Tuesday, October 28, 2014

Kelley Lynch's Press Release & Email To Kevin Huvane & Brian Lourd/CAA About Her Views On Allegedly Powerful Sunshine Sachs

From: Kelley Lynch <kelley.lynch.2010@gmail.com>
Date: Tue, Oct 28, 2014 at 1:20 PM
Subject: Re: Ken Sunshine and Shawn Sachs
To: info@sunshinesachs.com, "irs.commissioner" <irs.commissioner@irs.gov>, Washington Field <washington.field@ic.fbi.gov>, ASKDOJ <ASKDOJ@usdoj.gov>, "Division, Criminal" <Criminal.Division@usdoj.gov>, MollyHale <MollyHale@ucia.gov>, nsapao <nsapao@nsa.gov>, fsb <fsb@fsb.ru>, "Doug.Davis" <Doug.Davis@ftb.ca.gov>, Dennis <Dennis@riordan-horgan.com>, rbyucaipa <rbyucaipa@yahoo.com>, khuvane <khuvane@caa.com>, blourd <blourd@caa.com>, Robert MacMillan <robert.macmillan@gmail.com>, a <anderson.cooper@cnn.com>, wennermedia <wennermedia@gmail.com>, Mick Brown <mick.brown@telegraph.co.uk>, woodwardb <woodwardb@washpost.com>, "glenn.greenwald" <glenn.greenwald@firstlook.org>, lrohter <lrohter@nytimes.com>, Harriet Ryan <harriet.ryan@latimes.com>, "hailey.branson" <hailey.branson@latimes.com>, "stan.garnett" <stan.garnett@gmail.com>, sedelman <sedelman@gibsondunn.com>, JFeuer <JFeuer@gibsondunn.com>, "kevin.prins" <kevin.prins@ryan.com>, rwest0@gmx.com, Sherab Posel <poselaw@gmail.com>, tiffany shipp <shipp@sunshinesachs.com>, sylvie <sylvie@sylviesimmons.com>

Hi Kevin and Bryan,

That's it for my press release.  I suppose Sunshine Sachs are "powerful" in certain realms.

All the best,

On Tue, Oct 28, 2014 at 1:17 PM, Kelley Lynch <kelley.lynch.2010@gmail.com> wrote:
Hello Mr. Riordan,

The Annuity Agreement is notarized.  I just spoke to the notary with a witness present.  He would always advise both of us what we were signing.  LA Superior Court is unconscionable.  Would you agree?  In any event, I thought press releases to the powerful publicists noting the damage to my sons, etc. were warranted.

Cohen's fraud and perjury before LA Superior Court is inconceivable.  Cohen didn't feel threatened with a gun to his head - allegedly.  However, he told LAPD's celebrity unit that he felt uncomfortable with my requests for tax information?  These restraining orders have been used to obstruct justice.  Cohen's lawyers have now written IRS and testified that the fraud restraining orders, including the fraudulent domestic violence order, prevent me from requesting or transmitting IRS required information.  Also, they have attempted to argue that these fraud orders prevent me from effecting service.  These issues are now going to be litigated in federal court.  I am filing suit against Leonard Cohen and believe I have evidence proving every word he has said in legal documents on the stand is a lie.  He did testify honestly on March 23, 2012 when he testified that I never stole from him - just his "peace of mind."  He clearly wasn't coached and not focused on his fabricated narrative.

Which version of his gun story do you believe?  Which version do you think the government believes?  The legal adviser for the LA Criminal Jury advised me to bring this situation to your attention.  Judge Fidler's Clerk advised me to write the DA about this and cc. Judge Hess.  I decided to present it in legal documents submitted to LA Superior Court.  I suppose it just depends what courtroom you are in.  

All the best,


See Cohen and Streeter’s email re. another version of this story.  Streeter concealed that from the jurors.



Page 308:

Q: Okay.  Now I want to talk to you a little bit about -- you said that you felt threatened some of these times.  Do you remember saying that?

A: I certainly did.

Q: Now I want to talk to you about what you mean by threatened.  You actually -- you were telling us about Phil Spector.  You were testifying abou talk,ing to the LAPD.

NOTE: It was actually LASD.

A: Yes, sir.

Q: And you talked to the LAPD with your attorney, correct?

A: With an attorney present, yes, sir.

