The Satanic Roots of Rock
(Disclaimer: Although I don't agree on everything written in this article, including the strong Christian perspective, it has a lot of good and relevant information. This is the reason I decided to publish it in its' entire length. Then it is up to you, the reader, to make up your own mind. Ben Gunn).
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
Any loving parent today would be horrified and shocked to learn that their sons and daughters are eagerly listening to such evil. Perhaps though, some may think privately, "If only we could return to the 'good old days,' with the music of the Beatles." Little do most people suspect that it was with those innocent-looking Beatles, that most of the trouble started.
Modern electronic-rock music, inaugurated in the early 1960s, is, and always has been, a joint enterprise of British military intelligence and Satanic cults. On the one side, the Satanists control the major rock groups through drugs, sex, threats of violence, and even murder. On the otherside, publicity, tours, and recordings are financed by record companies connected to British military intelligence circles. Both sides are intimately entwined with the biggest business in the world, the international drug trade.
The so-called "rock stars" are pathetic puppets caught in a much larger scheme. From the moment they receive their first recording royalties, the groups are heavily immersed in drugs. For example, much-admired "stars'' such as John Lennon of the Beatles and Keith Richard of the Rolling Stones, were heroin addicts. Richard had to obtain blood transfusions, replacing his entire heroin-laced blood supply, in order to get a visa to enter the United States.
The "rock stars" are also totally artificial media creations. Their public image, as well as their music, is fabricated from behind the scenes by controllers. For example, when the Beatles first arrived in the United States in 1964, they were mobbed at the airport by hundreds of screaming teenage girls. The national press immediately announced that "Beatlemania" had besieged the U.S.A. But the girls had all been transported from a girl's school in the Bronx, and paid for their screaming performance by the Beatles' promoters.
The money of the 1960s rock groups, which in somes cases mounted to hundreds of millions of dollars, was also totally under the control of mob-connected promoters. From 1963 to 1970, the Rolling Stones made over $200 million, yet the group's members were all nearly bankrupt. None of them had any idea of where their money went.
Between 1963 and 1964 the Beatles and the Rolling Stones laid siege to Western European and American culture. This two-pronged invasion from England was well-planned and well-timed. America had just suffered the shock of the assassination of President John Kennedy, while in the streets the mass-based civil rights movement had just held a Washington, D.C. rally, led by Martin Luther King, of 500,000 people. The rock counterculture would be used as a weapon to destroy such political movements.
Later in 1968 and 1969, years which saw a mass strike of students and workers in the United States and Europe, huge, open-air rock concerts were used to head off the growing discontent of the population. The rock concerts were devised as a means for mass recruitment to the drug-saturated, free-sex counterculture. For the millions who came to these concerts, thousands of tablets of the hallucinogenic drug, LSD, were made freely avaliable. These drugs were secretly placed in drinks such as Coca-Cola, turning thousands of unsuspecting victims into raving psychotics. Many committed suicide.
Less than a half century ago, our young children studied violin and piano, learning about the great classical composers such as Bach, Mozart, and Beethoven. As will be shown, the same record companies who today promote Satanic "heavy-metal" rock have run covert operations to destroy the musical heritage of these great classical composers.
For the past thirty years, Western society has been under the gun of a deliberate plan of cultural warfare, with the purpose of eliminating Judeo-Christian civilization as we know it. These plans must not succeed. So that the reader can better combat this evil, we'll go back nearly thirty years, when those four innocent lads from Liverpool, England, the Beatles, were just starting out.
Creating the Beatles
The Beatles first began performing in the late 1950s in jazz clubs in England and West Germany. These clubs, always located in the seediest part of the cities, served as a marketplace for prostitution and the circulation of drugs. Beatle biographer Philip Norman writes: "Their only regular engagement was a strip club. The club owner paid them ten shillings each to strum their guitars while a stripper named Janice grimly shed her clothes before an audience of sailors, guilty businessmen and habitues with raincoat- covered laps."
The Beatles got their first big break in Germany, in August 1960, when they obtained a booking at a jazz club in Hamburg's notorious Reeperbahn district. Describing the area Norman writes it had, "red-lit windows containing whores in every type of fancy dress, all ages from nymphet to granny...Everything was free. Everything was easy. The sex was easy... Here it came after you."
Far from the picture of innocence, the Beatles, even in their first performances, were always high on a drug called Preludin, "John (Lennon), would be foaming at the mouth, he'd have so many pills inside him...John, began to go berserk on stage, prancing and groveling...The fact that the audience could not understand a word he said, provoked John into cries of `Sieg Heil!' and `Fucking Nazis' to which the audience invariably responded by laughing and clapping."
