Tuesday, February 3, 2015

U.S. Judges See 'Epidemic' Of Prosecutorial Misconduct In California



Federal judges accuse California bar of turning a blind eye to an 'epidemic' of prosecutorial misconduct

The hearing seemed largely routine until a state prosecutor approached the lectern.
Deputy Atty. Gen. Kevin R. Vienna was there to urge three judges on the U.S. 9th Circuit Court of Appeals to uphold murder convictions against Johnny Baca for two 1995 killings in Riverside County. Other courts had already determined that prosecutors had presented false evidence in Baca's trial but upheld the verdicts anyway.
Vienna had barely started his argument when the pummeling began.
Judge Alex Kozinski asked Vienna if his boss, Atty. Gen. Kamala D. Harris, wanted to defend a conviction "obtained by lying prosecutors." If Harris did not back off the case, Kozinski warned, the court would "name names" in a ruling that would not be "very pretty."
Judge Kim Wardlaw wanted to know why Riverside County prosecutors presented a murder-for-hire case against the killer but did not charge the man they said had arranged the killings.
"It looks terrible," said Judge William Fletcher.
The January hearing in Pasadena, posted online under new 9th Circuit policies, provided a rare and critical examination of a murder case in which prosecutors presented false evidence but were never investigated or disciplined.
The low-profile case probably would have gone unnoticed if not for the video, which attorneys emailed to other attorneys and debated on blogs.
In a series of searing questions, the three judges expressed frustration and anger that California state judges were not cracking down on prosecutorial misconduct. By law, federal judges are supposed to defer to the decisions of state court judges.
Prosecutors "got caught this time but they are going to keep doing it because they have state judges who are willing to look the other way," Kozinski said.
Santa Clara University law professor Gerald Uelmen said the judges' questions and tone showed they had lost patience with California courts. State judges are supposed to refer errant lawyers, including prosecutors, to the state bar for discipline, but they rarely do, Uelmen said.
"It is a cumulative type thing," Uelmen said. "The 9th Circuit keeps seeing this misconduct over and over again. This is one way they can really call attention to it."
A 2010 report by the Northern California Innocence Project cited 707 cases in which state courts found prosecutorial misconduct over 11 years. Only six of the prosecutors were disciplined, and the courts upheld 80% of the convictions in spite of the improprieties, the study found.
The case that sparked the court's recent outrage involved the killing of John Adair and his live-in partner, John Mix, two decades ago. Baca, a friend of Adair's adopted son, was working as a houseboy for the couple.
A jailhouse informant testified that Baca had confided the son planned the killing. The two were going to split Adair's inheritance, the informant said. Other witnesses testified that Adair was planning to disinherit his son, who was never charged in the case.
Baca was tried twice and found guilty both times. A state appeals court overturned the first verdict. The second withstood an appeal, even though the state court found the informant and a Riverside County prosecutor had given false testimony.
The informant falsely testified he had asked for and received no favors. The prosecutor falsely corroborated that on the stand, according to court records. Baca was sentenced to 70 years to life.
Patrick J. Hennessey Jr., who has represented Baca on appeal for nearly two decades, said he had never seen such an "egregious" case of prosecutorial misconduct.
"That is what bothered me," Hennessey said. "There was never a fair discussion of how serious the issue was."
A U.S. magistrate who next examined the case said Baca might not have been convicted of first-degree murder but for the false testimony. He said the federal court nevertheless was supposed to defer to the state courts.
"Sadly, this informant's lies were bolstered by a Deputy District Attorney, who also lied," wrote Magistrate Judge Patrick J. Walsh. "What is obvious … is that the Riverside County District Attorney's Office turned a blind eye to fundamental principles of justice to obtain a conviction."
Armed with the magistrate's report, the three judges on the 9th Circuit panel appeared incredulous about the facts of the case.
Wardlaw, a Clinton appointee, complained that California's courts were "condoning" prosecutorial misconduct by upholding verdicts, a rare public criticism of her fellow judges. She suggested that state judges, who must be approved by voters, fear inciting the public's wrath. Federal judges are appointed for life.
"I understand why they do that," Wardlaw said. "They are elected judges. They are not going to be reversing these things."
Fletcher, another Clinton appointee, observed that the state's attorney general had fought "tooth and nail" more than a decade ago to prevent a court from seeing a transcript that revealed the false evidence.
"It would look terrible in an opinion when we write it up and name names," Kozinski, a Reagan appointee, told the government lawyer. "Would your name be on?"
Vienna said he was not involved in the case at the time, but named others in the office.
Kozinski demanded to know why the informant and the testifying prosecutor were not charged with perjury. He suggested the state bar should pull the law license of the prosecutor who presented the evidence.
Retired Deputy Dist. Atty. Paul Vinegrad, who prosecuted Baca in both trials, said in an interview that he did not suspect deceit. He said he has since learned that his colleague who falsely testified — former Deputy Dist. Atty. Robert Spira — had memory problems and may have been confused. Spira, who no longer practices law, could not be reached for comment.
Vinegrad also said he believed in the murder-for-hire case he presented, but that there was not enough evidence to charge the son. The informant's testimony against the son would not have been admissible under legal rules at the time, Vinegrad said.
Kozinski, who in the past has spoken out about an "epidemic" of prosecutorial misconduct, asked Vienna whether Harris was aware of the case. Vienna indicated she probably was not. Kozinski told him to get her attention within 48 hours. Harris would need to take action if her office wanted to avoid an embarrassing ruling, Kozinski said.
"Make sure she understands the gravity of the situation," Kozinski said, adding that the case "speaks very poorly for the attorney general's office."
Harris, a candidate for U.S. Senate, changed course. Her office decided last week not to oppose Baca's challenge.
Mike Hestrin, Riverside County's newly elected district attorney, did not concede that the prosecutors' "misconduct" was intentional, but said his office would investigate the prosecutors' actions and retry Baca.
It will be Baca's third trial.
http://www.latimes.com/local/politics/la-me-lying-prosecutors-20150201-story.html#page=1

