Category Archives: espionage

Atomic Blonde (2017)

It belongs to the current New Wave of Hollywood Wokegnosis, but it’s better than I expected. This is clearly Charlize Theron’s bid for the female equivalent of a 007 or John Wick franchise. To her credit, she carries off the role of MI6 superspy, Lorraine Broughton, fairly convincingly. Part of me was just happy that the film and character was based on an original property and wasn’t just another tiresome gender swap from an existing franchise.

Atomic Blonde is a Cold War espionage thriller which centers around a list of double agents which has fallen into the wrong hands. The events of the plot are set against the rising tide of democratic populism which culminated in the collapse of the Berlin Wall and Communism 1.0. Since espionage thrillers exist to propagandize clandestine services, it raises some interesting questions about the degree to which the entire Cold War was being stage managed by intelligence agencies. James McAvoy is a double agent named Percival who is also a black marketeer. He is the one who provides all of the Western consumer decadence to the cultural vacuum of East Berlin. From jeans to booze to porn, Percival helped stoke the appetite for Western capitalism and pop culture. Naturally, the film places your sympathies solidly with the burgeoning underground punk culture who are just trying to get some kicks but keep getting terrorized by Stasi and KGB thugs.

There are also several very obvious product placements throughout the film. Given the film’s tacit emphasis on the influence of consumer culture in hastening the collapse of communism, I think that these are more than advertisements. I suggest they reveal the role that these shadow elites played in moving geopolitical power blocs.

Take the nine times Stolichnaya is featured prominently. Yes, Lorraine looks very cool when she’s drinking vodka on the rocks, but why Stoli? Perhaps because the Pepsi Corporation was able to enter the Russian market in exchange for vodka and several naval military vessels. Considering the film’s anti-Russian tone, it could be an additional subtle form of mockery.

Then there are the deeper cultural references. The cutthroat moral nihilism of the film makes the inclusion of Machiavelli’s Prince an obvious choice. A prominent fight scene takes place in a theater playing Andrei Tarkovsky’s Stalker. Since Stalker reads (to me) as an indictment of communism, it’s very possible that David Leitch was reaching for some kind of arch metacommentary by using it as a backdrop for a fight scene. However, I believe that the inclusion of the film all by itself suggests the depth of the role that it, and consumer culture in general, had in turning sentiment against communism.

It’s surely a subject that’s been broached by many others, but the idea of a woman who is a cold blooded killer and can dispatch men bigger and stronger than her requires a greater suspension of disbelief than most other films with male leads. It seems a little too tailor made for wokescolds in the press to regurgitate the standard idiocy about “manbabies who can’t stand #STRONG womyn”. I don’t want to get too pedantic when I’m watching movies, but when every role that was intended for men gets a gender swap, it gets a little stupid.

Furthermore, we’re expected to believe that a woman with highly specialized combat skills was doing elite espionage and black operations in Berlin in the late 80’s and 90’s. Given that approximately .00002% of the current female population are seeking assignments in elite military units in 2019, the starting point is a bit of a reach. Again, I’m not saying that I’m expecting pure realism when I watch a spy thriller, but you shouldn’t have to leap this high just to buy into the initial premise.

There’s also an unfortunate humorlessness to Lorraine. Part of 007’s appeal was his charm and dry one liners. And he smiled, too. Of course, Mx. Theron can’t be bothered to enact that kind of emotional labor for us entitled dudebros, but there’s something just perverse about casting one of Hollywood’s most attractive women in roles where she exhibits no feminine charm. The lesbian makeout scene doesn’t make up the deficit either.

Even the fight scenes create a psychic dissonance that seems calculated to fuel feminist griping over “toxic masculinity”. Every normal man wouldn’t think of physically assaulting a woman. It goes completely against everything decent you’ve ever been taught. Here, you’re seeing men who are fighting Lorraine to the death. At one point in time, men fell in love with actresses in films. Now, men seem relegated to seeing themselves portrayed as dolts and villains while simultaneously watching the most beautiful actresses portrayed as potential deadly adversaries who also happen to be lesbians. Hooray for #EQUALITY.

It’s also kind of funny how schizophrenic Hollywood is in its portraits of communism. If you’re watching Trumbo or Reds, communism is a brave and principled set of ideals. If you’re watching Atomic Blonde or the latest season of Stranger Things, they’re diabolical jackbooted thugs. As someone who grew up during the 80’s, I can firmly attest to the overwhelming prevalence of Cold War hysteria. However, the fever pitch of Russophobia that has permeated every corner of the mediasphere since 2016 feels just a tad forced.

