Shaping Society: Tavistock Institute and The Empire of Lies – Part II – The Beatles & the Counterculture

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Creating an empire of lies requires a full spectrum assault, including assaults on mass media, religion, education, basically all of the institutions that make a culture strong; its very foundations, something the puppet masters at Tavistock got from Cultural Marxism. This worked for the National Socialists in Germany, the Communists in the USSR and its satellites, and is working now in Communist China.

The most efficient method of corrupting a culture into believing, or at least accepting, the big lie is through pop culture, especially music and movies, both of which profoundly shape the national zeitgeist. The trauma of JFK’s death left America wide open for Tavistock’s trauma-based mind control techniques. It was perhaps the children who were the most profoundly affected, making them more susceptible than adults. It could be reasonably argued that the Kennedy presidency itself was a creation of the mass media. Truth be told, JFK was the son of an Irish gangster with ties to the Mafia, a gangster who used his millions to buy respectability for his family. Without the assistance of the media this would not have been possible. It was also with the help of the media that the Beatles and the counterculture became possible – along with assistance of other key institutions such as Tavistock, the CIA, and others.

By 1963 President Kennedy was dead. The Kennedy presidency, hailed by the MSM as "Camelot" was largely a creation of the media itself. The debate between Kennedy and Nixon was the first to be televised and Kennedy came off as clean-cut and largely presentable. Nixon eschewed makeup and came across as seedy and untrustworthy. However, had the media been doing its job, it's unlikely that Kennedy would have made it past the primaries. Joe Kennedy, the patron of the Kennedy clan was the Whitey Bulger of Prohibition. He made his fortune through an association with the FBI whereby they would seize liquor (usually after Kennedy himself had tipped them off as to where the shipments would be coming), and give it to Joe to sell to Frank Costello in New York.

Joe Kennedy used his fortune to buy respectability. The election was one of the closest in history and JFK needed Illinois to win. The elder Kennedy used his influence with Mafia boss Sam Giancana of Chicago to turn the tide. Somehow, the MSM missed all of this and Kennedy won. He was indeed a creation of the Media. When he died, with it died the influence of the media on society- for a short time. Enter the Beatles.
So, what was it that fueled the meteoric rise of the Beatles? It certainly wasn't talent. They were a second rate British band kicking around German nightclubs to very little fanfare. If you listen to their early songs objectively, they’re terrible.

When they came to the U.S. their management handed out $20 bills to young women in the airport crowd to scream and carry on and Beatlemania was born. But, before they hit the scene, some other musical events set the stage. In the late 50's Chuck Berry broke the color barrier. His music transcended race and it had a very powerful effect, both on the young and the mainstream media. The media saw the effect that music had on young people and how their handlers at Tavistock could use it to their advantage. This was not the first time, it had been going on since the advent of mass broadcasting. Singers such as Rudee Vallee, Frank Sinatra and Elvis had set young souls ablaze. The challenge of this great experiment was to fathom whether or not the media possessed the power to take a largely untalented group and convince young people that they "loved" them, a challenge worthy of Edward Bernays and his Uncle Sigmund Freud.

The Tavistock Institute of Public Relations, a creation of the Royal Institute of International Affairs and branch of MI-6, British Secret Service was instrumental in bringing the Beatles to America. Using the methods developed by Theodor Adorno and others the Beatles and their particular brand of atonal music was foisted on an unsuspecting public, still reeling from the death of their beloved president and looking for something to fill the void. Young people, already susceptible because of the pervasive media barrage, were the primary targets.

Following the success of the Beatles, America was barraged with a succession of British bands, the so-called British Invasion. It was an invasion, but not quite like the MSM portrayed it. In concert with the CIA, Tavistock and its bevy of ancillary groups began the systematic battle to control the American populace.

If I may interject a personal note, I had originally intended to do a short article about how the media could gauge their impact on society by taking a largely unknown and mediocre music group and shoving them down the collective throats of America's youth. When I started researching I had little idea of what I would uncover. Over the course of a few days I garnered enough material to write a book. The music scene is just a cog in a much larger wheel. The Beatles are merely a spoke. Frankly, their music sucked but then, it was meant to. When the great hullabaloo about the Beatles started in 1963, I became suspicious but had no idea what about. All I knew was that their music was really bad and everyone was going crazy over it, while at the same time many talented groups were being ignored. Why the profound cultural impact?

