| Rethinking John Lennon’s Assassination |
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The FBI’s War on Rock Stars By Salvador Astucia
Preface |
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This book is more than a history of rock music or an effort to solve the riddles of who really killed John Lennon, Jimi Hendrix, Jim Morrison, Janis Joplin, Kurt Cobain and countless other rock stars. Hopefully this book will serve as a wake-up call to young rock artists struggling in today’s music scene. The message is simple: The FBI views rock artists as a threat to its agenda of promoting Zionism and war and it will eventually kill or destroy any highly successful, influential rock star who continually expresses views without first getting proper approval. The Bureau has been a Zionist, war mongering organization since its creation in 1908 by Charles Joseph Bonaparte, great nephew of the famous Corsican conqueror and Jewish emancipator, Napoleon Bonaparte. The FBI’s Zionism doctrine endorses war, not merely as a means of protecting America, but as an economic and cultural ideology fueled by religious fanaticism. The FBI and Orthodox Zionists Jews believe that war is always necessary, the fulfillment of Old Testament scriptures, and they believe in profiteering from the war machine they created and aggressively defend. Anyone who objects and has a sizable audience is viewed as an enemy and is eventually cut down like a stalk of wheat that has grown too tall in a wheat field. This has been the fate of many rock stars. They grew too tall and were cut down. The real threat of rock music is it allows unapproved voices to shape public opinion, an area in which the FBI and other governmental agencies spend billions annually. Unlike other forms of entertainment, rock bands usually compose, perform, and record their music with little help from others. When they perform their music live, they often work tens of thousands of fans into emotional frenzies, willing to do anything the rock stars command. This is quite a bit of power in the hands of a small unelected group of young people. In this regard, rock stars are different from most entertainers. An actor, for example, has little control over a movie in which he or she appears. Layers of supporting staff and vast sums of money are needed in order to generate the resulting product, a movie. A typical movie requires a screenplay writer, a producer, a director, a camera crew, a lighting crew, audio technicians, make-up artists, and so on. Conversely, all a rock band needs is a recording studio, a recording engineer, and perhaps a mastering engineer; things that can be rented at a fraction of the cost of the cheapest movie production. If a rock band can sell its CDs, then they have created their own market, their own supply and demand. If enough people like their sound, they will emerge as stars. At some point, they may decide to write political songs or make public statements on various political topics of the day. This explanation may seem too simple to be true, but the scenario I have described has frequently occurred throughout the fifty-year history of rock. Elvis rose to fame after being recorded in primitive conditions by Sun Records founder/engineer/producer Sam Philips. By 1977, Elvis was obsessed with the assassination of President John F. Kennedy, believing his death and his brother Bobby’s death were the result of governmental conspiracies. To my knowledge Elvis never made any public statements regarding the deaths of the Kennedy brothers, likely because he died before he had the opportunity. The Beatles had a similar story. They did virtually everything themselves with limited assistance from recording engineer/producer/musician George Martin. Eventually, the group’s leader, John Lennon, became an outspoken political activist. The same thing happened with Jim Morrison and the Doors, not to mention Jimi Hendrix. More recently, Kurt Cobain’s band Nirvana achieved phenomenal success largely through their own efforts. Like Elvis, Lennon, Morrison, and Hendrix, Cobain died mysteriously. Of course political statements are not necessarily required in order to become a target of the FBI. To my knowledge, Janis Joplin was not particularly political, but she was apparently targeted by the Bureau as well. Both Elvis and Lennon were targeted long before they expressed any political interests. Although Lennon is remembered by many for publicly stating his opinions on various political topics, most notably expressing opposition to the Vietnam War, I have concluded that the FBI targeted him long before he stated such opinions. The evidence presented in this book reveals that Lennon was probably deemed a threat as early as August 15, 1966 when the Beatles gave an historic performance at Shea Stadium in New York City, playing before 56,000 screaming, hysterical fans. As leader of the Beatles, Lennon’s only crime at that point was being a star who shined too brightly. Shea Stadium was the first modern rock concert. Exactly four years later, on August 15, 1969, the Woodstock Music and Arts Festival was held on a farm in Bethel, New York. Woodstock was the peaceful gathering of about 400,000 young rock-music fans and marked what is considered the high point of the American youth counterculture of the 1960s. Although Woodstock was overtly a rock concert, it was also viewed by many as a powerful political statement against US involvement in the Vietnam War at a time when American forces were at an all-time high: 540,000 soldiers. On the Beatles next tour, a year after the Shea Stadium performance, they were harassed and physically assaulted on several fronts, receiving extremely bad press in America after Lennon made an innocent remark about the Beatles being more popular than Jesus. In Manilla, they were man-handled by government thugs after first lady Amelda Marcos leaked erroneous reports to the press that the Beatles had snubbed her. Death threats followed and as a result, the Beatles stopped touring at the height of their fame. Lennon fought back the only way he knew, through political discourse. Prior to 1966, his lyrics had been fairly tame. Afterwards, he began pushing the envelope more and more both in his song lyrics and in non-musical political activities as well. Rock stars should be aware of the vast forces aligned against them. The FBI has 11,000 agents working in 59 field offices throughout the United States. One of the FBI’s top functions is propaganda. Agents in each field office monitor all newspapers and journals published within its geographic region. The Bureau works jointly with six media conglomerates which are Jewish-run* and control virtually all of the electronic news media. The six media conglomerates are Time Warner, the Walt Disney Company, Vivendi Universal, Viacom, General Electric, and News Corporation Limited. The Jewish/FBI monopoly of the American news media allows both entities to commit virtually any crime against the United States government and its people and easily cover their tracks. Hopefully this book will inspire young rock stars to continue the struggle for world peace, for they are among the last pockets of resistance against America’s rising militaristic domination. And hopefully the younger generation of rock stars will learn from the mistakes of their predecessors. Hopefully current rock stars will realize that the FBI’s army will try to get them to self-destruct through substance abuse and sexual temptations. Even worse, once a rock star begins using drugs or alcohol in excessive amounts, he/she can easily be murdered, and a false cover story propagated that the death was related to substance abuse, suicide, or both, regardless of any facts which might indicate foul play. The FBI has the power to propagate such false stories through the use of its vast propaganda network working in concert with the previously stated six Jewish-controlled media conglomerates. Hopefully this book will encourage a new generation of rock stars to be less naïve than their predecessors. Perhaps the new generation of rockers will realize that they are more than entertainers, more than poets and songwriters, more than sex symbols. They are soldiers fighting in the front lines of a war against tyranny. In the Sixties, rock stars often sang of revolution in a figurative sense. In the 21st Century, any reference to revolutions should become more literal. — Salvador Astucia, April 2004
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