EXCLUSIVE: Inside the Explosive Saga of Kelley Lynch, Leonard Cohen’s Estate, Phil Spector’s Missing Royalties, Steven Machat's Share of Stranger Music, Inc. and a Global Web of Intrigue

A Symphony of Scandal and Espionage Leonard Cohen, the revered poet, singer-songwriter, and enigmatic figure, is celebrated for his melancholic lyrics and deep spirituality. Yet, a closer look reveals a far more tangled story—one where carefully constructed myths deflect attention from his financial mismanagement, substance abuse, and a campaign of blame targeting his former manager, Kelley Lynch.

The Story of Kelley Lynch and the Explosive Saga of Leonard Cohen’s Estate This article recounts the story of Kelley Lynch and her explosive saga with Leonard Cohen and his estate. Kelley Lynch, the former personal manager to Leonard Cohen and his son Adam Cohen, as well as a global publishing administrator, literary and art agent, and collaborator with other notable figures, has left a controversial and scandalous mark on the music and entertainment industries despite her multifaceted and accomplished career.

While working for Machat & Machat, a legendary international entertainment law firm and management company representing illustrious artists including Leonard Cohen and Phil Spector, Kelley Lynch played a key role in supporting the careers of some of the music industry's most renowned figures. Following the passing of Marty Machat in 1988, Cohen personally asked Lynch to become his personal manager, while Spector enlisted her assistance on numerous projects. Lynch oversaw Cohen's career from 1988 through October 2004, when they parted ways due to Lynch’s serious concerns about Cohen’s tax strategies. These concerns were first raised by her CPA and later reviewed by tax litigators she hired to evaluate Cohen-related entities in which she held ownership interests.

During her tenure, Lynch was instrumental in managing and promoting Cohen’s career. She oversaw every aspect of Cohen's career, assisted extensively with his familly and personal life, and oversaw and promoted the I'm Your Man album release and tour in 1988 and The Future album release and tour in 1993, coordinated new book publishing deals for Cohen’s earlier works, and facilitated the release of Stranger Music: Selected Poems and Songs in 1993. Traveling extensively with Cohen, she worked tirelessly to advance his career, positioning him for the release of Dear Heather and Old Ideas, world tour he committed to following the release of "Dear Heather," as well as various literary, art, and other projects.

In addition to her work with Leonard Cohen, Lynch played a pivotal role in developing Adam Cohen’s career. She oversaw his signing as a recording artist with Columbia Records, secured a global publishing deal, and collaborated with Steve Lindsey, Adam Cohen’s producer, to establish him as an artist. Lynch facilitated Adam’s growth as a songwriter by connecting him with veteran industry songwriters and studio musicians under Lindsey’s mentorship, helping to lay the foundation for his artistic success.

Kelley Lynch’s Vision for Leonard Cohen’s Tribute Album As Leonard Cohen’s global publishing administrator, Kelley Lynch played a pivotal role in expanding his reach and legacy. In 1995, Tower of Song: The Songs of Leonard Cohen became a landmark tribute album, conceived by Lynch to strategically broaden Cohen's demographic appeal in the U.S. and North America. Recognizing the potential of mainstream artists to highlight Cohen’s songwriting brilliance, Lynch curated a roster of celebrated musicians, including Don Henley, Elton John, Sting, Billy Joel, Peter Gabriel, Bono, Tori Amos, Willie Nelson, Martin L. Gore, Trisha Yearwood, Aaron Neville, Suzanne Vega, and Jann Arden. Each artist brought their unique interpretations to Cohen’s classics, such as “Hallelujah,” “Famous Blue Raincoat,” and “Bird on the Wire.” Although the album’s title referenced Cohen’s 1988 song “Tower of Song,” the track itself was notably absent. Steve Lindsey, a longtime collaborator with Lynch, her live in significant other, and the father of her younger son, served as the album’s producer.

Previously, Lindsey and Lynch had developed country-style demos of Cohen’s songs, laying the foundation for tracks like “Never Any Good at Loving You” in high-quality studio sessions featuring Billy Valentine. Both Lindsey and Lynch believed that Cohen's work could be introduced to country artists such as Willie Nelson and Trisha Yearwood. Cohen deeply appreciated the tribute album, particularly Billy Joel’s rendition of “Light as the Breeze,” produced by Steve Lindsey with country music veterans in Nashville, which Lynch had envisioned as a cornerstone of the LP. The project successfully brought Cohen’s genius to new audiences, further solidifying his reputation as one of the most revered lyricists of his time.

At one point, Lindsey proposed an innovative tribute album featuring Leonard Cohen's work reimagined by rap artists such as Dr. Dre and Eminem, blending Cohen's poetic genius with the raw, rhythmic storytelling of hip-hop. The idea captivated Kelley, who saw it as an opportunity to bridge artistic genres and introduce Cohen's profound lyrics to an entirely new audience. To further the idea, Kelley had Cohen personally autograph a copy of his book of poetry and lyrics for Dr. Dre, who expressed genuine interest in the project. The collaboration between Lindsey and Dr. Dre extended beyond this concept, as Dr. Dre had previously worked with Kelley's classical piano teacher while collaborating on projects with Lindsey. This unique intersection of classical, country, and hip-hop genres underscored the versatility of Cohen's work and the creative vision that both Lindsey and Kelley brought to his legacy.

Mt. Baldy and the Evolution of Leonard Cohen’s Craft During the Tower of Song project, Leonard Cohen immersed himself in creative projects and devoted time to spiritual activities at the Mt. Baldy Zen Center. Cohen often described this period as one of personal reflection and artistic rejuvenation. He became an ordained Buddhist monk in 1996, although he frequently told interviewers that his retreat was prompted by struggles with alcohol and prescription drug abuse, which reached their peak during his 1993 The Future tour.

Cohen's time at Mt. Baldy was far from austere. As he explained to the LA Times during the promotion of the “Tower of Song” tribute album, he continued to work on numerous projects (including recording new material), and regularly hosting journalists, documentary filmmakers, and conducting countless interviews. He remained deeply engaged with his professional life, frequently traveling to Mt. Baldy, residing in Los Angeles, constantly visiting Lynch’s management office (a block from Cohen’s home), hanging out with his daughter, recording in studios, and dining at local restaurants.

French filmmaker Armelle Brusq’s 1996-1997 documentary, which Lynch assisted with behind the scenes, chronicled Cohen’s time at Mt. Baldy, offering glimpses into his creative process. The film showed Cohen composing songs like an early version of “A Thousand Kisses Deep” and reciting unpublished poems.

It also revealed Cohen’s archives, managed through Stranger Management, containing notebooks, paintings, and memorabilia. Cohen’s cabin, equipped with a Technics KN 3000 synthesizer, became a hub for his artistic output. The documentary concluded with “Never Any Good,” a track developed during this phase, later released in 1997 on Cohen’s More Best Of compilation.

Spring 1996 documentary provides an intimate and multifaceted look into the life of poet and singer Leonard Cohen during his Mount Baldy Phase. The documentary captures Cohen’s daily routines with the Zen monks, reciting his new poetry, his creative work in a recording studio, and reflective interviews conducted at Kelley Lynch's management office in Los Angeles while going through his archives which Lynch chronicled and chronologized for Cohen, and his visits to the Jewish deli and recording studios in LA. The film offers a unique perspective on a pivotal period in Cohen's life, where his spiritual practices and artistic pursuits converged seamlessly.

Toward the end of the documentary film, the cameraman captures a scene where Cohen sits in his car, singing along to a song playing on the radio. This deeply personal moment feels as though Cohen is sharing an intimate connection with his music, lost in the lyrics and melody that define so much of his artistry. It perfectly captures Cohen's enduring bond with his work, blending spontaneity with reverence in a way only he could.

The documentary features two new songs, Never Any Good and A Thousand Kisses Deep, that showcase Cohen's creative process and musical versatility. One of the more touching moments in the film features Cohen contacting the veterinarian from Mt. Baldy while speaking with his daughter about a dog currently under the vet's care. This tender exchange highlights Cohen's thoughtful and caring nature, offering a glimpse into the personal connections he maintained even amidst his Zen practices. Artwork - Leonard Cohen as he responds to a dog’s injury after falling out of the back of Lorca Cohen's truck.

In another memorable scene set in Los Angeles, Cohen who, frequently accompanied his Zen teacher, Joshu Sasaki Roshi, to his center in Los Angeles, is shown walking up a street together with Roshi and a zen practitioner when Cohen stops to buy ice cream from a truck. The documentary offers a candid and amusing glimpse into Cohen's creative process.

In one scene, Cohen is shown with headphones on, listening to his new recordings. He remarks, "This is good... it’s good to have your voice amplified... yeah, it’s good... thank you very much." This lighthearted moment reflects Cohen’s self-awareness, his playful sense of humor, and his relationship with his own work. The film also captures Cohen's intellectual curiosity and multifaceted nature. In one particularly intriguing scene, Cohen is shown listening to Rush Limbaugh. Ultimately, Leonard Cohen: Spring 1996 stands as an intimate exploration of Cohen’s life, blending the sacred and the mundane. It showcases the many layers of his personality—his creativity,—offering a rare and nuanced glimpse into the man behind the music.

Kelley Lynch was a frequent presence on Mount Baldy, deeply involved in both Leonard Cohen’s professional projects and the daily life of the Zen Center. She worked alongside Cohen in his cabin on numerous creative endeavors, seamlessly blending her management responsibilities with the contemplative rhythms of Mount Baldy. Lynch also helped Cohen in the kitchen preparing Roshi’s food, participated in meditation sessions with the Zen students and took part in Rohatsu, the intense week-long meditation retreat that marked a significant aspect of Cohen’s Zen practice and visits there as Roshi was generally at Rinzai Ji, Los Angeles, for the remainder of the month.

Her involvement extended beyond Mount Baldy to the Rinzai-ji Zen Center in Los Angeles, where she served on the Board of Directors. This center was the urban hub for Sasaki Roshi, Cohen's revered teacher, and Lynch frequently accompanied Cohen and Roshi to doctor’s appointments, traveled alone with Roshi to New York, underscoring her integral role in both Cohen’s personal and professional life. She also visited Rinzai-ji with Cohen and Oliver Stone, an extension of their shared spiritual and creative connections. Lynch often met with Cohen at her management office, which housed Orgyen Khachod Ling, a Tibetan Buddhist Vajrakilaya Center located downstairs, further intertwining their professional work with spiritual endeavors.

Additionally, Lynch played a key role in helping Cohen’s daughter, whom she helped raise during her teenage years while Cohen was essentially single. Lynch’s contributions extended to organizing Sasaki Roshi’s birthday celebrations, including creating and curating the accompanying commemorative book that honored the teacher’s life and legacy. Her multifaceted involvement with Mount Baldy, Rinzai-ji, and Orgyen Khachod Ling, as well as her support of Cohen’s family, underscored her ability to bridge Cohen’s spiritual and artistic worlds, ensuring both thrived during this transformative period.

Cohen’s connection to Los Angeles remained strong during this period. He often visited Orgyen Khachod Ling, a Tibetan Buddhist Vajrakilaya Center supported by Lynch, filmmaker Oliver Stone, and others. Cohen’s jealousy over Lynch’s close friendship with Stone led to false accusations that Lynch and Stone were romantically involved. These tensions reflected Cohen’s pattern of targeting Lynch to deflect from his own insecurities and controversies. Artwork - Kelley Lynch, Leonard Cohen, and Oliver Stone in Cohen's Los Angeles kitchen.

Cohen’s Rock ‘n Roll Mythology and Embellished Tales Leonard Cohen cultivated an aura of mystique, often embellishing or fabricating anecdotes to captivate audiences. Among his more colorful tales were accounts of his escape from Cuba during the Bay of Pigs invasion, where he claimed a 14-year-old military officer trained a gun on him as he boarded the last plane out of Havana. Cohen alleged that upon landing in Miami, the FBI surrounded his aircraft and detained him for questioning. Other stories included Cohen being mistaken for a paratrooper, dodging aerial attacks, and engaging in CIA reconnaissance. In letters to his publisher, Cohen described these incidents as “good publicity angles” to sell books and records.

Cohen also claimed participation in MK Ultra, an embellishment stemming from his attendance at a psychology class at McGill University. His rock ‘n roll mythology extended to dramatic encounters with Phil Spector, including an incident where Spector reportedly pointed a crossbow at Cohen’s head during a late-night session at a recording studio. Artwork - Leonard Cohen and a journalist at Cohen's favorite Korean bath, engaged in a deep conversation about Cohen's embellished tales of CIA MK Ultra participation. Cohen was rather obsessive at times about his weight.

Natural Born Killers and Cohen’s Cultural Influence In 1994, Oliver Stone’s film Natural Born Killers prominently featured Cohen’s songs “Waiting for the Miracle,” “Anthem,” and “The Future,” which defined the film’s tone. Lynch and Cohen attended the film’s premiere, where Cohen quipped that it “wasn’t violent enough.” Following the release, Cohen met with Stone at his Santa Monica office to discuss a potential music video collaboration. Cohen’s connections to Lynch’s cultural initiatives, including her work with Orgyen Khachod Ling, further reflected the intertwining of their professional and personal lives. Artwork - Kelley Lynch and Phil Spector as a Hollywood version of Mickey and Mallory from Natural Born Killers, set in the House of Blues VIP Club, a club Lynch and Spector visited frequently.

