Sunday, December 4, 2016

The Walrus is Faul


The Walrus is Faul

Anita Greencard

This story was submitted by a woman who wishes to use a nom de plume. She asserts this is a true story encounter with Faul McCartney.

My tale begins on February 21, 2012 at Disney World during Daytona Week. Tons of celebrities were there. I have done three "Disney college programs," a paid internship and all that jazz. During the time in question, I was working in entertainment as a "friend of Disney characters," i.e. a cast member who works dressing up as a character. 

The rumor going around was that "Paul McCartney" (Faul) was hanging around the Magic Kingdom (Nancy was not with him that day). Faul visited the UK Pavillon inside the Epcot Theme Park, where I was working in character. I noticed how he acted godly, holier than thou, and expected the very best from everyone as though he automatically deserved it. "What a dick!" I thought to myself. By then, I knew quite a bit about PID [Paul is Dead]. I noticed that Faul was very tall and skinny. He also had very green eyes, not brown like Paul's were.

The character meet and greet protocol is to say "Hi" to the guest, chat a bit, and then say "goodbye" to them. When Faul came up to me, he expected me to know who he was. When I pretended that I did not, he said "Everyone knows me. I'm Paul McCartney." That was my cue. I decided to question whatever came out of his mouth. For example, he said he used to be in a band with some friends, so I said "The 3 Caballeros?" Faul was not amused at my games.

Faul and I interacted briefly onstage. I was on duty as "Alice in Wonderland." Faul mentioned that "Alice in Wonderland" was his favorite book of all time. He even had some stone statues of characters from the book in his garden. The Walrus was his favorite character. 

Faul asked me, "Alice," who she thought the Walrus was. We cast members are trained to preserve the Disney magic by never going out of character; we only know and talk about our Disney area. I replied, "The walrus was the walrus." 

Faul responded, "No, I am the Walrus. My friend, John, used to say that. I like the Walrus because I see myself in him, how he fools people, how he fooled the innocent oysters in order to eat them."

Faul had access to go backstage, which he did. He asked one of my managers if he could meet me. He said he liked how I was able to stay in character all of the time. I agreed to chat one on one with him. Big mistake.

I was still in my costume when Faul made some crude sexual comments about my body. He  also said that I was "hot." When I greeted him, he wanted to hug and kiss me. He even tried to force himself on me. A friend of mine has claimed that Faul tried to molest her. He acts very differently in private than he does in public.

During this encounter, Faul ranted and raved. Strangely, he referred to himself in the third person. He hinted that maybe he was not who people think he is, maybe he was like Mickey Mouse, and maybe he is everywhere.

I told Faul right to his face that, perhaps all of this time, people had been asking the wrong question. Instead of asking "Is he alive?" (of course he is because he is breathing), they should have been asking, "Are you Paul McCartney?"

Faul glared at me and asked what I thought. I said, "No, I do not think you are James Paul McCartney." 

Faul said that, even if I know what is going on, no one would ever believe me because I am just a simple woman, and he is who he is. No one questions him, ever. Faul said I had a lot of nerve for questioning him. He told me I was a total bitch and that he was going to report me to a supervisor. I told him that he was going to hell.

"Hell is here in the everyday life," Faul replied. He also made a weird comment that Paul was "The Fool on the Hill," but he did not elaborate on what he meant by that. (Is that song a clue song? Is Paul buried in the hills somewhere?) Faul also threatened me, saying that "bad times come to those who know a lot."

Faul did report me. He claimed that I was not professional, and that Disney should hire better people. My managers gave me a verbal warning because Faul looked very upset about our encounter. Faul wanted Disney to deport me back to my homeland, make me lose my working visa and all. That would have appeased him. Luckily, my managers had my back and nothing truly bad came my way. However, the whole episode was so upsetting that I decided to go to therapy for a while.