Q: And that’s when you asked that -- or your attorney -- someone asked that Ms. Lynch leave?

A: The attorney asked that Ms. Lynch leave.

NOTE:  I explained to Steve Cron, who had previously represented me so he could NOT represent Cohen, that I knew Phil Spector and did not want to be dragged into his insane matter, Steve suggested that I leave before the detectives arrived.  I left.

Q: So when Ms. Lynch left, you started talking about an interview or a story about Phil Spector, correct?

A: Correct.

Q: And how he would oftentimes have guns when you were producing an album, correct?  He would have guns in the studio when he was producing an album with you?

A: That’s correct.

Q: And, in fact, one time you told the detective that, quote -- Well, before I go there, was Mr. Spector -- was he drunk at the time when he had these guns?

A: I don’t remember, sir.

Q: Was he hostile at the time?

A: Not to me.

Q: Okay.  But he actually put a gun to your head; is that correct?

A: That’s correct.

Q: It was a revolver?  

A: No, it wasn’t a revolver.  It was an automatic.

Q: But you weren’t actually -- you didn’t feel threatened when he put a gun to your head?

A: No, sir.


BBC Interview.

[Don't Go Home With Your Hard-On]

Leonard Cohen

That happened at a very curious time in my life because I was at a very low point, my family was breaking up, I was living in Los Angeles which was a foreign city to me, and I'd lost control, as I say, of my family, of my work, and my life, and it was a very very dark period. And when he got into the studio it was clear that he was an eccentric, but I didn't know that he was mad. He's not mad any longer, I've spoken to him on the phone recently, he's really quite reasonable and calm, but we were, you know, I was flipped out at the time and he certainly was flipped out, my flipped out was, you know, the expression was withdrawal and melancholy, and his was megalomania and insanity, and the kind of devotion to armaments, to weapons, that was really intolerable. With Phil, especially in the state that he found himself, which was post-Wagnerian, I would say Hitlerian, the atmosphere was one of guns, I mean that's really what was going on, was guns. The music was subsidiary an enterprise, you know people were armed to the teeth, all his friends, his bodyguards, and everybody was drunk, or intoxicated on other items, so you were slipping over bullets, and you were biting into revolvers in your hamburger. There were guns everywhere... And at a certain point Phil approached me with a bottle of Manishewitz kosher red wine in one hand and a 45 in the other, put his arm around my shoulder and shoved a revolver into my neck and said, "Leonard, I love you". I said, "I hope you do, Phil".



Phil Spector: Prosecution's Motion to Admit Evidence of Other Crimes

Here it is folks. This motion to admit evidence of other crimes was filed on Monday by the prosecution. It looks like AJ will be arguing to get in not only the latest sixth PBA 1101(b) witness Norma Kemper, but also the incident when he put a gun to Leonard Cohen's head as well as Debra Strand and a few others.

Page 3
District Attorney of Los Angeles County
Deputy District Attorney
Deputy District Attorney
Major Crimes Division
Los Angeles County District Attorney's Office
210 W. Temple Street, 17th Floor
Los Angeles, CA 90012


Case No. BA255233


Date: August 14, 2008
Time: 1:30 PM
Court: Department 106

Defendant Phillip Spector has built a history, spanning some 40 odd years,of using gun-related violence when confronted with a situation when he feels a loss of control, or a threat to his control. Pursuant to CAl. Evid. Code § 1101(b), the People seek to admit evidence of the following uncharged crimes.


On February 3, 2003, Defendant Phillip Spector shot Lana Clarkson to death in the foyer of his Alhambra home. After the shooting, Spector opened the back door to his house, stood in the doorway and told Adriano DeSouza, his driver, "I think I killed somebody." Only Spector and Clarkson were in the house at the time. Within minutes, the police were on the scene, and Spector was eventually taken into custody ... 


On February 17, 2005, the People filed a motion in limine to admit evidence of other acts committed by Spector. Under that separate cover, the facts of the following incidents were set forth in detail and in their entirety. Thus, in an effort towards brevity, only a short recitation of such incidents will be discussed below.

Spector has a long history of resorting to gun-related violence to exert his will when he does not get his way. Int begins in 1972 and continues to the present ...