Off the stage, the Beatles were just as evil. Norman continues, "while in Hamburg, John, each Sunday would stand on the balcony, taunting the churchgoers as they walked to St. Joseph's. He attached a water-filled contraceptive to an effigy of Jesus and hung it out for the churchgoers to see. Once he urinated on the heads of three nuns."
While in Hamburg, in June of 1962 the Beatles received a telegram from their manager, a homosexual named Brian Epstein, who was back in England. "Congratulations," Epstein's message read. "EMI requests a recording session." EMI was one of Europe's largest record producers, and their role in promoting the Beatles would be key in the future.
Under the the strict guidance of EMI's recording director George Martin, and Brian Epstein, the Beatles were scrubbed, washed, and their hair styled into the Beatles cut. EMI's Martin created the Beatles in his recording studio.
Martin was a trained classical musician, and had studied the oboe and piano at the London School of Music. The Beatles could neither read music nor play any instrument other than guitar. For Martin, the Beatles musicianship was a bad joke. On their first hit record, "Love Me Do," Martin replaced Ringo on the drums with a studio musician. Martin said Ringo, "couldn't do a [drum] roll to save his life." From then on, Martin would take the simple little tunes the Beatles would come to him with, and turn them into hit records.
Lockwood and EMI
EMI, led by aristocrat Sir Joseph Lockwood, stands for Electrical and Mechanical Instruments, and is one of Britain's largest producers of military electronics. Martin was director of EMI's subsidiary, Parlophone. By the mid-sixties EMI, now called Thorn EMI, created a music divison which had grown to 74,321 employees and had annual sales of $3.19 billion.
EMI was also a key member of Britain's military intelligence establishment.
After the war, in 1945, EMI's European production head Walter Legge virtually took over control of classical music recordings, signing up dozens of starving German classical musicians and singers to EMI contracts. Musicians who sought to preserve the performance tradition of Beethoven and Brahms, were relegated to obscurity while "ex-Nazi" Party members were promoted. Legge signed and recorded Nazi member, the late Herbert Von Karajan, promoting him to superstar status, while great conductors such as Wilhelm Furtwangler were ignored.
From the beginning, EMI created the myth of the Beatles' great popularity. In August of 1963, at their first major television appearance at the London Palladium, thousands of their fans supposedly rioted. The next day every mass-circulation newspaper in Great Britain carried a front page picture and story stating, "Police fought to hold back 1,000 squealing teenagers." Yet, the picture displayed in each newspaper was cropped so closely that only three or four of the "squealing teenagers" could be seen. The story was a fraud. According to a photographer on the scene, "There were no riots. I was there. We saw eight girls, even less than eight."
In February 1964, the Beatles myth hit the United States, complete with the orchestrated riots at Kennedy Airport, previously mentioned. To launch their first tour, the media created one of the largest mass audiences in history. For an unprecedented two Sundays in a row, on the Ed Sullivan Show, over 75 million Americans watched the Beatles shake their heads and sway their bodies in a ritual which was soon to be replicated by hundreds of future rock groups.
On returning to England, the Beatles were rewarded by the British aristocracy they served so well . In October 1965, the four were inducted into the Order of Chivalry, and were personally awarded the accolade of Member of the British Empire by Queen Elizabeth at Buckingham palace.
Up from the Dregs: The Rolling Stones
The credit for the origination of today's blatantly Satanic "heavy metal rock," goes to the English group, the Rolling Stones. Their rise to fame was closely connected with that of the Beatles.
The Stones, as they were called, were widely characterized as the counterparts to the Beatles. "The Stones" were "mean,'' "dirty" and "rebellious," whereas the Beatles were the well-groomed "Fab Four." Though seemingly competitors, they were merely two sides of the same operation. The Stones' first hit record was actually written by the Beatles, and it was Beatle member George Harrison who set up the arrangements for their first recording contract.
Following the same game plan as the Beatles, in the spring of 1963 the Rolling Stones appeared on one of England's most popular family television shows, Thank Your Lucky Stars. Only this time, the reaction by the middle-aged viewers was quite different from that to the Beatles. Hundreds of angry letters were sent, with a typical letter stating "It is disgraceful that long-haired louts such as these should be allowed to appear on television. Their appearance was absolutely disgusting."
The program, however, had exactly the planned effect. Rolling Stones' manager Andrew Oldham was elated at the response. He told the group, "We're going to make you exactly opposite to those nice, clean, tidy Beatles. And the more the parents hate you, the more the kids will love you. Just wait and see."