Two of my managers told me that a bunch of people in showbiz are in the know, but it is not in their best interest to expose Faul as the fraud that he is. Bad times come to those who know a lot...

Saturday, December 3, 2016

Beatles, Pink Floyd Similarities and the PID Connection by Andy Winfrey


Beatles, Pink Floyd Similarities, and the PID Connection 

By Andy Winfrey 

Everything in this article operates on the assumption that PID [Paul is Dead], and that the popular theory in regards is correct. I will not rehash all of that here. It is available in a million blogs and can easily be accessed with a Google search.

Anyone who was there at the time or grew up later in the 70’s or 80’s would have no problem recognizing the basic similarities and sounds coming from Pink Floyd and the Beatles. From Roger Waters multiple nods to Paul McCartney on the bass, to the Beatles post Sgt. Pepper output, which owed more than just a nod to the Floyd. In particular, “What’s the New Mary” comes to mind as a glaring example of Floyd’s influence on the Beatles, and could have been written by Syd Barrett himself. It’s also intriguing that Faul is reported in multiple sources to have visited the recording sessions for Floyd’s debut, “Piper at the Gates of Dawn”, that was being recorded in the same studio as the Beatles, as they were finishing up Sgt. Pepper. 

Outside of the above mentioned examples, I never really gave Beatles/Floyd any other thought. There was just really nothing there to think about, or so I thought until I made a fairly startling discovery that made me think otherwise, and brought out a couple of other weird similarities that just add more to the whole bizarreness that is PID. 

For those well versed in PID, you will be very aware of the section in Revolution No.9 where you can hear someone scream, "let me out." It’s heavily associated with the car crash theme that is inundated throughout Beatles official releases of film and music, and is the widely accepted version of how JPM [James Paul McCartney] died. 

The Beatles Revolution #9 REVERSED!!!


Well, one day while listening to PATGOD, my favorite Floyd album, I heard this same voice saying the same thing. I couldn’t believe it. I reviewed it many times and came to the conclusion that, yup, that’s it. The name of the song is, “Take Up Thy Stethoscope and Walk” and the voice can be heard @ 2:09. 



Curiously enough, this is the only song accredited solely to Roger Waters, and the only one with no credit to Barrett. 

So, now we have this bizarre Beatles' thing inserted into a Floyd song. Why? I really don’t know, but I do have Faul, the King of Cosmania, showing up over at the Floyd recording session. I do have on record Lennon and Harrison obviously digging Barrett, and copying him with a song they advocated putting on an album, but Faul shut it down. So, at this point, it’s getting fairly weird, which naturally brings us to Barrett. 

What exactly happened to Barrett? We all know the official story that Syd took too much LSD and went crazy, forcing his removal from the band. Okay, that is the official nutshell, but the official accounts don’t really show that. 

Syd, by all accounts, was a super talented, charismatic guy who was on his way to super stardom. His songs were great; he was a fantastic lead guitarist with a really unique style. No doubt he was a star and could have been just as big without Floyd. On record, the Producer of PATGOD wanted to replace Syd with David Gilmour, and as reported, this was well before Syd showed signs of trouble. In the interview, he simply said Barrett was uncompromising and wanted everything his way. This is odd having Gilmour lurking in the corner that early given how events unfolded. So, is it possible Barrett wasn’t down for some nefarious lesser magick being inserted into his songs stemming from the murder of Paul? Conjecture I know, but not soon afterwards, Barrett was being fed tons of LSD in his tea (John and George got the same) which leads to some episodes. But even after that, Barrett put out two great Pink Floyd songs, "Scream Thy Last Scream" and "Vegetable Man" should have landed on their boring second album, which tried to reemulate Syd. So the whole Syd had to go thing is a little suspect. A profit driven record company would have really nurtured Syd's solo work, which was good, but could have been great with the right production. 

So, was Syd taken out because he wasn’t down with the dark side? Did Faul have him taken out because of jealousy? Maybe, maybe not, but there seems to be a whole lot of weird, which goes hand in hand with anything Faul touches. 

