10-10-2011, 05:16 PM
Page 42
In the ultimate insult to Jimi Hendrix Caesar allows Dennis Care to say Jimi was still alive when the ambulance men arrived and that his death was a tragic accident. Nowhere, of course, will either Care or Glebbeek bother to analyze the lies told by all the witnesses at the Samarkand or how they affect the determination. Care, as a police representative, has the outrageous criminal nerve to not explain what Jimi's health status was during the unmentionable 5 hour clean-up. You can see how dirty a case this is from this alone and why authorities like Care would need to lie so badly.
In yet another classic Orwellian presentation of backwards evidence Caesar chides the Inquest for not requesting any statements from the whole list of main witnesses. He sums this up by saying the British Inquest was biased and wanted to wrap-up Hendrix's death as a drug overdose as quickly as possible for political reasons. Caesar is probably at least partly correct here, however he makes his conclusion in the context that an accidental death failed to be proven because of this. Well, there's reason to show that might not be the only motivation. After all, Jimi's problems with Michael Jeffery were not unknown and any basic inquiry into such a death would at least include some investigation of possible foul play. There's a whole list of reasons why the British Government could have laid back on a real investigation. Michael Jeffery's being a member of MI-6 being one of them. Caesar plays the role of innocent lamb when it comes to government intrigue. Certainly there's nothing in there to preclude the cover-up of a murder.
But we can really go much deeper than this if we enlist Alex Constantine's research into the US Government's COINTELPRO program and Jimi Hendrix's membership on their target list as established through the FBI's files. If you involve the true history of what happened to people targeted by that program you'll find both Jimi Hendrix's death and the non-investigation that followed to be very understandable. But since Caesar focuses only on proving an accidental death he relieves himself of all this by simply not mentioning it. Never will we learn that spreading a false reason for death was spelled-out in the FBI's own self-description of that program. Because of Caesar's exclusionary methodology no one will ever know that intel used the media to carry this out and help defame their victims. It's hard to sort-out what was tabloid abuse and what was deliberate disinformation, however it never dawns on Caesar that Jimi was such a powerful target that those programs still continue to defame him even today and suppress the investigations he wonders about. If Caesar was credible he would ask why the real facts behind Jimi's death haven't been re-investigated even now? After all, he himself has provided enough evidence to do so - even if in a backwards way. It's obvious that Caesar fails to realize that once he himself establishes Jimi's Inquest was politically corrupted that it isn't that far from there to political assassination.
Page 43:
On this page Caesar discusses the infamous libel case between Kathy Etchingham and Monika Dannemann that sparked the re-investigation of the circumstances around Jimi's death. Caesar opens with a poisonous round. He quotes Monika speaking of a letter from Dee Mitchell informing her that she had discovered Kathy had fabricated her evidence and Dee had removed herself from participation and was writing Monika in apology. Caesar even provides a link showing these letters from Dee. To understand the serious offense Caesar commits here you have to go to pages 197-204 of Kathy Etchingham's book 'Through Gypsy Eyes'. Once you read those pages you'll understand that no serious or credible source could ever use Dee Mitchell or her words directly. What Kathy describes is so bad that the reader should be seriously offended that Caesar tried to deceive them so badly. Caesar obviously holds his readers in contempt and isn't afraid to withhold true or honest context that seriously affects what he is trying to show. To quote Dee Mitchell directly without sharing the seriously-qualifying context behind her letters is a fatal violation on many levels that automatically places Caesar as the dishonest presenter that he is. The truth is Dee was spreading crazy poison about Kathy at the time and the letter was written in pure revenge, knowingly lying in order to produce the intended affect Caesar then opportunistically seizes upon. No honest person would ever dare present Dee Mitchell's claims directly in any honest investigation and in doing so Caesar permanently destroys both his credibility and case. Go ahead, check it out, you'll find Caesar has a bizarre penchant for defending notoriously-lying women involved in serious scandals. Nowhere will Caesar ever explore that Dee Mitchell is acting exactly like an infiltrator deliberately sabotaging the case.
