The original Woodstock Aquarian Exposition had a major effect on global consciousness 40 years ago. An intriguing set of synchronicities suggest that we are the 'new generation' who are now finishing the job!

A TIME OF GREAT AWAKENING

Woodstock was a seminal event in modern history -- crystallizing the movement for change and freedom that ultimately ended the Vietnam War.

This 400,000-person gathering also helped raise public awareness of the corruption in the system, revealed soon afterwards in the long, drawn-out battle over Watergate -- which ultimately led to President Nixon being forced to resign.

In a deeper sense, the community, inspiration and unity that was demonstrated at Woodstock is still seen as a mystical event of nearly religious significance in Western musical culture.

 

 

You have all the elements of a great story of a hero's triumph against the odds. Michael Lang, the chief organizer of what was originally called "The Aquarian Exposition", had put together the greatest line-up of popular music ever in one weekend -- fully expecting a 200,000-person turnout.

 

 

Tragedy struck when heavy opposition from the Saugerties, New York locals caused the deal to collapse with the landowners -- within two weeks  of the show!

It looked like all was lost, and the negative forces had won out. What could be done?

Lang and his partner Artie Kornfeld quickly and effectively organized to find another site that could be appropriate. They went driving throughout the Upstate New York countryside, eventually came over a hill, and just knew immediately that this farm they were now seeing in Bethel, New York was the place.

The land was owned by a farmer named Max Yasgur, and in a single meeting Yasgur calculated his losses for one season, and agreed to allow them to host the festival on his land for 50,000 dollars. The deal was done, and the greatest pilgrimage in modern Western history was then crystallized into action less than two weeks later. 

At over 400,000 in attendance, it became the largest gathering of people in known history for its time.

 

 

 

Though Yasgur was not at all supportive of drug use, he believed the young people had the right to peacefully gather. He embodied the father / mentor / wise man archetype when he took the stage and gave everyone there his approval, telling them they had a right to belong... to enjoy their own free will however they so chose. 

Here is Yasgur's entire speech, with the camera cutting to Lang on stage along with him -- and it certainly is an inspiring event to watch:

 

 

 

 I'M GOING ON DOWN TO YASGUR'S FARM

Such a traditional farming man embracing an open and supportive mindset -- providing an incredible tract of land for the event, and giving everyone permission to be how they wanted to be -- helped insure that the mere mention of "Yasgur's Farm" was enough to invoke transcendent visions in the minds of an entire generation.

Joni Mitchell was one of the lucky ones who was invited to appear at Woodstock -- but she voluntarily caved in to her agent's fear that if she attended this concert, she might get trapped there. The 400,000 people on-site were only those who were able to make it -- untold thousands more were stranded on the highways, never quite able to reach the site due to the impossible traffic jams that had formed along the way.

Joni's agent had set up an important live television appearance for her on the Dick Cavett Show -- the day after the festival ended.  He insisted she not go to Woodstock because of the reports of how crazy the traffic was. He was afraid that he wouldn't be able to get her out in time for her big television break the next day.

(I wonder how long that  agent lasted...)

In retrospect you can imagine how devastated she must have felt -- caving in to the pressure of others rather than having trusted that it would all work out.

As everyone now knows, even if she didn't make it to the Dick Cavett Show, so what -- the Woodstock festival soon became the defining moment in the history of rock and roll,  as well as the defining moment of the Western anti-war movement in the 20th century.

This overwhelming personal 'catalyst,' or growth experience, undoubtedly played a part in Joni writing what became the pivotal song  that captured the magic and spiritual exultation of Woodstock for our times.

Like other gifted composers of her time, I believe Joni had 'help' in writing these lyrics -- and they in fact came directly from her Higher Self, to help shed light on what was then our future:

Woodstock

By Joni Mitchell

I came upon a child of God
He was walking along the road
And I asked him where are you going
And this he told me
I'm going on down to Yasgur's farm
I'm going to join in a rock 'n' roll band
I'm going to camp out on the land
I'm going to try an' get my soul free

We are stardust
We are golden
And we've got to get ourselves
Back to the garden

Then can I walk beside you
I have come here to lose the smog
And I feel to be a cog in something turning
Well maybe it is just the time of year
Or maybe it's the time of man
I don't know who I am
But you know life is for learning

We are stardust
We are golden
And we've got to get ourselves
Back to the garden

By the time we got to Woodstock
We were half a million strong
And everywhere there was song and celebration
And I dreamed I saw the bombers
Riding shotgun in the sky
And they were turning into butterflies
Above our nation

We are stardust
Billion year old carbon
We are golden
Caught in the devil's bargain
And we've got to get ourselves
back to the garden

 

CLEAR 'ASCENSION' THEMES

The term 'Ascension' can mean a lot of different things -- but on this site it refers to the scientific case we have assembled that clearly demonstrates how the massive increase in technology, literacy and overall human intelligence we are seeing -- particularly in the last 200 years -- is part of an overall transformation we are going through as a planet.

Ancient and modern sources of prophecy lead us to a variety of potential interpretations for what will occur. Nonetheless, the one thing almost all of them agree upon is that these changes are ushering in a Golden Age here on Earth.

Even the woefully-misinterpreted prophecies in the Book of Revelation end with a grand vision of our future after the predicted times of great change. My own intuitive guidance has suggested that we are already  seeing the worst of these prophecies coming true now -- as have other credible sources as well.

This is not a 'doom and gloom' situation at all, but rather a terrific opportunity for change to occur on an epic, global scale. If you don't see that, then you've missed the whole point of what this is about.

With all that being said, Joni Mitchell's lyrics for "Woodstock" -- the Aquarian Exposition -- are ripe with spiritual metaphor and significance:

 "I came upon a child of God; he was walking along the road..."

By referring to the people who were going to Woodstock as children of God, she was giving them the same Divine birthright that so many others claimed for themselves -- in the very religions that had been ostracizing and excluding these people of Joni's generation.

Another equally valid interpretation is that the Child of God is her Higher Self. Since she physically missed going to Woodstock, she is now re-creating the event in the spiritual sense -- not just for herself, but for the millions of others who also wished they had gone. 

"I'm going to camp out on the land; I'm going to try an' get my soul free..."

Here she clearly establishes that the goal of this mass gathering was for people to find spiritual freedom -- to break out of the 'boxes' that society had them living in, camp out on the land in community, and find a break from all the negativity and horror the media was bombarding them with.

These adventuresome souls were also well aware of the danger of being drafted to fight in Vietnam -- and very likely to "come back in a box."

 

PROPHECIES OF THE GREAT SHIFT

The symbolism of Joni Mitchell's song continues:

"We are stardust; we are golden, and we've got to get ourselves back to the garden..."

If you're willing to be flexible, and map these words together with what we know from other prophecy sources, this chorus could be referring to a Golden Age -- in which some sources predict our bodies will become golden, shining like stars.

We then return to the original, spiritually pure state that we once enjoyed before the fall into materiality -- in the Biblical 'Garden' of Eden. Some part of Joni is clearly aware that "we are stardust, we are golden," but at the same time we still haven't arrived back to the 'garden' yet -- there is still work to be done.

"Then can I walk beside you?"

Again, Joni did not attend Woodstock in the physical sense -- and we already suggested that the "child of God" she meets upon the 'road' could be a metaphor of meeting her Higher Self. Now we are seeing that she is ready to "walk beside" this "child of God" -- i.e. she is ready to merge the hopes and desires of her mortal self with the Higher Self.

