradley in his "60 Minutes" interview: "Those
early songs are almost magically written."
He went on to tell Bradley that whatever came over
him in that period passed. “You can’t do something forever. I did it
once, and I can do other things now. But I can’t do that.”
Sometimes it seems like these spirit operatives
have a shelf life, but what once their usefulness is done?
Curious Case of Phil Ochs
was a star in the Folk craze that swept America, emanating out of
Greenwich Village in New York City in the late 1950s. A musical prodigy,
Ochs dumped his classical training to learn the guitar and write
"topical songs" of a political nature that would later be classified
"Protest Songs". He was singing at the Newport Folk Festival in 1963,
when The Beatles broke big in England, heralding the near end of the
Folk period. He was at the 1965 Newport Festival when Bob Dylan famously
created heresy by performing an electric set. That effectively drove a
stake through the heart of Dylan's own beloved Folk, which the
iconoclastic Phil Ochs reportedly found funny.
Ochs was a big deal,
playing Carnegie Hall and other elite venues. His fortunes faded as the
'60s wore on, but he became involved with politics in an operational
way, working on Democrat presidential candidate Eugene
McCarthy's 1968 campaign. With Jerry Rubin, Abbie Hoffman, Stew Albert,
and Paul Krassner, he helped to found the short-lived Youth
International (Yippie) movement. They were political extremists with a
Hippie ethos, known for painting their faces with American flags and
presenting in other provocative ways. He performed at venues during the
week of the infamous 1968 Democrat Convention, and he protested the Viet
Nam war and was arrested. He testified on behalf of the Chicago 7 in the
trial that followed the convention riots.
In 1969, Ochs moved to Los
Angeles, leaving the Elektra label and going to A&M Records. He remained
politically active but began releasing records with orchestrations
nothing like his solo acoustic recordings, and during that period he had
more success selling songs to other artists than selling records
himself. He was subject to a violent assault while touring Africa, which
damaged his vocal cords.
In 1971, Ochs took his
political interests to Chile, where he joined activist Chilean Folk
singer Victor Jara in support of popularly elected Marxist Salvador
Allende. Jara was murdered in 1973 when the Allende government was
overthrown by the dictator Augusto Pinochet. Ochs had bounced around South
America for a time before returning to the U.S. to work on the
1972 presidential campaign of Democrat Senator George McGovern. He recorded
more protest songs, working with Harry Belafonte, as well as John Lennon
and Yoko Ono.
Then, in 1975, Ochs began
acting strangely. Drinking heavily, he began ranting about the FBI and
CIA, and at one point he changed his name to John Butler Train. He told
people that Train had murdered Phil Ochs and assumed his identity.
Convinced that his life was in danger, he carried weapons, trusting no
one, and for a time lived on the street. His brother, who had managed
his career, tried to have him committed to an insane asylum, but Ochs'
John Butler Train personality faded away and Phil Ochs returned. He was
diagnosed with bipolar disorder and he retired to live with his sister,
hanging himself in her home in 1976.
Och's biographer Michael
Schumacher summed it up as follows:
"By Phil's thinking, he had died a long time ago: he had died
politically in Chicago in 1968 in the violence of the Democratic
National Convention; he had died professionally in Africa a few
years later, when he had been strangled and felt that he could no
longer sing; he had died spiritually when Chile had been overthrown
and his friend Victor Jara had been brutally murdered; and, finally,
he had died psychologically at the hands of John Train."
And then there was Owsley Stanley III - "Bear"
Phil Ochs story is obviously a tale of personality disorder, on some
level. It is intriguing that his paranoiac rants about the FBI and CIA,
and his strange temporary re-identification with another personality,
were all preceded by his relocation to L.A., and by his
politically-sponsored trip to a U.S.-backed South American country still
in the midst of political turmoil. Ochs received death threats while he
was there and was fortunate to escape imprisonment, and it obviously
frightened him to the extent that he was changed.
Ochs had a generational
and cultural counterpart, who may or may not have been known to him.
That was Owsley Stanley III (1935-2011), who is practically the single
source for all of the LSD that was produced in the 1960s (when it was
still legal, and then when it wasn't) and distributed widely and often
free of charge. Stanley supplied LSD to Ken Kesey and "the Merry
Pranksters" for their Electric Kool-Aid Acid Test. He supplied The
Beatles with LSD for the making of Magical Mystery Tour. He dosed the
crowd at the 1967 Monterey Pop Festival, and he did much of this
extraordinary chemistry while operating as the sound man for The
Grateful Dead, which is where he picked up the "Bear" nickname
(he was diminutive). He
designed their lightning bolt skull logo, and later their sound system.
Stanley had checked
himself into a psychiatric ward (St. Elizabeths Hospital in Washington,
D.C.) while still a teenager. The son of a prominent Kentucky family,
and grandson of 1920s-era U.S. Senator A. Owsley Stanley, who had also
served as Governor of Kentucky and a member of the U.S. House of
Representatives, young Owsley Stanley was well connected. Why he
committed himself to St. Elizabeths is unclear, but there are stories
that he voluntarily became a subject in the psychology experiments being
performed there under the umbrella of the MK-ULTRA program.
Stanley graduated from the
psychiatric ward, spent time studying engineering at the University of
Virginia, and then did 18-months in the U.S. Air Force before being
discharged. That is an odd enlistment time and it is unclear why he was
discharged, but after leaving the Air Force he spent time studying
ballet. He moved to L.A. and supported himself for a time as a
professional dancer. Some stories have him working at Johnson Propulsion
Labs (JPL), but at some point he moved north to Berkeley, enrolling at
the University of California for a short semester before dropping out.
There, Stanley reportedly
found the recipe for LSD in the university library. He set up a lab and
started producing "acid", which prompted a police raid on his home. He
beat the drug charge, because the police came expecting to find
methamphetamine production, not the then-legally-produced LSD.
exactly inspired Stanley to go into production of what was destined to
become classified as a "controlled substance", assuming the inherent
risk without any apparent profit motive, is difficult to comprehend. He
seemed to want to get all the kids high, and he was doing it a couple
years before the "Summer of Love".
Owsley Stanley's personal
impact on the California music scene was extraordinary. It seems like
everyone knew him. My wife reports that she, in her teen years, got LSD
from Stanley himself, who apparently had an open door policy at his
Berkeley home and his Point Richmond production facility, until 1966,
when LSD was made illegal in California.
