Quote:If these folks really were the very first hippies, the first riders of that ‘counter-cultural’ wave, then we should probably try to get to know them. As it turns out, however, that is not such an easy thing to do. Most accounts – and there aren’t all that many – offer little more than a few first names, with no consensus agreement on how those first names are even spelled (“Karl” and “Carl” appear interchangeably, as do “Szou” and “Zsou,” and “Godot” and “Godo”). But for you, dear readers – because I apparently have way too much time on my hands – I have gone the extra mile and sifted through the detritus to dig up at least some of the sordid details.
By all accounts the troupe was led by one Vito Paulekas, whose full name is said to have been Vitautus Alphonsus Paulekas. Born the son of a Lithuanian sausage-maker circa 1912, Vito hailed from Lowell, Massachusetts. From a young age, he developed a habit of running afoul of the law. According to Miles, he spent a year-and-a-half in a reformatory as a teenager and “was busted several times after that.” In 1938, he was convicted of armed robbery and handed a 25-year sentence following a botched attempt at holding up a movie theater. By 1942, however, just four years later, he had been released into the custody, so to speak, of the US Merchant Marine (a branch of the US Navy during wartime), ostensibly to escort ships running lend-lease missions.
Following his release from the service, circa 1946, Vito arrived in Los Angeles. What he did for the next fifteen years or so is anyone’s guess; there is virtually no mention of those years in any of the accounts I have stumbled across. What is known is that by the early 1960s, Vito was ensconced in an unassuming building at the corner of Laurel Avenue and Beverly Boulevard, just below the mouth of Laurel Canyon (and very near Jay Sebring’s hair salon). At street level was his young wife Szou’s clothing boutique, which has been credited by some of those making the scene in those days with being the very first to introduce ‘hippie’ fashions. Upstairs was the living quarters for Vito, Szou and their young son, Godot. Downstairs was what was known as the “Vito Clay” studio, where, according to Miles and various others, Paulekas “made a living of sorts by giving clay modeling lessons to Beverly Hills matrons who found the atmosphere in his studio exciting.”
Quote:Alvin Francis "Creepy Karpis" Karpowicz (August 10, 1907 – August 26, 1979), born Alvin Karpowicz, nicknamed "Creepy" for his sinister smile, was a noted American criminal known for his alliance with the Barker gang in the 1930s. He was the last "public enemy" to be taken, a capture which elevated J. Edgar Hoover and the Federal Bureau of Investigation (FBI) to national prominence.
Early life
Karpis was born to Lithuanian immigrants in Montreal, Quebec, Canada, and was raised in Topeka, Kansas. He started in crime at about age 10 running around with gamblers, bootleggers, and pimps.
....
Imprisonment
Sentenced to life imprisonment, Karpis was incarcerated at the recently formed Alcatraz federal penitentiary from August 1936 to April 1962. For six months in 1958, he had been transferred to the Leavenworth federal penitentiary, but was then returned to Alcatraz. His main job at Alcatraz was working at the bakery. He was far from a model prisoner, frequently fighting with other inmates. However, Karpis is renowned for being the prisoner with the longest sentence at Alcatraz, yet not a single escape attempt.[citation needed] In April 1962, with Alcatraz in the process of being closed, he was transferred to McNeil Island Penitentiary in Washington state. While at McNeil he met a young inmate named Charles Manson. Karpis wrote about Manson in his autobiography with Robert Livesey, published in 1980):
Quote:This kid approaches me to request music lessons. He wants to learn guitar and become a music star. “Little Charlie” is so lazy and shiftless, I doubt if he'll put in the time required to learn. The youngster has been in institutions all of his life — first orphanages, then reformatories, and finally federal prison. His mother, a prostitute, was never around to look after him. I decide it's time someone did something for him, and to my surprise, he learns quickly. He has a pleasant voice and a pleasing personality, although he's unusually meek and mild for a convict. He never has a harsh word to say and is never involved in even an argument.
After Manson had actually become somewhat proficient on the guitar, he asked Karpis for help in getting a job playing in Las Vegas as Karpis had contacts with nightclub and casino owners there. Manson even told him he would be bigger than the Beatles, but in the end Karpis decided to leave Manson on his own regarding his music career. Manson was moved to a Los Angeles facility in 1967, which proved to be one of the most ominous prison transfers ever. Later Karpis added
Quote:The history of crime in the United States might have been considerably altered if “Little Charlie” had been given the opportunity to find fame and fortune in the music industry. He later became the infamous Charles Manson.
Later years
Karpis was released on parole in 1969 and deported to Canada, although he initially had difficulty obtaining Canadian passport credentials, due to his having had his fingerprints removed by underworld physician Joseph Moran in 1934. ...