This, of course, is the true promise of Ascension -- that we achieve "personality transparency" and our egoic mind no longer stands in the way of the Higher Self.

 

THE SIGNAL GETS EVEN CLEARER

Directly after she asks if she can 'walk beside' her Higher Self, the 'signal' seems to be the clearest -- it is directly phrased in the language of metaphor and symbolism, with deep prophetic meaning upon analysis:

"I have come here to lose the smog, and I feel to be a cog in something turning.

Well, maybe it is just the time of year -- or maybe it's the time of man..."

The "smog" could be seen metaphorically as the haze of fear that has surrounded us for so long, clouding our spiritual vision -- keeping us locked in feelings of duality, Us-Versus-Them thinking, materialism and competition.

Woodstock thus became a physical symbol of the spiritual pilgrimage each of us makes within ourselves to "lose the smog" of the egoic mind, so that we may again see clearly the will and word of the Divine Self -- and become a living embodiment  of that promise. 

 

A COG IN SOMETHING TURNING

The next line, "I feel to be a cog in something turning",  is very interesting in light of statements in the Law of One series (the spiritual basis upon which all the work of this website is built from) where we hear that this shift into the Aquarian Age is a celestial event, which moves as precisely as the gears of a clock as it strikes the hour.

In that sense, all of us  here on Earth are "cogs in something turning" -- and our contention is that our Solar System is moving into a new area of energy in the Galaxy. This is the event we are now going through with machine-like precision. The timing is known -- what is NOT known is how, exactly, we will pass through it.

According to the Law of One series, this shift is leading up to a definite 'quantum leap' effect -- i.e. a basic change in the way matter, energy and life functions. We are told that life in the coming 'fourth density' will be "one hundred times more harmonious" than life on Earth is now.

In 1981 the approximate window of 2011 to 2013 was given for when this would occur. Hence the Law of One refers to this as the "striking of the clock upon the hour" -- or as Joni wrote, "a cog in something turning... maybe it is just the time of year."

 

MAYBE IT IS JUST THE TIME OF YEAR -- OR MAYBE IT'S THE TIME OF MAN

The next line "maybe it is just the time of year"  has deep spiritual significance as well, for each 2,160-year Age of the Zodiac -- like the Age of Aquarius we are now moving into -- adds up to a "Great Year"  of 25,920 years.

Each Age of the Zodiac is one 'month' within this 'year' -- and obviously the end of the "Great Year" is when the shift occurs. Woodstock was originally called the "Aquarian Exposition," and astronomers calculate the Age of Aquarius as arriving in 2011-2012.

Joni's message further states "Maybe it is just the time of year... or maybe it's the time of man." The reference to a "time of Man" is a further nod to the prophecies that a whole new "race of man" will appear -- what the Cayce Readings often referred to as the Fifth Root Race. 

This obviously has nothing to do with skin color, and affects everyone on Earth the same way. The prophecies often suggest that our bodies will begin to have a luminous quality, as if we are giving off golden light. This is precisely how Ascended non-Earth-born humans, or 'angels', have appeared to us in written history. 

They do not look like scary ETs at all -- they look like we do, only with much greater spiritual abilities and 'powers' than we on Earth now possess. At least for the immediate time being. 

"I don't know who I am -- but you know life is for learning."

This suggests the 'unrevealed' aspect of our true, metaphysical identity. While here in human form, we cannot fully know who we are -- but our goal, and our reason for being here, is to learn as much about ourselves as possible. This is the greater motivation that drove so many people to converge on Yasgur's farm. 

 

THE BOMBERS... WERE TURNING INTO BUTTERFLIES

The first half of the final verse may not come from as deep of a spiritual place -- but it is a necessary addition, as it sets up how large the crowd was -- half a million people, give or take -- and that it was a festive, happy and glorious event:

"By the time we got to Woodstock, we were half a million strong -- and everywhere there was song and celebration.

And I dreamed I saw the bombers riding shotgun in the sky -- and they were turning into butterflies above our nation..."

The second half paints a marvelous picture -- where "bombers riding shotgun in the sky" turn into "butterflies above our nation."

This passage clearly reveals the power these large gatherings have to transform and transmute physical reality as we know it.

I discuss this in great length in our "Science of Peace" MP3 series -- namely that a group of 7000 people in meditation were statistically proven to have reduced worldwide crime, fatalities and terrorism by an incredible 72 percent. The free will of every living person on Earth is affected by these giant gatherings of like-minded souls.

The butterfly is also an interesting metaphor in light of how it became the most common symbol of the power of Chaos Theory -- wherein the flap of a butterfly's wing could amplify enough in its power to ultimatelty create a typhoon on the other side of the world. 

We do have the creative powers to transform the machinery of war into the wings of peace -- and this final verse of the song really establishes the magical power we all possess, particularly when we join together with a commonly-shared purpose. 

 

NO LONGER "CAUGHT IN THE DEVIL'S BARGAIN"

 "We are stardust -- billion year old carbon. We are golden -- caught in the devil's bargain.

And we've got to get ourselves back to the garden..."

This closing chorus is different from the others -- and the most notable line that jumps out here is "we are... caught in the devil's bargain."

This has unique relevance for today's world, as so many more people are now realizing the true "rottenness" at the core of government, military and industry -- just as the Cayce Readings predicted would occur in these times. The word 'devil' is not an exaggeration in the least, based on what we now know.

In a very real sense, the times we are now in seem to be the fulfillment of what was first put into motion in Woodstock. The 'devil's bargain' has been revealed -- and the public is now "mad as hell and are not going to take it anymore."

This certainly makes it a dangerous time, particularly for politicians attending "town hall meetings" -- but it is also one that is ripe with potential.

 

THE PERFORMANCE

The first time Joni Mitchell performed "Woodstock" in front of an audience was at a music festival in Big Sur, California, in September 1969. You can see David Crosby in the background enjoying the song immensely -- and his group Crosby, Stills, Nash and Young later covered this song and made it into a truly legendary hit:

 

 

CROSBY, STILLS AND NASH

Crosby, Stills and Nash is another incredible Woodstock story. They literally had never played in front of an audience until two days before they arrived at Woodstock!

Their first gig was that Friday night in Los Angeles, followed by a Saturday night gig in Chicago. By Sunday, they had completed their cross-country trek and arrived at Woodstock.

Their song "Suite Judy Blue Eyes" is arguably their biggest hit, and it was performed live at Woodstock. It was originally a series of short songs written by Steven Stills that were all threaded together, but they have a clear and consistent storyline.

In fact, their Wikipedia entry states that they started their band specifically to perform this song:

The group Crosby, Stills and Nash was created for this song. Stephen Stills and David Crosby had been toying around with the idea of creating a three-man vocal group for some time, but had been unable to find a suitable third partner. Among those seriously considered was John Sebastian of The Lovin' Spoonful.

One evening, the two of them were at an informal gathering, possibly at Mama Cass Elliot's house, but most versions seem to lean towards it being Joni Mitchell's pad in Laurel Canyon. Wherever it was, Stills and Crosby ended up performing a two-voice version of the new song they'd been rehearsing, called "You Don't Have to Cry".^[2]

When they finished, one of the other guests, Graham Nash, who had met Crosby when each were still in their respective former bands, asked them to perform it again, several times. After listening intently, Nash unexpectedly joined in, adding a third high vocal harmony part that stunned everybody present. Crosby and Stills had found their third partner.

