textfiles/music/rock_s8n.txt

From: pyuaq@csv.warwick.ac.uk (Mr G S Sutherland)
Newsgroups: alt.satanism
Subject: Satan, Drugs, and Rock 'n' Roll
Date: 30 Nov 1992 12:48:54 -0000
Message-ID: <1fd2jmINNso5@lily.csv.warwick.ac.uk>
Organization: Computing Services, University of Warwick, UK
Lines: 690

I was mailed this article over the weekend, and have decided to post
it onto the newsgroup for your enjoyment!

Disclaimer : The views within this article do not correlate with my
own, I am merely the agent by which it is being posted.

        Graeme.

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THE SATANIC ROOTS OF ROCK
by Donald Phau


Today, at almost any "heavy-metal'' rock concert one can hear the
audience being exhorted to rape and murder in the name of Satan.
Lyrics such as the following are typical:

   "We come bursting through your bodies
   Rape your helpless soul
   Transform you into a creature
   Merciless and cold
   We force you to kill your brother
   Eat his blood and brain
   Shredding flesh and sucking bone
   Till everyone's insane

   We are pestilent and contaminate
   The world Demonic legions prevail''

   Any loving parent today would be horrified and shocked to learn
that their sons and daughters are eagerly listening to such evil.
Perhaps though, some may think privately, "If only we could return to
the 'good old days,' with the music of the Beatles.'' Little do most
people suspect that it was with those innocent-looking Beatles, that
most of the trouble started.
   Modern electronic-rock music, inaugurated in the early 1960s, is,
and always has been, a joint enterprise of British military
intelligence and Satanic cults. On the one side, the Satanists control
the major rock groups through drugs, sex, threats of violence, and
even murder. On the otherside, publicity, tours, and recordings are
financed by record companies connected to British military
intelligence circles. Both sides are intimately entwined with the
biggest business in the world, the international drug trade.
   The so-called "rock stars'' are pathetic puppets caught in a much
larger scheme. From the moment they receive their first recording
royalties, the groups are heavily immersed in drugs. For example,
much-admired "stars'' such as John Lennon of the Beatles and Keith
Richard of the Rolling Stones, were heroin addicts. Richard had to
obtain blood transfusions, replacing his entire heroin-laced blood
supply, in order to get a visa to enter the United States.
   The "rock stars'' are also totally artificial media creations.
Their public image, as well as their music, is fabricated from behind
the scenes by controllers. For example, when the Beatles first arrived
in the United States in 1964, they were mobbed at the airport by
hundreds of screaming teenage girls. The national press immediately
announced that "Beatlemania'' had besieged the U.S.A.  But the girls
had all been transported from a girl's school in the Bronx, and paid
for their screaming performance by the Beatles' promoters.
   The money of the 1960s rock groups, which in somes cases mounted to
hundreds of millions of dollars, was also totally under the control of
mob-connected promoters. From 1963 to 1970, the Rolling Stones made
over $200 million, yet the group's members were all nearly bankrupt.
None of them had any idea of where their money went.
   Between 1963 and 1964 the Beatles and the Rolling Stones laid siege
to Western European and American culture.  This two-pronged invasion
from England was well-planned and well-timed.  America had just
suffered the shock of the assassination of President John Kennedy,
while in the streets the mass-based civil rights movement had just
held a Washington, D.C. rally, led by Martin Luther King, of 500,000
people. The rock counterculture would be used as a weapon to destroy
such political movements.
   Later in 1968 and 1969, years which saw a mass strike of students
and workers in the United States and Europe, huge, open-air rock
concerts were used to head off the growing discontent of the
population. The rock concerts were devised as a means for mass
recruitment to the drug-saturated, free-sex counterculture. For the
millions who came to these concerts, thousands of tablets of the
hallucinogenic drug, LSD, were made freely avaliable. These drugs were
secretly placed in drinks such as Coca-Cola, turning thousands of
unsuspecting victims into raving psychotics. Many committed suicide.
   Less than a half century ago, our young children studied violin and
piano, learning about the great classical composers such as Bach,
Mozart, and Beethoven. As will be shown, the same record companies who
today promote Satanic "heavy-metal'' rock have run covert operations
to destroy the musical heritage of these great classical composers.
    For the past thirty years, Western society has been under the gun
of a deliberate plan of cultural warfare, with the purpose of
eliminating Judeo-Christian civilization as we know it. These plans
must not succeed.  So that the reader can better combat this evil,
we'll go back nearly thirty years, when those four innocent lads from
Liverpool, England, the Beatles, were just starting out.


