Wednesday, 27 June 2012


May 19, 2008

The bridge of the USS Bon Homme Richard, January 1964. Just months later, the guy on the right would guide his ship into the Tonkin Gulf, and the young man on the left would begin a remarkable  transformation into a brooding rock god. The Bon Homme Richard, by the way, was launched on April 29, 1944, under the sponsorship of Catherine McCain, the grandmother of a certain presidential contender.

Until around 1913, Laurel Canyon remained an undeveloped (and unincorporated) slice of LA ~ a pristine wilderness area rich in native flora and fauna. That all began to change when Charles Spencer Mann and his partners began buying up land along what would become Laurel Canyon Boulevard, as well as up Lookout Mountain. A narrow road leading up to the crest of Lookout Mountain was carved out, and upon that crest was constructed a lavish 70-room inn with sweeping views of the city below and the Pacific Ocean beyond. The Lookout Inn featured a large ballroom, riding stables, tennis courts and a golf course, among other amenities. But the inn, alas, would only stand for a decade; in 1923, it burned down, as tends to happen rather frequently in Laurel Canyon.

In 1913, Mann began operating what was billed as the nation’s first trackless trolley, to ferry tourists and prospective buyers from Sunset Boulevard up to what would become the corner of Laurel Canyon Boulevard and Lookout Mountain Avenue. Around that same time, he built a massive tavern/roadhouse on that very same corner. Dubbed the Laurel Tavern, the structure boasted a 2,000+ square-foot formal dining room, guest rooms, and a bowling alley on the basement level. The Laurel Tavern, of course, would later be acquired by Tom Mix, after which it would be affectionately known as the Log Cabin.

Shortly after the Log Cabin was built, a department store mogul (or a wealthy furniture manufacturer; there is more than one version of the story, or perhaps the man owned more than one business) built an imposing, castle-like mansion across the road, at the corner of Laurel Canyon Boulevard and what would become Willow Glen Road. The home featured rather creepy towers and parapets, and the foundation is said to have been riddled with secret passageways, tunnels, and hidden chambers. Similarly, the grounds of the estate were (and still are) laced with trails leading to grottoes, elaborate stone structures, and hidden caves and tunnels.

Across Laurel Canyon Boulevard, the grounds of the Laurel Tavern/Log Cabin were also laced with odd caves and tunnels. As Michael Walker notes in Laurel Canyon, “Running up the hillside, behind the house, was a collection of man-made caves built out of stucco, with electric wiring and light bulbs inside.” 

According to various accounts, one secret tunnel running under what is now Laurel Canyon Boulevard connected the Log Cabin (or its guesthouse) to the Houdini estate. This claim is frequently denounced as an urban legend, but given that both properties are known to possess unusual, uhmm, geological features, it’s not hard to believe that the tunnel system on one property was connected at one time to the tunnel system on the other. The Tavern itself, as Gail Zappa would later describe it, was “huge and vault-like and cavernous.”

With these two rather unusual structures anchoring an otherwise undeveloped canyon, and the Lookout Inn sitting atop uninhabited Lookout Mountain, Mann set about marketing the canyon as a vacation and leisure destination. The land that he carved up into subdivisions with names like “Bungalow Land” and “Wonderland Park” was presented as the ideal location to build vacation homes. But the new inn and roadhouse, and the new parcels of land for sale, definitely weren’t for everyone. The roadhouse was essentially a country club, or what Jack Boulware of Mojo Magazine described as “a masculine retreat for wealthy men.” And Bungalow Land was openly advertised as “a high class restricted park for desirable people only.”

“Desirable people,” of course, tended to be wealthy people without a great deal of skin pigmentation.

As the website of the current Laurel Canyon Association notes, “restrictive covenants were attached to the new parcel deeds. These were thinly veiled attempts to limit ownership to white males of a certain class. While there are many references to the bigotry of the developers in our area, it would appear that some residents were also prone to bias and lawlessness. This article was published in a local paper in 1925:

Frank Sanceri, the man who was flogged by self-styled ‘white knights’ on Lookout Mountain in Hollywood several months ago, was found not guilty by a jury in Superior Judge Shea’s courtroom of having unlawfully attacked Astrea Jolley, aged 11.

“Wealthier residents were also attracted to Laurel Canyon. With the creation of the Hollywood film industry in 1910, the canyon attracted a host of ‘photoplayers,’ including Wally Reid, Tom Mix, Clara Bow, Richard Dix, Norman Kerry, Ramon Navarro, Harry Houdini and Bessie Love.”

The author of this little slice of Laurel Canyon history would clearly like us to believe that the “wealthier residents” were a group quite separate from the violent hooligans roaming the canyon. 

The history of such groups in Los Angeles, however, clearly suggests otherwise. Paul Young, for example, has written in L.A. Exposed of Los Angeles’ early “vigilance committees, which stepped in to take care of outlaws on their own, often with the complete absolution of the mayor himself. Judge Lynch, for example, formed the Los Angeles Rangers in 1854 with some of the city’s top judges, lawyers, and businessmen including tycoon Phineas Banning of the Banning Railroad. 
And there was the Los Angeles Home Guard, another bloodthirsty paramilitary organization, made up of notable citizens, and the much-feared El Monte Rangers, a group of Texas wranglers that specialized in killing Mexicans. As one would expect, there was no regard for the victim’s rights in such kangaroo courts. Victims were often dragged from their homes, jail cells, even churches, and beaten, horse-whipped, tortured, mutilated, or castrated before being strung up on the nearest tree.”

And that, dear readers, is how we do things out here on the ‘Left’ Coast.

Before moving on, I need to mention here that, of the eight celebrity residents of Laurel Canyon listed by the Association, fully half died under questionable circumstances, and three of the four did so on days with occult significance. While Bessie Love, Norman Kerry, Richard Dix and Clara Bow all lived long and healthy lives, Ramon Navarro, as we have already seen, was ritually murdered in his home on Laurel Canyon Boulevard on the eve of Halloween, 1968. 
Nearly a half-century earlier, on January 18, 1923, matinee idol Wallace Reid was found dead in a padded cell at the mental institution to which he had been confined. Just thirty-one years old, Reid’s death was attributed to morphine addiction, though it was never explained how he would have fed that habit while confined to a cell in a mental hospital.

Tom Mix died on a lonely stretch of Arizona highway in the proverbial single-car crash on October 12, 1940 (the birthday of notorious occultist Aleister Crowley), when he quite unexpectedly encountered some temporary construction barricades that had been set up alongside a reportedly washed-out bridge. Although he wasn’t speeding (by most accounts), Mix was nevertheless allegedly unable to stop in time and veered off the road, while a crew of what were described as “workmen” reportedly looked on. 

It wasn’t the impact that killed Mix though, but rather a severe blow to the back of the head and neck, purportedly delivered during the crash by an aluminum case he had been carrying in the back seat of his car. There is now a roadside marker at the spot where Mix died. If you should happen to stop by to have a look, you might as well pay a visit to the Florence Military Reservation as well, since it’s just a stone’s throw away.

(Jew) Harry Houdini died on Halloween day, 1926, purportedly of an attack of appendicitis precipitated by a blow to the stomach. The problem with that story, however, is that medical science now recognizes it to be an impossibility. According to a recent book about the famed illusionist (The Secret Life of Houdini, by William Kalush and Larry Sloman), Houdini was likely murdered by poisoning. Questions have been raised, the book notes, by the curious lack of an autopsy, an “experimental serum” that Houdini was apparently given in the hospital, and indications that his wife, Bess, may have been poisoned as well (though she survived). On March 23, 2007, an exhumation of Houdini’s remains was formally requested by his surviving family members. It is unclear at this time when, or even if, that will happen.

Houdini’s death, on October 31, 1926, came exactly eight years after the first death to occur in what would become known as the “Houdini house.” In 1918, not long after the home was built, a lover’s quarrel arose on one of the home’s balconies during a Halloween/birthday party. The gay lover of the original owner’s son reportedly ended up splattered on the ground below. According to legend, the businessman managed to get his son off, but only after paying off everyone he could find to pay off, including the trial judge. The aftermath of the party proved to be financially devastating for the family, and the home was apparently put up for sale.

Not long after that, as fate would have it, Harry Houdini was looking for a place to stay in the Hollywood area, as he had decided to break into the motion picture business. He found the perfect home in Laurel Canyon ~ the home that would, forever after, carry his name. By most accounts, he lived there from about 1919 through the early 1920s, during a brief movie career in which he starred in a handful of Hollywood films. A key scene in one of those films, “The Grim Game,” was reportedly shot at the top of Lookout Mountain, near where the Lookout Inn then stood.

On October 31, 1959, precisely thirty-three years after Houdini’s death, and forty-one years after the unnamed party guest’s death, the distinctive mansion on the corner of Laurel Canyon Boulevard and Willow Glen Road burned to the ground in a fire of mysterious origin (the ruins of the estate remain today, undisturbed for nearly fifty years). On October 31, 1981, exactly twenty-two years after the fire across the road, the legendary Log Cabin on the other side of Laurel Canyon Boulevard also burned to the ground, in yet another fire of mysterious origin (some reports speculated that it was a drug lab explosion). And twenty-five years after that, on October 31, 2006, The Secret Life of Houdini was published, challenging the conventional wisdom on Houdini’s death.The ruins of the Houdini Mansion pictured below.