C. The 1977 Brandishing on Leonard Cohen

1977, Spector produced musician Leonard Cohen's record album, "Death of a Ladies man." during production of the record, Cohen and Spector, who were friends, were taking a break in the lobby of the music studio. Spector walked up to Cohen, placed on arm around Cohen's shoulders, and pointed a semi-automatic pistol at Cohen's chest with his other hand. Spector told Cohen, "I love you Leonard." Cohen looked at Spector and said, "I hope so, Phil." Spector then walked away from Cohen.

The Rock’s Backpages Flashback: What Happened When Phil Spector Met Leonard Cohen?
By Harvey Kubernik (1978) – Fri, Apr 17, 2009 3:09 PM EDT

It was over 30 years ago that two of rock's legends joined forces in the studio to produce an album called Death Of A Ladies' Man. Harvey Kubernik was there to witness the combustive meeting of minds.--Barney Hoskyns, Editorial Director, Rock's Backpages

Leonard Cohen--singer, songwriter, guitarist, poet, novelist, and sometime straight-faced spokesman of the hilarious ironies of the human condition--walks into the dimly-lit recording studio control booth. The place is called Gold Star, and it is a shining capital of musical energy in the midst of a dying neighborhood in a particularly faded part of Hollywood...

Cohen lets a hint of a smile cross his face, but nothing more. He is not one to demonstrate elaborate emotional feeling in a personal situation. He sports a finely tailored dark blue blazer and well-cut grey slacks, and he radiates a poise uncommon to the environment at hand. His charm is substantial, and it isn't hard to fathom why at least some people find themselves so wholly taken with his art. It's not so much what he is about that is important, but what he seems to be about--not so much what he says, but what he implies.

As Cohen sits down in the booth, a voice screams out of the dark silence: "This isn't punk rock! This is ROCK PUNK!" Then the first notes of a rhythm track drive through the monitors.
The voice belongs to Phil Spector. Imposing, like a king dethroned, he sits behind the mixing board, incessantly fondling an empty bottle which once contained 32 ounces of pure Manischewitz Concord Grape Wine. He wears a sharp, severe black suit, a green shirt, and a very expensive pair of shiny black leather boots--boots which are presumably made for rockin'.
In a year of unlikely artist/producer combinations--Reddy/Fowler, Flack/Ezrin, Grand Funk/Zappa, etc.--this is perhaps the most unlikely: Phil Spector, demon genius of the rock-and-roll production number, producing Leonard Cohen, ascetic prophet of acoustic disaffectedness, with the final product to be known as Death Of A Ladies' Man.

"We've made some great f***in' music on this album," Spector says, his voice assuming a high-pitched urgency, a blend of Arnold Stang and Jerry Mathers . With that, he leaps from his chair and hugs everyone in the room. He is very happy with his work , and he wants everyone to know it.

The '70s have been a strange decade for Spector. At the beginning of the period, he made two splendid albums with John Lennon. Then came interesting but generally disappointing projects with Harry Nilsson and Cher. When Spector produced a Dion LP for Warners at great cost last year, the company decided not even to release it in the U.S.

The worst blow came, in a sense, though, when Warners agreed to release a definitive Phil Spector anthology, an attractive, well-researched package (with notes by Ken Barnes), made with Spector's full co-operation. It was an incredible collection of music, and a beautifully presented one--but Phil Spector 's Greatest Hits didn't even make Billboard's Top 200 album list.

Insiders could probably explain away the LP's low sales: Warners probably didn't ship more than 30,000 units at release, thereby marking the album as a sort of "labor-of-love" LP intended only for hard-core Spector fans or Spector supporters within the music industry. The record company didn't even allocate a complete disc-jockey service nationally. It certainly wasn't intended to be a major commercial release effort.

Nevertheless, there have been three albums since it was released--Then I Kissed Her, Da Doo Ron Ron, and Be My Baby. Michael Lloyd and Jimmy Ienner will no doubt continue to find it an insatiable source of future cover tunes for their boppers well into the '80s. Thus, while the album was hardly a moneymaker in terms of actual units sold, it has proven and will continue to prove to be a veritable gold mine of publishing royalties.

But that is hardly enough for Phil Spector--whose brilliance only starts with the songs he writes, but really gets to shining when he gets those songs into a studio. And so it is obvious that the Leonard Cohen sessions have been important to him--almost therapeutic. He certainly seems to be taking his work extremely seriously: He has been decidedly less theatrical in the studio of late; the usual Spector circus atmosphere seems to have been replaced at least in part by a rediscovered, or new interest in the music itself. And that seems to be very good medicine, both for Spector and for Cohen.

