Congress is Satanic – All Legislatures are owned by the Vatican because of bankruptcies
Published on Jun 19, 2015
This applies to any Parliament, Congress, or Legislature.
They are all Satanists promoting their Satanic Agenda.
This is all the Satanism that is talked about in the Book of Revelations.
They are busy putting out their so-called contracts under their Satanic Law Merchant to justify their assaults, kidnappings, thefts, and murders, by their low intelligence hired thugs.
All of their statutes are color of law, full of fraud, and satanic, and apply to nobody.
If you get yourself mixed up in them, then you are in a contract with the devil, literally.
Black Nobility, Manufactured Counterculture of 60’s and 70’s and NWO
Published on Jun 1, 2013
Host: Hagmann & Hagmann Report Internet Radio
Guest: Ricky Ray
Warning: Viewer Discretion Is Advised
Warning No.2: Sheeple Non Discretion Is Not Allowed
Psychedelic Intelligence: The CIA and the Counterculture
Published on May 14, 2014
The Secret CIA Campaign to Influence Culture: Covert Cultural Operations (2000)
Published on Mar 5, 2015
In addition to being a political and economic battle, the confrontation between the United States and the Soviet Union was a clash of cultures. Communist party leaders depicted the United States as a cultural black hole and cited their own significant culture as evidence that they were the inheritors of the European Enlightenment (Wilford 100). Americans, on the other hand accused the Soviets of “disregarding the inherent value of culture” and subjugating art to the controlling policies of a totalitarian political system. The United States saw itself as being saddled with the responsibility of preserving and fostering the best cultural traditions of western civilization, as many European artists sought refuge in the United States before, during, and after World War II (Wilford 101). Europe and European Universities turned out to be in the epicenter of the Cultural Cold War.
In 1950, the Central Intelligence Agency (CIA) surreptitiously created the Congress for Cultural Freedom (CCF) to counter the Cominform’s “peace offensive”(Wilford 101). The Congress had “offices in thirty-five countries, employed dozens of personnel, published over twenty prestige magazines, held art exhibitions, owned a news and features service, organized high-profile international conferences, and rewarded musicians and artists with prizes and public performances” at its peak (Saunders 2000). The intent of these endeavors was to “showcase” US and European high culture, including not just musical works but paintings, ballets, and other artistic avenues, for the benefit of neutralist foreign intellectuals (Wilford 102).
Many US government organizations used classical symphonies, Broadway musicals, and jazz performances (including musicians such as Dizzy Gillespie) in attempts to persuade audiences worldwide America was a cradle for the growth of music (Wilford 108-109). The CIA and, in turn the CCF, displayed reluctance to patronize America’s musical avant-garde, experimental, including artists such as Milton Babbitt and John Cage. The CCF took a more conservative approach, as outlined under its General Secretary, Nicolas Nabokov, and concentrated its efforts on presenting older European works that had been banned or by the Communist Party (Wilford 109).
In 1952, the CCF sponsored the “Festival of Twentieth-Century Masterpieces of Modern Arts” in Paris. Over the next thirty days, the festival hosted nine separate orchestras which performed works by over 70 composers, many of whom had been dismissed by communist critics as “degenerate” and “sterile,”; included in this group were composers such as Dmitri Shostakovich and Claude Debussy (Wilford 109). The festival opened with a performance of Stravinsky’s The Rite of Spring, as performed by the Boston Symphony Orchestra (109). Thomas Braden, a senior member of the CIA said: “The Boston Symphony Orchestra won more acclaim for the US in Paris than John Foster Dulles or Dwight D. Eisenhower could have brought with a hundred speeches” (Wilford 110)
The CIA in particular utilized a wide range of musical genres, including Broadway musicals, and even the jazz of Dizzy Gillespie, to convince music enthusiasts across the globe that the U.S. was committed to the musical arts as much as they were to the literary and visual arts. Under the leadership of Nabokov, the CCF organized impressive musical events that were anti-communist in nature, transporting America’s prime musical talents to Berlin, Paris, and London to provide a steady series of performances and festivals. In order to promote cooperation between artists and the CCF, and thus extend their ideals, the CCF provided financial aid to artists in need of monetary assistance.
