“The only normal state we know from the 1920’s on is a state of flux. Punk was not a reaction, it was the next stage in deconstruction of a way of life that was no longer necessary, masquerading as a reaction. Posing as a revolution against an Establishment that created it. It was never dangerous and, most likely, the appeal of the ‘outsider’ that 20th century America had become romantically involved with contributed to its steady rise and I believe it was anticipated, and planned for it to be a normalized commercial success. A celebration of deconstruction and a rejection of self-worth and skill which, in attitude and lifestyle, was transferred to the general public–but benefits of this ‘Establishment’ have been afforded to the select few who fomented these ideas. These are revolutions in the mind and meant to be confined to that sphere. The revolutions take place in people’s personal lives but not in the political or economic realms. That’s how it is designed. Music can be\could have been pure entertainment on a higher level, but mass culture does not allow that. It is true that scenes can organically function and sustain but they will either be ideas that have already existed and run their course or they will never be given any attention by mass media or culture ever.” – John Adams – Researcher of Punk’s untold history
Suburbia, since its post-World-Wars streamline, has proven more painful than many people would care to imagine for the youth of America, and the West in general. From humble beginnings, the middle class youth received a cultural re-contextualization. With advancements of child labor laws and social conventions brought about by this time-period, the idea of youth was taken from its classical idea as nothing more than a pre-adult, to a state-of-condition that existed entirely apart from adulthood and childhood—adolescence. Welcome to the social advent of the “teenager.”
With the progression of this mindset, guided by classical names like Edward Bernays, and the plenty of other sinister faces that history has seemingly forgotten, Vietnam drew closer and brought with it a discontent that the country had scarcely seen before. Elaborated on in extensive and overwhelming detail, the tandem of Jan Irvin and Joe Atwill, as well as the late Dave McGowan, are the most heavily documented, researched expose’s done on the matter—discussing the deep implications of the Laurel Canyon music scene and the psychedelic rock era, with heavy military intelligence implications alleged of The Doors, Grateful Dead, Frank Zappa, Mamas and the Papas(who were satanic Process Church members, also), the Beach Boys, the Byrds, and many more. As side-note of insightful supplementary reading, the Vagabond’s article on conspiracy and corruption in comic-book culture is also recommended for the interesting recurring themes that play out(the time periods do not line up for any familiar faces).
The ‘outsider’ that is referenced in the opening quotation, refers to the brewing underpinnings of the Punk Rock culture that stemmed from classical stereotypes of the greaser, the leather-jacket hoodlums, “smoking in the boys room,” and motorcycles—et cetera. This stereotype was posited as a direct rejection of the hippie mentality. Instead of dropping acid in a sunny field and “letting go,” punkers wanted to riot and shoot some heroine just in time to “watch the world burn.” Classics like S.E. Hinton’s The Outsiders(more so the movie than the book for this case, since this is not meant to imply Hinton as having ulterior motives), Marlon Brando’s classic, The Wild Ones, the Broadway classic Westside Story, James Dean’s Rebel Without a Cause, and even less poignant characters like Arthur Fonzarelli. America has indeed long-since romanticized the outsider. Contemporary survival of this mindset exists in other examples, such as the 1990’s Brandon Lee/Alex Proyas cult-classic, The Crow(again, more so the movie than the book since James O’Barr seems to be nothing but an authentic and genuine individual—although both books suggested definitely helped catapult this mindsets upon rise of their popularity.)
Before moving into meat of this occult history of punk rock, it is important to get one thing out of the way once and for all. The material discussed here is not suggested to be an “Illumanti” or “Freemasonic” conspiracy(very few people understand what these terms truly mean anyway)—what is suggested here are two things that have already been heavily documented throughout this nation’s history.
Firstly, that the Mainstream Media, specifically guided by Bernaysian Public Relations, is inarguably a philosophy founded upon indoctrinating the weak-willed to suite society’s needs most efficiently(which subsequently, through a Top-Down economic system, only serves to embolden these indoctrinators long before any actual needs of the society/culture are ever met—if ever). This is the fundamental nature of mainstream media as a mechanism, on an empirical and historically valid level(see David Halberstam’s The Powers that Be on media and government relations on record throughout history).
The second point is that American Military Intelligence has always played a fundamental role within the inner workings of the entertainment industries—after all, a person doesn’t need a conspiracy theory to account for the CIA’s entertainment liaison. The assertion of this article, therefore, is not a bunch of cloaked men conspiring to take down America’s youth(however theoretically possible this could be), but that through economic incentive, the mainstream media has, and has always had, direct benefits to be gained from manipulating the common citizen—by turning the citizen into the consumer first and foremost.