Nobody would have paid much attention to the motley crew from Liverpool and the 12-atonal system of “music” that was to follow had it not been for an overabundance of press exposure. The 12-atonal system consisted of heavy, repetitive sounds, taken from the music of the cult of Dionysus and the Baal priesthood by Adorno and given a “modern” flavor by this special friend of the Queen of England and hence the Committee of 300. Tavistock and its Stanford Research Center … created a distinct new break-away largely young population group which was persuaded by social engineering and conditioning to believe that the Beatles really were their favorite group. All trigger words devised in the context of “rock music” were designed for mass control of the new targeted group, the youth of America."
https://thetruereporter.com/were-we-all-brainwashed-by-the-cia-with-sex-drugs-and-rock-roll/

Adorno called his style of music “corrosive unacceptability,” a twelve bar atonal scale. The amazing thing wasn’t the music, but that the mass media was able to convince an entire generation that it was good (with a few exceptions such as myself). The power of the media was unquestionably established.

Josef Goebbels real genius lay in the fact that he understood the impact of media on the public. Hitler was a powerful speaker but his message would have been unheeded if the populace hadn't been prepared beforehand. This is where the media came in. The German cinema of the day portrayed certain groups as evil lurking characters which in turn helped shape public opinion about those very groups. Similarly, when the Nazis took power, one of the first things they did culturally was to portray American music as harmful to the Aryan psyche, categorizing it as "Neggar Kike Muzik." Music has a very powerful effect, particularly on young people.

A more recent example of the media's effect on culture would be the presidency of Barack Obama. If he had run in 1950, he would have gotten less than 1% of the vote. For a black man to become president, the culture had to be prepared. One method of altering cultural norms is through music. In the late 50's Chuck Berry broke the "color barrier." It became "cool" to listen to black music. The cultural revolution that hit America during the 60's was predicated upon "coolness," it could be said. In no other time was being cool so important and it gained importance as time went on. It was the dawning of the age of Aquarius as the song so amply points out. It was all by design. Perhaps no one has written so prolifically about the effect of the Beatles (and Tavistock Institute) as Dr. John Coleman:

"When Tavistock brought the Beatles to the United States nobody could have imagined the cultural disaster that was to follow in their wake. The Beatles were an integral part of "THE AQUARIAN CONSPIRACY," a living organism which sprang From "THE CHANGING IMAGES OF MAN," URH (489)-2150-Policy Research Report No. 4/4/74. Policy Report pre-pared [sic] by SRI Center for the study of Social Policy, Director, Professor Willis Harmon.

"The phenomenon of the Beatles was not a spontaneous rebellion by youth against the old social system. Instead it was a carefully crafted plot to introduce by a conspiratorial body which could not be identified, a highly destructive and divisive element into a large population group targeted for change against its will. New words and new phrases--prepared by Tavistock(1)-- were introduced to America along with the Beatles. Words such as "rock" in relation to music sounds, "teenager," "cool," "discovered" and "pop music" were a lexicon of disguised code words signifying the acceptance of drugs and arrived with and accompanied the Beatles wherever they went, to be "discovered" by "teenagers." Incidentally, the word "teenagers" was never used until just before the Beatles arrived on the scene, courtesy of the Tavistock Institute for Human Relations."

It's important to point out that Stanford Research Institute is one of many college level research facilities that are part of the Tavistock global network. I can't emphasize enough that media control is merely one thread in a huge network of mind control institutions that make up Tavistock Institute. Of that thread, the Beatles were one tiny yet crucial strand. The seed had been planted and has grown immensely since the early 1960's. That is not to imply that Tavistock itself began at this time, it's been around since at least 1922. Using methods developed by Edward Bernays, Tavistock has been working behind the scenes to manipulate public opinion with one purpose -- world domination.

THE COUNTERCULTURE OF THE 1960’S

The Beatles opened the door for the music scene in the US, that is a music scene much different from the Rock & Roll scene of Chuck Berry, The Beach Boys, et.al. The music scene in 1960’s America became drenched in drugs, sex, and rock & roll – all courtesy of Tavistock Institute, the CIA, and Cultural Marxism. Ushered in by the Beatles, the counterculture revolution had begun, fueled by LSD and Marxist ideology – the plan to bring America to its knees. American values – patriotism, hard work, upward mobility, a strong middle class, Christian values, etc. were all antithetical to the globalist dream of world domination. An army of spoiled self-centered brats was being recruited using selfishness, drugs, and music as bait.