In 1964, the Rolling Stones appeared on the Ed Sullivan Show, as the Beatles had done earlier. This time though, the coast-to-coast audience beheld the spectacle of the television studio being ripped to shreds by Stones fans. Sullivan said on the air afterward, "I promise you, they will never be back on our show." The publicity, however, was exactly what was wanted. Within a few months, the group's records were selling millions of copies.
The plan was now to use both the Beatles and the Rolling Stones as the means to transform an entire generation into heathen followers of the New Age, followers which could mold into the future cadre of a Satanic movement and then deploy into our schools, law enforcment agencies and political leadership.
In his book, The Ultimate Evil, investigator-author Maury Terry writes that between 1966 and 1967, the Satanic cult, the Process Church, "sought to recruit the Rolling Stones and the Beatles." During this period, Terry reports that a photo of Rolling Stones leader Mick Jagger's longtime girlfriend, Marianne Faithfull, appeared in an issue of The Process Magazine. The picture shows her supine, as if dead, clutching a rose. Terry's book goes on to implicate the Process Church cult in the Charles Manson and Son of Sam multiple murders. It was the former lawyer for the Process Church, John Markham, who recently ran the frameup trial against Lyndon LaRouche.
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
Manson's entire "Family" moved into the Beach Boys' mansion for nearly a year. The Beach Boys, who have performed at the White House, are the top recording group of EMI's subsidiary, Capitol Records.
On Sunday, August 10, 1969, Manson sent four members of his cult for their last visit to Melcher's house. This time Melcher wasn't there, but the actress Sharon Tate, wife of movie director Roman Polanski, and three others, were. When the group left, Tate and the others had been savagely mutilated and murdered. As for Phillips, in June 1980, he was arrested for running a large-scale drug wholesaling operation.
The Age of Aquarius
The largest concert after Monterey Pop, the "Woodstock Music and Art Fair," would be what Time magazine celebrated as an "Aquarian Festival"' and "history's largest happening." The term "Aquarian" was carefully chosen. The Aquarian age signified that the "Age of Pisces," which is the age of Christ, had come to an end.
At Woodstock, a small town in upstate New York, nearly half a million youth gathered to be drugged and brainwashed on a farm. The victims were isolated, immersed in filth, pumped with psychedelic drugs, and kept awake continously for three straight days, and all with the full complicity of the FBI and government officials. Security for the concert was provided by a hippie commune trained in the mass distribution of LSD.
Once again, it would be the networks of British military intelligence which would be the initiators. Woodstock was the brain child of Artie Kornfeld, the director of EMI's Capitol Record's, Contemporary Projects Division. The original funding was provided by the heir of a large Pennsylvania-based pharmaceutical company, John Roberts, and two other partners. It was another pharmaceutical company, the Swiss-based Sandoz Laboratories, which had first synthesized LSD. Roberts would later be accused of using his company for the mass drugging of the attendees.
Little adequate preparations were made for the nearly half a million people who came. Joel Rosenman, one of the three partners, writes, as the concert neared, "Food and water were clearly going to be in short supply, sanitary facilities overtaxed, tempers short, drugs overabundant. Worst of all, there was no way for anyone who wanted to, to leave." Sitting in your own excrement was actually part of the plan, as John Roberts jokingly wrote, "We're going to hand out bananas at the gate to bind our patrons."
A hippie commune called the Hog Farm, had a special role at Woodstock. The Hog Farm was led by a man nicknamed Wavy Graver, who was a former member of Ken Kesey's MK-Ultra operation, the Merry Pranksters. Communes like the Hog Farm were commonly found in the remote parts of California and served as the breeding grounds for Satanic cults, as well as terrorist groups. Members of these communes continually interchanged with other communes and were the recruiting grounds for the Process Church and Manson. Hog Farm member Diane Lake was a member of Charles Manson's Family, at the time of the massacre of Sharon Tate and her guests.
On August 14, one day before the scheduled opening, the entire festival security force, comprised of 350 off-duty New York City cops, pulled out. A spokesman for the New York police claimed that no official arrangement was ever made with the city, a claim the promoters vehemently denied. In an August 15, 1969 New York Times article, the head of Woodstock's security said, "Now I don't have any security at all. I've been struck. We're having the biggest collection of kids there's ever been in this country without any police protection." Not surprisingly, the Hog Farm was put in charge of security.