David Leitch manages to imbue the whole affair with enough style and storytelling panache to remain entertaining. The jams are pretty righteous too. In fact, I’m convinced that the inclusion of “The Politics of Dancing” by 80s one-hit synth poppers, Re-Flex, tells us everything we need to know about the role of intelligence operatives in waging psychological warfare and toppling regimes without ever firing a bullet. Despite the film’s final twist which would lead you to believe that it was Lorraine’s cunning badassery that made dupes out of the dirty commies, I suggest that Re-Flex really delivered the overriding message of the film.
We got the message
I heard it on the airwaves
The politicians
Are now DJs

Die Another Day (2002)

James Bond: I’m looking for a North Korean.
Raul: Tourist?
James Bond: Terrorist.
Raul: One man’s terrorist is another man’s freedom fighter.

Trash it if you must, but it has its charms. Not the least of which is Halle Berry’s homage to Ursula Andress. Beyond the fact that the action sequences approach Marvelesque levels of absurdity, there are some interesting pieces of geopolitical subtext to note.

It’s easy to dismiss Bond films as pure escapism, but just about anyone who pays real attention to geopolitics can plainly observe that the real movements of world events take place behind the veil of NGOs, military black operations, shell companies, intelligence fronts, and vast networks of deep state assets. In short, a Bond film offers a window of insight into the true nature of power politics. Of course there’s eye candy. Of course there are going to be hot chicks, gun fights, car chases and high tech razzle dazzle. We expect these things in a 007 film, and Die Another Day delivers these in heaping portions. But this franchise wouldn’t be this big if there wasn’t an agenda behind it.

Die Another Day is most accurately seen as a piece of post-Cold War/post-9/11 propaganda. Specifically, it’s a piece of anti-North Korean propaganda. Released a year after 9/11 and the initiation of the invasion of Afghanistan, the longest war in US history, Die Another Day offers more than a few eyebrow raising propositions to ponder. Especially in light of current events. This film wants us to buy into the idea of North Korea as a military powerhouse which has a net surplus of armaments to hock in the arms trade black market in exchange for African blood diamonds. So not only are these repressive Juchebags exacerbating the conflicts in the mineral rich African countries, they’re exporting arms to innumerable baddies throughout the world. Even worse, they have imperial ambitions to reclaim the Southern half of the country lost to the capitalist running dogs of the decadent West.

Isn’t that something? When George W. Bush and the woke overlords of the Western world were mobilizing all of our collective military might into fighting the Taliban and eventually, Saddam Hussein, Die Another Day wants us to see North Korea as the font of Pure Evil.

But why? Maybe to divert your attention from the fact that the very phenomenon the filmmakers are pinning on North Korea was being underwritten by the West to prop up the War on Terror. In fact, the 2002 story of Sanjivan Ruprah’s arms trafficking to the Revolutionary United Front in Sierra Leone bears a striking resemblance to the storyline in Die Another Day. Isn’t it interesting that this nefarious arms dealer managed to secure a gig as Liberia’s deputy commissioner for maritime affairs? And isn’t it even more interesting that he just happened to be in contact with the CIA with information pertaining to arms smuggling to the Taliban?

[Here be spoilers and shit]

And it gets better. Our chief nemesis in Die Another Day, Colonel Tan-Sun Moon, is the heir to the seat of power in North Korea occupied by his father, General Moon. It’s a mirror image of the real life hereditary dictatorship of Kims Jong Il and Un. Also mirroring his real world analogue, Tan-San Moon is portrayed as the recipient of a Western education. When it’s revealed that he has transformed himself into aerospace/geotech mogul, Gustav Graves, through gene replacement therapy, the presumption is that his acquisition of Western scientific knowledge allowed him to build a solar geoengineering weapon. So our dastardly North Korean dictator who presides over an impoverished communist country in real life threatens the world through access to Western education, capitalism, technology, and gene therapy.

Right.

Above all else, these films are about acclimating you to technological innovation that has far reaching implications. Back in 2002, geoengineering wasn’t even discussed publicly, and 17 years later, it’s out in the open. The idea of a satellite that can replicate or block sunlight and can be weaponized to manipulate weather seems outlandish to most people, but we’re already starting to see this idea being discussed openly as well.