Tax Fraud and Legal Manipulations Kelley Lynch’s career took a dramatic turn in September 2004 when her tax attorneys and a CPA formerly with the IRS Criminal Division uncovered substantial tax fraud involving Cohen-related entities. The findings initially revealed over $10 million in tax violations, including unreported income, the use of two separate EIN numbers for Traditional Holdings, LLC, outrageous steps taken on the federal tax returns (including the literal extinguishing of Cohen's annuity obligation), the failure to assign and transfer Cohen's share of intellectual property from BMT to TH, Cohen's misappropriation of millions from numerous entities, Cohen's loans from TH totaling $6.7–8 million due with interest, egregious misuse of corporate entities, and Cohen's role as "alter ego" in these corporate fictions.

After offering Lynch millions to settle—which she refused due to his demands that she lie about his representatives and blame them entirely for his wrongdoings—Cohen withheld millions owed to Lynch, fabricated claims of a romantic relationship to deflect scrutiny, and misappropriated shared corporate and partnership assets. Many people in the industry informed Kelley Lynch that Cohen sued her to force her into a settlement. However, Cohen failed to serve the complaint, as well as other complaints and legal documents, on her. His lawyer even outrageously, without her awareness or approval, changed Lynch's service address to Phil Spector's in a federal case in Colorado, where Lynch was merely added due to TH assets.

Rather than addressing these issues, Cohen targeted Lynch with MSM, harassment campaigns, supported by his legal and PR teams and affiliates like Stephen Gianelli. Gianelli’s coordinated stalking operation terrorized Lynch, her family, and her associates for over a decade. Cohen’s misuse of restraining orders, including a fraudulent domestic violence order, further obstructed Lynch’s efforts to seek justice.

Kelley Lynch’s Legacy of Resilience Despite relentless harassment, Kelley Lynch has persisted in her advocacy for justice. She has reported Cohen’s misconduct to the IRS, FBI, DOJ, and Treasury Department while demanding forensic accounting for entities like Blue Mist Touring Company, Inc., Traditional Holdings, LLC, and Old Ideas, LLC. Lynch continues to develop entertainment projects exploring cultural and musical exchanges, including the British invasion, Phil Spector’s influence, and Cold War diplomacy, while working on art and design projects.

As a mother to two sons, Rutger and Ray Charles, Lynch’s story is one of resilience. Her journey from managing iconic artists to navigating global intrigue and legal battles reflects her unwavering commitment to truth and artistry. This narrative exposes the web of financial fraud, harassment, and manipulation surrounding Leonard Cohen’s estate, highlighting Lynch’s enduring contributions to music and culture. Artwork - Kelley Lynch visiting her older son in the hospital after his recent accident, accompanied by her younger son.

Targeting Kelley Lynch: Collaboration Between Leonard Cohen, Law Enforcement, Leonard Cohen's Estate, Leonard Cohen's Family Trust, and Legal Entities (2005-Present) Since 2005, Leonard Cohen has allegedly collaborated with the Los Angeles District Attorney’s Office, the LAPD, the LAPD Threat Management Unit (TMU) celebrity unit, and the Los Angeles City Attorney’s Office in efforts to target Kelley Lynch. This alleged targeting intensified in 2009 after Lynch, and nearly everyone in her life, began receiving egregiously harassing and defamatory emails from Stephen Gianelli, who confirmed his communications with Cohen’s legal representatives, Robert Kory and Michelle Rice. These events coincided with Lynch’s detailed communications to IRS officials, the FBI, and the Department of Justice, highlighting Cohen’s alleged tax fraud and related misconduct.

The 2009 Letter Complaint to Former DDA Alan Jackson, Phil Spector's prosecutor. In response to harassment by Cohen’s representatives and their affiliates, including with respect to the Los Angeles District Attorney, Lynch wrote to Alan Jackson, the prosecutor in Phil Spector’s case, on September 17, 2009. Her letter, hand-delivered to District Attorney Steve Cooley, Deputy District Attorneys Alan Jackson and Truc Do, by District attorney Investigator William Frayeh, an investigator on the Spector case, outlined her grievances and detailed allegations of misconduct involving Cohen, his legal team, and law enforcement agencies.

Ms. Lynch explained to Jackson that her emails were a detailed documentation of the systematic destruction of her life and the severe impact on the lives of her sons. These emails began after she reported the initial allegations concerning Leonard Cohen's tax fraud and the misuse of multiple corporate entities. She emphasized that the correspondence was addressed to key authorities, including the IRS, FBI, DOJ, and other relevant agencies, as part of her efforts to expose the ongoing harassment, legal manipulations, and coordinated attempts to discredit her. Through her emails, she sought not only to provide evidence of the misconduct but also to highlight the personal toll it had taken on her family’s well-being and livelihood.

The emails also served as a legal record, meticulously memorializing issues such as requests for tax information, grievances with respect to Cohen's retaliation, MSM and blog accounts defaming Lynch, the coordinated stalking and harassment operation, instances of fraud and perjury in Leonard Cohen's legal filings, and misconduct by various parties. This included Leonard Cohen, his representatives Robert Kory and Michelle Rice, and their harassment agent, Stephen Gianelli, along with his cohorts. Through these emails, Ms. Lynch documented the systematic efforts to intimidate and discredit her, providing detailed evidence of the unethical and unlawful actions undertaken by these individuals and others involved.

Allegations of Tax Fraud and Misconduct • Tax Fraud by Leonard Cohen: Tax Fraud by Leonard Cohen: Lynch presented confirmation from her tax litigators and accountant that Cohen engaged in long-term tax fraud involving entities such as Blue Mist Touring Company, Traditional Holdings, LLC, Old Ideas, LLC, and LC Investments, LLC. In 2006, Lynch filed a complaint with the DA's Major Fraud Unit regarding Leonard Cohen's corporate malfeasance, including the misappropriation of millions of dollars from these entities, theft from her, and related issues. She also discussed these matters with Jeff Jonas. In 2007, at the direction of OSHA, Lynch filed complaints with the Los Angeles District Attorney concerning her older son's industrial accident at Whole Foods. Members of the District Attorney's Office, including DA Steve Cooley's personal investigator, "Marko," at times threatened Ms. Lynch. The conduct she witnessed from this office was nothing short of outrageous governmental misconduct and largely unprofessional. When Ms. Lynch attempted to retrieve her letter from Phil Spector, which had been borrowed by a detective for copying with the promise of its return, she was instead threatened with arrest.

In 2009, Lynch was instructed by the City Attorney to contact the Los Angeles District Attorney regarding the LAPD SWAT/King Drew incidents, which were used to coordinate a custody matter. The entire King Drew file was fraudulent and pertained to an entirely different individual. The doctors did not believe LAPD’s claims, and a nurse privately provided Lynch with critical information. Lynch reported numerous other matters to the Los Angeles District Attorney at various times. Specific allegations in Lynch's letter to Alan Jackson included Cohen’s failure to report income from the Sony sale and the misuse of multiple tax identification numbers to deceive the IRS. Artwork - Kelley Lynch on the phone with the City Attorney of Los Angeles.

• IRS and Legal Obstruction: Lynch detailed her reporting of Cohen’s tax fraud to the IRS and other federal agencies. She claimed that Cohen and his representatives sought to silence her through coercive tactics, including harassment, misuse of the legal system, and settlement offers contingent on her remaining silent. Artwork - Kelley Lynch filing a written complaint with the Los Angeles District Attorney, addressing allegations of tax fraud and legal obstruction.

• Coordination with Law Enforcement: Lynch alleged that law enforcement agencies, including the LAPD and LAPD TMU, collaborated with Cohen to intimidate her. This included a SWAT raid on her home and detention at Martin Luther King Jr. Community Hospital ("Killer King"), three hours from her Brentwood home and a horrendous facility shut down by the federal government, which she described as a coordinated effort to discredit her and deter her from testifying in IRS matters involving Cohen. Artwork - Kelley Lynch making a determined phone call to the IRS in Washington, DC, surrounded by visual elements reflecting the gravity of the situation.

2012 Enforcement Proceedings In 2012, enforcement proceedings were allegedly orchestrated by Cohen, Kory, Rice, and their affiliates in collaboration with the Los Angeles District Attorney’s Office and City Attorney’s Office. These proceedings were intended to discredit Lynch and serve as a rebuttal to her 2009 letter to Alan Jackson. The focus of these proceedings included: • IRS investigations into Cohen’s tax fraud and legitimate requests for tax information, cease and desist demands with respect to defamation, communications with opposing counsel in numerous state and federal court cases. • Lynch’s communications with federal agencies, including the IRS, FBI, and DOJ, which also memorialized the alleged stalking and harassment campaigns. • Lynch’s communications with opposing counsel, Kory and Rice, regarding tax disputes, requests for tax forms, requests that unfiled Cohen related entity tax returns are filed and income reports, and other issues involving Cohen-related litigation. • Lynch’s correspondence with Phil Spector’s legal team and public writings on her blog, which rebutted defamation and outlined her allegations and calls for accountability. Artwork - The city attorney prosecutor creating chaos by breaking the podium during the proceedings.

Absolute Abuse of So-called Protection Orders Lynch accused Leonard Cohen and his legal representatives of abusing restraining orders to silence her, create "scary" narratives for the mainstream media, interfere with civil litigation, block access to tax and financial documents, and obstruct her ability to address intellectual property and ownership disputes. She specifically pointed to the registration of a fraudulent Colorado foreign restraining order, obtained during Cohen's European tour, which required him to fly to Colorado on a private jet accompanied by his lawyers. This order, according to Lynch, was linked to her refutation of Cohen's defamatory statements, which had been disseminated globally online and amplified by the mainstream media during his world tour. The Colorado order was then registered in Los Angeles as a domestic violence order, despite a total lack of evidence to substantiate such claims. Moreover, Lynch was neither informed of the proceedings nor provided with an opportunity to be heard. She remained unaware of the California order until the spring of 2013, when a Los Angeles Superior Court judge unexpectedly asked her, “Is Leonard Cohen your boyfriend?”—a question that left her both shocked and incredulous. Artwork: Kelley Lynch in the courtroom, composed yet visibly stunned, as the judge poses the unexpected question, "Is Leonard Cohen your boyfriend?"

Harassment and Stalking Campaign Lynch documented extensive harassment from Stephen Gianelli, whom she described as orchestrating a coordinated campaign of cyber-stalking, defamation, and witness retaliation. She alleged that Gianelli, in communication with Cohen’s legal team, targeted her, her family, and her associates, undermining her credibility and intimidating her as a witness. Artwork - Kelley Lynch in a meeting with FBI agents in Los Angeles, discussing significant topics such as LAPD actions, SWAT incidents, Cohen's tax fraud, and witness tampering.

Impact on Personal Life The alleged targeting had devastating effects on Lynch’s life: • Custody Battles: Lynch claimed her son, Ray Charles Lindsey, was targeted in custody disputes used as a coercive tactic to force her into silence. She also reported that during her brief detention at Killer King, her older son was pressured to transfer her home to Cohen by him and his legal team. Her son phoned his father, who advised him to consult an attorney, and then refused to entertain further calls or bizarre demands.

• Loss of Brentwood home, theft of her African Grey

and theft or death of her Akitas, following her spending months scanning evidence for IRS.

• Professional and Personal Defamation and all out destruction of her career as a personal manager and owner of a successful greeting card company: Lynch faced false accusations of a so-called "sexual relationship" with Leonard Cohen and romantic "sexual relationship" with Oliver Stone, which she described as fabricated to discredit her. Artwork - Kelley Lynch being contacted by journalists.

Nevertheless, Kelley Lynch found solace and support in her Brentwood home, a serene Tibetan Monastery-inspired haven of understated elegance. Surrounded by her older son, a vibrant group of wonderful teenagers—both boys and girls—and Tibetan lamas, her home became a sanctuary of warmth, resilience, and quiet strength amidst the challenges she faced. Artwork - Kelley Lynch in her serene Brentwood home, surrounded by her older son, vibrant teenagers, and Tibetan lamas, reflecting a warm and inviting sanctuary amidst her challenges.

Through this sprawling tale of betrayal, intrigue, and perseverance, viewers are left questioning the nature of fame, the influence of media, and the fight for justice in a world shaped by power and deception. Artwork - Kelley Lynch sharing her story with Oscar-winning director Oliver Stone.

The Saga and Unfolding Story with Background Details This saga reads like a spy thriller, intertwining missing royalties, "good rock ’n roll stories," CIA intrigue, FSB peace proposals, and the tantalizing promise of uncovering John Lennon’s long-hidden KGB files. As the layers unravel, a complex narrative emerges, exposing both the myth and the man behind Leonard Cohen’s carefully curated image.

Leonard Cohen’s Dual Persona: The Ascetic and the Gunslinger Cohen’s public persona masterfully straddled two extremes: the introspective Zen monk and the rebellious rock ’n roll outsider. While he painted an image of asceticism at Mount Baldy Zen Center—where he meditated in a cabin equipped with a recording studio, fax machine, and computer—another, more chaotic side of Cohen reveled in tales of guns, danger, and chaos.