Creating the Beatles

   The Beatles first began performing in the late 1950s in jazz clubs
in England and West Germany. These clubs, always located in the
seediest part of the cities, served as a marketplace for prostitution
and the circulation of drugs. Beatle biographer Philip Norman writes:
"Their only regular engagement was a strip club. The club owner paid
them ten shillings each to strum their guitars while a stripper named
Janice grimly shed her clothes before an audience of sailors, guilty
businessmen and habitues with raincoat- covered laps.''
   The Beatles got their first big break in Germany, in August 1960,
when they obtained a booking at a jazz club in Hamburg's notorious
Reeperbahn district. Describing the area Norman writes it had,
"red-lit windows containing whores in every type of fancy dress, all
ages from nymphet to granny...Everything was free.  Everything was
easy. The sex was easy... Here it came after you.''
   Far from the picture of innocence, the Beatles, even in their first
performances, were always high on a drug called Preludin, "John
(Lennon), would be foaming at the mouth, he'd have so many pills
inside him...John, began to go berserk on stage, prancing and
groveling...The fact that the audience could not understand a word he
said, provoked John into cries of `Sieg Heil!' and `Fucking Nazis' to
which the audience invariably responded by laughing and clapping.''
   Off the stage, the Beatles were just as evil. Norman continues,
"while in Hamburg, John, each Sunday would stand on the balcony,
taunting the churchgoers as they walked to St.  Joseph's. He attached
a water-filled contraceptive to an effigy of Jesus and hung it out for
the churchgoers to see.  Once he urinated on the heads of three
nuns.''
   While in Hamburg, in June of 1962 the Beatles received a telegram
from their manager, a homosexual named Brian Epstein, who was back in
England.  "Congratulations,'' Epstein's message read. "EMI requests a
recording session.'' EMI was one of Europe's largest record producers,
and their role in promoting the Beatles would be key in the future.
   Under the the strict guidance of EMI's recording director George
Martin, and Brian Epstein, the Beatles were scrubbed, washed, and
their hair styled into the Beatles cut. EMI's Martin created the
Beatles in his recording studio.
   Martin was a trained classical musician, and had studied the oboe
and piano at the London School of Music.  The Beatles could neither
read music nor play any instrument other than guitar.  For Martin, the
Beatles musicianship was a bad joke. On their first hit record, "Love
Me Do,'' Martin replaced Ringo on the drums with a studio musician.
Martin said Ringo, "couldn't do a [drum] roll to save his life.''
>From then on, Martin would take the simple little tunes the Beatles
would come to him with, and turn them into hit records.


Lockwood and EMI

    EMI, led by aristocrat Sir Joseph Lockwood, stands for Electrical
and Mechanical Instruments, and is one of Britain's largest producers
of military electronics. Martin was director of EMI's subsidiary,
Parlophone. By the mid-sixties EMI, now called Thorn EMI, created a
music divison which had grown to 74,321 employees and had annual sales
of $3.19 billion.
    EMI was also a key member of Britain's military intelligence
establishment.
   After the war, in 1945, EMI's European production head Walter Legge
virtually took over control of classical music recordings, signing up
dozens of starving German classical musicians and singers to EMI
contracts.  Musicians who sought to preserve the performance tradition
of Beethoven and Brahms, were relegated to obscurity while "ex-Nazi''
Party members were promoted. Legge signed and recorded Nazi member,
the late Herbert Von Karajan, promoting him to superstar status, while
great conductors such as Wilhelm Furtwangler were ignored.
   From the beginning, EMI created the myth of the Beatles' great
popularity.  In August of 1963, at their first major television
appearance at the London Palladium, thousands of their fans supposedly
rioted. The next day every mass-circulation newspaper in Great Britain
carried a front page picture and story stating, "Police fought to hold
back 1,000 squealing teenagers.''  Yet, the picture displayed in each
newspaper was cropped so closely that only three or four of the
"squealing teenagers'' could be seen. The story was a fraud. According
to a photographer on the scene, "There were no riots. I was there. We
saw eight girls, even less than eight.''
   In February 1964, the Beatles myth hit the United States, complete
with the orchestrated riots at Kennedy Airport, previously mentioned.
To launch their first tour, the media created one of the largest mass
audiences in history. For an unprecedented two Sundays in a row, on
the <Ed Sullivan Show>, over 75 million Americans watched the Beatles
shake their heads and sway their bodies in a ritual which was soon to
be replicated by hundreds of future rock groups.
   On returning to England, the Beatles were rewarded by the British
aristocracy they served so well . In October 1965, the four were
inducted into the Order of Chivalry, and were personally awarded the
accolade of Member of the British Empire by Queen Elizabeth at
Buckingham palace.


