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Thread: Dave McGowan's Weird Scene's Inside the Canyon is Out..

  1. Default Thank you! I watched the first documentary and it was fantastic!

    Thanks for this! I look forward to watching the other one...

    Quote Originally Posted by R.K. Locke View Post
    Kara, that's a great post and I think you are definitely on to something with the links to the Macy Conferences, etc. Here are a couple of videos that I think bring together some more pieces of the puzzle in this regard:

    There is definitely a book to be written on this subject but I think a few elements of the story require further research before the overall picture becomes clearer.

  2. #12


    Saturation 70: the Gram Parsons UFO film that never flew

    Years before Star Wars, a maverick director led a crew into the desert to film a psychedelic science fiction epic – starring the country singer and the five-year-old son of Rolling Stone Brian Jones. The film was lost and the story went into rock legend, but now unseen photographs will go on show to tell the bizarre story

    Chris Campion, Friday 5 September 2014 14.59 BST

    Saturation 70
    Desert fun: (left to right) Michelle Phillips, Tony Foutz, Gram Parsons, Andee Cohen and Phil Kaufman run across the Giant Rock airstrip at the 1969 UFO convention. Photograph: Permission of Tom Wilkes estate

    The last thing you’d think of when you hear the name Gram Parsons — the heartbreakingly sensitive singer-songwriter who died aged 26 in 1973 — is science fiction. But between late 1969 and early 1970, towards the close of his two-album career as leader of the Flying Burrito Brothers, Parsons was making his acting debut in a mind-boggling fantasy project that predated Star Wars by almost a decade.

    Called Saturation 70, the film was the brainchild of an American writer-director named Tony Foutz, the son of a Walt Disney company executive and a friend to both Parsons and the Rolling Stones. The film was shot (but never completed) at a 1969 UFO convention at Giant Rock, near Joshua Tree in the Mojave desert, and in Los Angeles. It tapped into the spectrum of esoteric interests and outlandish ideas — aliens, psychedelics, time travel— of the late 60s counterculture. “The whole experience of making the film was like a technological tribal throw-down, with an energy buzz off the Richter scale,” Foutz says now. “It took on a life of its own.”

    Long held to be a rumour by Parsons fans, proof of the film’s existence will appear in an exhibition at London’s Horse Hospital in the form of previously unseen production photos, pages from the original script and the first ever public screening of the only existing footage of the film; a five-minute showreel put together for the producers, which takes the form of a nascent music video for the Flying Burrito Brothers version of the Rolling Stones’ song Wild Horses.

    Don’t expect to see Parsons in the footage, though. He played one of four alien beings (called the Kosmic Kiddies) who wear decontamination suits and gas masks to protect them from pollution poisoning the earth’s environment.

    The true star of the film was five-year-old Julian Jones, the son of Rolling Stone Brian Jones. Now in his 40s and living on a farm in Ireland, Jones – whose mother Linda Lawrence, married folk singer Donovan Leitch late in 1970 – has only fleeting childhood memories of his participation.

    He says: “I remember meeting Tony out in Giant Rock and him asking me to be in the film and I then said to my mom, “He asked me to be in the film, can I?” They were in a black Winnebago at the flying saucer convention. I was running around and the film was made through a child’s eyes. I was that child.”

    Saturation 70
    Julian Jones and Ida Random stand with the National Guard off Skid Row, in downtown Los Angeles, in a production still from Saturation 70. Photograph: Permission of Tom Wilkes estate

    As conceived by Foutz, Saturation 70 was a futurist update of The Wizard of Oz about a Victorian star child (Jones) who falls through a wormhole and finds himself in a dystopian vision of contemporary Los Angeles. The Kosmic Kiddies, themselves on a mission to rid the Earth of contaminants, are tasked with helping him find his way back home.

    Two other members of the Kosmic Kiddies stuck in those suits were Michelle Phillips — the archetypal Californian girl who had been a member of the Mamas and the Papas — and Stash Klossowski de Rola. Also known as Prince Stash, he was the son of painter Balthus and also a Stones confidant, unfortunate enough to be busted twice with two different members of the band (Jones and Keith Richards).

    Saturation 70 also featured Nudie Cohn, the flamboyant Russian émigré costumier who designed lavish diamante-studded suits for country music stars, and for Parsons and for his pal Keith Richards. The film’s computer-generated special effects, radical and untested for that time, were to be devised by visual effects pioneer Douglas Trumbull, who had just completed work on Stanley Kubrick’s 2001. Trumbull now recalls Saturation 70 as “an amalgam of weird 1970s, late-60s experimental film production. I don’t think any of us knew what we were doing.”

    They were all driven along by the relentless creative energy and enthusiasm of Foutz, who is remembered fondly by all involved. He had cut his teeth in the film industry working as an assistant director in Italy to such luminaries as Orson Welles, Gillo Pontecorvo and Marco Ferreri, but found himself in a hip, young social set that included de Rola, the avant-garde artist Mario Schifano and Anita Pallenberg.

    In 1968, through his friendship with Richards, Foutz wrote a film vehicle for the Rolling Stones. Closer to Mad Max than the Beatles’ Help!, the film was to feature the group as a band of unemployed mercenaries wandering through Moroccan desert, in a plot that involved UFOs and Mayan-style human ritual sacrifice. That project, entitled Maxagasm (and also unrealised) was co-written with playwright and actor Sam Shepard. Unseen production drawings from it will also be on show at the Horse Hospital.