 

Steven Stills had been dating the beautiful blue-eyed singer/songwriter Judy Collins, and their breakup was imminent at the time this 'suite' was written. Stills was devastated by the thought of her loss, and poured all of that heartbreak into verse.

The entire song is deep with emotional and spiritual weight -- taking the listener through a complete cycle of love, loss, acceptance of the death of the relationship, and then the rebirth that comes once you learn to stop grasping:

Suite Judy Blue Eyes

It's getting to the point
Where I'm no fun anymore
I am sorry
Sometimes it hurts so badly
I must cry out loud
I am lonely
I am yours, you are mine
You are what you are
And you make it hard.

Remember what we've said and done and felt
About each other
Oh babe, have mercy
Don't let the past remind us of what we are not now
I am not dreaming.
I am yours, you are mine
You are what you are
You make it hard.

Tearing yourself away from me now
You are free and I am crying
This does not mean I don't love you
I do, that's forever,
Yes and for always
I am yours, you are mine
You are what you are
You make it hard.

Something inside is telling me that
I've got your secret.
Are you still listening?
Fear is the lock, and laughter the key to your heart
And I love you.
I am yours, you are mine, you are what you are
You make it hard
And you make it hard (x 3).

Friday evening, Sunday in the afternoon
What have you got to lose?
Tuesday morning, please be gone I'm tired of you.
What have you got to lose?
Can I tell it like it is? (Help me I'm suffering)
Listen to me baby.
It's my heart that's a suffering (Help me I'm dying)
It's a dying, that's what I have to lose
I've got an answer
I'm going to fly away
What have I got to lose?
Will you come see me Thursdays and Saturdays?
What have you got to lose?

Chestnut brown canary
Ruby throated sparrow
Sing the song don't be long
Thrill me to the marrow.

Voices of the angels, ring around the moonlight
Asking me, said she so free
How can you catch the sparrow?

Lacy, lilting, leery, losing love, lamenting
Change my life, make it right
Be my lady.

Que linda me la traiga Cuba,
La reina de la Mar Caribe.
Cielo sol no tiene sangre allí,
y que triste que no puedo vaya,
Oh va, oh va, va.

Translation:
(Oh, what beauty Cuba brings me,
The queen of the Caribbean Sea,
Sunny sky has no blood over there,
And how sad that I cannot go,
Oh go, oh go, go.)

 

They were working closely with Joni Mitchell, very likely having formed their band at her house -- and the same insight she channeled into her music about the coming Aquarian Age can be seen in "Suite Judy Blue Eyes."

This whole process of love and loss is an initiation into loving yourself, and granting people their free will. The critical debate happens in the song when he feels his heart is dying, and that's what he has to lose -- without Judy in his life, he feels he has nothing.

The other side of this debate is expressed when he realizes that he doesn't have anything to lose -- he can 'fly away' and be free, and still have himself even in the aftermath of the breakup. 

The bottom line is that you have to give people their free will, and be willing let them go if that is what they want -- by comparing her to a bird, the question becomes: how can you catch the sparrow?

"Asking me, said she so free, how can you catch the sparrow?"

The Spanish section of the song is Steven's nod to his history as a student at the Lincoln School in San Jose, Costa Rica. He did change the location to Cuba -- probably in part to fit with the rhythm structure the lyrics required to write the song.

You can see that he is still debating the question of self-love at this point, as he thinks about "how sad (it is) that I cannot go" back to the Caribbean. A part of him wishes to re-capture the innocence -- to "get [himself] back to the Garden,"  as Joni Mitchell's song also suggested.  

In this perfect world he is envisioning, the "sunny sky has no blood" -- it is a world free from the war and pain and horror of our world now. In our personal lives, the wars are so often in relationships -- and thus this entire song is a clear message about the practical challenges we face on our own path of Ascension.

Here is their third-ever live performance of 'Suite Judy Blue Eyes' at Woodstock. The screen is completely dark for the first 31 seconds, but don't worry -- it fades in after that and nothing is wrong with your Internet connection:

 

 

Notice how they are so intuitively in sync with each other that when the song ends, both Crosby and Stills say "thank you" into their microphones literally simultaneously at 8:16. They then confess that it is "only the second time" they've "performed in front of people" and they are "scared shitless." Classic!

 

THE BIG TELEVISION BREAK JONI MITCHELL MISSED WOODSTOCK FOR...

Joni Mitchell explains how she missed out on Woodstock in this next video clip, beginning at the 4:31 mark. Before that point we get a further glimpse into the politics of Crosby, Stills and Nash during that time -- including the ups and the downs. 

After Joni's talk at the 4:31 mark, it then carries into the footage of her appearance on the Dick Cavett Show. She's the one seated in the green dress, and the other people sitting in a circle there are Jefferson Airplane.

Crosby and Nash then appear, with the mud of Woodstock still drying on their boots -- and Nash gives an amazing musical performance of the song "4+20": 

 

 

WHAT'S THE SIGNIFICANCE OF A 40-YEAR ANNIVERSARY? 

For those with access to the most closely-guarded secrets of the UFO cover-up, a 40-year anniversary is known to be of extreme  importance. This is due to a naturally-occurring 20-year cycle in the Earth's own natural rhythms that was discovered in the classified 'black-ops' world. 

What you are about to see is yet-unproven whistleblower testimony that suggests a unique harmonic effect occurs in 20-year intervals. If a substantial event occurs in world history, it will have a strong 'resonance' every 20 years from then on. Similar conditions will occur once more, but the outcome may not be the same. 

In the case of Woodstock, it may be even better this time around than the last time. Wouldn't it be amazing if these long-term effects lead to the exposure and downfall of the NWO / Illuminati negative factions, the release of 'free energy' technology that can help heal the world, and a true mainstream Disclosure of the fact that we are not alone?

That may very well be what is happening.

 

MONTAUK / PHOENIX III AND THE 20-YEAR CYCLE

My insider witness 'Daniel' allegedly worked on a top-secret project for Brookhaven Labs, a military defense industry contractor, known as Phoenix III -- or what is now colloquially referred to as the "Montauk Project."

In Phoeix III, a seat from a crashed ET disc was gradually brought into a fully-operational state in the lab -- allowing it to fulfill the same functions it once served within the disc itself. This necessitated a very high-energy power supply and system of antennae that were built to focus the energetic output from the chair. 

This process took many years to fine-tune and perfect, but once the insiders accomplished the task, they fired most of their existing staff and brought in a whole new crew as of February 1981. This was when Daniel was offered a job within the project.

If you have seen my hit Google video '2012 Enigma,' then you know the story. Once the chair was fully operational, it served as a 'psychic amplifier' for whomever was seated in it -- and this included the ability to create a stable vortex that could send people or objects through space and time.

In the typical operation of a UFO, the pilot would visualize where he or she wanted to go -- and a vortex would then open up in front of the ship that would take them there. The chair gave the pilot the ability to dramatically enhance his or her own natural abilities to create these vortices.

In Phoenix III, the chair operator needed to be trained enough as a meditator to reach a consistent inner silence of the mind -- the "quiet point," as they called it. At this point, a series of 22 'base frequencies' -- visible as sine-wave graphs -- would become still. This was all visible on monitors in the lab.

Once the stillness was achieved, some waves would be steep and some would be near to a flat line. The technician would then "zero out" the chair, tuning knobs under each of the 22 monitors so as to cause the waves to all be equally flat. As you turned one of the knobs, the wave would become steeper or flatter depending on the direction you turned it.