Woodstock funder and director John Roberts, openly admitted that he was well aware of the Hog Farm's connection to drug distribution. He writes, "their fee was simply transportation to and from the festival... a peace-keeping force that looked, talked, and smelled like the crowd would be both highly credible and highly effective... and the most important, they were wise in the ways of drugs, knowing good acid from bad, good trips from bummers, good medicine from poison, etc."
The Hog Farm at the time was living in New Mexico's mountains. Roberts chartered a Boeing 727, at a cost of $17,000, and flew 100 of them to New York.
To clear the final path for the planned drugging of half a million youngsters, the district attorney for the area agreed privately that there would be no arrests or prosecutions for violations of drug laws. John Roberts writes, "The District Attorney...recognized early on that many of our customers would be using illegal drugs, but also recognized that such use would be the least of our problems over the course of the weekend. He acted, therefore, with compassion and good grace throughout." Roberts also writes that he was meeting continuously with the FBI up to and including one day before the start of the concert, and had their full cooperation.
The Expriment Begins
Two days before the scheduled start of the concert, 50,000 kids had already arrived in Woodstock. Drugs immediately began to circulate. Many people brought their babies and, as Roberts says, even they were drugged. Roberts writes that at a nearby lake, "the tots swam naked, smoked grass, and got into the music."
A poll conducted at the festival by the New York Times showed that 99 percent of those attending were using marijuana. Local sheriff deputies, totally overwhelmed, reported that no arrests were being made for drug use. The New York Times of August 17 quoted one deputy," If we did (make arrests), there isn't enough space in Sullivan or the next three counties to put them in."
The use of marijuana was not the worst. Following the design of the original MK-Ultra project, the mass distribution of LSD came next, much of it in LSD-laced Coca Cola, as Kesey's Pranksters had done five years earlier. Roberts jokingly relates the following, "a particularly abrasive cop ....had been handed an LSD-spiked Coke while directing traffic. Long after all automobiles in the area had congealed to a standstill, the hardhat was still out on the road waving them on. Finally they led him away."
For the next three days, the nearly half a million young people that arrived were subjected to continual drugs and rock music. Because of torrential rains, they were forced to wallow in knee-deep mud. There were no shelters, and no way to get out. Cars were parked over eight miles away. Rosenman writes that the key to the "Woodstock experimen"' was "keeping our performers performing around the clock...to keep the kids transfixed..."
Within the first 24 hours, over 300 kids reported to medical authorities, violently ill. The diagnosis: they were having "bad" LSD trips. Thousands more would follow. On August 17, the New York Times reported: "Tonight, a festival announcer warned from the stage, that 'badly manufactured acid' (a term for LSD) was being circulated. He said: 'You aren't taking poison acid. The acid's not poison. It's just badly manufactured acid. You are not going to die.... So if you think you've taken poison, you haven't. But if you're worried, just take half a tablet.'"
The advice, to nearly 500,000 people, "just take half a tablet" was given by none other than MK-Ultra agent Wavy Gravy.
With a growing medical emergency on hand, a call went out to New York City for emergency medical personnel. Over 50 doctors and nurses were flown in. By the end of Woodstock, a total of 5,000 medical cases were reported.
Altamont: the Making Of a Snuff Film
The last major rock "festival" of the 1960s was held at Altamont racetrack, outside San Francisco. The featured performers were the Rolling Stones, who now reigned supreme in the rock world, since the Beatles had broken up. The suggestion for the concert came from MK-Ultra agent Ken Kesey.
This time, the audience was whipped into a frenzy, in open praise of the Devil. The result was a literal Satanic orgy. At its conclusion, four people were dead and dozens beaten and injured. Mick Jagger, the lead singer of the Rolling Stones, played the part of Lucifer. The performance marked the beginning of the "heavy-metal" concerts of today.
Over 400,000 people attended the Altamont concert with far less preparation than even Woodstock. Food, and even water, were nearly unavailable. But plenty of drugs were to be found. Like Woodstock, the concert would become the vehicle for the mass experimentation of drugs, especially LSD. Author Tony Sanchez describes the scene as people gathered at Altamont:
"By midmorning there were more than a quarter of a million people milling around, and things were becoming chaotic. There was a lot of bad acid (LSD-DP) around, and people were freaking out all over the place. Everybody was getting stoned out of his skull to pass the long hours before the music was to start--Mexican grass, cheap California wine, amphetamines ...
"By midday virtually everyone was tripping...A man was almost killed as he tried to fly from a speedway bridge--another acid case. On the other side of the site a young guy screamed for help as he fell into the deep waters of a drainage canal. The stoned-out freaks looked on bemused as he sank beneath the surface. No one seemed sure if he had been real or an hallucination. It didn't matter anymore anyway, he was dead. Elsewhere doctors were kept busy delivering babies to girls giving hysterical premature birth.''