To further his misleading offenses Caesar then cites internet posts suggesting once Monika published her book pro-Kathy forces made death threats against her. The suggestion here is that Monika's book was so truthful that Kathy needed to make threats to keep it from coming out. This is crazy in its brazen deceit. The truth is Monika was probably being threatened by the people who murdered Jimi because they were afraid she would talk. Once again Caesar looks through the telescope backwards and turns the evidence on its head in order to suggest the opposite of what it really shows.
There's two problems with Caesar's coverage of Tony Brown's taped phone calls with Monika Dannemann. First, Caesar highlights that these were "illegally recorded". Maybe they were, however that isn't what's important. What's important is Brown made a record of Monika telling many different versions of the same story. That's a pure sign that Monika was lying (as she was). Secondly, Caesar attributes these tapes as being to blame for Etchingham's libel suit against Monika. That isn't entirely true because Monika was calling Kathy a liar in writing in many publications. As usual, Caesar accents and overemphasizes the trivial in order to get around the real points. Those points were: why was Monika lying, and what was it being used to cover-up? Tony Brown is owed a huge debt because his book 'The Final Days Of Jimi Hendrix' broke open the evidence that Monika was lying, and that the official explanation for Jimi's death was highly questionable. Caesar commits yet another epitome of travesty by lamenting that Monika's death will now keep the truth from coming out. Orwell in full-bloom.
Caesar quotes Monika as saying Kathy was trying to reinvent Jimi's death and that the process was "bringing out a lot of pain again". I guess I'd agree, but only in the sense that Copernicus was "reinventing" the solar system and that the persecutions over this were causing pain.
Poor Alan Douglas is quoted making an offhand 1993 remark saying these theories have been around for years and that Kathy should let it rest. Douglas then chimes that it doesn't make any difference how many minutes delay there was in calling the ambulance. This statement makes me wonder about Douglas. In any case, it is a prime example of Caesar only skimming quotes that work in his favor. There's many more quotes Caesar could use that he doesn't.
Whether Kathy Etchingham demanded Monika be jailed is neither here nor there. Caesar quotes Kathy as saying she never asked for Monika to be jailed and then displays a court writ showing exactly that. Caesar uses this as a device to show that Kathy was not accurate in her statements and was vindictively persecuting Monika. I don't know if punishment orders were done by the court and not by Kathy. In any case, this example is being used to paint Monika as a persecuted victim. Anyone who has studied her lies, and defiant defense of them, would know that could never be seriously promoted whatever Kathy did to her. Caesar's quoting of Monika's mother in defense of her is just more show tactics. Never does Caesar stop to think that the British Government would profit by piling charges and fines on Monika to create a scapegoat and encumber a dangerous witness.
This build-up then leads to a column labeled 'Monika Dannemann Witchhunt'. Caesar tries to embellish this portrayal by castigating Hendrix figure Michael Fairchild as having gloated over Monika's death. Fairchild had helped Kathy Etchingham investigate the evidence. In this flagrant attempt to portray Monika as an innocent victim of vicious enemies Caesar claims that "self-appointed amateur sleuths" were quibbling over Monika's stories varying by a few minutes between different accounts. This is an outrageous falsifying of fact being committed by Caesar. Anyone with a good handle on Monika and her claims would know the times involved varied significantly in her accounts to several different legal authorities. Monika's wake-up time varied between accounts from 11am to 10am, and, finally, 9am. Caesar knows the serious implications of this so he dares try to get around it by schmoozing the reader that it was only "2 or 3 minutes" between accounts. Caesar is a criminal liar because he should know these changes in story happened, and were recorded, at the time and not 25 years later as he falsely claims. In this publication Caesar has destroyed his credibility in several places and this is one of them.
In a desperate attempt to shift blame from Monika for inexcusably varying accounts Caesar gives the example of Mitch Mitchell claiming he swapped a drum kit for Jimi's famous white stratocaster. Caesar opines that the Hendrix community doesn't demand the same level of accuracy from Mitch that it did Monika, and that Monika was the victim of a double standard. This should be obvious for what it is. The simple answer is it is irrelevant, and not only has Caesar badly failed to account for Monika's lies, but they still need to be answered. Caesar, once again, exposes himself by this.
