From: Kelley Lynch <kelley.lynch.2010@gmail.com>
Date: Mon, Mar 18, 2013 at 11:25 AM
Subject: Phil Spector: Exculpatory Evidence
To: "Francisco.A.Suarez" <Francisco.A.Suarez@verizon.net>, Dennis <Dennis@riordan-horgan.com>, "*irs. commissioner" <*IRS.Commissioner@irs.gov>, Washington Field <washington.field@ic.fbi.gov>, ASKDOJ <ASKDOJ@usdoj.gov>, "Kelly.Sopko" <Kelly.Sopko@tigta.treas.gov>, "Doug.Davis" <Doug.Davis@ftb.ca.gov>
Francisco,
Date: Mon, Mar 18, 2013 at 11:25 AM
Subject: Phil Spector: Exculpatory Evidence
To: "Francisco.A.Suarez" <Francisco.A.Suarez@verizon.net>, Dennis <Dennis@riordan-horgan.com>, "*irs. commissioner" <*IRS.Commissioner@irs.gov>, Washington Field <washington.field@ic.fbi.gov>, ASKDOJ <ASKDOJ@usdoj.gov>, "Kelly.Sopko" <Kelly.Sopko@tigta.treas.gov>, "Doug.Davis" <Doug.Davis@ftb.ca.gov>
Francisco,
This information will appear in the document I am finishing up for you. This is exculpatory evidence. Streeter continues to conceal the fact that she received this email on April 5, 2012 which (I believe) is when the trial again. I've included Phil Spector's prosecutor's version; Mick Brown's emails re. Cohen's statements (vs. testimony) presented to the Grand Jury; and a fourth version that includes a bottle of wine. Phil Spector's prosecutors left the bottle of wine out although Cohen himself told this version to BBC Radio. Phil Spector's prosecutors use a semi-automatic weapon but Cohen testified that it was an automatic. I think it's important to address this issue with the appellate court. This proves Leonard Cohen perjured himself when he testified that Phil Spector held a gun to his head. The perjury is indeed excessive. Streeter misstates facts, distorts, takes it out of context, questions Cohen and elicits perjured testimony - for instance, the email he testified that he received, etc. Hopefully this one document will help you because this is complicated. I would like the email about Gianelli and NAMBLA addressed. I think that was just Streeter presenting distorted and deceptive evidence to the jurors.
I would like to talk to you, once you have the full document, about the fact that Stephen Gianelli has filed a fraudulent document about me with the IRS. This man does not know me and cannot possibly know what I have or haven't paid the IRS. He is completely out of control; his obsession with me is psychotic; and he clearly has motive.
All the best,
Kelley
PD: Now, I want to talk to you about what you mean by threatened. You actually -- you were telling us about Phil Spector. You were testifying about talking to the LAPD.
Cohen: Yes, sir.
PD: And you talked to the LAPD with your attorney, correct?
Cohen: With an attorney present, yes, sir. RT 308
PD: You started talking about an interview or a story about Phil Spector, correct?
Cohen: Correct.
PD: And how he would oftentimes have guns when you were producing an album, correct? He would have guns in the studio when he was producing an album with you?
Cohen: That’s correct. RT 308
PD: Was he drunk at the time when he had these guns?
Cohen: I don’t remember, sir.
PD: Was he hostile at the time?
Cohen: Not to me.
Francisco, I think the appellate court should be made aware of the email Cohen sent Streeter with a different version of his Phil Spector gun story. I will insert a copy of that at the end of this document. That version involves a gun to the neck. I think we should also address the fact that Phil Spector’s prosecutors used a version that involves a semi-automatic held to Phillip’s chest. The email to Streeter, from Cohen, proves that he - yet again - perjured himself. I suppose that’s why she feels comfortable concealing that piece of extremely relevant evidence.
PD: But he actually put a gun to your head? Is that correct?
Cohen: That’s correct.
PD: It was a revolver?
Cohen: No, it wasn’t a revolver. It was an automatic.
PD: But you weren’t actually -- you didn’t feel threatened when he put a gun to your head?
Cohen: No, sir. RT 309
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?
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 t 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 a lawyer present, so she arranged for attorney Steven M. Cron to be there for the interview. Mr. Cron asked Kelley Lynch to excuse herself, and she left the room.
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. In ever 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.
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 soay, I did not testify before a Grand Jury.