Up from the Dregs:
The Rolling Stones

   The credit for the origination of today's blatantly Satanic "heavy
metal rock,'' goes to the English group, the Rolling Stones. Their
rise to fame was closely connected with that of the Beatles.
   The Stones, as they were called, were widely characterized as the
counterparts to the Beatles. "The Stones'' were "mean,'' "dirty'' and
"rebellious,'' whereas the Beatles were the well-groomed "Fab Four.''
Though seemingly competitors, they were merely two sides of the same
operation. The Stones' first hit record was actually written by the
Beatles, and it was Beatle member George Harrison who set up the
arrangements for their first recording contract.
   Following the same game plan as the Beatles, in the spring of 1963
the Rolling Stones appeared on one of England's most popular family
television shows, <Thank Your Lucky Stars.> Only this time, the
reaction by the middle-aged viewers was quite different from that to
the Beatles. Hundreds of angry letters were sent, with a typical
letter stating "It is disgraceful that long-haired louts such as these
should be allowed to appear on television. Their appearance was
absolutely disgusting.''
    The program, however, had exactly the planned effect. Rolling
Stones' manager Andrew Oldham was elated at the response. He told the
group, "We're going to make you exactly opposite to those nice, clean,
tidy Beatles. And the more the parents hate you, the more the kids
will love you. Just wait and see.''
   In 1964, the Rolling Stones appeared on the <Ed Sullivan Show>, as
the Beatles had done earlier. This time though, the coast-to-coast
audience beheld the spectacle of the television studio being ripped to
shreds by Stones fans.  Sullivan said on the air afterward, "I promise
you, they will never be back on our show.'' The publicity, however,
was exactly what was wanted. Within a few months, the group's records
were selling millions of copies.
   The plan was now to use both the Beatles and the Rolling Stones as
the means to transform an entire generation into heathen followers of
the New Age, followers which could mold into the future cadre of a
Satanic movement and then deploy into our schools, law enforcment
agencies and political leadership.