Spector and Cohen, despite their obvious surface differences both in personal style and in musical direction, share one, all-powerful element of musical taste--a love for rock-and-roll. It is deeply rooted in them, and it pervades the work they do together. It is their shared medium, their common ground. A mutual affection for rock's basic greatness has bound the two men together, and made their collaboration work.

"Working with Phil," says Cohen nonetheless, "I've found that some of his musical treatments are very...er...foreign to me. I mean, I've rarely worked in a live room that contains 25 musicians--including two drummers, three bassists, and six guitars."

The track Cohen and Spector are particularly interested in listening to right now is "Don't Go Home With Your Hard-On," the album's all-out stomper, with hosts of loud horns and pulsating beat that's hammered all the way home by dual drummers playing in perfect synch. Above it all, comes Cohen's menacing, gritty vocal work, which holds center stage in a most unexpected but effective way. "I can really belt 'em out, you know," says the singer, as he takes a swig of Jose Cuervo from the bottle.

Cohen and Spector first met late in 1974, when Cohen was in Los Angeles for a rare club appearance--a two-night gig at the Troubadour. After the last show on the second night, Spector hosted an informal reception for Cohen at his home--a Spanish-style mansion in the grand, excessive Southern California tradition.

Cohen was brought to Spector's attention, and vice versa, by Martin Machat--who had independently become lawyer and business manager for both men. Machat took Spector to see Cohen perform. Throughout Cohen's 90-minute show, Spector sat quietly, very still, immediately impressed (he later said) by Cohen's mystery and his technique (or maybe the mystery of his technique...or the technique of his mystery...)

The two men got on well at the post-Troubadour reception, and kept in some sort of loose touch thereafter. Late in 1976, when Cohen visited Los Angeles again, Spector invited him to be his houseguest. The first night, the two worked out a new version of Patti Page's "I Went To Your Wedding"; by breakfast, they'd co-written two new songs--Cohen the lyrics, Spector the music (picked out on the piano). The seed was sown for what ultimately became Death Of A Ladies' Man.

Cohen is said to have remarked of Spector that "Phil is not a great songwriter, but he's a bold one. He's bold enough to employ the most pedestrian melodies, and yet somehow make them absolutely successful. That is why his compositions are brilliant." Cohen is especially impressed by Spector's early work--"To Know Him Is To Love Him," "Lovin' Feeling," etc. "In those songs, the story line was as clear as clear could ever be. The images were very expressive--they spoke to us all. Spector's real greatness is his ability to induce those incredible little moments of poignant longing in us."

Cohen's own images are expressive, too, of course. On Death Of A Ladies' Man, they seem particularly direct. "This is the most autobiographical album of my career," he says. "The words are in a tender, rather than a harsh setting, but there's still a lot of bitterness, negativity, and disappointment in them. I wish at times there was a little more space for the personality of the storyteller to emerge, but, in general, the tone of the album is very overt, totally open."

He goes on to say, "I was a little off-balance this year." Songs like "Iodine," "True Love Leaves No Traces," and the album's title track mirror his situation. All the usual Cohen concerns--lost love, personal chaos, doubt, romantic dilemma, alienation, lust, etc.--are present in strong force. "And don't forget humor," Cohen adds. He also says, "I worship women," and suspects that, with the release of this album, "Everybody will now know that within this serene Buddhist interior there beats an adolescent heart."

By 6 A.M., Spector and Cohen are still listening to one rough mix after another. Bob Dylan appears somewhere in the midst of Spector's huge, complicated sounds. So do Hal Blaine, Jim Keltner, Nino Tempo, Jesse Ed Davis, Allen Ginsberg, Art Munson, Ray Pholman, and Dan and David Kessel--sons of jazz guitarist Barney Kessel. The music is hard and solid and soulful. There is, above all, nothing "El-lay" about it.

To this day, Spector meets people who can't believe that all his great hits were cut in Southern California. "They thought Gold Star was in New York," he says. "Of course, what I do is hardly typical California stuff. There are no four-part harmonies on my records... Maybe 32-part harmonies..." He looks around the room. "Anyone here who plays Asylum records, please leave. Anybody laid-back in this room, get the f**k out of here!"