Page 44:
Caesar makes another transparently patronizing excuse by informing the reader he has inserted well over 200 "[sic]" correction notes when covering the years from 1966 to 1970 in his UniVibes Magazine. Caesar instructs us that time plays tricks with the memory over the years. Of course this has nothing to do with the controversy over Monika Dannemann and what happened at the Samarkand Hotel on the morning of September 18th 1970. Caesar must think his readers are either newcomers or stupid. Anyone who has done even the most basic research on this can see that the main controversy surrounding Monika originated from, and was locked in to, records taken at the time. The passage of years has nothing to do with Monika changing her wake-up times by hours back in September 1970. It has nothing to do with Monika's lies, at the time, about what the ambulance men said and did. It has nothing to do with Terry Slater and others making admissions, at the time, that seriously conflicted with Monika's account, nor with their shutting-up about those conflicts ever since. It has nothing to do with Monika being recorded, at the time, giving 2 different stories about how Jimi got the pills. It has nothing to do Sharon Lawrence remarking that Monika's demeanor was distressingly casual for someone who had Jimi Hendrix die in their flat the day before. It has nothing to do with Monika admitting on Caesar's own Dutch radio show in 1975 that "there was evidence that could not be brought to the police and that the mafia killed Hendrix 'for sure'". Make no mistake, the conflicts exposed by Kathy Etchingham in 1992 were soundly based on recorded evidence from the time. In fact it was comments like Slater's and Stickells', recorded in September 1970, that created the worst conflicts for both Monika and her reality-defying defender Caesar. I think we know who is playing tricks here and it isn't time.
Jimi definitely made some kind of poetic overtures of marriage towards Monika. He definitely did towards Kirsten Nefer and who knows how many other women. Jimi was a pretty spacey guy and had some deep personal inner world beliefs that only he understood. God knows what signs or cosmic dictates Jimi was guided by in his marriage flirtations. Whatever the case it seems fairly real that Jimi had some kind of weird marriage thing going between him and Monika. How real it was only Jimi and Monika knew. Jimi was having real problems with Jeffery. He was also known to depend on women for personal strength. So it could be Jimi was playing games with Jeffery by softening the wild man image Jeffery was trying to sell by getting married. The more subtle moves Jimi made against Jeffery the more Jimi could weaken his hold on him. These are the ways Jimi fought back. Cross says Jimi's army psychiatry records show he claimed he was gay. Obviously this was a ploy someone had told him would work to get him out of the army. So since we know Jimi exploited loopholes to get out of binds maybe he was looking for a wife as a contract shelter to shield money from Jeffery? Maybe someone told him about that loophole as well. Hard to say because Jimi was in equal need of someone to lean on, just as much as he was for a means to weaken Jeffery, not to mention the contract shelter. All said, the poem 'Until We Meet Again' sounds like a veiled break-up letter. Since Jimi was going back to New York this only furthers the complications. There's many interpretations to that poem. Perhaps Jimi was worried he might not make it back from New York after firing Jeffery?
I can't fathom why Caesar would include one of Monika's quotes from her book 'The Inner World Of Jimi Hendrix' telling how a man called her in September 1970 and threatened something nasty would happen to her if she spoke about Jimi's death. Caesar gives no comment on this. Well, isn't it obvious that if Jimi had died by accidental overdose as claimed then there would be no reason for people to threaten her. Monika's a psychologically interesting person. I personally believe this was Monika's way of relieving her guilt by indirectly revealing what happened. And this isn't the only place she did it. Her worst example of these indirect admissions is when she admitted on Caesar's radio show that the mafia killed Hendrix "for sure". I ask the readers to take note that Caesar never mentioned this important admission in his publication. If he was doing any kind of honest "investigation" you would think it would at least deserve mention? Even creepier is Monika's descriptions of men tilting Jimi's head back and not letting him breathe. Or Monika trying to push her way in to the resuscitation room and being pushed back out. If these things did not happen in the ambulance or at the hospital then where did they happen? Was it at the Samarkand? In any case, Caesar has real reason to not comment here.
The rest of page 44 gives sundry descriptions of Monika returning to Germany on the 29th and Jimi's funeral on October 1st. The funeral descriptions are worth reading for the names of those attending and their comments.