Now we have some deeper similarities between the two bands that I could never have put together before: They both have a voice screaming, “Let me out!” on their albums. An even weirder synchronicity is they both have founding members of their bands being replaced by someone “waiting in the wings” to do so. They also both went on to score huge record setting albums whose themes and lyrics revolved around the condition and circumstance of those replacements. 

Is this whole killing someone physically or mentally as some type of sacrifice the way you sell albums? Do you talk about it all the time in song, verse, and interview to reinforce the spell? I don’t know, but if I ever meet Faul, I think I’ll just straight up ask him.


Sunday, November 27, 2016

PID Update: It's Getting Better All the Time

I started this blog over 7 years ago. I prepared for my interview with Freeman Fly by posting a bunch of articles in September 2009. I had almost no radio experience then. I just wanted to present PID to people in the most convincing manner possible. I had always gravitated more to the physical differences than the clues, so when Dr. Carlesi and Dr. Gavazzeni published their findings in Wired Italia, it gave PID research a real boost.


In the intervening years, I have been blessed to carry the weight of the PID truth movement. Each person who wakes up from the fog of Faul adds to the critical mass necessary to out the impostor. I know this is difficult information for many people to process. Impostor-replacing a murdered man betrays a level of evil unknown to most people. Paul was adored by so many; it is painful for people to accept what happened. A comforting lie is preferable to the unpleasant truth.


I can happily report that balance is being restored. James Paul McCartney (JPM) is becoming a symbol of a heretofore little known ploy. Intelligence agencies have suppressed information about the use of doubles, but now one of the most famous people in the world is being identified as a double. Intelligence agencies cannot keep doubles a secret if Faul is constantly in the public eye and the public knows he is a fraud. Because this replacement agenda has been exposed, it has become much more difficult to fool astute viewers. Unfortunately for the powers that be, the Internet makes it easy to alert others to the deception. Thus, PID has served a greater purpose than just exposing a grave injustice done to one man: It has shed light on an evil program affecting many people. It may not be possible to prevent impostor-replacement, but knowing it is a thing makes it easier to spot. Once an impostor is outed, life becomes more difficult for him and his handler(s). JPM has been key to uncovering the use of permanent doubles.

I plan on continuing PID research until I drop. It has been a pleasure meeting so many truth seekers along the path. Thanks for the help and encouragement. Eventually, the whole world will know Paul was not his impostor. It just has not reached the tipping point yet.

All my loving for the holiday season.

Tina Foster
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Wednesday, November 16, 2016

You Say You Want a Revolution: Music, Drugs, and Engineering the Counter-Culture

In late Summer 1966, Paul McCartney was removed from power as head of the Beatles. Paul had become an obstacle to the Tavistock Institute's use of the band. Tavistock's intention was to exploit the Beatles' popularity for social engineering purposes. This article focuses mainly on the use of drugs and music in popular culture to transform society. For the purposes of this article, Paul's replacement is assumed to be a given. [Proof Paul was replaced].

Putting the puzzle pieces together requires a basic understanding of the Illuminati's New World Order (NWO) agenda. The Illuminati is a secret society that plans to impose a totalitarian NWO superstate. Sovereign nation states are to be eliminated. The United Nations (UN) would be the head of the one world government. There would also be a one world supreme court and a one world religion, which would be Luciferianism. This one world government would engage in mass surveillance of the population and exert total control over the currency. Basically, a clique of Insiders would have complete power, consolidating and controlling all wealth.  


