Note: I spoke with dave & organised a podcast with him in early 2015 but we had terrible skype problems & decided to do it another time. Dave was going in for more Chemo & i lost contact with him before he passed away, he was a true gentleman & a very genuine guy so R.I.P David McGowan.
“The only question now remaining, I suppose, is simply this: how long can we – the American people – allow a government to stand that is so depraved, so fundamentally corrupt and criminal, so completely lacking in any semblance of morals or basic human decency that it would traffic in the minds and bodies of our children? HOW FUCKING LONG? “
December 18th, 2015.
Dave McGowan 1960-2015.
An Immense loss to those who are trying to learn and spread the truth.
On November 22nd 2015, American journalist and researcher Dave McGowan died of cancer. He was just 55 years old.
McGowan provided quality commentary and research on a number of important issues but was perhaps best known for his work on the Moon landings.
This probably explains the fact that McGowan’s death has largely been ignored, with a brief mention at Truth and Shadows and a piece at Memory Hole the only noteworthy mentions of his death alongside the conventional obituary that provides an outline of Dave McGowan’s life.
“A lifelong Angeleno, David was born in Torrance on March 25, 1960, and died at home in Eagle Rock on November 22, 2015. He graduated from Torrance High in 1978 and from UCLA in 1983. In addition to owning his own construction business, he was a courageous and brilliant investigative writer whose insightful work opened the eyes and minds of many. He is survived by daughters Alissa, Megan, and Shane McGowan, parents J. Robert and Shirley Griffith McGowan, and brothers Michael and Craig.”
This brief tribute comes belatedly as I expected that many others, better acquainted with McGowan’s work would chime in on this loss.
I appreciated McGowan’s work a great deal although I have never researched the Moon landings in detail and cannot claim with any confidence that they never happened, it is clear that the footage of the landings was all faked and it is highly likely that McGowan was correct to state the whole thing was a fraud.
Like the Holocaust, the Moon landings are used as a weapon to discredit those who question the Official story of any event as being either mentally imbalanced and “beyond the pale” in the case of the Moon landings, or ethno-religious hatred in the case of the Holocaust.
McGowan did some of the best and most important work on the Boston bombings of 2013.
Caravan To Midnight – Episode 269 David McGowan Talks Boston Marathon
It was after this radio appearance on April 13th, 2015. that McGowan received a message that he should “watch out for cancer.” A week later he was diagnosedalthough it is entirely possible that these two things are not connected.
That work, along with his excellent 911 research and analysis, of 911, the Laurel Canyon intelligence driven music scene and so many other issues created a proud legacy and set a fine example to others who would aspire to discover and share the truth.
The special thing about McGowan was the way he combined the hard headed approach of the professional journalist with the wild eyed freedom of the conspiracy researcher.
Anyone in doubt as to the quality and versatility of McGowan’s writing need only read “the Pedocracy” McGowan’s little known but extremely high quality expose of the cover up of child abuse crimes and the blackmail networks that sit above them, he also produced a powerful account of the Finders cover up.
The Pedocracy is one of the best pieces of writing on the subject, right up there with “the Franklin Scandal” by Nick Bryant and it is a work that Google have chosen to exclude from their search results.
Even a search on the precise title and author provide results that at best, contain links to McGowan’s piece.
Searches on Startpage were equally useless.
Many thanks to Dave McGowan for his work and I hope he is in a better place and no matter how long it takes or how many fall along the way, one day the truth will emerge and hopefully Dave McGowan’s fine work helping so many on that journey will be properly remembered at that time.
BOOK REVIEW: Weird Scenes Inside the Canyon: Laurel Canyon, Covert Ops & The Dark Heart of the Hippie Dream by Dave McGowan (Headpress) 2014
Back in the summer of 2008, a few weeks after writing a 40th anniversary review of the psychedelic cult film Head, featuring The Monkees, I got a weird email from a reader who suggested I check out a website by a guy named Dave McGowan and his recently-launched online investigative series Inside the LC: The Strange But Mostly True Story of Laurel Canyon and the Birth of the Hippie Generation.