Cohen likes Los Angeles. A native of Montreal, who has spent much of his time in recent years in the South of France and in other European hideaways, he has now moved to Southern California himself. "I like it," he says. "It's so desperate here that it's really not bad at all. And, besides, this is the only city in the world where I've ever written a song while sitting in a driveway in a parked car."

Later in the morning, back at Spector's mansion, as the jukebox plays the psalms of Elvis, Dylan, Waylon, Otis, and the Drifters, Spector muses about his own life. "It didn't take extraordinary strength for me to change the way I was," he claims. "What I was doing just had to stop. It isn't hard to see that, especially after you've gone through a couple of windshields at high speeds.
"I have to admit that I did enjoy it to a certain extent--being rich, a millionaire in his mansion, and dressing up like Batman...But now I can see beyond that, and see just how unhealthy and unproductive it became.

"I'm ready for anything now. Nothing frightens me. I feel I can do more now than I could ever do before. I feel extremely ready musically. I'm more comfortable, more relaxed, more together. I understand what I want to do, and I'm going to do it. It's time to get serious again."
Then he says, "Come into the other room. I want to play you some more of the Leonard Cohen tracks."

And as he punches up "Don't Go Home with Your Hard-On" once again, the tight strung, perfectly conceived production fills the air, he says "Ain't none of us ready for the glue factory yet. I'll go one-on-one with any producer in the world, anytime ." He smiles. "We can still kick ass!"

NOTE:  Hal Blaine never saw Phil Spector, in 37 years, in the studio with a gun.  Janice Zavala Spector has never seen Phil Spector with a gun.  

Q: What's brown and looks really good on a lawyer?
A: A Doberman.

On Tue, Oct 28, 2014 at 1:05 PM, Kelley Lynch <kelley.lynch.2010@gmail.com> wrote:

I couldn't agree more.  Cohen's publicity is highly coordinated which is why I've written his powerful publicists.  The ongoing criminal harassment is also highly coordinated.  That includes individuals aligned with Cohen writing and lying to IRS, FBI, DOJ, Treasury, FTB, FSB, Dennis Riordan, Kevin Huvane, Brian Lourde, and many others.  The dumber the narrative the better.  For instance, Cohen was NOT broke.  He personally borrowed or caused to be expended approximately $6.7 million in TH corporate assets.  He signed the Annuity Agreement and understood those amounts had to be repaid within 3 years at 6% interest.  He refuses to address this although it raises federal tax matters.  See Annuity Agreement attached for evidence supporting this fact.  Cohen had just received a $1 million advance from Sony; pursued a multi-million lithograph deal I was negotiating; planned to tour and was contractually obligated to do so.  He just came up with some sophomoric narrative.  Do you want to go to his concert?  Phil Spector and I personally believe he's a porn artist with biblical references.  That's a fact.  But, these awe inspired groupie journalists will say anything.  In fact, I've heard that editors understood Phil Spector was innocent but preferred to spin the gun story.  Here's a link the Cohen's three highly embellished versions of his gun stories about Phil Spector that are now before LA Superior Court.  

'I have no doubt that the entire situation with pumping up passions and anti-Russian feelings among the Western public is well-coordinated.'

In any event, as Phil Spector used to ask:  Is it dumb enough?

All the best,

On Tue, Oct 28, 2014 at 12:11 PM, Kelley Lynch <kelley.lynch.2010@gmail.com> wrote:
Sunshine Sachs,

One of my main concerns is the damage to my sons.  See my son's declaration addressing the fact that the emails make him physically ill.  I would assume the slander does as well.

Please feel free to read through a transcript of Steven Machat and my conversation and excerpts from Machat's book that i wholeheartedly agree with.  People like Sylvie Simmons evidently do not care about the damage to my sons and family.  I am aware that awe inspired journalists will gratuitously regurgitate Leonard Cohen's highly fabricated stories about me, Phil Spector, Bay of Pigs, Yom Kippur War, and Janis Joplin.