Enter Satan

   In his book, <The Ultimate Evil,> investigator-author Maury Terry
writes that between 1966 and 1967, the Satanic cult, the Process
Church, "sought to recruit the Rolling Stones and the Beatles.''
During this period, Terry reports that a photo of Rolling Stones
leader Mick Jagger's longtime girlfriend, Marianne Faithfull, appeared
in an issue of <The Process Magazine>. The picture shows her supine,
as if dead, clutching a rose. Terry's book goes on to implicate the
Process Church cult in the Charles Manson and Son of Sam multiple
murders. It was the former lawyer for the Process Church, John
Markham, who recently ran the frameup trial against Lyndon LaRouche.
   A key link between the Rolling Stones and the Process Church is
Kenneth Anger, a follower of the "founding father'' of modern
Satanism, Aleister Crowley. Anger, born in 1930, and a child Hollywood
movie star, became a devoted disciple of Crowley.
   Crowley was born in 1875 and was called the "Great Beast.'' He was
known to practice ritual child sacrifice regularly, in his role as
Satan's high priest or "Magus.'' Crowley died in 1947 due to
complications of his huge heroin addiction. Before dying, he succeeded
in establishing Satanic covens in many U.S. cities including
Hollywood. Anger, like Crowley, is a Magus, and appears to be the heir
to Crowley.
   Anger was seventeen years old when Crowley died. In that same year,
1947, Anger was already producing and directing films which, even by
today's standards, reek of pure evil.
   During 1966-1967, when the Process Church is reported to be
recruiting in London, Anger was also on the scene. Author Tony Sanchez
describes that Rolling Stones' Mick Jagger and Keith Richard, and
their girlfriends Marianne Faithfull and Anita Pallenburg, "listened
spellbound as Anger turned them on to Crowley's powers and ideas.''
   While in England, Anger worked on a film dedicated to Aleister
Crowley, called <Lucifer Rising>. The film brought together the
Process Church, the Manson Family cult, and the Rolling Stones. The
music for the film was composed by Mick Jagger. Process Church
follower Marianne Faithfull went all the way to Egypt to participate
in the film's depiction of a Black Mass. The part of Lucifer was
played by a guitarist of a California rock group, Bobby Beausoleil.
Beausoleil was a member of the Manson Family, and Anger's homosexual
lover.
   A few months after filming under Anger's direction in England,
Beausoleil returned to California to commit the first of the Manson
Family's series of gruesome murders. Beausoleil was later arrested and
is now serving a life sentence in prison along with Manson. Having
lost his star performer, Anger then asked Mick Jagger to play Lucifer.
He finally settled upon Anton La Vey, author of <The Satanic Bible>
and head of the First Church of Satan, to play the part. The film was
released in 1969 with the title <Invocation To My Demon Brother.>
   In London, Anger had succeeded in recruiting to Satanism the
girlfriend of one of the Rolling Stones, Anita Pallenberg. Pallenberg
had met the Rolling Stones in 1965. She immediately began sexual
relations with three out of the five members of the group.
   Anger, commenting on Anita, said, "I believe that Anita is, for
want of a better word, a witch...The occult unit within the Stones was
Keith and Anita...and Brian. You see, Brian was a witch too.''
   One of the group's friends, Tony Sanchez, writes of Pallenberg in
his book, <Up and Down with the Rolling Stones>, "She was obsessed
with black magic and began to carry a string of garlic with her
everywhere--even to bed--to ward off vampires. She also had a strange
mysterious old shaker for holy water which she used for some of her
rituals. Her ceremonies became increasingly secret, and she warned me
never to interrupt her when she was working on a spell.''
   He continues, "In her bedroom she kept a huge, ornate carved chest,
which she guarded so jealously that I assumed it was her drug stash.
The house was empty one day, and I decided to take a peep inside. The
drawers were filled with scraps of bone, wrinkled skin and fur from
some strange animals.''
   In 1980, the seventeen-year-old caretaker of Keith Richard's New
England estate was found shot to death in Anita Pallenberg's bed. The
death, ruled a suicide, was with Pallenberg's gun. Richard's house was
located near the East Coast headquarters of the Process Church.
According to an article in the English newspaper <Midnite>, a
Connecticut police officer, Michael Passaro, who had responed to the
"suicide'' reported "strange singing'' from the woods a quarter mile
from the Richard's mansion.
   The newpaper continues, "There have been several bizarre satanic
rituals in the area over the past five years. A local reporter
attributed the outbreak of occultism to 'rich people taking Acid.'|''
   In 1967, reflecting their ongoing association with Anger and the
Process Church, the Rolling Stones released their first rock album
openly celebrating the Devil, titled, "Their Satanic Majesties
Request.'' A few months earlier, the Beatles had released their first
album dedicated to the promotion of psychedelic drugs, "Sargeant
Pepper's Lonely Hearts Club Band.'' The album contained a fantasized
version of an LSD trip, called "Lucy in the Sky with Diamonds,'' or
L.S.D. for short. It became a top seller.
   Clearly, the Beatles' album was dedicated to Satanist Aleister
Crowley.  It was released 20 years, nearly to the day, after Crowley's
death in 1947, and its title song began with the lyrics, "It was
twenty years ago today...'' The album's cover featured a picture of
Crowley.
   One month after the album's release, the Beatles shocked the world
by announcing, publicly, that they were regularly taking LSD. Beatle
member Paul McCartney, in an interview with <Life> magazine said, "LSD
opened my eyes. We only use one-tenth of our brain.'' They also
publicly called for the legalization of marijuana.
   The cat was now out of the bag, but the protests were few and
minor. In England, the BBC banned "A Day in the Life,'' and in the
U.S.A., Maryland Governor Spiro T.Agnew, who would later be
watergated, launched a campaign to ban "Lucy in the Sky With
Diamonds.''