The most disturbing element is the human trafficking implications of the gene therapy subplot. The Avengers franchise eventually used this as a plot device for both Captain America and Black Widow. It’s being used in a similar way here because both Zao and Moon become genetically engineered super soldiers through the process. Halle Berry’s Jinx discusses the therapy with the Cuban physician who administers the treatment, he says that the blood plasma comes from “orphans, refugees and people who will not be missed.” What a pleasant thought. The movie wants you to be repelled because it’s being used by the bad guys, but in real life, this is being touted as a kind of all purpose miracle cure and fountain of youth.

What’s the more plausible thesis about this film? That the organization behind the Bond series just pulled this story out of their asses? Or that it’s a useful distraction and a mental palliative to alleviate the necessity of thinking about things too deeply? Hey. Credit where credit is due. Halle Berry AND Rosamund Pike in one 007 movie are pretty decent distractions.

National Treasure and The Masonic States of America

I was dismissive of Disney’s National Treasure when it was released in 2004. It seemed like a more sedate remix of The Da Vinci Code for a Disney audience, and neither the premise nor Nic Cage’s cinematic charms were enough to make me care. Art hits you in different ways at different times in your life, and I doubt I would have been attuned to the significance of National Treasure’s subtext at that time. Time passes and perspectives change. National Treasure is exactly what I sensed it would be and succeeds as a light espionage/action mystery thriller. But there’s a lot going at the symbolic level that’s very explicit and warrants a deeper examination. Because this was a Disney production aimed at a young audience, I suggest this movie’s pro-Freemasonry message is kind of a big deal from a cultural programming perspective.

I’ve been paying more attention to the architecture of morality and the ways in which it interacts with the belief apparatus. This has led me to examine the sturdiness of the underpinnings of the Enlightenment and American republicanism. Despite being largely perceived as a turn towards secularism and scientism, one of the hidden hands behind these revolutions is in fact an occulted spirituality of another kind: Freemasonry. Though “occult” broadly refers to esoteric spirituality of every kind, it also means “hidden”, and in the case of Freemasonry, it is certainly applicable. The fact that this film is linking Freemasonry to America’s foundations is intentional and borne out by history. While there’s certainly dramatic license taken in the details, the underlying truths are noteworthy all by themselves.

National Treasure is basically a variation on Raiders of the Lost Ark with overt references to Freemasonry instead of encrypted ones. As Benjamin Gates, Nic Cage is a adventurer/historian who’s dedicated his life to unraveling a mystery that was revealed to him by his Mason grandfather, John Adams Gates. As the elder patriarch, Christopher Plummer spins a fantastic tale of the Knights Templar and the untold riches they kept hidden from the Muslims and the British. The Knights managed to conceal the treasure in America, but the map is encoded in disparate objects and letters that are only decrypted by initiates of Masonic mysteries. Fast forward to the present, and Ben Gates’s quest has taken him to the arctic regions of the globe to unravel the mysterious message he uncovered that fateful day. Once the object is discovered, it unlocks another clue which points them towards a hidden map on the back of the Declaration of Independence. Sean Bean’s Ian Howe gets greedy and the race to acquire the Declaration is on. Accompanied by trusty sidekick, Riley Poole and sexy museum curator, Abigail Chase, our heroes scramble to outsmart the dastardly Howe and his goons.

While the conspiracy community is awash in theories over hidden Masonic messaging in entertainment and the Illuminati conspiracy it conceals, National Treasure is one film that isn’t hiding its symbols or their connections to Masonry. They’re front and center. The controversy is whether these symbols are benign or malevolent, and the conclusion you reach will depend completely on your moral, ideological and spiritual frame of reference. National Treasure clearly wants you to see them as benign. Not only that, it wants you to equate Freemasonry with the Founding Fathers and American values themselves. This isn’t far off the mark, either.

American republicanism is seen as the fulfillment of the Enlightenment consensus enshrined in the formation of a new nation. For the first time in history, religious morality was mostly decoupled from the state, and compulsory religious practice was expunged from the law. Religious pluralism, secular reason, the scientific outlook, radical egalitarianism and democratic cosmopolitanism would be canonized as the gods of a new civic religion. This collection of presuppositions formed the basis of what we now simply identify as the pillars of classical liberalism. Depending on your point of view, it’s a set of ideas you want to see conserved for posterity, consumed in a brand new revolutionary conflagration or rejected as a Gnostic heresy.