However, the CCF failed to offer much support for classical music associated with the likes of Bach, Mozart, and Beethoven because it was deemed an “authoritarian” tool of Soviet communism and wartime German and Italian fascism. The CCF also distanced itself from experimental musical avant-garde artists such as Milton Babbit and John Cage, preferring to focus on earlier European works that had been banned or condemned as “formalist” by Soviet authorities.
During the Cold War, Louis Armstrong was promoted around the world as a symbol of US culture, racial progress, and foreign policy. It was during the Jim Crow Era that Armstrong was appointed a Goodwill Jazz Ambassador, and his job entailed representing the American government’s commitment to advance the liberties of African Americans at home, while also working to endorse the social freedom of those abroad.
CIA Hippie Mind Control: Inside Laurel Canyon with Dave McGowan
The hippie movement of the 1960s, which began in Laurel Canyon, Los Angeles and peculiar military and political ties to prominent figures in the scene like Jim Morrison and Frank Zappa are looked at with Weird Scenes Inside the Canyon author Dave McGowan. We also discuss movement pioneer Vito Paulekas, Charles Manson and the Manson Family murders, and the theory that the CIA manufactured the hippie counterculture to undermine the anti war movement, in this uncensored Antidote interview, hosted by Michael Parker.
GUEST BIO and BOOK INFO:
David McGowan was born and raised in Torrance, California, just twenty miles south of Laurel Canyon. He graduated from UCLA with a degree in psychology and has, since 1990, run a small business in the greater Los Angeles area. Currently single, he is the proud father of three daughters. He is also a lifelong music fan who still frequently keeps his radio tuned to classic rock stations. McGowan’s previous books include Programmed to Kill: The Politics of Serial Murder, and Understanding the F-Word: American Fascism and the Politics of Illusion.
Weird Scenes Inside the Canyon
How did an uncanny amount of rock superstars emerge from the rustic Laurel Canyon scene of the mid 60s when the primary music centers of the US at that time were NYC, Nashville, and Detroit? Why were many of these future stars sons and daughters of the military/intelligence complex and extreme privilege who just happened to all arrive in LA at the same time? From the Lizard King Jim Morrison to Frank Zappa, the Mamas and Papas, the Byrds, Crosby, Stills, Nash, and Young, even the Monkees, they all had conspicuous family heritages that did not exactly jive with what would become the free love, anti war soundtrack of a generation. Meanwhile, looming behind these musicians was a dark underbelly of Hollywood stars, young turks, the mob, shadowy intelligence assets, and charmers like little Charlie Manson who everyone liked at first.. How and why did this all happen? And what about that covert military installation on Lookout Mountain? Are you ready to have your rock and roll fantasies challenged? You may never listen to this music the same way ever again.
00:01 Welcoming author David McGowan to Antidote.
01:00 What Lookout Mountain Laboratories was designed for, and what it is now.
06:05 Jim Morrison’s father’s involvement in the Vietnam war.
09:25 Morrison as an anti-war idol and his surprisingly scarce background in music.
12:55 Hippie-era bands that all had connections to government intelligence.
15:30 Crosby, Stills and Nash’s connections to important historical figures.
18:45 Frank Zappa’s father as a chemical warfare engineer.
20:20 Jackson Browne born in post-war Germany.
23:30 Early history of The Byrds appears suspicious and possibly casted.
25:15 The rise of hippie culture and music clubs in Los Angeles.
29:10 How The Young Turks of Los Angeles contributed to the popularization of clubs.
32:00 The Hippie/Rockefeller connection.
33:25 Charles Manson as a leader and a member of the Los Angeles music scene.
37:05 The Wonderland Murders.
39:05 The surprising number of stars whose parents committed suicide.
41:10 Were these hippie musical figures groomed to undermine the anti-war movement?
46:20 Thank you and goodbye.
C.I.A., MK-ULTRA & The 60’s Counter-Culture
Published on Oct 17, 2013
Today we’re joined by author and research Jan Irvin of http://www.gnosticmedia.com/ to discuss his groundbreaking new article, co-authored with Joe Atwill, “Manufacturing the Deadhead: A product of social engineering…” http://www.gnosticmedia.com/manufactu…
Piecing together the CIA, Skull and Bones, the Esalin Institute, Gordon Wasson, Terence McKenna, Timothy Leary, Marshal McLuhan, MK-ULTRA and much more, this fascinating tale of the real roots of the 60s counterculture is backed up by primary source documents and original research.