Taking Back Our Stolen History
The Legendary 4-Day Outdoor Woodstock Rock Concert Began on Max Yasgur’s Farm in New York
The Legendary 4-Day Outdoor Woodstock Rock Concert Began on Max Yasgur’s Farm in New York

The Legendary 4-Day Outdoor Woodstock Rock Concert Began on Max Yasgur’s Farm in New York

Woodstock was created by Jews Michael Lang and Artie Kornfeld and financed by Jews Joel Rosenman and John P. Roberts on the farm of Max Yasgur, also a Russian-Jew immigrant. The stage was designed by Jews. The Director of Operations was Jewish. Stan Goldstein, a Jew, was hired again to run Woodstock’s physical infrastructure. Jew Lee Mackler Blumer was in charge of security and community relations. Even the Woodstock poster, which depicts a dove perched upon a guitar, was designed by a Jewish artist Arnold Skolnik. Another prominent character in the Woodstock mythos is political activist Abbie Hoffman.

Official history wants us to believe Woodstock was the perfect storm of creative intuition stemming from various independent counter-cultural agencies, all holding hands in some sort of LSD ecstasy, but if the CIA wasn’t a part of Woodstock, then they wouldn’t spend the next half-century pushing its propaganda in our faces. Woodstock was their baby.

Wikipedia stresses that Kornfeld was born into a Jewish lower-middle-class family in Brooklyn. They want you to think he’s a self-made man, but that’s not the case at all. Kornfeld attended American University in Washington D.C. to study “pre-law.” American University is a career center for CIA recruiting. According to his own auto-biography, The Pied Piper of Woodstock, one of his housemates was a guy named Skip. His full name was Hubert Horatio Humphrey III, but everyone just called him Skip. For the record, Skip was the son of Hubert Humphrey, the guy who would, in the matter of months, sit down in the vacated seat of United States Vice President after Lyndon B. Johnson filled in for an assassinated John F. Kennedy. Skip went on to become the Attorney General of Minnesota. It was there in the cafeteria where Kornfeld claims to have met Cass Elliott, long before her claim to fame with the Mamas and the Papas, a group which literally screams pimps and handlers and prostituted mamas in the Mk-Ultra program. Apparently, Kornfeld and Elliott would sit around in the cafeteria for hours singing.

From here on out, taking binoculars to Kornfeld’s story is shaky at bestIt appears as though he may have been an American University dropout, but if he was recruited into intelligence, his exit from college is probably just a cover. Wiki simply informs us that American and its predecessor, Adelphi College, furthered his musical career. I find this claim odd if he was attending American for purposes of pursuing law. I have otherwise learned little to nothing concerning his musical training except for singing sessions with Cass Elliott and the fact that his mother was a Teeny Bopper who was really into Frank Sinatra and big band music.

We next find Kornfeld writing hit songs for The Angels. Their 1963 follow-up to My Boyfriend’s Back was I Adore Him, an Artie Kornfeld original. Quite suddenly, Kornfeld can be spotted sliding up on the piano bench right next to Brian Wilson of The Beach Boys. Together they wrote the Jan & Dean classic, Dead Man’s Curve. That doesn’t just happen. Artie Kornfeld was an east-coast Bensonhurst boy. Brian Wilson was a west-coast Hawthorne hick and a musical genius on par with Mozart. There is absolutely nothing natural about this transition. Nothing at all. What credentials does Kornfeld have to show? None. But it gets worse.

By the age of 21, while most of his University classmates were studying for their mid-terms, Artie Kornfeld became the vice-president of Capital Records. Vice-president. Capital Records. Sunset Boulevard. Twenty-one. Sorry. In the real world, that doesn’t just happen. The President of Capital Records was Alan W. Livingston, who is perhaps best known for introducing the world to Bozo the Clown. Both Livingston and Bozo the Clown were Jews. As Capitol Record’s vice-president, Artie Kornfeld was given the honorary title of rock music’s first President.

If he was twenty-one, that would make the year 1963. Or 1964 at the latest. That’s the year when the Laurel Canyon band the Byrds were formed. One-word description – Spooks. 1964—that’s the year when night clubs started cropping up on Sunset Boulevard and Vito and the Freaks were brought in to attract crowds. By all accounts, Vito Paulekas was the very first hippie. He was also a Rockefeller. That’s the year of the Gulf of Tonkin hoax, and when Admiral George Stephen Morrison pimped his son, Jim Morrison, out on a Venice Beach apartment rooftop.

We are told that Kornfeld resigned as Capitol Records vice-president in 1969, three months prior to Woodstock, in order that he might dress in a buck-skinned vest and pursue the four-day musical festival that would go down as the greatest mass gathering in the twenty-first century. When it came to Vietnam and the draft, Woodstock is accredited with turning the tide of war. But you and I should both know by now that the President of Rock stepping down is about as incidental an explanation as Woodstock’s radius to the Borscht Belt. Nothing about Woodstock was natural. Nothing at all. An impressive 50,000 tickets were sold and 450,000 kids showed up. That doesn’t just happen. The CIA-owned media doesn’t simply push Woodstock in our faces every five to ten years, and PBS doesn’t make documentaries for the humanitarian purposes of education, because it just so happened to be the perfect storm among independent agents of counterculture ideology. Everything was planned. The CIA-owned media pushed Woodstock into the collective consciousness from day one. The Exposition was a four-day event, and by its second day, Woodstock was already a household name. They’ve always played all sides and manipulated everyone. They told the kids to come, and they came.

Artie Kornfeld was known to introduce himself as “Avraham ben Yisroel Kornfeld—a Kohain.” Understand what Kornfeld is actually saying here. The Kohains were the high priests in Judah before the destruction of Herod’s Temple. So, think Caiaphas. Think Ananias. Poster artist Arnold Skolnik advertised the event as an “Aquarian Exposition.” We already know what we’re dealing with. Now put the two together. The descendant of a high priest from Herod’s Temple was selected to create and oversee the Woodstock experience.

Listen to “Woodstock CIA Counterculture, Pedophilia Priests in Pittsburgh” on Spreaker.

Free love was the expression of uninhibited experience of love without the confines of State regulation and law from mandates for sexual matters. It also expresses rebellion against God as breaking the commitment of marriage for exchange for passionate exchange.

Two men changed culture that gave way for a 60’s revolution. Gordon Wasson and Edward Bernays, the father of propaganda. Bernays recognized that culture can be changed by a very few pushing influence.

Several things affect culture:

  • Sexual imagery
  • Wildly uninhibited dance
  • Music idols or icons as roles models
  • Feminism – a feminized society
  • Psychedelic Drugs

The CIA MKULTRA experiments were used in this transformation of society.

The Grateful Dead were used as instruments for the drug counterculture. Members were CIA agents and participants of the Bohemian Grove Satanic ritual event.

Timothy Leary was a CIA agent who staged a coupe with students to experiment with LSD in rebellion against authority. It was purposely planned to change the minds of youth using a technique of “juvenilization.” It is the theory that to change a culture, first influence the youth. Leary was one of many experts who testified at the 1966 subcommittee hearings in opposition AGAINST LSD. The reason was that the youth will not rebel with legal substances. So by making the perception that government wanted it illegal, it was rebellion that attracts the youth into the culture.

The New Age movement gave a different religion and focus of worship to replace God. Instead people were directed to think of themselves as gods, therefore worshiping self. While introducing witchcraft through a means of New Age philosophy influenced by Theosophy. It was to take on the temptation in the Garden of Eden recorded in Genesis 3.

“We’ve got to get ourselves back to the garden…” – Woodstock, Joni Mitchell, sung by CSNY

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