The tumultuous decade of decline, destruction and death that was the 1960s culminated in “three days of peace and music” in August 1969 with the Woodstock festival. 2019 marks 50 years since nearly half a million young people swarmed a dairy farm in upstate New York for three days of bad weather and even worse music. I am certain that the media will encourage Baby Boomers to look back wistfully to what they will perhaps remember as a better time. But like so much else, the Boomers are woefully deceived about what Woodstock and the 1960s counterculture were really about.

Despite all the protests, chanting, singing, sit-ins, demonstrations and drugs, the youth movement of the 1960s achieved very little in terms of peace, love and freedom. But what should we have expected from people who believed they could levitate the Pentagon 300 feet in the air with nothing more than positive vibes and strong acid?

Lost in a bluish haze of dope smoke and youthful ignorance, the Baby Boomers sat idly by as the 1964 Civil Rights Act desegregated the nation, to the detriment of both blacks and whites, and the 1965 Immigration Act turned the US into a dumpster for the world’s refuse. Where were the protests against these destructive policies? Instead, they were cheered on as if they were the realization of an inevitable state of nature. Even worse, many hippies grew up to become the greedy bankers and psychopathic corporate raiders who off-shored the US economy, swamped us in debt and gutted the middle class. This spoiled “me-generation” was bestowed with more wealth and opportunity than any other in American history, yet they squandered it and eventually went against every principle they supposedly stood for in their youth. Their mantra morphed from “peace and love” to he who dies with the most toys wins.

Now, in true Boomer style, they are attempting to cash in on the 50th anniversary of Woodstock with another presumably horrible concert. If you thought the first one was contrived and pretentious, just imagine what they have in store for the 50th anniversary celebration. But this begs the question: what, exactly, are we supposed to be celebrating?

If it is indeed easier to fool people than to convince them they have been fooled, then the Baby Boomer generation may be the biggest fools of the 20th century. That being said, we cannot blame them for being deceived. Ignorance and hope are the bane of youth in all generations. In hindsight, it is very likely that the counterculture movement of the 1960s was orchestrated, not organic. Given the access to information we have today, it is only willful ignorance that prevents us from learning the truth. Those who are willfully ignorant deserve our derision and scorn. I think we have a right to be angry, as today we are all suffering the consequences of Boomer folly.

Disturbingly, the youth movement of the 1960s appears to have been a military/intelligence psyop of epic proportions aimed at bringing about a cultural revolution. The result was a significant break with the heritage, tradition and culture of “legacy America.” Everything that those in the Greatest Generation (born 1910–1924) and the Silent Generation (born 1925–1945) took pride in was uprooted, stomped on and left for dead in the Woodstock mud.

One place to find evidence of this psyop is in the music scene, which suddenly appeared as if out of nowhere in the Los Angeles hills of Laurel Canyon. The late, great Dave McGowan researched this subject at length in his must-read book Inside the Canyon: Laurel Canyon, Covert Ops & The Dark Heart of the Hippie Dream. This book began as a series of posts that are still available to read for free on his website at The Center for an Informed America. McGowan shows that a majority of folk, pop and rock stars of the 1960s, the men and women who created the soundtrack of a generation and many of those who played at Woodstock, were deeply connected to the US government-military-intelligence complex. From Jim Morrison of the Doors, to the Grateful Dead and Jimi Hendrix, the list is so long and comprehensive that it practically defies the possibility of mere coincidence. To illustrate this point, here is an excerpt from the first chapter:

During the early years of its heyday, Laurel Canyon’s father figure is the rather eccentric personality known as Frank Zappa. Though he and his various Mothers of Invention line-ups will never attain the commercial success of the band headed by the admiral’s son [Jim Morrison], Frank will be a hugely influential figure among his contemporaries. Ensconced in an abode dubbed the ‘Log Cabin’ – which sat right in the heart of Laurel Canyon, at the crossroads of Laurel Canyon Boulevard and Lookout Mountain Avenue – Zappa will play host to virtually every musician who passes through the canyon in the mid- to late-1960s. He will also discover and sign numerous acts to his various Laurel Canyon-based record labels. Many of these acts will be rather bizarre and somewhat obscure characters (think Captain Beefheart and Larry “Wild Man” Fischer), but some of them, such as psychedelic rocker cum shock-rocker Alice Cooper, will go on to superstardom.