Kelley Lynch, Paulette Brandt, & Ann Diamond Interviews Re. Phil Spector & Leonard Cohen - Truth Sentinel

Kelley Lynch, Paulette Brandt, & Ann Diamond Interviews - Phil Spector & Leonard Cohen

https://www.youtube.com/watch?v=jVXTY0ATTR8

https://www.youtube.com/watch?v=PB1WMxTwnHg&list=UU7t908Rfern-QMwmk__aCnQ

Monday, February 2, 2015

Kelley Lynch's Email To CIA Re: Leonard Cohen


From: Kelley Lynch <kelley.lynch.2010@gmail.com>
Date: Mon, Feb 2, 2015 at 5:40 PM
Subject: 
To: "irs.commissioner" <irs.commissioner@irs.gov>, Washington Field <washington.field@ic.fbi.gov>, ASKDOJ <ASKDOJ@usdoj.gov>, "Division, Criminal" <Criminal.Division@usdoj.gov>, "Doug.Davis" <Doug.Davis@ftb.ca.gov>, Dennis <Dennis@riordan-horgan.com>, MollyHale <MollyHale@ucia.gov>, nsapao <nsapao@nsa.gov>, fsb <fsb@fsb.ru>, rbyucaipa <rbyucaipa@yahoo.com>, khuvane <khuvane@caa.com>, blourd <blourd@caa.com>, Robert MacMillan <robert.macmillan@gmail.com>, a <anderson.cooper@cnn.com>, wennermedia <wennermedia@gmail.com>, Mick Brown <mick.brown@telegraph.co.uk>, woodwardb <woodwardb@washpost.com>, "glenn.greenwald" <glenn.greenwald@firstlook.org>, lrohter <lrohter@nytimes.com>, Harriet Ryan <harriet.ryan@latimes.com>, "hailey.branson" <hailey.branson@latimes.com>, "stan.garnett" <stan.garnett@gmail.com>, sedelman <sedelman@gibsondunn.com>, JFeuer <JFeuer@gibsondunn.com>, "kevin.prins" <kevin.prins@ryan.com>


Hello CIA,

How insane.  "Sieg Heil."

