"(Jack) Kerouac (Author of "On the Road ")introduced the phrase "Beat Generation" in 1948, generalizing from his social circle to characterize the underground, anticonformist youth gathering in New York at that time. The name came up in conversation with the novelist John Clellon Holmes who published an early Beat Generation novel, Go (1952), along with a manifesto in The New York Times Magazine: "This Is the Beat Generation" In 1954. Nolan Miller published his third novel, Why I Am So Beat (Putnam), detailing the weekend parties of four students.
The adjective "beat" was introduced to the group by Herbert Huncke, though Kerouac expanded the meaning of the term. "Beat" came from underworld slang—the world of hustlers, drug addicts and petty thieves, where Ginsberg and Kerouac sought inspiration. "Beat" was slang for "beaten down" or downtrodden, but to Kerouac, it also had a spiritual connotation as in "beatitude". Other adjectives discussed by Holmes and Kerouac were "found" and "furtive." Kerouac felt he had identified (and was the embodiment of) a new trend analogous to the influential Lost Generation.
In "Aftermath: The Philosophy of the Beat Generation" Kerouac criticized what he saw as a distortion of his visionary, spiritual ideas:
The Beat Generation, that was a vision that we had, John Clellon Holmes and I, and Allen Ginsberg in an even wilder way, in the late Forties, of a generation of crazy, illuminated hipsters suddenly rising and roaming America, serious, bumming and hitchhiking everywhere, ragged, beatific, beautiful in an ugly graceful new way—a vision gleaned from the way we had heard the word "beat" spoken on street corners on Times Square and in the Village, in other cities in the downtown city night of postwar America—beat, meaning down and out but full of intense conviction. We'd even heard old 1910 Daddy Hipsters of the streets speak the word that way, with a melancholy sneer. It never meant juvenile delinquents, it meant characters of a special spirituality who didn't gang up but were solitary Bartlebies staring out the dead wall window of our civilization..." (source)
The "Beat generation" was characterized by Jazz Music, drug use and "coffee house poetry". It also found a home in Laurel Canyon. Los Angeles:
"In the 50s, Beat poet Wulf Zendik moved into the canyon with his lover, Arol, and started the first of many incarnations of his organic, sustainable, cult-like Zendik Farm. Conversely, modern architects came to grade hillsides and erect modern Case Study Houses and tract homes that had little to do with the canyon’s woodsy charm and everything to do with stylized glamour. During this time, Dennis Hopper, James Dean, and Marlon Brando all had homes here." (Source)
In the 1950s, as Barney Hoskyns has written in Hotel California, Laurel Canyon was home to all “the hippest young actors,”
Marlon Brando, James Dean, James Coburn and Dennis Hopper. Natalie Wood. In fact, Natalie lived in the very home that Cass Elliot would later turn into a Laurel Canyon party house Sal Mineo, lived at the mouth of the canyon Nick Adams, lived just a mile or so away (as the crow flies) in neighboring Coldwater Canyon.
With the exception of Hopper, all of their lives were tragically cut short, proving once again that Laurel Canyon can be a very dangerous place to live.
* James Dean, who ostensibly died in a near head-on collision on September 30, 1955, at the tender age of twenty-four
* Nick Adams died on February 6, 1968, at the age of thirty-six, in his home at 2126 El Roble Lane in Coldwater Canyon. His official cause of death was listed as suicide, of course, but as actor Forrest Tucker has noted, “All of Hollywood knows Nick Adams was knocked off.”
* Sal Mineo, whose murder on February 12, 1976 we have already covered.
* Natalie Wood, who died on November 29, 1981 in a drowning incident that has never been adequately explained (source)
Which brings us back to the most prominent member of the Laurel Canyon Club:
* Lookout Mountain Laboratory was originally envisioned as an air defense center. Built in 1941 and nestled in two-and-a-half secluded acres off what is now Wonderland Park Avenue, the installation was hidden from view and surrounded by an electrified fence. By 1947, the facility featured a fully operational movie studio. In fact, it is claimed that it was perhaps the world’s only completely self-contained movie studio. With 100,000 square feet of floor space, the covert studio included sound stages, screening rooms, film processing labs, editing facilities, an animation department, and seventeen climate-controlled film vaults. It also had underground parking, a helicopter pad and a bomb shelter.
* the studio produced some 19,000 classified motion pictures
* the facility was run by the U.S. Air Force
* process AEC footage of atomic and nuclear bomb tests.
* indications that Lookout Mountain Laboratory had an advanced research and development department that was on the cutting edge of new film technologies
* 3-D effects were apparently first developed at the Laurel Canyon site
* Hollywood luminaries like John Ford, Jimmy Stewart, Howard Hawks, Ronald Reagan, Bing Crosby, Walt Disney and Marilyn Monroe were given clearance to work at the facility on undisclosed projects.
* The facility retained as many as 250 producers, directors, technicians, editors, animators, etc., both civilian and military, all with top security clearances – and all reporting to work in a secluded corner of Laurel Canyon.
* the secret bunker had been up and running for more than twenty years before Laurel Canyon’s rebellious teen years, and it remained operational for the most turbulent of those years
* The existence of the facility remained unknown to the general public until the early 1990s (Ibid)
Svali, an Illuminati Defector, stated that the Cult had a location in California which made all of the training films for "Trauma-based mind control". No other place has been identified besides this one. These training films were undoubtedly also a part of the MK-Ultra program and would prove to be an extremely important key in exposing the Illuminati fraud and global conspiracy. I would love to get my hands on one for publication and exposure purposes.
Were James Dean, Natalie Wood, Nick Adams and others some of the first victims of the MK-Ultra experiments? One of the characteristics of Trauma-based mind control is that it breaks down in the mid 20s to 30s. If a candidate cannot be reprogrammed, they are usually dispatched in snuff films, or simply murdered in a staged suicide or accident.
A tragic end for an equally tragic life. (Much Thanks to David McGowen for his research on Laurel Canyon)