How does Freemasonry have anything to do with classical liberalism?

While I recognize this isn’t a popular thesis amongst the woke intelligentsia, I’m inclined to believe that the Enlightenment, the French Revolution and the underlying ideals of American republicanism are Masonic in nature. Freemasonry doesn’t officially call itself a religion but it asks its initiates to accept the existence of a Supreme Being. Not unlike the deism for which Thomas Paine advocated in The Age of Reason. A single, infinitely mysterious, divine monad which unites all religions, creeds and races and can never be fully understood by the human mind. Though his status as a Mason is unconfirmed, older editions of Paine’s Age of Reason even featured an essay on the origins of Freemasonry. Most people don’t self-identify as deists or take the same view towards spirituality that Paine did, but his worldview prevailed. The deistic universalism for which he advocated can now be found in the Christian ecumenical movement, New Age spirituality, Buddhist hipsters, and the various manifestations of UN-affiliated, syncretistic Blavatsky lite which also includes Freemasonry. This spiritual mindset came bundled with all of the presuppositions that accompany classical liberalism. Paine’s deism was repackaged and continues to be sold as a perpetually revolutionary set of American ideals with new labels like “liberty”, “democracy”, “equality” and perhaps most importantly, #TOLERANCE . These lofty ideals mask the Promethean promise of a very seductive spiritual truth: apotheosis of the individual.

The fact that these words occlude their Masonic origins is consistent with its nature as as a secret society and a “peculiar system of morality, veiled in allegory and illustrated by symbols”. Throughout the film, Ben Gates has to decode various ciphers, messages, and hidden cryptograms. While this makes for lots of intrigue for the viewers, this is a bit of revelation of the method. Masonic symbols are hidden in plain sight and embedded in every corner of the culture, but invisible to the profane masses due to their ubiquity. Whether they’re used in corporate logos, rock band album art, or the infamous All Seeing Eye that adorns our Federal Reserve Notes, these symbols are imbued with meaning and work at the subconscious level.

Because humans are wired for belief, the question merely becomes one of the awareness of the belief mechanism and the direction in which its pointed. If you are atheist, agnostic, an occultist or subscribe to any non-Orthodox Christian or Islamic faith, the mysticism of Freemasonry is probably no big deal. From an Orthodox Christian or traditional Catholic perspective, this is probably seen as another example of pop culture trafficking a Luciferian doctrine packaged as family entertainment. Freemasonry, or Gnosticism, was challenged as heresy first by Saint Irenaeus and much later by Pope Leo XIII.

However, herein lies the film’s and Freemasonry’s great sleight of hand. Conservatives proclaim the belief that America was a Christian nation while progressives generally claim that it is secular and pluralistic society in which American propositions supersede proper religion. I suggest that the progressives are fundamentally correct. Conservatives may grouse about the erasure of quasi-Christian norms and traditions in the public square, but the ideals of American republicanism were departures from traditional Christian theology in the first place. The Christianity that took root in the early colonies was mostly Puritanism which in turn gave rise to increasingly atomized denominations. Add in Roman Catholics, Baptists, Unitarian Universalists, atheists and a dozen different versions of Protestantism and the idea of a unified Christian body politic becomes an increasingly untenable proposition. Subsequently, progressives are constantly able to capitalize on a fractured conservative constituency by painting themselves as the pious majority and their opponents as callow hypocrites. Perhaps America’s true national religion is the Cult of the Individual smuggled into the psyche through veiled Masonic euphemisms and symbols. Perhaps Freemasonry’s great triumph was that it swapped out religious orthodoxy in favor of a doctrine of radical individualism divorced from ethnicity, history or an abiding national identity. 231 years after the ratification of the Constitution, Disney decides the time is ripe to canonize Freemasonry with a family friendly action movie which blurs reality and fiction sufficiently well that the public likely remains anesthetized to the possibility that they’re unwitting vessels for a spiritual worldview that goes unquestioned.