Tales of Phil Spector pointing a crossbow at Cohen in the 1970s Cohen walking the streets of New York armed and high on methamphetamine, disarmed by Marty Machat, and gunslinging in Nashville, added to his legend. These stories, referred to by Cohen as his "good rock ’n roll stories," cast him as a daring figure in the wild world of the music industry.

Phil Spector and the Lost Royalties: A Legacy of Deception At the heart of this tangled web lies Leonard Cohen’s controversial collaboration with Phil Spector on the album Death of a Ladies’ Man. According to Kelley Lynch, Steven Machat, and Phil Spector, Cohen not only improperly seized ownership of the album’s masters but also collected royalties that rightfully belonged to Spector, one of music’s most legendary producers.

Under the original agreements, Spector was to retain ownership of the masters and directly receive the royalties, distributing Cohen’s share as stipulated (so as not to be used to recoup Cohen's accounts with Sony/Columbia). Instead, Cohen reportedly bypassed these contractual terms entirely, pocketing the royalties while initially leaving Spector unaware of the financial misdeeds. The financial disputes over the album escalated to such an extent that Spector, frustrated by the alleged misappropriation, took direct action. Trusting Kelley Lynch as a professional ally, Spector instructed her to contact Sony directly and advise them to cease paying royalties to Cohen. “This isn’t just a case of financial mismanagement,” Lynch asserts. “This is outright theft—calculated and deliberate.” Artwork - Phil Spector and Kelley Lynch at Elaine's Restaurant, NYC

Steven Machat, a respected industry veteran who worked closely with Cohen and Spector, corroborates these claims and provided further insight into Cohen’s actions. “Phil trusted Leonard to honor their agreement, but Leonard took advantage,” Machat explains. “The royalties from Death of a Ladies’ Man could amount to large figures—money that was never properly accounted for. And the film Bird on a Wire was yet another example of Cohen’s pattern of exploiting those around him for personal gain.” The reference to Bird on a Wire highlights another troubling allegation: Cohen’s alleged appropriation of Steven Machat’s film, a behind-the-scenes documentary chronicling Cohen’s 1972 European tour. According to Machat, Cohen’s actions deprived him of the rights to his creative work and its potential financial returns. Artwork - Steven Machat in a dynamic music industry setting, surrounded by references to "Bird on a Wire" and the disputes over Leonard Cohen's financial dealings.

These allegations raise broader questions about the integrity of Leonard Cohen’s financial dealings, the validity of his estate’s tax filings, and his repeated appropriation of creative works and intellectual property that rightfully belonged to others. As calls for forensic audits of Leonard Cohen’s estate and family trust grow louder, the stories of stolen intellectural property, theft of shares of corporations and partnerships, misappropriated royalties, stolen films, and exploited collaborators continue to unravel, casting a shadow over the legacy of a man celebrated for his poetic genius. The intervention by Spector, when he asked Kelley Lynch to inform Sony to stop paying his royalties to Leonard Cohen, underscores the seriousness of these allegations, adding weight to the narrative of deception and exploitation that surrounds Leonard Cohen’s carefully curated image. Artwork: Forensic audit at the IRS concerning Leonard Cohen’s estate and his public persona.

The Estate Under Scrutiny Leonard Cohen’s estate, valued at over $50 million, faces mounting allegations of financial mismanagement, undervalued assets, millions of dollars of assets not reported on the estate tax returns, and unreported royalties related to Lynch and Machat. Lynch points to a pattern of behavior in Cohen’s dealings, alleging that his estate has intentionally omitted key financial details to avoid tax liabilities. "His estate tries to paint a picture of transparency," Lynch says, "but the numbers don’t add up." Among the unreported assets are trademarks, derivative works, artwork, notebooks, and other valuable proerties. Lynch has submitted detailed complaints to the IRS, FBI, and DOJ, urging them to investigate what she describes as a deliberate financial and tax smokescreen. Artwork - Kelley Lynch detailing matters in emails to the IRS, FBI, and DOJ.

The Enigmatic Kelley Lynch: Scapegoat or Savior? In stark contrast to Cohen’s chaotic anecdotes, Kelley Lynch emerges as a seasoned professional who dedicated nearly two decades to managing his career, overseeing his son Adam Cohen’s music endeavors—including negotiating his recording and publishing deals—and assisting Cohen in raising his teenage daughter. Beyond her work with Cohen, Lynch made significant contributions to the entertainment industry. A mother of two and a devoted Tibetan Buddhist practitioner, Lynch successfully negotiated lucrative deals, brought stability to Cohen’s personal life, and promoted his work. Artwork - Kelley Lynch meditating at a Tibetan monastery while Leonard Cohen balances on a tightrope in the sky attempting compromised tax-related positions.

Yet, as Cohen’s financial troubles deepened, Lynch became his scapegoat. Cohen, along with others, portrayed her as the architect of his financial woes or "author" of his "misfortunes," falsely accusing her of betrayal and extravagant spending. This narrative emerged in response to allegations that Cohen and his lawyer attempted to extort money from his financial and investment advisors, claims that Cohen was a spendthrift, and IRS warnings sent to Cohen by the investor advising him to repay his loans with interest. These warnings highlighted the risk that the IRS could view the Traditional Holdings deal as self-dealing and potentially overturn it. This scenario reveals a web of personal alliances, legal controversies, and ethical questions surrounding Leonard Cohen’s estate. The introduction of Leonard Cohen to Robert Kory by Anjani Thomas raises concerns about a deliberate effort to target Kelley Lynch, suggesting motives and actions designed to undermine her credibility and rights. Anjani Thomas’s current attempt to replace her ex-husband, Robert Kory, as a trustee of Cohen’s estate alongside Cohen’s adult children further underscores potential conflicts of interest, where personal gain may override professional ethics and the original intent of Cohen’s trust. Allegations of misconduct, including the use of a forged trust document by Robert Kory to assume his role, call into question the legitimacy of the estate’s administration and the processes enabling such actions. Artwork - Leonard Cohen and Anjani Thomas in a conspiratorial setting, highlighting their plotting expressions. The scene captures the theme of scapegoating Kelley Lynch and the financial challenges surrounding Cohen.

In the midst of ongoing disputes, Steve Lindsey, the record producer, made a crucial call to Mike Elizondo, a renowned songwriter who worked with Dr. Dre and Eminem, and who had hired Cohen's accountant, Ken Cleveland. Lindsey informed Elizondo that Leonard Cohen and his representative, Robert Kory, were preparing to sue Cleveland, prompting Cohen to call Elizondo to falsely assure he had no intentions of suing Cleveland. The news was relayed by Lynch’s attorneys, who had been made aware through Robert Kory that Cohen, with the assistance of Cohen's lawyer, former LA District Attorney Ira Reiner, was planning to target all of his representatives—both in civil suits for financial compensation and criminal prosecutions.

Kelley Lynch, however, absolutely refused to cooperate with Cohen’s agenda. She made it clear to her attorneys, who were attempting to arrange a meeting between her and Cohen as well as a lucrative multi-million dollar settlement for Lynch, that she would never again sit in a room with him or assist him in any way whatsoever. This was in response to Cohen's aggressive and appalling conduct, which included calling her as early as 4 a.m. in an absolutely hysterical state. She demanded that Cohen immediately cease threatening her elderly parents, a demand that was confirmed in writing by Lynch's lawyers to Robert Kory. In retaliation, Cohen sent Lynch a poem, which he later used in a slanderous hit piece against her, published by Maclean’s. In that same article, Cohen took the opportunity to promote his studio album, lithographs, and Anjani Thomas' album. He also mentioned sitting for photographs and even provided a Polaroid of a photo he claimed was his favorite—one he had taken of Kelley Lynch. This series of manipulative and harassing actions only reinforced Lynch’s decision to distance herself completely from Cohen, reaffirming her resolve never to assist him in any of his legal machinations or secret meetings again. Artwork - Kelley in disbelief at what she is reading and hearing.

Adding to the intrigue, Leonard Cohen’s accountant once confided to Lynch, “Anjani Thomas has a large role in this and is also behind this attack on you,” after attending a lunch meeting with Cohen, Kory, and Thomas. This revelation suggests that Thomas may have played a more central role in orchestrating efforts against Lynch, further complicating the dynamics of the estate’s management. The power struggle involving Cohen’s adult children—who assert that they, along with Anjani Thomas, Kory's ex-wife, are the rightful trustees and heirs—and Robert Kory, whom they accuse of forging the trust document after Cohen’s death, highlights broader implications for the management of the estate’s assets, royalties, and responsibilities. These allegations are further supported by Kory's attorney, Reeve Chudd, Cohen's former estate planning attorney, who admitted in a deposiion to replacing a page in the trust document after Cohen's death. Artwork: Kelley Lynch on the phone with an accountant, discussing what he observed during a lunch meeting with Leonard Cohen, Anjani Thomas, and Robert Kory.

This situation reflects a pattern of targeting and manipulation, with Lynch seemingly at the center of orchestrated efforts to exclude her, raising significant concerns about fairness, transparency, and compliance with trust and estate laws. As an aside, Anjani Thomas’s potential benefit from this position, combined with her earlier connections to Robert Kory and ownership of a home in Los Angeles purchased with Traditional Holdings, LLC assets, adds another layer of complexity to an already contentious legal and personal narrative. Artwork - Kelley Lynch facing direct attacks from Leonard Cohen, Robert Kory, Michelle Rice, Anjani Thomas, and the mainstream media.

Michelle Rice, a partner at Kory & Rice LLP, due to her endless targeting of Lynch on behalf of Cohen and Kory, has played a controversial role in the legal proceedings surrounding Leonard Cohen, his estate, and the targeting of Kelley Lynch. During a court proceeding, Rice downplayed the significance of the corporations being in bad standing, falsely attributed the status of the suspended corporations and partnerships to a Colorado federal judge, and argued that a "constructive trust" awarded to Cohen as part of a default judgment rendered Lynch's arguments irrelevant. However, the appellate court later determined that Lynch was correct regarding the suspended entities and the co-mingled fraud default judgment applied only to Cohen personally. Artwork - Kelley Lynch in disbelief at Cohen's filthy lawyers, in a courtroom setting, surrounded by six opposing lawyers, reflecting the intense "frivolous" legal battle.

Lynch argued that the lack of entity accountings, replaed by a meaningless list of numbers on a fraudulent expense ledger co-mingling Cohen's peronal assets and expenses with corporations and partnerships - supporting the "default judgment," was unacceptable particularly in light of IRS tax, reporting, and filing requirements. Additionally, following the appellate proceedings, Robert Kory fraudulently conveyed the co-mingled default, which Cohen used as a fraudulent tax deduction, to himself as trustee of the Cohen Family Trust using a forged trust document. This action was likely taken to facilitate the transfer of properties to himself or the trust in connection with the Hipgnosis musical property deal. Artwork - Kelley Lynch presenting her arguments at an appellate court.

Rice further escalated tensions during court proceedings by cursing at Lynch at counsel table and later shouting "bitch" at her while passing with Kory in the court hallway. She falsely argued that Richard Westin himself, the co-defendant accused of improperly forming and maintaining these corporations, was solely responsible for the issues. This argument allowed Cohen to benefit financially by including the co-mingled default on his personal tax returns, despite the fact that it served as evidence of fraud and the co-mingling of corporate and partnership assets with his personal assets. Additionally, questions about the legal standing of the entities remain unresolved, as two of the entities were and continue to be suspended.

Rice’s involvement extended beyond the courtroom, as evidenced by her email exchanges with Stephen Gianelli, a known detractor of Lynch. In a July 25, 2015 email, Rice mockingly dismissed Lynch’s efforts to challenge legal outcomes, writing: "Do me a favor and keep inciting her to file more motions, you are making me richer than f*&k. In fact, I think I can pay off my mortgage on my $2 million Hollywood Hills home with jetliner views by the end of this year." Such remarks underscore an aggressive and financially driven approach, raising serious ethical concerns about her conduct and her role in the ongoing targeting of Lynch in the broader context of Cohen's and now the estate legal representation and management. Artwork - Michelle Rich.

The Disturbing Harassment Network Targeting Kelley Lynch—Emails Reveal Shocking Collaboration A web of harassment, manipulation, and legal entanglements emerges as emails link Stephen Gianelli, identified as the ringleader of a targeted stalking operation, to Michelle Rice and Robert Kory. Gianelli’s campaign reportedly targeted Kelley Lynch, her family, and colleagues, including her sons, elderly parents, and even Paulette Brandt—Phil Spector’s former girlfriend and personal assistant. The harassment extended to renowned figures like Jamaican recording artist and producer The Scientist, rap artist Corey Banks, both friends of Lynch, intelligence and propaganda expert Alan Hootnick, and Lynch’s close friend Steven Machat, leaving a trail of alleged abuse and defamation. Artwork - Kelley Lynch standing resilient amidst the chaos of a targeted harassment campaign orchestrated by a sinister clown lawyer figure.