Once the chair was "zeroed out" like this, it was then specifically tuned to work with that person -- and it would then dramatically enhance his or her natural psychic abilities.

 

WE ALL HAVE THE POWER

As Bill Ryan shared at the recent Zurich conference, General Stubblebine -- one of the original MJ-12 members -- said that the greatest reason for the UFO cover-up was that a 'disclosure' would reveal that we all have the power to use telekinesis, manifest objects out of thin air, teleport from one place to another and even travel through time.

All we need is the power of our own minds  to make it possible. It does appear that the year 2012 represents, among other things, the key tipping-point where it will become much easier for us to begin accomplishing such feats. The planet as a whole must be ready for us to do this -- and up until now it hasn't been.

As silly as it might sound, in the grander sense we do  have the power to "turn bombers into butterflies" -- both metaphorically and perhaps even literally in the not-too-distant future! 

The 'powers that be' fear that once we learn this as a collective fact, not fiction, many more people will begin experimenting with it -- and before long we will realize the massive power we possess. That threatens the existing status quo, for many obvious reasons. They need us to remain cowering in fear for their plans to work.

 

THE 20-YEAR EARTH HARMONIC

Getting back to Montauk, the chair would pump out hundreds of different sine-wave curves, all of different sizes and wavelengths, as an exact measurement of what the operator's mind was doing. The most convenient and reliable wave they found was a 20-year wave that was a natural 'harmonic' of the Earth. 

This wave was so stable that it allowed the technicians to precisely calculate where in time someone had gone. You could go right down to the year, month, even the day by how carefully and precisely they had mapped out this 20-year wave. 

The fascinating part of the story which both Daniel and "Henry Deacon" (Arthur Neumann) have confirmed is that when people were sent through one of these vortexes into the future, they hit an energetic "bump" at a particular point.

Every one of the graphs coming out of the chair would flatline at this time, and the person going through the vortex would experience the "Full Out," where they felt a complete, ecstatic merger with Universal Consciousness -- profound bliss of a scope we cannot imagine. Anything they saw after this point seemed to be much more flexible, if not determined solely by the personality and expectations of the person running the chair.

Daniel told me they were quite surprised when they realized that the exact date of the 'bump', as seen on this 20-year graph, was December 21st, 2012 -- precisely the same as the end-date of the Mayan Calendar.

 

THE 40-YEAR 'RAINBOW'

Each year there were top-secret conferences as a division of "Project Sigma" that dealt with the emerging science of time -- and the problems and paradoxes that were discovered. The 20-year cycle was a subject of great interest -- and this all ties in with the so-called 'Philadelphia Experiment', known to the insiders as the Rainbow Project.

The pivotal event in the Rainbow Project occurred on August 13, 1943. Our computer just gave us the 'new email' beeping noise at the same time as we just realized that today is also August 13th -- yet another intriguing synchronicity that ties all of this together.

 

GRID NODES ARE VERY INTERESTING PLACES TO BE

The "Rainbow Project" came about because Norfolk Naval Shipyard happened to be on a particularly energetic part of the Earth's invisible 'energy grid' -- created by what the Russians call "torsion fields".

[It is worth pointing out that Edgar Cayce's readings instructed him to relocate to Virginia Beach for its energetic benefits, which would make him a much more powerful intuitive -- and Cayce's main house is on the same latitude as Norfolk Naval Shipyard. ]

At such a 'node,' highly-charged bursts of electromagnetic energy can create unusual effects that are not seen elsewhere -- such as the ability to open up higher-dimensional 'portals' through space and time.

The Rainbow Project started out, as I have said before, by the discovery that when very-high-intensity electromagnetic discharges were released in Norfolk Naval Shipyard, as a consequence of welding huge steel plates together to construct naval battleships, the power would suddenly go out in the facility.

When the lights came back on, they consistently found that tools and other objects would have disappeared from the room.

This effect was eventually captured on high-speed film -- and the arc-welding was seen to create a 'black hole' in that same area that then sucked in nearby tools and objects before the entire area just powered down completely.

 

PORTALS IN TIME

On August 13, 1943, the Rainbow Project scientists pumped an incredible amount of energy into the Earth's grid at Norfolk Naval Shipyard. The "cover story" is that this was done to the USS Eldridge to try to create 'radar invisibility," but in fact the actual ship involved, according to now-deceased whistleblower Col. Philip Corso, was the minesweeper IX-97.

According to very recent testimony by Dr. Steven Greer from Barcelona, the IX-97 did not pop back to Philadelphia, as most accounts suggest -- it was actually a location on the coast of Rhode Island. Setting it in Philadelphia was another level of the cover-up to further insure that the truth could not be so easily detected.

What is the truth, then? Apparently a portal in time occurred, and the ship spontaneously time-reversed to its previous location in Rhode Island before it had arrived in Norfolk.

The effect on the crewmembers was devastating, causing some of them to become embedded in the hull of the ship and die, while others burst into flame or went completely "gibbering, running mad" in the aftermath.

Furthermore, pumping so much energy into the Earth's grid created a dangerous condition known as a 'rift' -- a portal through space and time, through which undesirable negative spiritual forces can slip in. These 'rifts' also can lead to spontaneous disappearances and other strange anomalies.

 

CREATE A 'RIFT', EXPERIENCE THE SAME PROBLEM EVERY 20 YEARS

Apparently, the Earth's 20-year time cycle operates in such a manner that if you blast an incredible amount of energy into the Earth's grid on August 13, 1943, you will have a 'rift' occur again on August 13, 1963, and again on August 13, 1983.

The workers at Montauk feared the power this device gave their bosses, and they used the incoming massive surge of energy on the 40-year harmonic of the Rainbow Project to create an event that devastated the base and completely ended the project.

They had been able to manifest objects with the chair in the past -- even quasi-living beings -- but in this case a "monster from the id" was created, like in the movie Forbidden Planet, and it completely trashed the base and killed most of the people working there along the way. 

Daniel was fortunate enough to have called in sick that day, and was told not to return to work -- that he would be re-assigned. And that was it. 

Granted, this is a fanciful story, and I used to be one of the people who would laugh it off and never look back -- but once I became well-acquainted with someone who had actually worked there, I realized it was no joke. 

 

FURTHER VALIDATION THROUGH 'LOOKING GLASS'

Another interesting layer of potential validition comes from the testimony of Majestic whistleblower Dan Burisch. In his exclusive four-part interview with Project Camelot, he reveals his participation in the use of the "Looking Glass" technology, which allowed the viewer to see through time.

In private conversation, Burisch informed me that as of "some time in the early 1980s," you can no longer see one clear image in the Looking Glass. Rather, you start getting a flip-flop between two images, which are referred to as Timeline 1 and Timeline 2.

One of these timelines was seen to end in a catastrophe on Earth -- in 2012 -- whereas the other did not feature such a catastrophe. The closer you would get to 2012, the faster these two timelines would flip-flop against each other. Giant 'server farms' of computers were required to render out the high-speed video captured from sessions using the Looking Glass.

This whole flip-flop problem appears to have started on August 13, 1983. The same energy that was released on August 13, 1943, in the Rainbow Project, was further expanded and exacerbated as even MORE energy was pumped into it in 1983, in the weeks leading up to August 13th.

Apparently, this meddling with the 'time field' was so damaging that we have literally been living through two major 'bifurcated' timelines ever since. Each of us flip-flops between them in our own lives, and there is a real sense of disorientation that occurs as we do.