He moved to Spain in 1973. On August 26, 1979, he died by what was originally ruled suicide by authorities, as sleeping pills were found by his body, but later it was ruled death from natural causes. Some closer to the scene say foul play may have been involved. Robert Livesey, who co-wrote Karpis's 1979 book, said Karpis was not the type to have committed suicide. Livesey said Karpis was a survivor, having served 33 years in prison, and also stated Karpis was anticipating the publication of the book. Livesey believed Karpis had been introduced to pills and alcohol by his last girlfriend Nancy, to give a relaxing high, and perhaps Karpis accidentally over-indulged on one occasion, with fatal consequences. No autopsy was done, and Karpis was buried the next day in Spain. ...
Karpis worked with the Ma Barker gang. Manson and some of his people were caught hiding out at an abandoned Barker Ranch in Death Valley. The Barkers (Jim and Kirk and perhaps others) of Death Valley had moved to nearby Indian Ranch apparently. The Myers (Meyers?) still lived at the Myers ranch though, while Beach Boys lead vocalist/songwriter Brian Wilson used nearby Goler Ranch as a place to write music. (see http://www.deathvalley.com/dvtalk/messages/293585.shtml)
Mention of another team member who worked in the acid rock scene:
Quote:Clark admitted that he himself had obtained the passport and provided it to Gritz to assist him in his POW-recovery efforts, and that the passport, in fact belonged to no one, since "Patrick Richard Clark" does not exist, other than in State Department computer files. Maddox then had no case left to prosecute, since the charge read "Misuse of the passport of another," when, in fact, there was no "other," and Judge Philip Pro had no choice but to end the trial. As Gritz had candidly admitted on numerous occasions publicly around the country, "I have misused passports all of my adult life as a special-forces operative, just like Jane Fonda did when she went to North Vietnam and Ollie North and Robert McValium did when they went to Teheran in 1985 with the Bible, the cake and the TOW missiles. The only reason I'm being prosecuted on this 'weenie charge' is because I refused to 'play ball' with this crowd." He admitted that his own best friend, Joe Felter of Wedtech, had been used by the National Security aide handling Gritz's mission to Burma, Tome Harver (code-named "Tango") to attempt to persuade Gritz to "erase and forget" all that he had learned in Burma, and to attempt to bribe him to do so with the promise of a cushy job as a defense contractor in Washington, all to no avail. Gritz's testimony about the provision of those passports (he carried a total of four at one time) from the special Administrative Survey Branch of the National Security Agency was not permitted to be entered into open court testimony because of the restrictive provisions of CIPA (Classified Information and Procedures Act). In practice CIPA has become a thinly disguised tactical weapon wielded by the government to force the defense to disclose all of its evidence before excluding it from court proceedings.
After two years of prosecutorial delay, including forcing Gritz to assemble his witnesses in Las Vegas from around the world more than once, only to have the trial postponed, and hamstringing Gritz's overseas operations by prohibiting his travel, following the exposure of Maddox's blunder, Gritz was understandably furious when, following the judge's decalration of his acquittal, he could not present even a word of his defense, much less high-level intelligence authorization for his mission. Gritz had made these points very clear to news reporters covering his indictment and trial from the outset. Almost as if he was working in concert with Gritz to verify his claims, Maddox emerged from the courtroom to snarl at Clark that "your superiors at LAPD will hear about this!" (and, indeed, they did and put pressure on Clark in the aftermath to punish him for his candor).
In response to a news reporter's question in front of television cameras, Maddox shot back "George Bush called me and told me to 'Get Bo Gritz.'" When the reporter queried whether Maddox was being serious or sarcastic, "You're denying that. Is that what you're saying?" he responded in a flat-toned, deapan, but adamant manner, "No. What I'm saying is that George Bush called me and told me to "Get Bo Gritz!"
I had literally driven the brakes off my car on Gritz's behalf traveling back and forth between Nevada and California, and lacked the gas money even to get to Las Vegas for the trial. But when Gritz called the day after the acquittal to request my help in editing the trial coverage and Maddox's statements into a new videotape, I quickly rounded up a helper and drove all night to Nevada to obtain the raw footage, drove back all night to LA and stayed up the entire next evening assembling a hard-hitting 10 min. video for immediate distribution. I was not paid a cent for the effort, but found profound satisfaction in exposing the perfidy of the officials involved in that travesty of justice nationwide when the national news media deliberately ignored the story. I have derived considerable satisfaction since upon learning that not only was Maddox not reappointed as U.S. Attorney, but the State of Nevada was unable to find a suitable replacement over two years later.
When a Mr. Lutfy was finally formally nominated by Rep. Barbara Vucanovich with considerable fanfare, the next morning's news headlines trupeted that Lutfy was strongly implicated in several insurance fraud cases. This was only the latest in a series of fiascos befalling the vindictive U.S. Attorney's office after the first of Gritz's prosecutors, a Mr. Wulfson, resigned, to be replaced by a a Mr. O'Neill, who assumed the case with a vengeance. He left town not long after with his tail between his legs when someone leaked to the local press that Mr. O'Neill had actually served as a road manager for the acid-rock anti-war band from San Francisco, Country Joe and the Fish, who immortalized the "Gimme and F!" cheer in their classic anti-Vietnam anthem "Feel Like I'm Fixin' to Die Rag."