Study No.7, published by the C.F.R. on November 25, 1959, openly advocates "building a new international order [which] must be responsive to world aspirations for peace, [and] for social and economic change… an international order [code word for world government]… including states labeling themselves as 'Socialist' [Communist].
[Gary Allen, None Dare Call it Conspiracy, available at http://www.whale.to/b/allen_b1.html]

The imposition of the NWO agenda is done in baby steps, a tactic which has been dubbed the "tyrannical tiptoe." Before the Illuminati can take down a nation, they have to first break down the family, culture, and society. Ultimately, each person must be isolated and dependent on the state for food and security.
Yuri Bezmenov was a KGB defector who revealed secret Soviet Ideological subversion and psychological warfare tactics. These strategies were used to change people's perceptions of reality to the extent that they no longer came to sensible conclusions about self-defense, or how to defend their family, culture, society, and nation. Bezmenov explained that there were four stages involved in taking down a country:

1. Demoralization. This is characterized by a lack of moral standards. In addition, people can no longer properly assess true information anymore.
2. Destabilization. Instability in the economy and/or foreign affairs is promoted by Leftist professors, etc., who act as subversive elements. 
3. Crisis. The event that triggers the desired response.
4. Normalization. The promised "utopia" is revealed to be tyranny.


The power elites take incremental steps to get people to accept “change” [according to author Gary Allen, "change" is code for socialism/communism]. The NWO may be implemented through the use of mind control. This includes a broad range of tactics that subvert an individual's control of his or her thinking, behavior, emotions, or decisions. Author Bertrand Russell explained how forms of mind control could be use to accomplish that goal:
It is to be expected that advances in physiology and psychology will give governments much more control over individual mentality than they now have even in totalitarian countries. Fichte laid it down that education should aim at destroying free will, so that, after pupils have left school, they shall be incapable, throughout the rest of their lives, of thinking or acting otherwise than as their schoolmasters would have wished.
[Bertrand Russell, Influence of Science on Society, p. 61, available at https://archive.org/details/TheImpactOfScienceOnSociety-B.Russell]

Russell also states that broadcasting and media could be used to control how people think about things:
The completeness of the resulting control over opinion depends in various ways upon scientific technique. Where all children go to school, and all schools are controlled by the government, the authorities can close the minds of the young to everything contrary to official orthodoxy. Printing is impossible without paper, and all paper belongs to the State. Broadcasting and the cinema are equally public monopolies.
[Bertrand Russell, Influence of Science on Society, p. 57, available at https://archive.org/details/TheImpactOfScienceOnSociety-B.Russell]

Thus, the entertainment industry is used as a meanns to condition the public to accept the New World Order. Former Director of the CIA, William Colby, admitted that the media is controlled by stating that "[t]he Central Intelligence Agency owns every one of any significance in the major media.” [Link] Celebrities play a part in conditioning how the masses think. In this case, the Beatles were an influential musical band that commanded a world stage. Wwriter Salvador Astucia said John Lennon "was more influential than any head of state in the world” [Jerry Mazza, "On The 25th Anniversary of John Lennon's Assassination, Imagine..., December 7, 2005, at http://john-lennon.com/johnlennonsassassination.php]. It is reasonable to imagine that the Illuminati would have at least tried to co-opt the Beatles to further their music and drugagenda. 

Music Agenda

Music can be used to manipulate culture and consciousness. Thus, music and musicians have been instrumental in engineering social change. 

Music has been described as an "encoder." It can help shape thoughts and perceptions. Musicologist David Tame has said that "[m]usic is the language of languages. It can be said that of all the arts, there is none that more powerfully moves and changes the consciousness." [David Tame, The Secret Power of Music (Destiny Books, 1984) p.151 at http://www.inplainsite.org/html/the_power_of_music.html]Composer Eddie Manson says that "[w]e manipulate people like crazy... Every film composer mixes his experiences with a talent for musical manipulation, and then projects that Machiavellian power gut to gut." [David Chagall, Family Weekly Magazine, January 30, 1983, p.15 at http://www.inplainsite.org/html/the_power_of_music.html]