Zappa, along with certain members of his sizable entourage (the ‘Log Cabin’ was run as an early commune, with numerous hangers-on occupying various rooms in the main house and the guest house, as well as in the peculiar caves and tunnels lacing the grounds of the home; far from the quaint homestead the name seems to imply, by the way, the ‘Log Cabin’ was a cavernous five-level home that featured a 2,000+ square-foot living room with three massive chandeliers and an enormous floor-to-ceiling stone fireplace), will also be instrumental in introducing the look and attitude that will define the ‘hippie’ counterculture (although the Zappa crew preferred the label ‘Freak’). Nevertheless, Zappa (born, curiously enough, on the Winter Solstice of 1940) never really made a secret of the fact that he had nothing but contempt for the ‘hippie’ culture that he helped create and that he surrounded himself with.

Given that Zappa was, by numerous accounts, a rigidly authoritarian control-freak and a supporter of U.S. military actions in Southeast Asia, it is perhaps not surprising that he would not feel a kinship with the youth movement that he helped nurture. And it is probably safe to say that Frank’s dad also had little regard for the youth culture of the 1960s, given that Francis Zappa was, in case you were wondering, a chemical warfare specialist assigned to – where else? – the Edgewood Arsenal. Edgewood is, of course, the longtime home of America’s chemical warfare program, as well as a facility frequently cited as being deeply enmeshed in MK-ULTRA operations. Curiously enough, Frank Zappa literally grew up at the Edgewood Arsenal, having lived the first seven years of his life in military housing on the grounds of the facility. The family later moved to Lancaster, California, near Edwards Air Force Base, where Francis Zappa continued to busy himself with doing classified work for the military/intelligence complex. His son, meanwhile, prepped himself to become an icon of the peace & love crowd. Again, nothing unusual about that, I suppose.

Making up the other half of Laurel Canyon’s First Family is Frank’s wife, Gail Zappa, known formerly as Adelaide Sloatman. Gail hails from a long line of career Naval officers, including her father, who spent his life working on classified nuclear weapons research for the U.S. Navy. Gail herself had once worked as a secretary for the Office of Naval Research and Development (she also once told an interviewer that she had “heard voices all [her] life”). Many years before their nearly simultaneous arrival in Laurel Canyon, Gail had attended a Naval kindergarten with “Mr. Mojo Risin’” himself, Jim Morrison (it is claimed that, as children, Gail once hit Jim over the head with a hammer). The very same Jim Morrison had later attended the same Alexandria, Virginia high school as two other future Laurel Canyon luminaries – John Phillips and Cass Elliott.

“Papa” John Phillips, more so than probably any of the other illustrious residents of Laurel Canyon, will play a major role in spreading the emerging youth ‘counterculture’ across America. His contribution will be twofold: first, he will co-organize (along with Manson associate Terry Melcher) the famed Monterrey Pop Festival, which, through unprecedented media exposure, will give mainstream America its first real look at the music and fashions of the nascent ‘hippie’ movement. Second, Phillips will pen an insipid song known as “San Francisco (Be Sure to Wear Flowers in Your Hair),” which will quickly rise to the top of the charts. Along with the Monterrey Pop Festival, the song will be instrumental in luring the disenfranchised (a preponderance of whom are underage runaways) to San Francisco to create the Haight-Asbury phenomenon and the famed 1967 “Summer of Love.”

Before arriving in Laurel Canyon and opening the doors of his home to the soon-to-be famous, the already famous, and the infamous (such as the aforementioned Charlie Manson, whose ‘Family’ also spent time at the Log Cabin and at the Laurel Canyon home of “Mama” Cass Elliot, which, in case you didn’t know, sat right across the street from the Laurel Canyon home of Abigail Folger and Voytek Frykowski, but let’s not get ahead of ourselves here), John Edmund Andrew Phillips was, shockingly enough, yet another child of the military/intelligence complex. The son of U.S. Marine Corp Captain Claude Andrew Phillips and a mother who claimed to have psychic and telekinetic powers, John attended a series of elite military prep schools in the Washington, D.C. area, culminating in an appointment to the prestigious U.S. Naval Academy at Annapolis.