Naturally curious, I checked it out and fell into the proverbial “rabbit hole” from which I have yet to return. McGowan’s research on the rock music scene that artificially “sprang” from the countercultural Los Angeles-area enclave of Laurel Canyon was absolutely shocking.
“The story of the scene that played out in Laurel Canyon from the mid-1960’s through the end of the 1970’s is an endlessly fascinating one” and that while most folks know about San Francisco’s Haight-Ashbury scene, Angelenos, of which McGowan is one, “remain ignorant of the even larger music and counterculture scene that played out in the Hollywood Hills.”
And a 2008 radio interview I conducted with McGowan on a local pirate radio station proved even more revealing for me. Rock stars like Frank Zappa, John Phillips of the Mamas and the Papas, Arthur Lee of Love, Jim Morrison of The Doors, Peter Tork of The Monkees, David Crosby (The Byrds) and Stephen Stills (Buffalo Springfield), who collaborated with Crosby, Stills & Nash and many others get a serious look. So do the actors and directors who hung out and lived and partied in Laurel Canyon – a place that also happened to be home to the military’s Lookout Mountain Laboratories, a place that was a studio that created classified motion pictures involving atomic-bomb tests and – likely much more – between 1947 and 1969.
While that may not seem so unusual in the midst of the Cold War, many of the names above were linked or directly involved in the military, through family members or personally.
As McGowan notes: “How is it possible that not one of the musical icons of the Woodstock generation, almost all of them draft age males, was shipped off to slog through the rice paddies of Vietnam? Should we just consider that to be another of those great serendipities? Was it mere luck that kept all of the Laurel Canyon stars out of jail and out of the military during the turbulent decade that was the 1960’s? Not really.”
McGowan suggests that these Sixties-era megastars weren’t touched by “The Establishment” because they proved to be useful tools in their efforts to water-down or co-opt any efforts of a truly grassroots movement that could have emerged and brought real change and an earlier end to the meat grinder in Southeast Asia. Perceived anti-war anthem “For What It’s Worth” takes on a whole different meaning – figuratively and literally.
McGowan notes how so few of the Laurel Canyon artists really demanded an end to the war, killing so many of their peers. Jim Morrison? ‘Fraid not. Mr. Mojo Risin’s dad, U.S. Navy Admiral George Stephen Morrison was the man in charge of the naval ship, theU.S.S. Bon Homme Richard, which was involved in the very Gulf of Tonkin incident that led to escalation of the Vietnam War. In fact, McGowan includes a photo of a clean-cut Jim Morrison on the bridge of the infamous ship with his dad in early 1964. Just a few years later he would be asking the world to ‘break on through to the other side” and to “light his fire.” All the while, he largely ignored the politics of the day and had seemingly no musical training or interest. How convenient.
And while Peter Tork, for instance, worked the coffeehouse folk scene in Greenwich Village and was friends with folkie Stephen “The Sarge” Stills, a guy who boasted he had spent time in Vietnam, likely before troops were sent there in the mid-1960’s.
And Tork? What was he allegedly doing before landing a gig as a doltish, bass-playing Monkee on the hit NBC TV series in 1966?
Tork, writes McGowan, “’migrated to Connecticut then Venezuela,’ which was, I suppose, a typical migratory route for folkies in those days.”
I looked into this and sure enough, Tork (then known as Peter Thorkelson) was in South America for a month or so, allegedly visiting family. But was he really? Or was he on some sort of “secret mission” as his pal Stills has implied in the past? Oddly, I have found no official biographical book on Tork and he is decidedly the most mysterious Monkee of the quartet.
And while the mid-20th century spawned many creative people who came from military-linked families, primarily due to the World Wars and the ongoing Cold War, it is strange to see how many of these Laurel Canyon musicians (Zappa, Stills, Phillips and others) and actors (Dennis Hopper, Jack Nicholson, Bruce Dern, Peter Fonda and others) directly descended not only from military families from the East Coast but in some cases from elite families who first settled early America and/or were involved in secret societies.