Because of music's power to influence, it could be considered dangerous. Eddie Manson admits that "[m]usic is used everywhere to condition the human mind. It can be just as powerful as a drug and much more dangerous, because nobody takes musical manipulation very seriously." [David Chagall, Family Weekly Magazine, January 30, 1983, p.15 at http://www.inplainsite.org/html/the_power_of_music.html]

Ancient philosophers knew about the potentially subversive nature of music. Some even warned it could be used to incite a revolution. Plato cautioned that "[w]hen modes of music change, the fundamental laws of the state change with them." [Plato, The Republic, Book 3 at http://www.inplainsite.org/html/the_power_of_music.html]. Aristotle, noting that music has "the power to form character," wanted to see it regulated by the state. [David Tame, The Secret Power of Music (Destiny Books, 1984) p. 19 at http://www.inplainsite.org/html/the_power_of_music.html]Vladimir Lenin realized that “[o]ne quick way to destroy a society is through its music.” [The Marxist Minstrels: A Handbook on Communist Subversion of Music, American Christian College Press, 1974 at http://www.inplainsite.org/html/the_power_of_music.html]. Activist Harry Hay said that music 
has the power to communicate ideas, plans and issues through the form of songs and dances under the noses of the authorities - as a weapon… music always had the power to inspire revolt and revolution… [M]usic is a language…a method of communicating, educating, mobilizing. 
[They Sold Their Souls For Rock N Roll (Part 3 of 4) at 30:17, available at https://www.youtube.com/watch?v=-NfSBVewinE].

Author Albert Goldman went so far as to say that the music of the 1960s was “the most important cultural event in the history of America.” 

Some musicians knowingly exploit the power to influence people through their music. David Crosby bragged to Rolling Stone magazine that he could alter the value system and steal kids away from their parents through music. [Arthur Barker, The Rolling Stone Interviews, 1981, at http://www.inplainsite.org/html/the_power_of_music.html]Marilyn Manson said "I don't know if anyone has really understood what we're trying to do. This isn't just about shock value... that's just there to lure the people in. Once we've got em we can give em our MESSAGE.” [Hit Parader, Oct. 1996, p.28, see “Satanic Quotes by Musicians” at http://www.jesus-is-savior.com/Evils%20in%20America/Rock-n-Roll/satanic_quotes.htm].

Music can be used to affect the human body because of its vibrations. The frequency of the music can impact consciousness, biology, physiology, health, and behavior. The Elites have used frequency to exert power and control over the masses. Author Wes Penre reveals that
the trends are set by the Illuminati owned music industry, where they know exactly how frequencies work - they have the best scientists working for them … The music they produce vibrates on the frequency they want us to vibrate on for the moment to enhance the New World Order [NWO] Agenda! And that's it. They want to keep us on a certain frequency, where they can control us as a whole…
[Wes Penre, "How Pop & Rock Music is Used to Manipulate Us," June 13, 2005, at http://www.illuminati-news.com/art-and-mc/manipulative-rockmusic.htm].

The powers that be have militarized music for cultural manipulation, in part, by making A=440Hz the international standard (done in 1953). This refers to the musical note A above middle C. A=440Hz frequency music conflicts with human energy centers (chakras). Musicologist Brian T. Collins complains that “[t]he current tuning of music based on A=440 Hz does not harmonize on any level that corresponds to cosmic movement, rhythm, or natural vibration.” [Collins BT, "The Importance of 432hz Music," available at http://medicalveritas.org/musical-cult-control/]. Unfortunately, more natural musical frequencies (such as A=432 HZ) that further health, harmony, and peace have been suppressed. [See Horowitz, Leonard, “Musical Cult Control: The Rockefeller Foundation’s War on Consciousness Through the Imposition of A=440 Hz Standard Tuning” at http://medicalveritas.org/musical-cult-control/]. It may be interesting to note that the Beatles recorded their HELP! album in A=432, which is a Solfeggio frequency.