Creating the Counterculture

   The year 1967 marked a significant escalation in open cultural
warfare against the youth of the United States.  The year saw the
beginning of mass, open-air rock concerts. In the two years which
followed, over 4 million young people attended a series of nearly a
dozen of these "festivals,'' becoming the victims of planned,
wide-scale drug experimentation. Mind destroying hallucinogenic drugs
such as PCP, STP, and the Beatles-promoted LSD, were freely
distributed at these concerts. These millions of attendees would
afterward return to their homes to become the messengers and promoters
of the new drug culture, or what came to be called the "New Age.''
   The first rock festival, "The First Annual Monterey International
Pop Festival,'' was attended by over 100,000 youngsters. The real
purpose of Monterey Pop was the widespread distrubution of a new type
of drugs, classified as psychedelics or hallucinogens, such as LSD. At
Monterey, thousands of younger teen-agers were introduced to the new
hallucinogenic drugs.
   The first experimentation with LSD was begun in the early sixties,
in the Haight-Ashbury section of San Francisco. The project was run by
a joint CIA-British intelligence task force under the code-name
MK-Ultra.  Part of the project called for the free distribution of
5,000 tablets of LSD through a commune known as Ken Kesey's Merry
Pranksters. LSD's after-effects were then closely studied.
   Kesey, a so-called "poet'' and convicted drug felon, became famous
for driving around California in a painted- up bus with his commune,
the Merry Pranksters, distributing LSD-laced Kool Aid to the
unsuspecting.
    The effect of LSD is to make the victim psychotic, along with the
inability to discern reality from drug-induced hallucinations. For
many, this psychosis (also called a "bad trip") could and did lead to
suicide.  When an individual is given LSD without his knowledge, the
psychosis-producing capabilities of the drug are amplified, and
usually leave the victim with permanent brain damage.
   The organizer of the Monterey festival was John Phillips, a member
of the rock group the Mommas and the Papas.  Phillips, as we shall
see, was a drug pusher and closely tied in with the network of
Satanists around Charles Manson and director Roman Polanski.
    Phillips appointed a board of directors to promote and finance the
concert. The members of the board brought together a network of
British intelligence operatives and Satanists.  The board of directors
included Andrew Oldham (the Rolling Stones manager), the Stones leader
Mick Jagger, Beatle Paul McCartney and Phillips' friend, record
producer Terry Melcher, the son of Doris Day.
   The concert, including the staging and the huge innovative outdoor
amplification, was run by Phillips. It was the first time that an
American audience was exposed to such openly demonic British groups as
The Who, and Jimi Hendrix. At the conclusion of their act, The Who, in
a drug-crazed frenzy, destroyed all their guitars, amplifiers, and
drums. Hendrix simulated masturbation with his guitar, on stage, while
performing at ear-splitting volume levels.
    There was massive, open use of drugs. Author Robert Santelli, in
his book, <Aquarius Rising,> writes "LSD was in abundance at Monterey.
Tabs of `Monterey Purple' were literally given to anyone wishing to
experiment a little.'' The police made no arrests, setting another
precedent for future outdoor concerts.
   There was a larger scheme in operation. The scheme was tied into
MK-Ultra and it involved using Satanists around Phillips, along with
agents such as Ken Kesey and Timothy Leary. The plan was to turn
nearby San Francisco into a Satanist gaming preserve, mass recruiting
and perverting young run-away teenagers.
   Phillips had earlier written the music to a song called "San
Francisco'' which sold over 5 million copies. The song called for
youth throughout the country to come to San Francisco "with flowers in
their hair.'' The song was a rallying cry to tens of thousands who
came flooding into San Francisco in the summer of 1968 to join the new
"hippie'' movement, misnamed the Summer of Love.  Some who came became
the prey for the likes of Charles Manson, who recruited his
cult-"family" exclusively from runaway youth.


Manson and the Rock Stars

   Charles Manson has been portrayed as a lone psychotic who had
hypnotic power over his "Family". In reality, Manson was well-known to
a whole network of Hollywood actors, actresses, promoters, partners
and rock stars, and was providing sex and drugs to many of them.
   In his autobiography, <Papa John,> Phillips tells of an invitation
he received to join Terry Melcher and Beach Boy member Dennis Wilson,
at Wilson's mansion. Wilson said, "This guy Charlie's here with all
these great-looking chicks. He plays guitar and he's a real wild guy.
He has all these chicks hanging out like servants. You can come over
and just screw any of them you want. It's a great party.''
   Manson's entire "Family'' moved into the Beach Boys' mansion for
nearly a year. The Beach Boys, who have performed at the White House,
are the top recording group of EMI's subsidiary, Capitol Records.
   On Sunday, August 10, 1969, Manson sent four members of his cult
for their last visit to Melcher's house. This time Melcher wasn't
there, but the actress Sharon Tate, wife of movie director Roman
Polanski, and three others, were. When the group left, Tate and the
others had been savagely mutilated and murdered. As for Phillips, in
June 1980, he was arrested for running a large-scale drug wholesaling
operation.


