THE SATANIC ROOTS OF ROCK
http://www.av1611.org/othpubls/roots.htmlby 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"
"DEMONS" by Rigor Mortis
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. (Tony Sanchez, Up and Down WIth the Rolling Stones, p.319)
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." (Philip Norman, Shout! The Beatles in Their Generation, p. 81)
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." (Philip Norman, Shout! The Beatles in Their Generation, p. 91)
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 `F____ing Nazis' to which the audience invariably responded by laughing and clapping." (Philip Norman, Shout! The Beatles in Their Generation, pp. 152,91)
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."(Philip Norman, Shout! The Beatles in Their Generation, p. 152)
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."(Philip Norman, Shout! The Beatles in Their Generation, p. 188)
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 StonesThe 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."(Tony Sanchez, Up and Down WIth the Rolling Stones, p.17)
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."(Tony Sanchez, Up and Down WIth the Rolling Stones, p.155)
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."(Tony Sanchez, Up and Down WIth the Rolling Stones, p.159)
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."(Tony Sanchez, Up and Down WIth the Rolling Stones, p.159)
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."
Dial-the-Truth Ministries - ADDENDUM
ROCK MUSIC AND ALIESTER CROWLEY
Aliester Crowley is without a doubt, the main spiritual "teacher" of rock music. Crowley's mission in life was to destroy Jesus Christ and Christianity, while exalting sex perversion, drugs, magick and Satan.
Aliester Crowley spews his hatred of Jesus Christ in The World's Tragedy:
"I do not wish to argue that the doctrines of Jesus, they and they alone, have degraded the world to it's present condition. I take it that Christianity is not only the cause but the symptom of slavery." (Aleister Crowley, The World's Tragedy, p. XXXIX)
"That religion they call Christianity; the devil they honor they call God. I accept these definitions, as a poet must do, if he is to be at all intelligible to his age, and it is their God and their religion that I HATE and will DESTROY." (Aleister Crowley, The World's Tragedy, p. XXXI)
In the introduction of The World's Tragedy, Israel Regardie says:
"This long, almost epic poem is one of the most bitter and vicious diatribes against Christianity that I have ever read."
Crowley's most famous teaching, "Do what thou wilt shalt be the whole of the law" became the "mantra" of the 60's revolution of drugs, sexual perversion and anti-Christianity. "Do your own thing" — "If it feels good do it".
THE BEATLES & CROWLEYAccording to The All Music Guide, The Beatle's Sgt. Pepper album, "will forever be known as the recording that changed rock & roll". Time magazine said, Sgt Pepper's was "drenched in drugs." (Time, Sept. 26, 1967, p.62)
The cover of Sgt. Pepper's showed the Beatles with a background of, according to Ringo Starr, people "we like and admire" (Hit Parade, Oct. 1976, p.14). Paul McCartney said of Sgt. Pepper's cover, ". . . we were going to have photos on the wall of all our HEROS . . ." (Musician, Special Collectors Edition, - Beatles and Rolling Stones, 1988, p.12)
One of the Beatle's heros included on the cover of Sgt. Pepper's was — the infamous Aliester Crowley! Most people, especially in 1967, did not even know who Crowley was — but the Beatles certainly did.
The Bealtes apparently took Crowley's teaching very serious — Beatle John Lennon, in an interview, says the "whole idea of the Beatles" was — Crowley's infamous "do what thou wilt":
"The whole Beatle idea was to do what you want, right? To take your own responsibilty, do what you want and try not to harm other people, right? DO WHAT THOU WILST, as long as it doesn't hurt somebody. . ." ("The Playboy Interviews with John Lennon & Yoko Ono", by David Sheff & G. Barry Golson, p. 61)
"They're COMPLETELY ANTI-CHRIST. I mean, I am anti-Christ as well, but they're so anti-Christ they shock me which isn't an easy thing."
Derek Taylor, Press Officer for the Beatles (Saturday Evening Post, Aug. 8, 1964).
"Jesus El Pifico, a garlic-eating, stinking little yellow, greasy fascist bastard catholic spaniard."
(John Lennon, A Spaniard in the Works, p.14)
"Christianity will go, it will vanish and shrink. I needn't argue about that. I'm right and will be proved right. . . .We're more popular than Jesus now."
John Lennon (San Francisco Chronicle, April 13, 1966, p.26)
LED ZEPPELINOne of Crowley's most devout disciples is Led Zeppelin guitarist, Jimmy Page. Page, even bought Crowley's "house of horrors" — Bokestine, located on Lock Ness. Boleskine was the home Crowley performed his "satanic-magick", including blood sacrifices. Crowley was buried inside a dark chamber in Boleskine. Crowley's most famous teaching was "Do what thou wilt shalt be the whole of the law". Page had inscribed in the vinyl on Zeppelin's Third album, Led Zeppelin III, "Do what thou wilt. So mete it Be." Unbeknown to concert goers, Page would actually perform Crowley rituals during some of Zeppelin's concerts.
OZZY OZBURNEOzzy, known for uncontrollable and violent acts, confessed in an interview:
"I really wish I knew why I've done some of the things I've done over the years. I don't know if I'm a medium for some outside source. Whatever it is, frankly, I hope it's not what I think it is - Satan".
Ozzy Osbourne (Hit Parader, Feb., 1978, p.24)
THE DOORSJim Morrison, superstar of the Doors, who died "mysteriously" on July 3, 1971 was deeply involved in the occult . Morrison married his wife at a Wicca wedding standing in a pentagram and drinking each others blood.
Morrison admitted that Satan was the source of his music:
"I met the Spirit of Music. . . . An appearance of the devil in a Venice canal. Running, I saw a Satan or Satyr, moving beside me, a fleshly shadow of my secret mind, . . ."
(The Lost Writings of Jim Morrison, p. 36-38)
Ray Manaxrek of the Doors, says of Morrison:
"He was not a performer. He was not an entertainer. He was not a showman. He was a shaman. He was possessed."
"While [Jim Morrison] he was staying at the Chateau Marmont, he spent a few wild nights with a buxom neighbor . . . once waking up in a tangle of bloody sheets after they shared champagne glasses of each other's blood."
(Pamela Des Barres, Rock Bottom, p. 208)
Many other rock artists "studied" Crowley such as: Marc Bolan, David Bowie, Graham Bond, Sting, Daryl Hall, King Daimond, Bruce Dickinson, Stiv Bators, et al.
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