 

ENERGY RETURNS IN 20-YEAR INTERVALS

Think about it like this. Woodstock began on August 15th, 1969 and continued through August 18th. This weekend is the big anniversary. Once again, Woodstock hovers right around the pivotal August 13th point, which is alleged to have a harmonic effect every year as a result of the massive interference created in the 'time field' by the Rainbow Project in 1943.

And I laugh, because I honestly did not realize today was August 13th when I started writing this, and how it all fit together. And there goes that incoming-email-beep-noise again just for emphasis!

 

The Apollo moon landing occurred on July 20th, 1969, just 26 days before Woodstock. The uniqueness of such an event -- showing our cosmic heritage and destiny -- obviously helped inspire the youth culture to gather together at a giant music festival less than a month later.

Woodstock generated a great deal of energy in the positive sense. That energy also has the same reflective quality in the time field, meaning that it will re-emerge in 40-year intervals. Hence, according to the best black-ops witness testimony we have available, we now have an opportunity to harness the energy created in Woodstock and use it to do good in the here and now.

In a very literal sense, the energies of change and renewal that surrounded that historic festival are harmonically reflecting into the present moment. I have been receiving increasingly intense dreams, particularly in the last 2-3 months, suggesting that a very substantial sequence of events is about to occur -- most likely well before the end of this year.

I can say in all honesty that the only other time I've ever had a rapid succession of dreams this intense was in the months immediately leading up to 9/11. However, unlike the 9/11 dreams, which predicted a period of great darkness and fear that we would then go through, these dreams are making it clear that these events, while they may initially appear quite shocking, will have unprecedented and truly epic  effects... for the positive. 

We'll get to that in the next section, which I've already largely written -- but I'm breaking this up into two parts so we don't drown in the length of the piece.

The thing that surprised me the most this week is how I got drawn into all of this in a very direct, personal  fashion. Herein lies the synchronicity of the story as it relates to my own experience -- and this information is so timely that I need to make sure it finds its way into Part One.

 

MY TRIP TO NEW YORK

Right after I returned from Switzerland, where we last left off in David's Blog, I was hit with a grueling sequence of events that required my full time to take care of. Thankfully, most of these problems will only need to be dealt with once, and then I can move back into a more productive space here on the website.

There are multiple projects in development right now, and I've already cut way back on how much email I answer in any given day. Nonetheless, for this brief period of time, I also had so much to do that I could not make the time to create any substantial updates for this site. 

Due to how overwhelmingly busy I was tending the garden, I was forced to cancel my 45-minute appearance at the Be The Love conference outside Baltimore, Maryland this past weekend. I was completely exhausted.

I still ended up flying out to Manhattan, as I was slated to meet with my new writer to discuss CONVERGENCE and meet my new publisher, who is the president of a book company within one of the largest publishing houses. As soon as I have the protection of a signed contract, I will reveal who he is and complete the story. 

 

MEETING DAVID CROSBY

I was set to meet the publisher on Tuesday, and on Monday night, I met up with our CONVERGENCE writer at Wolfgang's Restaurant on the corner of 33rd and Park in Manhattan. He is good friends with David Crosby, who is obviously a very busy guy, and this was one of those rare times he got to see him in person. Crosby's closest friends and family were there, as well as my writer's son and his girlfriend. 

We had a meeting and discussed script points at the bar beginning at 4PM, and Crosby's entourage started showing up around 5:10. They were very impressed with my concepts, and clearly delighted that their writer friend was working with me on such a meaningful and influential film project.

I made the clear case of how the consciousness that was raised at Woodstock can create much greater peace and harmony in the world by a strictly energetic process. 

Crosby himself did not appear until 5:45, though he was slated to be there at 5:30, and my writer introduced me as he came into the restaurant. He was wearing a baseball hat similar to the one in this picture: 

 

 

Crosby was a big fan of the jazz-rock group Steely Dan, and they were all headed out to the concert that night. It was already sold out and I could not get tickets, but I did jump on the Iphone and nail down next Friday's live performance of 'Aja' here in Los Angeles.

I did get to hear at some length about how great the show was, and having my own ticket, despite the expense for a one-night shot, was what allowed me not to regret hearing about it. All the best songs were played in a concert that went on for some time. 

 

THE NEXT DAY -- AND WHAT A DAY!

The next morning, Tuesday, I again met up with our CONVERGENCE writer, and brought him in on my first meeting with the president of the book company. These meetings will directly shape what could easily be the most important work I have ever written, translated into many different languages around the world.

That meeting also went very well, as the writer and I are quite a dynamic duo, with incredible information, history and connections. His filmography immediately attracts attention, and we got a great reception on the idea of publishing a novel based on the CONVERGENCE script to appear at the same time the movie comes out.

I will also write a non-fiction book about the science in CONVERGENCE as a sequel to our first release, "The 2012 Enigma: Blueprints for a Golden Age." 

Our CONVERGENCE writer had to leave for a doctor's appointment while my meeting continued over lunch, and we met up again at the Paley Center on 25 West 52nd Street. Honestly, I had been so busy that I hardly knew anything about what we were going to be doing -- only that there was something he really wanted me to see. 

As we got closer I knew it was something having to do with Woodstock, but I still wasn't really clear. I didn't really know what this was -- or how cool it was -- until he arrived and started filling me in.

 

WOODSTOCK: NOW AND THEN

I was about to attend a live premiere screening of a new Barbara Kopple documentary, about to air tomorrow (now tonight, Friday, August 14th) on VH1, called "Woodstock: Now & Then." 

 

 

This was rewarding for me on multiple levels -- most of all because it gave me a great opportunity to visualize the release of the TV documentary that I've been pouring so much time and energy into helping along. 

 

THE 2012 SPECIAL

Certain members of our all-volunteer visual FX team have been heroically working nearly round-the-clock to assist us in the creation of four different CG sequences to support my testimony in an upcoming documentary that will air on the Sci Fi Network, on or around November 11th this year.

There. No more beating around the bush... I am finally confident enough that this is going to happen that I can put it in writing! 

We licensed these sequences to Sci Fi but did not accept money for making them -- and this allows us to retain copyright so we can use them in free YouTube videos we will be creating, such as the sequel to "2012 Enigma", which we plan to release just before the documentary airs.

The Sci Fi documentary 2012: Startling New Secrets coincides with the release of Roland Emmerich's epic new movie, which admittedly portrays the doom-and-gloom perspective. The documentary is a veritable Who's Who list of 2012 scholars, including John Major Jenkins, Lawrence Joseph, Daniel Pinchbeck, Jose Arguelles, George Noory and Richard C. Hoagland.

My testimony so dazzled the producers that they told me they were going to rewrite the whole thing around what they just captured from me on camera. The quality of the video footage was amazing, and I literally could not have asked for a better "mainstream TV break" than this. Even better, it's only the first in a continuing series.

Our FX team, headed up by my FX director Jay Frankenberger, has prodigiously risen to the occasion to meet the deadlines the producers threw at us.

We literally had one week to get them rough 'animatics' of the four sequences we intended to do -- the Pyramid Sequence, the Galactic Waves Sequence, the Sybilline Cave Sequence and the Torsion Field Sequence -- and only two additional weeks to get them final rendered sequences.