Stanley set up an
operation in Colorado, across the street from the Denver Zoo, with his
girlfriend-chemist Melissa Cargill*. In fact, there was a four-headed
romantic relationship there involving Stanley, Cargill, a lady named
Rhoney Gissen (mother of Stanley's son "Starfinder"), and
bassist Jack Cassady.
Stanley had a lab in
Orinda, California that was busted in 1967. Police found LSD and STP and
Stanley went to prison. He would eventually return to work for the Dead
and the Jefferson Starship. He grew marijuana for a time in Northern
California but he fell out with the Dead, his contacts dried up, and he
ended up becoming a naturalized Australian citizen. He died in
Queensland in 2011 at age 76.
*Melissa Cargill was
a chemistry student at Berkeley, which is how she met Owsley. Her last
name leaps out at the reader because the corporation Cargill,
established in 1865, is "the largest privately held corporation in the
United States in terms of revenue." (Wikipedia) It is a conglomerate
involved in everything from agriculture to pharmaceuticals. Reads their
website landing page - "We help people thrive. Cargill is working to
nourish the world. We're bringing together people, ideas, and resources
to deliver products, technology and ways of operating that build
successful businesses and communities." I have never read anything to
suggest that Melissa Cargill is related to that business empire, but she
was certainly studying appropriately for what they do. That Cargill
marketing line quoted above could probably have also worked as a mission
statement for Owlsley's widespread distribution of LSD.
Weird Scenes Inside the Canyon
don't like this writer, David McGowan, who with Weird Scenes Inside
the Canyon is more or less passing off a snarky tabloid exposé as a
connect-the-dots piece of investigative journalism. That said, kudos to
his accomplishment, because far from being a professional journalist he
is a construction industry worker who wrote a book. (See the note below
for a tip of the hat to the suspect author.)
McGowan suggests that the
1967 Summer of Love, and everything that happened leading up to and
after that, was orchestrated by dark forces, including the CIA and Anton
LaVey's Church of Satan, whose energies animated the lives of Laurel
Canyon residents (according to McGowan). Those included many of the music and film stars of the
era, who in McGowan's sampling had a statistically unlikely level of
family connections to the military intelligence and defense communities.
That is intriguing, but the intrigue
turns to confusion due to McGowan's failure to organize his story around
a solid insight or point. He identifies connections, implies that they
are weird, but never explains why any of that matters. He seems to want
to tell us that malevolent forces created a cultural gestalt that grew
out of Laurel Canyon as "the Hippie Movement", then spread to San
Francisco and across the nation, but he never creates a nexus between
why that was created and what it accomplished.
It doesn't help that McGowan, who
positions himself as a disillusioned music fan, seems to detest the
people he is writing about. Many of them are detestable, based on
McGowan's descriptions of their activities, but once the reader
recognizes his bias, any sense of objectivity evaporates.
McGowan holds special contempt for
David Crosby, Frank Zappa, and a little known performance artist named
Vito Paulekas, who he describes as the ringmasters of a freak show that
ranged from phony to sinister.
McGowan spends a great deal of time on
sensationalism, particularly body counts, but also sado-masochism,
pedophilia, sex orgies and anything else you'd be likely to find in
Hollywood Babylon. Had he the courage to make some kind of coherent
statement or basic premise, and shown some cause-and-effect in linking
the characters he describes with the evil plan he hints at, those
stories of mayhem, murder and debauchery might have worked like a
payoff, but instead he leads with these things, which automatically puts
his whole implied thesis in the trash.
I do think McGowan has a legitimate
story here, he is just awful at telling it, unless you like tabloid
trash journalism. I do give him credit for identifying the players,
making it possible for the CCJ to put together a feature story of this
type, in which we hope to better dissect the operation that, according
to McGowan, was at "the dark heart of the Hippie dream". -
NOTE: There is an
Dave McGowan on YouTube that you can listen to
and judge for yourself as to whether or not McGowan is a credible guy
who makes a credible case. Credible or not, he must be credited with
doing something no real journalist was doing, which was to spot a
curious nexus among the characters in this story, that being their
familial connections to military intelligence and defense communities,
and ancestral elites with long histories of impacting human relations.
and The Byrds
In Weird Scenes Inside The
Canyon, author David McGowan describes a Sunset Strip in L.A. that
was moribund (an overstatement) until suddenly a rock scene was created
there overnight centered around the Whiskey A-Go-Go and other nightclubs
that sprung up virtually all at once.
He suspects that the entire
thing was an orchestrated program, run by U.S. intelligence, for the
purpose of undermining resistance to the Viet Nam War, and on a larger
level, executing a Marxist plan to destroy the calm center of America -
the American family.
McGowan identifies primary
tools used to achieve this evil scheme, most notably among them being
The Doors, led by the Dionysus of Rock - the Lizard King - Jim Morrison,
and The Byrds, who got their early traction doing Bob Dylan songs, but
were also important to the Psychedelic Era sound.
McGowan's suspicions about
these bands has to do with their genesis, and their connections.
Rock god Jim Morrison was the
son of the Admiral in charge of the fleet in the Gulf on Tonkin, and so
with the "Gulf of Tonkin Incident" was a catalyst for the expansion of
U.S. involvement in Viet Nam. His son Jim grew up a clean-cut kid who
was photographed at his father's side, like a chip off the old block
until he became a UCLA film student and began denying that he even had a
Morrison, by McGowan's
account, showed up in L.A. as a fully-formed rock star. He had the look
that would make him a rock icon forever, and he had a bunch of
ready-made songs, good to go. All he needed was the band, which would be
important as Morrison did not play an instrument and knew nothing about
making music. He, reportedly, had only seen a couple rock concerts in
his life, and wasn't big on listening to music,
but somehow he had these songs.
That's McGowan's take, but
he's no musician, which you can tell by the way he writes about them.
He has contempt for The Byrds,
who he feels was another fake act designed to leverage Vito Paulekas and
his freak dance group to attract attention. The Byrds used part of
Paulekas' communal housing for their rehearsal space.
In McGowan's account,
Jim/Roger McGuinn - James Joseph McGuinn legally changed his name to
James Roger McGuinn in the '70s, and during his Byrds period he started
calling himself Roger on the counseling of his Subbud guru - was the
only real musician in the band.
Chris Hillman was recruited into that band, providing more than
sufficient muscle to hold down the electric bass (to McGowan's apparent
I suspect Gene Clark could
strum a guitar, though he often played tambourine, which made him
suspect in McGowan's eyes.