The Age of Aquarius

   The largest concert after Monterey Pop, the "Woodstock Music and
Art Fair,'' would be what <Time> magazine celebrated as an "Aquarian
Festival'' and "history's largest happening.'' The term "Aquarian''
was carefully chosen. The Aquarian age signified that the "Age of
Pisces,'' which is the age of Christ, had come to an end.
   At Woodstock, a small town in upstate New York, nearly half a
million youth gathered to be drugged and brainwashed on a farm. The
victims were isolated, immersed in filth, pumped with psychedelic
drugs, and kept awake continously for three straight days, and all
with the full complicity of the FBI and government officials.
Security for the concert was provided by a hippie commune trained in
the mass distribution of LSD.
   Once again, it would be the networks of British military
intelligence which would be the initiators. Woodstock was the brain
child of Artie Kornfeld, the director of EMI's Capitol Record's,
Contemporary Projects Division. The original funding was provided by
the heir of a large Pennsylvania-based pharmaceutical company, John
Roberts, and two other partners. It was another pharmaceutical
company, the Swiss-based Sandoz Laboratories, which had first
synthesized LSD. Roberts would later be accused of using his company
for the mass drugging of the attendees.
   Little adequate preparations were made for the nearly half a
million people who came. Joel Rosenman, one of the three partners,
writes, as the concert neared, "Food and water were clearly going to
be in short supply, sanitary facilities overtaxed, tempers short,
drugs overabundant. Worst of all, there was no way for anyone who
wanted to, to leave.'' Sitting in your own excrement was actually part
of the plan, as John Roberts jokingly wrote, "We're going to hand out
bananas at the gate to bind our patrons.''
   A hippie commune called the Hog Farm, had a special role at
Woodstock.  The Hog Farm was led by a man nicknamed Wavy Graver, who
was a former member of Ken Kesey's MK-Ultra operation, the Merry
Pranksters. Communes like the Hog Farm were commonly found in the
remote parts of California and served as the breeding grounds for
Satanic cults, as well as terrorist groups. Members of these communes
continually interchanged with other communes and were the recruiting
grounds for the Process Church and Manson. Hog Farm member Diane Lake
was a member of Charles Manson's Family, at the time of the massacre
of Sharon Tate and her guests.
   On August 14, one day before the scheduled opening, the entire
festival security force, comprised of 350 off-duty New York City cops,
pulled out. A spokesman for the New York police claimed that no
official arrangement was ever made with the city, a claim the
promoters vehemently denied. In an August 15, 1969 <New York Times>
article, the head of Woodstock's security said, "Now I don't have any
security at all. I've been struck. We're having the biggest collection
of kids there's ever been in this country without any police
protection.'' Not surprisingly, the Hog Farm was put in charge of
security.
   Woodstock funder and director John Roberts, openly admitted that he
was well aware of the Hog Farm's connection to drug distribution. He
writes, "their fee was simply transportation to and from the
festival... a peace-keeping force that looked, talked, and smelled
like the crowd would be both highly credible and highly effective...
and the most important, they were wise in the ways of drugs, knowing
good acid from bad, good trips from bummers, good medicine from
poison, etc.''
      The Hog Farm at the time was living in New Mexico's mountains.
Roberts chartered a Boeing 727, at a cost of $17,000, and flew 100 of
them to New York.
   To clear the final path for the planned drugging of half a million
youngsters, the district attorney for the area agreed privately that
there would be no arrests or prosecutions for violations of drug laws.
John Roberts writes, "The District Attorney...recognized early on that
many of our customers would be using illegal drugs, but also
recognized that such use would be the least of our problems over the
course of the weekend. He acted, therefore, with compassion and good
grace throughout.''  Roberts also writes that he was meeting
continuously with the FBI up to and including one day before the start
of the concert, and had their full cooperation.