15-11-2009, 11:45 PM (This post was last modified: 16-11-2009, 12:02 AM by Keith Millea.)
Quote:to be replaced by a a Mr. O'Neill, who assumed the case with a vengeance. He left town not long after with his tail between his legs when someone leaked to the local press that Mr. O'Neill had actually served as a road manager for the acid-rock anti-war band from San Francisco, Country Joe and the Fish, who immortalized the "Gimme and F!" cheer in their classic anti-Vietnam anthem "Feel Like I'm Fixin' to Die Rag."
WooHoo,my favorite SF band.The only road managers that I know of were Ed Denson and Bob Belmont.Check out the band at Monterey Pop,1967.I do believe that the references to death are actually about the death of the ego.
"You never change things by fighting the existing reality. To change something, build a new model that makes the existing model obsolete.â€
Buckminster Fuller
He reputedly made more than a million doses of LSD, much of which fueled Ken Kesey's notorious Acid Tests rollicking parties featuring all manner of psychedelic substances, strobe lights and music.
He saturated the '60s with LSD
Owsley "Bear" Stanley, left, and the Grateful Dead's Jerry Garcia in 1969. Stanley, a 1960s counterculture legend who flooded the flower power scene with LSD and was an early benefactor of the Dead, died in a car crash in his adopted country of Australia. He was 76. (Reuters / March 14, 2011)
By Elaine Woo, Los Angeles Times
March 15, 2011
Nearly everyone familiar with the history of the 1960s has heard of Timothy Leary and Ken Kesey, the pranksters who spread the gospel of psychedelics to the countercultural generation. But far fewer remember Owsley Stanley.
Stanley, who died Saturday at age 76, was arguably as pivotal as Leary and Kesey for altering minds in the turbulent '60s. Among a legion of youthful seekers, his name was synonymous with the ultimate high as a copious producer of what Rolling Stone once called "the best LSD in the world … the genuine Owsley." He reputedly made more than a million doses of the drug, much of which fueled Kesey's notorious Acid Tests rollicking parties featuring all manner of psychedelic substances, strobe lights and music. Tom Wolfe immortalized Stanley as the "Acid King" in the counterculture classic "The Electric Kool-Aid Acid Test" (1968).
The music that rocked Kesey's events was made by the Grateful Dead, the iconic rock band of the era that also bears Stanley's imprint. His chief effect on the band stemmed not merely from supplying its musicians with top-grade LSD but from his technical genius: As the Dead's early sound engineer, Stanley, nicknamed "Bear," developed a radical system he called the "wall of sound," essentially a massive public address system that reduced distortion and enabled the musicians to mix from the stage and monitor their playing.
"Owsley was truly important in setting the example of someone who would go to almost any length, beyond what anyone would think reasonable, to pursue the goal of perfection … sonic perfection, the finest planet Earth ever saw," Grateful Dead publicist Dennis McNally said Monday. "They never would have done that without Bear. Furthermore, the greater San Francisco scene never would have been what it was without the opportunity for thousands of people to experience psychedelics, which would not have happened without Bear."
Stanley, who moved to Australia more than 30 years ago, was driving his car in a storm near the town of Mareeba in Queensland when he lost control and crashed, said Sam Cutler, a longtime friend and former Grateful Dead tour manager. He died at the scene. His wife, Sheilah, sustained minor injuries.
Described by Cutler as a man who held "very firm beliefs about potential disasters," Stanley relocated to Australia because he believed it was the safest place to avoid a new ice age. He was a fanatical carnivore who once said that eating broccoli may have contributed to a heart attack several years ago. In his later years he was mainly a sculptor and jeweler, and his works were sought by many in the music industry, including the Rolling Stones' Keith Richards, Cutler said.
"He was a very sophisticated man," Cutler said, "an amalgam of scientist and engineer, chemist and artist."
With artist Bob Thomas, Stanley designed the Dead's distinctive logo: a skull emblazoned with a lightning bolt. He also recorded about 100 of the band's performances, many of which later were released as albums. He once said that he considered preserving the live concerts one of his most important accomplishments.
Born Augustus Owsley Stanley III in Kentucky on Jan. 19, 1935, he was the grandson of a Kentucky governor and son of a naval commander. His nickname, Bear, reputedly was inspired by the profuse chest hair he sprouted in adolescence.
He studied engineering briefly at the University of Virginia before dropping out and joining the Air Force, where he trained as a radio operator. After completing his military service in 1958, he moved to California and worked at a variety of jobs, including a stint at the Jet Propulsion Laboratory in La Cañada Flintridge. He also studied ballet, Russian and French.