Read more here

If you only read one book this year, I strongly urge you to read Inside the Canyon. The case McGowan presents is so exhaustive and compelling, I guarantee you will not be able to put it down—and you will never hear the music of the 1960s the same way again. Plus, the horrific body count associated with Laurel Canyon will forever dispel the myth that the 1960s was a decade of peace and love.

In the context of the cultural upheaval underway in the US today, the counterculture movement of the 1960s appears to be “Stage I” of the destruction of the United States. It resulted in rampant drug abuse and overdose deaths, and promiscuity that spread sexually transmitted diseases and normalized abortion. It was a rejection of traditional family values that gave rise to feminism and equal rights. Today, we are witnessing “Stage II” of this destruction. Now, everything about America’s past is “problematic” and white people are characterized, in the words of Jewish activist Susan Sontag, as the “cancer of human history.” The lady doth protest too much, methinks!

The 1960s counterculture was a leftist movement enamored with Marx and Socialism. Back then, youth demonstrated for free speech, they opposed the government and protested against war. They were pro-nature, tolerant and espoused a universalist world view. The hippies were easy to spot by the way they dressed, the length of their hair and the way they like, talked, man.

They have flipped the script on us now, and everything is inverted. The hippies of 2019 are the Millennials, most of whom are leftists indoctrinated in Cultural Marxism and social justice. The more extreme Yippies and Weather Underground of yesteryear are now the AntiFa. The counterculture movement of today opposes free speech, clamors for government intervention and supports war. They are anti-nature, intolerant and openly violent toward anyone who does not think exactly like they do. They are easy to spot by how they dress, the colors of their hair and the way they talk—literally! And, just like their predecessors, they hate everything about legacy America, especially the white men who created the comfort, convenience and quality of life they so callously take for granted.

In the 1960s, “activism” consisted of getting high, protesting in the street, chanting, singing and engaging in other pointless wastes of time that ultimately achieved nothing. In 2019, we still have marches, chants and protests, but most of what passes for activism today has devolved into empty platitudes copied and pasted into a Facebook post or a trending hashtag on Twitter. All have the appearance of “doing something” without actually doing or changing anything.

The world today is run by Baby Boomers; tomorrow, it will be run by Millennials. However, the ideology poisoning the minds of both is the same. They are mirror images of one another—but who is pulling the strings? Who wants to lead the youth astray in order to destroy America?

Some would point out the disproportionate role played by American Jews in the free speech movement at UC Berkeley (e.g. Jack Weinberg), the Students for a Democratic Society (e.g. Todd Gitlin), the Yippies (e.g. Abbie Hoffman and Jerry Rubin) and the Weather Underground (e.g. Bill Ayers). They would also note that, today, American Jews are pushing for open borders, late-term abortion, gay rights and transgender acceptance, pornography, anti-white rhetoric and restrictions on free speech, gun ownership and online freedom. They would go on to say that, given the disproportionate representation of Jewish control in entertainment, the news media, academia, art, publishing, music, finance, law and the government (e.g. SCOTUS), it should be obvious how much power this “minority” wields, enabling it to have a substantial impact on American society. In their defense, the Jews would denounce people who pointed out these facts as “antisemitic.” I’ll leave it to the reader to form their own conclusions about which is the more compelling argument.

What we know for certain is that music influences our emotions and has a powerful impact on our psyche. It can inspire and motivate us, but it can also make us feel somber and depressed. This makes it a particularly effective weapon if used against us. Moreover, music combined with drugs creates the ideal conditions for mind control. I think this is how the music of the 1960s was used, and how music continues to be used today. In 2019, nothing in popular culture is authentic. It is all contrived, calculated and toxic. It has been weaponized and is being used to destroy us from within.

We must keep these points in mind. Later this year, when we are bombarded with all the nostalgic hype surrounding the Woodstock anniversary, we should not allow ourselves to be fooled by the claim that the counterculture of the 1960s was part of a natural progression toward a better society. This was not a spontaneous happening that brought people together, it was part of the poisonous wedge that has been dividing America ever since. Woodstock should be remembered as a cautionary tale, illustrating how easy it is to manipulate gullible young people into acting against their own best interests.

The times (and music) may have changed, but the ideological agenda has never stopped moving forward.