And sure, we’ve heard rumors about Charles Manson and his songwriting abilities. All true. And members of the Beach Boys (primarily surfer/drummer Dennis Wilson) were among Charlie’s besties. This Wilson brother would die under mysterious circumstances as well, dying while swimming in 1983. Indeed, the canyon has some dark and winding roads – many of them leading to mysterious “suicides.”
… or possible human sacrifices to the Dark Lord. McGowan, in his chapters “Vito and His Freakers: The Sinister Roots of Hippie Culture” and “The Death of Godo Paulekas: Anger’s Infant Lucifer,” we are introduced to debauched guru and self-described “Freak” Vito Paulekas, along with his wife Szou and his disturbing companion Carl Franzoni. These guys helped get The Byrds (a largely untested, musically-limited band which was as much or more of a manufactured act than the derided Monkees, at least in the early years) off the ground by doing spasmodic, freakish dance moves on the dance floors of clubs that sprouted overnight on the Sunset Strip. That freewheelin’ behavior cloaked something far more ominous.
Paulekas shows up in the underground film Mondo Hollywood and likely had allowed Satanist and suspected snuff-film creator Kenneth Anger to feature the three-year old Godo as his “Lucifer” in a film he was working on. It is then that Mansonite and former Grass Roots (a different “Grass Roots,” later renamed Love) guitarist Bobby “Cupid” Beausoleil becomes the Luciferian replacement.
“Calling themselves Freaks, they lived a semi-communal life and engaged in sex orgies and free-form dancing whenever they could,” writes McGowan, describing Vito and the Freakers.
And when Vito split, Manson happened to show up in his place, because, as McGowan writes, “It makes perfect sense, in retrospect, that Charles Manson and his Family came calling just as Vito fled the scene, and that a Mansonite replaced the freak child (doomed Godo Paulekas, said to have died after falling through a skylight while tripping on acid) as the embodiment of Lucifer. For the truth, you see, is that in many significant ways, Charles Manson was little more than a younger version of Vito Paulekas.”
Hollywood being Hollywood, is it really all that much of a surprise that all the signs point to the Laurel Canyon “peace and love” folk-rock and singer-songwriter scene was likely entirely manufactured? We know drugs were rampant, occult activity commonplace and a bloody trail of corpses that shocks to the core.
Chapters on The Byrds’ troubled Gene Clark and (later) Gram Parsons, along with iron-fisted tyrants like Frank Zappa, Stephen Stills, Arthur Lee and Captain Beefheart; and sex maniacs (and likely incestuous pedophiles) including various Beach Boys and “Papa” John Phillips, all seem to point to something much more hidden and sinister going on in Laurel Canyon. After all, these perceived peaceful hippies had a rather violent, authoritarian streak about them – quite counter to the image one usually conjures when imagining the happy vibes emanating from the Mamas and the Papas as they perform “California Dreamin'” on a TV variety show.
Even the death-obsessed and positively evil Process Church of the Final Judgment played a role in Laurel Canyon and surrounding areas. Just ask one-time cape-wearing David Crosby or any number of lesser-known “musicians” who came even later. For all the ocean breezes, bikini babes and daisies and so forth, the ever-present Southern California sunshine couldn’t possibly pierce the darkness hanging over Laurel Canyon.
Later chapters touch upon New Wave and punk music’s Copeland brothers (which includes Police drummer Stewart Copeland) and the family’s connection with intelligence agencies and another (inexplicably, perhaps) going into illusionist Harry Houdini’s possible link to the early days of Laurel Canyon.
Sure, there could be a lot of coincidences (the writer of The Association’s ’66 cult-and-drug-flavored hit “Along Comes Mary,” Tandyn Almer, just so happens to split L.A. and die in the spooky D.C. suburb of McLean, Virginia, where Morrison, John Phillips, Mama Cass Elliot, Peter Tork and others hung out in their early years), with all these covert ops, serial killers running around and funding that seems to come from nowhere. After all, who paid for all of this for so many years?
