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Thursday, November 16, 2017

You Want it Darker: Janis Joplin, revisited

I've been here before, but let's add another layer to this mystery, shall we?

Leonard Cohen interview, backstage, Glasgow 1976.

1976 was the year Cohen began announcing at concerts that Janis Joplin was the woman immortalized in his song(s) Chelsea Hotel #1 and #2.  It was also the year he gave this little interview, much of which is hard to hear because of the background noise, and the interviewer's Glasgow accent.

At around 8:30, the Scottish interviewer asks him to talk about about Joplin.

Leonard answers:

"There was something in her voice that was unmistakable.  'I don't mean to suggest that I loved her the best' ... I mean, I knew her. She wasn't my best friend or anything but I bumped into her often in hotels  around the States ... I love her music ... (sounds of liquid being poured, glasses and bottles clinking) ...

"I remember I was at a hotel with her in Los Angeles ... I think it was the Landmark Motel... and she was being given an award by one of those magazines like Melody Maker or some American equivalent of Melody Maker. I think it was Down Beat.. and I was there when they handed her the prize and she was like a kid, she'd gotten the prize as best woman singer of the year and it was like Christmas.. and it was real... I mean ... She was there..."

There's a lot wrong with that story. It also includes an astonishing confession.

1. The Landmark Motel was where Janis Joplin died. 

She moved into Room 105 on August 24, 1970 and stayed there til the night of her death on October 4, 1970. During those weeks, she was mainly working in the studio recording her second album Pearl.

2. While Joplin was getting settled at the Landmark, Leonard Cohen was far away in Europe.

He was wrapping up his tour in the UK (notably with a concert at the Isle of Wight on August 31). Then Jimi Hendrix died, in London. Leonard flew to America a few days later and recorded Songs of Love and Hate in Tennessee during the week of September 21. So if he 'bumped into her' at the Landmark in L.A., it could only be after September 25, in the ten days before she died.

3. The "award" he says she received - for which he was present - was imaginary. 

She never received an award in her lifetime. The April 4, 1968 issue of Down Beat did feature Joplin on the cover. At the 1971 14th Annual GRAMMY Awards she was post-humously nominated for Best Pop Vocal Performance, Female, for Me and Bobby McGee and Best R&B Vocal Performance, Female for her album Pearl.  Carole King swept the awards that year. Ironically, it wasn't until 2005 that she finally received the National Academy of Recording Arts and Sciences Lifetime Achievement Award at the 47th annual GRAMMIES.

Either Leonard was confused and drunk when he remembered an "award", or more likely he just made something up to cover a serious slip: he'd just admitted to the interviewer that he'd been with her at the Landmark.

According to reports at the time, including in Rolling Stone, Joplin was found dead between the bed and the night table in her room at the Landmark Motor Hotel after failing to show up at the recording session on October 5. Her mouth was bloodied and her nose was broken. There were numerous injection marks in her arm. Presumed cause of death: heroin overdose, self-administered.

According to one account, she left the club where she had been partying with band members, and went back to her hotel in the company of a taxi driver and "a fan."

Leonard Cohen's affair with Joplin remains legendary. Meanwhile, Chelsea Hotel #1, the original version, was rarely performed, if at all, after 1972. It's worth a listen. The rambling conclusion, about fishing beside a stream in Tennessee, compares Joplin to the one that got away. It leaves a strange impression. It's hard not to get the feeling the singer was in the room with Joplin as she rode "the Midnight Train' to her death.

On his 1979 "Field Commander Cohen Tour" I listened from the rear of the stage as Leonard retold the story. That time, too, he stumbled: "We fell into each other's arms and -- after she died --" The audience gasped, there were some giggles. Not missing a beat, a smiling Leonard corrected himself, and quickly had them in stitches. "It wasn't my embrace that killed her. My kiss is poisonous, but it's not deadly."

Good old Leonard. It wasn't the only time he had tantalized an audience with the hint of Kill and Tell. Back home in Montreal, as a young poet in the 1950s, Cohen had gained notoriety with a poem entitled "Ballad" about the ritual murder of a woman in a downtown rooming house, written ironically so as to suggest the poet-narrator was in fact the murderer.

Scholar Ruth Wisse, who studied with him at McGill, commented on this poem in her article "My Life Without Leonard Cohen":

'Leonard Cohen's Montreal ... was my very own, at once familiar and made mythic in marvelous phrases.