Keep in mind that this is/was all about shaping society, social engineering, and mind control; in this case shaping an entire generation into rejecting the values of prior generations – the values of their parents and families. Success would require the complicity of the mass media, intelligence agencies (CIA-MKUltra), drugs and pop culture, all working toward a common goal, the destruction of the institutions that make America strong. At the head of this project was Tavistock Institute. Through their network of American universities and with the help of the CIA, LSD became mainstreamed into the American culture of the 1960’s. Dr. Timothy Leary, the LSD guru, credits the CIA with almost single handedly creating the counterculture. LSD also played a large part in the CIA’s MKUltra program. This 1979 documentary by ABC News covers the use of LSD and other mind control techniques including the formation of the counterculture. (Warning: This video is about an hour long)

Although carried out by the CIA and mass media, Tavistock Institute and its network wrote the script that gave us the counterculture movement of the 1960’s and 70’s, a movement founded in peace and love but degenerated into the violence of groups such as the Black Panthers and Weather Underground. One of the most important driving forces behind the movement was the music scene in Laurel Canyon, a suburb of Hollywood and Los Angeles.

Jim Morrison, Frank Zappa, David Crosby, Mama Cass and John Phillips, all had family members in Military Intelligence or the CIA. If any one bothers to notice, their music had more to do with hedonism than the anti-war movement. Timothy Leary was a CIA asset tasked with using drugs, LSD in particular, to help diffuse the anti-war movement. Author Dave McGowan in his book about the Laurel Canyon music scene goes into detail about this:

“It was the major record labels, not upstart independents, that signed Laurel Canyon’s newly-formed bands. It was the major labels that provided them with instruments and amplifiers. It was the major labels that provided them with studio time and session musicians. The bands themselves were initially lacking in skilled musicians and were very manufactured. It was the major labels that recorded, mixed and arranged their albums. It was the major labels that released and then heavily promoted those albums. And so as not to be left out, the corporate titans of all three branches of the mainstream media – print, radio and television – did their part to help out the titans of the record industry. Thus, we see once more that such movements were not organic. “

“Despite being counter-culture “threats [sic], these band’s members were never busted (for long) on drug charges. Nobody was ever drafted for the Vietnam war. The bands were largely indifferent to the anti-war movement. There were large numbers of strange deaths in this scene.”
https://www.winterwatch.net/2020/05/laurel-canyon-military-intelligence-family-backgrounds-of-the-iconic-60s-counterculture-rock-stars/

Anyone unfamiliar should watch the YouTube movie “The Wrecking Crew,” a documentary about the studio musicians that created most of the 1960’s music. The only claim to fame that most of these “musicians” had was their family ties to military intelligence. The birth of the musical roots that drove the counterculture movement were just a part of the empire of lies. In all fairness, some, such as Frank Zappa, went on to become accomplished musicians. However, in the beginning, as it was with the Beatles, the 60’s music scene was just a public relations stunt pulled off by the mainstream media and the architects at Tavistock.

The assassination of JFK and the birth of the Beatles signalled a turning point in American history. British and American intelligence services combined to begin shaping the American consciousness. This joint effort was designed by Tavistock and implemented by its network – including the Council on Foreign Affairs, major universities and educational institutions, think tanks, and naturally the mass media. The goal, to prepare the American public for globalism.

The British Empire never went away, it just changed strategies. Why control one-fifth of the world’s land mass when you can control up to 80% of its economy? In 1913 America became part of that empire when it instituted the Federal Reserve, a Rothschild controlled central bank. The CIA is merely a subsidiary of British Intelligence (MI-5, MI-6, GCHQ) and has been since it was OSS. Britain has been controlled by a partnership between the Crown and Rothschild international bankers (City of London) since the Napoleonic Wars. Tavistock Institute is the control mechanism of the Royal Family and City of London bankers. When we talk about the New World Order, what we’re really talking about is the new British Empire, an empire run by the Rothschild/Rockefeller international banking cabal through the United Nations. Tavistock touches virtually every aspect of everyday life, be it the media, politics, medicine, education, or entertainment (pop culture). In the final segment we’ll examine how this affects us all.

Anyone interested in the role of the CIA in culture shaping during the Cold War might find this lecture by Frances Stonor Saunders of interest. Rather than focusing on MKUltra and other things we’ve already discussed, she focuses on the CIA’s infiltration of the arts. What the USSR did by state coercion, the CIA did by subterfuge. It’s a bit long (59 mins) but well worth the watch as many familiar names pop up such as Julian Huxley, Bertrand Russell, and others.