McGowan, I should note, is a very personable writer with a breezy and even humorous writing style. I would be giving Weird Scenes Inside the Canyon an excellent rating if it were not for a few editing and spelling errors. I did like the inclusion of a foreward from conspiracy writer Nick Bryant (The Franklin Scandal) and his comments on this book having a healthy sprinkling of the “military/intelligence complex.”
And McGowan puts you there in the canyon. I only wish all the photographs he used in his online series, featured at The Center for an Informed America, were here as well. While I was quite familiar with McGowan’s wide body of conspiracy research and I had already read a lot of this Laurel Canyon information before, reading it again – and some new nuggets – was well worth it, particularly as I continue my research on my book focusing on the rock music created and/or released in 1966.
Dave McGowan’s Website:
For most teenagers music is a form of rebellion.
From listening to Ozzy Osbourne summon wizards and witches to fantasizing about hanging with Ice Cube on the streets of
Compton, the power of music has inspired teens of different backgrounds and generations. Whether it’s the swivel of the King’s hips or the gut wrenching strumming from a man who sold his soul to the devil at the crossroads, music can teach us how to love, live, laugh, cry and kick ass. When we listen to our old heroes, we believe they truly know what the world is about and how to rebel against it. But what if are anti-‘the man’ rock idols were nothing more than mind-controlled victims? Purposely placed false prophets designated to be the leaders of the counter-revolution, but actually serving the real purpose of a revolution in a war on intelligence. As a culture of intellect and open thought suddenly became overrun with rampant drug use and longhaired Hippies.
Conceived in the 60’s and perfected by the dawn of the new millennium this new form of mind science would be used on the unsuspecting youth, most prominently through the art of Music. This movement began to spread its message of peace, drugs, love and all just in time for a new war and timely C.I.A. Coined slogan “Tune In – Turn On – Drop Out” A new chapter in American history began with the escalation of the war in Vietnam after the country’s most popular president was slaughtered on national television. This era would eventually lead us spiraling down to our present path of watching mind controlled musical icons enact ancient satanic rituals, elaborately staged and broadcast in High Definition and surround sound to the delight of our eyes and ears. Unaware that we are being bombarded with occult symbology, and satanic theologies descended from ancient pagan astro-archaeologic beliefs.
With the help of the C.I.A. the British MI-5 and projects like MK-ULTRA, the Music industry created a new batch of “Idols” who promoted drug use, bad behavior and lyrics steeped in satanic symbolism. Eventually music would be turned into nothing more an ongoing satanic spectacle, where every video and award ceremony is host to occult symbols and rituals. Gone too would be any sort of lyrical mastery. No more social commentary, and no chance for some great poet to awaken the sleeping masses. This esoteric conquering of the music industry has many outstretched tentacles, but the brain of the beast lived in the capitol of wizards and witches.
Emerging from a hidden hilltop enclave high above the city of angels, Occultists and Scientists in a secret military base would go on to perfect the art of mind control. In doing so, they created the West coast rock scene, the hippie movement, the drug culture, Gangster Rap and the eventual destruction of society. But this secret satanic experiment with the music industry doesn’t just include the west coast, the blues or the Beatles, but reaches back in time to the occult musical worlds of Mozart and Beethoven. The year 1967 marked the breaking point in the short history of the United States. The dreams of the British scribes who wrote A brave new world and 1984 were finally being brought into fruition. The long planned goals of eugenics and social engineering were finally escalated to warfare status against the unsuspecting American youth. Still recovering from the shock of watching the president get his brains blown out for everyone to see and the worry of getting drafted in some bullshit war. The continued presence of invading American troops increased dramatically during the four years after JFK’s death. With over 475,000 serving in Vietnam (mostly poor teenagers) and the rallies of protesters against the war, pot smoke and nervous tension was in the air.
Also during this year the Beatles broke new sonic ground with the release of the ‘Sgt. Peppers Lonely Heart Club Band’ album. The Beatles had been the first social mind control experiment imported to America–an experiment that met with instant success. 1967 also contained the fabled “Summer of love” consisting of horny teenagers growing their hair, smoking weed, tripping balls, and grooving to the vibes of The Grateful Dead. These pot-friendly musical gatherings lead to the beginnings of mass, outdoor rock concerts. The first-ever rock festival at Monterey, California was attended by over 100,000 bright-eyed teens, ready to rock n’ roll and have a good time–never knowing that they were the first test of what would become an on-going social experiment the likes the world had never seen.