Gods, Gangsters & Honour by Steven Machat

Leonard was desperate to get rid of this two managers, Judy Berger and Mary Martin, who he believed had stolen the rights to his songs and records early on in his career.  Even back then, Cohen was convinced that women were ripping him off.  He signed an agreement, and when he wanted to get rid of the contract, he accused everyone of ripping him off.  You could say it became repeat behaviour.  My father duly got rid of Berger and Martin, set up a new company called Stranger Music for Cohen and agreed to manage Leonard for 15% as well as 15% of Stranger.  The idea of the company was twofold:  one, to maintain ownership of the copyrights duly created; and two, to minimise Leonard’s exposure to American tax, just like any other rich individual trying to minimise their tax liabilities.  

I’ve no problem with people trying to avoid tax, but as the years have passed, I couldn’t help but smile at the apparent contradiction between Leonard’s public persona and his private business arrangements.  This was a supposedly devout Buddhist with no interest in material possessions, who was all the same happy to put his trust in business managers and companies he created with his knowledge and consent whose sole aim was to minimise tax liability.  

Leonard then sold Stranger Music for a small fortune and I’ve seen nothing from Cohen.

Cohen controlled his copyright, not my father.  The irony was that Cohen had total control over my father …  Do you know what happened to the $400,000 worth of bearer bonds in my father’s office?  Bearer bonds are just unregistered bonds or paper money that are used to conceal ownership and, with it, tax liabilities.  Cristini told me (who knows if this is true?) that he had found the bonds in my father’s office hours after he had died but the next day they disappeared.

Cohen denied any knowledge of these bonds.  I was unsure if they existed or were part of my father’s schemes cooked up to conceal Leonard’s money.  

Cohen said:  “Steven, you remember the 1988 tour?  Flemming extorted $100,000 from me.  He wanted 20% managerial commission, in addition to his promoter’s fees.  He thought he was doing extra work for me and wanted me to pay him.”

Far from being the poet of the spirits, Leonard was a hustler using Buddhism as a facade.  

The next time I would see Leonard … We’d just seen The Hand That Rocks The Cradle where Rebecca De Mornay plays the psychopathic nanny who stalks this family.  Who should walk along but Cohen, who was holding hands with DeMornay, his girlfriend at the time.  Cohen was extremely uncomfortable because he knew he had stolen from me and it was clear he couldn’t get away quick enough.  Neither could my son, because he took one look at DeMornay and ran.  He was terrified because he thought she was the nanny in the film!

It was clear that Leonard was also wary of me because, I guess, he thought I might be planning to sue him.

Lynch had been sending out long and bizarre emails to his friends, journalists, and the authorities denouncing Leonard for a million and one sins, which would have worried me if I was their target.

The whole scheme was so ridiculous [Leonard Cohen’s attempts to limit his liabilities on the deals] from the start.  All Leonard had to do to avoid U.S. taxes was tear up his green card, and stop living in and using the U.S. as his base.  

It’s no secret that Leonard has also made a killing on the art market by selling his paintings, plus his touring of the last two years … If that’s true, it doesn’t really tally with the clear implication from Cohen that he is a man who has been robbed of everything.

Leonard told me before I left that he had actually offered Kelley a settlement …
Kelley Lynch Press Release

On Tue, Oct 28, 2014 at 11:59 AM, Kelley Lynch <kelley.lynch.2010@gmail.com> wrote:
Correction:  Cohen's former personal manager.  He lied about my being business manager.  See Rich Feldstein for that honor.

On Tue, Oct 28, 2014 at 11:57 AM, Kelley Lynch <kelley.lynch.2010@gmail.com> wrote:
P.S.  Link to Ann Diamond's article. This journalist was also threatened by Leonard Cohen when she made her intention to approaching Rolling Stone public.

On Tue, Oct 28, 2014 at 11:55 AM, Kelley Lynch <kelley.lynch.2010@gmail.com> wrote:
Ken Sunshine, Shawn Sachs, and Tiffany Shipp,

I am writing you as Leonard Cohen's former personal manager.  I understand that you are Cohen's media contact.  I would like to advise you that I have been relentlessly slandered and maligned in the news media.  I realize Leonard Cohen is a famous celebrity with powerful publishers and access to LAPD's celebrity unit (Threat Management).  I am also aware that Leonard Cohen has had a creepy private investigator essentially stalking me for a number of years.  Close Range evidently works closely with LAPD's TMU and LA prosecutors.  My friends referred to the individual PI as "creepy."