David Crosby was apparently a
washout as a bass player, which is why they recruited the
mandolin-playing Hillman(?), but I happen to know that David Crosby
considers himself a great rhythm guitarist. We have mutual friends and
I've heard him go on about it on the phone.
And poor Michael Clarke! I
knew Michael, a decade after his Hippie heyday, and it is true that
was a mere bongo player when he joined The Byrds, he became a real pro
A part of that L.A. music scene moved on to Colorado in the 1970s, and I
happened to know him from my time in Boulder.
Michael was big and blustery
when I knew him, too much in the grip of alcohol - we sometimes went for
beer together - and he was a lot to handle, but he was a lot of fun and
He was great in a lot of ways. I saw him
run rehearsals that made it pretty clear that the band needed to follow
his lead (and he was right). He became famous, during the time I knew
him, for the rate at which he broke the heads of snare drums. Former
Boulder drummer Chris Elliott talks about letting Michael play his drums
and getting back a busted head, for which Michael was apologetic - he
just hit so damned hard. Chris is a big guy - a construction kind of guy
- and he told me once that he couldn't break a drum head if he tried,
and yet "Bongo Mike", as McGowan seems to imagine him, broke them with
When I knew him, Michael
Clarke played the drums like he was driving steel rails. I don't know if
that's the best way to play drums, but it is a far cry from the shoddy
treatment given him by the non-musician McGowan.
After the Byrds, Michael went
on to play with Dillard and Clark, The Flying Burrito Brothers, Firefall,
and Jerry Jeff Walker.
It should also be added that
Michael Clarke, under his rough, worldly exterior, was a really sweet
person. He died of liver failure in 1993, only 47 years of age.
Skeletons in Busy Closets
there is anything to McGowan's assertion that the music scene that grew
out of Laurel Canyon in the 1960s was a CIA or related operation, there
is a list of movers and shakers from that era who would know, should a
serious journalist want to seek them out or otherwise investigate.
was a former Chicago police officer who opened high profile clubs on the
Sunset Strip: the Whiskey A Go Go (which was something of a franchise
operation he had discovered on a trip to Europe, 1964), The Trip (1965),
The Rainbow Bar & Grill (1972), and The Roxy Theater (1973).
is one of the most successful record producers in music history, and his
business interests include The Rainbow Bar & Grill and The Roxy Theater.
The club business came after Adler, who was born in Chicago but grew up
in L.A., had made his marks working with Herb Alpert and producing Jan &
Dean, The Mamas and The Papas, Carole King, Johnny Rivers, The
Grassroots and others. He was an executive producer of The Rocky
Horror Picture Show.
Adler produced many
Cheech & Chong projects, and he produced Carole King's landmark
Tapestry LP. He is probably best known as the producer of The Mamas
and The Papas. That band, particularly in the personages of John
Phillips and Cass Elliott, were hugely influential on the L.A. scene in
the 1960s. Adler, along with Derek Taylor, Peter Asher, and with help
from Paul McCartney, put together the 1967 Monterey Pop Festival, which
was a cultural game changer.
Adler is notoriously
difficult. Several years back a friend of mine, a musical director in
Cheech & Chong's world, took steps toward mounting a Mamas and Papas
tribute act. The response from Adler was immediate. In the words of my
friend, who must remain anonymous - "I've been waiting my whole life to
get a phone call from this guy, and when the call finally comes he is
screaming obscenities at me and threatening a lawsuit!"
who with Elliot Roberts started in the mailroom at the William Morris
Agency, created or co-created Asylum Records in 1970, Geffen Records in
1980, DGC Records in 1990, and DreamWorks SKG in 1994. He worked his way
up through William Morris before striking out on his own to manage Laura
Nyro and Crosby, Stills & Nash. His Alsylum label became a magnet for
the Laurel Canyon acts. He signed the Eagles, Joni Mitchell, Bob Dylan,
Tom Waits, Linda Ronstadt, Warren Zevon, Judee Sill, and J.D. Souther.
Asylum was later acquired by Atlantic's parent company, Warner
Communications, and merged with Elektra Records in 1972 to become
Elektra/Asylum Records. Elektra was the label of The Doors. Geffen
Records produced John Lennon and Yoko Ono's Double Fantasy album.
Geffen was one of
the original owners of The Roxy, along with Elmer Valentine, Lou Adler,
Elliot Roberts, and Peter Asher.
Peter Asher likely
knows more than anyone about the subject of this feature, as well as the
related feature Who Is Paul
McCartney? The brother of legendary McCartney love interest Jane
Asher, Peter Asher was the beneficiary of several McCartney-penned tunes
that made his duo "Peter & Gordon" a major hit during the British
Invasion period. McCartney lived with the Asher family in London through
the early years of his Beatle fame. The father of the Asher clan was Dr.
Richard Asher, who coined the phrase "Munchhausen Syndrome". He was a
prominent researcher into human behavior, in charge of mental
observations at Central Middlesex Hospital. When he was replaced in his
position by a psychiatrist deemed more qualified than the M.D. Dr. Asher
for the type of work he was doing, Asher quit medicine, grew despondent
and eventually committed suicide in the family home. That downturn in
his fortunes happened in 1964, about the time that Paul McCartney took
up residence in the Asher family home.
Peter Asher was the first A&R manager for
Apple Records, signing James Taylor. When Taylor's record flopped, Asher
quit Apple, moved to the U.S., and became Taylor's manager. He went on
to executive positions with Sony Music Entertainment and he has
continued to manage and produce acts over the years, while also touring
in a duo with Albert Lee.
Asher continues to be a
principle keeper of The Beatles mythology, with a show on Sirius XM
Channel 18 - The Beatles Channel - in which he reinforces the band's
narrative with his first-person accounts.
Ever a Hippie Dream?
Well, there probably
was in somebody's mind, and trying to figure out whose mind that was is
the subject of our inquiry. It didn't seem to be anything that grew
organically out of the American mind, but rather seemed to be inspired
by cultural histories likely little known to the young people who were
the targets of "the dream".
Some ancient Greek's
worshipped as "the Cult of Dionysus", called "Bacchus" in later
incarnations, and that spirit seemed to be reborn in 1966.
