The Laurel Canyon Diaries: Rock n' Roll's Military Industrial Complex Origins



When we listen to our old musical heroes, we believe they truly know what the world is about and how to rebel against it. But what if are anti-‘the man’ rock idols were nothing more than mind-controlled victims? Purposely placed false prophets designated to be the leaders of the counter-revolution, but actually serving the real purpose of a revolution in a war on intelligence. As a culture of intellect and open thought suddenly became overrun with rampant drug use and longhaired Hippies. Conceived in the 60’s and perfected by the dawn of the new millennium this new form of mind science would be used on the unsuspecting youth, most prominently through the art of Music. This movement began to spread its message of peace, drugs, love and all just in time for a new war and timely C.I.A. Coined slogan “Tune In – Turn On – Drop Out” A new chapter in American history began with the escalation of the war in Vietnam after the country’s most popular president was slaughtered on national television. This era would eventually lead us spiraling down to our present path of watching mind controlled musical icons enact ancient satanic rituals, elaborately staged and broadcast in High Definition and surround sound to the delight of our eyes and ears. Unaware that we are being bombarded with occult symbology, and satanic theologies descended from ancient pagan astro-archaeologic beliefs. The forces behind the record companies responsible for this are an elite group of super wealthy individuals, often summed up as ‘The Illuminati’. This nefarious cult has outstretched tentacles that run their business through the Occult, and are the heads of Secret Societies like the Freemasons and the O.T.O. Members of these organizations hold high-ranking positions in what we refer to as the Military Industrial Complex. 


The MIC’s ultimate goal is to demoralize the youth, and rewire their brains to a point where they have stopped thinking for themselves. Thus, eliminating any chance for an uprising during the End Game phase of their plans for a New World Order. With the help of the C.I.A. the British MI-5 and projects like MK-ULTRA, the Music industry created a new batch of “Idols” who promoted drug use, bad behavior and lyrics steeped in satanic symbolism. Eventually music would be turned into nothing more an ongoing satanic spectacle, where every video and award ceremony is host to occult symbols and rituals. Gone too would be any sort of lyrical mastery. No more social commentary, and no chance for some great poet to awaken the sleeping masses. This esoteric conquering of the music industry has many outstretched tentacles, but the brain of the beast lived in the capitol of wizards and witches. Emerging from a hidden hilltop enclave high above the city of angels, Occultists and Scientists in a secret military base would go on to perfect the art of mind control. In doing so, they created the West coast rock scene, the hippie movement, the drug culture, Gangster Rap and the eventual destruction of society. But this secret satanic experiment with the music industry doesn’t just include the west coast, the blues or the Beatles, but reaches back in time to the occult musical worlds of Mozart and Beethoven. 

The year 1967 marked the breaking point in the short history of the United States. The dreams of the British scribes who wrote A brave new world and 1984 were finally being brought into fruition. The long planned goals of eugenics and social engineering were finally escalated to warfare status against the unsuspecting American youth. Still recovering from the shock of watching the president get his brains blown out for everyone to see and the worry of getting drafted in some bullshit war. The continued presence of invading American troops increased dramatically during the four years after JFK’s death. With over 475,000 serving in Vietnam (mostly poor teenagers) and the rallies of protesters against the war, pot smoke and nervous tension was in the air. Also during this year the Beatles broke new sonic ground with the release of the ‘Sgt. Peppers Lonely Heart Club Band’ album. The Beatles had been the first social mind control experiment imported to America–an experiment that met with instant success. 1967 also contained the fabled  “Summer of love” consisting of horny teenagers growing their hair, smoking weed, tripping balls, and grooving to the vibes of The Grateful Dead. These pot-friendly musical gatherings lead to the beginnings of mass, outdoor rock concerts. 


The first-ever rock festival at Monterey, California was attended by over 100,000 bright-eyed teens, ready to rock n’ roll and have a good time–never knowing that they were the first test of what would become an on-going social experiment the likes the world had never seen. This new era in American culture would go on to set the stage for the empire’s eventual decline. Only a few years before the summer of love plans were set into motion and strangers with similar backgrounds came together. Most shared a family history within the high rankings of the Military Industrial Complex. Some even had royal bloodlines going back to the old world. These people would soon provide the faces and sounds of pop culture. They would influence their generation and future ones with the music and films they created. By the time this group shaped pop culture the controllers behind the scenes of the MIC were ready to implement the next step towards their total mind control plan. With the total corporate lockdown of the radio stations they could finally do away with any music that wasn’t aligned with their agendas.