All the best,
Kelley

SUNDAY, APR 6, 2014 12:30 PM PDT

Leonard Cohen’s worst tour ever: “I want to play mental asylums”

Naked people, acid trips, asylums. Welcome to Leonard Cohen's off-the-rails 1970 concert tour

LEONARD COHEN (CREDIT: AP/KAI-UWE KNOTH)

In the spring of 1970, the suits at Columbia Records, looking for a way to make some money off of the strangest artist in their stable, came up with a smashing idea: they would send Leonard Cohen on a European tour.
Stateside, the 36-year-old singer-songwriter wasn’t much of a chart-topper. His two albums have enjoyed modest success, and a few of his songs—“Suzanne,” say, or “Sisters of Mercy”—were covered by folk stalwarts like Judy Collins, but a decade older than the Hendrixes and the Morrisons and all of rock n’ roll’s younger and more alluring gods, Cohen was no one’s idea of a traditional rock star. On the Old Continent, however, his melancholy music and literary lyrics were celebrated; a European tour, went the record label’s logic, would help to widen Cohen’s fan base and give this poet-turned-singer just the career boost he needed. Cohen himself strongly disagreed. “The risks of humiliation,” he told an interviewer years later, “were too wide.” The label, however, insisted, and by May Cohen and his entourage were on the road.
Trouble brewed overnight. The tour’s second performance, a May 4 concert at the Musikhalle in Hamburg, was about to begin when news came of the shootings in Kent State University, which left four dead and nine wounded. Stage fright, Mandrax, and political violence proved a heady cocktail. Cohen took the stage, played a few songs, then goose-stepped and Sig Heiled. His outstretched arm drove the crowd mad. There was shouting. Some stormed the stage, which Cohen seemed to encourage. Someone thought someone had a gun. The police grew jittery. Peace was barely restored. Members of the band threatened to quit. None did, and Cohen’s entourage, feeling more like a military unit than a band of touring musicians, nicknamed itself The Army.
Cohen, its commander, was on the attack. Everywhere he went, he challenged the local police. At the Olympia, Paris’s celebrated concert hall, he urged the thousands in attendance to defy security and join him on stage. In Copenhagen he had them follow him back to his hotel. But if the local security guards were easy to overcome, the critics were less so. In London, Cohen sold out the Royal Albert Hall but failed to win over the press; his concerts, went the consensus, left “deep impressions of a sad and tortured wasteland.”
But if Cohen appeared uninterested in communicating with his listeners, his listeners sometimes seemed to return the favor. Everywhere he went, young men and women huddled together in what organizers billed as music festivals and expected something transcendent to happen. When it didn’t, when nothing but men and women with guitars took the stage and admission fees were charged and sanitation was failing, they often curdled. Rock stars arrived at gig after gig to find themselves booed for being mere performers and not legislators, gurus, or prophets. Sometimes, like the Rolling Stone concert at the free festival in Altamont, it ended in murder. Things were considerably calmer in Aix-en-Provence, but the same rancor was in the air: the naked people in the mud expected a revolution, and all they got was a lousy rock concert.