From Wikipedia: "The Cult of Dionysus is
strongly associated with satyrs, centaurs, and sileni, and its
characteristic symbols are the bull, the serpent, tigers/leopards, the
ivy, and the wine. The Dionysia and Lenaia festivals in Athens were
dedicated to Dionysus, as well as the Phallic processions. Initiates
worshipped him in the Dionysian Mysteries, which were comparable to and
linked with the Orphic Mysteries, and may have influenced Gnosticism.
Orpheus was said to have invented the Mysteries of Dionysus."
The Doors Jim Morrison (left)
seemed like an incarnation of Dionysus, and he certainly inspired his
own kind of cult worship, though it was strangely at odds with the peace
and love message associated with the "Hippie Movement".
While the peace and love
people were passing the dutche, the "Lizard King" Morrison was
personifying a level of carnal energy that was of an entirely different
stripe. His Hippie may do the whirling dervish thing and dance you into
a state of ecstasy, but after that he was going to sneak into the
bedroom of his parents, rape his mother and kill his father. One could
say there were mixed messages at work, "Strange Days" indeed, to
quote a Lennonism and offer a tip of the hat to The Doors second album.
They were as original when they burst onto the scene as was Jimi
Hendrix, the other later contemporary of The Beatles who really reset
the stage for popular music. Together, they created the landscape for
modern day "Dionysian Mysteries".
The Dionysian Mysteries
were a ritual of ancient Greece and Rome which sometimes used
intoxicants and other trance-inducing techniques (like dance and
music) to remove inhibitions and social constraints, liberating the
individual to return to a natural state. It
also provided some liberation for those marginalized by Greek
society: women, slaves, outlaws, and non-citizens. In
their final phase the Mysteries shifted their emphasis from a
chthonic, underworld orientation to a transcendental, mystical one,
with Dionysus changing his nature accordingly. By its nature as a
mystery religion reserved for the initiated, many aspects of the
Dionysian cult remain unknown and were lost with the decline of
Greco-Roman polytheism; modern knowledge is derived from
descriptions, imagery and cross-cultural studies. (Wikipedia)
Enter Vito Paulekas and The Freaks
people look back on the 1960s and consider the social-politics of the
time, the image that pops to mind is that associated with the "Hippies
of Haight Ashbury" in San Francisco. Before any of that Hippie ethos
showed up in Golden Gate Park, it was showing up on the dance floors of
the rock clubs that popped up along the Sunset Strip in L.A. in the
There a former convict named
Vito Paulekas was running a commune of street performers - wild dancers
- who would show up at clubs where The Byrds and The Doors and Frank
Zappa were playing and create a wild scene - so wild it was
entertainment in itself, and it would attract other paying customers.
Paulekas and his "Freaks", as he called them, got into the clubs free,
which was great for them for they were a bunch of street kids, runaways
and drug addicts who found refuge in Paulekas' commune in Laurel
Canyon, which doubled as a rehearsal space for The Byrds. Below is a
video of the Paulekas freaks doing their wild, liberated dancing at a
Frank Zappa show.
Paulekas' wife Szou ran a clothing shop in
L.A. that created the Hippie fashions that became iconic of the era.
Here is Wikipedia's
description of Paulekas and crew, and their contributions to the Hippie
scene: "By about
1963, Vito, Szou, and their friend Carl Franzoni... also known at the
time as 'Captain Fuck', had begun going to clubs with a growing group of
self-styled 'freaks', who reputedly 'lived a semi-communal life and
engaged in sex orgies and free-form dancing whenever they could'.
According to writer Johnny Rogan, Paulekas' 'free thinking lifestyle and
artistic passion inspired beatniks, aspiring existentialists and Valley
girls in need of rebellion.' In 1964, Paulekas offered rehearsal space
to the Byrds, and the following year the troupe of free-form dancers,
with Paulekas and Franzoni, accompanied the group on their nationwide
tour. Later, Arthur Lee and Love also used his premises for rehearsals.
In some clubs,
Paulekas and the dancers became as big an attraction as the onstage
entertainment. The troupe - including several of the young women later
to become known as The GTOs, and members of the Fraternity of Man -
occupied the Log Cabin in Laurel Canyon formerly occupied by Tom Mix and
later by Frank Zappa. Credited as 'Vito and the Hands', Paulekas
recorded a single, 'Where It's At', which featured some of the Mothers
of Invention, with producer Kim Fowley in 1966. He has been credited
with first using the terms 'freak' and 'freak-out' to describe the
scene, and with Franzoni and other members of the troupe contributed to
the first album by Zappa and the Mothers, Freak Out!. He appeared in
several documentaries of the period, including Mondo Hollywood (1967)
and You Are What You Eat (1968).
Nixon's election as US President in 1968, he moved to Haiti and later
Jamaica, before returning to settle in Cotati, California. There, he and
Franzoni established the Freestore street theatre and performance group,
and built a bandstand for the town as well as contributing sculptures."
Otherwise put, Paulekas was finding ways
to influence American culture right up to the time of his death in 1992.
C U L T M O N S T E R S
In the 1960s, the Los Angeles
music scene, centered in Laurel Canyon, was dominated by a handful of
dominant personalities who shared numerous traits, most notably
their capacity for attracting and controlling young
followers, particularly female. These four below were notable for their
cult leader personalities
The son of a chemical weapons
scientist, Zappa showed up in L.A. in the early '60s and established the
commune in Laurel Canyon. It became a magnet for runaways and rock
stars, an orgy that went on for years. A complicated character, Zappa
was a right-wing zealot who seemed to hate the kids he nurtured into a
freak lifestyle epitomized by his band, The Mothers of Invention. He
created the jail-bait girl band the GTOs, who provided the template for
Kim Fowley's exploitation, The Runaways. An
inattentive father who famously gave his children eccentric names (Dweezil,
Moon, Diva), Zappa pulled his kids out of school at 15 and refused to
pay for any of them to go to college. He was a tyrannical band leader
who exercised control over his players by belittling and criticizing
them. He battled against censorship of pop music lyrics and died of
prostate cancer at 52.
Crosby is of old European royalty, and
in L.A. in the 1960s he was a rich kid who, like Zappa, ran a
never-ending party scene out of his Laurel Canyon home. He was known to
entertain in the nude. Crosby had a role in three key bands of the era:
The Byrds, Buffalo Springfield, and Crosby, Stills and Nash. He angered
band mates from the first by espousing political opinion from the stage.