Far more compelling than the revelations about Houdini’s death, however, was something else about the illusionist that the book revealed for the first time: Harry Houdini was a spook working for both the U.S. Secret Service and Scotland Yard.
And his traveling escape act, as it turns out, was pretty much a cover for intelligence activities. Just as, as I think I wrote in a previous newsletter, John Wilkes Booth used his career as a traveling stage performer as a cover for intelligence operations. And just as ~ sorry to have to break it to you ~ many of your favorite movie and television actors and musical artists continue in that tradition today.

The book, of course, doesn’t make such reckless allegations about any performers other than Houdini. I added all of that. What the book does do, however, is compellingly document that Houdini was, in fact, an intelligence asset who used his magic act as a cover. Not only did the authors obtain corroborating documentation from Scotland Yard, they also received an endorsement of their claim from no less an authority than John McLaughlin, former Acting Director of the Central Intelligence Agency (who knew it was that easy? ~ maybe I should give John a call and run some of my theories by him).

It appears then that, of the eight celebrity residents of Laurel Canyon listed on the Laurel Canyon Association website, at least two (Novarro and Houdini), and possibly as many as four, were murdered. That seemed like a rather high homicide rate to me, so I looked up a recent study on the Internet and found that, on average, a white person in this country has about a 1-in-345 chance of being murdered. Non-white persons, of course, have a far greater chance of being murdered, but nowhere near the 1-in-4 to 1-in-2 odds that a white celebrity living in Laurel Canyon faces.

Statistically speaking, if you were a famous actor in the 1920s, you would have been better off playing a round of Russian Roulette than living in Laurel Canyon.

Anyway … two ambitious projects in the 1940s brought significant changes to Laurel Canyon. First, Laurel Canyon Boulevard was extended into the San Fernando Valley, providing access to the canyon from both the north and the south. The widened boulevard was now a winding thoroughfare, providing direct access to the Westside from the Valley. Traffic, needless to say, increased considerably, which probably worked out well for the planners of the other project, because it meant that the increased traffic brought about by that other project probably wasn’t noticed at all. And that’s good, you see, because the other project was a secret one, so if I tell you about it, you have to promise not to tell anyone else.

What would become known as 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.

Over its lifetime, the studio produced some 19,000 classified motion pictures ~ more than all the Hollywood studios combined (which I guess makes Laurel Canyon the real ‘motion picture capital of the world’). Officially, the facility was run by the U.S. Air Force and did nothing more nefarious than process AEC footage of atomic and nuclear bomb tests. 

The studio, however, was clearly equipped to do far more than just process film. There are indications that Lookout Mountain Laboratory had an advanced research and development department that was on the cutting edge of new film technologies. Such technological advances as 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. There is no indication that any of them ever spoke of their work at the clandestine studio.
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. Accounts vary as to when the facility ceased operations. Some claim it was in 1969, while others say the installation remained in operation longer. In any event, by all accounts 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, though it had long been rumored that the CIA operated a secret movie studio somewhere in or near Hollywood. Filmmaker Peter Kuran was the first to learn of its existence, through classified documents he obtained while researching his 1995 documentary, “Trinity and Beyond.” And yet even today, some 15 years after its public disclosure, one would have trouble finding even a single mention of this secret military/intelligence facility anywhere in the ‘conspiracy’ literature. 

I think we can all agree though that there is nothing the least bit suspicious about any of that, so let’s move on.

In the 1950s, as Barney Hoskyns has written in Hotel California, Laurel Canyon was home to all “the hippest young actors,” including, according to Hoskyns, Marlon Brando, James Dean, James Coburn and Dennis Hopper. 

In addition to Hopper and Dean, yet another of the young stars of “Rebel Without a Cause” found a home in the canyon as well: Natalie Wood. In fact, Natalie lived in the very home that Cass Elliot would later turn into a Laurel Canyon party house. 

A fourth young star of the film, Sal Mineo, lived at the mouth of the canyon, and the fifth member of the “Rebel Without a Cause” posse, 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.

First there was that great American icon, James Dean, who ostensibly died in a near head-on collision on September 30, 1955, at the tender age of twenty-four. 

Next to fall was Nick Adams, who had known Dean before either were stars, when both were working the mean streets of Hollywood as young male prostitutes. 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.”
Nick’s relatives reportedly received numerous hang-up calls on the day of his death, and his tape recorder, journals and various other papers and personal effects were conspicuously missing from his home. His lifeless body, sitting upright in a chair, was discovered by his attorney, Ervin “Tip” Roeder. On June 10, 1981, Roeder and his wife, actress Jenny Maxwell (best known for being spanked by Elvis in “Blue Hawaii”), were gunned down outside their Beverly Hills condo.

Next in line was Sal Mineo, whose murder on February 12, 1976 we have already covered. Last to fall was Natalie Wood, who died on November 29, 1981 in a drowning incident that has never been adequately explained. Before being found floating in the waters off Catalina Island, Wood had been aboard a private yacht in the company of actors Robert Wagner and Christopher Walken. She was forty-three when she was laid to rest.

The list of famous former residents of the canyon also includes the names of W.C. Fields, Mary Astor, Roscoe “Fatty” Arbuckle, Errol Flynn, Orson Welles, and Robert Mitchum, who was infamously arrested on marijuana charges in 1948 at 8334 Ridpath Drive, the same street that would later be home to rockers Roger McGuinn, Don Henley and Glen Frey, as well as to Paul Rothchild, producer of both The Doors and Love. 

Mitchum’s arrest, by the way, appears to have been a thoroughly staged affair that cemented his ‘Hollywood bad boy’ image and gave his career quite a boost, but I guess that’s not really relevant here.

Another famous resident of Laurel Canyon, apparently in the 1940s, was science-fiction writer Robert Heinlein, who reportedly resided at 8775 Lookout Mountain Avenue. Like so many other characters in this story, Heinlein was a graduate of the U.S. Naval Academy at Annapolis and he had served as a naval officer. After that, he embarked on a successful writing career. And despite the fact that he was, by any objective measure, a rabid right-winger, his work was warmly embraced by the Flower Power generation. 
Heinlein’s best-known work is the novel Stranger in a Strange Land, which many in the Laurel Canyon scene found to be hugely influential. Ed Sanders has written, in The Family, that the book “helped provide a theoretical basis for Manson’s family.” Charlie frequently used Strange Land terminology when addressing his flock and he named his first Family-born son Valentine Michael Manson, in honor of the book’s lead character. 

David Crosby was a big Heinlein fan as well. In his autobiography, he references Heinlein on more than one occasion, and proclaims that, “In a society where people can go armed, it makes everybody a little more polite, as Robert A. Heinlein says in his books.” Frank Zappa was also a member of the Robert Heinlein fan club. Barry Miles notes in his biography of the rock icon that his home contained “a copy of Saint-Exupery’s The Little Prince and other essential sixties reading, including Robert Heinlein’s sci-fi classic, Stranger in a Strange Land, from which Zappa borrowed the word ‘discorporate’ for [the song] ‘Absolutely Free.’”

And that, fearless readers, more or less brings us to the Laurel Canyon era that we are primarily concerned with, the wild and wooly 1960s, which we will take a closer look at in the next chapter of this saga.

So what, if anything, have we learned today? We have learned that murder and random acts of violence have been a part of the culture of the canyon since the earliest days of its development. 

We have also learned that spooks posing as entertainers have likewise been a part of the canyon scene since the earliest days. And, finally, we have learned that spooks who didn’t even bother to pose as entertainers were streaming into the canyon to report to work at Lookout Mountain Laboratory for at least twenty years before the first rock star set foot there.
One final note is in order here: we are supposed to believe that all of these musical icons just sort of spontaneously came together in Laurel Canyon (one finds the words “serendipitous” sprinkled freely throughout the literature). But how many peculiar coincidences do we have to overlook in order to believe that this was just a chance gathering?
Let’s suppose, hypothetically speaking, that you are the young man in the photo at the top of this post, and you have recently arrived in Laurel Canyon and now find yourself fronting a band that is on the verge of taking the country by storm. Just a mile or so down Laurel Canyon Boulevard from you lives another guy who also recently arrived in Laurel Canyon, and who also happens to front a band on the verge of stardom.
He happens to be married to a girl that you attended kindergarten with, and her dad, like yours, was involved in atomic weapons research and testing (Admiral George Morrison for a time did classified work at White Sands). Her husband’s dad, meanwhile, is involved in another type of WMD research: chemical warfare.
This other guy’s business partner/manager is a spooky ex-Marine who just happens to have a cousin who, bizarrely enough, also fronts a rock band on the verge of superstardom. And this third rock-star-on-the-rise also happens to live in Laurel Canyon, just a mile or two from your house. Just down a couple of other streets, also within walking distance of your home, live two other kids who ~ wouldn’t you know it? ~ also happen to front a new rock band. These two kids happened to attend the same Alexandria, Virginia high school that you attended, and one of them also attended Annapolis, just like your dad did, and just like your kindergarten friend’s dad did.
Though almost all of you hail from (or spent a substantial portion of your childhood in) the Washington, D.C. area, you now find yourselves on the opposite side of the country, in an isolated canyon high above the city of Los Angeles, where you are all clustered around a secret military installation. Given his background in research on atomic weapons, your father is probably familiar to some extent with the existence and operations of Lookout Mountain Laboratory, as is the father of your kindergarten friend, and probably the fathers of a few other Laurel Canyon figures as well.
My question here, I guess, is this: what do you suppose the odds are that all of that just came together purely by chance?
Vito the Magnificent, King of the Hippies

June 6, 2008
"Call them freaks, the underground, the counter-culture, flower children or hippies – they are all loose labels for the youth culture of the 60s …" ~ Barry Miles, author of Hippie
“This is how I remember my life. Other folks may not have the same memories, even though we might have shared some of the same experiences.”