In one explosive email from July 2015, Rice, an attorney at Kory & Rice LLP, boasts to Gianelli about the financial benefits of inciting legal motions against Lynch. “Keep inciting her to file more motions, you are making me richer than f*&k,” Rice writes. She even quips about using the proceeds to pay off her $2 million Hollywood Hills home. The email, rife with profanity and mockery, underscores a coordinated effort to discredit Lynch and capitalize on the legal turmoil surrounding her. Lynch claims to have collected extensive evidence, including emails and posts, proving that Gianelli, Rice, and Kory worked together to orchestrate this harassment network. The alleged operation has raised serious questions about the ethical and legal practices of those involved, casting a shadow over the legitimacy of their actions.

Michelle Rice's Actual Cover Your Ass Operation Email: Michelle Rice email - From: Michelle Rice [mailto:mrice@koryrice.com] Sent: Saturday, July 25, 2015 11:35 AM To: Stephen Gianelli Subject: Re: So where is your oft threatened, but never quite filed "motion to vacate the fraud domestic violence matter"? (See 4/14/2015 email) [NOTE: this proves that Gianelli blind copied Rice on his harassing emails to KL and there is evidence Kory advised Gianelli to keep him copied.] And who cannot control their emotions? Booo hooo Kelley Lynch called me a child molester in emails that no one ever reads.... Artwork symbolizing the email exchange involving Michelle Rice and Stephen Gianelli.

[Kelley informed the FBI, which routinely cautions parents about online safety and protecting children from inappropriate exposure, about Gianelli and others targeting her then-minor son. She reported that they attempted to lure her son into private communication about Leonard Cohen's tax matters, the IRS, and the Phil Spector murder trial—an action she found outrageous. Kelley also expressed her concern, stating she had no idea who Gianelli was and raised the possibility that he could be a sexual predator targeting her child. Rice also attempts to dismiss Lorca Cohen's public statements about her father, which Freda Guttman had discussed with Ann Diamond in Montreal. This conversation reportedly occurred after Guttman's child heard Lorca's remarks at Concordia University, according to Leonard Cohen who asked Kelley to consult her brother-in-law, a Canadian attorney, about the situation. Eventually Kelley contacted Van Penick to request him to ask Ann Diamond to take the post down because Lorca Cohen was under tremendous pressure.]

Boooo fucking hoooooo...... man up and put on your big boy pants and shut the f*&k up. Do me a favor and keep inciting her to file more motions, you are making me richer than f*&k. In fact, I think I can pay off my mortgage on my $2 million Hollywood Hills home with jetliner views by the end of this year.

Michelle L. Rice, Esq. Kory & Rice LLP The email is clearly part of a cover op pathetically intended to distance Kory and Rice from Gianelli. Artwork - Michelle Rich

Leonard Cohen’s Estate Battles Unveiled: Allegations of Forgery, Asset Misuse, and Trustee Controversies In a bombshell email to the IRS, Kelley Lynch has raised serious concerns about Leonard Cohen's estate, spotlighting allegations of forgery, corporate malfeastance, highly aggressive and questionable tax strategies, asset mismanagement, and behind-the-scenes maneuvering. According to Lynch, Cohen’s children are pushing for Anjani Thomas—Robert Kory’s ex-wife—to replace Kory as trustee if Los Angeles Superior Court removes him due to the controversial forged trust document. Thomas, who reportedly played a central role in the estate's affairs, resides in a home purchased with assets from Traditional Holdings—a fact Leonard Cohen confirmed during cross-examination. When questioned under oath, Cohen admitted to using TH assets, a revelation that casts a shadow over his and now the estate's management. These developments, now surfacing in court filings, add yet another layer of intrigue to the ongoing legal,tax, and financial battles surrounding the late tortured poetic icon’s legacy.

These legal matters and harassing emails not only highlighted the the federal tax, financial and legal complexities of Leonard Cohen's co-mingled default judgment and the further abuses by his estate but also underscored a troubling pattern of targeted harassment. This harassment extended beyond tax issues, focusing on Kelley Lynch's association with Phil Spector and the relentless attacks orchestrated by Stephen Gianelli and others in an effort to discredit her involvement and testimony.

Investigator William Frayeh, who worked on the Phil Spector case, revealed a potential nexus between Stephen Gianelli and Spector prosecutor Alan Jackson. According to Frayeh, Gianelli appeared to have found a "sympathetic ear" in Jackson, prompting an investigation into this connection. Frayeh personally delivered Kelley Lynch's letter addressing these concerns to then-District Attorney Steve Cooley and Spector prosecutors Alan Jackson and Truc Do. Artwork - Alan Jackson runs for DA with Phil Spector literally appearing on the Los Angeles Voter Ballot.

When the City Attorney, in coordination with the District Attorney, LAPD, Leonard Cohen, Robert Kory, and Michelle Rice, targeted Lynch, the effort appeared to be aimed at undermining her letter to Alan Jackson, sabotaging the IRS investigation, and discrediting Kelley Lynch, all while disseminating defamatory lies across the worldwide web and global media. Artwork - The artwork portrays a nearly comedic depiction of the targeting of Kelley Lynch, highlighting Leonard Cohen's sensationalized "good rock 'n roll stories" about Phil Spector involving crossbows and guns, while absurdly and ironically placing a gun into Lynch's hand during a courtroom scene, amplifying the farcical nature of the accusations against her.

As Lynch's defense counsel observed, “The City Attorney is attempting to sabotage the IRS, discredit you, and the DA doesn’t want the Spector verdict overturned.” This coincided with Cohen's testimony, in which he delivered a "Command Performance" recounting his sensationalized "good rock ’n roll stories" about Spector—elaborating upon a version that contradicted the version the DA used in Spector’s grand jury and trial motions.

Notably, this legal targeting of Lynch followed public statements by David Mamet, who asserted that "Phil Spector was railroaded" and announced his intention to produce a film highlighting this injustice. At the time of Lynch’s prosecution, Phil Spector's case was under appeal.

The politically charged environment surrounding Lynch’s prosecution created a backdrop of suspicion, with references to figures like Alan Jackson and Steve Cooley underscoring the perception that her trial was more about protecting certain narratives than pursuing justice. Lynch’s appellate attorney further highlighted this, asserting that the case was, at its core, a federal tax matter requiring IRS intervention. Alarmed by the City Attorney’s fixation on Phil Spector and the prominent political players involved, Kelley Lynch's attorneys expressed concerns about the broader implications that he felt warranted an IRS investigation. Artwork - Kelley on phone with LA District Attorney (she kept IRS, FBI, and DOJ closely apprised particularly after Gianelli wrote her that Alan Jackson contacted him about her communications with IRS, FBI, and DOJ).

Response to the Stalking & Harassment Operation Memorialized for IRS, FBI, and DOJ Following the City Attorney's proceedings, in other Los Angeles Superior Court matters involving Kelley Lynch and Leonard Cohen, declarations and letters from Lynch’s friends, colleagues, sons, and supporters poured into the court. These submissions offered a stark contrast to the prosecution’s narrative, painting a picture of Lynch as a dedicated and principled individual who had become the target of a calculated and relentless campaign of harassment. The testimonials aimed to defend Lynch’s character, expose the orchestrated efforts to discredit her, and highlight the ethical breaches and misconduct that had tainted the legal process.

Longtime Friend of Kelley Lynch Blasts Lawyer Stephen Gianelli Over Harassment and Ties to Leonard Cohen. Among the most compelling was a letter from Daniel J. Meade, a respected Buddhist teacher and a longtime friend of Lynch. His powerful account painted a vivid picture of the sustained campaign to discredit and terrorize Lynch, her family, and her associates. Meade’s letter did not merely defend Lynch’s integrity but also condemned the harassment she faced as appalling and indicative of deeper systemic issues within the legal battles surrounding Cohen’s estate and related matters.

In a scathing letter to the court, Daniel J. Meade, a respected Buddhist teacher and close friend of Kelley Lynch, exposes the relentless harassment campaign (including his receipt of countless harassing and defamatory emails sent by Gianelli) allegedly orchestrated by Northern California lawyer Stephen Gianelli. Meade, who has known Lynch since 1978, described Gianelli’s conduct as “appalling, depraved, and humanly indecent,” accusing him of waging an eight-year campaign of terror against Lynch, her family, and close associates. The letter alleges that Gianelli’s communications were designed to defend the late Leonard Cohen while attacking Lynch, her sons, and even her roommate, Paulette Brandt, a former personal assistant and girlfriend of Phil Spector. Meade suggests that Gianelli’s motivation may stem from a fiduciary relationship with Cohen, his lawyers, or representatives of his estate. "It begs the question: Why else?" Meade wrote. Drawing comparisons to the infamous Senator Joseph McCarthy, Meade questioned Gianelli’s professional ethics, calling him both a “criminal and psychopath” who should be disbarred. Meade also addressed the broader legal context, noting that Gianelli’s harassing communications were being used to prosecute Lynch over a fraudulent domestic violence order Lynch was unaware existed and obtained by Leonard Cohen, despite there being no evidence of a “dating” relationship between the two.

The explosive allegations in Meade’s letter shed light on what he describes as a calculated effort to discredit Lynch, orchestrated by Cohen, his legal team, Gianelli and hs cohorts (including Cohen fan, Susanne Walsh, Phil Spector's former disgrunted personal assistant, Michelle Blaine, who a court found misappropriated approximately $1 million from Spector), and fueled by Cohen’s celebrity status. The letter concludes with a call for accountability, labeling Gianelli a danger to society and urging the court and legal community to take action against his conduct.

Kelley Lynch’s Longtime Ally and Former Columbia Records Rap Artist Speaks Out About Her Ordeal In a bombshell declaration submitted to the Los Angeles Superior Court during the City Attorney’s lengthy second enforcement proceeding against Kelley Lynch, Corey Banks, a renowned former Columbia Records rap artist and close friend of Lynch, painted a scathing picture of systemic bias, prosecutorial misconduct, and an orchestrated campaign to discredit her. Banks, whose parents, Larry Banks and Joan “Jaibi” Banks, were legendary figures in the music industry and contemporaries of Phil Spector, described Lynch as a “fierce, intelligent professional” who has been unfairly targeted over her affiliations with Spector and her attempts to expose wrongdoing in Leonard Cohen’s estate. Banks detailed how his initial skepticism (based on Gianelli's harassing emails to him after Banks approached Lynch about managing him, handling his publishing, and assisting with his parents' musical catalogues) about Lynch dissolved after witnessing her professionalism and resilience firsthand. He revealed troubling incidents, including harassing emails from Stephen Gianelli, whom he described as “bitter” and intent on destroying Lynch’s reputation. Gianelli, Banks noted, went as far as slandering Lynch, her family, and friends in an apparent effort to protect Cohen’s narrative.

The declaration highlighted shocking moments from court proceedings, including a prosecutor who prioritized vacation plans over justice and a courtroom environment Banks described as “biased and prejudicial” against Lynch. Banks also questioned the motivations behind Cohen’s testimony, which he alleged contained multiple contradictions regarding Phil Spector, calling it a likely reason for Lynch’s targeting. The declaration also underscored the strain these proceedings have placed on Lynch’s ability to work, noting how her career and livelihood have been severely impacted. In his statement, Banks fiercely defended Lynch’s character, calling her “genuine, direct, and fiercely loyal.” He further criticized the proceedings as a transparent attempt to discredit Lynch and protect high-profile figures. The document raises significant questions about the interplay between the legal system, celebrity influence, and the pursuit of justice in Los Angeles.

Son of Kelley Lynch Speaks Out on Decades-Long Harassment and Orchestrated Legal Campaign in Shocking Declaration to Los Angeles Superior Court In a powerful and detailed declaration submitted to the Los Angeles Superior Court, Rutger, the elder son of Kelley Lynch, revealed a decades-long campaign of harassment, manipulation, and legal targeting against his family. Penick’s statement shines a spotlight on the alleged coordinated efforts of Leonard Cohen, Robert Kory, Michelle Rice, and their associates to discredit and financially devastate Lynch, raising serious questions about abuse of power and judicial misconduct. Penick recounted the infamous 2005 SWAT raid on their family home, which he described as "an outrageous and unwarranted display of force," triggered by false information. He shared harrowing details of his mother being interrogated in a Dolce & Gabbana leopard string bikini, with officers prepared to shoot both her and their family dog, all while she had committed no crime. The incident, he argued, was weaponized to strip Lynch of custody of his younger brother, Ray, as part of a broader scheme to undermine her credibility and financial stability.

The declaration also addressed the relentless harassment Penick and his brother endured at the hands of Stephen Gianelli, an individual Penick described as "obsessed with defending Leonard Cohen." Penick alleged Gianelli used a network of emails and blogs to slander his mother and intimidate witnesses, friends, and family members, often with Cohen’s legal team copied in. He expressed deep concern over the involvement of Cohen and his lawyers, particularly Robert Kory, Michelle Rice and Daniel Bergman (who targeted both Lynch and her sons in a coordinated custody matter where Cohen and Kory submitted an entirely perjured declaration), in what he termed “a calculated campaign to isolate and vilify” his mother. Penick did not shy away from the emotional toll this campaign has taken, sharing his disbelief at the coordinated efforts to bankrupt his mother, destroy her reputation, and manipulate the legal system to silence her. He revealed his mother’s unwavering resolve, detailing her documentation of events for the IRS, FBI, and other authorities, highlighting her allegations of tax fraud against Cohen and the retaliation she faced as a result.