"My lady was found mutilated / in a Mountain Street boarding house...." Rushing to meet a friend at Ogilvy's, at the corner of Mountain Street and Ste. Catherine, I wondered behind which familiar door the lady's purple blood was staining the sheets.'  

 We should all wonder at the way he fooled us with "marvellous phrases" -- and why we let him.

Monday, November 13, 2017

Meet Leonard Cohen's Mystery Double

Just when I thought I'd reached the end of the trail in my quest for 'truth and closure", yesterday I stumbled on this LIFE Magazine image purporting to be of Leonard on Hydra in the fall of 1960. The caption states: "Leonard Cohen walking on a street near his vacation home in Hydra, Greece, October 1960. James Burke/The LIFE Picture Collection/Getty Images."

In fact, I'm pretty sure that's the terrace of Leonard's house on Hydra - with the front door on the left and the library door on the right. However the man holding the keys is not Leonard. He looks like an actor hired to impersonate Cohen for the LIFE feature with the photo spread that was shot in October 1960, but never actually ran in the magazine. Longtime Hydra resident and Australian novelist George Johnston had written for LIFE, and allegedly was about to be interviewed, but for unknown reasons the feature was cancelled. Or so they say at the Leonard Cohen Forum where the photos were first unveiled in 2011.

Many photos were shot on Hydra, all dated October 1, 1960. Very few that I have seen are of George Johnston. Many, on the other hand, show Leonard playing his guitar, standing at the wharf in Kamini with Marianne and a group of friends, or riding a mule up the trail to the monastery of Prophitis Ilias. You might be forgiven for thinking LIFE travelled to Hydra to document the world of Leonard Cohen, who at the time was an obscure young poet with only one book to his credit, published by a small press at McGill - whereas George Johnston was an internationally acclaimed novelist and former war correspondent, who also happened to be a friend of Cohen's.
George Johnson on Hydra.

Marianne on mule-back, but that's not Leonard behind her.

The real Leonard Cohen, with Marianne, George, Charmian (R-L)

The real Leonard with Charmian Johnston.

That mule-back photo above is fake, but not very clear. So here's one that's even more fake, supposedly of Marianne and Leonard on that same outing in 1960. Absolutely fake. It's not either of them. Were they making a bio-pic with actors? What was going on?

The road to Prophitis Ilias. The Double rides ahead of an unknown woman.

Doesn't quite make sense, does it? Many of the LIFE photos of Leonard Cohen taken that day are of him, but others are of the unidentified Doppleganger who, to my knowledge, has never been outed until now. Just take a look and see for yourself. 

In the first place, this interloper is handsomer than Leonard. He's also slightly hairier, better built, with a less expressive face. His hands - particularly his thumbs - stand out as thicker and less elongated than Cohen's. He reminds me a bit of Keanu Reeves - in his facial blankness, that is. Taken altogether, he looks like an upgraded version more in line with standards of male perfection.

This raises lots of questions, but the biggest one is what's he doing on Hydra pretending to be Leonard Cohen in 1960? Why would a Canadian poet who isn't famous yet be gifted with a Double? What were they thinking and planning back then, that we've never been told about? What agenda had come into play?

More than anything I've come across so far, this Double demolishes the official Life Story that has built up around Leonard, as propagated by  biographers like Sylvie Simmons and Ira Nadel. That narrative goes that Leonard wrote and sang his way, slowly, step by step, to gradual fame that first blossomed in the mid-sixties and then, through a combination of lonely discipline, devotion to his craft and a winning personality, made it to the heights of the music world, becoming one of the great composers of the last century. All true, up to a point -- but some of it isn't.

No one who is not famous has a stand-in for photos in LIFE Magazine - and Leonard, definitely, was not famous in 1960. Who was this handsome mystery man holding the keys to Leonard's house? He appears to have come for the shoot, after which he is never seen again. Except on Leonard's Greek drivers' license (which according to Marianne Ihlen also served as a residence permit) where he appears in the characteristic military-style shirt and haircut we associate with our poet. And there's "Leonard Cohen - Kanadas" and the date of birth 1934 - for all to see.

Sorry, but that's not Leonard - that's the Man with Keys on the Terrace. His ears are too flat, his features too regular. Even in his most flattering photos, Leonard never looked like that. 

Leonard, early 1960s.
Let's call him "Flennard" - short for False Leonard. The real Leonard never needed a Greek driver's license because he lived on Hydra, which had no cars, only donkeys, horses and mules. When he travelled into Athens by boat, he took cheap local taxis to get around; buses or trains if he wanted to travel to places like Delphi or Epidaurus.