The descent into Hell would continue. The Rolling Stones had hired, for a reported $500 worth of free beer, the motorcycle gang Hell's Angels to act as security guards for the concert. Their real payment, however, was in drug sales. The Hell's Angels, an outlaw gang made up of robbers, rapists and murderers, were the known controllers and sellers of drugs on the entire West Coast.
When the festival did open, the crowd of nearly half a million people waited for more than one and a half hours for the Stones to appear. It was only when nightfall arrived, allowing for the use of special lighting effects, that the group finally came on stage. Mick Jagger, the lead singer, was dressed in a satin cape, which glowed red under the lights. Jagger was imitating Lucifer.
Author Sanchez next describes what he calls a preplanned "Satanic ritual." As the group began playing, "strangely several of the kids were stripping off their clothes and crawling to the stage as if it were a high altar, there to offer themselves as victims for the boots and cues of the Angels. The more they were beaten and bloodied, the more they were impelled, as if by some supernatural force, to offer themselves as human sacrifices to these agents of Satan."
Standing in the crowd in front of the stage, with his girlfriend, was a black man by the name of Meredith Hunter. Hunter would soon be singled out for human sacrifice.
The Stones had just released a new song entitled, "Sympathy for the Devil." It had quickly become the number one record in the country. The song begins with Mick Jagger introducing himself as Lucifer. As soon as he began to sing it at Altamont, the entire audience rose up and began dancing in a wild frenzy.
Sanchez descibes what happened next, "A great six foot four grizzly bear of a Hell's Angel had stalked across to Meredith (Hunter) to pull his hair hard in an effort to provoke a fight ...A fight broke out, five more Angels came crashing to the aid of their buddy, while Meredith tried to run off through the packed crowd. An Angel caught him by the arm and brought down a sheath knife hard in the black man's back. The knife failed to penetrate deeply, but Meredith knew then that he was fighting for his life. He ripped a gun out of his pocket and pointed it straight at the Angel's chest... And then the Angels were upon him like a pack of wolves. One tore the gun from his hand, another stabbed him in the face and still another stabbed him repeatedly, insanely, in the back until his knees buckled.
When the Angels finished with Hunter, several people tried to come to his aid, but an Angel stood guard over the motionless body. `Don't touch him,' he said menacingly. `He's going to die anyway, so just let him die.'"
It was never proven that Meredith actually had a gun. Later, arrests were made. No one was ever indicted because no one person would step forward as a witness out of fear of retaliation by the Angels.
Throughout the bloody killing the Rolling Stones continued to play "Sympathy for the Devil." The entire group watched from the stage as Meredith Hunter was killed right before them. In addition, incredibly, the entire murder was professionally filmed by a film crew hired to film the concert. Shortly thereafter the film was released throughout the country with the title of a Rolling Stone's song, "Gimme Shelter."
Was the murder preplanned by Satanists? In his book, The Ultimate Evil, author Maury Terry tells how Satanic cults circulate among themselves films of their human sacrifices. These films are called "snuff films." Terry relates that one of the seven Son of Sam murders in New York City was actually filmed from a nearby parked van. The film was then purchased by a rich Satanist. "Gimme Shelter,'' which was a box-office hit, can still be purchased or rented today for only a few dollars, at your local video store.
Behind "Heavy-Metal" Rock
The same year as Altamont, 1969, marked the beginning of the evil career of Ozzie Osbourne. Osbourne formed the band Black Sabbath. The group modelled itself on the Rolling Stones. The next fifteen years would witness a procession of young drugged-out rock performers, like Osbourne, each competing for the "big money" and the recording contracts that came with it. The key criteria of those who would "make it" was their ability to portray decadence and evil. These were the "heavy-metal" groups.
In 1985, New Solidarity newspaper, which has since been forcibly shut down by the federal government, conducted an interview with Hezekiah Ben Aaron, then the third-ranking member of the Church of Satan. Ben Aaron is now a devout Christian. In the interview, Aaron revealed that it was his Church that started such "heavy-metal" rock groups as Black Sabbath, The Blue Oyster Cult, The Who, Ozzy Osbourne, and many others. The Church of Satan was then led by its high priest, Anton LaVey. Many report, however, that LaVey, a former circus lion tamer, was just a front man for the real high priest, Kenneth Anger, the man who earlier recruited the Rolling Stones to the occult.
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:
Hopefully, he will be proven to be wrong.