Examples of these PR campaigns are how Bernays, on record, got American women to start smoking nationwide via the media, with the idea of cigarettes as a sort of “torch of freedom,” which in part was quickly wed with feminism and equality for women. Another example, of course, being the classic Laurel Canyon Psychedelic Hippie culture explosion. This research at hand is meant to lay out the entire punk/hardcore and even heavy metal philosophies of life as just as much a public relations tool for indoctrination as the hippie—or even as much as those disturbing laugh-track child-indoctrination sitcoms that Disney and Nickelodeon constantly put out today. This is not meant to directly imply that every single punk/hardcore icon addressed here is a CIA agent, or even necessarily a CIA asset directly. The assertion is that the mainstream/entertainment media itself is a wing of domestic military intelligence and surveillance practice, and that anyone who willingly “signed themselves” over to the establishment, and cultivated entire careers as punkers knowingly in line with public relations narratives, did so in order to receive personal gains promised to them for their cooperation.
Therefore, as referenced in the quote by John Adams, these “anti-establishment” punkers are in fact becoming the “establishment” of the punk/hardcore communities. That’s right—Henry Rollins, Glenn Danzig, Ian McKaye, Lou Reed, GG Allin, Iggy Pop, Jello Biafra, and other names beyond, have “sold their souls” for capital gains at the expense of entire generations of youth. For those of you that didn’t catch those names, that equals Black Flag, Misfits, Minor Threat and Fugazi, The Velvet Underground, The Stooges, and Dead Kennedys. And this is just the tip of the iceberg. Some of these people were just complicit with being whored out by the media, while others, such as Rollins and McKaye specifically, have very peculiar, white-privilege upbringings tied too close to military intelligence for this journalist’s liking. Labels in question include Dischord Records, Slash Records, Reachout International Records, Epitaph Records, SST Records, Touch and Go Records, and Factory Records(although the UK punk scene will remain a side-note in this series for the sake of brevity).
It is becoming increasingly clear that where there is success and prosperity with an industry, art-form, or whatever else, there will be nearly as many “spooks” and “rats”(essentially people with specific ulterior motives, typically government related) as there will be authentic and genuine people. This is not a series meant to dissuade anyone from certain genres of music, and it couldn’t be stated clearer that the researchers of Hoaxbusters Call and The Last American Vagabond have been fans of most of the artists looked at critically here, and if not fans, than enthusiasts at the very least. This is not meant to slander an entire community of people or an art-form, but rather, the intention was to take an unflinching and critical analysis of the very worst that punk, hardcore, and heavy metal have to offer in terms of esoteric occultism, military intelligence, organized crime, and at very best: useful-idiot icons in one of the largest cultural-musical movements of the era. Beyond psychedelic rock and the genres discussed here, hip-hop is well known for list of “spooks,” and so is country music, and onward. Again, the focus of this series is less so on how public relations took an interest in punk specifically, and more so how public relations and the mainstream media will, and have infiltrated any level of art or entertainment where their consumerist agenda can be employed—punk culture being the primary example at hand.
More or less, and to one degree or another, everyone knows that “Top Chart Pop” are the frontrunner indoctrinators, but what too few take into account is how closely associated some of their favorite counter-culture icons are to the underbelly of the establishment. Readers aren’t recommended to avoid punk, metal, or new-wave altogether, but it’s highly suggested to take a cold and calculative look at the artistic influences that have so directly guided them throughout their lives. More often than a person suspects, they will find these influences to be negligent at best, nefarious at worst–and while there will most certainly be actual occult influences addressed here(and that are already apparent in these art communities, specifically with cults such as the Process Church of the Final Judgement, Neo-Nazism, and the dark side of Freemasonry, et cetera), the title of this series is a more direct use of the word; it’s classical definition of “hidden.”
It is time to stop settling for half-truths.
In the coming series of articles on the matter, these heavily suspect case studies will be analyzed—some of which are smoking guns of sorts, and some of which are jigsaw pieces still in the pile. As well, a comprehensive analysis of what the “consumerist agenda” public relations campaign is for punk art culture, and how it inconspicuously fits so snuggly beside the hippie/hipster.
For anyone chomping at the bit for some of the details, here is a list of podcasts done by John Adams and Chris Kendall of Hoaxbusters Call, who have pioneered this research into the Gatekeepers of the punk rock establishment. Much of this article series is a tip-of-the-hat to these gentlemen’s research, and is an attempt to provide a road map of the already-overwhelming amount of data they have pulled on the matter within the last year.
Sources: http://www.ushistory.org/us/46c.asp, http://hoaxbusterscall.blogspot.com/, http://www.historyisaweapon.org/defcon1/bernprop.html, http://whale.to/b/inside_the_lc.html, http://www.gnosticmedia.com/manufacturing-the-deadhead-a-product-of-social-engineering-by-joe-atwill-and-jan-irvin/, https://www.thelastamericanvagabond.com/entertainment/conspiracy-corruption-in-comic-book-culture-excelsior/, https://www.youtube.com/watch?v=Iyq4HZZ4H50, https://www.cia.gov/offices-of-cia/public-affairs/entertainment-industry-liaison, http://www.oxfordpresents.com/ms/kelleher/edward-bernayss-torches-of-freedom/, https://en.wikipedia.org/wiki/Henry_Rollins, http://fourhorsesasses.blogspot.com/?m=1