So begins David Crosby’s autobiography, Long Time Gone (co-written by Carl Gottlieb). As it turns out, quite a few other folks seem to remember some people in Crosby’s life who are all but ignored in the lengthy book. The names are casually dropped only once, and not by Crosby but rather in a quote from manager Jim Dickson in which he describes the scene at the Sunset Strip clubs when The Byrds played:
“We had them all. We had Jack Nicholson dancing, we had Peter Fonda dancing with Odetta, and we had Vito and his Freakers.”
Following that brief mention by Dickson, Gottlieb briefly explains to readers that, “Vito and his Freakers were an acid-drenched extended family of brain-damaged cohabitants.” And that, in an incredibly self-indulgent 489-page tome, is the only mention you will find of “Vito and his Freakers” ~ despite the fact that, by just about all other accounts, the group dismissed as “brain-damaged cohabitants” played a key role in the early success of Crosby’s band. And the early success of Arthur Lee’s band. And the early success of Frank Zappa’s band. And the early success of Jim Morrison’s band. But especially in the early success of David Crosby’s band.

As Barry Miles noted in his biography of Frank Zappa,
“The Byrds were closely associated with Vito and the Freaks: Vito Paulekas, his wife Zsou and Karl Franzoni, the leaders of a group of about 35 dancers whose antics enlivened the Byrds early gigs.”
In Waiting for the Sun, Barney Hoskyns writes that the early success of The Byrds and other bands was due in no small part to “the roving troupe of self-styled ‘freaks’ led by ancient beatnik Vito Paulekas and his trusty, lusty sidekick Carl Franzoni.” Alban “Snoopy” Pfisterer, former drummer and keyboardist for the band Love, went further still, claiming that Vito actually “got the Byrds together, as I remember ~ they did a lot of rehearsing at his pad.”

And according to various other accounts, The Byrds did indeed utilize Vito’s ‘pad’ as a rehearsal studio, as did Arthur Lee’s band. More importantly, the Freaks drew the crowds into the clubs to see the fledgling bands perform. 

But as important as their contribution was to helping launch the careers of the Laurel Canyon bands, “Vito and his Freakers” were notable for something else as well; according to Barry Miles, writing in his book Hippie,
“The first hippies in Hollywood, perhaps the first hippies anywhere, were Vito, his wife Zsou, Captain Fuck and their group of about thirty-five dancers. Calling themselves Freaks, they lived a semi-communal life and engaged in sex orgies and free-form dancing whenever they could.”
Some of those who were on the scene at the time agree with Miles’ assessment that Vito and his troupe were indeed the very first hippies. Arthur Lee, for example, boasted that they “started the whole hippie thing: Vito, Karl, Szou, Beatle Bob, Bryan and me.” 

One of David Crosby’s fellow Byrds, Chris Hillman, also credited the strange group with being at the forefront of the hippie movement: “Carl and all those guys were way ahead of everyone on hippiedom fashion.” 

Ray Manzarek of The Doors remembered them as well: “There were these guys named Carl and Vito who had a dance troupe of gypsy freaks. They were let in for free, because they were these quintessential hippies, which was great for tourists.”

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.

Carl Franzoni

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.” 

According to most accounts, it wasn’t really the Mayan-tomb decor of the studio that many of the matrons found so exciting, but rather Vito’s reportedly insatiable sexual appetite and John Holmesian physique. 

In any event, Vito’s students also apparently included such Hollywood luminaries as Jonathon Winters, Mickey Rooney and Steve Allen. Nevertheless, though Paulekas claimed to be a serious artist (a painter, poet, dancer and photographer, in addition to a sculptor), there is scant evidence that I have seen that supports such claims (I am not, however, the most objective of art critics, as I am, as best I can determine, apparently not cultured enough to ‘get’ the majority of what passes for art).

As for his erstwhile sidekick, Carl Orestes Franzoni, he has claimed in interviews that his “mother was a countess” and his father “was a stone carver from Rutland, Vermont. The family was brought from Italy, from the quarries in the northern part of Italy, to cut the stone for the monuments of the United States.” That would make his father, I’m guessing here, someone of some importance in the Mason community, if Carl is to be believed. 

By Franzoni’s own account, he grew up as something of a young hoodlum in Cincinnati, Ohio, and later went into business with some shady Sicilian characters selling mail-order breast and penis pumps out of an address on LA’s fabled Melrose Avenue. As Franzoni remembered it, his business “partner’s name was Scallacci, Joe Scallacci ~ the same name as the famous murderer Scallacci. Probably from the same family.” Probably so

Franzoni, born circa 1934, hooked up with the older Paulekas sometime around 1963 and soon after became his constant sidekick. As previously mentioned, the group also included Vito’s wife Szou, an ex-cheerleader who had hooked up with Paulekas when she was just sixteen and he was already in his fifties. Also in the troupe was a young Rory Flynn (Errol Flynn’s statuesque daughter), a bizarre character named Ricky Applebaum who had half a moustache on one side of his face and half a beard on the other, most of the young girls who would later become part of Frank Zappa’s GTO project, and a lot of other oddball characters who donned ridiculous pseudonyms like Linda Bopp, Butchie, Beatle Bob, Emerald, and Karen Yum Yum.

Also flitting about the periphery of the dance troupe were a young Gail Sloatman (the future Mrs. Zappa, for those who have already forgotten) and a curious character on the LA music scene by the name of Kim Fowley. The two were, for a time, closely allied, and even cut a record together as “Bunny and the Bear” that Fowley produced (“America’s Sweethearts”). In 1966, Fowley produced a record for Vito as well, billed as “Vito and the Hands.” The 7” single, “Where It’s At,” which featured the musicianship of some of Frank Zappa’s Mothers of Invention, came no closer to entering the charts than did Fowley and Sloatman’s effort. Sloatman, by the way, soon found work as an assistant and booking agent for Elmer Valentine, who we will meet shortly.

Fowley, as with so many other character, a WWII Navy veteran and attendee of St. Francis Xavier Military Academy. According to the younger Fowley’s account, he was initially abandoned to a foster home but later taken back and raised by his father. He grew up in upscale Malibu, California, where he shared his childhood home with “a bunch of actors and guys from the Navy.” 

At the age of six-and-a-half, Fowley had an unusual experience that he later shared with author Michael Walker: dressed up in a sailor suit by his dad and his Navy buddies, he was taken “to a photographer named William, who took a picture of me in the sailor suit. His studio was next door to the Canyon [Country] Store.” Right after that, he was driven down Laurel Canyon Boulevard to the near-mythical Schwabs Drugstore, where “everybody cheered and two chorus girls grabbed my six-year-old cock and balls and stuck a candy cigarette in my mouth.”

Nice story, Mr. Fowley. Thanks for sharing
Franzoni and friends

It’s probably safe to assume that childhood experiences such as that helped to prepare Fowley for his later employment as a young male street hustler, a profession that he practiced on the seedy streets of the city of angels (by Fowley’s own account, I should probably add here, just as it was James Dean himself who claimed to have worked those same streets with Nick Adams). Following that, Fowley spent some time serving with the Army National Guard, after which he devoted his life to working in the LA music industry as a musician, writer and producer ~ as well as, according to some accounts, a master manipulator. 

Around 1957, Fowley played in a band known as the Sleepwalkers, alongside future Beach Boy Bruce Johnston. At times, a diminutive young guitarist named Phil Spector ~ who had moved out to LA with his mother not too many years earlier, following the suicide of his father when Phil was just nine ~ sat in with the group. During the 1960s, Fowley was best known for producing such ridiculous yet beloved novelty songs as the Hollywood Argyles’ “Alley Oop” and the Rivington’s “Papa Oom-Mow-Mow,” though he also did more respectable work, such as collaborating on some Byrds’ tracks and having some of his original songs covered by both the Beach Boys and the Flying Burrito Brothers.

In 1975, Fowley had perhaps his greatest success when he created the Runaways, further lowering the bar that Frank Zappa had already set rather low some years earlier when he had created and recorded the GTOs. The Runaways featured underage versions of Joan Jett and Lita Ford, whom Fowley tastefully attired in leather and lingerie. As he would later boast, “Everyone loved the idea of 16-year-old girls playing guitars and singing about fucking.” Especially, I would imagine, their mothers and fathers. Some of the young girls in the band, including Cherie Curry, would later accuse Fowley of requiring them to perform sexual services for him and his associates as a prerequisite for membership in the group.

Vito's Studio today

Prior to assembling the Runaways, one of Fowley’s proudest accomplishments had been producing the 1969 album “I’m Back and I’m Proud” by rockabilly pioneer Gene Vincent, featuring backing vocals by Canyonite Linda Ronstadt. Just two years later, Vincent ~ a Navy veteran raised in that penultimate Navy town, Norfolk, Virginia ~ permanently checked out of the Hotel California on October 12, 1971 (there’s that date again), due reportedly to a ruptured stomach ulcer. 