The Experiment Begins

   Two days before the scheduled start of the concert, 50,000 kids had
already arrived in Woodstock. Drugs immediately began to circulate.
Many people brought their babies and, as Roberts says, even they were
drugged.  Roberts writes that at a nearby lake, "the tots swam naked,
smoked grass, and got into the music.''
   A poll conducted at the festival by the <New York Times> showed
that 99 percent of those attending were using marijuana. Local sheriff
deputies, totally overwhelmed, reported that no arrests were being
made for drug use. The <New York Times> of August 17 quoted one
deputy,'' If we did (make arrests), there isn't enough space in
Sullivan or the next three counties to put them in.''
   The use of marijuana was not the worst. Following the design of the
original MK-Ultra project, the mass distribution of LSD came next,
much of it in LSD-laced Coca Cola, as Kesey's Pranksters had done five
years earlier.  Roberts jokingly relates the following, "a
particularly abrasive cop ....had been handed an LSD-spiked Coke while
directing traffic. Long after all automobiles in the area had
congealed to a standstill, the hardhat was still out on the road
waving them on. Finally they led him away.''
   For the next three days, the nearly half a million young people
that arrived were subjected to continual drugs and rock music. Because
of torrential rains, they were forced to wallow in knee-deep mud.
There were no shelters, and no way to get out. Cars were parked over
eight miles away.  Rosenman writes that the key to the "Woodstock
experiment'' was "keeping our performers performing around the
clock...to keep the kids transfixed...''
   Within the first 24 hours, over 300 kids reported to medical
authorities, violently ill. The diagnosis: they were having "bad'' LSD
trips. Thousands more would follow. On August 17, the <New York Times>
reported: "Tonight, a festival announcer warned from the stage, that
'badly manufactured acid' (a term for LSD) was being circulated. He
said: 'You aren't taking poison acid. The acid's not poison. It's just
badly manufactured acid. You are not going to die.... So if you think
you've taken poison, you haven't. But if you're worried, just take
half a tablet.'|''
    The advice, to nearly 500,000 people, "just take half a tablet''
was given by none other than MK-Ultra agent Wavy Gravy.
   With a growing medical emergency on hand, a call went out to New
York City for emergency medical personnel.  Over 50 doctors and nurses
were flown in. By the end of Woodstock, a total of 5,000 medical cases
were reported.


Altamont: the Making
Of a Snuff Film

   The last major rock "festival'' of the 1960s was held at Altamont
racetrack, outside San Francisco. The featured performers were the
Rolling Stones, who now reigned supreme in the rock world, since the
Beatles had broken up. The suggestion for the concert came from
MK-Ultra agent Ken Kesey.
   This time, the audience was whipped into a frenzy, in open praise
of the Devil. The result was a literal Satanic orgy. At its
conclusion, four people were dead and dozens beaten and injured.  Mick
Jagger, the lead singer of the Rolling Stones, played the part of
Lucifer. The performance marked the beginning of the "heavy-metal''
concerts of today.
   Over 400,000 people attended the Altamont concert with far less
preparation than even Woodstock. Food, and even water, were nearly
unavailable. But plenty of drugs were to be found. Like Woodstock, the
concert would become the vehicle for the mass experimentation of
drugs, especially LSD. Author Tony Sanchez describes the scene as
people gathered at Altamont:
   "By midmorning there were more than a quarter of a million people
milling around, and things were becoming chaotic. There was a lot of
bad acid (LSD-DP) around, and people were freaking out all over the
place.  Everybody was getting stoned out of his skull to pass the long
hours before the music was to start--Mexican grass, cheap California
wine, amphetamines ...
      "By midday virtually everyone was tripping...A man was almost
killed as he tried to fly from a speedway bridge--another acid case.
On the other side of the site a young guy screamed for help as he fell
into the deep waters of a drainage canal. The stoned-out freaks looked
on bemused as he sank beneath the surface. No one seemed sure if he
had been real or an hallucination. It didn't matter anymore anyway, he
was dead. Elsewhere doctors were kept busy delivering babies to girls
giving hysterical premature birth.''
   The descent into Hell would continue. The Rolling Stones had hired,
for a reported $500 worth of free beer, the motorcycle gang Hell's
Angels to act as security guards for the concert.  Their real payment,
however, was in drug sales. The Hell's Angels, an outlaw gang made up
of robbers, rapists and murderers, were the known controllers and
sellers of drugs on the entire West Coast.
   When the festival did open, the crowd of nearly half a million
people waited for more than one and a half hours for the Stones to
appear. It was only when nightfall arrived, allowing for the use of
special lighting effects, that the group finally came on stage. Mick
Jagger, the lead singer, was dressed in a satin cape, which glowed red
under the lights. Jagger was imitating Lucifer.
   Author Sanchez next describes what he calls a preplanned "Satanic
ritual.''  As the group began playing, "strangely several of the kids
were stripping off their clothes and crawling to the stage as if it
were a high altar, there to offer themselves as victims for the boots
and cues of the Angels. The more they were beaten and bloodied, the
more they were impelled, as if by some supernatural force, to offer
themselves as human sacrifices to these agents of Satan.''
   Standing in the crowd in front of the stage, with his girlfriend,
was a black man by the name of Meredith Hunter. Hunter would soon be
singled out for human sacrifice.
   The Stones had just released a new song entitled, "Sympathy for the
Devil.'' It had quickly become the number one record in the country.
The song begins with Mick Jagger introducing himself as Lucifer. As
soon as he began to sing it at Altamont, the entire audience rose up
and began dancing in a wild frenzy.
   Sanchez descibes what happened next, "A great six foot four grizzly
bear of a Hell's Angel had stalked across to Meredith (Hunter) to pull
his hair hard in an effort to provoke a fight ...A fight broke out,
five more Angels came crashing to the aid of their buddy, while
Meredith tried to run off through the packed crowd. An Angel caught
him by the arm and brought down a sheath knife hard in the black man's
back. The knife failed to penetrate deeply, but Meredith knew then
that he was fighting for his life.  He ripped a gun out of his pocket
and pointed it straight at the Angel's chest... And then the Angels
were upon him like a pack of wolves. One tore the gun from his hand,
another stabbed him in the face and still another stabbed him
repeatedly, insanely, in the back until his knees buckled.
   "When the Angels finished with Hunter, several people tried to come
to his aid, but an Angel stood guard over the motionless body. `Don't
touch him,' he said menacingly. `He's going to die anyway, so just let
him die.'|''
   It was never proven that Meredith actually had a gun. Later,
arrests were made. No one was ever indicted because no one person
would step forward as a witness out of fear of retaliation by the
Angels.
   Throughout the bloody killing the Rolling Stones continued to play
"Sympathy for the Devil.'' The entire group watched from the stage as
Meredith Hunter was killed right before them. In addition, incredibly,
the entire murder was professionally filmed by a film crew hired to
film the concert. Shortly thereafter the film was released throughout
the country with the title of a Rolling Stone's song, "Gimme
Shelter.''
   Was the murder preplanned by Satanists? In his book, <The Ultimate
Evil,> author Maury Terry tells how Satanic cults circulate among
themselves films of their human sacrifices. These films are called
"snuff films.'' Terry relates that one of the seven Son of Sam murders
in New York City was actually filmed from a nearby parked van. The
film was then purchased by a rich Satanist.
   "Gimme Shelter,'' which was a box-office hit, can still be
purchased or rented today for only a few dollars, at your local video
store.