A=440 Hz causes listeners to experience greater aggression, psychosocial agitation, and emotional distress. At this frequency, the body vibrates musically, audibly and subliminally to a frequency that resonates with aggression and in dissonance with love. This can predispose people to mental and physical illnesses. [See Horowitz, Leonard, “Musical Cult Control: The Rockefeller Foundation’s War on Consciousness Through the Imposition of A=440 Hz Standard Tuning” at http://medicalveritas.org/musical-cult-control/].

Matthew Ward (from the Matthew's Books series) revealed that discordant music "fractures the body’s energy, short circuits its electrical system, shatters its equilibrium, and prevents light from entering...” [Matthew Ward, Messages from Matthew, June 21, 2005 at http://www.matthewbooks.com/june-21-2005/]. Fractured energy leaves a person more vulnerable to disease and psychic attacks. Ward goes on to say that 
[t]here is NO balance or any redeeming quality whatsoever in “heavy metal” compositions any more than there is goodness in a concentration of heavy metals in your body. The strong dark undercurrent in this NOISE is strategically designed to shatter the body’s energy and prevent light from reaching the souls of those who are captivated by these raucous sounds. This fact needs to reach those who regard “heavy metal” as entertainment instead of the strong deterrent to spiritual clarity that it actually is.
[Matthew Ward, Messages from Matthew, April 26, 2005 at http://www.matthewbooks.com/april-26-2005/].

Musicologist Thomas D. Schauf explained that, “[a]s a result of this influence, the arc of Western Civilization has gone from ‘ascent’—belief in God—focused on the higher centers of love, joy, purity and selflessness, to descent... focused on the lower centers of consciousness like those of power, wealth and physical gratification.” [Schauf TD. The Federal Reserve Is A PRIVATELY OWNED Corporation at http://medicalveritas.org/musical-cult-control/]. For example, the post-Paul Beatles' song, “Helter Skelter," was not only written to be disturbing to the body’s energy matrix (McCartney "wrote 'Helter Skelter' to be the most raucous vocal, [with] the loudest drums" ["HELTER SKELTER” at http://www.beatlesebooks.com/helter-skelter]), but also to describe this descent. McCartney even admitted that the song symbolized "a ride from the top to the bottom—the rise and fall of the Roman Empire—and this was the fall, the demise." [Id.].

At about the 6 minute mark in the following video, Steve Pieczenik describes how music played an integral part in destabilizing the former Soviet Union:


Some music was banned in the former USSR because it was considered to be subversive. For example, the Soviet authorities recognized that the Beatles were spreading Western propaganda. [, "For young Soviets, the Beatles were a first, mutinous rip in the iron curtain," The Guardian, April 20, 2013, at https://www.theguardian.com/music/2013/apr/20/beatles-soviet-union-first-rip-iron-curtain]. On the other hand, the authorities "positively encouraged disco music... because... it was musically rigid and could be contained within the dance floor, it wasn't going to spill out on to the streets." [Id.]. In the end, the Beatles did play a key role in undermining the Soviet system. "Beatlemania washed away the foundations of Soviet society" by bringing the idea of democracy. [Id].

In addition to frequency manipulation, it seems that hypnotic suggestion techniques can also be embedded in music. Jimi Hendrix revealed in an interview that he could 
"hypnotize people to where they go right back to their natural state... And when you get poeple at their weakest point, you can preach into the subconscious what we want to say.” ["An Infinity of Jimi’s,” Life Magazine, October 3, 1969, at http://www.me.umn.edu/~kgeisler/life.html].

Cathy O’Brien and Mark Phillips discuss in the following video how harmonics and subliminal mind control commands are encoded in music (at 1:09:00):
It appears that the Beatles' song, “Sgt. Pepper's Lonely Hearts Club Band (Reprise),” has a reverse-speech subliminal command to “worship the Aleister Crowley” (see Apple Star video below at 0:52). Crowley (who also appears on the cover of the album) was a Satanist, a founding father of modern occultism, a British intelligence asset (MI-5), and a co-founder of the Tavistock Institute. He was also "an adept amateur psychologist, [who] had an uncanny ability to influence people and probably utilized hypnotic suggestion in his undercover work." [Richard B. Spence, “Secret Agent 666 - Aleister  Crowley, British Intelligence And The Occult,” rense.com, June 23, 2008, available at http://www.rense.com/general82/crowl.htm].