Not long before his death, Vincent had been on tour in the UK, but he had hastily returned to the US due to pressure from, among others, promoter Don Arden. Known none-too-affectionately as the “Al Capone of Pop,” Arden had a penchant for guns and violence and he was known to openly boast of his affiliation with powerful organized crime figures.
In addition to being a business partner of the equally nefarious Michael Jeffery, Arden was also the father of Sharon Osbourne and the former manager of her husband’s band, Black Sabbath … but here I have surely digressed, so let’s try to bring this back around to where we left off.
One other accomplishment of Fowley’s bears mentioning here: he received a guest vocalist credit on the Mothers of Invention album “Freak Out,” as did both Vito Paulekas and his sidekick, Carl Franzoni, to whom the song “Hungry Freaks, Daddy” was dedicated (some sources claim that Bobby Beausoleil also provided guest vocals on Zappa’s debut album, though his name does not appear in the album’s credits).

By at least as early as 1962, not long before Carl Franzoni joined the group, the Freak troupe was already hitting the clubs a couple nights each week to refine their unique style of dance (perhaps best described as an epileptic seizure set to music) and show off their distinctively unappealing, though soon to be quite popular, fashion sense. In those early days, they danced to local black R&B bands and to a band out of Fresno known as the Gauchos, in dives far removed from the fabled Sunset Strip ~ because, Franzoni has said, “There were no white bands [in LA] yet,” and “There were no clubs on Sunset Boulevard.”

That, of course, was all about to quickly change. As if by magic, new clubs began to spring up along the legendary Sunset Strip beginning around 1964, and old clubs considered to be long past their prime miraculously reemerged. In January 1964, a young Chicago vice cop named Elmer Valentine opened the doors to the now world-famous Whisky-A-Go-Go nightclub. Just over a year later, in spring of 1965, he opened a second soon-to-be-wildly-popular club, The Trip. Not long before that, near the end of 1964, the legendary Ciro’s nightclub began undergoing extensive renovations. 

Opened in 1940 by Billy Wilkerson, an associate of Bugsy Siegel, the upscale club had flourished for the first twenty years of its existence, with a clientele that regularly included Hollywood royalty and organized crime figures. By the early 1960s though the Strip was dead, and the once prestigious club had gone to seed.

Ciro’s reopened in early 1965, just before The Trip opened its doors and just in time, as it turns out, to host the very first club appearance by the musical act that was about to become the first Laurel Canyon band to commit a song to vinyl: The Byrds. By 1967, Gazzaris had opened up on the Strip as well, and in the early 1970s Valentine would open yet another club that endures to this day, The Roxy. Smaller clubs like the London Fog, where The Doors got their first booking as the house band in early 1966, opened their doors to the public in the mid 1960s as well.

The timing of the opening of Valentine’s first two clubs, and the reopening of Ciro’s, could not have been any more fortuitous. The paint was barely dry on the walls of the new clubs when bands like Love and The Doors and The Byrds and Buffalo Springfield and the Turtles and the Mothers and the Lovin’ Spoonful came knocking. The problem, however, was that the new clubs were not yet well known, Ciro’s had been long left for dead, and nobody had the slightest idea who any of these newfangled bands were. What was needed then was a way to create a buzz around the clubs that would draw people in and kick-start the Strip back to life, as well as, of course, launch the careers of the new bands.

The bands themselves could not be expected to fill the new clubs, since, besides being unknown, they also ~ and yeah, I know that you don’t really want to hear this and I will undoubtedly be deluged with letters of complaint, but I’m going to say it anyway ~ weren’t very good, at least not in their live incarnations. To be sure, they sounded great on vinyl, but that was largely due to the fact that the band members themselves didn’t actually play on their records (at least not in the early days), and the rich vocal harmonies that were a trademark of the ‘Laurel Canyon sound’ were created in the studio with a good deal of multi-tracking and overdubs. On stage, it was another matter entirely.

Enter then the wildly flamboyant and colorful Freak squad, who were one key component of the strategy that was devised to lure patrons into the clubs (the other component of the strategy, hinted at in one of the quotes near the top of this post, will be covered in installment #7). Vito and Carl’s dancers were a fixture on the Sunset Strip scene from the very moment that the new clubs opened their doors to the public, and they were, by all accounts, treated like royalty by the club owners. 

As John Hartmann, proprietor of the Kaleidoscope Club, acknowledged, he “would let Vito and his dancers into the Kaleidoscope free every week because they attracted people. They were really hippies, and so we had to have them. They got in free pretty much everywhere they went. They blessed your joint. They validated you. If they’re the essence of hippiedom and you’re trying to be a hippie nightclub, you need hippies.”

As the aforementioned Kim Fowley put it, with characteristic bluntness, “A band didn’t have to be good, as long as the dancers were there.” Indeed, the band was largely irrelevant, other than to provide some semblance of a soundtrack for the real show, which was taking place on the dance floor. Gail Zappa candidly admitted that, even at her husband’s shows, the real attraction was not on the stage:
“The customers came to see the freaks dance. Nobody ever talks about that, but that was the case.”
Frank added that,
“As soon as they arrived they would make things happen, because they were dancing in a way nobody had seen before, screaming and yelling out on the floor and doing all kinds of weird things. They were dressed in a way that nobody could believe, and they gave life to everything that was going on.”
For reasons that clearly had more to do with boosting attendance at the clubs than with any actual talents displayed by the group, Vito and Carl seem to have become minor media darlings over the course of the 1960s and into the 1970s. The two can be seen, separately and together, in a string of cheap exploitation films, including Mondo Bizarro from 1966, Something’s Happening (aka The Hippie Revolt) from 1967, the notorious Mondo Hollywood, also released in 1967, and You Are What You Eat, with David Crosby, Frank Zappa and Tiny Tim, which hit theaters in 1968. In 1972, Vito made his acting debut in a non-documentary film, The White Horse Gang.

Paulekas reportedly also popped up on Groucho Marx’s You Bet Your Life, and Franzoni made an appearance on a 1968 Dick Clark TV special. The golden child, Godot Paulekas, was featured in a photo in Life magazine circa 1966, and the whole troupe showed up for an appearance on the Tonight Show. According to Barry Miles, Vito also “appeared regularly on the Joe Pyne Show and in between the bare-breasted girls in the late fifties and early sixties men’s magazines.”

Joe Pyne, for those of you too young to remember (myself included), is the guy that we have to thank for paving the way for the likes of Bill O’Reilly, Rush Limbaugh, Sean Hannity, Michael Savage, Don Imus, Morton Downey, Jr., Jerry Springer and Wally George. 

For Mr. Pyne, you see, was the guy who pioneered the confrontational interview style favored by so many gasbags today. The decorated Marine Corps veteran debuted as a talk-radio host in 1950 and quickly became known for insulting and demeaning anyone who dared to disagree with him, guests and listeners alike. In 1957, he moved his show to LA, and by 1965, he was nationally syndicated both on the radio and on television. His favored targets, as you may have guessed, included hippies, feminists, gays, and anti-war activists, and his interviews frequently ended with his guest either walking off or being thrown off the stage. Nearing the peak of his popularity, Pyne died on March 23, 1970 at the age of forty-five, reportedly of lung cancer. His ideological offspring, however, live on.

June 6, 2008
“Vito was in his fifties, but he had four-way sex with goddesses … He held these clay-sculpting classes on Laurel Avenue, teaching rich Beverly Hills dowagers how to sculpt. And that was the Byrds’ rehearsal room. Then Jim Dickson had the idea to put them on at Ciro’s, on the basis that all the freaks would show up and the Byrds would be their Beatles.” ~ Kim Fowley
Recruits for Vito and Carl’s dance troupe weren’t likely hard to come by, given that, according to Miles, Vito operated “the first crash pad in LA, an open house to countless runaways where everyone was welcome for a night, particularly young women.” 

By the mid 1960s, the group had expanded into a second communal location in addition to the basement studio at 303 Laurel Avenue: the ubiquitous Log Cabin. According to Jack Boulware, writing in Mojo magazine, architect Robert Byrd and his son built a new guesthouse (aka ‘the treehouse’) on the property in the early 1960s, and “The following year, a communal family of weirdos moved into the cabin and treehouse, centered around two underground hipsters named Vito Paulekas and Carl Franzoni, organizers of freeform dance troupes at clubs along the Sunset Strip.” 

By 1967, the dancers were splitting “their rent with staff from the hippie publication The Oracle. Retired journalist John Bilby recalls at least 36 people living and partying at the Log Cabin and treehouse, including the band Fraternity of Man. ‘Tim Leary was definitely there, George Harrison and Ravi Shankar were there,’ Bilby says.”

For those who may not necessarily be ‘in the know’ about such things, the Fraternity of Man were best known for the novelty song, “Don’t Bogart Me,” Tim Leary was best known for being a painfully obvious CIA asset, and The Oracle was a San Francisco-based publication with intelligence ties that specialized in pitching psychedelic occultism to impressionable youth.

According to Barry Miles, “Franzoni’s commune ended in May 1968,” as that was when The Oracle moved out and our old friend Frank Zappa moved in. The lead Mother “had visited Karl at the log cabin on a previous trip and realized it was perfect for his needs.” And it was an easy move for Frank, since he was already living in the canyon at the home of Pamela Zarubica (aka Suzy Creamcheese) at 8404 Kirkwood Drive, where Zappa had met his new wife, Gail, and where Gail’s old kindergarten pal, James Douglas Morrison, was known to occasionally pass the time. Ms. Zarubica/Creamcheese was yet another member of Vito’s dance troupe.