Most people would shrug this off under the presumption that there’s nothing to question in classical liberalism. It gave birth to America, so what’s the problem? That’s a reasonable question, but I’m dubious on where the classical liberal framework is leading us. While those who claim a stake in the so called “intellectual dark web” are attempting to tend the breached walls of classical liberalism in order to forestall the continued advance of neo-Marxist identity politics, the #EQUALITY goalposts move further and further into the Twilight Zone of pure insanity. Classical liberalism has begotten postmodern identity politics. Classical liberalism has created a marketplace for Marxist academics, feminist hacks, despotic technocrats, racial demagogues and globalist sociopaths like George Soros who engineer social unrest, capitalize on the chaos, and then fund the fifth column organizations who work to unravel society even further. It’s the freedom to accept a marketplace for depravity, degeneracy and perpetual revolution. It’s the freedom to be mocked and demonized for even suggesting that there are traditions that are worth conserving. Progressives like to see themselves as uniquely empathetic and attuned to the suffering of the underdog, but somehow, this empathy can only be realized through neverending political protest, language policing, and exerting absolute dominion over the cultural dialogue. The subsequent result of this worldview has been an atomized population, moral relativism, postmodern subjectivism, and the radical quantification, automation and commodification of life itself. We’re at a point where the simple desire to marry someone of your own race is considered a shudder inducing rallying cry of “white supremacy”.

Paul Revere. Grand Master Freemason.

By the film’s conclusion, Gates uncovers an enormous treasure of what appears to be Egyptian artifacts and relics. The film ties Freemasonry back to its pagan and polytheistic Egyptian roots. Since these artifacts were of incalculable value to civilization, both Gates and the Freemasons come out looking like heroes and stewards of ancient mysteries that would have been destroyed in different hands. Regardless of how much dramatic license is taken in the details, the mere fact that our very first president, George Washington, was himself a Freemason lends weight to the myth. America’s list of known Freemasons who’ve occupied the Oval Office, worked in powerful federal agencies or scaled the heights of pop culture success lends even more gravitas to the claim of Freemasonry’s widespread influence in American life and thought. When Harvey Keitel’s Agent Sadusky flashes his Masonic ring, we are to understand that the Brotherhood extends to the highest echelons of power throughout the nation to this day. Naturally, Gates is exonerated from criminal charges because his higher service to mankind is recognized by the Brotherhood. Besides, laws are only for the peasants anyway.

Ben Franklin. Freemason.

As is often the case with Hollywood films, the fictitious veneer often masks a reality. The film propelled the heroes through the National Archives, Independence Hall and culminated in a church in lower Manhattan. Gates had to uncover secrets from historical documents and objects hidden within the buildings. Three years ago, when the Massachusetts State House politicians hosted a ceremony to unearth the time capsule buried by Paul Revere 220 years ago, the Freemasons were the ones who were entrusted with the task. Just like the film, the contents were passed to the Museum of Fine Arts staff. Not exactly a roomful of Egyptian artifacts and relics, but of significant historical value nonetheless.

In a manner that was very similar to the film, Freemasons are present at the unearthing of a significant piece of American history and their connection to our national heritage is cemented into to minds of the public. Freemasons are woven into the fabric of American leadership, history and ideas in ways that, prior to this film, go mostly unrecognized. On the surface, it seems pretty benign and even downright noble. That’s certainly what Disney wants you to think. But Disney is in business of manufacturing symbols that create new realities. You could say it’s a kind of magic. They say Disney is “the most magical place on earth.” Something tells me their fascination with magic makes them natural allies with Freemasonry. I’m just not sure it’s as benign as they want you to think.

David McGowan: Weird Scenes Inside the Canyon

When I first started putting my liberal assumptions about the world to the test, I really thought that libertarianism had done a pretty thorough job of slaughtering all the sacred cows with which I’d grown up. Little did I know that an even more powerful red pill lay between the covers of David McGowan’s chronicle of the bands that defined the flower power counterculture, Weird Scenes Inside the Canyon. If you’re at all like me in that you bought the mythology of the 60’s being an era of enlightened emancipation and a fearless rebellion against repressive norms and reckless imperialism, then you are well advised to brace yourself for a severely rude awakening. Weird Scenes may, in fact, shatter your world. It’s not that McGowan has uncovered lots of brand new revelations that have never come to light. It’s simply that he’s peered between the cracks of both the public record and the mythology of these artists and dug deeper to reveal a mosaic of facts that can hardly be dismissed as mere coincidence. McGowan’s work will doubtless be viewed as conspiracy theory to many, but his sources and methods are very conventional. What McGowan himself concedes as the hurdle of disbelief that the reader might encounter is the manner in which he’s pieced together the history and the implications thereof. What we learn from Weird Scenes is that not only were the movers of the 60’s musical revolution mysteriously concentrated in the very exclusive Laurel Canyon area, but what bound all of them were three common threads dangling against the backdrop of one highly curious phenomenon.