In his declaration, Penick passionately defended his mother’s integrity, describing her as a "wonderful human being" and a "fierce advocate for truth and justice." He condemned the systemic bias and misconduct he witnessed in connection with the court proceedings, where he said his mother faced prejudicial treatment while prosecutors lied and prioritized personal interests or those of a celebrity over truth, facts, and justice. Artwork - Kelley Lynch and her son in a courtroom, emphasizing his fierce defense of his mother.

This extraordinary document raises critical questions about the interplay of celebrity, legal influence, and the lengths some will go to silence dissent. Penick’s declaration is not just a defense of his mother but a call to examine the broader implications of power dynamics and justice in Los Angeles. This powerful declaration comes from Rutger Penick, the eldest son of Kelley Lynch and celebrated author Douglas Penick. Douglas Penick, who knew Leonard Cohen, once wrote to Cohen's biographer that the singer neither amused nor interested him. Rutger's declaration adds a deeply personal perspective to the ongoing legal and emotional battles.

Kelley Lynch’s Son Speaks Out Amid Harassment and Legal Turmoil In a powerful declaration submitted to the Los Angeles Superior Court, Ray Charles Lindsey, the youngest son of Kelley Lynch, described years of relentless harassment targeting his family, orchestrated by individuals linked to Leonard Cohen and his legal team. Lindsey, now in his twenties, detailed the emotional toll caused by invasive emails from figures such as Stephen Gianelli, Susanne Walsh, and Ray Lawrence, all of whom have ties to Cohen’s legal narrative. The declaration highlights how these emails, often copied to Cohen’s lawyer Michelle Rice, were riddled with accusations involving Cohen, the IRS, and Phil Spector—allegations Lindsey described as "disturbing and confusing." He recounted how his mother tirelessly defended herself against these attacks, documenting every interaction for legal and federal authorities. Lindsey also shared his own attempts to stop the harassment, writing to the perpetrators in 2013 to demand they cease contacting him and his family, as the emails were causing him physical and emotional distress.

One particularly troubling episode involved Ray Lawrence, who allegedly threatened to destroy Lynch’s personal belongings stored at his property, with encouragement from Gianelli and Walsh to turn the items over to Cohen’s legal team. Lindsey noted how his mother had to provide documented proof of her agreement with Lawrence to counter these threats. Through it all, Lindsey described his mother as a fierce advocate for justice, emphasizing her professionalism during her time as Leonard Cohen’s manager and her steadfast loyalty to her family. The declaration paints a harrowing picture of a young man grappling with unwarranted harassment while witnessing his mother’s resilience in the face of overwhelming adversity. This poignant account adds yet another layer to the ongoing legal battle involving Lynch, Cohen’s estate, and their far-reaching implications. This powerful declaration comes from Ray Charles Lindsey, the youngest son of Kelley Lynch and renowned record producer Steve Lindsey, Leonard Cohen's producer and Ray's godfather, adding a deeply personal perspective to the ongoing legal and emotional battles.

Kelley Lynch’s Sons Speak Out About Years of Harassment and the Emotional Toll on Their Family In a shocking series of emails submitted to the Los Angeles Superior Court, Kelley Lynch’s sons, Ray Lindsey and Rutger Penick, detailed the relentless harassment campaign they and their mother endured, allegedly orchestrated by Stephen Gianelli and others. The emails paint a picture of a family pushed to the brink, with both sons pleading for an end to the “consistent bullshit” that has left them emotionally and physically drained. One email, written by Ray Lindsey, reveals the toll the harassment has taken on his health. “This is causing me to become ill as a result of the consistent bullshit,” he wrote. “It’s hurting my heart to have to see my mother go through so much.” His message underscores the devastating impact the harassment has had, not only on Lynch but on her immediate family. Rutger Penick, in a separate email, didn’t hold back in expressing his frustration. Addressing Gianelli and others directly, he wrote: “Stephen, shut up already. Live the rest of your worthless life without picking on the poor. I’m sure that makes you feel superior.” His words highlight the anger and exhaustion felt by Lynch’s sons as they attempt to shield their mother from what they describe as targeted, malicious actions. The emails also reveal the sons’ growing desperation for peace. In one heartfelt plea, Ray wrote, “Can’t we all just practice compassion for one moment, please?” This appeal for humanity stands in stark contrast to the alleged tactics employed by Cohen, Kory, Rice, and Gianelli, whom Lynch’s family accuses of spearheading a coordinated effort to discredit and isolate her. For years, Lynch has alleged that Gianelli and others, including Leonard Cohen’s legal representatives, used email campaigns and online posts to harass her and her family. The emails submitted to the court provide a rare glimpse into the deeply personal fallout of these actions, with Lynch’s sons speaking out to defend their mother’s character and call for an end to the abuse. As the legal battle continues, these emails serve as a sobering reminder of the human cost of prolonged harassment and the resilience of a family determined to fight back. The court filings underscore the need for accountability and a resolution that allows Lynch and her family to move forward without fear.

Kelley Lynch’s Roommate, Paulette Brandt, Breaks Silence on Harassment and Death Threats In a chilling series of court documents and emails submitted to the Los Angeles Superior Court, Paulette Brandt, a former assistant and girlfriend of legendary music producer Phil Spector, reveals the extent of a years-long harassment campaign against herself and Kelley Lynch, Spector’s close friend and former manager of Leonard Cohen. The campaign, spearheaded by Stephen Gianelli, includes slander, intimidation, and even death threats, according to Brandt’s declaration. Brandt, who has worked in the entertainment industry for decades with icons like Phil Spector, Connie Stevens, and Dudley Moore, described the harassment as “relentless and terrifying.” She recounted receiving emails, U.S. mail, and phone calls that escalated to a disturbing level, including a direct death threat from someone identifying themselves as Gianelli. “He threatened to kill me if I did not remain silent about matters involving Kelley, Phil Spector, and Leonard Cohen,” Brandt stated in her declaration. “For all I know, he could be outside of my home.”

The harassment reportedly began after Brandt appeared on Lynch’s blog, River Deep, which Lynch used to document her correspondence with federal agencies like the IRS, FBI, and DOJ. The blog, intended as a rebuttal to what Lynch calls Leonard Cohen’s “slander and defamation campaign,” became a target for Gianelli, who allegedly accused Brandt of endorsing Lynch’s claims and used her contact information to spread false narratives. One email Gianelli sent to Brandt warned her to distance herself from Lynch, calling her “very disturbed” and accusing her of fabricating conspiracy theories about Leonard Cohen’s involvement in Phil Spector’s legal troubles. Gianelli even insinuated that silence in response to Lynch’s emails could be misinterpreted as friendship, adding, “And should she turn on you, you can expect 'cease and desist' emails [as Gianelli received] accusing you of every crime known to mankind” - such as lying in emails to iRS, FBI, and DOJ on behalf of Cohen, the stalking and harassment operation targeting Lynch and everyone in her life for over a decade, or attempting to infiltrate IRS Chief Trial Counsel's Office to obtain non-published Tax Court documents Lynch and IRS filed. Despite the harassment, Brandt staunchly defended Lynch, describing her as “focused, law-abiding, and a blessing to be around.” Brandt also highlighted the broader implications of the harassment, noting its connections to high-profile figures like Leonard Cohen, Phil Spector, and even tax investigations involving the IRS. “This activity is not a hobby or casual interest,” Brandt asserted. “He seems like an absolute professional.” The declaration sheds light on the emotional toll of the harassment campaign, with Brandt revealing the strain it has placed on Lynch’s health and livelihood. It also underscores the alleged use of coordinated intimidation tactics to isolate Lynch and undermine her credibility. As Brandt’s declaration becomes part of the court record, the revelations raise serious questions about the lengths to which some individuals will go to suppress dissent and the lasting impact on those targeted.

The defense of Kelley Lynch by her sons and friends, through powerful declarations that exposed a campaign of harassment and legal manipulation, provided a compelling counter-narrative to the allegations she faced. These testimonials not only highlighted Lynch’s unwavering integrity but also underscored the broader context of her persecution, which seemed deeply intertwined with her association with Phil Spector and her disputes with Leonard Cohen. Amidst this ongoing battle, journalist Mick Brown entered the picture, shedding light on a critical element of the Spector prosecution: the inclusion of Leonard Cohen’s statements in the Grand Jury proceedings.

Journalist Mick Brown Confirms Leonard Cohen’s Statements Were Used in Phil Spector’s Grand Jury Proceedings Brown’s revelation, which he shared with Lynch in direct correspondence, added another layer of complexity to the legal drama, bringing into focus the ways in which Cohen’s colorful anecdotes about Spector were leveraged to shape the prosecution’s narrative. This connection between Cohen’s statements and Spector’s trial underscored how celebrity narratives and personal grievances can ripple into legal proceedings, raising questions about the interplay of truth, storytelling, and justice. In a revelation that adds further intrigue to the saga of Phil Spector’s trials, Mick Brown, a renowned music journalist with The Telegraph, confirmed that Leonard Cohen’s statements regarding his interactions with Spector were included in materials submitted to the Grand Jury during Spector’s prosecution. Brown shared this information in correspondence with Kelley Lynch, Spector’s close friend and former manager of Leonard Cohen, shedding light on a lesser-known chapter of the legal drama. Brown, who extensively covered the Spector case and authored a book about the legendary producer, noted that Cohen’s statements were presented to the Grand Jury. “I was sent copies of material that, as I understood it, had been submitted to the Grand Jury in the Phil Spector case,” Brown wrote in an email. He referenced Cohen’s public account of a 1977 incident during the production of Death of a Ladies’ Man in which Spector allegedly brandished a pistol at Cohen while professing his love for him—a moment of chilling irony that has since been immortalized in legal documents. While Brown clarified that he did not believe Cohen personally testified before the Grand Jury, his statements were nevertheless used by the prosecution to bolster their portrayal of Spector’s history with firearms. The incident was prominently referenced in motions filed during Spector’s trials, with prosecutors describing it as part of a decades-long pattern of gun-related behavior. “Spector told Cohen, ‘I love you Leonard.’ Cohen looked at Spector and said, ‘I hope so, Phil,’” one motion recounted, highlighting the dark humor with which Cohen allegedly defused the situation.

Lynch, who has long maintained that Cohen’s narratives have been weaponized against both Spector and herself, cited Brown’s confirmation as critical evidence in her ongoing legal battles. “Mick Brown confirmed to me that Cohen’s statements were part of the Grand Jury proceedings,” Lynch wrote in a widely circulated email, pointing out discrepancies between Cohen’s accounts over the years. She also highlighted the use of Cohen’s statements in prosecution filings as evidence of his involvement in the Spector case, despite public denials of his role. The correspondence between Brown and Lynch also reveals the journalist’s own inquiries into the matter. Brown noted that he initially received the Grand Jury materials from a fellow journalist, the late Carlton Smith, and suggested Lynch might obtain them through similar channels. “My understanding is they were/are on the public record,” he wrote. These revelations are likely to reignite debate about the fairness and transparency of the legal proceedings surrounding Phil Spector. Lynch, for her part, continues to use her blog as a platform to expose what she describes as a coordinated campaign to silence her and misrepresent the facts. Brown’s acknowledgment of Cohen’s statements being part of the Grand Jury materials adds a new layer to her claims and underscores the tangled web of narratives that continue to surround one of the music industry’s most controversial figures. Artwork - Mick Brown w/ Kelley in background reading his articles.

Mick Brown’s Legacy: Revered Journalist, Criticized Chronicler of Buddhism and Phil Spector's Legal Saga Mick Brown, a celebrated journalist and author, has often found himself at the intersection of art, controversy, and spirituality. Known for his books on iconic figures like Phil Spector, Brown also penned a book exploring the lives and teachings of the 16th Gyalwa Karmapa, the 17th Gyalwa Karmapa, and the 14th Gyalwa Sharmapa—three significant Tibetan Buddhist leaders. While his work garnered interest, it left Kelley Lynch, a devoted student of these teachers, deeply dismayed by what she viewed as confusion and distortions in Brown’s portrayal of Buddhist traditions.

Lynch shared her concerns directly with Sharmapa, who revealed his own frustrations with journalists, including Brown, over their tendency to distort facts and perpetuate illusions of reality. Sharmapa went a step further, noting parallels between Lynch’s harrowing legal battles with Leonard Cohen and the once-scandalous controversies surrounding the Karmapa lineage. He affirmed his belief that Lynch had been unfairly targeted by corrupt politicians and law enforcement, further compounding the parallels to Karmapa’s contentious history.

Despite her criticisms of Brown’s earlier work, Lynch acknowledged his courtesy in clarifying his role in reviewing Phil Spector’s Grand Jury transcripts. Brown confirmed to her that Leonard Cohen’s statements were included in the materials presented to the Grand Jury, though he could not verify whether Cohen personally testified or if his statements were submitted on his behalf. To further explore this ambiguity, Lynch reached out to the Grand Jury’s legal advisor, who confirmed the presence of Cohen’s testimony but remained unable to disclose whether it was submitted directly by Cohen or via a proxy. Sharmapa’s reflection on Lynch’s situation offered her some solace amidst ongoing battles. He likened the relentless scrutiny she faced to the public and political challenges that once surrounded the Karmapa controversy—scandals that have since settled but remain etched in the collective memory of Tibetan Buddhist followers. For Lynch, these parallels reinforced the importance of addressing misinformation and holding power structures accountable, whether in the realms of religion, music, or justice. Artwork - Sharmapa Slams Mick Brown.