As multiple sources remember it, Miles is mistaken in his contention that Franzoni’s commune came to an end; Frank Zappa took over as ringmaster, to be sure, but Franzoni and all his cohorts stayed on. Carl had a room in the basement, where he was known to bowl, usually naked and intoxicated, in the middle of the night. 

The doomed Christine Frka had a room down there as well, as did other future GTOs. Various other members of the dance troupe occupied other nooks and crannies in both the main house and the guesthouse/treehouse. Indeed, as Miles noted correctly, the Freak dancers became so closely associated with the Mothers of Invention that “they got dubbed as ‘the Mothers Auxiliary’ and Karl Franzoni, in particular, was included in a lot of group photographs.”

And that, my friends, is the story of Vito’s Freakers ~ or at least a sanitized version. Because there is, as it turns out, a very dark underbelly to this story. And much of it is centered around that angelic hippie child that the readers of Life magazine met in 1966, and who we now must sadly add to the Laurel Canyon Death List. 

For young Godot Paulekas, you see, never made it past the age of three (by most accounts). The specifics of the tragedy are all but impossible to determine, unfortunately, as there is little agreement in the various accounts of the event. Left unclear is exactly how the child died, when the tragedy occurred, and what age the boy was.
According to Barry Miles, “Vito and Szou’s three-year-old son Godo had fallen through a trapdoor on the roof of the building and died.” Michael Walker tells of a “two or three” year old Godot “fall[ing] to his death from a scaffold at the studio.” An article in the San Francisco Weekly had it as “a 5-year-old boy” who died when he “fell through a skylight.”

Super-groupie and former Freak dancer Pamela DesBarres agreed with the skylight scenario, but not the age: “Vito’s exquisite little puppet child, Godot, fell through a skylight during a wacky photo session on the roof and died at age three-and-a-half.” 

Alban Pfisterer of the band Love recalled a much darker scenario: “[Vito] got married, had a baby, gave it acid, and it fell off the roof and died.”

When Robert Carl Cohen recently digitally remastered his notorious Mondo Hollywood for DVD release, he added postscripts for all the famous and infamous people who were featured in his film. For “Godo” Paulekas, he inserted the following caption: “Died age 2 ~ victim of medical malpractice.” Thus we now have a further muddying of the waters. Since Cohen’s claim though is so clearly at odds with every other account of the incident, and since he was quite close to Vito and thus inclined to cast his friend in the best possible light, we can probably safely disregard Cohen’s belated postscript.
Szou and Godot

The details of the incident that can be ascertained are, to put it mildly, rather disturbing. We know, for example, that a musician and writer named Raphael told writer Michael Walker that, before the child’s death, he had been present one evening at Vito’s place when Godot was brought out:
“They passed that little boy around, naked, in a circle with their mouths. That was their thing about ‘introducing him to sensuality.’”
We also know that Vito and Szou had a rather odd reaction to the death of their first-born son and only child, as recounted by Ms. DesBarres: “I was beside myself with sorrow, but Vito and Szou insisted on continuing our plans for the evening. We went out dancing, and when people asked where little Godot was, Vito said, ‘He died today.’ It was weird, really weird.”

That it was, but perhaps even weirder is the full text of the quote from the San Francisco Weekly that I earlier presented you with an edited version of: “[Kenneth Anger’s] first candidate to play Lucifer, a 5-year-old boy whose hippie parents had been fixtures on the Los Angeles counterculture scene, fell through a skylight to his death. By 1967, Anger had relocated to San Francisco and was searching for a new Lucifer.” As many readers may be aware, he soon found his new Lucifer in the form of Mansonite and former Grass Roots guitarist Bobby “Cupid” Beausoleil.

And so it was that the soon-to-be convicted murderer replaced the cherubic hippie child as the face of Lucifer. But what was it, one wonders, that drew Anger’s twisted eye to the young boy? And how close a relationship did Anger have with Paulekas and Franzoni? And most importantly, how did Godot Paulekas really die? We will likely never know for sure, but let’s just quickly review some of the factors that might come into play when searching for a solution to this mystery:
The young boy was reportedly subjected to pedophilic treatment by his parents and others.

The boy’s parents displayed a truly chilling indifference to the child’s death.

Kenneth Anger had expressed an interest in filming the boy.

Pamela DesBarres contends that the toddler died during a “wacky photo session.”

Alban Pfisterer has claimed that the child was drugged.

Bobby Beausoleil has said that some of Anger’s film projects were for private collectors: “every once in a while he’d do a little thing that wouldn’t be for distribution.”

Finally, according to biographer Bill Landis, Kenneth Anger was at one time investigated by the police on suspicion that he had been producing snuff flicks.
You all will have to draw your own conclusions on this one. As a responsible journalist, I obviously cannot indulge in any reckless speculation here, and I think we can all agree that I have not tried to lead you in any specific direction, but have merely laid the facts out on the table for your review. Moving on then 
Bobby Beausoleil in Lucifer Rising
Pamela DesBarres shed further light on the dark edges of the Freak troupe with this description of a scene that Vito had staged one evening in his studio: “two tenderly young girls were tonguing each other … everyone was silently observing the scene as if it were part of their necessary training by the headmaster, Vito … One of the girls on the four-poster was only twelve years old, and a few months later Vito was deported to Tahiti for this very situation, and many more just like it.”

It was actually Haiti that Vito appears to have fled to, and then to Jamaica (which at the time had no extradition treaty with the United States), accompanied by his wife Szou and their new baby daughter Groovee Nipple (or possibly Gruvi Nipple; does anyone really care which is the proper spelling?) 

According to Miles, this occurred in December of 1968, though other accounts vary. Carl Franzoni, meanwhile, became embroiled in some unspecified legal troubles of his own and went into hiding, resurfacing in Canada by some reports. At around that same time, Frank Zappa moved on to yet another location in Laurel Canyon, a high-security home on Woodrow Wilson Drive.

Also at around that same time, according to author Ed Sanders, the Manson Family came calling at the Log Cabin: “One former Manson family associate claims that a group of four to six family members lived on Laurel Canyon Boulevard in the log cabin house once owned by cowboy-actor Tom Mix. They lived there for a few weeks, in late 1968, in a cave-like hollow in back of the residence.” According to Franzoni, Manson also came calling at the Vito Clay studio on Laurel Avenue: “Applebaum took over Vito’s place when Vito vacated at Beverly and Laurel. So he inherited all the people that came after that … he was the beginning of the Manson clan. Manson came there because he had heard about Vito but Vito was gone.”

It does not appear as though Vito was actually deported, by the way, but rather that he fled the country in a very Mike Ruppertian fashion to avoid likely prosecution. In any event, it makes perfect sense, in retrospect, that Charlie Manson and his Family came calling just as Vito fled the scene, and that a Mansonite replaced the Freak child as the embodiment of Lucifer. 

For the truth, you see, is that, in many significant ways, Charles Manson was little more than a younger version of Vito Paulekas. Consider, if you will, all of the following Mansonesque qualities that Vito (and to some extent, Carl) seemed to share:
Vito appears to have spent a good portion of his younger years in prisons and reform schools, as did, as we all know, Charles Milles Manson.

Vito considered himself to be a gifted artist and poet, as did our old friend Charlie Manson.

Vito, according to Miles, “was something of a guru,” as was, quite obviously, Chuck Manson.

Vito surrounded himself with a flock of very young (often underage) women, as did Manson.

Vito was considerably older than his followers, and so too was Charlie.

When Vito addressed his flock, they listened with rapt attention as though they were being delivered the word of God, as was true with Charlie as well.

Carl Franzoni was known to wear a black cape and refer to himself as “Captain Fuck,” while Manson was also partial to black capes and declared himself to be “the God of Fuck.”

Vito is said to have had a virtually insatiable libido, as did, of course, Chuck Manson.

Vito’s flock adopted nicknames to aid in the depersonalization process, as did Charlie’s.

Vito’s troupe included a Beverly Hills hairstylist named Sheldon Jaman, while Charlie’s included a Beverly Hills hairpiece stylist named Charles Watson.

Vito believed in introducing children to sexuality at a very young age, while in the Manson Family, as Sanders has noted, “Infant sexuality was encouraged.”

Vito apparently liked to stage live sex shows for his followers, usually involving underage participants, which was also a specialty of Charles Milles Manson.

Finally, Vito encouraged his followers to drug themselves while he himself largely abstained, thus enabling him to at all times maintain control, while Manson limited his own drug intake for the very same reason.
Franzoni and Manson were not, by the way, the only folks on the Laurel Canyon/Sunset Strip scene who developed a fondness for black capes in the latter half of the 1960s. As Michael Walker noted in Laurel Canyon, during that same period of time David Crosby had “taken to wearing an Oscar Wilde/Frank Lloyd Wright-ish cape wherever he went.”

In unrelated news, Ed Sanders notes in The Family that, “Around March 10, 1968, a convoy of seven Process automobiles containing thirty people and fourteen Alsatian dogs journeyed toward Los Angeles.” Vincent Bugliosi added, in his best-selling Helter Skelter, that in “1968 and 1969, The Process launched a major recruiting drive in the United States. They were in Los Angeles in May and June of 1968 and for at least several months in the fall of 1969.” 