As it is, right now we're renting time on a 180-core 'render farm' just to be able to have the final sequences finished in time for our deadline. For example, each single frame of our Sybilline Cave sequence, dramatizing the Sybilline Prophecies, took ten minutes to render on a super-high-end 8-core Mac Pro -- literally the fastest, baddest desktop computer money can buy -- and there are 24 frames per second.

Jay calculated that it would be roughly three weeks  of round-the-clock rendering on the screaming-fast 8-core to finish the sequence, and we simply didn't have that kind of time.

I have seen initial shots from these sequences and they do look very good. Hopefully I can share some still shots fairly soon as all the final renders come in.

I'm quite proud of you guys and you should be proud of yourselves, as this is quite an amazing job you've done. It has also been a privilege to work as a director and script out how these sequences operate, and what they have in them. 

We are still accepting applications for all different people involved in the visual FX pipeline, as there is a lot more work to do before the sequel to '2012 Enigma' is released at the end of September. Let us know if you are interested, as we do intend to transition into paid work as financing comes available. There is no guarantee as to how soon that will be, but hopefully things will pick up.

I have needed to be there for my team as they wrestle with these towering last-minute deadlines. Tons of decisions have to be made about how sequences will look, down to the minutest details, and any hesitation costs valuable time.

That has been one of the reasons why I've been so preoccupied, but thankfully this should be the last time we'll ever have to deal with such a tight schedule. Three weeks, start to finish, for four complex sequences with a small volunteer crew -- often with single animators doing most of the sequences themselves --is only a few steps short of madness.

Anyway, this process has very much been like giving birth -- and it was really nice to happen in on a premiere release party for a documentary on Woodstock, which has so many connections to what I write and lecture about.

My CONVERGENCE writer and I sat on the far right, in a small four-seat row that was one back from the front. We still had a decent view of the screen from up there, as you can somewhat see in this picture I took:

 

 

Two young boys, perhaps five and seven, ended up sitting next to us, but at the time I didn't think anything of it despite them clearly being the only young children in the audience.

I was quite surprised to discover that these two guys sitting next to me were very prominently featured in the documentary. They were both part of a modern-day "School of Rock", where the younger kid had impressive drumming chops in the style of Keith Moon, and the older kid played guitar and sang lead vocals on their rendition of "Talkin' 'Bout My Generation" by The Who.

These kids were literally the main faces presented by Barbara Kopple as being the 'new generation' who would 'carry the torch' of Woodstock and "complete what was started." And here they were sitting next to my CONVERGENCE writer and me, mere hours after we just had a major meeting to establish the book deals that will release this information to the world! It was stunning. 

I had our writer snap a picture of me with these two kids, as otherwise I knew some people would just think I made all this up. Watch the show tonight and you'll see these guys jam out:

 

 

 

UPDATE NEXT DAY... MORE SYNCHRONICITY!

Friday morning, just to interject here, we received the following email -- which gives a lot more information than I had before:

-----Original Message-----
From: Rex
Sent: Friday, August 14, 2009 8:37 AM
To: David Wilcock
Subject: up front: sorry to email you

Had to do it man, your latest article on Woodstock blew me away, because it hit a personal note.

That picture you took with those 2 boys at the premiere; I don't know them personally but by chance saw them perform at an outside pool in Great Neck, NY last year...  All I can say is that it was kind of amazing when they played.  Everyone was pretty much ignoring the cover band, and then it was announced there would be a little treat for everyone. 

Those "kids" Brian D'Addario (vocals/guitar - he is incredible) and Michael Hall D'Addario (drums), along with their friend Thomas Murphy on bass came up on stage.

It was an incredible moment because all the kids immediately gathered up to watch (mine included) and it was as if the whole place was in awe (yes a kind of mini-woodstock if you will).  I remember them playing My Generation by The Who, and I think they closed with Purple Haze.

http://www.imdb.com/name/nm2637923/bio - Brian
http://www.imdb.com/name/nm2579443/bio - Michael
http://www.youtube.com/user/MembersOfThePress - Their youtube channel
http://www.youtube.com/watch?v=VU24kjJoLFg&feature=channel_page - School Of Rock All Stars (I see Brian in this)

When I saw that picture you took, man, the syncronicity just FLOORED me.

I would never do this for anyone, but dude if you ever need anything when you're in NY, just call.

 

MEETING MICHAEL LANG

After the panel discussion ended, my writer and I briefed Michael Lang, the original organizer of Woodstock, on CONVERGENCE -- and he was very excited to hear about it. He is very good friends with Barbara Kopple, who produced and directed the documentary, and she is very good friends with our writer.

We then got a picture of Michael and I standing together, again to insure that no one accuses us of making any of this up:

 

 

Michael very recently appeared on the Jimmy Fallon show to promote his new book about his experience organizing Woodstock, and it gives you a nice glimpse of his personality and talent:

 

 

You can see this new Woodstock special yourself at 9PM Eastern time on VH1 tonight (Friday, August 14th) and at 8PM Eastern time on History Channel this coming Monday, August 17th. I really enjoyed it, and I thank Barbara for having me as her personal guest to attend the premiere.

That synchronicity was enough to inspire me -- clearly establishing a link between Woodstock and my current projects as the "new generation" that will "finish what was started" -- but as I endured a grueling transcontinental flight back home on Wednesday, little did I know that yet another major synchronicity was taking place. 

 

MY HIGH SCHOOL BUDDY JEFF SHARLET

I graduated in the class of 1991, but because I had lots of honors classes, I often mixed with the class of 1990. As a result, I had a lot more friends in '90 than I did in '91, and that made my senior year quite a drag. 

One of the guys I knew in the class of 1990 was Jeff Sharlet. Here's his senior photo from my 1990 yearbook:

 

 

He definitely was a 'preppy' dresser, in that you might often see him walking around in school with a suit jacket, Oxford shirt and a tie:

 

 

Jeff was the head of the Amnesty International group, and at one point I marched with him on the streets of Glenville, holding up picket signs against the first war in Iraq and shouting slogans like "No Blood for Oil!" We both liked the same girl, who shall remain anonymous -- and she was also a key part of this big march we did.

 

 

Jeff and I didn't hang out all that much -- he did attend one of my house parties at one point and I played him 'Rubycon' by Tangerine Dream. He was a shy guy, so I let him stay in my room and meditate to the album by himself. He emerged an hour later in tears, saying it was the "most beautiful experience of my life." That was really cool!

Jeff and I also shared the same "newspaper homeroom" together. We both wrote for the school newspaper, known as the Tartan Times. In this yearbook photo you can see me standing next to him in our official yearly snapshot -- and I have circled our heads and whited out everyone else's names just so there's no confusion:

 

 

Of course, it was very common for my name to be misspelled as Wilcox, but you get the point.

Today, quite 'by accident,' I discovered that Jeff had appeared on the Daily Show with John Stewart -- during exactly the same time that I was on my way back from this synchronicity-filled trip to New York!

 

 

Even better, Jeff had infiltrated a Republican political organization calling itself "The Family," which used a very narrow interpretation of the New Testament to promote all the principles of the Illuminati and groom new leaders.

I knew that another friend of his, Tom, was working as a Congressional page, but was unaware that he was also involved in any of this. It may have happened after he graduated -- I really don't know the details.

 

 

Outrageously, the philosophy of this "Family" includes promoting Hitler and Marx as the most knowledgeable proponents of Christianity in the 20th Century, and the belief that the 'free hand' of the unregulated financial markets they intended to create was, in fact, the hand of Jesus.

How con-veeen-yent!

Here's a direct video link to Jeff's appearance on the show... check it out!