The Army realized the Aix festival would be trouble from the very drive up: the road leading to the bucolic field where the concert was to be held was blocked by dozens of cars, some having been abandoned by their owners, some occupied by irate and honking youth. It was the perfect visual representation of the festival’s contentious mood, an ongoing skirmish between the organizers and the audience. On one side were Jean-Pierre Rawson, a noted Paris music impresario, and Claude Clément, a French army general who was forced to resign his post because of his association with the Organisation de l’armée secrete, a paramilitary group that opposed France’s withdrawal from Algeria and tried to assassinate President Charles De Gaulle. His ultra-nationalist views aside, Clément was a patron of the arts and a member of the board of Aix-en-Provence’s celebrated opera festival, and he believed that the hippies’ love of music could, if cultivated, cure them of their boorish manners and their disdain for law and order. The local municipality was far from thrilled with the idea of throngs of young people, many of them still in the throes of the radical politics that had seized so many French students two years earlier, descending on the staid country town, but Clément had pull; he and Rawson, he promised, would produce a festival that would be to Woodstock what a fine baguette is to packaged sliced bread. The festival, its two producers announced, would be held on a 75-acre lot of privately owned land, and will feature three open-air stages, 22 bands and solo artists, 50 hostesses, 200 tents, a 20-line telephone center, and mobile surgical and maternity units. All these amenities were expected to serve 150,000 concert-goers, each paying the steep price of 55 francs per ticket.
Somewhere between seven and thirteen thousand people showed up. Clément’s involvement had turned many cold to the festival, especially when someone started a rumor that the general had hired harkis—native Algerians who had fought on the French side during that country’s war of independence—as security guards.  Those who did try to make it to the festival’s grounds were greeted by a massive police force that encircled the venue completely and made access a challenge and traffic unbearable. All this was too much for the young concert-goers to take. The festival, recalled rock critic Paul Alessandrini, felt like a “caricature of all that (and all those) which we refuse: recuperators who carry around with them the fetid odor of commerce, ‘officials’ who ‘understand the problems of youth.’” Even more vocal were a band of Maoists who had forced their way onto the grounds and demanded that the organizers forfeit the admissions charge and turn the festival into a free public event. Clément refused, and, every bit the general, he stormed the stage and gave a stern speech and said that the real youth had spoken and what the real youth wanted wasn’t politics but rock n’ roll. Whether this was the case remained unknown, as the only voices audible throughout the festival’s three-day run belonged to the Maoists who yelled and did their best to shame the performers into stating support for their revolution.
As these small battles raged on, Leonard Cohen and the Army stood staring at a knot of automobiles. They were still far from the festival’s site, and had heavy equipment with them. Walking was out of the question. A native of Hillsboro, Texas, the tour’s manager and keyboard player, the legendary producer Bob Johnston, suggested horses. Some were procured from a stable nearby, and the Army rode on, stopping only for a prolonged visit to a nearby bar. Now fortified by drink, Cohen decided to take the western motif as far as it would go and ride onto the stage atop the white stallion he’d been assigned. The horse, angular, its golden mane flowing down to its midsection, looked regal; Cohen, his eyes glassy and his hair unkempt, looked confused.