This new era in American culture would go on to set the stage for the empire’s eventual decline. Only a few years before the summer of love plans were set into motion and strangers with similar backgrounds came together. Most shared a family history within the high rankings of the Military Industrial Complex. Some even had royal bloodlines going back to the old world. These people would soon provide the faces and sounds of pop culture. They would influence their generation and future ones with the music and films they created. By the time this group shaped pop culture the controllers behind the scenes of the MIC were ready to implement the next step towards their total mind control plan.
With the total corporate lockdown of the radio stations they could finally do away with any music that wasn’t aligned with their agendas. Secret occult messages have been mixed in music since the days of Pythagoras in ancient Greece, and continued to be prevalent in the beginning of modern known Freemasonry. Mozart and Beethoven were subjected to this long before Jim Morrison wrote poetry on Venice Beach while tripping on Acid. Our journey into the winding history of the Occult Sound System stretches from the mythical realms of ancient Greece, the fabled lands of 18th century Germany and all the way to the hedonistic clubs in South Beach. We’ll learn sonic truths that go far beyond the lore of Hollywood, lift the veils of pulsating secrets and learn about the real power of Music.
Sound, especially the sound of music is generally accepted to live, thrive and belong to a higher consciousness within, and around us. Everything in nature and the universe has sound and can be broken down numerically. Our internal fluid bodies vibrate to sound frequencies. For example, it is a known fact that animals flee an area before an earthquake or tsunami. They hear something uncomfortable, perhaps piercing and they run away from it. Humans are not in tune with nature anymore to hear its sound, let alone interpret them, but there are many who believe mankind was once capable of manipulating all the elements to produce extraordinarily miraculous feats. There are many who believe the ancient Egyptians mastered the art of healing using a combination of sound, crystals and water, and were able to levitate megalithic stones through the manipulation of tone structures of sound, and mastery of invisible vibrational frequencies.
Legends attributed to the floating of megalithic stones are in fact universal. The God-Kings of Nan Madol, on the Micronesian island of Pohnpei used magic to make huge stones, “fly through the air like birds” and legends of the early Greek historians claimed that Thebes was built by large stones that flew to the strumming of Amphion’s harp. When the Romans first ventured to Baalbek, Lebanon they were stunned to find the largest megalithic blocks ever used in any known man-made structure and quickly built a Temple of Jupiter over the cyclopean foundation platform. The three colossal stones that make up this platform are known as the Trilithon. According to Greek legends the God Uranus assembled these 2,000-ton stones before the Flood and was able to make them fly with the use of a special scepter that emitted loud sounds.
Even the Bible begins with the Word of God is sound. So it’s not surprising that the sun and each of the planets have their own unique sound. The planet Jupiter acts like a giant synthesizer and its soundtrack could easily be applied as a film score to a horror movie. Physics researchers at the Ruhr-Universitaet-Bochum Dr. Padma Kant Shukla and Dr. Bengt Eliasson have proven thatplasma dust acoustic waves vibrate in harmonic frequencies when electrically charged in space:
These waves are supported by the inertia of the massive charged dust particles. The restoring force – causing the particles to oscillate and the wave to propagate – comes from the pressure of the hot electrons and ions. Recently, several laboratory experiments revealed nonlinear dust acoustic waves with extremely large amplitudes in the form of dust acoustic solitary pulses and shock waves, propagating in the plasma with speeds of a few centimeters per second. Padma Shukla and Bengt Elisasson have developed a unified theory explaining under which circumstances nonlinear dust acoustic shocks as well as dust acoustic solitary pulses occur in dusty plasmas. Dust acoustic waves with large amplitudes interact among themselves thereby generating new waves with frequencies and wavelengths different from the ones of the original dust acoustic waves. Due to the generation of harmonics (i.e., waves with frequencies that are a multiple integer of the original frequency) and due to constructive interference between dust acoustic waves of different wavelengths, the waves develop into solitary, spiky pulses, or into shock waves. The solitary pulses arise from a balance between the harmonic generation nonlinearities and the dust acoustic wave dispersion.
