Empire’s Cultural Revolution
Empire’s Cultural Revolution:
An Homage to David McGowan
This article is a bit of a departure for me but something recently came across my horizon that I felt must be shared, David McGowan’s Weird Scenes Inside the Canyon: Laurel Canyon, Covert Ops & The Dark Heart of the Hippie Dream. Those of you who research parapolitics might know this book but I’m told that even within those circles, McGowan’s work is little known, which is a shame.
The implications of this book are vital and incendiary. It presents another piece of the puzzle, another part of history that has been completely rewritten. More than simply one manufactured event, this book presents a catalogue of coincidences that point to the purposeful reshaping of our culture, while making it appear the opposite of what it actually was. The fact that this is of such recent history and that many are still around today who lived through it makes it even more explosive.
The truth is we are engaged in very literal spiritual warfare. It is incumbent upon us to understand what is real and what is false, to know our enemy, to know our real history. We need to be able to discern our own programming and to understand from whence it’s come. Further, to love your enemy, a cornerstone of spiritual practice, really means to try and understand them. With that in mind, I invite you to investigate this information for yourself and pass it along if you deem it worthy.
Weird Scenes is about the real roots of the so-called hippie movement, the 60’s ‘revolution,’ and the music inspiring and inspired by it. The book itself contains a dizzying array of research and associations, all verifiable by mainstream sources, often by the players themselves. It is so densely packed with connections and mind-boggling revelations that I can only barely scratch the surface with what I mention here.
At the very top of this tiny slice of LA real estate, Laurel Canyon, was the top-secret Lookout Mountain Laboratory, originally an intelligence laboratory for biological weapons and other nefarious purposes. By 1947, however, it was also an entirely self-contained covert movie studio. It had within its walls every aspect of equipment and personnel needed to make the most technologically advanced films. In its lifetime it produced more motion pictures than all other Hollywood studios combined though officially all it did was “process AEC [US Atomic Energy Commission] footage of atomic and nuclear bomb tests.”**
This same small area, Laurel Canyon, became the epicenter of the music that characterized the entire ‘cultural revolution’ of the late 60’s. One of the central questions of Weird Scenes is how did all these musicians suddenly find themselves in Laurel Canyon at the same time? Seemingly overnight, dozens of musicians and entertainers were living, working, and partying there. Before there was any music scene in LA at all, we are to believe, by simple coincidence or kismet, that everyone simply knew to go to Laurel Canyon.
Throughout the book, McGowan presents a Laurel Canyon ‘death list,’ an ongoing catalogue of music people, entertainers, and their entourages, all deeply connected to Laurel Canyon, who ended up dying grizzly or tragic deaths of obvious murder or suspicious circumstances. Most of them were very young. Some died after leaving the area but most died right there. The number is staggering for this little piece of land. Further, two of the most notorious mass murders in LA’s history happened in Laurel Canyon.
Here is a small sampling of the entertainers connected to Laurel Canyon who met with early and/or suspicious deaths. These listed are all within a 10-year period but don’t even include all from that time: Lenny Bruce (entertainer), Ramon Novarro (actor), Sal Mineo (actor), Diane Linkletter (20, performer, daughter of Art Linkletter), Inger Stevens (36, actress), Sharon Tate (26, actress), Jay Sebring (celebrity hairstylist), Voytek Frykowski (actor), Abigail Folger (heiress, girlfriend to Frykowski), Marina Habe (17, heiress), Christine Hinton (girlfriend of David Crosby), Alan Wilson (27, musician), Jimi Hendrix (27, musician), Devon Wilson (friend of Hendrix), Michael Jeffery (manager of Hendrix), Jim Morrison (27, musician), Pamela Courson (Morrison’s common-law wife), Christine Frka (early 20’s, governess to Moon Unit Zappa and performer), Clarence White (musician), Gram Parsons (musician), “Mama” Cass Elliot (musician), Amy Gossage (20, Gram Nash’s girlfriend), Tim Buckley (28, musician), Janis Joplin (27, musician) and on and on. Multiple unidentified girls and women also ended up dead in the canyon during that time.
Another extraordinary ‘coincidence’ is how many of the musicians who gravitated to Laurel Canyon were children of intelligence operatives and high level military personnel. This seems to be most of the big names, such as Jim Morrison (the Doors), Frank Zappa (Mothers of Invention), Gail Zappa (Frank’s wife), “Papa” John Phillips (Mamas and the Papas), Susie Adams (John Phillips’ wife), Stephen Stills (Buffalo Springfield and Crosby, Stills and Nash), David Crosby (the Byrds and Crosby, Stills, and Nash), Jackson Browne, Gerry Beckley (America), Dan Peek (America), Dewey Bunnell (America), Mike Nesmith (Monkees), Cory Wells (Three Dog Night), Gram Parsons (the Byrds and the Flying Burrito Brothers), Marina Habe, and Christine Hinton.