While Brown’s contributions to unraveling parts of Spector’s legal saga provided clarity, his legacy in Buddhist circles remains a complex one. For Lynch, the tension between Brown’s clarification regarding Cohen and the lingering distortions in his work on the Karmapa lineage underscores the need for truth and integrity across all narratives.

Leonard Cohen’s “Good Rock ’n Roll Stories” Take Center Stage in Kelley Lynch’s Battle with Prosecutors Kelley Lynch, Leonard Cohen’s former personal manager, continues to challenge the narratives surrounding her legal battles and Cohen’s sensational testimony about Phil Spector. In an email to Dennis Riordan, Spector’s appellate attorney, Lynch detailed her ongoing legal fight and the bizarre focus on Cohen’s contradictory “good rock ’n roll stories” during proceedings against her. Cohen, under oath, delivered one of several versions of his infamous tale involving Phil Spector. The account has evolved over the years, from Spector allegedly holding a gun to Cohen’s head in a recording studio, to brandishing a semi-automatic weapon at his chest, and finally pressing a revolver against Cohen’s neck while professing his love. Lynch, who has worked closely with both men, refuted these claims, pointing out that Cohen spent years dismissing the gun stories as exaggerated anecdotes and “just good rock ’n roll stories.” Prosecutors in Spector’s trial used Cohen’s allegations as part of their narrative, referencing his account in motions submitted to the court. Lynch argued that these embellished tales, retold in various forms, contributed to public perception of Spector as a volatile figure, despite the lack of consistent evidence. Adding fuel to the fire, Cohen testified during Lynch’s trial that he felt threatened by her emails, which frequently included law enforcement agencies and government officials as recipients. Ironically, Cohen also claimed he was not threatened when Spector allegedly held a gun to his head. Lynch’s defense team highlighted the absurdity of these contradictions, emphasizing that Cohen’s shifting narratives and exaggerated tales were more about performance than truth. Lynch’s email to Riordan underscores her belief that Cohen’s testimony, and the prosecution’s focus on Spector, were calculated tactics to discredit her while advancing their own agendas. Lynch also raised questions about Cohen’s role in the larger narrative surrounding Spector’s trials, suggesting that the use of Cohen’s stories—despite their inconsistencies—helped secure Spector’s indictment, if not the conviction. As Lynch continues to fight back, her detailed accounts reveal the complex web of legal, personal, and professional entanglements that define her battle with Leonard Cohen and the prosecutors who, she alleges, weaponized his fabrications against her.

Prosecutor Streeter's Dubious Claims About Cohen and the Spector Grand Jury: Who's Really to Blame? In a courtroom drama fit for a tabloid headline, Prosecutor Sandra Jo Streeter and Leonard Cohen teamed up to paint Kelley Lynch as the mastermind behind claims that Cohen testified before the Grand Jury in the Phil Spector case. Streeter even pointed to Lynch’s emails to bolster her argument, suggesting that the allegations originated with Lynch herself. But that statement is contadicted by reality. British journalist Mick Brown, of The Telegraph, has long maintained that he reviewed Leonard Cohen’s statements (or testimony), which were included in the Spector Grand Jury Transcripts. While Cohen may or may not have testified in person, Brown’s emails to Lynch confirm that his understanding of the situation stemmed from publicly available Grand Jury transcripts. Cohen's statements about Phil Spector and Cohen's "good rock 'n roll" gun stories, highly embelished and concocted by Cohen himself with MSM and biographers, were also contained in motions filed by the LA District Attorney in the Phil Spector case. Cohen’s correspondence with Streeter only deepens the intrigue. In an email dated April 5, 2012, Cohen claimed he had not seen or spoken to Phil Spector since their tumultuous Death of a Lady’s Man recording sessions in 1977. However, in a BBC interview from the late 1990s or early 2000s, Cohen contradicted this statement, mentioning that he had spoken to Spector recently and noted that Spector was no longer "mad" at him, blatant lies and part of Cohen's "good rock 'n roll" propaganda. Cohen also denied any involvement in Spector’s Grand Jury proceedings. Yet, his ever-evolving "good rock ’n roll stories" about Spector—rife with conflicting details about where a gun was allegedly pointed—have been used as both courtroom theater and sensational media material, including in motions the Los Angeles District Attorney filed in the Spector case.

As the narrative grows murkier, Streeter’s strategy to shift the blame onto Lynch for the Grand Jury claims becomes increasingly questionable, raising serious concerns about the prosecutor’s own credibility and motives. At the heart of it all remains Mick Brown’s role in raising the issue—a critical fact that Streeter and Cohen conveniently overlooked. Adding to the controversy is Streeter’s apparent penchant for high-profile cases that garner media attention. This inclination was highlighted in Corey Banks’ declaration to the Los Angeles Superior Court about the suspect proceedings against Kelley Lynch, where he noted that Streeter had previously targeted rapper Tupac Shakur. The revelation further casts doubt on Streeter’s impartiality, suggesting that her involvement in the Lynch case may have been motivated as much by a desire for the spotlight or political affiliations involving the Los Angeles District Attorney, an individual the prosecutor raised constantly together with Spector's prosecutor Alan Jackson.

Excerpt of Prosecutor Sandra Jo Streeter Email to Leonard Cohen April 5, 2012 at 2:20 PM 7. Did you know Phil Spector? If so, how? Did you testify in front of the grand jury? Cohen responded: Phil Spector produced a record of songs we wrote together in 1977. I have not seen or spoken to him since. I did not testify before a grand jury. Leonard Cohen Email to Sandra Jo Streeter April 5, 2012 at 9:31 PM Dear Ms. Streeter, This is a short note I prepared for a biographer last year. I know you’ve been burdened with an enormous heap of material, but this rounds off the question you asked about Phil Spector. Sincerely L PHIL SPECTOR

Shortly after the death of Lana Clarkson, I was visited in my home by two detectives from the Homicide Bureau of the Los Angeles Sheriff’s Department, Detective Paul Fornier, and Detective Richard Tomlin.

Kelley Lynch thought it would be a good idea to have [her] lawyer present, so she arranged for attorney Steven M. Cron to be there for the interview. Mr. Cron asked Kelley Lynch to excuse herself [as she informed Cron, in Cohen's presence, that she did not want to be drawn into the Spector trial. She had previously discussed Cohen-related entities with Susan Disney Lord's husband, an attorney and carpool parent, and expressed concern that a custody matter might be fabricated if she were involved]. Artwork - Kelley Lynch, Leonard Cohen, and, Steve Kron, her lawyer who stayed behind with Cohen and the detectives. Attorney-Client Privilege Issues: Since Cron was Kelley Lynch's attorney and explicitly had no privilege with Cohen, any interaction during the detectives’ meeting was not protected by confidentiality. This lack of privilege weakens Cohen’s ability to claim these interactions as privileged communications. The presence of detectives during the meeting is key. Their involvement removes any expectation of confidentiality in the interactions between Cohen, Lynch, and Cron. Any statements made in their presence could be used in legal proceedings or investigations, limiting Cohen’s ability to control the narrative. Lynch's proactive communication to Cron about not wanting involvement in the Spector trial suggests her attempt to maintain a clear boundary. This could serve as evidence of her unwillingness to be implicated, which counters any claims that she sought to entangle herself in Spector-related matters. Cron’s reported shock, which he later explained to Kelley Lynch, upon learning about Cohen’s Grand Jury statements could indicate discrepancies in Cohen’s Account and Cohen misrepresented his involvement to Cron and others.

Apparently the detectives had come across some old interviews I did in 1978 or 1979 in which I spoke of the difficulties of recording Death Of A Lady’s Man with Phil Spector: the brandishing of guns, armed bodyguards, drunkenness, and Phil’s famous megalomania. Even though Phil put his arm around my shoulder and pressed an automatic into my neck, except for the real possibility of an accident, I never at any moment thought that Phil meant to do me harm. I never felt seriously threatened. I conveyed this to the detectives. I said the incident was repeated in the press over the years, with exaggerations, but it was basically just a good rock ‘n roll story. Artwork - LC with a detective showing him his gun.

Then they asked me when I had last seen Phil Spector. I said it’s been over 20 years. They were very surprised. They said they were under the impression we were close friends. I said no. Hearing this they thanked me for my time, finished their coffees, and left. It was clear that I was not to be considered a valuable witness. I was never approached again by anyone concerned with the case. Needless to say, I did not testify before a Grand Jury.

Kelley Lynch, Leonard Cohen’s former manager, takes her battle to the next level as she meticulously transmits evidence to the IRS, FBI, and DOJ of the lies throughout her proceedings, including extensive lies about IRS, federal tax matters, tax forms she legitimately requested, unfiled federal tax returns for numerous entities over multiple years, and so forth. Mick Brown Email to Nikhil Ramnaney April 10, 2012 Dear Nikhil Ramnaney, Thank you for your letter. I’m afraid there has been a misunderstanding here. At the time, I was writing my book about Phil Spector I was sent copies of material that, as I understood it, had been submitted to the Grand Jury in the Phil Spector case. Included in this material [Grand Jury Transcripts per MB who used the word testimony which means statements in UK] were (short) statements from Leonard Cohen.

I might well have mentioned to Ms. Lynch that these statements were included in materials presented to the Grand Jury. However, I do not recall having stated that Mr. Cohen himself had testified to the Grand Jury. Indeed, I would have had no way of knowing whether he had or not. My feeling is that these statements had not been given by Mr. Cohen personally at the time but were actually taken from one or more statements that he had given in the past concerning his recording sessions with Mr. Spector.

I hope this answers your question. If it’s helpful, I shall try to find the original material that was sent to me. If I can be of any more help to you please don’t hesitate to contact me. Best wishes, Mick Brown From: Mick Brown Date: Mon, Oct 29, 2012 at 4:18 AM Subject: Re: Kelley Lynch Trial - Leonard Cohen, Phil Spector To: Kelley Lynch Kelley, I have looked for the documents I was sent in connection with the Grand Jury and been unable to find them. They were sent to me by my friend the journalist and author Carlton Smith, who unfortunately has since passed away. However, I'm sure you would be able to access them from the same source as Carlton did. My understanding is they were/are on the public record. I do not recall ever saying to you that Cohen himself had testified. If I did, it was my mistake. My recollection is that the statement from Leonard Cohen was the same statement that had already appeared in media interviews, pertaining to the incident in the studio during the recording of 'Death Of A Ladies Man'. My recollection is that it was on a single sheet of paper. I have no idea whether Leonard Cohen personally made this statement to the DA, or whether - and I suspect this is the case - that quote had simply been taken from previously published interviews There was no mention of any statement attributed to Cohen in either of the two subsequent trials. [Note - Ah but there was. The LA District Attorney raised one of Cohen's good rock 'n roll gun stories in a Motion in Limine filed in the Spector case.] Mick

Kelley Lynch Calls Out City Attorney, Leonard Cohen, and Stalker Stephen Gianelli in Letter to the 17th Gyalwa Karmapa In a deeply personal and revelatory letter to the 17th Gyalwa Karmapa, Kelley Lynch outlined a troubling pattern of harassment and falsehoods surrounding her ongoing legal battles. Lynch detailed how the City Attorney falsely targeted her over Leonard Cohen’s statements to the Grand Jury, a claim refuted by journalist Mick Brown in a letter confirming Cohen’s involvement. She also discussed Gianelli’s disturbing impersonation of spiritual figures, including the Karmapa and Sharmapa, to send threatening and defamatory emails referencing Cohen, Phil Spector, and severely defaming Oliver Stone—emails Lynch plans to submit to federal court. Lynch further highlighted the City Attorney’s calculated targeting of Kyabje Thinley Norbu Rinpoche and Sharmapa for requesting Mahakala and Gesar of Ling prayers, actions she described as deliberate and malicious. The prosecutor even falsely accused Lynch of copying Cohen’s Buddhist community on her emails, when in reality, she copied her revered teachers, including the Karmapa, Sharmapa, Kusum Lingpa Rinpoche, and others. His Holiness Kusum Lingpa had advised her to document the unfolding events—particularly after she reported Cohen’s tax fraud—and to copy witnesses for protection.

A prophetic dream in 1994, relayed by Kusum Lingpa, adds another layer of intrigue. While staying at Orgyen Khachod Ling, the Vajrakilaya Center sponsored by Lynch, Oliver Stone, and others, Kusum Lingpa foresaw that Cohen would attempt to destroy Lynch in the future. The center, frequented by Cohen during his Mt. Baldy phase, remains a focal point of Lynch’s connection to her teachers and spiritual lineage.

Lynch also refuted another falsehood propagated by the City Attorney, clarifying that the statement “Leonard Cohen is an asshole going to hell” originated not from her, but from His Holiness Kusum Lingpa during a conversation with his students. This latest revelation underscores what Lynch describes as a campaign of lies and intimidation against her, her family, and her spiritual community.

