In two previous articles I questioned what the agenda of the pop culture moguls was--an agenda bent on socially engineering us for subjugation by the power elites, sometimes called the "new world order" and other times called such names as "the Illuminati," "the super rich," etc. I also discussed the notion that the purveyors of this counter culture were merely tools of the elites; some, perhaps, who would like to forsake this servitude to the elites have been punished, maybe even by assassination. It has been my many-year search for the hidden facts about the murder of John Lennon and the so-called "fatal drug overdoses" of variuous ans sundry rock stars that has brought me to this point: little by little, facts mostly unknown either by design or by willing ignorance on the part of fans of these rockers are being uncovered. These facts seem unbelievable, but, think about it. All the little incidental facts a person can find in entertainment sections or "people" sections of newspapers and magazines about these musicians can add up. There are books and biographies out there that corroborate much of what I am about to state--all it takes is a tweeking of your comfort zone to realize that the unthinkable--that, after all, rock might really be 'the devil's music' after all--just might have some merit. I insist that God, Creator of all things, first inspired this music genre back in the late 40s and early 50s, but the forces of evil have since usurped it so that now rock music has become a perveyor of corruption--not just moral, but all encompassing.

In my article Counter Culture: Who Does It Serve, Part 2, I cited about ten pages of John Coleman's book, The Conspirator's Hierarchy: The Committee of 300, published by American West Publishers. This section covered how a group of elitist social engineers at the Tavistock Institute for Social Relations perverted the original rock 'n roll music, using primarily The Beatles and Rolling Stones--the former having a 'clean' image, the latter having a 'bad boy' image--to suck the young into their evil mind-control designs through drugs and a music that would wipe out 'the old order' as Bob Dylan's song fortold--"...the old order is rapidly fading...the times they are a-changing." What would replace 'the old order' was wanton promiscuity, drug culture and consumerism at best and mental/emotional/financial/technological slavery at worst.

My article stated, quoting Coleman's book The Conspirator's Hierarchy:

"When Tavistock brought the Beatles to the United States nobody could have imagined the cultural disaster that was to follow in their wake. The Beatles were an integral part of "THE AQUARIAN CONSPIRACY," a living organism which sprang From "THE CHANGING IMAGES OF MAN," URH (489)- 2150-Policy Research Report No. 4/4/74. Policy Report pre- pared by SRI Center for the study of Social Policy, Director, Professor Willis Harmon.

"The phenomenon of the Beatles was not a spontaneous rebellion by youth against the old social system. Instead it was a carefully crafted plot to introduce by a conspiratorial body which could not be identified, a highly destructive and divisive element into a large population group targeted for change against its will. New words and new phrases--prepared by Tavistock-- were introduced to America along with the Beatles. Words such as "rock" in relation to music sounds, "teenager," "cool," "dis- covered" and "pop music" were a lexicon of disguised code words signifying the acceptance of drugs and arrived with and accompanied the Beatles wherever they went, to be "discovered" by "teenagers." Incidentally, the word "teenagers" was never used until just before the Beatles arrived on the scene, courtesy of the Tavistock Institute for Human Relations.

" ....nothing could or would have been accomplished without the cooperation of the media, espe- cially the electronic media and, in particular, the scurrilous Ed Sullivan who had been coached by the conspirators as to the role he was to play. Nobody would have paid much attention to the motley crew from Liverpool and the 12-atonal system of "music" that was to follow had it not been for an overabundance of press exposure. The 12-atonal system consisted of heavy, repetitive sounds, taken from the music of the cult of Dionysus and the Baal priesthood by (Theo--ed.) Adorno and given a "modern" flavor by this special friend of the Queen of England and hence the Committee of 300.

" Tavistock and its Stanford Research Center created trigger words which then came into general usage around "rock music" and its fans. Trigger words created a distinct new break-away largely young population group which was persuaded by social engineering and conditioning to believe that the Beatles really were their favorite group. All trigger words devised in the context of "rock music" were designed for mass control of the new targeted group, the youth of America.

" The Beatles did a perfect job, or perhaps it would be more correct to say that Tavistock and Stanford did a perfect job, the Beatles merely reacting like trained robots "with a little help from their friends"--code words for using drugs and making it "cool." The Beatles became a highly visible "new type"--more Tavistock jargon--and as such it was not long before the group made new styles (fads in clothing, hairstyles and language usage) which upset the older generation, as was intended. This was part of the "fragmentation-maladaptation" process worked out by Willis Harmon and his team of social scientists and genetic engineering tinkerers and put into action."

The finding of Coleman's incredible book at Committee.300 through an article about population control at The Winds was a breakthrough for me. But about a week later on Conspire.com I found the link to an article by Donald Phau called "The Satanic Roots of Rock". The link was also to the Wiretap Spies web site, which for about a month was "not accepting connections or may be busy. Try again later." I tried again in middle of February, reached the web page on which this Phau article was placed, and read the article which, by then, did not surprise me. Phau's article, while seeming to be a bit of extremism, is well documented and cites a biography I had read excepts from in 1979 but never took much stock in, called Up and Down with the Rolling Stones, a book written by a personal friend of the band's. I'd read excepts from the book, but, being a Stones fan, couldn't believe a word of it. The book, among other things, connects Mick, Keith and the rest to witches and satanists. Then there is another book I haven't read yet, a biography of the Beatles, that tells of the Fab Four's connection to devil worship--and yes, to Charles Manson (remember 'Helter Skelter'?). Phau also cites this biographer, as well as other expert sources.

Disclaimer: I am not out to say The Beatles and Stones are devil worshippers, that all rockers are satanists, or that rock music is the devil's music. I am presenting possibilities here. I seek to uncover the truth about how the power elites are using our pop culture to brainwash us. I do not claim rock music is satanic or evil. It is the power elites who are evil, and rock is only a tool "they" use.

The following from Phau's article substantiates my belief that Lennon was murdered by design and not by some "lone crazed killer" and what I said above about The Beatles/Stones connection to evil forces: from "The Satanic Roots of Rock" by Donald Phau, copyright ©1992 :

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.''

And, as to rockers who die of "drug overdoses":

In 1985, "New Solidarity" newspaper (this Trotskyist-turned-right-wing paper is associated with Lyndon LaRouche--DL.) 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.

The rest of this fascinating article can be found at Satanic Roots of Rock

This article copyright ©1999 by Deborah Lagarde. All rights reserved.