McGowan also describes how more than a few of these musicians seemed to be operatives themselves, engaged in direct international subterfuge before doing whatever it was they were doing in Laurel Canyon. Four such individuals are Herb Cohen (Zappa’s manager), “Papa” John Philips, Stephen Stills, and Michael Jeffrey. These individuals just happened to have traveled to destinations such as Vietnam (right before the war), Cuba (before and during the revolution), Haiti (right before the overthrow of the government), and other hot spots of CIA intervention. Not exactly tourist sites at the time.
I can’t really encapsulate the magnitude of the strange commonalities between all these players. Another shared trait among many of them is that they came from families where one or both parents ‘killed themselves.’ One such ‘suicide’ managed to douse himself with gasoline post-mortem. A neat trick.
Further, many of these musicians came from the bluest of the bluebloods, from those famously dark families with unlimited wealth and ties back to royalty. Many of the players actually knew each other in grade school, having grown up together in intelligence communities or on military bases. David Crosby, Susie Adams, Mike Nesmith, and Jim Morrison are four of such.
There are also all the people who knew, befriended, lived and worked with, Charlie Manson. At a certain point I was left wondering if anyone in the entertainment industry didn’t love Charles Manson. Did anyone in Laurel Canyon not invite Manson to stay in his home?
Other horrific deaths and serial killers are connected here as well. Satanic worship and the worst kinds of sexual abuse and torture also play a role, not with one or two, but with the majority of those in this world. (A note to fellow sensitives: as stated, there is mention here of sexual abuse, rape, incest and torture. While none of it is salacious in any manner and it comprises a small percentage of the book, it’s something that I like to be warned of ahead of time.)
I will expand slightly on just one example of the obvious manipulation going on. Jim Morrison, clearly a center of this cultural and musical phenomena, was the son of Admiral George Stephen Morrison, the commander of the US warships that allegedly came under attack by North Vietnamese torpedo boats (this has been shown never to have happened). That non-existent attack was subsequently used as America’s excuse to create the bloodbath in Vietnam.
Further, Morrison never played an instrument, nor sang, nor read or wrote music, nor even listened to music, before forming the Doors. Morrison has been quoted as saying so himself. Despite this lack of musical skill or interest, he seemed to have enough songs already written to fill several albums with the band’s inception. A lack of musical experience or even talent also characterized many of the other soon-to-be famous musicians. Many of them seemed not to know how to play instruments when they suddenly found themselves in bands, signed to labels, and performing gigs.
Each chapter is more incredible than the last but McGowan’s research is pretty bulletproof, mostly taken from very public, mainstream sources. Easy to double check. Association doesn’t necessarily equal guilt, except when it does. When you’re associating with serial killers and rapists and drug dealers and intelligence operatives, you’re either supporting their aims, a victim, or perhaps in a rare case, a plant working actively to subvert those operations. If only 50% of what is indicated here is true, it’s still enough to boggle the mind, and my estimate is much higher.
While anyone who has examined the horrors and manipulations of Hollywood might not find these associations surprising, remember that this movement was called, and noted as, a ‘peace and love’ movement, full of musicians supposedly rebelling against restrictive and fascist former generations and government. In fact, it was entirely, and I mean ENTIRELY the opposite. We have been led to believe that the radical overturning of conservative values, music, and art were a natural progression that grew from a young generation’s dissatisfaction with the status quo.
Whether you accept the premise of a covert intelligence’s dark agenda or not, it is impossible to look at the facts of the inception of this so-called counter-cultural movement and see a natural unfolding of events. For instance, despite the fact that massive amounts of hard-core drugs were flowing through the canyon and many drug dealers were players there, no one ever got more than a slap on the wrist. No homes were ever raided, etc. Further, despite the fact that nearly every one of these musicians was of draft age, not one was ever drafted.
After reading this book, it appears to me that the agenda was to push mainstream culture fully and completely away from any stabilizing sources of in-tact families, away from any ‘old-fashioned’ morals of decency and goodness. It normalized anonymous sex and drug use, conflating those things with a desire to end bloody warfare and artistic freedom. It labeled anyone who didn’t sanction such practices as a reactionary square. Needless to say, this programming succeeded, probably beyond its expectations. This multi-tiered orchestration radically reshaped the culture of the Western world and by extension, the entire world. What is most shocking is the number of musicians and entertainers implicated. This was a culture formed full-cloth and unleashed on the world in one quick motion. Huge influxes of drugs, satanism and murder helped to move things along.
Though this is just one slice of our history, one example of the systematic manufacturing of our collective culture, it is an important one. It opened the door to our modern mainstream culture that fully and completely promotes sexual abuses, atheism, amorality. I imagine that if you’ve found yourself at my site you are already aware of the dangerous nature of what mainstream culture propagates but no one is immune from the subtle influences in which we have been steeped our whole lives. Music ties so deeply to our emotions, our unconscious, to our upbringing. Many of us have nostalgic connections to the music we listened to growing up. When we look at its origins, we have to question what else we’ve imbibed that hasn’t fed us properly or whose roots we haven’t examined.
Further, many of us have become aware of some of the false flag staged events and psyops (psychological operations) of recent decades, where events of mass shootings, ‘terrorist attacks,’ or supposed ‘pandemics’, such as covid, have been fully orchestrated or made up by our very own governments. However, some of the major cultural events that were also staged have possibly escaped our notice, or we assumed they were in fact naturally occurring artistic movements.
