Subject Satan, Drugs, and Rock 'n' Roll Date 30 Nov 1992 124854 -0000 I was mailed this ar
From: firstname.lastname@example.org (Mr G S Sutherland)
Subject: Satan, Drugs, and Rock 'n' Roll
Date: 30 Nov 1992 12:48:54 -0000
Organization: Computing Services, University of Warwick, UK
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.
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
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
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 , 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
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, 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
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 , 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, 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 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
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 . 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
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
and head of the First Church of Satan, to play the part. The film was
released in 1969 with the title
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, , "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 , 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
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 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
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
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
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, 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, 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
The Age of Aquarius
The largest concert after Monterey Pop, the "Woodstock Music and
Art Fair,'' would be what