I reported allegations that Leonard Cohen committed criminal tax fraud to IRS on April 15, 2005, have provided them with an abundance of evidence, and have documented everything I have gone through since reporting this tax fraud to tax authorities.  IRS requires Leonard Cohen to provide me with information that refuses to provide me with.  Cohen, in the alternative, used the situation to accuse me of harassing him.  He has lied to LAPD's TMU extensively and I have discussed this matter with them.  LAPD's TMU concluded that my emails to Cohen were generally requests for tax information.

Cohen has, as his financial adviser noted he would in June 2005, used fraudulent restraining orders against me in an attempt to undermine my credibility as a witness, etc.  Neal Greenberg's lawsuit against Cohen sets forth very serious allegations that Cohen and his lawyer, Robert Kory, have engaged in a conspiracy, witness tampering, witness intimidation, bribery, extortion, and so forth.  They raised, as have I, issues related to Cohen being the alter ego of certain corporate entities who has engaged in self-dealing.

Cohen obtained a fraudulent default judgment against me.  I am attempting to ask LA Superior Court to refer Cohen to the appropriate authorities for a perjury prosecution.  I was not served his lawsuit.  He has a team of lawyers who are evidently willing to do and say anything.  I, my family, friends, and others have been criminally harassed over this situation for years.  Cohen's fan, who copies in his lawyer, a suspicious Bay Area lawyer, who argues Cohen's legal points, and others, have engaged in what appears to be a highly coordinated campaign of criminal harassment.  I have addressed this with LAPD, LAPD TMU, LA County Sheriff's Department, FBI, IRS, DOJ, Treasury, FTB, and others.  
Leonard Cohen flew into Boulder, Colorado, in the middle of his 2008 European tour, to obtain yet another fraudulent restraining order.  He testified that he was concerned i would attend his concert.  That concert was scheduled nearly one year after the extraordinary flight into Boulder.  Cohen's concerns, per the paperwork, were my communications with third parties (IRS, FBI, DOJ, Treasury, FTB, Dennis Riordan, Paul Shaffer, Bob Dylan, and Oliver Stone are some of the parties he testified about) and my communications with journalists or online posts refuting the slander.  Sylvie Simmons garbage book helped Cohen further slander and defame me.  

Cohen then took the 2008 Boulder order and fraudulently registered it in California as a domestic violence order.  He testified that we were lovers although he testified in a contradictory manner in another hearing.  Cohen also testified that I never stole from him - just his peace of mind.  I have asked IRS and FTB to take that into consideration when determining whether or not Cohen's IRS/FTB refunds were fraudulently obtained.  He also advised MacLean's in his interview coordinated to appear when his retaliatory lawsuit was filed.  I reported Cohen's tax fraud to IRS on April 15, 2005 and he retaliated.  

Feel free to read Ann Diamond's draft article highlighting the facts of this situation.  Simmons evidently quoted liberally from that article although she never bothered to contact me.  That speaks volumes about what she was willing to do to obtain access to Cohen and his archives.  I have also attached a declaration filed with LA Superior Court setting for the history and some of the evidence I have provided IRS and others.  I also intend to move to dismiss Cohen's fraudulent domestic violence order.  This man has offered me, among other things, 50% community property.  That was evidently meant to coerce me into testifying against his representatives.  I refused.  

The corporate books, records, tax returns, and other evidence prove that i have an ownership in numerous Cohen-related entities and IP.  Cohen has simply fabricated a narrative that seems to have satisfied LA Superior Court.  IRS, FTB and State of Kentucky continue to view me as a partner on those entities.  I received no over-payments re. my commissions as personal manager.  As I have advised IRS, the expense ledger Cohen submitted to the Court is evidence of accounting and financial fraud.  Information Cohen has transmitted to IRS, FTB, and State of Kentucky also proves this fact.

I would appreciate your giving this situation some consideration given the fact that I continue to be slandered and defamed in the news media.  I, my sons, family, Paulette Brandt (Phil Spector's former personal assistant and girlfriend), and many others continue to be criminally harassed.  I am documenting that situation for IRS, FBI, DOJ, Treasury, FTB, Dennis Riordan, and others.

Kelley Lynch

For Leonard Cohen: 
Sunshine, Sachs & Associates 
Ken Sunshine / Tiffany Shipp