Who doesn’t remember those images of screaming 13 year old girls losing their minds as the Beatles stepped off their plane in the US for the first time? Never happened. Or, it never happened until those images of screaming girls had circulated widely, teaching said teenagers that this is what they should do. The phenomena of the Beatles, unsurprisingly, also did not arise organically, but that is another story.
Without going into great detail, there is a chapter at the end of Weird Scenes about Ian and Miles Copeland, whose parents were also intelligence operatives. Despite both brothers having been involved in nefarious intelligence and military engagements in their own early lives, Ian and Miles went on to become two of the most influential music producers and managers in the UK. Here are some of the new wave bands that they managed or whose careers they impacted: the Clash, General Public, English Beat, the Cure, REM, Patti Smith, Lou Reed, the Cramps, the Sex Pistols, Simple Minds, Joan Jett, Echo and the Bunnymen, the Psychedelic Furs, Joy Division, Squeeze, the Smiths, Sting, the Police, Thompson Twins, Social Distortion, Camper Van Beethoven, the Jesus and Mary Chain, XTC, UB40, and many others. For many around my age, these were the bands that created the soundtrack to their high school years.
McGowan himself draws few conclusions about the meanings behind these unbelievable connections, except to state that it seems likely this hippie culture of drugs, music and intensely debaucherous sex (to say the least), was meant to derail the anti-war movement. That certainly seems to be true, since very quickly these unwashed, drugged-out hippies were conflated with the more straight-laced and educated Vietnam war protestors, when in reality those two groups were very much separate. However, the underlying agenda seems much vaster, much farther reaching and more nebulous.
This book isn’t just about the dark subculture of drugs, sex and rock-n-roll that we have been led to believe is part and parcel of a rebellious movement. There was in fact no rebellion here but a very systematic destabilization of youth. That massive drugs have the ability to reshape a person’s brain and perception of reality is probably not surprising to many. That those drugs were used to weaponize key players in the movement might be.
In a previous article I’ve also written about the ability of abusive sexual practices to be used as a means of control. If those things aren’t enough, there’s plenty in this book to suggest some direct mind-control experimentation and connections to MKUltra (a government mind-control program). For some reason, an uncanny number of these musicians seemed to have ‘dissociative disorders’ and radical personality changes. Add some serial killers into the game, both to get rid of expendable players, as well as to foment chaos, pain and fear, and you have a heady mix.
That many in modern history are still under the impression that the hippie movement started in Haight-Ashbury in San Francisco as part of the anti-war movement is testament to the success of this fake history’s propaganda. Read the book and decide for yourself.
**Weird Scenes Inside the Canyon, McGowan, p. 74
Postscript:
Sadly, McGowan died quite young, at 55, which may be one reason that his work isn’t more widely known. His diagnosis was lung cancer but there are some suspicious circumstances. From the website https://centerforaninformedamerica.com, dedicated to McGowan’s work and managed by his daughter, Alissa, I learned that in 2013 McGowan posted a video deconstructing the Boston Marathon incident on YouTube. Someone with the username ‘Phoenix Archangel’ posted this under the video:
“John [Wells, the host of the show] always signs off with some of the best advice ever. Speaking of advice: this David McGowan fella really ought to quit smoking. With all the elitist feathers he’s ruffling, he’s likely to come down with a spontaneous case of hitherto undiagnosed stage 4 inoperable Pancreatic cancer.”
Shortly after this, McGowan was indeed diagnosed with stage 4 cancer. He wrote on his website:
“As for Mr./Ms. Archangel, he/she wasn’t too far off, though I’ve been told that it’s actually incurable small-cell lung cancer that has already spread to my liver and bones. And no, that’s unfortunately not a joke. It’s my new reality as of just a few short weeks ago, when my entire world was turned upside-down and I suddenly found myself being admitted to the oncology ward at Glendale Adventist Medical Center. Four days later, I was beginning my first round of chemotherapy infusions. The second round begins tomorrow, on Monday, June 15.”
Six months later McGowan died.
On this website by Alissa McGowan, she states: “Despite the predictions of Mr./Ms. Archangel, my father did not believe himself to be a target, and knew that his untimely death was a product of his own unhealthy lifestyle choices. A heavy smoker for over 40 years, he also had a job that exposed him to asbestos and other cancer-causing agents, as well as a typically male aversion to the doctor (he ignored warning signs for many months before seeking medical attention).”
Despite McGowan’s disavowal of foul play, this statement from Phoenix Archangel certainly suggests that McGowan was being notified of what was to come, a necessary part of empire’s process. In fine print, or subtle notifications, empire must warn us of its maneuvers. Further, cancer is definitely not what we’ve been told it is and what we’ve seen most clearly in the last couple of years is that there are many ways to down-regulate an immune system or to make someone sick and label it a ‘virus’ or other unproven causative. It seems likely to me that McGowan was eliminated for his words, which makes it even more important for them to be heard.