The real purpose of Monterey Pop was the widespread distribution 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, best known for writing the famous novel ‘one flew over the cuckoo’s nest’ fancied himself a poet, but was nothing more than a pothead who was set up and busted by the F.B.I. for marijuana possession. After trying to escape to Mexico he was eventually brought back to California where instead of serving ten years in prison he cut a backroom deal with the man. Now a willing agent for the C.I.A. Kesey 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.” For many, the unexpected effects of LSD lead to a phenomena known as a ‘bad trip’ sometimes resulting in suicide and murder. The C.I.A. found this out during early LSD research it conducted in the 1950’s.



In Drugs across the Spectrum Ray Goldberg writes, “One unfortunate incident involved a Government scientists by the name of Frank Olson. In 1953 the C.I.A. gave LSD to Olson without his knowledge. He experienced a psychotic response and was transported from Maryland to New York City to be hospitalized. The evening before he was to be hospitalized, Olson jumped to his death from a tenth-story hotel window. The circumstances of Olson’s death were covered up until 1975, whereupon his family was awarded $750,000.” John Phillips spearheaded the LSD spectacle that would come to be known as the Monterey Pop festival. A member of the rock group The Mommas and The Papas, Phillips had links to the Military Industrial Complex and was a key figure in Laurel Canyon.



Phillips ran the concert, and was in charge of everything from the stage to the sound acoustics. He wanted to make sure the audience would be getting the full blown effect of the special Monterey experience. Monterey was historic; for the first time young Americans got to witness the sheer explosiveness of a WHO performance and it marked their introduction to Rock’s reigning guitar god Jimi Hendrix. After watching the greatest drummer of all time Keith Moon rip his set and then destroy his drum kit, the amazed crowd then watched the rest of the Who shred their equipment and make a mess on the stage. The bar had been raised to near impossible heights. It was just the motivation Jimi Hendrix needed for his American homecoming to be triumphant. With his electrified Fender guitar, Hendrix oozed sex while executing unheard of guitar riffs at a volume that smashed minds and blew out eardrums. The crowd engulfed on acid watched with jaws hanging as Hendrix set his guitar on fire in one of the most legendary performances in rock history. There was open drug use everywhere, mysteriously no one was arrested and LSD was even sprayed over the crowd.

As Phau points out, “A larger scheme was in operation. The scheme was tied into MK-Ultra and it involved Phillips, along with agents such as Ken Kesey and Timothy Leary. The plan was to turn nearby San Francisco into a Satanic gaming preserve, recruiting and perverting young runaway teenagers.” A year after the Monterey Pop festival put a new era of rock music on the map, “tens of thousands came flooding into San Francisco in the summer of 1968 to join the new ‘hippie’ movement.” The summer of love had begun, inspired by the John Phillips penned hit ‘San Francisco (Be sure to wear flowers in your hair)’ which sold over 4 million copies. This new era in American culture would go on to set the stage for the empire’s eventual decline. Only a few years before the summer of love plans were set into motion and strangers with similar backgrounds came together. Most shared a family history within the high rankings of the Military Industrial Complex. Some even had royal bloodlines going back to the old world. These people who gathered at Laurel Canyon would soon provide the faces and sounds of pop culture. They would influence their generation and future ones with the music and films created by the alumni of Laurel Canyon. But just who were these people and from whence did they come?


Dave Mcgowan, the man responsible for opening the can of worms on this subject sets the stage, “Meanwhile, elsewhere in the world in those early months of 1965, a new ‘scene’ is just beginning to take shape in the city of Los Angeles. In a geographically and socially isolated community known as Laurel Canyon – a heavily wooded, rustic, serene, yet vaguely ominous slice of LA nestled in the hills that separate the Los Angeles basin from the San Fernando Valley – musicians, singers and songwriters suddenly begin to gather as though summoned there by some unseen Pied Piper. Within months, the ‘hippie/flower child’ movement will be given birth there, along with the new style of music that will provide the soundtrack for the tumultuous second half of the 1960s.” But the history of Laurel canyon goes far beyond the lore of the Hollywood hills. Since its inception it has been a land of mystery, magic and murder.

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