Ostensibly a left-winger, Crosby is a gun toting narcissist who did nine
months of prison time in Texas for heroine and cocaine possession. He
has numerous arrests on weapons and drunk driving charges. Among his
unusual resume credits: he is an in-demand sperm donor. Lesbian rocker
Melissa Etheridge had a child by artificial insemination using Crosby's
A convicted armed robber who did four
years in prison, Paulekas created a dance troup in L.A. called "The
Freaks". They were the original Hippies, creating the template for the
look and lifestyle, and most especially their style of dance. They
The Byrds and Zappa big on the Sunset Strip, as club owners would let
them in for free because they attracted curious others. The Freaks were
runaways, dope fiends, and groupies, including super groupie Pamela
DeBarres at one time.
NOTE: Paulekas was married to Szou Shaffer, who operated a
clothing shop in L.A. that was the source of Hippie fashion. The two
divorced in 1975 and at some point Paulekas moved to Cotati, in Northern
California. He lived next door to my wife, for a time, and she became
aware of a reputation he had in Cotati: if he moved next door to you,
the grass in your yard died.
Manson had spent most of his adult life
behind bars, but in L.A. he was a respected musician and songwriter who
kept company with all these cult monsters. Manson and his family of
followers lived at Zappa's Log Cabin commune for a time, and Manson
developed a relationship with Beach Boy Dennis Wilson and producer Terry
Melcher. The Beach Boys recorded one of his songs and declined to give
him a writing credit, which was a motive behind Manson's eventual murder
Before there was a #MeToo Movement
Kim Fowley - Sleaze
character in McGowan's sordid book is the truly sordid record
producer Kim Fowley, pictured right. Fowley was born in Los Angeles to a couple
actors, and his high school classmates included singers Jan Berry
and Dean Torrence (later of Jan and Dean fame), Nancy Sinatra, Bruce
Johnston (later of the Beach Boys), and actors Ryan O'Neal, James
Brolin and Sandra Dee.
Fowley was on the
L.A. music scene before the focus of the industry shifted from the
east coast to L.A. He spent time in the military, and than began
building his career working in the sex industry, which somehow he
parlayed into a publicist deal promoting the likes of Phil Spector.
By the time the 1950s drew to a close, Fowley was working for the
impresario Alan Freed and the producer Berry Gordy.
Brad Elterman, BuzzFoto/FilmMagic
Fowley scored a number one hit with his song "Alley Oop", about a
caveman, and so novelty songs and acts became his thing. It was a
money-making schtick that benefited a huge array of artists,
including Paul Revere & the Raiders, Cat Stevens, David Gates, Frank
Zappa, Gene Vincent, Warren Zevon, John Lennon and Yoko Ono, KISS,
Helen Reddy, Alice Cooper, Leon Russell, and Kris Kristofferson. He
produced three albums with Flash Cadillac and the Continental Kids,
which is of interest to this writer, who once lived in Boulder,
Colorado, which was the home base for that great band, which crossed
over from clubs to television and film. Harold Fielden and his band
always had a cutting edge, which through Fielden continued on in the
form of "The 4-Nikators" party band, which on some levels echoed the
spirit of decadence of the late '60s. I'm not sure if Kim Fowley
influenced any of that, but it seems of a piece (no pun intended).
always to have been a kind of a slimeball, and proud of it. It strikes me that there is some weird back
story associated with every artist in that list in the previous
paragraph, and what they have in common is Fowley. He once described
a record he produced but no one ever heard as something that one day
would be discovered as follows: "Somebody will reissue it someday and people
will start crying and jacking off and smoking dope to it."
that produced The Runaways, which produced one of rock's sickest
sagas, detailed in excruciating recall in the past few years by
bassist Jackie Fox. She alleges that Fowley raped her in 1975, when
she was 16, drugging her with Quaaludes and assaulting her while the
other Runaways and party guests looked on. Joan Jett and The
Runaways ended up in the Rock'n Roll Hall of Fame.
story is only tangentially related to alleged government
mind-control operations, but he does stand out as another central
exhibit testifying to the type of content that the L.A. music
industry was producing in the late-60s and thereafter, which has not
been kind to the nation's social structure. Conspiracists, like
David McGowan, suggest that is as intended.
Fowley died in 2014 of
bladder cancer at age 75.
THE COPELAND CONSPIRACY
The McGowan book
presents a long list of curious connections between luminaries of the
late '60s Laurel Canyon music community and U.S. intelligence and
defense industry personnel, and in the case of David Crosby, connections
to blue blood families. There are some doozies, like the trio America,
who are all sons of Air Force intelligence officers, one father being
the superior to the other two. Dewey Bunnell, Dan Peek, and Gerry
Beckley met while their fathers were stationed in London, and that's
where they began performing before relocating to Los Angeles, and Laurel
None of these characters hold a candle
to the Copeland family - Miles, Stuart and Ian.
The Copeland family name is of ancient
Norse origin, though the Copeland's of interest here are Americans.
Their father Miles was a principle actor in the establishment of the
CIA. Their mother Lorraine Adie, interestingly enough, was an
archaeologist, and the Copeland children grew up in Egypt and Lebanon,
before eventually coming to live in the U.S.
Miles Copeland III, the eldest son,
founded I.R.S. Records and released albums with R.E.M., The Go-Go's,
Wall of Voodoo, and Fine Young Cannibals. Ian Copeland was a booking
agent who founded Frontier Booking International (F.B.I.), and managed
the band The Police, the drummer of which was Stuart Copeland. Gordon
Sumner (Sting) of The Police has gone on to a successful solo career,
and he has been active with human rights causes and with UNESCO, the
UN's cultural and scientific agency, promoting their programs around the
What inspired the Copelands to name
their enterprises after government institutions is not known to me, but
it obviously calls out an association of some kind, if only
tongue-in-cheek, and one wonders what would inspire that.
the Copelands moved into L.A. in the 1970s and picked up the mantle,
continuing the music scene that developed there in the '60s and ensuring
that it would remain a force into the New Wave period of popular music.
So how many
children of CIA operatives does it take to make a music scene?
who are these people who use such devious, cold-blooded means, and why
do they do it? To some researchers, like Alex Thomson in the video
presentation below, designs to control the destiny of the common man -
the chattel whose existence is at the whim of our feudal lords - are the
interests of ancient bloodlines with descendancy dating back to the
origin of human life on this planet. The idea, in short, is that they
created us and can do with us what they will, and if we are consuming
more than we are producing, we must be eliminated as a matter of sound
business practice. The '60s began the process of dividing us up into
manageable herd groups, neutralizing us by pairing tribal factions
against one another.