Kelley Lynch Targets City Attorney’s Absurd “Drone Valentine” Allegation in Letter to the CIA Kelley Lynch, embroiled in ongoing legal battles in Los Angeles, has taken her fight to an unexpected source—the CIA. In a bold move, Lynch penned a letter to the intelligence agency questioning the absurdity of allegations raised by the City Attorney, who claimed that a humorous Valentine’s Day card she sent to the FBI and DOJ was “threatening.” The card, which featured a cartoon drone with the caption, “I’m taking you out this Valentine’s Day,” has become a focal point of the prosecution’s efforts to paint Lynch as a menace. The controversy stems from an email Lynch sent to federal authorities, including the DOJ and FBI, in which she shared the satirical card [which appeared alongside commentary on Glenn Greenwald’s article about the DOJ’s infamous White Memo on drones]. According to Lynch, the card was intended as a lighthearted critique of the misuse of drones, a sentiment that was met with laughter and approval by her friends, including a celebrity hairdresser.

“I sent this card to the FBI and others noting this is the type of insane threat authorities in LA would use against someone,” Lynch wrote in her letter to the CIA. “And, voilà, prosecutor Sandra Jo Streeter thought this Valentine’s Day card was threatening.” Streeter’s fixation on the card in court proceedings, Lynch claims, is emblematic of a broader effort to criminalize her legitimate legal and personal communications. In her letter, Lynch humorously questioned whether the CIA has a “Citizen Drone Lending Program,” a tongue-in-cheek jab at the absurdity of the allegations. “Does the CIA loan private citizens drones?” she asked. “This is clearly an issue with respect to me and prosecutor Sandra Jo Streeter.” The case took an even stranger turn when Lynch revealed that the LAPD’s Threat Management Unit (TMU) was involved in targeting her, despite what she describes as a complete lack of credible evidence. The card was used as an example of Lynch’s alleged threats, though she maintains it was a satirical commentary on governmental overreach. “Detective Viramontes didn’t even seem to know what the actual threat was,” Lynch noted, referring to her ongoing battle with false allegations and fraud restraining orders tied to Leonard Cohen and Leonard Cohen’s estate. Lynch’s letter to the CIA underscores the Kafkaesque nature of the case against her. By drawing attention to the absurdity of the drone Valentine allegations, she seeks to highlight what she views as a campaign of harassment and intimidation orchestrated by the City Attorney. Whether the CIA will respond remains to be seen, but Lynch’s latest move is a testament to her determination to expose what she believes is a gross miscarriage of justice. Artwork - Kelley Lynch in her modern Tibetan-inspired chic attire, seated in a stylish office while writing a letter to the CIA. The background highlights her humorous Valentine's Day cards and blends Tibetan and modern decor elements.

Kelley Lynch, known for her wit and creativity, mused that the infamous "drone Valentine" card might make a cheeky addition to a new greeting card line. Once the owner of a thriving greeting card company—also destroyed by Leonard Cohen—Lynch has considered rebuilding the business, though much of the original artwork was lost. For now, she’s channeling her artistic talents into other design projects while tackling her ongoing legal battles. Artwork - Kelley privately mentioned to CIA that her greeting cards sold well on military bases also.

In reality, Cohen’s troubles were self-inflicted: • Mismanaged Entities: Cohen failed to report income, misused funds from Traditional Holdings, LLC, and disguised loans as revenue. • Substance Abuse: A long history of drug and alcohol struggles compounded his instability. • Lavish Spending: Despite his ascetic image, Cohen’s spending included gifts, houses and commercial properties for family, a near arboretum for Anjani Thomas, and excessive withdrawals. Artwork - In the artwork, Kelley Lynch sits in meditation, embodying calm and focus despite the turmoil symbolized by the pile of cash and bottle of booze before her—emblems of the controversies and burdens linked to Leonard Cohen’s aggressive tax strategies (constantly complaining about "ordinary income tax"), financial mismanagement, substance abuse, and propaganda, for which she was often scapegoated. Meanwhile, Cohen is depicted skipping toward her with a playful, carefree abandon, his demeanor a stark contrast to Kelley’s tranquility. Disheveled yet charismatic, Cohen clutches imaginary bottles of booze and pills in one hand while tossing cash with the other, visually representing his lavish spending, erratic behavior, and chaotic financial decisions. In the background, a lush near-arboretum, symbolizing Cohen’s extravagant gestures like creating a verdant haven for Anjani Thomas, adds a layer of irony to the scene, juxtaposing the serenity of nature with the disorder of his personal and financial dealings.

The artwork captures Leonard Cohen and Anjani Thomas together in a serene arboretum, lush with vibrant greenery and carefully curated flora—a haven gifted to Anjani as part of Cohen's generous donations, including a house acquired through Traditional Holdings. Cohen, depicted with a sly expression, sits in front Anjani Thomas as they share a whispered conversation. The scene conveys an air of intimacy and complicity, as if they are crafting gossip, lies, and rumors about Kelley Lynch to bolster their narrative. Anjani, adorned in elegant attire befitting her serene surroundings, exudes quiet satisfaction, her expression hinting at the personal and financial benefits reaped from her deceit and Cohen's orchestrations. The juxtaposition of the idyllic arboretum with the underlying tension of their conversation underscores the duplicity behind the façade of tranquility. Anjani Thomas, Robert Kory's ex-wife, who introduced Leonard Cohen to Kory as part of efforts to target Kelley Lynch, now seeks to position herself as a trustee alongside Cohen's adult children, aiming to replace her ex-husband, who assumed the role through a forged trust document.

Leonard Cohen: A Buddhist Hustler or a Poet Wronged? Explosive Revelations from Steven Machat In his book Gods, Gangsters & Honour, Steven Machat delivers a scathing critique of Leonard Cohen, painting a starkly different portrait of the beloved singer-songwriter from his public image. The book reveals alleged business manipulations, tax avoidance schemes, and a penchant for casting himself as a victim—particularly in his widely publicized legal battle against Kelley Lynch, his former manager. Machat recalls Cohen as a man who "sees truth only inside his illusions," describing encounters with him that ranged from uncomfortable meetings at Chinese restaurants to Cohen’s claims of being “ripped off” by Machat’s late father, who had managed Cohen’s business interests. According to Machat, Cohen’s accusations often lacked merit but served as a convenient narrative to justify his actions.

Cohen’s lawsuit against Lynch, accusing her of embezzling millions while he retreated to a Zen Buddhist monastery, also comes under scrutiny. Machat suggests that the legal drama was as much about deflecting blame for Cohen’s financial missteps—including early withdrawals from his pension funds, which carried significant tax penalties—as it was about recovering lost funds. "The penalties could actually be greater than the tax itself," Machat writes, arguing that Cohen’s accusations against Lynch may have been strategic rather than truthful. Machat further details Cohen’s complex relationship with money, describing his use of tax shelters, bearer bonds, and offshore companies to minimize liabilities—all seemingly at odds with his image as a spiritual and unmaterialistic artist. "Far from being the poet of the spirits, Leonard was a hustler using Buddhism as a facade," Machat claims, offering a controversial perspective on Cohen’s spiritual pursuits.

The book also touches on Cohen’s tumultuous personal relationships and his alleged discomfort around those he feared might sue him. Machat’s vivid anecdotes, including Cohen’s awkward run-in with him and Rebecca De Mornay, add a personal layer to the revelations. Ultimately, Machat portrays Cohen as a man trapped by his own narratives, casting himself into what he calls "a hell of his own making." These revelations will undoubtedly reignite debates about the true nature of Leonard Cohen—spiritual sage or calculating hustler. Artwork - Steven Machat in a vibrant rock 'n roll environment, reflecting his multifaceted career as an attorney, manager, and record company owner.

The Good Rock ’n Roll Stories: Phil Spector’s Perspective

While Cohen’s anecdotes of chaos captivated the public, Phil Spector’s "good rock ’n roll stories" reveal the life of a true industry pioneer. From flying alongside The Beatles during their first U.S. tour to producing Let It Be, John Lennon, George Harrison, the Righteous Brothers, Gene Pitney, and Ike & Tina Turner, Spector’s Wall of Sound defined an era. Unlike Cohen, Spector’s stories weren’t distractions; they were evidence of his creative genius. His collaborations showcased a visionary mind thriving in the chaos Cohen merely romanticized.

Good Rock ‘n Roll Story: Oliver Stone Leonard Cohen, ever the master manipulator of narrative, falsely accused Kelley Lynch of being his lover and mistress—a salacious claim designed to divert attention from his tax fraud defense while feeding the sensationalist appetites of mainstream media.

The baseless allegations not only painted Lynch as a femme fatale but also served Cohen’s strategic goals: to entangle Lynch in a media circus and distract from his financial misdeeds. Adding fuel to the fire, Cohen's insinuations extended into Lynch’s personal life, reportedly involving filmmaker Oliver Stone [by falsely claiming to the father of Lynch's younger son that she and Oliver Stone had a sexual relationship while Lynch and Lindsey were together. This allegation was made during a meeting between Cohen, Kory, and Steven Lindsey at Lindsey's office, as later conveyed by Lindsey to Lynch.] in an attempt to ignite a custody battle over Lynch’s younger son.

This fabricated drama, complete with “rock ’n roll good stories” of chaos and infidelity, epitomized Cohen’s penchant for twisting reality into a spectacle, positioning himself as a victim of betrayal while leaving Lynch to weather the fallout of his carefully orchestrated smear campaign.

CIA, FSB Peace Proposals, Lynch/Machat/Stankevich Entertainment Projects, and KGB Files on Lennon Kelley Lynch’s revelations venture far beyond the music industry, diving deep into the realm of global intrigue. While collaborating on potential entertainment projects with former FSB Alpha Unit members, Steven Machat, Stanislav Stankevich, and the FSB's PR Division, Lynch claims that Russia’s federal security service, the FSB, approached her with an extraordinary peace proposal for the CIA. At the request of a former FSB Alpha Unit member and FSB PR, Lynch wrote and transmitted a detailed letter to the CIA outlining the proposal and later followed up to ensure it was received.

The entertainment projects included a creative collaboration led by Steven Machat, who represented Stanislav Stankevich’s now ex-wife—a talented singer and songwriter—as her manager. Stankevich, a former FSB Alpha Unit Counter-Terrorism Commander now connected to Russia’s Ministry of Justice, brought his influence and network to the table, aiming to bridge cultural gaps through innovative ventures.

The FSB’s peace proposal also included an unprecedented gesture to Kelley Lynch: the release of KGB files on John Lennon, rumored to contain sensitive information about his political activism and Cold War-era surveillance. "Stanislav said the FSB was not quite ready to release the Lennon files," Lynch reveals. "But they wanted me to deliver their peace proposal to the CIA first."

This extraordinary narrative, where entertainment projects and global intelligence intersect, highlights the power of creative diplomacy and cultural exchanges that gained prominence during the Cold War. It showcases the pivotal role of music—ranging from the British Invasion and Phil Spector's productions to The Beatles and Corey Banks' parents' involvement in the Moody Blues' iconic cover of "Go Now"—in shaping both art and geopolitics. The story underscores the unique roles of Kelley Lynch, Steven Machat, and Stanislav Stankewich in navigating a complex web of cultural collaboration, espionage history, and modern-day diplomacy, weaving together the arts and high-stakes global initiatives. This intricate web of cultural collaboration and geopolitics also mirrors Oliver Stone's efforts, as seen in his interviews with Russian President Vladimir Putin and his attempts to address the looming threats of nuclear war through the lens of diplomacy and open dialogue.

In all communications with FSB Alpha Unit members and the FSB PR Division, Kelley Lynch ensured transparency by copying the FBI, CIA, and NSA due to the grave hostilities between the U.S. and Russia.

Her aim was not only to foster openness in this sensitive collaboration but also to express interest in obtaining relevant U.S. intelligence files for the project.

This extraordinary narrative,

where entertainment projects and global intelligence intersect, highlights the power of creative diplomacy and cultural exchanges that gained prominence during the Cold War. - Artwork - Kelley Lynch meeting with representatives of the FBI, CIA, and NSA at the Russian Tea Room to discuss her entertainment project. Kelley spent countless hours with both Phil Spector and Leonard Cohen, separately of course, at the Russian Tea Room in NYC, a venue steeped in artistic and cultural history, making it a fitting backdrop for her project that intertwines the untold stories of the music industry, Cold War cultural exchanges, and global intelligence connections.

Media Manipulation: Shifting the Narrative Cohen’s mastery of media manipulation was central to his myth. Tales of guns, Cuban military officers, and spiritual detachment distracted from his financial mismanagement and shifted blame onto Lynch. His Cuban adventure—claiming a 14-year-old military officer held him at gunpoint—epitomizes his talent for mythmaking.

The Entertainment Project: Revealing Untold Stories and Cultural Connections In collaboration with Steven Machat and Stanislav Stankevich, Kelley Lynch is developing a potentially fascinating entertainment project that delves into the untold stories of Phil Spector, the British Invasion, and the music industry’s intertwined history with Cold War cultural exchanges. "This isn’t just about Leonard Cohen or Phil Spector," Lynch explains. "It’s about uncovering the hidden dynamics of the music world, the cultural exchanges with Russia, the Cold War’s influence, and the role of music in shaping global culture. It also touches on intriguing intelligence connections, including KGB, CIA, and FBI files on John Lennon—and possibly other iconic figures." Additionally, at Stanislav Stankevitz's request, former FSB Alpha Unit members, including scientists and lawyers such as Kelley Lynch's dear friend Irina Raiskaia (also a former member of FSB's Alpha Unit), have reviewed the Phil Spector forensics, legal documents, and other case materials. Their conclusions appear to align with those of Phil Spector, his legal team, and his forensic experts. This analysis will be part of the project, though the translated report has not yet been transmitted to Lynch or Machat.