He enrolled at UC Berkeley in 1963 as the Free Speech Movement was erupting and drugs such as LSD began flowing. He got his first taste of LSD in April 1964. "I remember the first time I took acid and walked outside," he told Rolling Stone in 2007, "and the cars were kissing the parking meters."
That experience convinced him that he needed a steady and trustworthy supply. He found a recipe at the campus library. Then, with a chemistry major named Melissa Cargill, he started a lab and began manufacturing a very pure form of the drug.
His lab was raided twice; Stanley spent two years in prison. According to "A Long Strange Trip," McNally's history of the Grateful Dead, Stanley estimated that he had produced enough LSD to provide about 1.25 million doses between 1965 and 1967.
After his release from prison in 1972, he returned to the Dead and began working on a new sound system, a monolithic collection of speakers and microphones that channeled the music through a single cluster of equipment. The band introduced it in 1974 at San Francisco's Cow Palace, but it was too expensive to sustain and Stanley later gave most of it away. But his ideas were later adopted by concert equipment makers.
Not everyone was a fan of the system. "It was always malfunctioning," Country Joe McDonald, of the '60s psychedelic band Country Joe & the Fish, said in an interview Monday. "The Grateful Dead and their extended family were like a unit, a nine-headed hydra. They did things their own way. People loved it. It was part of their mystique." Stanley, whom McDonald knew slightly and remembered as "kind of an obnoxious" person, "fit in really well."
For a brief time Stanley was the Grateful Dead's main financial backer and put them up in a pink stucco house in Watts, where he had moved his LSD lab. A 1966 Los Angeles Times profile described Stanley roaring up to a Sunset Boulevard bank on a motorcycle with wads of money crammed in his helmet, pockets and boots. The Times' and other accounts described him as an LSD millionaire, a status Stanley denied. But it inspired a Dead song, "Alice D. Millionaire." He also was immortalized in a Steely Dan composition, "Kid Charlemagne," and in a Jimi Hendrix recording of the Beatles' "Day Tripper," in which Hendrix can be heard calling out "Owsley, can you hear me now?"
Stanley downplayed his influence on the psychedelic explosion, explaining that he began producing LSD only to ensure the quality of what he ingested.
"I just wanted to know the dose and purity of what I took into my own body. Almost before I realized what was happening, the whole affair had gotten completely out of hand. I was riding a magic stallion. A Pegasus," he told Rolling Stone. "I was not responsible for his wings, but they did carry me to all kinds of places."
In addition to his wife, he is survived by sons Pete and Starfinder; daughters Nina and Redbird; eight grandchildren; and two great-grandchildren.
"History records that the Money Changers have used every form of abuse, intrigue, deceit and violent means possible to maintain their control over governments by controlling money and its issuance." --James Madison
Quote:Of course, lets keep things in perspective, here. The 1960s were an incredible explosion of pure human love and positive energy. Everyone woke up to social injustice and racial prejudice and saved the world. I don't want to pretend that the "counterculture" was some sort of big mirage teevee show to keep people distracted. FBI never ran an operation called DEADHEAD, and they certainly never wrote any documents claiming that their employee, Jerry Garcia, was a huge help in "siphoning off student dissent and re-channeling it into self-destructive hedonism."
Is this guy trying to imply that Jerry Garcia worked for the FBI?Is this just sarcasm? :dontknow:
It all looks like a hit piece to me.IMHO
I see a lot of mention of "hit pieces." I was unfamiliar with the term until joining this site, and seen it mentioned a number of times regarding Frank Zappa, Jim Morrison and in particular McGowan's Inside the LC series. The thing I find most intriguing, of all the people that could have been "hit" in McGowan's series, is that he avoids 4 particular individuals. Even though THEIR story is so intrinsic to some of the goings on in the Laurel Canyon area, to leave them out is almost like leaving the Wizard out of Oz.
He does not mention The Beatles. If at all. And when it comes down to the portion of the story that goes into Monterey Pop, John Phillips, Terry Melcher, Charles Manson .. I mean that whole area of the story, is where if not 4 but at least 1 name should come up consistently. And that's Paul McCartney.
He of the persuasion to tell people LSD could stop war if politicians just took it. He who served on the board of directors of Monterey Pop, and was there in the beginning planning stages of the festival itself, right along with Phillips, and Melcher. And should McCartney (and The Beatles) really have one or two degrees of separation between them and Charles Manson? Maybe not. Well, not if your Vincent Bugliosi trying to prove that the Tate/LaBianca victims did not know their murderers. But it seems John Lennon knew the house they were murdered in sorta kinda.
I noticed it straight away that McGowan skipped, glided and gently avoided mentioning The Beatles in any way whatsoever, even though many portions directly related to them. But then you find out that the man who shot Mal Evans before he was going to release his memoirs/story about being the road manager/pa for The Beatles, was the same homicide investigating officer on the Sirhan Sirhan/RFK assassination case. Charles Higbie. Odd! Sirhan's lawyer was George E.Shibley. Shibley's the lawyer who visited Manson when he was due for parole in 1967. He's also around for the Manson Trial, but not as a lawyer, just as "an old friend of Charlie's." A very wealthy clientele Beverly Hills lawyer friend of Charlie's.