As soon as Cohen and his steed mounted the stage, the booing began. To the young leftists seething on the grass, the rich Canadian entertainer riding a white horse was a grotesque display of might and arrogance. Those steeped in Cohen’s biography shouted that he was a sympathizer of Greece’s fascist regime—why else would a foreigner maintain a home on the Greek island of Hydra?—while the rest just demanded that he say something about ticket prices and condemn the bourgeoisie. Drunk, and most likely stoned, Cohen addressed the crowd. “I’d like to say something about the link between the festival and money,” he said in his hesitant Quebecois French. “When the festivals will be yours, they will not belong to others. If you call me, I will already be there. But the thing is, there is not a revolution. When others talk about the revolution, it is their revolution. Leave the revolution to the owners of the revolution. They are like any other owners. They’re seeking profit.” He was incoherent, but the message got through regardless: talk of revolution was a sham, a fantasy that concealed the fact that earthly achievements required earthly labor and deserved earthly rewards, and that the people cultivating this fantasy were themselves, like everybody else, in it for fun and profit. Then he played “Bird on the Wire.” The catcalls went on.
The politics, the police, and the frenzy exhausted Cohen. When the whole world was going mad, where did you go for shelter?
“I want to play mental asylums,” Cohen told Bob Johnston. The producer was no stranger to such requests; just two years earlier, Johnny Cash had approached him with the task of arranging a gig at Folsom Prison. But Cash had intended for his prison concert to be recorded and released as an album. Cohen seemed drawn to asylums for entirely personal reasons. He never explained them to Johnston or to the other members of his band. Four years later, speaking to a reporter, he recalled his request and suggested that the “experience of a lot of people in mental hospitals would especially qualify them to be a receptive audience for my work.”
In a sense, he continued, “when someone consents to go into a mental hospital or is committed he has already acknowledged a tremendous defeat. To put it another way, he has already made a choice. And it was my feeling that the elements to this choice, and the elements of this choice, and the elements of this defeat, corresponded with certain elements that produced my songs, and that there would be an empathy between the people who had this experience and the experience as documented in my songs.”
On August 28, the Army drove up to the Henderson Hospital, just south of London; “it was all talking therapy,” a former nurse at the hospital told Cohen biographer Sylvie Simmons, “no medication, no ‘zombies.’” Cohen was led up to the institution’s imposing and narrow tower, where his impromptu performance would take place. “Oh boy,” he told Johnston as they made their way in, “I hope they like ‘So Long, Marianne.’” Most of those in attendance were young, and many were Leonard Cohen fans. The band quickly set up, and Cohen took his place at the front of the makeshift stage, underneath one of the “tall, narrow windows that gave the room the feel of a chapel.” He looked at the audience. “There was a fellow I spoke to last night,” he said, “a doctor. I told him I was coming out here. He said, ‘They are a tough bunch of young nuts.’” There was some applause, and Cohen started playing “Bird on the Wire.” But then he stopped. “I feel like talking,” he said. “Someone warned me downstairs that all you do here is talk. That’s psychotic, it’s contagious.”
During 80 minutes, he played only 11 songs. The rest of the time, he told the audience about his relationship with Marianne and how it had dissipated, about how “You Know Who I Am” was written after taking 300 acid trips and “One of Us Cannot Be Wrong” was composed while coming down from amphetamine, about the Chelsea Hotel and life in New York and making love and sharing lovers and feeling inconsolably sad. Each time he finished a song or a speech, the audience applauded rapturously.
And then it was time to leave. “I really wanted to say that this is the audience that we’ve been looking for,” Cohen said as the Army was packing up to go. “I’ve never felt so good playing before people.”
Adapted from “A Broken Hallelujah: Rock n Roll, Redemption and the Life of Leonard Cohen” by Liel Leibovitz. Published by W.W. Norton and Company. Copyright 2014 by Liel Leibowitz. All rights reserved.