In the ultimate insult to Jimi Hendrix Caesar allows Dennis Care to say Jimi was still alive when the ambulance men arrived and that his death was a tragic accident. Nowhere, of course, will either Care or Glebbeek bother to analyze the lies told by all the witnesses at the Samarkand or how they affect the determination. Care, as a police representative, has the outrageous criminal nerve to not explain what Jimi's health status was during the unmentionable 5 hour clean-up. You can see how dirty a case this is from this alone and why authorities like Care would need to lie so badly.
In yet another classic Orwellian presentation of backwards evidence Caesar chides the Inquest for not requesting any statements from the whole list of main witnesses. He sums this up by saying the British Inquest was biased and wanted to wrap-up Hendrix's death as a drug overdose as quickly as possible for political reasons. Caesar is probably at least partly correct here, however he makes his conclusion in the context that an accidental death failed to be proven because of this. Well, there's reason to show that might not be the only motivation. After all, Jimi's problems with Michael Jeffery were not unknown and any basic inquiry into such a death would at least include some investigation of possible foul play. There's a whole list of reasons why the British Government could have laid back on a real investigation. Michael Jeffery's being a member of MI-6 being one of them. Caesar plays the role of innocent lamb when it comes to government intrigue. Certainly there's nothing in there to preclude the cover-up of a murder.
But we can really go much deeper than this if we enlist Alex Constantine's research into the US Government's COINTELPRO program and Jimi Hendrix's membership on their target list as established through the FBI's files. If you involve the true history of what happened to people targeted by that program you'll find both Jimi Hendrix's death and the non-investigation that followed to be very understandable. But since Caesar focuses only on proving an accidental death he relieves himself of all this by simply not mentioning it. Never will we learn that spreading a false reason for death was spelled-out in the FBI's own self-description of that program. Because of Caesar's exclusionary methodology no one will ever know that intel used the media to carry this out and help defame their victims. It's hard to sort-out what was tabloid abuse and what was deliberate disinformation, however it never dawns on Caesar that Jimi was such a powerful target that those programs still continue to defame him even today and suppress the investigations he wonders about. If Caesar was credible he would ask why the real facts behind Jimi's death haven't been re-investigated even now? After all, he himself has provided enough evidence to do so - even if in a backwards way. It's obvious that Caesar fails to realize that once he himself establishes Jimi's Inquest was politically corrupted that it isn't that far from there to political assassination.
Page 43:
On this page Caesar discusses the infamous libel case between Kathy Etchingham and Monika Dannemann that sparked the re-investigation of the circumstances around Jimi's death. Caesar opens with a poisonous round. He quotes Monika speaking of a letter from Dee Mitchell informing her that she had discovered Kathy had fabricated her evidence and Dee had removed herself from participation and was writing Monika in apology. Caesar even provides a link showing these letters from Dee. To understand the serious offense Caesar commits here you have to go to pages 197-204 of Kathy Etchingham's book 'Through Gypsy Eyes'. Once you read those pages you'll understand that no serious or credible source could ever use Dee Mitchell or her words directly. What Kathy describes is so bad that the reader should be seriously offended that Caesar tried to deceive them so badly. Caesar obviously holds his readers in contempt and isn't afraid to withhold true or honest context that seriously affects what he is trying to show. To quote Dee Mitchell directly without sharing the seriously-qualifying context behind her letters is a fatal violation on many levels that automatically places Caesar as the dishonest presenter that he is. The truth is Dee was spreading crazy poison about Kathy at the time and the letter was written in pure revenge, knowingly lying in order to produce the intended affect Caesar then opportunistically seizes upon. No honest person would ever dare present Dee Mitchell's claims directly in any honest investigation and in doing so Caesar permanently destroys both his credibility and case. Go ahead, check it out, you'll find Caesar has a bizarre penchant for defending notoriously-lying women involved in serious scandals. Nowhere will Caesar ever explore that Dee Mitchell is acting exactly like an infiltrator deliberately sabotaging the case.