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 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 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 <mick.brown@telegraph.co.uk>
Date: Mon, Oct 29, 2012 at 4:18 AM
Subject: Re: Kelley Lynch Trial - Leonard Cohen, Phil Spector
To: Kelley Lynch <kelley.lynch.2010@gmail.com>
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.
Mick
The People of the State of California vs. Phil Spector
Case No. BA255233
MEMORANDUM OF POINTS AND AUTHORITIES IN SUPPORT OF MOTION TO ADMIT EVIDENCE OF OTHER CRIMES
OTHER ACTS OF GUN-RELATED VIOLENCE SUBMITTED FOR RECONSIDERATION
On February 17, 2005, the People filed a motion in limine to admit evidence of other acts committed by Spector. Under that separate cover, the facts of the following incidents were set forth in detail and in their entirety. Thus, in an effort towards brevity, only a short recitation of such incidents will be discussed below.
C. The 1977 Brandishing on Leonard Cohen
1977, Spector produced musician Leonard Cohen's record album, "Death of a Ladies man." during production of the record, Cohen and Spector, who were friends, were taking a break in the lobby of the music studio. Spector walked up to Cohen, placed on arm around Cohen's shoulders, and pointed a semi-automatic pistol at Cohen's chest with his other hand. Spector told Cohen, "I love you Leonard." Cohen looked at Spector and said, "I hope so, Phil." Spector then walked away from Cohen.
http://sprocket-trials.
Harvey Kubernik:
The track Cohen and Spector are particularly interested in listening to right now is "Don't Go Home With Your Hard-On," the album's all-out stomper, with hosts of loud horns and pulsating beat that's hammered all the way home by dual drummers playing in perfect synch. Above it all, comes Cohen's menacing, gritty vocal work, which holds center stage in a most unexpected but effective way. "I can really belt 'em out, you know," says the singer, as he takes a swig of Jose Cuervo from the bottle.
But that is hardly enough for Phil Spector--whose brilliance only starts with the songs he writes, but really gets to shining when he gets those songs into a studio. And so it is obvious that the Leonard Cohen sessions have been important to him--almost therapeutic. He certainly seems to be taking his work extremely seriously: He has been decidedly less theatrical in the studio of late; the usual Spector circus atmosphere seems to have been replaced at least in part by a rediscovered, or new interest in the music itself. And that seems to be very good medicine, both for Spector and for Cohen.
http://music.yahoo.com/blogs/
That happened at a very curious time in my life because I was at a very low point, my family was breaking up, I was living in Los Angeles which was a foreign city to me, and I'd lost control, as I say, of my family, of my work, and my life, and it was a very very dark period. And when he got into the studio it was clear that he was an eccentric, but I didn't know that he was mad. He's not mad any longer, I've spoken to him on the phone recently, he's really quite reasonable and calm, but we were, you know, I was flipped out at the time and he certainly was flipped out, my flipped out was, you know, the expression was withdrawal and melancholy, and his was megalomania and insanity, and the kind of devotion to armaments, to weapons, that was really intolerable. With Phil, especially in the state that he found himself, which was post-Wagnerian, I would say Hitlerian, the atmosphere was one of guns, I mean that's really what was going on, was guns. The music was subsidiary an enterprise, you know people were armed to the teeth, all his friends, his bodyguards, and everybody was drunk, or intoxicated on other items, so you were slipping over bullets, and you were biting into revolvers in your hamburger. There were guns everywhere. Phil was beyond control … And at a certain point Phil approached me with a bottle of Manishewitz kosher red wine in one hand and a 45 in the other, put his arm around my shoulder and shoved a revolver into my neck and said, "Leonard, I love you". I said, "I hope you do, Phil".
http://www.webheights.net/
Cohen: Yes, sir.
PD: And you talked to the LAPD with your attorney, correct?
Cohen: With an attorney present, yes, sir. RT 308
PD: You started talking about an interview or a story about Phil Spector, correct?
Cohen: Correct.
PD: And how he would oftentimes have guns when you were producing an album, correct? He would have guns in the studio when he was producing an album with you?
Cohen: That’s correct. RT 308
PD: Was he drunk at the time when he had these guns?
Cohen: I don’t remember, sir.
PD: Was he hostile at the time?
Cohen: Not to me.
Francisco, I think the appellate court should be made aware of the email Cohen sent Streeter with a different version of his Phil Spector gun story. I will insert a copy of that at the end of this document. That version involves a gun to the neck. I think we should also address the fact that Phil Spector’s prosecutors used a version that involves a semi-automatic held to Phillip’s chest. The email to Streeter, from Cohen, proves that he - yet again - perjured himself. I suppose that’s why she feels comfortable concealing that piece of extremely relevant evidence.