To hear the “raw reversal,” go here.

The Beatles’ (post-Paul) played a “key, pivotal role in the mass social experimentation carried out by Britain's Tavistock Institute in conjunction with covert intelligence agencies like the CIA, NSA and Britain's MI5/MI6.” [“Harrison Stabbing & Masonic Symbolism,” The Hidden Mysteries Magazine, 2000 at http://www.hiddenmysteries.org/themagazine/vol9/articles/harrison.shtml]. This belief in the Beatles' role was backed up by economist and five-time U.S. presidential candidate, Lyndon H. LaRouche. He wrote that "[t]he Beatles ... were a product shaped according to British Psychological Warfare Division (Tavistock) specifications, and promoted in Britain by agencies which are controlled by British intelligence." ["Why Your Child Became A Drug Addict", Campaigner Special Report, 1978) and "A LaRouche Sampler", Public Eye at http://www.sourcewatch.org/index.php/Lyndon_LaRouche].

The Beatles (post Paul McCartney), aligned with the Tavistock Institute, were agents of change. The Illuminati masters do not want their subjects to be able to think clearly. As long as people's thinking is hindered, they are susceptible to control. At least two of the Beatles' songs seem to promote this agenda. For example, "Strawberry Fields Forever" appears to have been an experiment in mass hypnosis. Hypnotic language and embedded hypnotic suggestions encourage the listener to not think, which furthers a dumbing down agenda. This leads to easier social control. On the other hand, the song, "I am the Walrus," appears to have been an experiment in mind control. It attempts to implant unreal imagery in the listener's mind. The Beatles were being used to disseminate distorted music with the intention of distorting people's thinking. Psychedelic music combined with LSD confused many people's thinking. Control was the primary objective.

As has been described above, music can have a huge impact. Now, couple that power with drugs, and that influence increases substantially.

DRUG AGENDA

During the 1960s, the Illuminati attempted to imprison people through drugs. Aldous Huxley describes this mental prison as follows: 
There will be, in the next generation or so, a pharmacological method of making people love their servitude, and producing dictatorship without tears, so to speak, producing a kind of painless concentration camp for entire societies, so that people will in fact have their liberties taken away from them, but will rather enjoy it, because they will be distracted from any desire to rebel by propaganda or brainwashing, or brainwashing enhanced by pharmacological methods. And this seems to be the final revolution.
[Aldous Huxley, Tavistock Group, California Medical School, 1961 at  https://archive.org/details/AldousHuxley--TheUltimateRevolution--ABlueprintToEnslaveTheMasses].

A similar strategy was pursued in China in the late 18th to early 19th century, except the ruling elite chose opium as its weapon. (This led to the Boxer Wars). In the 1960s, LSD was selected. LSD has been described as a “brain-washing device” that, when used in combination with psychedelic music, can induce mental confusion and helplessness. This makes people easier to manipulate and control. [This may have also served as a tactic to divert attention away from serious matters such as the Vietnam War. The “hippies” were too busy turning on, tuning in, and dropping out to effectively resist the war, thus rendering the anti-war movement impotent]. 

The American psychologist and counterculture figure, Timothy Leary, called the Beatles' Sergeant Pepper's Lonely Hearts Club Band (SPLHCB) album (1967) a “complete celebration of LSD.” [David Livingstone, “Transhumanism: The History of a Dangerous Idea,” 205, Link]LSD use was promoted in songs such as “Lucy in the Sky with Diamonds.” The "new" (Faul) McCartney was the first British pop-star to speak publicly about taking LSD (in an ITN interview on June 19, 1967). This made many kids curious about trying LSD because their idol, "Beatle Paul," liked it. 