Kelley Lynch Email To Scott @ Truth Sentinel Re. Leonard Cohen


From: Kelley Lynch <kelley.lynch.2010@gmail.com>
Date: Mon, Feb 2, 2015 at 4:08 PM
Subject: 
To: Truth Sentinel   cc:  Paulette Brandt 


Scott,

I listened to the interview and it was well done.  I also listened to Ann Diamond and I would like to say one thing to you.  Cohen has told people that Ann Diamond stalked him.  My mother and I both worked with him for years and never once did I see evidence of this fact.  She studied with the same Buddhist teacher that Cohen did.  I also studied with Joshu Sasaki Roshi.

Ann Diamond does not have the evidence I have (ie., corporate books, records, stock certificates, assignments of copyrights to corporations, federal tax returns, etc.).  I have evidence supporting every statement she made in her article that Cohen threatened to sue her over.  In any event, the article is old and the issue is now being addressed in court.

Ann Diamond stated, in her interview, that Cohen did not benefit re. the fraudulent ledger that is not an accounting.  It doesn't list assets, liabilities, or equity.  It is a meaningless list of numbers with a handful of suspect back-up documentation.  As I explained, Cohen had his son and girlfriend's homes in my "column."  I have no idea why.  I didn't buy them houses with loans he took but he appears to be saying that while he understood he could take loans, I wasn't authorized to lend the money from the corporations.  In any event, the argument is obscene.  Cohen borrowed or expended approximately $6.7 million from his "retirement" account and I have his lawyer's letters to my lawyers.  I would also like to note that "phantom" income was shifted to me but not distributed and his lawyer noted in his letter that it is problematic.  I also paid taxes and was listed, by Cohen's tax lawyer, as a partner on one entity.  I would love to hear an explanation for this.  In any event, Ann Diamond is not a witness to what occurred here; these are business matters; and she didn't know me at the time.  I do have evidence that someone (Cohen?) attempted to change my mailing address from my home to Cohen's home address in LA.  That is criminal and I have the postal service's complaint number.

As for Ann Diamond's statement that she wouldn't have conducted herself in the manner in which I did.  I don't believe she's a mother whose children were relentlessly targeted.  As for my emails documenting everything for IRS, DOJ, FBI, etc. since 2005 (when I reported Cohen's tax fraud):  I was advised to write them by His Holiness Kusum Lingpa.  I am his lineage holder.  Oliver Stone and I sponsored a Buddhist center for him in Los Angeles.  I was also advised to document everything in emails by lawyers.  It serves as a legal record of what unfolded - including when I was "angry" because my sons have been relentlessly targeted by strangers for years now; Cohen's refusal to provide me with IRS required documents (causing the State to garnish my wages); and, my being forced into homelessness by a man who bankrupted me intentionally and assisted in a coordinated custody matter.  

As I say to people frequently - next time this happens to me, I'll write thank you notes and send flowers since that is evidently how people think I should have responded.  Many parents, however, have told me they would "kill" someone who did this to them.  In fact, a DA investigator on Spector's matter told me his wife would have "killed" Cohen's lawyer if he did to her what Cohen did to me.  That's a normal response and not necessarily a threat.

Cohen did tell me he was part of the CIA/MKULTRA program.  There's no way I can verify this however.

Thank you again.  I look forward to hearing Paulette's interview.  I let her know that Nancy Sinatra is now following you on Twitter.  

All the best,
Kelley

P.S.  Gianelli will probably write you.  He is clearly on someone's payroll.  He continues to harass me and Paulette with Cohen's fan, Susanne Walsh, copied in.  As Walsh would copy in Cohen's lawyer it seems as though he condones this conduct.  People have reported him to law enforcement, etc.  Others forward his emails to the trash.  



COHEN TRIAL TESTIMONY:

.  PD:  You took money from that account to buy a house for your son, correct?  Cohen:  That’s correct.  PD:  To buy a house for your girlfriend?  Cohen:  Yes.  Kelly:  Okay.  So you -- it’s fair to say that you did take money from that account?  Cohen:  That’s correct, Sir.  PD:  You were aware enough about that account to know that you could take money from that account?  Cohen:  That’s correct.  

Gods, Gangsters & Honour by Steven Machat
Excerpts:

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

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

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

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

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


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

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

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

It was clear that Leonard was also wary of me because, I guess, he thought I might be planning to sue him.
  
Lynch had been sending out long ... emails to his friends, journalists, and the authorities denouncing Leonard for a million and one sins, which would have worried me if I was their target.

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

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

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


It’s clear that Cohen and his lawyers want to heap the blame on Kelley’s shoulders for more than just revenge.  Because Cohen’s pension assets were cashed in … ahead of schedule they are liable to tax so they need to establish that this situation is her fault.  The penalties could actually be greater than the tax itself.  


Leonard has cast himself into a hell of his own making.  