Flennard, on the other hand, seems to have needed a car in the autumn of 1960 - if only to drive Marianne back to Norway where her 9-month-old son was parked with his grandmother. Marianne recounts this long trip north, through Yugoslavia and across the Alps and over to Paris, ending on the boat to Oslo, in her memoir So Long, Marianne. It's one of those chapters that makes you go hmmm -- it's quite cloyingly written, like a scene from a movie, with the lovers traipsing around Paris, on the cusp of a long goodbye. So, personally, I'm guessing Leonard didn't do the driving - Flennard, who had the Greek license, did. Which could explain why, on arrival at Marianne's mother's house, he did the "gentlemanly" thing by checking himself into a hotel for the night. 

Where was Leonard? I'm guessing he took off sometime after the hootenanny photos were shot, and spent time in the CIA training camps where members of Allen Dulles' CIA Cuban invasion team were training for the Bay of Pigs fiasco the following April.

And I'm also guessing the unwanted publicity Leonard received in April 1961 may have had something to do with why the LIFE feature and photo spread never saw the light of day.
Same impostor? Note the 'hidden hand." 

Leonard told a friend, "I have a double who does all the bad things." I'd go on to speculate that a Double was created in 1960 for at least two reasons. 

One, because someone at LIFE headquarters had decided to invest in Leonard's future career as a pop star and they wanted a better-looking image for their pages. Two, because he was heading off on a dangerous mission and, in case he was killed during the failed coup, arrangements had to be made to deposit his pay in some offshore bank account and compensate his loved ones.

Maybe good looks were never his strong suit, as Marianne admits in her memoir. There's that famous line from his song"Chelsea Hotel" about Janis Joplin, who preferred 'handsome men' but consented to a quickie with Leonard. "We are ugly, but we have the music."




Saturday, November 11, 2017

The Liminalist # 134: Comparative Mythologies (Leonard Cohen’s Deep Background, with Ann Diamond)



Part one of a return conversation with Ann Diamond, on the second part of her Leonard Cohen book, Jasun’s book about John de Ruiter, being entwined with one’s subject, working towards forgiveness, Leonard Cohen celebration month, a Silvie Simmons event, Cohen wall murals and Masonic hand signals, hero worship & scapegoating, Hollywood pedophilia, erasing Kevin Spacey, a systemic reaction, removing the “bad apples,” comply or die, examining our conscious motives for writing an exposé, setting the record straight, breaking the trance state, the emperor’s clothes, the appeal of getting close to power, Cohen’s unknown dark side, the allure of mystery, putting the good side forward, concealing the shadow, metaphors that reveal and conceal, a perfect man, deep background, the Cohen archives, looking for clues in the discards, erasing traces, Cohen’s advancement through secret society ties, an unpublished novel, a trophy collector, a CIA cult, the Process Church in Montreal, John Roland Stahl and pedophilia, ritual murder on Mount Royal, the Op Café, Italian clean-up crews, a series of inflammatory charges, intuition vs. logic, the essence of contradiction, putting down the dark side, a heap of slag for the alchemical process, programmed to self-sabotage, tipping one’s hand to the handlers, narrative reversals, the limits of journalism, a useless source, the question of credibility, choosing one’s target audience. 

Friday, October 20, 2017

To Hell, and Back

I have no objection to going to Hell. But it can get mind-boggling, trying to reconcile all these opposites. Especially with computer problems that lasted into September.

So I'm behind in my deadline: September 30, 2017.  The day I was hoping to publish Part Two of the Leonard Cohen saga. The day Marilyn Manson was crushed by a toppling scaffold while singing "Sweet Dreams are made of this..."

Instead I spent the week reading about Hugh Hefner, who died on September 27. Then came Manson's accident, and the fall of Harvey Weinstein. Hollywood seems to be undergoing some sort of purge.

Meanwhile in Montreal, we have the ongoing apotheosis of Leonard Cohen. Two sides of the same coin. It's definitely closing time and I will definitely be wrapping up my story, just a little late.

Thank you for visiting and reading. There's more to follow at Occupy Leonard Cohen.

Friday, September 29, 2017

The Op Cafe 1967

In 1967, Paul McCartney was dead and the Beatles released Sergeant Pepper's Lonely Hearts Club Band album, on which we were introduced Paul's replacement, sometimes known as "Billy Shears" (seen here on right).