To further his misleading offenses Caesar then cites internet posts suggesting once Monika published her book pro-Kathy forces made death threats against her. The suggestion here is that Monika's book was so truthful that Kathy needed to make threats to keep it from coming out. This is crazy in its brazen deceit. The truth is Monika was probably being threatened by the people who murdered Jimi because they were afraid she would talk. Once again Caesar looks through the telescope backwards and turns the evidence on its head in order to suggest the opposite of what it really shows.
There's two problems with Caesar's coverage of Tony Brown's taped phone calls with Monika Dannemann. First, Caesar highlights that these were "illegally recorded". Maybe they were, however that isn't what's important. What's important is Brown made a record of Monika telling many different versions of the same story. That's a pure sign that Monika was lying (as she was). Secondly, Caesar attributes these tapes as being to blame for Etchingham's libel suit against Monika. That isn't entirely true because Monika was calling Kathy a liar in writing in many publications. As usual, Caesar accents and overemphasizes the trivial in order to get around the real points. Those points were: why was Monika lying, and what was it being used to cover-up? Tony Brown is owed a huge debt because his book 'The Final Days Of Jimi Hendrix' broke open the evidence that Monika was lying, and that the official explanation for Jimi's death was highly questionable. Caesar commits yet another epitome of travesty by lamenting that Monika's death will now keep the truth from coming out. Orwell in full-bloom.
Caesar quotes Monika as saying Kathy was trying to reinvent Jimi's death and that the process was "bringing out a lot of pain again". I guess I'd agree, but only in the sense that Copernicus was "reinventing" the solar system and that the persecutions over this were causing pain.
Poor Alan Douglas is quoted making an offhand 1993 remark saying these theories have been around for years and that Kathy should let it rest. Douglas then chimes that it doesn't make any difference how many minutes delay there was in calling the ambulance. This statement makes me wonder about Douglas. In any case, it is a prime example of Caesar only skimming quotes that work in his favor. There's many more quotes Caesar could use that he doesn't.
Whether Kathy Etchingham demanded Monika be jailed is neither here nor there. Caesar quotes Kathy as saying she never asked for Monika to be jailed and then displays a court writ showing exactly that. Caesar uses this as a device to show that Kathy was not accurate in her statements and was vindictively persecuting Monika. I don't know if punishment orders were done by the court and not by Kathy. In any case, this example is being used to paint Monika as a persecuted victim. Anyone who has studied her lies, and defiant defense of them, would know that could never be seriously promoted whatever Kathy did to her. Caesar's quoting of Monika's mother in defense of her is just more show tactics. Never does Caesar stop to think that the British Government would profit by piling charges and fines on Monika to create a scapegoat and encumber a dangerous witness.
This build-up then leads to a column labeled 'Monika Dannemann Witchhunt'. Caesar tries to embellish this portrayal by castigating Hendrix figure Michael Fairchild as having gloated over Monika's death. Fairchild had helped Kathy Etchingham investigate the evidence. In this flagrant attempt to portray Monika as an innocent victim of vicious enemies Caesar claims that "self-appointed amateur sleuths" were quibbling over Monika's stories varying by a few minutes between different accounts. This is an outrageous falsifying of fact being committed by Caesar. Anyone with a good handle on Monika and her claims would know the times involved varied significantly in her accounts to several different legal authorities. Monika's wake-up time varied between accounts from 11am to 10am, and, finally, 9am. Caesar knows the serious implications of this so he dares try to get around it by schmoozing the reader that it was only "2 or 3 minutes" between accounts. Caesar is a criminal liar because he should know these changes in story happened, and were recorded, at the time and not 25 years later as he falsely claims. In this publication Caesar has destroyed his credibility in several places and this is one of them.
In a desperate attempt to shift blame from Monika for inexcusably varying accounts Caesar gives the example of Mitch Mitchell claiming he swapped a drum kit for Jimi's famous white stratocaster. Caesar opines that the Hendrix community doesn't demand the same level of accuracy from Mitch that it did Monika, and that Monika was the victim of a double standard. This should be obvious for what it is. The simple answer is it is irrelevant, and not only has Caesar badly failed to account for Monika's lies, but they still need to be answered. Caesar, once again, exposes himself by this.