Behind "Heavy-Metal'' Rock

   The same year as Altamont, 1969, marked the beginning of the evil
career of Ozzie Osbourne. Osbourne formed the band Black Sabbath. The
group modelled itself on the Rolling Stones. The next fifteen years
would witness a procession of young drugged-out rock performers, like
Osbourne, each competing for the "big money'' and the recording
contracts that came with it.  The key criteria of those who would
"make it'' was their ability to portray decadence and evil. These were
the "heavy-metal'' groups.
   In 1985, <New Solidarity> newspaper, which has since been forcibly
shut down by the federal government, conducted an interview with
Hezekiah Ben Aaron, then the third-ranking member of the Church of
Satan. Ben Aaron is now a devout Christian. In the interview, Aaron
revealed that it was his Church that started such "heavy-metal'' rock
groups as Black Sabbath, The Blue Oyster Cult, The Who, Ozzy Osbourne,
and many others. The Church of Satan was then led by its high priest,
Anton LaVey.  Many report, however, that LaVey, a former circus lion
tamer, was just a front man for the real high priest, Kenneth Anger,
the man who earlier recruited the Rolling Stones to the occult.
   The following is an excerpt from that interview: "I was working for
the Church...the Church had other people who were middlemen for other
companies.  There were middlemen for Apple [set up by the Beatles],
Warner Brothers, and other record companies. Someone would come to me
and say, `I have a tape recording, and I'd like for you to check it
out. I'd like to see if you would be interested in sponsoring a Rock
group.' I'd say `All right, I'll check it out.' A few days later Ben
Aaron would call back and set up another meeting. He continues, `I'd
hand you $100,000, and you wouldn't sign anything. What you wouldn't
know is that a mirror on the back of the wall is a one-way mirror and
we're tape recording and photographing, or video taping everything
that goes on. The payback, if you fail to make the group work, is
really bad. Sometimes it's up to 60% on the dollar.''
    Aaron's interview continued: "we send you to a store, we provide
you with uniforms and we provide you with amplifiers. It's all paid
through the money we gave you. We set you up with a road tour. We set
you up with engagements. We book you.''
   Aaron then explained that if the group did not make it he was given
orders to collect the money or make other "arrangements.'' These
"other arrangements,'' perhaps, are the key to the dozens of reported
rock star "suicides.'' The underworld drug mafia has ample means to
eliminate non-payers. Some readers may remember the following
statement Beatle John Lennon made to the international press back in
1966:
   "Christianity will go. It will go.  It will vanish and shrink. I
needn't argue about that. I'm right and I will be proved right. We are
more popular than Jesus now.''
    Hopefully, he will be proven to be wrong.

<END OF ARTICLE>