The Processians, it should be noted, were instantly recognizable on the streets of LA due to the fact that they had a curious habit of donning black capes wherever they went.

In other news, it appears as though Frank Zappa also displayed some of the same less-than-admirable qualities shared by Manson and Paulekas. As DesBarres observed,
“Vito was just like Frank, he never got high either. They were both ringmasters who always wanted to be in control.”
And as Barry Miles noted in his Zappa biography, Frank’s daughter Moon
“recalls men with straggling beards, body odour and bad posture who crouched naked near her playthings …”
Also, the
“Zappa children watched porn with their parents and were encouraged in their own sexuality as soon as they reached puberty. When they became teenagers, Gail insisted they shower with their overnight guests in order to conserve water.” Because, you know, apparently the Zappas were having a hard time paying their water bill.
By the early 1970s, Vito Paulekas had resurfaced up north in Cotati, California, with Carl Franzoni once again at his side. The two were, by all accounts, treated like rock stars in the funky little town, and they are to this day proudly and prominently featured on the city’s official website. By some accounts, Vito even served as mayor of the town, with Franzoni assisting as his Director of Parks and Recreation. Paulekas also taught classes at Sonoma State College, presumably in the art department. Szou eventually split from Vito and went to work for an attorney, leaving the hippie life (and hopefully the “Z” in her name) behind. Franzoni, meanwhile, turned up now and then on that early version of America’s Got Talent known as The Gong Show (apparently as one of the ‘Worm Dancers’).
The Gong Show, of course, was the brainchild of (Jew) Chuck Barris, who famously claimed that during the days when he appeared to be working as a mild-mannered game show producer, he was actually on the payroll of the CIA, and that while he was ostensibly serving as a chaperone to the couples who had won trips on The Dating Game, what he was really doing was carrying out assassinations. Kind of like, I guess you could say, that Harry Houdini guy. One reader, by the way, insists that “Chucky Baby” was at one time a resident of ~ guess where? ~ Laurel Canyon (though I have not been able to confirm that).

Anyway, during those same 1970s, “The cabin and treehouse scene,” according to Jack Boulware, “grew creepy.” Actually, it had always been pretty creepy, it likely just became a little more openly creepy. 

Eric Burden of the Animals moved in after Zappa vacated and the property continued to be communally occupied. In fact, it appears to have remained something of a commune throughout the 1970s, quite possibly right up until the time that it burned to the ground on October 31, 1981. Who paid the rent is anybody’s guess ~ as is why such a prestigious property seems to have been made available for dirt cheap to pretty much any “communal family of weirdos” who wanted to move in.

Vito Paulekas and Carl Franzoni appear to have remained in northern California throughout the 1980s and into the 1990s. Franzoni was still milling about the area as recently as 2002. In February of this year, the aging Freak, now reportedly 74, rode along on a tour of 1960s hotspots offered by a local tour company and delighted the crowd by reenacting his distinctive dance style in front of Vito’s former studio. The tour operator billed Franzoni as “the King of the Freaks,” a title formerly held by his mentor, Vito Paulekas. The original king, alas, had died in October of 1992. His memorial service was held, appropriately enough, on October 31, 1992.
 .  .
More images of Paulekas and Franzoni can be found at the following locations:
("Popup Exhibits" at the bottom of the page)

1 comment:

  1. Coming very late to this fascinating page.... Robert A. Heinlein lived at 9775 Lookout Mountain from 1936 to 1942, when he and his wife moved east to work for the Navy in Philadelphia. They returned in September 1945 and sold the house two years later, when they divorced.
    The Heinlein-Manson story is a bit over-blown and inaccurate... but thanks so much for other fascinating stories!


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“The Talmud is to this day the circulating heart’s blood of the Jewish religion. Whatever laws, customs or ceremonies we observe – whether we are Orthodox, Conservative, Reform or merely spasmodic sentimentalists – we follow the Talmud. It is our common law.” ~ Herman Wouk


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“It doesn’t even enter their heads to build up a Jewish state in Palestine for the purpose of living there; all they want is a central organization for their international world swindle, endowed with its own sovereign rights and removed from the intervention of other states: a haven for convicted scoundrels and a university for budding crooks.” ~ Adolf Hitler, Mein Kampf, Chapter 11


The real God of the Universe does not have “Chosen” in the first place because he is perfect as we understand and predilection is a human weakness. The Jews invented the OT to fool humanity as always. The real God of the Universe does not send any body to kill, destroy his own creation, to rape, to maim, to create misery and havoc on other people. Don’t you get it? the God in the OT is a monster, is another one of the many Gods in the dessert, those sacrifices offered to God are Satanic as their name and the Jews keep offering sacrifices to their God. Last year they immolated thousands of human beings in Gaza to their God Baal, Moloch, Azazel, Satan, Lucifer. ~Isaas, TUT


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Ever since my refusal to sign that pledge for Israel the pro-Israel lobby let me know that my political net was in the hangman's noose it was the pro-Israel lobby they decided to tighten that noose." ~ Cynthia McKinney


"Himself a Jew, Marx has around him, in London and France, but especially in Germany, a multitude of more or less clever, scheming, agile, speculating Jews ~ such as Jews are everywhere: commercial or banking agents, writers, politicians, reporters for newspapers of all shades, with one foot in the bank and the other in the socialist movement, and with their arses sitted upon the German daily press ~ they have taken possession of all the newspapers ~ and you can imagine what kind of sickening literature they produce. Now, this entire Jewish world, which glut a single profiteering sect, a nation of blooksuckers, a single gluttonous parasite closely and intimately interlinked not only across national borders, but across all differences of political opinion ~ this Jewish world today stands for the most part at the disposal of Marx and, at the same time, at the disposal of Rothschild.


This may seem strange. What can there be in common between Communism and the largest banks? Ho-ho! The Communism of Marx seeks an enormous centralization of the state, and where such exists, there must inevitably be a central state bank, and where such a bank exists, the parasitic Jewish nation, which profiteers from the labour of others, will always find a way to prevail. In reality, for the proletariat, this would be a barrack regime, under which the working men and the working women, converted into a uniform mass, would rise, fall asleep, work, and live at the beat of the drum." ~ Bakunin (1814-1876)


“We entered the synagogue, which was packed with the greatest stinking bunch of humanity I have ever seen. When we got about halfway up, the head rabbi, who was dressed in a fur hat similar to that worn by Henry VIII of England and in a surplice heavily embroidered and very filthy, came down and met the General (Eisenhower)...The smell was so terrible that I almost fainted and actually about three hours later lost my lunch as the result remembering it." ~ General Patton in Germany, diary entry Sept 17, 1945

The U.S. Congress officially recognized the Noahide Laws in legislation that was passed by both houses. Congress and the President of the U. S., George Bush, indicated in Public Law 102-14, 102nd Congress, that the United States of America was founded upon the Seven Universal Laws of Noah, and that these Laws have been the bedrock of society from the dawn of civilization. They also acknowledged that the Seven Laws of Noah are the foundation upon which civilization stands and that recent weakening of these principles threaten the fabric of civilized society, and that justified preoccupation in educating the Citizens of the U.S. of America and future generations is needed. For this purpose, this Public Law designated March 26, 1991 as Education Day.”

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Stand up and be counted at any cost.

~ Thomas J Watson (1874-1956)


'There is no such thing, at this date of the world's history, in America, as an independent press. You know it and I know it. The business of the Journalist is to destroy truth; to lie outright; to pervert; to vilify; to fawn at the feet of mammon, and to sell his country and his race for his daily bread. You know it and I know it and what folly is this toasting an independent press? We are the tools and vassals for rich men behind the scenes. We are the jumping jacks, they pull the strings and we dance. Our talents, our possibilities and our lives are all the property of other men. We are intellectual prostitutes.' ~ John Swinton, former Chief of Staff, The New York Times, 1953



Historically, Jews had always thrived in nations and empires with multicultural, pluralistic and tolerant environments, while they fared badly in strong ethnic or nationalistic societies. European Jews have always been the emblematic stranger or ‘other’. Therefore, by definition, a society where the stranger is welcome is good for the Jews, although they have not always appreciated this link. The future of European Jewry is dependent on our ability to shape a multicultural, pluralistic and diverse society. ~ Göran Rosenberg, Jewish author and journalist


American Jews are committed to cultural tolerance because of their belief ~ one firmly rooted in history ~ that Jews are safe only in a society acceptant of a wide range of attitudes and behaviors, as well as a diversity of religious and ethnic groups. It is this belief, for example, not approval of homosexuality, that leads an overwhelming majority of U.S. Jews to endorse ‘gay rights’ and to take a liberal stance on most other so-called ‘social’ issues. ~ Charles Silberman, Jewish writer and journalist


The Jew … Judaizes … he provokes religious indifference, but he also imposes on those whose faith he destroys, his own concept of the world, of morality, and of human life. The Jews detests the spirit of the nation in the midst of which they live. ~ Bernard Lazare


We will legally define the Talmud as the basis of the Israeli legal system. ~ Benjamin Netanyahu


"Anti-Communism is Antisemitism." ~ Jewish Voice, July ~ August 1941.


We Jews, we, the destroyers, will remain the destroyers forever. Nothing that you will do will meet our needs and demands. We will forever destroy because we need a world of our own. ~ Maurice Samuels, You Gentiles. 1942.