The new Paul looked nothing like the old Paul - I remember we all noticed he had aged, and grown a long face, but we were young at the time and could not imagine such a complicated deception. 

That Paul was replaced is undeniable fact, in my opinion. Just compare faces. The real Paul McCartney had died in the fall of 1966, under suspicious circumstances. By 1967 an enormous psy-op was underway that would target and transform my generation.

So what else happened in 1967?

Well, for one thing I had turned 16 and was living with my parents in a suburb of Montreal. Some of my friends were being drawn to the downtown scene, including the coffee houses and clubs where folk music was now the rage.

Also, Leonard Cohen moved back to Montreal that year (Marianne Ihlen moved there from Greece along with him) and was living not far from McGill University - a pattern he continued throughout his life. He had rented a modest flat at 3657 Aylmer which happened to be a few doors awat from a new coffee house, The Yellow Door, at 3625. The Yellow Door was a McGill social outreach project which became a Montreal institution. It's still there today.
Leonard was getting into music. This was even announced in the 1966 documentary, "Ladies and Gentlemen, Mr. Leonard Cohen" - a strangely fawning NFB film by Donald Britten that bent over backwards to make Cohen appear to be a rising star, although he was 32 and past his due date by sixties standards. It was also announced on CBC by the lovely future Governor General herself, Adrienne Clarkson. That's how I saw Leonard for the first time, at age 15. He sang "The Stranger Song" and I was mesmerized. On that show, Leonard look a bit like Paul McCartney, eitherbecause everybody was trying to, or to appear younger, or because he wanted to associate himself with the British invasion.

He'd missed the boat as a novelist, and poetry was hardly a money-earner - but anything Leonard did garnered publicity in Canadian media circles. In retrospect, people might say he had a knack for self-promotion, and knew the right people. Which is true but it's not the whole story. Leonard always managed to put himself in the public eye, despite his famous humility, but there were also people in the background who wanted him to be visible.

In those days, he could be seen humbly perched on the steps of the Op Cafe around the corner from his new apartment on Aylmer. The Op Cafe  (later The Image) became a hippie hangout in about 1967, the summer of love, and attracted kids to downtown Montreal. Take a look at these photos from Kristian Gravenor's Coolopolis blog. Note how these photo feature some "alienated youth" who were growing their hair long, forming motorcycle gangs, exploring drugs and free love on the streets of North America. See the guy with the guitar. I think that's Leonard on the steps of the Op - whose somewhat tacky logo is clearly visible behind him.

In fact that block of flats had been bought up by the Nerenberg family whose son, Mark, was the director of the Yellow Door - that's a coincidence, I guess, but Montreal is small and tight like that and the same people show up everywhere owning everything.  A few years later, just after the 1970 October Crisis, I would move into a student coop two block east on  another street bought up by the Nerenbergs who were our slum landlords. I even joined the Milton-Parc Citizens Committee to fight their plan for demolition of cheap housing in our neighbourhood in order to build the giant complex known as La Cité, which now stands on the very site of the Op Café. 
Another Nerenberg - Albert - a McGill Daily editor and journalist who covered the 1990 Oka Crisis for the Montreal Mirror, came on my Facebook page about three years ago. He and his sock puppet troop took great offense to something I'd posted and were so aggressive I had to block them. Well, actually, all of them appeared to be Albert Nerenberg operating under fake identities. A self-described Laughologist, and professional hypnotist specialized in "mind control" and neurolinguistic programming - Albert was also involved with an internet site called Disinfo - but all this is another story. 
Back to that photo of Leonard on the steps with guitar and Beatle haircut. I think I discern the moustache he sported at the time. It's slightly blurred, like the photo which shows him serenading the alienated youth, seen sitting on the pavement because in those days no one cared if you sat down the the sidewalk especially if there was folk music in the air. Two hippies in the foreground appear to be doing their homework - they probably go to McGill which is a few blocks to the west. A filthy kerb with buses going by is a great place to write a term paper while taking in some hypnotic guitar playing. 

All this is happening around the corner from Leonard's new flat which is next to the Yellow Door  which is owned by McGill and down the street from the Allan Memorial Institute, also owned by McGill, home of Dr Cameron and his MKULTRA subproject 68 - on drugs, hypnosis and sleep. Do you notice any connections here? What are the chances that this new hangout was also connected to McGill? Doesn't "The Op" sound like a name these scientists might give to a café? 