John Lennon. George Harrison. Lotsa LSD between the two of them. Kept their mouths shut. McCartney. 4 trips. Lays the blame on the reporter who asked him the question. (In the now defunct QUEEN magazine in the UK.) Can't find the original article, or who the reporter was. LIFE snapped part of the LSD comments for its 16th June 1967 issue, and blasted them for the American populace to read. Same day as the Monterey Pop Festival. Just in time!
I understand the hit piece argument. At the same time, I see the people McGowan "hits", and the ones he politely misses. I think it bears observance. The Process Church and Paul McCartney. Oh wait, he did contribute his thoughts on FEAR in their magazine.
So so much more to Paul Is Dead than anyone realises. So much more. And if you go chasing those LSD, Process Church, when did John Lennon actually meet Yoko Ono, Paul Is Dead just turns into a distraction technique. Because there's more there. Like the 10 people who all died of unnatural causes within a 3 year period AFTER he was "allegedly deceased." People who fell off roofs and got into car accidents, and committed suicide. Like those JFK deaths that happened AFTER his assassination. (Funnily enough a good portion of them seemed to be associated with Jack Ruby.)
Anyway, I digress. McGowan and avoiding The Beatles in his hit piece. He missed them. And I find that very interesting.
And just doing a brief search query here for The Beatles, I see the very thing of Paul Is Dead would probably be considered trite and sensationalistic if mentioned at this forum.
But I'm going to take that chance here. Because I think that's the very thing that works so well about it. No one would even think it. Not for a minute. You'd think it of The Rolling Stones a lot quicker. They're almost synonymous with it. But The Beatles. Nah never. They just have a kooky rumour about one of them being dead and replaced. It just sells albums.
The more you look into it though, the more very dodgy stuff comes up. And people sticking with a story. Even though documented evidence states totally different things happened on the day that's held in regards as "the official day".
If one goes to the statement May Pang made that says, even though after a very polite and casual dinner with Roman Polanski, a week or so later John Lennon goes into a flying rage yelling "it's all Polanski's fault!" It makes you ask, um, what exactly was Polanski's fault? The dinner choice? Mind you, this is around 1973/74 Lennon is reported to have done this. Polanski isn't even up on charges for child sodomisation. Or escaping jail time for doing so. So what was Polanski's fault. It strikes me, just speculating of course, that you don't go saying someone's at fault, and get really really mad about it, unless it implicates you somehow in doing so. That's just a guess. Most people just say told you so when someone messes up. Or says "glad that's not me." Not goes into a rage, destroying furniture and what have you, yelling its all their fault. About a film director. Interesting.
Roman Polanski comes up again when in regards to Yoko Ono's exhibition at the Indica Gallery in November of 1966. He shows up before the exhibition was to open, demanding to be let in and see it. To which they allow. it's written about a week after in the International Times, who was run by MAD Ltd. (Barry Miles, Peter Asher, John Dunbar.)
Quote:"When John Lennon was invited by friend, John Dunbar, to an exhibit at Dunbar's Indica Gallery in London on November 9, 1966, the intellectually hungry, emotionally restless 26-year-old Beatle reportedly thought the avant-garde show might involve drugs, an orgy, or any of the things that made swingin' London swing. In fact, what was happening at the Indica was a conceptual-art show called Unfinished Paintings and Objects, exhibiting the work of Yoko Ono, a 33-year-old Japanese artist who created things like transparent homes, imaginary music, and "underwear to make you high."
John Dunbar invited John Lennon to Yoko Ono's exhibition a week before it opened. Which was actually on the 8th November, 1966. The date changed after the first issue of the International Times came out. It was originally titled "Instruction Paintings", and was to run from 9th November until the 22nd. In the second issue of the International Times, the date and title are changed, "Unfinished Paintings" 8th November - 18th November. Doors open 2pm, close at 6pm.
If we look at John Dunbar's father for a moment, Robert, he has an illustrious career.
In 1953 he became a producer with Group III, a government-sponsored organisation aimed at nurturing new talent. After a brief period working on comedies at Hammer Films, he produced one of his most successful films The Man Upstairs (1958) starring Richard Attenborough. However, production of British films was becoming increasingly difficult, and he set about teaching at a small art school in South London, which he bought and transformed into the London School of Film Technique. Early students of the LSFT included Mike Leigh, Iain Sinclair and Bill Douglas. In 1974 the School went into liquidation, but it survives today as the London International Film School. Along with Roy Fowler, Dunbar instigated the BECTU Film History Project, an extensive archival research initiative aiming to preserve oral histories, ephemera, papers and artefacts pertaining to the history of film production in Britain. He also chaired the Journal Committee of the film technicians' union ACTT, of which he was made an honorary member.