According to the Talmud...."...When the serpent came unto Eve, he infused filthy lust in her (but) when Israel stood on Sinai, that lust was eliminated" ~ Talmud, Abodah Zarah 22b


As monstrous as it may seem, we are engaged in close combat between Israel and the Nations ~ and it can only be genocidal and total because it is about our and their identities. ~ Yitzhak Attia, Israel Magazine, April 2003


"Some may call it Communism, but I call it what it is: Judaism." ~ Rabbi Stephen Weiss.


It was hard for Satan alone to mislead the whole world, so he appointed prominent rabbis in different localities. ~ A Chasidic saying attributed to Nahman of Bratzlav, early 19th century


It is our duty to force all mankind to accept the seven Noahide laws, and if not ~ they will be killed." ~ Rabbi Yitzhak Ginsburg


"The Jews are called human beings, but the non-Jews are not humans. They are beasts." ~ Talmud: Baba mezia, 114b

"The Akum (non-Jew) is like a dog. Yes, the scripture teaches to honor the the dog more than the non-Jew." ~ Ereget Raschi Erod. 22 30

"Even though God created the non-Jew they are still animals in human form. It is not becoming for a Jew to be served by an animal. Therefore he will be served by animals in human form." ~ Midrasch Talpioth, p. 255, Warsaw 1855

Dear World, "I understand that you are upset by us here in Israel. Indeed, it appears you are very upset, even angry. So…it is because we became so upset over upsetting you, dear world, that we decided to leave you ~ and establish a Jewish State.” ~ Rabbi Meir Kahane, 1988


"A pregnant non-Jew is no better than a pregnant animal." ~ Coschen hamischpat 405

"The souls of non-Jews come from impure sprits and are called pigs." ~ Jalkut Rubeni gadol 12b

"Although the non-Jew has the same body structure as the Jew, they compare with the Jew like a monkey to a human." ~ Schene luchoth haberith, p. 250 b

"If you eat with a Gentile, it is the same as eating with a dog." ~ Tosapoth, Jebamoth 94b

"If a Jew has a non-Jewish servant or maid who dies, one should not express sympathy to the Jew. You should tell the Jew: "God will replace 'your loss', just as if one of his oxen or asses had died." ~ Jore dea 377, 1


"Sexual intercourse between Gentiles is like intercourse between animals." ~ Talmud Sanhedrin 74b


"It is permitted to take the body and the life of a Gentile." ~ Sepher ikkarim III c 25

"It is the law to kill anyone who denies the Torah. The Christians belong to the denying ones of the Torah." ~ Coschen hamischpat 425 Hagah 425. 5

"A heretic Gentile you may kill outright with your own hands." ~ Talmud, Abodah Zara, 4b

"Every Jew, who spills the blood of the godless (non-Jews), is doing the same as making a sacrifice to God." ~ Talmud: Bammidber raba c 21 & Jalkut 772


Treason to whiteness is loyalty to humanity. The goal of abolishing the white race is on its face so desirable that some may find it hard to believe that it could incur any opposition other than from committed white supremacists. ~ Noel Ignatiev, Harvard Magazine, Sep-Oct 2002


We intend to keep bashing the dead white males, and the live ones, and the females too, until the social construct known as ‘the white race’ is destroyed, not ‘deconstructed’ but destroyed.

Even if reason tells us, even shouts with all its force the very absurdity of this confrontation between the small and insignificant people of Israel [i.e., all Jewry worldwide, not just “the State of Israel”] and the rest of humanity… as absurd, as incoherent and as monstrous as it may seem, we are engaged in close combat between Israel and the Nations ~ and it can only be genocidal and total because it is about our and their identities. ~ Yitzhak Attia, Israel Magazine, April 2003


Any trial based on the assumption that Jews and goyim are equal is a total travesty of justice. ~ Rabbi Yitzhak Ginsburg, June 6, 1989:


In 1492 CE, Chemor, chief Rabbi of Spain, wrote to the Grand Sanhedrin, which had its seat in Constantinople, for advice, when a Spanish law threatened expulsion (after the fall of Muslim rule in spain).

This was the reply:

” Beloved brethren in Moses, we have received your letter in which you tell us of the anxieties and misfortunes which you are enduring. We are pierced by as great pain to hear it as yourselves. The advice of the Grand Satraps and Rabbis is the following:

1. As for what you say that the King of Spain obliges you to become Christians: do it, since you cannot do otherwise.
2. As for what you say about the command to despoil you of your property: make your sons merchants that they may despoil, little by little, the Christians of theirs.
3. As for what you say about making attempts on your lives: make your sons doctors and apothecaries, that they may take away Christians’ lives.
4. As for what you say of their destroying your synagogues: make your sons canons and clerics in order that they may destroy their churches. [Emphasis mine]
5. As for the many other vexations you complain of: arrange that your sons become advocates and lawyers, and see that they always mix in affairs of State, that by putting Christians under your yoke you may dominate the world and be avenged on them.
6. Do not swerve from this order that we give you, because you will find by experience that, humiliated as you are, you will reach the actuality of power.

------------ --------- --------- --------- --------- --------- --------- --------- ----
The reply is found in the sixteenth century Spanish book, La Silva Curiosa, by Julio-Iniguez de Medrano (Paris, Orry, 1608), on pages 156 and 157, with the following explanation: “This letter following was found in the archives of Toledo by the Hermit of Salamanca, (while) searching the ancient records of the kingdoms of Spain; and, as it is expressive and remarkable, I wish to write it here.” ~ vide, photostat facing page 80. ~ The above was quoted from Waters Flowing Eastward by Paquita de Shishmareff, pp. 73-74


“[1] When the Lord your God brings you into the land that you are about to enter and occupy, and he clears away many nations before you ~ the Hittites, the Girgashites, the Amorites, the Canaanites, the Perizzites, the Hivites, and the Jebusites, seven nations mightier and more numerous than you – [2] and when the Lord your God gives them over to you and you defeat them, then you must utterly destroy them. Make no covenant with them and show them no mercy” (Deut 7:1-2).


"Compassion towards the wicked is really wickedness. It is along these lines that Rabbi Levi opened his speech in honor of Purim: (Talmud, Megillah, 11a): "If you do not uproot the inhabitants of the Land, and allow them to remain - they will become thorns in your sides, and will cause trouble for you in the Land in which you dwell." (Bamidbar 33:55) The mitzvah, then of wiping out Amalek [Palestinians], actually stems from the value of compassion and kindness - compassion on all those whom Amalek threatens to exterminate. This mitzvah is an ongoing one, and valid even today. Today, too, there are those - driven by a deep-seeded anti-Semitism - who desperately wish to kill us. These are the people whom the Torah commanded us to obliterate, to leave no memory of them." ~ Rabbi Zalman Baruch Melamed


Nachman Abramovic demonized Palestinian children stating: “They may look young to you, but these people are terrorists at heart. Don’t look at their deceptively innocent faces, try to think of the demons inside each of them. I am absolutely certain these people would grow to be evil terrorists if we allowed them to grow. Would you allow them to grow to kill your children or finish them off right now? Honest and moral people ought to differentiate between true humans and human animals. We do kill human animals and we do so unapologetically. Besides, who in the West is in a position to lecture us on killing human animals. After all, whose hands are clean?”


"Wars are the Jews’ harvest, for with them we wipe out the Christians and get control of their gold. We have already killed 100 million of them, and the end is not yet." ~ Chief Rabbi in France, in 1859, Rabbi Reichorn


"The Communist soul is the soul of Judaism. Hence it follows that, just as in the Russian revolution the triumph of Communism was the triumph of Judaism, so also in the triumph of fascism will triumph Judaism." ~ Rabbi Harry Waton, A Program for the Jews and Humanity, p. 143-144


If a Jew is tempted to do evil he should go to a city where he is not known and do the evil there. ~ Moed Kattan 17a


The Jewish people as a whole will become its own Messiah. It will attain world domination by the dissolution of other races, by the abolition of frontiers, the annihilation of monarchy and by the establishment of a world republic in which the Jews will everywhere exercise the privilege of citizenship. In this New World Order, the “children of Israel” will furnish all the leaders without encountering opposition. The governments of the different peoples forming the world republic will fall without difficulty into the hands of the Jews. It will then be possible for the Jewish rulers to abolish private property and everywhere to make use of the resources of the state. Thus will the promise of the Talmud be fulfilled in which it is said that when the Messianic time is come, the Jews will have all the property of the whole world in their hands. ~ Baruch Levy in a letter to Karl Marx.


"My opinion of Christian Zionists? They're scum, but don't tell them that. We need all the useful idiots we can get right now." ~ Bibi Netanyahu


It was hard for Satan alone to mislead the whole world, so he appointed prominent rabbis in different localities. ~ A Chasidic saying attributed to Nahman of Bratzlav, early 19th century


Gentiles exist only to serve Jews as slaves. Goyim were only born to serve us. Without that they have no place in the world. Only to serve the people of Israel. Why are gentiles needed? They are only here to work. They will work, they will plow. They will reap. We will sit like effendi and eat. That is why gentiles were created,” Rabbi Yosef, Sha Party, Jerusalem Post, 2011


"An example of the use of the Jewish code words Esau and Jacob is found in a sermon preached by Rabbi Leon Spitz during the Purim observances in 1946 (quoted here from the American Hebrew of March 1, 1946) : "Let Esau whine and wail and protest to the civilized world, and let Jacob raise his hand to fight the good fight. The anti-Semite . . . understands but one language, and he must be dealt with on his own level. The Purim Jews stood up for their lives. American Jews, too. must come to grips with our contemporary anti-Semites. We must fill our jails with anti-Semitic gangsters. We must fill our insane asylums with anti-Semitic lunatics. We must combat every alien. Jew-hater. We must Harass and prosecute our Jew-baiters to the extreme limits of the laws. We must humble and shame our anti-Semitic hoodlums to such an extent that none will wish or dare to become (their) 'fellow-travelers'.