It's 1967, not that long after Dr Cameron's McGill-based experiments had been shut down, and also around the time the notorious pshrink died suddenly of a heart attack while climbing a mountain - after which his files were seized by the CIA because they revealed he was experimenting on children in Montreal.
And as I keep telling you, Leonard was also a product of MKULTRA - he even said so at various times to various people. And here we see him humbly (albeit "hypnotically") serenading passersby on the steps of the Op Café, and at the threshold of a long career in music. He has been appearing in films (like The Ernie Game, where he also hypnotically serenades a group of stoned young people at a Westmount party) and on national television. He is recognizable to some Montrealers. That photo looks like it could have been snapped by a passing photographer who also recognized him.

Two other photos taken around the Op Café look professionally posed, and totally phony. Perhaps that's why they were never released. But they seem to tell a story. Thanks to Kristian Gravenor for sharing them!

Let's start with the one of the girl with perfect hair and Mary Quant outfit, whom I happen to recognize as the niece of a famous Canadian painter who painted those mysterious horses galloping at night down train tracks - you must have seen them. They're hanging in the National Gallery and elsewhere across Canada. In 1967, she was 14. 

Here she's artfully posed between two hungry-looking hippies with some fellow who looks like a plainclothes cop coming down the steps behind her. The message seems to be: underage girls, bikers and cops all come together on Park Avenue for a photo shoot to let Montrealers know there is a place called The Op Café where you can find all three.
These photos are a bit embarrassing. Why is this child - who looks older than 14 in the photos -- seen staring into the eyes of a young "biker"  who could be an actor or male model. Look at her hand tightly gripping the handle of his chopper. What is going on here?

A drug deal maybe? or is the precocious teen negotiating a price for sex? It looks as if the photographer took pains to set up the angle and position the actors for dramatic effect. And why were these fake photos taken - to announce a fake hippie scene going on down the Op Café? I'm guessing so.
The fact that there are no photos of real hippies or real young people milling around what was supposedly a very popular hangout, suggests that these staged photos were part of the operation - like the kind the CIA scientists used to set up in communities where they were operating special houses for experiments involving sex and LSD.

But maybe I'm just a suspicious old lady -- maybe I see things that weren't even there. Maybe I only imagine that's Leonard on the steps with his Beatle hair and oversize guitar and hint of a moustache? In those days Billy Shears aka Billy Campbell aka "Faul"  also wore one to disguise the fact that Paul was dead and he had replaced him.

A while back when I stumbled on that old interview and performance by Leonard on CBC TV in May 1966 - a few months before Paul's alleged death - I was struck seeing Leonard dressed up in that turtleneck under a jacket with a Beatle haircut (no moustache). Leonard told me more than once that he "never liked the Beatles" - but he adopted their image in his drive for recognition, and it worked.
Is that strange or ? Why would he do that, at the same time he was claiming not to know them or their music in another interview, saying he had only listened to their album Revolver on which liked the last song, "Tomorrow Never Knows" which many say is about Paul's death...

Close your eyes, float downstream... it is not dying....

Odd, that "floating downstream toward death" theme also comes up in the second part of Chelsea Hotel #1 - about the death (by heroin overdose) of Janis Joplin...

I guess what I'm saying is, there are many things in this story that don't quite add up, and suggest that in 1967 we witnessed the beginning of a very long-running hoax. In which Leonard was to play the role of the Anti-Beatle.

Monday, September 4, 2017

A Shabby Ending

I told my mother, Mother I must leave you
Preserve my room but do not shed a tear
If rumours of a shabby ending reach you
It was half my fault and half the atmosphere...

Leonard Cohen, The Traitor Song (Recent Songs, 1979)

Endings are difficult. The more I try to wrap up my memoir, the more it adds new twists and turns. Just the other day, I thought I had nailed it when I found Leonard Cohen's obituary posted in the "Absent Friends" column at the website of the Wednesday Night Club, hinting that he was a member of this hidden-in-plain-sight secret society, an offshoot of those early meetings that took place in Montreal in the 1950s, and helped birth our Shadow Government. Along with the singer formerly known as Leonard Cohen.

That same night, Leonard appeared in my dream, and this time he actually seemed happy. In fact, we danced down a spiral staircase and landed in each other's arms. He not only thanked me, he congratulated me on getting to the bottom of it all. "After all," he said, "I'm an eleven" (his birth number). I chimed in, "And I'm a twenty-two." Master numbers, numerologically speaking, adding up to thirty-three, the highest level of Masonic initiation. Our work is complete (haha). So mote it be. Now I sound like a Mason, which I am not - but to understand Cohen, one must learn to speak his language. Fortunately that also includes the language of dreams.