Significantly, the SPLHCB cover featured both Aldous Huxley and Aleister Crowley (who "died 20 yrs ago today"). Huxley envisioned the Brave New World future, while Crowley "made good use of... drugs. In New York, he carried out very detailed studies on the effects of mescaline (peyote). He would invite various friends over for dinner, fix them curry and dose the food with mescaline. Then he observed and took notes on their behavior." [Richard B. Spence, “Secret Agent 666 - Aleister  Crowley, British Intelligence And The Occult,” rense.com, June 23, 2008, available at http://www.rense.com/general82/crowl.htm]Mescaline was later used by intelligence agencies for experiments in behavior modification and mind control. [Id.]. 

The CIA sponsored LSD research through the MKULTRA program. Colin A. Ross, M.D., uncovered an undated declassified CIA document entitled “D-Lysergic Acid Diethylamide (LDS-25)," which states:

Some of the more outstanding effects are the mental confusion, helplessness, and extreme anxiety which are produced by minute doses of this substance. Based upon these reactions, its potential use in offensive psychological warfare and in interrogation is considerable. It may become one of the most important psychochemical agents.

[Colin A. Ross MD, “BLUEBIRD: Deliberate Creation of Multiple Personality by Psychiatrists,” at http://www.wanttoknow.info/bluebird10pg].


Timothy Leary admitted that he "proceeded as an intelligence agent since 1962, understanding that the next war for control of this planet and beyond, had to do with the control of consciousness.” [W.H. Bowart, “Lords of the Revolution: Timothy Leary and the CIA. . .The Spy Who Came In From the (Ergot) Mold,” available at http://www.whale.to/b/bowart8.html]. "...Leary contends that the [SPLHCB] LP 'gave a voice to the feeling that the old ways were over...' and stressed the need for cultural change based on a peaceful agenda." [Sheila Whiteley"Tangerine trees and marmalade skies': cultural agendas or optimistic escapism?". In Julien
Olivier. Sgt. Pepper and the Beatles: It Was Forty Years Ago Today. Ashgate: 2008 at 22]. In his "Thank God for the Beatles" essay, Leary explained the brain-washing effect of psychedelic music combined with LSD on the mind:
The Sgt. Pepper album compresses the evolutionary development of musicology and much of the history of Eastern and Western sounding a new tympanic complexity. Then add psychedelic drugs. Millions of kids turned-on pharmacologically, listening to stoned- out electronic music designed specifically for the stone-out, long haired minstrels. This is the most powerful brainwashing device our planet had ever known. Indeed if you were an observer from a more highly evolved planet wondering how to change human psychology and human cultural development (in other words if you were a divine messenger), would you not inevitably combine electrical energies from outside with bio-chemical catalysts inside to accomplish your mutation? 
The "New Beatles," aka SPLHCB, took music and turned it into a weapon. SPLHCB did not lead listeners onto a deeply spiritual journey  à la “Tomorrow Never Knows,” but rather encouraged their fans to pop LSD tabs into their mouths. Each person who took LSD experienced a simulated spiritual experience that left them more susceptible to mind control. John Lennon admitted in a 1972 interview that “changing the lifestyle and appearance of youth throughout the world didn't just happen - we set out to do it. We knew what we were doing.” [Barry Miles, Paul McCartney: Many Years From Now, at 293].

Conclusion

After tripping out on acid and listening to mind-controlling music, individuals were much more easily led into fighting for the cultural revolution. LSD was the catalyst, and psychedelic music was the battle hymn.

As a result of the cultural revolution, the integrity of society has been more or less destroyed. America, at least, is on a downward trajectory. The demoralization and destabilization phases are complete. Success in achieving the completion of those two stages was facilitated by music and drugs. 

Revolution? Count me out.

Tina Foster


The Luciferian Deception