  • Family connections to the military or intelligence community
  • Connections to the occult
  • A long chain of mysterious deaths and brutal murders
  • Laurel Canyon was home to a top secret military intelligence film studio whose presence and purpose remain largely unknown to this day

All of the information presented runs completely contrary to the mythology of the Peace and Love 60’s counterculture. In fact, McGowan’s work doesn’t just cast doubt on the idea of an organic social and cultural phenomenon, it detonates the very foundations of the popular myth. At the core of the book are simple but mind blowingly provocative questions:

What if the counterculture revolution was engineered?

What if these artists were working in concert with the military intelligence establishment to mainstream rock culture and decadence?

What if the goal was sabotaging both the antiwar Left and hastening the break down of the social order?

I know what you’re thinking. That sounds like crazy talk, but McGowan’s thesis is reasonable. He posits that there was an active and engaged antiwar movement on the Left. He also delineates between the real activists and the decadents who were eventually branded “hippies.” He is suggesting that this decadent strain of counterculture was the unique export of the Laurel Canyon phenomenon. And despite the weight of the lore surrounding the Haight Ashbury scene, the Laurel Canyon scene preceded it by a couple years. Obviously, McGowan doesn’t unearth the secret white paper or the definitive proof of the CIA’s hidden hand. Rather, what emerges is a series of patterns that suggest that the convergence of so many artists with so many common connections who left such a large pile of corpses in their wake is something other than cosmic serendipity.

McGowan begins by sketching the broad strokes of his narrative arc and fills in the details in the subsequent chapters. I don’t think I’m alone by saying that I had to shake off brain scrambling bewilderment at every turn of the page. I was suspicious of the monolithic leftist messaging of the music industry, but I had no idea how deep the rabbit hole went. I suspect I’m no different from others in thinking that that the industry is corrupt, and any artist’s untimely death, eccentricities or habits can be chalked up to that simple fact. We accept the notion that the industry places incredible pressures on artists while offering unlimited access to every vice and pleasure. But is it mere coincidence that nearly every one of the characters in the Laurel Canyon scene was connected to the military intelligence community somehow? And if this was a collective act of rebellion, where are the public denunciations of their parents’ actions and allegiances? Is the confluence of all this talent, both real and imagined, and the speed with which they were catapulted into the limelight a purely organic phenomenon? If the establishment really saw them as a threat to the social order, why weren’t law enforcement officials making routine sweeps of the Canyon? Why did the media establishment trumpet these artists with enthusiasm if there wasn’t a tacit acceptance of an overall lifestyle message from the highest echelons? How did these artists routinely escape the draft or any convictions?

Weird Scenes focuses on the prime movers of the early Canyon scene. These included The Byrds, Buffalo Springfield, Frank Zappa and The Mothers of Invention, Captain Beefheart, The Doors, Steppenwolf, Love, The Beach Boys, The Monkees and The Mamas and the Papas. This scene also included what were then considered the Young Turks. Dennis Hopper, Jack Nicholson, Warren Beatty, Bruce Dern, Peter Fonda, Sharon Tate, and Jane Fonda all have intelligence community connections just like their rock counterparts and are an integral part of this tapestry. It’s odd that a pack of up and coming actors wouldn’t mind being canonized in the press by being associated with the folks who initiated the Armenian genocide, but then again, the fact that this name lives on in alternative media as a leftist propaganda and current affairs show tells you a lot about this industry.

There are also fascinating side stories about some lesser known artists who all had links to the Canyon scene in one way or another. Fans of Roky Erickson, Judee Sill and Phil Ochs will appreciate the depth of McGowan’s research. Each band achieved different levels of public success, but each story peeled back new layers of intrigue, pathology and decadence that was a way of life in this exclusive enclave nestled in the Los Angeles hills.

I don’t know how these individuals fare in other rock history books, but no one comes out looking particularly great. Since so many of the Laurel Canyon luminaries were children of the military establishment, the fact that several notable figures exhibited domineering control freak/cult leader-like tendencies should come as little surprise. Stephen Stills, Frank Zappa and John Phillips in particular all fell into this category. Though it’s largely peripheral to the Zappa saga, Don Van Vliet (aka Captain Beefheart) is exposed as something akin to a pathological Mansonesque cult leader. This is also chronicled in all its cringe inducing detail in Zoot Horn Rollo’s extraordinary memoir, Lunar Notes.