What all this boils down to, in my opinion, is that the background to this story is overwhelming. To understand his career, one must understand the secret history of the twentieth century, which has its roots in ancient history, all the way back to Egypt and Babylon. One must also know something about the political scene in which he grew up, before, during and after the Second World War - as well as details about his immediate and extended family. Call in the astrologers who, I am guessing, understood his birth chart and saw a Messianic destiny culminating in his 80th year. Put it all together - a family embedded in organized crime, government, and the military. A lifetime of volunteering for critical operations deeply connected to the advance of a global dictatorship. A spiritual mission that compelled him to "tarnish the Golden Rule" every chance he got.

Only after the shock subsides, does all this begin to make sense - but I repeat myself. Cohen was a product of an environment in a state of crisis where deception was the order of the day. He adopted the hidden agenda, mirrored all of it, through his personality and his art. By the time I met him, it was too late to exit the Cult he had joined early on, or was born into.

So I became a bystander in a drama that gradually exposed a giant sea monster. Interesting that the only photo I ever took of Cohen was of him dripping wet, blinded by salt water, emerging from the sea on the beach at Hydra in the summer of 1979 -- I'll find it someday among my lost treasures and post it here.

In the meantime, I'll just go with my intuition that we've hit bottom. Cohen has now moved on. It's time to try the criminals who still rule the world, turning it into Hell for personal power and profit.


The Wednesday Night Club is a strange entity. David Nicholson had a 'successful career in the Canadian Air Force' -- and MKULTRA's Air Force links are well known. Their list of Absent Friends includes politicians, businessmen, and military intelligence people including one Israeli photographer who worked for TIME-LIFE. Diana Nicholson, who once worked for the CIA in Washington, became Special Advisor in 2015 to the new President of Pearson College, Désirée McGraw, protégée of Maurice Strong and Al Gore. Before her move to Victoria, Désiree did graduate work at the London School of Economics, and also headed the Jeanne Sauve Foundation, based in Montreal. Just down the street from the Allan Memorial Institute, the JSF trains future world leaders in principles of Diversity, Inclusion, Climate change, Gender Equality, Identity. These are the buzzwords concealing the globalist agenda employing mind control in many forms. Ask Hillary Clinton what they really mean -meanwhile I'm informed that Pearson College is the place to send your children if you want them to have successful careers at the United Nations.

But wait  a minute: Dr. Ewen Cameron was a great believer in the United Nations and its eugenics programs. If he hadn't died in 1967, he would have been an honoured guest at the Nicholsons' salons.

First on Diana's 'Absent Friends' list is Dr. Peter Roper, who was Dr. Ewen Cameron's most enthusiastic disciple, continuing his MKULTRA work until he was fired by McGill, where colleagues described him as a 'sociopathic personality.' His son, Marc Roper, is also a Montreal psychiatrist, and wields great power in medical circles -- servicing the same old masters in the Aerospace industry, those secretive child abusers who run NASA.

Further down the list you'll find the late, scandal-ridden Associate Defense Minister in the Diefenbaker government, Pierre Sevigny, and his wife Clou, whose Edwardian mansion at 33 Rosemount the Nicholsons bought in the early eighties for their intelligence work. Again, that Masonic number 33. (In 2015 they celebrated their 33rd anniversary with an article in the ever-supportive Montreal Gazette). The Sevigny's were instrumental in bringing Expo 67 to Montreal -- the year of Montreal's entry into the Fabian socialist dream. The symbol for "Man and His World" is also used by the Fabians, whose better-known emblem is a wolf in sheep's clothing.

In 2010, Liberal MP and former astronaut Marc Garneau - Aerospace again -- stood up in Parliament to honour the Nicholsons and their Wednesday Night salons - essentially acknowledging their influence over the years on Canadian policy making. It's not a big leap from 33 Rosemount (or Haddon Hall) to Cecil Rhodes and the Round Table, another elite grouping that believed the compliant masses should be ruled by a tiny circle of well-connected experts.

There we have the philosophy of the Wednesday Night Club, in a nutshell. How much more blatant does it get? And why do they consider Leonard Cohen an "absent friend"? Because he exemplified everything Dr. Cameron hoped to create in the Man of the Future: a drug-addicted, depressed, omni-sexual sociopath submitting to authority without question, who can't remember what he did last week.