The Manipulated Narrative Leonard Cohen’s carefully curated persona—part ascetic spirituality, part rebellious artist—masked a complex and turbulent reality of tax and financial mismanagement, legal controversies, and scapegoating. Cohen, often romanticized as a tortured artist, carried a past marked by substance abuse, mental health struggles, tax and financial problems, and a penchant for embellishment. His "good rock ’n roll stories"—ranging from alleged CIA ties, being mistaken as a paratrooper during the Bay of Pigs and nearly hit by an air raid and missile strike, to alleged participation in MK Ultra (likely due to a psychology class he took at McGill), to tales of Cuban military officers and men holding guns on him—added a layer of intrigue but also blurred the line between truth and myth. These narratives often served to distract from more pressing issues, including his treatment of Kelley Lynch and the fallout from his lifelong history of financial and tax mismanagement.

Lynch, initially guided by her tax litigators and an accountant with a background in the IRS Criminal Division—who advised her she had no choice but to report the confirmed fraud across all Cohen-related entities—has uncovered and reported extensive tax fraud. The findings reveal a litany of tax, financial, and legal irregularities, painting a deeply troubling picture of fraud, mismanagement, deception, and outright theft.

Among the most egregious issues is Cohen's failure to report $8 million on the Traditional Holdings (TH) tax return, his failure to file tax returns for Blue Mist Touring (BMT) and Traditional Holdings since 2003 (both entities suspended for years), and his refusal to provide Lynch with the required tax forms for these entities and Old Ideas, LLC (OI). Cohen also employed multiple Social Security Numbers and fraudulently used Lynch's Social Security Number on LC Investments, LLC (his sole proprietorship) in documents submitted to the IRS.

The prosecutor, Cohen, and his paid witness lawyers extensively lied about federal tax matters, falsely claimed that Lynch was in receipt of federal tax forms for these entities, and misrepresented the tax issues as a "ruse." They further perpetuated the defamatory lie that Lynch was a "disgruntled former lover," which she most certainly was not. Lynch meticulously documented all of this for the IRS, FBI, and DOJ, including the prosecutor's "frivolous" and "fraudulent" federal tax and corporate legal arguments. Cohen claimed during legal proceedings and in testimony before the Los Angeles Superior Court that the IRS approved of his fraudulent use of a co-mingled default judgment to secure substantial tax refunds—a claim Lynch challenged as fraudulent, based on narratives rather than tax documentation or entity returns. This assertion, entirely unsupported by evidence, was directly contradicted by the IRS, which issued Lynch an identity theft PIN. Additional IRS inquiries were prompted by irregularities with 1099 filings, including one for $1 million and another for $7 million.

Lynch further uncovered Cohen’s manipulation of Stranger Music, Inc. (SMI) during the first Cohen IP transaction, including a charitable gift of stock to Mt. Baldy (previously audited by the IRS) and its sale to Sony, while excluding Steven Machat, a rightful stakeholder. For years, Steven Machat informed Cohen and Lynch that he held an ownership interest in Stranger Music, Inc. (SMI). Lynch eventually located the relevant documents in boxes of corporate records she had stored at her home for years. These records pertained to entities co-owned by Cohen and Lynch, which Lynch had stored at Cohen's request due to the fact that he renovated his garage to build a home recording studio and guest suite. Lynch transmitted the documents to Machat and was subsequently targeted by the prosecutor over the SMI documents and the related tax issues and consequences. In the second Cohen IP transaction, Traditional Holdings sold assets to Sony that it did not legally own, while Cohen personally collected millions in royalties from these entities’ assets—misappropriating funds to his sole benefit. This pattern of misappropriation extended to royalties and other properties owed to Lynch, Machat, corporations adn partnerships, and Phil Spector for Death of a Ladies’ Man and Cohen’s alleged theft of Spector’s master recordings for the album. Cohen was also obligated to repay loans disguised as income, totaling $6.7–$8 million, with interest accruing since 2001–2003. The annuity obligation tied to these loans requires repayment by his heirs. Artwork - Depicting Leonard Cohen at Mt. Baldy Zen Center, playing tennis with a surreal background of a house made of playing cards and money

Lynch also filed extensive documentation with the Tax Court and IRS regarding Cohen's false statements in an earlier tax court petition related to Traditional Holdings (TH). These filings detailed Cohen's misrepresentation of a $1 million advance, which he personally took as a non-refundable down payment on the TH deal, as well as his improper transaction fees—amounting to millions—that were also paid personally on Cohen's behalf by TH. These revelations further highlight the pervasive financial misconduct and deception surrounding Cohen’s dealings, underscoring the gravity of the tax fraud and mismanagement at the heart of Lynch’s battle for accountability.

The estate’s administration has been equally fraught with controversy. Cohen’s estate and trust have refused to provide tax documents or returns to Kelley Lynch for OI, BMT and TH, even as significant transactions were carried out. These include the sale of Cohen’s musical properties (owned by BMT and Old Ideas, LLC) via Stranger Music, Inc. and Old Ideas to Hipgnosis. Lynch and Machat have not received the necessary tax documentation to assess this sale, leaving Machat unable to amend his father’s estate tax returns and Lynch unable to address items related to undistribued income, legal and tax filings accurately. Adding to this financial labyrinth are significant federal tax issues tied to Cohen’s estate, including the failure to report $48–$50 million in intellectual property valuations on estate tax returns and the employment of aggressive estate tax strategies. Further compounding these issues is the $58 million Hipgnosis deal, in which assets from Blue Mist Touring (BMT) were sold, despite SMI intellectual property having been irrevocably assigned to BMT by Cohen in the mid-1990s. Additionally, there has been a complete failure to provide Lynch or Steven Machat with the necessary tax documents related to this sale, obstructing their ability to address their respective legal and financial obligations. These revelations underscore the pervasive mismanagement and deception surrounding Cohen’s financial dealings, raising serious questions about the integrity of his estate’s administration and the broader accountability of those involved.

These efforts to obscure financial realities were compounded by Cohen’s lies, fraud, and perjury in legal filings, as well as false statements during City Attorney proceedings made by Cohen, his representatives (Kory and Rice), and even the prosecutors. Lynch has meticulously documented these actions and filed IRS whistleblower Form 211, called Senator Chuck Grassley's Office in DC regarding Cohen's fraudulent tax refund and unlawful ues of her SNN and other tax shenanigans, as well as reported everything to the IRS, FBI and DOJ, including her evidence of the decades plus stalking and harassment operation.

Lynch, driven by the relentless targeting of herself, her sons, and others, has been compelled to expose deeper truths about Leonard Cohen’s life and legacy. These revelations include Cohen’s offshore accounts during the 1970s while he held a U.S. green card, the New Era scandal, BV (the offshore entity), and his failure to report global income on his federal tax returns during that period. Adding to this are Cohen's excessive and often questionable spending habits, which starkly contrast with his routine neglect of contractual obligations that caused chronic financial stress.

Cohen's spending included extravagant gifts to friends and the Mt. Baldy Zen Center—such as $500,000 in 1996 alone—along with purchases of homes for Adam Cohen and Anjani Thomas using Traditional Holdings assets, as Cohen confirmed during his testimony. He also bought a commercial property for Lorca Cohen to house her store and a near-arboretum property for Anjani Thomas' residence. Cohen’s generosity extended to spending thousands on gifts such as a baby grand and nearly a full arboretum with handmade brick paths and flowering fruit tress for Anjani Thommas, $17,000 on a statue for Elton John's manager's assistant, someone Cohen barely knew but who was a friend of Lynch. Additionally, he provided monthly financial support for his children, reportedly exceeding $6,000, while his own financial mismanagement left his business obligations unmet.

These findings directly challenge the carefully curated myths Cohen propagated to shield his reputation. Lynch’s relentless pursuit has illuminated Cohen’s moral compromises, his fraudulent handling of finances and taxes, and the broader systemic failures that enabled these actions to persist unchecked. In doing so, she has dismantled the meticulously constructed facade that once protected his legacy.

Cohen, often romanticized as a tortured artist, had a past marked by lifelong substance abuse, including drugs and alcohol, which eventually led to intermittent stays at Mt. Baldy. These stays were not permanent; he retreated there from time to time, participated in interviews (including regarding the Tower of Song tribute album Kelley Lynch served as executive producer on and developed) and documentaries, and worked on new materials for future projects. During his time at Mt. Baldy, Cohen focused on creating materials for new books, albums, and lithographs—projects tied to contractual obligations for which he had already received millions in advances. His struggles with mental health and a penchant for fabricating “good rock ’n roll stories” served to obscure the darker truths of his financial and personal dealings. Lynch’s fight for transparency not only dismantles Cohen’s carefully cultivated persona but also raises critical questions about accountability, ethics, and justice within his estate and the larger music industry. This ongoing battle underscores Lynch's dedication to uncovering the truth, even as she faces the monumental task of holding Cohen’s estate, trust, and representatives accountable for years of mismanagement, lies, and deceit.

Leonard Cohen’s public persona, meticulously crafted over decades, painted him as a tortured poet, a man grappling with profound spirituality, artistic rebellion, and the human condition. Yet, behind this carefully constructed facade lay a different reality: a man with a history of substance abuse, moral compromises, and a remarkable ability to manipulate narratives. While Cohen’s poetic brilliance is undeniable to many, his personal life was rife with contradictions. His tales of sexual conquests—repeatedly glorified by fawning journalists—were often exaggerated (such as with Janis Joplin) and, in some cases, outright fabrications. Among these falsehoods was the defamatory claim that Kelley Lynch, his former manager, was one of his conquests. This calculated lie not only injured Lynch’s reputation but also harmed her children, who were directly impacted by the reckless and defamatory coverage that followed.

The mainstream media, captivated by Cohen’s mystique, eagerly amplified his narratives without scrutiny, often targeting Lynch as part of the spectacle. Their sensationalized portrayals defamed her, perpetuating myths that served Cohen’s agenda while shielding him from accountability for his financial misdeeds. This uncritical adoration extended to Cohen’s so-called “good rock ’n roll stories,” which sanitized or outright ignored the darker truths surrounding figures like Lynch, Steven Machat, Phil Spector, and even Cohen’s fraudulent financial dealings with the IRS. Artwork - LC on Mt. Baldy with MSM, journalists, biographers, and a documentary maker promoting upcoming projects and his religious front.

Journalists, awe-struck by Cohen’s poetic allure, appeared willing to sanitize any tale, no matter how damaging, just to bask in his presence, share a meal, and sip from a $2,000 bottle of Château Latour wine with religious kitsch props conveniently staged in the background.

Cohen, a man who “wore a mask for anyone,” thrived on this adulation. While Lynch was raised in the Roman Catholic faith and also a devoted student of Tibetan Buddhism, Cohen (a so-called ordained Buddhist monk) never exhibited any genuine engagement with religions such as Judaism.

Lynch recalls visiting a chapel in Montreal with Cohen—an event that had less to do with spiritual reflection and more to do with Cohen’s fascination with the gift shop, where he purchased religious trinkets related to Kateri Tekakwitha. His spiritual affectations, much like his rock ‘n roll stories, were often tools for performance rather than genuine expressions of faith.

In the end, Cohen’s legacy remains as complex as the man himself. He was a gifted artist, a tortured soul, and a master mythmaker who wielded his charm and talent to shield his own flaws and failures. His art as a poet and musician is forever etched in history, but so too are the contradictions and harm he left in his wake. Kelley Lynch’s story stands as a counterpoint to the myths, exposing the human flaws and moral compromises behind the legend—a legend perpetuated not only by Cohen but by a media complicit in its creation. Artwork - Leonard Cohen, the architect of his disaster.

Disclaimer: The article and accompanying illustrations present Kelley Lynch as a "haute couture Buddhist" hipster character in an imaginative and stylized portrayal. This depiction reflects an artistic and surreal interpretation inspired by the complex legal disputes and public narratives that followed her split from Leonard Cohen. The additional choice to portray Lynch at times adorned in jewels and sophisticated attire references Cohen's statements after their parting, where he attributed her alleged “downfall” to extravagant spending on items like jewelry, shoes, and haute couture—a narrative Lynch firmly disputes.

Copyright © 2024 Kelley Lynch. Unauthorized reproduction, distribution, modification, or use of artwork and/or content in any form is strictly prohibited without written consent. All rights reserved.

Photo - Jill (Steven Segal's assistant, His Holiness Kusum Lingpa, and Kelley)

See some of the assets that weren't valued for IRS on the estate tax return per estate/probate filings. Leonard Cohen, Self-Portrait, "Angry at 11 pm", 1991. Colour instant print [Polaroid Spectra]. Overall: 7.3 x 9.2 cm. © Leonard Cohen Family Trust [and Kelley Lynch, although the Estate/Trust has failed to provide her with tax forms and other information, as shareholder in Old Ideas, LLC, Blue Mist Touring Company, Inc., etc.]

https://nextmag.ca/massive-leonard-cohen-celebration-a-deeply-intimate-exhibit/