PD: But he actually put a gun to your head? Is that correct?
Cohen: That’s correct.
PD: It was a revolver?
Cohen: No, it wasn’t a revolver. It was an automatic.
PD: But you weren’t actually -- you didn’t feel threatened when he put a gun to your head?
Cohen: No, sir. RT 309
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?
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 t 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 a lawyer present, so she arranged for attorney Steven M. Cron to be there for the interview. Mr. Cron asked Kelley Lynch to excuse herself, and she left the room.
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. In ever 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.
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 soay, I did not testify before a Grand Jury.
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 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 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 <mick.brown@telegraph.co.uk>
Date: Mon, Oct 29, 2012 at 4:18 AM
Subject: Re: Kelley Lynch Trial - Leonard Cohen, Phil Spector
To: Kelley Lynch <kelley.lynch.2010@gmail.com>
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.
Mick
The People of the State of California vs. Phil Spector
Case No. BA255233
MEMORANDUM OF POINTS AND AUTHORITIES IN SUPPORT OF MOTION TO ADMIT EVIDENCE OF OTHER CRIMES
OTHER ACTS OF GUN-RELATED VIOLENCE SUBMITTED FOR RECONSIDERATION
On February 17, 2005, the People filed a motion in limine to admit evidence of other acts committed by Spector. Under that separate cover, the facts of the following incidents were set forth in detail and in their entirety. Thus, in an effort towards brevity, only a short recitation of such incidents will be discussed below.
C. The 1977 Brandishing on Leonard Cohen
1977, Spector produced musician Leonard Cohen's record album, "Death of a Ladies man." during production of the record, Cohen and Spector, who were friends, were taking a break in the lobby of the music studio. Spector walked up to Cohen, placed on arm around Cohen's shoulders, and pointed a semi-automatic pistol at Cohen's chest with his other hand. Spector told Cohen, "I love you Leonard." Cohen looked at Spector and said, "I hope so, Phil." Spector then walked away from Cohen.
http://sprocket-trials.
Harvey Kubernik:
The track Cohen and Spector are particularly interested in listening to right now is "Don't Go Home With Your Hard-On," the album's all-out stomper, with hosts of loud horns and pulsating beat that's hammered all the way home by dual drummers playing in perfect synch. Above it all, comes Cohen's menacing, gritty vocal work, which holds center stage in a most unexpected but effective way. "I can really belt 'em out, you know," says the singer, as he takes a swig of Jose Cuervo from the bottle.
But that is hardly enough for Phil Spector--whose brilliance only starts with the songs he writes, but really gets to shining when he gets those songs into a studio. And so it is obvious that the Leonard Cohen sessions have been important to him--almost therapeutic. He certainly seems to be taking his work extremely seriously: He has been decidedly less theatrical in the studio of late; the usual Spector circus atmosphere seems to have been replaced at least in part by a rediscovered, or new interest in the music itself. And that seems to be very good medicine, both for Spector and for Cohen.
http://music.yahoo.com/blogs/
[Don't Go Home With Your Hard-On]
Leonard CohenThat happened at a very curious time in my life because I was at a very low point, my family was breaking up, I was living in Los Angeles which was a foreign city to me, and I'd lost control, as I say, of my family, of my work, and my life, and it was a very very dark period. And when he got into the studio it was clear that he was an eccentric, but I didn't know that he was mad. He's not mad any longer, I've spoken to him on the phone recently, he's really quite reasonable and calm, but we were, you know, I was flipped out at the time and he certainly was flipped out, my flipped out was, you know, the expression was withdrawal and melancholy, and his was megalomania and insanity, and the kind of devotion to armaments, to weapons, that was really intolerable. With Phil, especially in the state that he found himself, which was post-Wagnerian, I would say Hitlerian, the atmosphere was one of guns, I mean that's really what was going on, was guns. The music was subsidiary an enterprise, you know people were armed to the teeth, all his friends, his bodyguards, and everybody was drunk, or intoxicated on other items, so you were slipping over bullets, and you were biting into revolvers in your hamburger. There were guns everywhere. Phil was beyond control … And at a certain point Phil approached me with a bottle of Manishewitz kosher red wine in one hand and a 45 in the other, put his arm around my shoulder and shoved a revolver into my neck and said, "Leonard, I love you". I said, "I hope you do, Phil".
http://www.webheights.net/