My first question would be to Robert, so when you can't find work as a filmmaker, you drift into the Ministry of Information, later moving to the Foreign Office as deputy head of the inter-allied information office in Mexico and the Caribbean. Ok. Some people work at McDonalds in between jobs. It also places him in WWII Moscow. He's there in the beginnings in Germany, and at the tail end in Russia.
Anyway. Dunbar tells Lennon about this exhibition. Lennon's in Spain. He's been there for months filming a movie. He returns the 6th November. Barry Miles writes in his Beatles Diary compilation that Lennon proceeded on the 7th November to go into a 3 day LSD binge. I would imagine him housebound for that time, but he does manage to go out. And see Yoko Ono's exhibition "a night before it opened." Hailed as the 9th November 1966. The very Niney day.
Exhibition opened on the 8th. Case closed. Miles, Asher, and Dunbar have a silent partner in Paul McCartney. He helps them set up shop. He funds them when they run out of money as "Ian Iachimoe". This underground magazine already has connections to The Beatles which will automatically draw people to its writings, and its associated Gallery. It's a no brainer. By 1967 they have interviews printed with Paul McCartney AND George Harrison. They also have an article running just above adverts for Ono's exhibition written by Harvey Matusow. He's trying to find the CIA in London. He says they've disappeared. Matusow was probably trying to turn in some communists to the CIA if only they answered the phone. Matusow was an informant to Joseph McCarthy. It got McCarthy off his back. He turned in a lot of Reds. He helped put folk singer Pete Seeger in lots of trouble. Only reason Matusow was in England in 1966, was because he got blacklisted in America.
Paul McCartney on the other hand, leaves England on the 6th November. Just missing Lennon! He has his pa/road manager Mal Evans meet him in France on apx the 12th. McCartney intends to drive to Spain to meet up with Lennon. But Lennon's home. Mal Evans would know that. I've got a good mind to think that not only would Evans know that, but he'd also be either picking up John & Cynthia Lennon from the airport, or arranging to have it done. Because I'm pretty sure the Lennon's did not leave their car at Heathrow for almost two months. Maybe they did. I doubt it. Either way, Evans would most definitely know to tell McCartney, "hey. Let's not go to Spain, because John's home already dude!" It stands to reason that conversation may have taken place before Evans even got in the car to drive off to Spain on such a mission.
By the 9th November, McCartney is supposed to be dead anyway. So it doesn't matter if he goes to Spain or not. And the only reason we think he's dead, is because the Beatles themselves told us so. We didn't make it up. It keeps being said in every media they had available to them at the time. They even put it in the audio portions of movies we wouldn't be able to "play in reverse" until about oh, 30 or 40 years later. One particular one that stands out is the Magical Mystery Tour sequence of "Death Cab for Cutie". This is where George & John are shown clapping for the Bonzo Dog Doo Dah Band and the Stripper. When played forwards, this audio has the audience, George & John clapping, with John making non-descript yelling noises. When this audio is reversed, John's yelling becomes one utterance of Paul's Dead. Some hear Paul Get In, which after the Death Cab for Cutie's subject matter, is still relevant. They even put it in movies. A reversal is also in Yellow Submarine when they are searching for Paul in the mansion. They can't find him actually. Ringo, John and George all know where eachother are, but they can't find Paul. And they're not even sure when they find him, because as he leaves the door to an adoring crwod, Lennon's character says something backwards. When you reverse this audio, it says "Was That Paul".
Thing is, The beatles supposedly had very little to do with this movie. And the actor doing Lennon's voice, was actually told to say this line in reverse, so that when it was played backwards, it came out sounding forwards. That's like, deliberate. With people NOT involved with any Paul Is Dead agenda. The people at King Features, Hearst Corporation. Al Brodax and the like. Who had a very strange habit of making sure The beatles, particularly Lennon and Starr were always associated with Frankenstein's Monster. It was done in The Beatles cartoon series, AND in the Yellow Submarine movie. There's a whole episode of the Beatles cartoon dedicated to Lennon's encounter with various Frankenstein monsters. There's also a cartoon where Paul gets into a car and accidentally drives off a pier. And the cartoon where he portrays a doctor, with a "Beetle Killer" sign behind him, and proceeds to inject George, Ringo and John with something that kills them instantly. He is the Beetle Killer. Maybe Allen Klein watched those cartoons or something. Because in June 1966 he was already stating he was going to get the Beatles under his wing by the end of that year. By November 1966, rumour went round to a degree it was printed on the front page of the Sunday Telegraph's magazine that two Beatles had approached him for management. Epstein was still alive. He was quite upset. As was John. And George & Ringo. Paul could not be reached for comment. Because he was of course, looking for John in Spain still.