That's Your Man, their 'absent friend'.  Understand him, but please stop worshiping him.

Tuesday, August 15, 2017

Take This Blog(with the clamp on its jaws)

I've been warming up to this for a while. Let it be my final rant on Leonard Cohen, who he was, who he was not, and why it's important to sort this out now.

In a few weeks, in Montreal, a month-long Leonard Cohen event is being organized that will permanently establish his cultural dominance over the city of his birth. Two huge murals have already been erected on buildings to commemorate his towering presence, greater than any living idol, politician or saint of the past. Bigger than Brother André, or Maurice Duplessis. Or Rocket Richard. A bigger runner, coast to coast, than Terry Fox. I think this is unprecedented in Canada, a country that rarely erects statues or honours its heroes, apart from the dead of two world wars.

You have to ask: what is behind this sanctification? Money, perhaps. Festivals are big business, and the arts organizations must be falling all over one another to be part of this massive effort to commemorate the life of Montreal's most famous citizen.

But what are we actually commemorating? After all those interviews in which he explained himself endlessly, do we really know who Leonard Cohen was? I don't, although I lived around the corner from him for two decades. Or at least, I didn't, until I began looking into him. Which is how I learned that the 'real Leonard Cohen' - if there actually was such a person - is far different from the pontificating self-salesman we grew accustomed to, over the years.
Leonard Cohen  captured the attention of millions around the world in the course of a career as a writer, singer, and prolific giver of interviews. I can't think of a singer who has been interviewed more often. I have personally read dozens of interviews he gave over five decades or so. He was a remarkably articulate, entertaining and clever conversationalist, widely read, and capable of delivering profound insights on numerous subjects, all connected, as it happens, to a massive agenda.

He was also a very disturbed individual whose life was - in many ways - a glittering disaster. Secretly, he was a triumph of social engineering. A sociopath who transformed himself into a saint.

Perhaps most concerning: he was a servant of powerful forces who owned and controlled him from birth to death. Is it any wonder he is buried in Mount Royal Cemetery, the scene of cult activity (including ritual murder) involving Montreal's wealthy elite and their Mafia cronies, going back decades?

His honorary degree from McGill University marked a lifetime of service to the gangs that turned it one of the world's most corrupt institutions, catering to secret military projects like MKULTRA in the 1950s, when Leonard Cohen was an undergraduate student politician volunteering in Donald Hebb's sensory isolation experiments, while presiding over the Debating Union and writing his first poems, including A Hallowe'en Poem with its detailed description of children's games of animal torture .

In fact, he never lived more than a short walk from McGill and the Allan Memorial, and his Westmount family connections always ensured he would rise in the world - the question was, How?

Nothing in Leonard's life was left to chance. It was determined, from the outset, by generations of family involvement in secret societies.  Leonard grew up in a neighbourhood where the fathers all worked for Tibor Rosenbaum, the head of PERMINDEX, linked to the Bronfmans, Rothschilds, the international drug and arms trade, as well as to Operation Gladio and the Kennedy assassination. The death of his father left him the man of the house at age 8 - in a world of highly placed criminals. His uncles, who took over his upbringing, included a senator and member of the Bronfman's law firm.

As a teenager, he learned hypnotism - one of the techniques the CIA was exploring for use in mind control - and hypnotized the family maid in order to rape and torture her. Years later, he would rape and torture her daughter, who became the Muse for his most-relentlessly-covered song, Hallelujah, and to whom he boasted of being a CIA agent and 33rd degree Mason, as well as John Lennon's real assassin. Some say Cohen also killed Janis Joplin -- all but admitting to it in an early version of Chelsea Hotel (#1) which gives the impression he was in the room with her when she died.
At McGill, in the 1950s, he joined a cult that included well-respected professors, literary figures, their wives and students, and the notorious Dr. Ewen Cameron - as well as a shadowy inner circle that welcomed Nazi scientists employed by the CIA. Admirers of Aleister Crowley, they would meet for late night rituals, which Cohen described in early unpublished poems.

In a vertical career move to England, in 1959, he met Jacob Rothschild, who sent him to Hydra, where he hooked up with a community of artists, in what would become another social experiment attracting people from the world of military intelligence, gun running, spying, entertainment and publishing.

Portrayed as a lonely outsider, Cohen was in fact a central player in a massive program designed in London and Washington -- a post-war intelligence project whose totalitarian intention was to destroy and weaken families and individuals, and pave the way for world dictatorship by a chosen few, with narcotics and popular culture serving the agenda.