This is what Trotsky, a Jew, was preparing for the Russians for the implementation of Communism, which Marx based on the Babylonian Talmud for Gentiles:

"We should turn Her (Russia) into a desert populated with white Niggers. We will impose upon them such a tyranny that was never dreamt by the most hideous despots of the East. The peculiar trait of that tyranny is that it will be enacted from the left rather than the right and it will be red rather than white in color.

Its color will be red literally because we would spill such torrents of blood that they will pale all human losses of the capitalist wars and make the survivors shudder.


Remember my children, that all the earth must belong to us Jews, and that the gentiles, being mere excrements of animals, must possess nothing. ~ Mayer Amschel Rothschild on his deathbed, 1812


The largest overseas banks will cooperate with us most closely. If we win the Revolution and squash Russia, on the funeral pyres of its remains we will strengthen the power of Zionism and become a power the whole world would drop in the face of on its knees. We will show the world what real power means.

By way of terror and blood baths we will bring the Russian intelligentsia into a state of total stupor, to idiocy, to the animal state of being. So far our young men dressed in leather ~ the sons of watch repair men from Odessa and Orsha, Gomel and Vinnitza ~ oh, how beautifully, how brilliantly do they master hatred of everything Russian! With what a great delight do they physically destroy the Russian intelligentsia ~ officers, engineers, teachers, priests, generals, agronomists, academicians, writers!" ~ Secret Forces in History of Russia. U.K. Begunov 1995, p 148


One of the finest things ever done by the mob was the Crucifixion of Christ. Intellectually it was a splendid gesture. But trust the mob to bungle the job. If I’d had charge of executing Christ, I’d have handled it differently. You see, what I’d have done was had him shipped to Rome and fed him to the lions. They could never have made a saviour out of mincemeat!”~ Rabbi Ben Hecht


The only reason that Jews are in pornography is that we think that Christ sucks. Catholicism sucks.”~ Al Goldstein (publisher of Screw Magazine).


"The difference between a Jewish soul and souls of non-Jews ~ all of them in all different levels ~ is greater and deeper than the difference between a human soul and the souls of cattle." ~ Rabbi Kook, the Elder, father of the messianic tendency of Jewish fundamentalism, said


"You have not begun to appreciate the depth of our guilt. We are intruders. We are subverters. We have taken your natural world, your ideals, your destiny, and played havoc with them. We have been at the bottom of not merely the latest Great War, but of every other major revolution in your history.

We have brought discord and confusion and frustration into your personal and public life. We are still doing it. No one can tell how long we shall go on doing it. Who knows what great and glorious destiny might have been yours if we had left you alone." ~ Marclis Eli Ravage, Century Magazine February, 1926.


"The United Nations is nothing but a trap-door to the Red World's immense concentration camp. We pretty much control the U.N." ~ Harold Wallace Rosenthal, Zionist, The Hidden Tyranny


Very soon, every American will be required to register their biological property (that’s you and your children) in a national system designed to keep track of the people and that will operate under the ancient system of pledging. By such methodology, we can compel people to submit to our agenda, which will affect our security as a charge back for our fiat paper currency.

Every American will be forced to register or suffer being able to work and earn a living. They will be our chattels (property) and we will hold the security interest over them forever, by operation of the law merchant under the scheme of secured transactions. Americans, by unknowingly or unwittingly delivering the bills of lading (Birth Certificate) to us will be rendered bankrupt and insolvent, secured by their pledges.

They will be stripped of their rights and given a commercial value designed to make us a profit and they will be none the wiser, for not one man in a million could ever figure our plans and, if by accident one or two should figure it out, we have in our arsenal plausible deniability.

After all, this is the only logical way to fund government, by floating liens and debts to the registrants in the form of benefits and privileges. This will inevitably reap us huge profits beyond our wildest expectations and leave every American a contributor to this fraud, which we will call “Social Insurance.”

Without realizing it, every American will unknowingly be our servant, however begrudgingly. The people will become helpless and without any hope for their redemption and we will employ the high office (presidency) of our dummy corporation (USA) to foment this plot against America.” ~ American traitor, the Jew Edward Mandell House giving a very detailed outline of the New World Order plans that were to be implemented gradually over time to enslave the American people ... A PLAN THAT HAS BEEN REPEATED IN CANADA, AUSTRALIA, BRITAIN AND ELSEWHERE.


"You throw a little Jewish on top of that, you got trouble. You got a bunch of wild, crazy energy.

"Sorry that doesn't sound hippie. Sorry that doesn't sound like communal jubilant fun. Sorry I'm not a Pepper. Sorry I didn't pop out of a soda-pop ad, and life is just one big fucking cabaret, because a lot of what propelled Van Halen, what compels me and propels me is precisely this element. It's fury. If you approach me with anti-Semetic preconceptions, I'm not here to re-educate. I come from a whole different school of thought. If you don't get it on the first try, fuck you.

"I once heard somebody say to the Van Halens, "You guys play the music; the Jew sells it." Well, you're fucking right. And now that I'm gone, Van Halen stinks. Okay?

"Want to know why some of my contributions to Van Halen sound like they do? Didn't come from a smiling place in my soul. Not at all.

"Nobody ever said to Mick Jagger, "So, Mick, you're Episcopalian, aren't you?" Nobody ever took Jimi Hendrix aside and said, "So, Jimi, you're a Baptist, aren't you?" Much less start off the interview that way.

"Every step I took on that stage was smashing some Jew-hating, lousy punk ever deeper into the deck. Every step. I jumped higher 'cause I knew there was going to be more impact when I hit those boards. And if you were even vaguely anti-Semetic, you were under my wheels, motherfucker. That's where the lyrics came from, that's where the body language came from, that's where the humor came from, and where the fuck you came from. All equally as important. You want to know the ingredients? Don't ask if you don't want to know.

"What you get from repression and what you get from hatred is fury, and fury was one of the main trigger points for the great Van Halen. What you see now is a bunch of buffoons waddling around at the family barbecue, and their wives admonishing the children saying, "Don't worry, Daddy's just had a few too many Coors Lights and he's imitating what he used to do for a living when he played music, honey."

"What's missing is the testosterone. What's missing is the fury. What's missing is the passionate convicted commitment. And I got a lot of mine from my religious background. So y'all best stop imagining the way Dr. Zorba looked, or some defenseless Hasidic Jew with a little yarmulke on his head, 'cause that ain't here for you." ~ David Lee Roth


Rabbi Isaac Wise, in The Israelite of America writes, “Masonry is a Jewish institution whose history, degrees, charges, passwords, and explanations are Jewish from beginning to end


“We infiltrated the Roman Catholic Church right from the very beginning. Why do you think the Pope, the Cardinals and all the Bishops wear yarlmulkahs? (skullcaps) The white race never figures this out. A thousand years later the white race began to wake up ... we had to come up with a plan B ... so we formed the Jesuits. There was a nice boy, Ignatius Loyola. He started the Jesuits.” (Loyola was Jewish. Research/read the Jesuit Extreme Oath) Regarding the Jesuits, quoting Rabbi Finkelstein


Does worship of the Talmud pervade Judaism globally? Herman Wouk, Orthodox Jew and famed author of The Cain Mutiny, affirms, “The Talmud is to this day the circulating heart’s blood of the Jewish religion. Whatever laws, customs, ceremonies we observe ~ whether we are Orthodox, Reform,Conservative, or merely spasmodic sentimentalists ~ we follow the Talmud. It is our common law.”

From Jews Must Liveby Samuel Roth, pg. 22. “The organ is diseased. This disease is a sort of moral gonorrhea known as Judaism, which, alas, seems to be incurable. If you have any doubts, look at any Jew ridden country in Europe. If you need to be further convinced, take a look at what is happening in the United States.”


“Every synagogue we Jews build in a Christian country is a finger of scorn we point at our hosts; a sore finger we stick into their eyes, like the leering of a senile old woman who does all sorts of foul mischief before you, and feels safe in the knowledge that you will not lay hands on her for fear of contamination.” ibid., pg.


Sen. Al Franken: One of the widely disseminated stories was that no Jews died in the collapse of the Trade Towers because they had received calls telling them not to go to work that day.

To tell you the truth, I got the Jew call. I had an office in the Trade Center where I used to do most of my writing. The call came from former New York mayor Ed Koch. “Al,” he told me, “don’t go to work on the twenty-third day of Elul [September 11, 2001.].”


Tell me, do the evil men of this world have a bad time? They hunt and catch whatever they feel like eating. They don’t suffer from indigestion and are not punished by Heaven. I want Israel to join that club. Maybe the world will then at last begin to fear us…Maybe they will start to tremble, to fear our madness instead of admiring our nobility. Let them tremble, let them call us a mad state. Let them understand that we are a wild country, dangerous to our surroundings, not normal, that we might go crazy, that we might go wild and burn all the oil fields in the Middle East, or that we might start World War Three just like that. ~ Ariel Sharon