 

I had no idea that anyone else from my high school was on the verge of a major television media break like this, nor that anyone was doing the kind of research I was doing. This really blew me away. 

I talked to my brother about this amazing synchronicity and before long he said, "This sounds awfully familiar." The next thing you know, we realized that Jeff had also been on NPR recently, for a full half hour -- and Michael sent me this link so you can hear it for yourself:

http://www.npr.org/templates/story/story.php?storyId=106115324

 

All of this synchronicity directly ties in with Woodstock. The work that people like Jeff and I are doing is the fulfillment of the promise of Woodstock -- to break the 'devil's bargain' and "get ourselves back in the garden." I find it very interesting that all of this is clustering right around the 40-year harmonic of Woodstock, given what we know about this cycle in the Earth from our black-ops whistleblowers.

I couldn't help but laugh when I found Jeff's "senior prophecy" in my yearbook as well. Twenty years from 1990 is only a few months from now -- and what exactly did he think he would be doing? 

 

 

 

FILMING THIS WEEKEND WITH DON MIGUEL

I am also pleased to announce that we will be filming this Sunday's conference with Don Miguel Ruiz at the Pala Casino Spa and Resort, south of Los Angeles. You can check out their website here -- it's a really nice place. There are still seats available so you can be there at the live taping of an event that will play a prominent role in the sequel to 2012 Enigma:

 

 

CLICK HERE TO CHANGE THE WORLD WITH DON MIGUEL AND DAVID!

 

LONDON IN OCTOBER!

I am now happy to officially announce a major new weekend date in London, for the weekend of October 23rd through 25th. You can already buy tickets and see details in the Online Store.

Just now, as I update this page the next morning, they have sent us a website link where you can book your room reservations at a discounted rate.

This is such a recent development that I haven't even had time to make up a graphic for the event yet, but you can still reserve your seats now, as this will sell very fast considering there were 350 people in Zurich.

Once you've purchased your ticket from the Online Store, you can access this site to learn more about the event and to book, modify, or cancel a reservation from August 14, 2009 to October 16, 2009.

http://www.starwoodmeeting.com/StarGroupsWeb/res?id=0908145006&key=E50D4

 

It is very likely that I will be speaking with "Henry Deacon" (Arthur Neumann) at this event, and thus it will be a landmark in Disclosure, as he will get significantly more time than in any of the other conferences he has recently attended.

In case you don't konw, Henry Deacon may well be the most knowledgeable and highly-positioned whistleblower ever to come forward in the public eye. Unfortunately, the size of the venue is limited, as rentals for rooms above this size in London quickly skyrocketed to 30,000 dollars for the weekend... not cheap! 

SEPTEMBER IN TORONTO

Tickets are also available for my upcoming weekend extravaganza in Toronto. Remember -- this not only features 16 hours of the very best lecture material I have to offer, you get to see me perform the best songs from "Wanderer Awakening" -- no lip synching, the real deal -- with live keyboard and vocals backing me up! 

I have always dreamed of integrating live music into my events -- and this will only be the second time I've ever done it, so I'm very excited about it. 

If you are serious about signing up and have any questions about the event that are unrelated to the technical issues of filling out your order online, you can contact our organizer Marta at This e-mail address is being protected from spambots. You need JavaScript enabled to view it This e-mail address is being protected from spam bots, you need JavaScript enabled to view it or leave a voicemail at 561-543-3792.

[We do not provide travel agent services for booking air or ground transportation to and from the event. Reasonable refund requests will be honored should you have problems arise, but please don’t wait until the last minute.]

 

 

 

 

 

HAWAII IN NOVEMBER

If you prefer more of a full-resort, pay-one-price vacation experience, we have a five-day getaway coming up in Hawaii between November 14th and November 18th at the beautiful Sheraton Keauhou Bay Resort and Spa on the island of Kona.

This features a welcome luau, entertainment on the second night, a guided volcanic hiking tour, a sunset dinner and cruise, an optional dolphin swim, fifteen hours of electrifying lecture content from yours truly, sight-seeing and deluxe hotel accommodations.

For more information you can contact Kevin Fitzgerald directly at 805-587-7734, or at betravelsavvy@aol.comThis e-mail address is being protected from spam bots, you need JavaScript enabled to view it .

 

UPDATE: DON WILCOCK IN VIETNAM DURING WOODSTOCK

This morning, after staying up late and posting this article at 6AM, I got up and saw a column my father had sent out for his own publications. This is another intriguing level of the synchronicity between my own life and what went on at Woodstock -- namely that my father was the only journalist covering rock-and-roll for the troops at the largest American military base in Vietnam as of 1969.

You are about to read what, for many American troops, may have been the only news they ever heard about the Woodstock event before dying in battle. This is the first time Dad has ever dug this out of his archives for publication and I'm very glad he did. You're reading it for the first time now, just as I am!

 

 

The Woodstock Nation from A Different Perspective

By Don Wilcock

The year was 1969. I was an Army Information Specialist assigned to U.S. Army Vietnam Headquarters in Long Binh. My assignment was to singlehandedly put out the morning newspaper that everyone from the top generals on down read at their morning mess. An added perk was that I got to write a music column for The Army Reporter which then was “the largest Army newspaper in the world.”

It was the summer of the Woodstock Festival half a world away, and it was my responsibility to write about anti-establishment hippies having the biggest party in the history of the drug culture for an audience of  “grunts” – average age of 20 or 21 – slogging through the jungles killing “Gooks” and being killed by “Gooks” in the guise of stopping the spread of Communism.

Circulated to all the troops “in country,” The Army Reporter was a propaganda sheet designed to boost the morale of our troops. The official line in ’69 was that we were Vietnamizing the war in anticipation of American withdrawal. Yeah, some things never change. The joke among the Army photographers in our office was that the only way they were going to get photos of South Vietnamese soldiers carrying guns was if they were running away from the Viet Cong.

In among the propaganda was my column, “Sounds from The World.” My intent was to present a weekly Reader’s Digest of pop music from “the world,” which to us in Vietnam meant everywhere but where we were. My personal goal was to collect swag.

I sent a letter from the officer in charge of the Information Office to my college buddy Bill Nowlin who leveraged free records ostensibly for review in the column. But what he really did was collect and hold them with the idea that if I made it home alive we’d divide the booty. Through his clever manipulation, I had a complete Chess Records collection by 1970, and he went on to found Rounder Records.

Pop music in 1969 was in musical and sociological upheaval. San Francisco’s Haight Ashbury and, to a lesser extent, the academic communities in Boston, New York, London and other cultural centers had created a market for “underground” music which became much more mass oriented with the advent of FM radio which introduced the counter culture to mainstream top 40.

The prime inspiration for this new sound was what we today would call Americana music encompassing Folk, Blues, Old Timey, Bluegrass, Jug Band, Soul, Rhythm’n’blues and any other sounds that had their roots in the regional cultures of the world, and particularly America.

American roots music for centuries had been strongly influenced by protests over perceived injustices: by slave owners, “the Man,” “the silent majority,” “captains of industry,” and “the military-industrial complex.”

From the time of the industrial revolution through the labor movement, the dust bowl and depression, World War II, and The Korean War, our musical heritage had been rife with social commentary about the inequities of the little guy being squashed by the big guy. In 1969, the new emerging underground logically became the mouthpiece for the baby boomer’s disgruntlement over the Vietnam War.