CONCLUSION: Black Wins
one wishes to think of the game of life as symbolic of the game of chess
- how's that for ambiguation? - then the dark side is most certainly in
the act of winning. They can't have won conclusively, because life goes
on and we see occasional glimmers of light, confusing this reviewer
because one hears a lot about Lucifer these days, always referenced in
"a bad light", though his very name means "bearer of light".
So are we to conclude that
all of us, unless you happen to be a reader of a very peculiar
bloodline, are mere primitives, trapped "in the Devil's bargain", to
borrow a phrase from Laurel Canyon luminary Joni Mitchell, or caught in the matrix, to
reference another popular allusion (see
David Icke and
Yes, I would say we are
and the record shows it quite clearly. Operatives in high places have
developed sophisticated behavioral engineering and mind control
techniques, which they have perfected through experimentation on individuals
who often were often not aware that they were lab rats in an experiment.
This was all revealed by the Church Committee over forty years ago.
Here is the Wikipedia
Church Committee was the United States Senate Select Committee to
Study Governmental Operations with Respect to Intelligence
Activities, a U.S. Senate committee chaired by Idaho Senator Frank
Church (D-ID) in 1975. The committee investigated abuses by the
Central Intelligence Agency (CIA), National Security Agency (NSA),
Federal Bureau of Investigation (FBI), and the Internal Revenue
Service (IRS). The committee was part of a series of investigations
into intelligence abuses in 1975, dubbed the "Year of Intelligence",
including its House counterpart, the Pike Committee, and the
presidential Rockefeller Commission. The committee's efforts led to
the establishment of the permanent U.S. Senate Select Committee on
We don't actually hear
anything of what the U.S. Senate Select Committee on Intelligence learns
in their investigations, and their championing of American freedoms
obviously did nothing to prevent the abuses of the NSA as detailed in
the Edward Snowden leaks.
Does the global
intelligence community work together in some way to coordinate
propaganda campaigns and special operations? Obviously, yes.
The question then goes to
those powers that supersede the laws of our nations.
What capacity do
we, the "little people", have to control them and, therefore, our own
destinies? Are we just talking about the concentrated wealth of a
handful of old families? Or are we talking about mechanisms of societal
control executed by non-human agents? That is a popular conspiracy
theory that has gained adherents over the past twenty years with
archaeological discoveries that indicate that the history of humankind
on planet Earth might be far different from that which we are taught in
schools and churches.
Is the planet run by a
small group of families? Absolutely, and everybody acknowledges that and
knows who these families are, including much about their long
bloodlines, and yet there is no progress made toward ending their
tyranny over us. Part of that is that most of us never see that top
strata of society, making our resistance to their indulgences something
akin to Don Quixote's battles against windmills.
Is part of the problem
that our thoughts are not our own, or are otherwise so scattered that we
are incapable of mounting any resistance? Or do we just know that we
can't win, that resistance is futile?
In truth, we all grow up
with a level of willing surrender. You can't fight City Hall. C'est la
vie...what will be will be, the future's not ours to see, que será, será.
We don't know what to
believe, particularly in our present awareness of "fake news", though
news has always been fake and we seem now to be surprised by it. We all
studied this in school decades ago, those of us who went to Journalism
school, but somehow the public can't hold on to a thought. We can't
remember what we once knew. Like NASA, who once had the technology to go
to the Moon but doesn't anymore, we just can't seem to snap out of it,
to clear our heads, figure out what the heck is happening, and take
steps to take control of our lives. Is that the result of a complex
operation executed by controlling forces?
Our cultural myths tell us
we've never had control of our lives, but rather wandered out of a "Garden
of Eden" with the knowledge that there are answers out there somewhere,
and that's about as far as we've gotten with it. That's why we tend to
ape the behaviors of others, because at least it gives us a group
Is that planned? Are we
being herded into groups, culled into special categories? Why can't we
think for ourselves? Is it that we are stupid, or are capacities innate
to us as human beings being suppressed through an array of means set to
action by a controlling force that does not have our best interest at
We are about to reach a
point of singularity, where the natures of these questions will take on
monumental importance, because the answers will most certainly determine
the fate of much of mankind, to the extent that we will be able to
control that at all.
For all of known human
history, we slaves have served a purpose that is now coming to an end
with the maturation of automation, of artificial intelligence, and
machine learning. We humans have no value in that robot world and the
vast majority of us will be phased out of existence soon.
There is, without a doubt,
cultural and behavioral engineering at work. It seems to be built on
disinformation and on triggering effects designed to elicit certain
responses, and the main theme seems to be to divide and conquer. Social
media and internet use has effectively isolated individuals, even while
making them feel strong group associations, and it has brilliantly
fragmented users into competing groups, all suspicious of the other.
Is it any wonder that
superstition has made a big comeback? It is popular these days to feel
that only belief in God will provide hope for salvation, though
descriptions of that salvation leave so much to the imagination that it
offers little comfort to other than the feverish zealot.
God or no God, we are all
going to have to make plans for the coming turmoil. Our best survival
strategy might be to carefully consider the messages we perceive and the
impulses we feel, and think carefully about what is happening around.
Lose the social media and cable news services and stop watching reality
TV. Go walk around your neighborhood and meet people, re-humanize.
If it is possible to have
no doubt in your mind, in an environment where mind-control is an issue,
I would say there is no doubt in mine that messaging technologies and
controls are being used on us constantly.
Maybe the best we can do
is get together and not listen or watch. - RAR
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Shakespeare - All's Well
that Ends Well
CIA and Counterculture
much of the middle part of the 20th Century, Allen Dulles
(1893-1969) seems to have been at the center of every intrigue.
He was from a
long-line of American elite, and a key member of the Century
Club, which begat the Bohemian Grove group. Other Century Club friends
of Dulles were Gordon Wasson and
Aldous Huxley. The business of the
Dulles family seems to be running
defense and intelligence operations, and everything that falls
out of that. There were Dulles's in Secretary of State roles in
the administrations of Benjamin Harrison, Woodrow Wilson, and
Dwight Eisenhower. Allen Dulles was the first civilian director
of the United States Central Intelligence Agency (CIA). He
clashed with President John F. Kennedy, who fired him, and then
led the Warren Commission investigation into the Kennedy
many accomplishments was exposing that a document called the
Protocols of the Elders of Zion, which detailed a Jewish
plan for global domination, was a fabrication, a hoax.