Leonard Cohen was their representative, and embodied all the aims of this program. So when Montreal gets together to celebrate his life and career, what we are actually celebrating is the triumph of MKULTRA.


Let's count the ways Leonard Cohen was Dr. Cameron's biggest MK success, along with Lee Harvey Oswald.

1. Leonard received Manchurian Candidate programming at McGill in the days when the main goal of top secret mind control research was to produce controllable spies and assassins who could carry out missions and later have no memory of their own actions. (Lee Harvey Oswald was a product of this programming, not that he actually killed JFK: he was at the scene in Dallas as a patsy while a CIA hit team fired the fatal shots at the President). Leonard's first big mission was as a spy in Havana during the Bay of Pigs invasion in 1961. It was partially successful, in the sense that it brought him embarrassing publicity.

2. Leonard has always supported the aims and goals of his programmers: a group at McGill that included Fabian socialists like F.R. Scott and Irving Layton. The Fabians' emblem is "a wolf in sheep's clothing." Their aim was to transform human beings, beginning in childhood, using new theories of education eg. "free" schools. Cohen even sent his mentally disturbed, adopted son, Axel Jensen, to the one at Summerhill in the UK, which was also where Leonard first met Rebecca De Mornay as a child.

3. Cohen's early writing shows just how heavily he was influenced by Dr. Cameron and his psychiatric collaborators. As a freshman at McGill, Cohen organized a debate on the question "Should Germany be allowed to re-arm?" which was one of Cameron's pet themes at the time. Cameron wrote extensively about the need to re-engineer the German people to prevent them from starting another world war.  In his early twenties, Cohen rented a room near McGill where he wrote his first unpublished novel, Ballet of Lepers, which explored themes like sado-masochism from the point of view of a young man from a wealthy Jewish family. By then, Cohen was under the influence of the Tavistock programming that was taking over arts and culture -

4. Another of Cameron's obsessions was "the authoritarian personality" which inspired Cohen's 1964 poetry collection Flowers for Hitler. Despite his iconoclastic stance, Cohen was still listening to his Master's Voice.

5. In 1959 in London where he met the Rothschilds while writing his first novel, Beauty at Close Quarters (later published as The Favourite Game) Cohen was deepening his contacts with Tavistock (the Rothschilds created and funded it, as the birthplace of MKULTRA) and the Fabians he had known at McGill. Rothschild would send him to Hydra, where he met Axel and Marianne Jensen, who were under the same influences that would take the western world by storm in the sixties: the drug culture à la the Huxleys (Aldous' niece lived on Hydra), promiscuity carried to mechanistic extremes, destruction of the Old Order via all the mind-expanding techniques and beliefs that became the counter culture.

6. Despite moments of rebellion, Cohen always remained fundamentally obedient to authority. He was one of the cultural spokesmen who advocated "turning inward" and away from overt political action. All the while, he was deeply political in his choices, aligning himself with Zionism, in love with Ronald Reagan, and even joining the IDF in the mid-70s.

7. Late in life, he moved to a monastery - partly for tax purposes and as a stepping stone to retirement that was derailed when his retirement fund turned up empty in 2004. His glorious final decade, when he toured and made millions, turned him into the wise old man of popular culture. In many of his interviews after 2000, he spoke of how little he remembered, and how little he really knew. Let's just say, he knew too much that was healthier to forget.

8. Throughout his career, he was befriended (and used) by the powers that be, even European royalty and the folks at Buckingham Palace. This is one consistent fact of his career: that he always aimed "high" and worked for the darkest forces on earth. At the same time he cultivated a popular image as a man of the people, the perfect exemplar of "sensitivity" and "democratic ideals."

9. His personal life was an astounding mess, which is what one would expect of someone with multiple personalities, a few of which were capable of murder and espionage. You don't get far in a marriage if you're constantly switching alters, and disappearing to go on missions. But when you're Leonard Cohen, your relationship failures end up looking glamorous and evoking envy.

So in the end, Leonard Cohen's most lasting achievement might be fulfilling Dr Cameron's specifications to the letter. Not only was he a controlled public figure throughout his life, but he turned his own slavery into a powerful form of Mastery, through music. We'll be listening to his songs, and absorbing their deep messages, for the rest of our lives. His dark, Satanic programming - courtesy of the CIA -- is now mainstream culture. Hallelujah!

We need to think more deeply about all this before we leap onto that bandwagon.