    Saturation 70
    Kosmic: (left to right) Gram Parsons, Michelle Phillips and Tony Foutz cheer participants at the UFO convention in Giant Rock. Photograph: Permission of Tom Wilkes estate

    While in production for Maxagasm in Los Angeles, Foutz was living in a suite at the Chateau Marmont hotel with Gram Parsons. Tipped off to the UFO convention in the desert, he gathered together his friends to shoot documentary footage there, intending to use it to test out his and Trumbull’s ideas for their special-effects sequences. From that trip came the seeds of Saturation 70. Filming guerrilla-style, without permits, they managed to realise several ambitious set-pieces, including a surreal shootout between a Vietcong soldier and an American GI in the aisles of Gelson’s supermarket in Century City (Phil Spector, a noted gun fan, visited the set to watch from the sidelines) and a parade of Ford Edsel cars roaring through the City of Industry in a flying-V formation.

    Parsons was sufficiently excited about his involvement with the film to convince his fellow Burrito Brothers to don the decontamination suits on the cover of their second album, Burrito Deluxe (itself named after a working title for Foutz’s script, Rutabaga Deluxe). By the time the album came out, funding for the film had fallen through. With production haled, Trumbull started working on special effects for another dystopian sci-fi film, The Andromeda Strain. All of the footage from Saturation 70, bar the showreel, was subsequently lost.

    Foutz believes Parsons saw the film as a challenge, “in a naive, broaden the creative horizon sort of way.” He also planned to write the film’s music with Roger McGuinn of the Byrds.

    Although Saturation 70 itself will never be seen, the story of its making, spontaneous and freewheeling, is as instructive as it is inspirational. “It was a wild ride,” says Foutz, “that goes right to the core of the anything-goes creative zeitgeist of those times.”
    “The most difficult subjects can be explained to the most slow-witted man if he has not formed any idea of them already; but the simplest thing cannot be made clear to the most intelligent man if he is firmly persuaded that he knows already, without a shadow of doubt, what is laid before him.”
    ― Leo Tolstoy,

  3. #13


    Far out man. Looks really fab!
    "I think it would be a good idea." Mahatma Gandhi, when asked what he thought of Western civilization.

    The philosophers have only interpreted the world, in various ways; the point is to change it.
    Karl Marx.

    "Well, he would, wouldn't he?" Mandy Rice-Davies, 1963, replied Ms Rice Davies when the prosecuting counsel pointed out that Lord Astor denied an affair or having even met her.

  4. #14


    The guy from Psychic TV claims to have some of the demos recorded by the super-group of Lennon, Hendrix and Brian Jones. Make of that what you will.

    “The most difficult subjects can be explained to the most slow-witted man if he has not formed any idea of them already; but the simplest thing cannot be made clear to the most intelligent man if he is firmly persuaded that he knows already, without a shadow of doubt, what is laid before him.”
    ― Leo Tolstoy,

  5. Default

    Dave McGowan's premise is bollocks.

    The roots of the counter-culture and acid rock are in San Francisco and Austin in 1965.

    Laurel Canyon was a year behind top acid-rock bands like The Jefferson Airplane, The Grateful Dead, Quicksilver Messenger Service, Big Brother and the Holding Company (SF), and The 13th Floor Elevators (Austin).

    Non-musicians Ken Kesey and Bill Graham played key roles in the development of the counter-culture, in the SF Bay Area.

    The roots of MOR "adult rock" are in Laurel Canyon, '66-'69.

  6. #16


    Just got around to reading Weird Scenes Inside the Canyon. I do suggest it highly. If only 50% of the connections made are true [and I suspect the connections he is making are more likely in the 85%+ range], this is significant about how we are controlled by the 'intelligence' community and their think tanks/media outlets/etc. Some he mentions is demonstrable fact; some informed speculation - but the sum total adds up to way way beyond mere 'chance' coincidence. It will change how you feel about the past, if you are my age - and many of my/your heroes too. Very interesting book that I was able to make some additional connections to his, he did not know about and I did. This is part of the bigger picture of control of a society [mine] by covert means saturating EVERY aspect of society with pied pipers, manufactured fame, diversion tactics up the yazoo, and covert activities of every kind imaginable and unimaginable. 'Were we controlled?'...'Are we?' - Yes!
    Last edited by Peter Lemkin; 07-05-2017 at 08:01 AM.
    If there is no struggle there is no progress. Power concedes nothing without a demand. It never did and it never will.” - Frederick Douglass
    "Let me issue and control a nation's money and I care not who writes the laws. - Mayer Rothschild
    "Civil disobedience is not our problem. Our problem is civil obedience! People are obedient in the face of poverty, starvation, stupidity, war, and cruelty. Our problem is that grand thieves are running the country. That's our problem!" - Howard Zinn

  7. Default

    Bumping this for my attorney friend Jerri ward, who has just joined the forum. For some reason I thought there was a much longer thread on this work. (Dave McGowen's).
    Peter??? (You are really good at locating this stuff).


  8. #18


    Quote Originally Posted by Dawn Meredith View Post
    Bumping this for my attorney friend Jerri ward, who has just joined the forum. For some reason I thought there was a much longer thread on this work. (Dave McGowen's).
    Peter??? (You are really good at locating this stuff).

    Go here:
    "We'll know our disinformation campaign is complete when everything the American public believes is false." --William J. Casey, D.C.I

    "We will lead every revolution against us." --Theodore Herzl

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