He should have been looking at the road in December of 1965 though, as he came off a Moped at 30mph and smashed his face against pavement. Chipping his tooth and cutting his lip. But the trooper that he is, refused to get that tooth fixed for 6 months, even though he posed for many photos, and an album cover in the meantime. The legendary Yesterday & Today butcher cover. (The cover actually fixes his tooth for him. Well, until it was pulled from the shelves.)
Funny thing is, I chipped my tooth falling off a 10 speed bike, and I was going around 5 to 10ph. Actually kind of coasting. The brake cable came off and wrapped in the wheel, and before I knew it, I had flipped face first over the bike onto tarmac. I pretty much laid in the middle of the road, stunned, for I don't know how long until some people driving up the road saw me flat out in the middle of it with an overturned bicycle. Blood was everywhere. My tooth was chipped. I was 10 years old. I smacked my chin and mouth very hard.
I imagine if I'd been doing close to 30 mph , what damage I would have done. I guess McCartney was lucky. It's funny though, as his memories of it now say the scar on his lip made him grow a moustache, which prompted the others to do so, which instigated Sgt Pepper. His memory is like, really bad. Because it took him 6 months to fix the tooth. It took him a year to grow the moustache. And there were plenty of photos and a bit of touring, and some We're Bigger Than Jesus interviews to do, that say that moustache's growth rate was reaaaaaaalllly slow. But even in June 1966, he was under the belief he'd just had the accident. When filming the Paperback Writer / Rain clips he states:
He sipped his tea and reached for a cigarette.
"What about all this 'Didn't Paul McCartney look ill on TV,' then?" he went on, referring to Mama Cass' remarks in NME's 'America Calling' last week. "I haven't been ill. Apart from the accident, I'm dead fit. I know what it was though. When we filmed those TV clips for 'Paperback Writer' I'd only just bashed my tooth, and we'd been working a bit hard on the LP and I hadn't had much sleep. We haven't had much time for anything but the LP. I mean, 14 songs - all got to be written and recorded till you're satisfied with them. It's hard work, man."
Well no. It was May 1966 when you filmed those. And yes you may have been working hard on the LP, but the last recording date you had done was on the 18th May 1966. Which was a late one admittedly doing Got To Get You Into My Life. So when filming the Paperback Writer / Rain promos on the 19th May, sure. But on the 20th, when you actually looked worse, and your lip actually looked fatter like you'd just bashed your tooth out of your mouth, well, you had no recording or anything to do. You did actually look kind of worn out, tired and ill. But .. you hadn't just bashed your tooth out. You'd bashed that out 6 months before. With absolutely no touring done after the UK dates in December of 65. Actually, people were starting to say you'd split up by the summer of 1966, and Epstein was constantly having to diminish rumours that The Beatles were no more. He was still denying it by the end of the year, even when you'd performed your last concert as a touring band.
It's kind of like that 9th November thing. There's a date given, but every single story that's told makes whatever date actually given, look like a complete distraction for some other event. Or happening. We have 26th December, 1965, and a moustache that takes a year to show up but is fondly recalled for its inspiration in making others grow facial hair that also took a year to show up. We have a road accident that at 30mph would make wonder how you even got up from it, and in some cases how you survived it. We just know that after smacking your face on pavement with 30 mph momentum throwing you from this moving vehicle, on the 21st January at Harrison's wedding you looked dashing. Like nothing had happened 3 weeks prior.
But 6 months after, filming a promo in Chiswick House grounds, you look tired and ill and your lip looks like someone hit it badly, and that's because you just bashed it in.
I know this seems trite. But when it comes to John Lennon's Assassination, the idea that Yoko Ono may have been his Handler, the Tavistock Institute, Kenneth Anger, Aleister Crowley, L Ron Hubbard, The Process Church of the Final Judgement, Charles Manson, Terry Melcher, Derek Taylor, the deaths of Brian Epstein, David Jacobs, Joe Orton, Joe Meek, Brian Jones, Alma Cogan, Tara Browne, Kevin MacDonald, Dr Richard Asher, Sharon Tate (Sept 1966 - Dec 1969 inclusive), doctors LIKE William Sargant, the politicians whose names get associated with The Beatles in this period, particularly Tom Driberg, whose ties to the Kray Brothers AND Aleister Crowley are well documented, and when you get to the Kray Brothers and the death of Beatles lawyer David Jacobs, well, if they didn't have something to do with Epstein's death, Jacobs's surely shows their hand. They may have even had a hand in Kevin MacDonald's death.
When you get to Helter Skelter and Charles Manson, it just all goes worse. And statements like "it's all Polanski's fault!!!" just make you say, ummmmmm, what was his fault. Basically making a movie about what Jack Parsons and L Ron Hubbard tried to do back in 1946 and by all accounts, the first stage of it they were successful in making Babalon Work! It's when Oppenheimer enters the story it all goes a bit ooooo. They did what? And you say UFO sightings started happening soon after. I thought that was just a crazy tale. Wait you say the person who said she was going to the press about Marilyn Monroe being taken to military bases to go see outer space stuff with John F Kennedy, got killed soon after walking her dog? Nooooo. What do you mean outer space stuff?