This meant a
great deal to Dulles, who unsuccessfully lobbied Congress to
publicly denounce the document as a forgery.
Wasson was a researcher in organic compounds. He was an
and Vice President for Public Relations at J.P. Morgan & Co. and
a friend and compatriot of PR guru Edward Bernays.
Wasson was funded
under MK-ULTRA Project 58 to explore the jungles to find
hallucinogenic organics that could be processed into mind
Here is how Wikipedia
describes his work:
Together, Wasson and botanist
Roger Heim collected and identified various species of family
Strophariaceae and genus Psilocybe, while Albert Hofmann, using
material grown by Heim from specimens collected by the Wassons,
identified the chemical structure of the active compounds,
psilocybin and psilocin. Hofmann and Wasson were also among the
first Westerners to collect specimens of the Mazatec
hallucinogen Salvia divinorum, though these specimens were later
deemed not suitable for rigorous scientific study or taxonomic
classification. Two species of mushroom, Psilocybe wassonii
R.Heim and Psilocybe wassoniorum Guzman & S.H.Pollock, were
named in honor of Wasson by Heim and Gastón Guzmán, the latter
of whom Wasson met during an expedition to Huautla de Jiménez in
Wasson's next major contribution was a
study of the ancient Vedic intoxicant soma, which he proposed
was based on the psychoactive fly agaric (Amanita muscaria)
mushroom. This hypothesis was published in 1967 under the title
Soma: Divine Mushroom of Immortality. His
attention then turned to the
Eleusinian Mysteries, the initiation ceremony of the ancient
Greek cult of Demeter and Persephone. In
The Road to Eleusis: Unveiling the Secret of the Mysteries
(1978), co-authored with Albert Hofmann and Carl A. P. Ruck, it
was proposed that the special potion "kykeon", a pivotal
component of the ceremony, contained psychoactive ergoline
alkaloids from the fungus Ergot (Claviceps spp.).
His last completed work, The
Wondrous Mushroom, was republished by City Lights Publishers in
Huxley was a British philosopher and author who came from a long
line of noted intellectuals.
Here is the
Wikipedia introduction: "The Huxley family is a British family
of which several members have excelled in science, medicine,
arts, and literature. The family also includes members who
occupied senior positions in the public service of the United
patriarch of the family was the zoologist and comparative
anatomist Thomas Henry Huxley (1825–1895). His grandsons include
Aldous Huxley (author of Brave New World and Doors of
Perception) and his brother Julian Huxley (an evolutionist,
and the first director of UNESCO), and Nobel laureate
physiologist Andrew Huxley."
Here is a description
of Huxley's classic Brave New World as sold on Amazon:
"Hundreds of years in the
future, the World Controllers have created an ideal
civilization. Its members, shaped by genetic engineering and
behavioral conditioning, are productive and content in roles
they have been assigned at conception. Government-sanctioned
drugs and recreational sex ensure that everyone is a happy,
unquestioning consumer; messy emotions have been
anesthetized and private attachments are considered
there is one person who epitomizes the ongoing impact of the
counter-culture movement that was begun in the 1960s in L.A., it
must be Terrence McKenna (1946-2000).
McKenna, who surfaced
in the 1990s, was called "the intellectual voice of Rave
Culture" (Wikipedia). He advocated for hallucinogenic drugs as
key to greater consciousness, which in his formulation amounted
to an "Archaic Revival".
McKenna, who promoted
the Mayan calendar end-of-the-world-in-2012 hysteria, believed
that the planet and everybody on it is sick from consumerism and
materialism and so anti-bodies have developed within society so
that it may be healed. His examples include interests in
surrealism, abstract expressionism, body piercing and tattooing,
psychedelic drug use, sexual permissiveness, jazz, experimental
dance, rave culture, rock and roll, and catastrophe theory.
McKenna died of brain
is one of the publishing world's great mysterious success
stories. One senses that he got lucky with a
not-particularly-well-founded bit of fictive writing and so
became a fiction in himself, a guru to young seekers hungry for
insight into what, following the '60s psychedelic era, was an
increasingly confusing world.
While he was an
anthropology student at UCLA, Castenada wrote a series of books
(The Teachings of Don Juan: A Yaqui Way of Knowledge; A
Separate Reality; and Journey to Ixtlan) in which he
described, in first person, his tutelage in Yaqui culture and
shamanism. The Yaqui are "an Uto-Aztecan speaking indigenous
people of Mexico" and Castenada told a long story about how a
shaman, don Juan Matus, instructed him in their mystical ways.
People bought this
hook, line and sinker, even though academics familiar with the
Yaqui found Castenada's book to be a fantasy, a fiction that
bore little resemblance to anything real in the Yaqui culture
that Castenada described.
After publishing the
fourth and last book in the series (Tales of Power,
1974), Castenada bought a property in Los Angeles where he lived
with "followers", and he disappeared from public view until the
1990s, when he re-emerged with a new shamanic property, called
Tensegrity, which he hoped to promote through seminars and
It never took off and
Castenada died in 1998 from hepatocellular cancer. Naturalized
as a U.S. citizen in 1957, his cremated remains were returned to
Mexico, his native country. There was no public funeral
Robert Stanley has traveled the world for decades exploring
for answers to man's wants and needs, and where these desires
come from. He has come up with an interpretation of Zecharia
Sitchin's interpretation of the Sumerian cuneiform tablets
that bridges archaeological research and the teachings of modern
religions. He is certain that Earth is under the control of "Lucifer",
who in the Sumerian texts was called Enki, and who in
ancient Egypt was known as Osiris (the first Pharoah),
and who in Greek mythology was known as Prometheus.
Mischievous god of wisdom, magic and incantations
who resides in the ocean under the earth.
Stanley's take on the
story is that humankind on Earth was created by a royal family
from the Orion star system. Sitchin tells the same story but has
the family associated with the mystery planet Nibiru.
There were three
ancient gods associated with Mesopotamia, where the Sumerians
were located: An/Anu (the father of the Gods),
Enlil and Enki (half-brothers). A principle sacred
city was Nippur.
At some point, Enlil
cleaved the heavens from the Earth, so that An ruled thereafter
only in the heavens, while Enlil had domain over Earth.