Page 44:
Caesar makes another transparently patronizing excuse by informing the reader he has inserted well over 200 "[sic]" correction notes when covering the years from 1966 to 1970 in his UniVibes Magazine. Caesar instructs us that time plays tricks with the memory over the years. Of course this has nothing to do with the controversy over Monika Dannemann and what happened at the Samarkand Hotel on the morning of September 18th 1970. Caesar must think his readers are either newcomers or stupid. Anyone who has done even the most basic research on this can see that the main controversy surrounding Monika originated from, and was locked in to, records taken at the time. The passage of years has nothing to do with Monika changing her wake-up times by hours back in September 1970. It has nothing to do with Monika's lies, at the time, about what the ambulance men said and did. It has nothing to do with Terry Slater and others making admissions, at the time, that seriously conflicted with Monika's account, nor with their shutting-up about those conflicts ever since. It has nothing to do with Monika being recorded, at the time, giving 2 different stories about how Jimi got the pills. It has nothing to do Sharon Lawrence remarking that Monika's demeanor was distressingly casual for someone who had Jimi Hendrix die in their flat the day before. It has nothing to do with Monika admitting on Caesar's own Dutch radio show in 1975 that "there was evidence that could not be brought to the police and that the mafia killed Hendrix 'for sure'". Make no mistake, the conflicts exposed by Kathy Etchingham in 1992 were soundly based on recorded evidence from the time. In fact it was comments like Slater's and Stickells', recorded in September 1970, that created the worst conflicts for both Monika and her reality-defying defender Caesar. I think we know who is playing tricks here and it isn't time.
Jimi definitely made some kind of poetic overtures of marriage towards Monika. He definitely did towards Kirsten Nefer and who knows how many other women. Jimi was a pretty spacey guy and had some deep personal inner world beliefs that only he understood. God knows what signs or cosmic dictates Jimi was guided by in his marriage flirtations. Whatever the case it seems fairly real that Jimi had some kind of weird marriage thing going between him and Monika. How real it was only Jimi and Monika knew. Jimi was having real problems with Jeffery. He was also known to depend on women for personal strength. So it could be Jimi was playing games with Jeffery by softening the wild man image Jeffery was trying to sell by getting married. The more subtle moves Jimi made against Jeffery the more Jimi could weaken his hold on him. These are the ways Jimi fought back. Cross says Jimi's army psychiatry records show he claimed he was gay. Obviously this was a ploy someone had told him would work to get him out of the army. So since we know Jimi exploited loopholes to get out of binds maybe he was looking for a wife as a contract shelter to shield money from Jeffery? Maybe someone told him about that loophole as well. Hard to say because Jimi was in equal need of someone to lean on, just as much as he was for a means to weaken Jeffery, not to mention the contract shelter. All said, the poem 'Until We Meet Again' sounds like a veiled break-up letter. Since Jimi was going back to New York this only furthers the complications. There's many interpretations to that poem. Perhaps Jimi was worried he might not make it back from New York after firing Jeffery?
I can't fathom why Caesar would include one of Monika's quotes from her book 'The Inner World Of Jimi Hendrix' telling how a man called her in September 1970 and threatened something nasty would happen to her if she spoke about Jimi's death. Caesar gives no comment on this. Well, isn't it obvious that if Jimi had died by accidental overdose as claimed then there would be no reason for people to threaten her. Monika's a psychologically interesting person. I personally believe this was Monika's way of relieving her guilt by indirectly revealing what happened. And this isn't the only place she did it. Her worst example of these indirect admissions is when she admitted on Caesar's radio show that the mafia killed Hendrix "for sure". I ask the readers to take note that Caesar never mentioned this important admission in his publication. If he was doing any kind of honest "investigation" you would think it would at least deserve mention? Even creepier is Monika's descriptions of men tilting Jimi's head back and not letting him breathe. Or Monika trying to push her way in to the resuscitation room and being pushed back out. If these things did not happen in the ambulance or at the hospital then where did they happen? Was it at the Samarkand? In any case, Caesar has real reason to not comment here.
The rest of page 44 gives sundry descriptions of Monika returning to Germany on the 29th and Jimi's funeral on October 1st. The funeral descriptions are worth reading for the names of those attending and their comments.