If it seems like every couple years, we get a new telegenic boy band to ignite the hormones of the tweener set, you can thank The Monkees. The genesis of the manufactured media friendly boy band can certainly be traced back to them. As it turns out, very few of the Canyon bands were actually very good in a live setting. The story behind The Byrds in particular will definitely leave you a little slack jawed. Most of these early acts relied on the talents of a group of studio musicians that eventually became known as the Wrecking Crew.

Zappa’s tale is a particular standout because he stands apart from virtually everyone else in the history of rock both artistically and politically. Zappa remains highly regarded by musicians because his oeuvre is such a singular achievement in the history of 20th century music. Setting aside all other concerns and caveats, Zappa’s unique gifts and prodigious output are legendary when measured against artists of any genre. Needless to say, Zappa was also a complete totalitarian. Even if he was shilling for globalist institutions like the IMF and the World Bank, his anticommunist/neoconservative political convictions also set him in sharp contrast to virtually every other major artist. Zappa also notoriously ridiculed hippie culture while actively trying to consolidate that very audience for his band. If you strip away the avant-garde nature of his music, you have very unique window of insight into this entire cabal. Culture creation that emanates from the globalist/military intelligence complex which presents an illusion of freewheeling bohemianism but masks a uniquely authoritarian and pathological mindset.

Then there are the myriad stories of rampant sexual promiscuity and sexual depravity. Before Manson hit the Canyon scene, Vito Paulekas and his entourage of Freaks apparently single handedly launched the phenomena of the Free Love Hippie. Rock has long been associated with sex and drugs, but Paulekas in particular seems to have played a significant role in cementing that association in the public mind. The fact that this routinely included teenagers is yet another eyebrow raising revelation. In fact, sex with underage kids and pedophilia is an undercurrent of more than a few stories. It is howlingly hilarious that pop stars are now publicly preaching the #MeToo hashtag as though they’re these pious crusaders when everyone knows that the industry’s history and underlying message has always been one of pure sexual decadence.

At the bottom of the depravity barrel are the two sets of murders that betray the heart of darkness that seemingly defined Laurel Canyon. These were the Wonderland murders and the Manson murders. It even includes possible connections to the infamous Black Dahlia murder. Needless to say, connections to the occult go hand in hand with all of these stories. What is to be made of the string of torched homes and unexplained or mysterious deaths surrounding so many of the Canyon’s brightest stars? What is up with Gram Parsons’ death? What should we conclude about Gene Clark’s bizarre demise? What really happened to Jim Morrison? The list goes on longer than you can imagine.

It’s mostly a secondary theme in the book, but mafiosi and serial killers are also part of this sordid tale. Between this book and Fredric Dannen’s Hit Men, the full weight of the music industry’s degeneracy begins to show in its Dorian Gray-like visage. Ironically, McGowan took up this project based off the work he did exploring serial killers in his 2004 book, Programmed to Kill. It’s a merely a side dish in the Weird Scenes narrative, but Rodney Alcala’s story alone should leave you asking a few questions.

The one aspect of the McGowan’s work which is probably unique among all historical accounts of this scene is his exposé of the top secret military film studio, Lookout Mountain Airforce Station. It was billed as a film processing studio for nuclear testing footage, but that just doesn’t add up. Why would the military schlep film all the way from Nevada to Laurel Canyon? They could’ve done that anywhere. This was a fully equipped studio with sound stages, screening rooms, an animation department, climate controlled vaults, a bomb shelter and a helipad. This sounded more like a prototype for ILM or WETA. Hollywood luminaries ranging from Ronald Reagan to Marilyn Monroe all had clearance to work there on undisclosed projects. I suppose that like every other phenomenon of life in the Canyon, it’s all just a big coincidence. Right?

McGowan concludes with the transition from the 60’s and 70’s Canyon artists to the origins of 80’s New Wave. Rock was a well established phenomenon by that time, so if you think that puts a kibosh on all this conspiratard nonsense, you’d be dead wrong. As every rock fan is aware, a little record label called IRS Records run by a gentleman named Miles Copeland III was home to more than a few big names in 80’s pop. His brother Ian Copeland also ran a booking agency called Frontier Booking International (aka FBI). Combined with the IRS roster, FBI’s contact with other major artists extended their influence over the New Wave era even further. Their little brother, Stewart, formed a little band called The Police. Big deal, right? Plenty of families go into the entertainment industry. It would be easy to dismiss if the patriarch of the Copeland family weren’t a well known CIA operative. So I suppose the children of a spook who collectively form a label called IRS, a booking agency called FBI and a band called The Police and end up dominating the 80’s is just another coincidence. Right?