His domain was not
uncontested. There was an ancient race of reptilians on Earth
led by the dragon queen Tiamat. She was eventually
overcome and Enlil cemented his role as the supreme ruler of the
Enlil and the
Annunaki were on Earth to mine its gold resources, which is a
labor they grew tired of. Enlil hatched the idea of creating a
hybrid race of slave laborers, combining Annunaki DNA with that
of primitive species on Earth to create humans. Enlil's plans
were anything but benevolent, and thus he is depicted in Sumerian
mythology as an "oppressor".
Arriving on Earth
later was Enki, Enlil's half-brother, and he arrived angry.
It was to be Enki's
destiny to inherit the throne of Orion, but traveling through
space with his crew they entered a "forbidden zone", the effect
of which was to drive Enki and his crew insane.
When Enki returned to
his home world to assume his throne, his parents saw that he had
become insane and denied him what he felt to be his birthright.
determined that he would make his own kingdom and so he traveled to
Earth to wage war on his half-brother and rest control of the
planet. (One can see the "fallen angel" motif at work in this
story.) At stake is the "Tablet of Destinies", ownership of
which would convey power over Earth. Unfortunately, Enki arrived
on planet Earth in the company of an array of parasitic entities
created from his forbidden-zone-created insanity. These include
the Archons, the Gin, and demons.
It is Enki who
follows through on Enlil's designs for humans, and he fashions
humankind (slave workers) from clay.
creator gods became enamored with their own creations, began
procreating with human women, and created a race of giants,
called Nephilim in the Bible. These giants are responsible for
the monumental ancient architecture discovered around the world
today, including the pyramids at Giza.
Viewed as an
abomination, the supreme god Enlil created a global flood to
wipe the planet clean of the Nephilim and the corruption of
selecting a family to build an arc to survive the flood, along
with the animals of the planet, so that life may be restarted on
planet Earth once the waters receded.
After the flood,
Enlil left the planet, but Enki and his group survived in
subterranean environments, from which they control humankind to
this day through a matrix designed to blind humans to any
reality other than that which Enki - the giver of light who is
also called Lucifer - projects.
In Stanley's account,
Enki or Lucifer seeks control over every human on planet Earth,
but being insane he doesn't even have control over himself.
Having no control of himself, he seeks control over others,
which in Stanley's account is classic behavior in psychotic
And so you have the
dynamics on planet Earth today, according to Robert Stanley.
HERE IS THE
KICKER: Stanley doesn't believe these Sumerian myths are
simply ancient creation stories. He believes that Enki, or
Lucifer, is a real being - an entity belonging to a race of
beings that live for thousands and thousands of years - and he
remains alive today in his underworld domain under the sea.
Bob's Long Ride
one of the music industry's most enigmatic and influential
figures, Bob Dylan turned the worlds of many listeners upside
down when, in an interview on the CBS news show "60 Minutes", he
told Ed Bradley that he continues to hold up his end of a
bargain he made decades ago. It brought him fortune and fame -
"where I am today", in his words.
When Bradley pressed
Dylan to reveal who it was he made this deal with - you could
see Bradley trying to tease "the Devil" response - he said, in
typically cryptic Dylan speak, “With the chief commander. In
this earth and in the world we can’t see.”
Did he mean to say
"in this earth"?
If that is an
illusion to the God of the underworld, it is a subject Dylan has
written about, specifically in his song
tells the story of Osiris, Egyptian Lord of the Underworld, who
married his sister Isis. Consider these lyrics:
I married Isis on the fifth day of May
But I could not hold on to her very long
So I cut off my hair and I rode straight away
For the wild unknown country where I could not go wrong
I came to a high place of darkness and light
Dividing line ran through the center of town
I hitched up my pony to a post on the right
Went in to a laundry to wash my clothes down
A man in the corner approached me for a match
I knew right away, he was not ordinary
He said “Are you looking for something easy to catch?”
Said “I got no money”
He said “That ain't necessary”
We set out that night, for the cold in the North
I gave him my blanket, and he gave me his word
I said “Where are we going?” He said we’d be back by the fourth
I said “That’s the best news that I’ve ever heard”
I was thinking about turquoise, I was thinking about gold
I was thinking about diamonds and the world’s biggest necklace
As we rode through the canyons, through the devilish cold
I was thinking about Isis, how she thought I was so reckless
How she told me that one day we would meet up again
And things would be different the next time we wed
If I only could hang on and just be her friend
I still can’t remember all the best things she said
We came to the pyramids, all embedded in ice
He said “There’s a body I’m trying to find
If I carry it out it’ll bring a good price”
'Twas then that I knew what he had on his mind
The wind it was a-howlin' and the snow was outrageous
We chopped through the night
And we chopped through the dawn
When he died I was hoping that it wasn’t contagious
But I made up my mind that I had to go on
I broke into the tomb, but the casket was empty
There was no jewels, no nothing! I felt I’d been had
When I saw that my partner was just being friendly
When I took up his offer I must've been mad
I picked up his body and I dragged him inside
Threw him down in the hole, and I put back the cover
I said a quick prayer, then I felt satisfied
Then I rode back to find Isis, just to tell her I love her
She was there in the meadow, where the creek used to rise
Blinded by sleep, and in need of a bed
I came in from the East, with the sun in my eyes
I cursed her one time, then I rode on ahead
She said “Where you been?” I said “No place special”
She said “You look different” I said “Well.. I guess”
She said “You been gone” I said “That’s only natural”
She said “You going to stay?” I said “If you want me to, yes"
Isis, oh, Isis, you mystical child
What drives me to you is what drives me insane
I still can remember the way that you smiled
On the fifth day of May in the drizzling rain
tune, he as Osiris marries Isis on the fifth day of the fifth
held certain numbers to have powers, five being principle among
them. Osiris and his sister-bride Isis are among five children
born to their parents, Nut and Geb. Those five were born over a
period of five days.
Osiris died and
was resurrected long enough to marry his sister a second time,
impregnating her with their son Horus before returning to his
forever throne in the world of the dead.
is represented as the pentagram, the five-pointed star.
Osiris, in this
song, marries Isis and then immediately loses her. In Egyptian
mythology, Osiris lost his life in a battle against his brother
Seth. In the Dylan lyric, he is happy to learn that, leaving
after his marriage on the 5th of May, it is promised that he
will be returned by "the fourth". Otherwise, he returns a day
before he leaves.
That is likely
an occult allusion to the number 9 (5 + 4), which in our
numbering system is the end of one cycle and the start of a new
Osiris will be
back in time to start new again, or otherwise will be