I was anti-war, but I had no choice. My country ordered me to Nam, and it was go or be sent to prison or run to Canada.

But suddenly I found myself writing about underground music in the most above ground newspaper in the world. In some ways I felt like I was the wolf in the chicken coop. If the slaves had used field hollers to communicate hope and the promise of freedom to each other in the cotton fields, was I not doing the same thing for young people in the death stench of the jungles in Nam?

On the other hand, I was terrified that I was in fact one of the chickens, and the Army was the wolf in the coop. If I glorified the obvious power of counter cultural music, and it was read by some higher authority in the military who understood the hidden message – and potential power – of the music, I could be sent out into the jungle myself as point man against the enemy and be dead in a heart beat.

It was a dangerous high wire act, and I was never sure whether I could balance myself long enough to make it from one end, being shipped off to Nam to the other end, flying “the freedom bird” home.

It was a heady time. In the daily newspaper I was writing about our landing on the moon, the day-to-day struggle of the war I could hear in whistling rockets all around me, the Manson killings, and the cultural tug of war between young people who were saying not to trust anyone over 30 and President Nixon and his cronies who were throwing young people into Southeast Asia like meat into a grinder.

Underground music was addressing these issues head on, and it all came to head at the Woodstock Festival. How was I to write about a festival to this audience without gloating over the obvious power to the people?

In my Sounds from The World column reprinted below I addressed the issue of the unsanitary conditions, comparing what the music fans experienced with what the average soldier was going through. My readers called me on it. We all knew in our hearts that we would give almost anything to be in that throng at Max Yasgar’s farm instead of the hell we were confined to.

During slavery, the slave owners refused their salves musical instruments, denied them the privilege of assembly, and often put slaves from different African cultures together so they couldn’t communicate in a common language. The original Woodstock Festival broke the same kind of barriers the filed hollers did to create “the Woodstock nation” and showed the world the power of the music.

I continued to write for The Army Reporter for more than a year after I came home. The Stones’ Altamont concert showed that even the peace generation had an ugly side. Forty years later, Woodstock remains a cultural milestone. I have to give a tip of my hat to my superiors in the Army for letting me speak freely about “our music” to a captive audience, and I’m proud to still be addressing the power of that music and its pervasiveness 40 years later.

I now understand that my willingness to literally risk my life for the music is the result of an addiction that for many of us is stronger than any drug consumed by the baby boomers. Many of us who did survive realized somewhere along the way that if we wanted to live to enjoy the music we’d have to give up the drugs. Now, I work out three times a week, and the endorphins that flow into my writing after a workout are my drug, a healthy one that supports my music journalism addiction.

As much as everyone talks about how much things have changed, I find more things the same today than different.  My children and grandchildren listen to much of the same music that was performed at Woodstock. On the other hand, you’d be hard pressed to say that in 1969 many of us were listening to much of what was popular 40 years earlier in 1929.

While musical taste today is much less circumscribed by age – there’s really no such thing as a generation gap in the public’s taste today – there still is a chasm between the couch potatoes who passively absorb what mainstream radio and TV present as today’s music and those of you who search out new music on vehicles like the one you’re using to read this, satellite radio, iPods and other alternatives.

So, read this column from September 22, 1969, and try to imagine me in Long Binh trying to balance my obsession with music against the terror of knowing that to some of my readers, this festival was an anathema, while to others it was a longed for escape they might never live to experience.

Sounds from The World

The Army Reporter

The largest Army newspaper in the world

Vol. 5, No. 38

U.S. Army, Vietnam -- September 22, 1969

They were drenched, lacked food, improvised hastily dug latrines and trudged through mud and garbage – in upstate New York. Despite uncomfortable conditions and tragedies, all too familiar to us in Vietnam, 400,000 young people stayed at the Woodstock Music and Arts Festival for three days without any fights or arrests – because they liked it.

I was dead wrong two weeks ago in suggesting the tragedy of Woodstock (hundreds of sick people airlifted from the road-clogged festival and two reported deaths) was a signal of the end of the hippy communal scene. On the contrary, the hardships shared by these people seemed to have reinforced their togetherness.

Also, I think the word was out. The promoters and audience alike realized the world was watching. This was the biggest festival of the summer, held in an area made famous as a retreat for Bob Dylan and The Band. There seemed to be a tacit agreement that the audience wouldn’t hassle one another and the guards would let everyone do his own thing.

Equally significant to the reaffirmation of the peaceful climate initiated first in Monterey two years ago was unimportance of the music. The festival received fantastic press coverage, but the reader was hard pressed to discover which musicians actually appeared. And only a tiny fraction of the people on that rambling farm actually heard any of the music. Jefferson Airplane and Jimi Hendrix were there.

History may record the hit of the show to be Joe Cocker, a British Blues screamer. You can hear him interpret some Pop-blues standards on his initial LP, With A Little Help from My Friends. (A&M SP4182).

 

 

All performers were taped and undoubtedly will be released. With the initial commotion dying down we may yet see the Woodstock camp-out become an event significant not only sociologically but musically.

At another festival Labor Day weekend on the tiny British Isle of Wight, 150,000 disgruntled fans threw garbage at a stage when Bob Dylan left after giving an abbreviated performance three hours late. “I wanted to do more but it was so late,” he told Associated Press. “I didn’t want to keep everyone up.” He reportedly received $84,000 for his hour performance and said he thought he would like to do it again next year.

Hallelujah (Liberty LST-7618) is the Canned Heat’s newest LP. It lays down more electronic Blues and powerful rumbling vocals by the 300-pound Bob Hite. Bob is famous for the thousands of rare records that he collects in his travels with the group. A series of albums Urban Blues and Rural Blues (Liberty) contains cuts from his collection.

Bob’s latest discovery is Albert Collins who has gained a word-of-mouth reputation among musicians in the southwest. He is the first Blues performer with an original vibrant style to be recorded nationally in the last few years.

The unpredictable John Lennon’s latest escapade is broadcasting peace messages to the Middle East from a pirate radio station on a ship in the Mediterranean. “Give Peace A Chance” is the signature tune of the station.

What would you like to see in the column? Heard any good sounds on R&R? Write to me, Spec 5 Donald E. Wilcock, in care of The Army Reporter, HQ USARV, (IO), APO 96375.

 

CHECK BACK FOR PART TWO

One of the most interesting things I learned in the VH1 documentary premiering tonight is that New York Gov. Nelson Rockefeller seriously wanted to send in 10,000 armed military troops to Woodstock. He was urged not to, but apparently it came very, very close to happening.

That adds a whole extra layer of meaning and significance to the story for our time, 40 years later. Many people are afraid the same thing could happen now -- but if it had happened then, we might have a very different story to tell our children.

I still haven't told you what all these dreams have been telling me. Honestly, I don't want to miss this one, because in the past I have had big prophecies like this come in and I was not adventurous enough to take a gamble as to what they mean.

At this point, my 'best guess' is that a sequence of events is about to unfold that will heavily reduce the power of the 'negative elite', New World Order and / or Illuminati. Furthermore, we may be right on the brink of a free-energy breakthrough as well as the Disclosure we've all been waiting so long for.

It's no big secret anymore that UFOs are real. What IS interesting is that we are now in "the moment of all moments," the immediate times preceding the Great Shift itself -- whatever it turns out to be. The data is so solid that this is a positive event that I stake my reputation and my life on it.

Quote: “Looking forward to increasing wonders, David, on your website and elsewhere on Earth!” -Leo Glascock

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