Right.

This book was a revelation, but it was also really difficult. Even if I didn’t own records by every artist, they collectively formed the background soundtrack to growing up in California in the 70’s and 80’s. I don’t think I’m alone in thinking that the pioneers of counterculture were brave contrarians, rabble rousers, eccentrics and visionaries. In a world of phony politicians, bloodthirsty war hawks and corrupt businessmen, the artists were supposed to be the fearless truth tellers and the guardians of the human soul. They might’ve been decadent, but the art made up for their excess. How wrong could it be to try and create a Brotherhood of Man through rock n’ roll? The fact I completely handwaved away the implications of someone like Charles Manson ingratiating himself with the leading lights of counterculture is certainly a testament to pop music’s effectiveness in engineering a perception of unassailable righteousness. But what if the gulf between the fantasy and the reality was wider than you ever imagined? What conclusions are you supposed to reach about an industry packed with connections to the intelligence community, gangsters, occultists, control freaks, pedophiles, and otherwise pathological degenerates? Even if you really, really loved the music that came from it? The prospect that the entire rock revolution was a giant military psyop is among the bitterest pills I’ve ever swallowed. That’s not to say that there was no organic artistry or genuine greatness, but once you peer behind the curtain, the rock n’ roll wizard loses some of his mojo. Sometimes, the truth hurts. Dave McGowan deserves credit for administering the tough medicine.

Live and Let Die (1973)

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I watched this film again after many years and was supremely entertained. After it was over, I had this thought. I bet that some twat out there probably thinks this film is racist.

Sure enough, a rudimentary Google search turned up all kinds of hits. So allow me to present a counterpoint view to the racism cops and culture cops who seem intent on destroying anyone’s ability to simply enjoy a piece of pop entertainment without a cloud of guilt.

One of the standard arguments goes like this.  The villains are black.  The hero is white. Ergo, RACIST!

The plot of the film involves 007 investigating the murder of two agents who were killed by a drug lord. The film also involves an inner city crime boss and henchmen and contains some Hollywood portrayals of voodoo culture and ritual. Naturally, Bond makes it with a black woman, too. In short, Live and Let Die is loaded with Blaxploitation imagery and archetypes.

So case closed, right?  It’s just another racist piece of shit, yes?

Not so fast.

First off, films are first and foremost, entertainment. They’re generally fun. This is especially true of the entire James Bond franchise. Even if you are presenting a dramatic and serious work, you still have to have an appreciation for the fact that you are out to entertain.

If you are one of those sanctimonious assholes who think black people will be “harmed” by these portrayals, consider the possibility that you hold a condescending view of blacks and that you are the fucking racist.

Second, Bond films are well written stories with vivid characters and witty dialogue. They are stylish and sexy to boot.  Broadly speaking, these are positive qualities in art as far as I’m concerned. Furthermore, good and evil are not traits on which any race has a monopoly. The only measuring stick which should be applied is whether the character is well written and serves the dramatic arc of the story.

But if you really want to split hairs, the worst thing about this film is not the portrayals of black characters. It’s that Bond represents an absurd caricature of government excellence.

I mean, come on.  Bond lives a life of exceptional luxury. He has unlimited access to the most advanced technologies and they all generally work very well. His exploits take him all over the globe. That’s a hefty tab for the taxpayer.

The problem is not that the drug lord was black.  It’s that the government has criminalized drugs and that’s a great way to disenfranchise and demonize blacks. This film is merely portraying what the government has been doing for years in a stylized and campy way and portrays Bond as being on the “good” side of the fight.

Furthermore, this was a professional endeavor. These were professional actors who voluntarily chose to play these roles.

So basically, culture cops, it comes down to this. If it really bothers you, watch something else.  It would be preferable if you could simply seek out the art that affirms your values 100% or just admit that you are joyless fucks and you are intent on destroying fun for everyone else.

To everyone else, it’s Bond, man. And it’s the kind of film that doesn’t get made anymore.  If the culture cops succeed in their seemingly endless quest to find racism and -ism du jour in everything, we may see less of these kinds of films.

You know.  Films that are fun and entertaining.