Our human ears cannot hear the songs of space are generally limited to the sound range frequencies of 12 to 20 HZ. The Blue Whale is the loudest animal on Earth and can produce a stunning 188 decibels of sound that can be heard from ocean to ocean. The loudest sound ever heard on Earth was the blast of the supposed meteor that crashed in Russia in an event known as the Tunguska explosion on June 30, 1908. Where an Estimated 30 megatons of sound exploded over the Podkamennaya River with decibels reaching higher than the eardrum busting range of 300, almost doubling the chants of the Blue Whale. Sound vibrates with a mathematic sequence of harmonies that can be broken down into notes and frequencies. These harmonies jingle in and out of the earth’s vibrational frequency grid that all living beings on planet Earth operate between. Our magical planet actually operates like an enormous electrical circuit wired from the surface to the ionosphere. Invisible Energy currents flow between these spaces in the estimated 1,000 lightning storms that occur at any given moment around the globe. Each sudden strike of energy produces 0.5 to 1 Ampere’s (a unit of electrical measurement in the integrated magnetic field of the Earth, discovered by French physicist and mathematician Ampere in 1826) that collectively accounts for the traceable currents that flow throughout the Earth’s atmosphere. These amperes’s account for the measureable current flow in the Earth’s electromagnetic void, while the quasi-shooting electromagnetic waves that exist in this void are known by science as the Schumann resonance.
Named after and discovered by German physicist W. O. Schumann in the early 1950’s, Schuman describes a band that exists between the surface of the earth and the limit of the Earth’s atmosphere, where undetectable sound waves lurk while waiting to be strummed. That is the music of the sphere. It is, ‘the word’. This sound isn’t present all of the time and seems to appear for observation only after being energized or excited. Its presence isn’t stirred by anything the surface or the core of the Earth does and seems to be solely related to the electric activity in the atmosphere, especially agitated during thunder and lighting storms. The Schuman sound range will remain at the same frequency as long as the Earth’s electromagnetic grid stays unmoved. Slight changes do occur in the Schuman sound field due to extreme solar activities and pole shifts.
For the past fifty years the Navy has researched this phenomena to the point of mastering communication techniques with the use of Extremely Low Frequency radio waves. Our planet is one big radio station plugged directly into the universe. The amazing and unique array of sounds that emanate from Earth can be heard by listening to the sound archives from the Marshall Space Flight Center. They have digitally recorded symphonies of electrically weird sounds found throughout the planet that could be heard by humans only if we had antennae’s instead of ears. Dennis Gallagher, an Astro-physicist at the Marshall Space Flight Center says:
Everyone’s terrestrial environment sings with radio waves at audio frequencies. Our ears can’t detect radio waves directly, but we can convert them to sound waves with the aid of a very low frequency (VLF) radio receiver.
These undetectable waves of sound are made of harmonies that proliferate throughout the universe. Knowing that the time honored tradition of the Ying and Yang, Good Vs. Evil, Light and Dark exists in the same universe, it’s only fitting that there also be good and bad harmonies. It’s the duality of these harmonies that has existed since the beginning of time and the never-ending wars between Light and Dark that still permeates in music through the modern age. Occult historian Manly P. Hall writes in the Secret Teachings of AllAges:
HARMONY is a state recognized by great philosophers as the immediate prerequisite of beauty. A compound is termed beautiful only when its parts are in harmonious combination. The world is called beautiful and its Creator is designated the Good because good perforce must act in conformity with its own nature; and good acting according to its own nature is harmony, because the good which it accomplishes is harmonious with the good which it is. Beauty, therefore, is harmony manifesting its own intrinsic nature in the world of form. The universe is made up of successive gradations of good, these gradations ascending from matter (which is the least degree of good) to spirit (which is the greatest degree of good).