The Beatles. I'm telling you. Paul Is Dead has much much more to it. I have far more to say about it, I still have to research Ronald Stark's ties to the Process Church. By the way ... did you know in Eyes Wide Shut, the logo of The Process Church appears on the door Tom Cruise walks through as he enters the inner sanctum of the masquerade partiers? The Process logo is very distinctive. It's kind of like a swastika, but accents a more P shaped design. You can see it right on the door as he walks in. The camera lingers there for quite some time. You know how Kubrick was meticulous and loved lingering and making sure you saw what he wanted you to see.
He died 5 days ... oh nevermind. I could go into siblings Peter & Jane Asher being descended from Richard III. Or Tara Browne the Guiness Heir. Or that Jane Asher's mother taught George Martin music when he went to school. He with the coat of arms that only shows three beetles.
(I'm going back to reading some more Mae Brussell. She rocked.) :cheer:
And please, if anyone can tell me where to find the unedited version of Ed Sanders The Family as mentioned here:
Quote:James - there's a lot of discussion of the Process Church on DPF,for instance in the thread below which also contains a link to the suppressed chapter of Sanders' book on the Manson Family:
Which is why I joined this site to be honest, that was my instigation. The Process Church is a key factor in some of what I'm researching. I looked in that thread, but couldn't find it. I thought I had bookmarked the page that had the document, but alas ....
Jan Klimkowski Wrote:Back in 1983, anarchist art band Psychic TV (aka Thee Temple ov Psychick Youth), were openly taunting both the Rolling Stones about the murder of Brian Jones in the song "Godstar" and Roman Polanski about his, um, lusts.
Psychic TV released a song entitled "Roman P", which contained looped words of Charles Manson and Jim Jones, and the following lyrics:
Quote:Roman you are, Roman you be
Roman in your history
Roman in your victory
Roman in your destiny
The corruptor you are
The corruptor you be
Are you free, are you really free?
Are you really, really, really, really, really free?
Is it you or is it me?
Or is it simply history?
Are you free, are you really free?
Are you really, really, really, really, really free?
Is it you or is it me?
Or is it simply jealousy?
Sharon walks alone as your wife
Sharon gives her life for a knife
Sharon floating high up above
Sighing, crying, dying below
Life of money, life of sex
Life of money, life of hex
Little girls drinking and eating of cake
Little girls gorge you, your greatest mistake
"It means this War was never political at all, the politics was all theatre, all just to keep the people distracted...."
"Proverbs for Paranoids 4: You hide, They seek."
"They are in Love. Fuck the War." Gravity's Rainbow, Thomas Pynchon
"Ccollanan Pachacamac ricuy auccacunac yahuarniy hichascancuta." The last words of the last Inka, Tupac Amaru, led to the gallows by men of god & dogs of war
"It means this War was never political at all, the politics was all theatre, all just to keep the people distracted...."
"Proverbs for Paranoids 4: You hide, They seek."
"They are in Love. Fuck the War." Gravity's Rainbow, Thomas Pynchon
"Ccollanan Pachacamac ricuy auccacunac yahuarniy hichascancuta." The last words of the last Inka, Tupac Amaru, led to the gallows by men of god & dogs of war
Reading Bugliosi Helter Skelter soon after it came out of the smelter
Jim Jones, too, came from the Naptown of Welch Candy Company near the Coliseum of the Rally for Victory Over World Communism
Mark Lane dared Firing Line where WFB claimed he didn't care who killed JFK
then defended Jones
then deballed Hunt's alibi
(this guy is a ninja)
Now Bugliosi is a raving maniac
as much in denial
as Jim Jones
or the Long Island Railway shooter
I thought Altamount was it for the Flower Children
that Speed Kills
Now
China sends tens of thousands of tons of precursors
to Mexican superlabs
so branches of the franchise in exotic places
like Marshalltown Iowa in HeapOHarkinStan
can cope
While Hussein & Hillary's Excellent Adventure Road to Burma
assures the Golden Crescent's heroin
be the death o me
Anthony Burgess told the Mensanites
I was given six months to live
and through judicious and injudicious dosages of gin and benzedrine
I produced six novels and a screenplay
The Castle occasionally enjoys a little ultraviolence
A Dorner is loosed
to catch the imagination of the proles
only to be caged and torched
Hair
long as I can grow it
so the man can surround it
and set fire to the pyre
Sirhan can't remember
but he's not the only one who survived the 'sixties
Is there a point
to culture
and
what difference does it make
Burroughs never increased the dosage
only tonight because tonight is special
IBM
machines should work
men should
on second thought
men are recorded via ARGUS & Co.
in the archives of Utah