Kelley Lynch's Email To DOJ Re: Coyote Shivers, Pauley Perrette, "Star Crazy" Script, & The City Attorney Of Los Angeles


From: Kelley Lynch <kelley.lynch.2013@gmail.com>
Date: Mon, Feb 2, 2015 at 2:38 PM
Subject: 
To: ASKDOJ <ASKDOJ@usdoj.gov>, "*irs. commissioner" <*IRS.Commissioner@irs.gov>, Washington Field <washington.field@ic.fbi.gov>, MollyHale <MollyHale@ucia.gov>, nsapao <nsapao@nsa.gov>, fsb <fsb@fsb.ru>, "Doug.Davis" <Doug.Davis@ftb.ca.gov>, Dennis <Dennis@riordan-horgan.com>, rbyucaipa <rbyucaipa@yahoo.com>, khuvane <khuvane@caa.com>, blourd <blourd@caa.com>, Robert MacMillan <robert.macmillan@gmail.com>, a <anderson.cooper@cnn.com>, wennermedia <wennermedia@gmail.com>, Mick Brown <mick.brown@telegraph.co.uk>, woodwardb <woodwardb@washpost.com>, "glenn.greenwald" <glenn.greenwald@firstlook.org>, lrohter <lrohter@nytimes.com>, Harriet Ryan <harriet.ryan@latimes.com>, "hailey.branson" <hailey.branson@latimes.com>, "stan.garnett" <stan.garnett@gmail.com>, sedelman <sedelman@gibsondunn.com>, JFeuer <JFeuer@gibsondunn.com>, "kevin.prins" <kevin.prins@ryan.com>


DOJ,

Would you review this footage and the information about the "City Attorney's" office.  As DOJ knows - both Coyote Shivers and I have complained to DOJ re. the conduct of the City Attorney re. celebrities and fraud restraining orders.  Also, LA Superior Court attempted to extort monies from me for "domestic violence" when the order wasn't a "domestic violence" order.  Not certain why I was prosecuted by the "City Attorney" for a domestic violence order.  Boulder County Court confirmed in writing that the order Cohen registered was NOT "domestic violence."  I was also sentenced by LA Superior Court for "domestic violence" matters and my INSANE liar prosecutor consulted with a "domestic violence" counselor.  Mike Conzachi really nailed it when he confirmed this as a criminal enterprise.  DOJ should investigate it as precisely what it is.  What about the federal funding supporting this fraud?  DOJ should audit both the City Attorney and LA Superior Court.

Kelley

Almost as soon as the tape went public, Perrette’s attorney brought the issue before the L.A. City Attorney who took the matter to the judge on Friday at a progress hearing over Perrette’s ex, Shivers’ restraining order case. A hearing on the matter is set for February 20.


Truth Sentinel Episode 39 (Leonard Cohen, truth, lies, guilt, innocence, law, MK Ultra)

https://www.youtube.com/watch?v=jVXTY0ATTR8

Truth Sentinel interviews Kelley Lynch and Ann Diamond (separately) regarding Leonard Cohen.  Cohen has also confirmed for Kelley Lynch that he was part of the CIA/MKULTRA program.  Lynch has no idea if that's a factual claim or wishful thinking.  Stay tuned for Part 2 - Episode 40 - where Truth Sentinel interviews Paulette Brandt re. Phil Spector.

Truth Sentinel:

Published on Feb 2, 2015
Truth Sentinel Episode 39. Truth, lies, Guilt & innocence. We talk to Kelley Lynch about her legal battles with Leonard Cohen. Writer Anne Diamond joins us to talk about her experiences of dating & living next door to Cohen along with his links to MK Ultra. Anthony K talks about MK Ultra and the experiments that broke every ethical code of practice.

http://www.theguardian.com/music/2012...

As befits a man regarded as perhaps the most lyrical voice in contemporary popular music, the witness statement read to a Los Angeles court by Leonard Cohen was unusually poetic in its phrasing. "I want to thank the court, in the person of your honour," Cohen told an LA county superior court judge, "for the cordial, even-handed and elegant manner in which these proceedings have unfolded. It was a privilege and an education to testify in this courtroom."
…………..
http://riverdeepbook.blogspot.com/201...
Whatever Happened To Kelley Lynch by Ann Diamond

Kelley Lynch is the woman accused in 2005 of skimming millions from singer Leonard Cohen’s retirement fund. I knew of her through friends of Leonard Cohen, and had heard her described in glowing terms as the agent who, singlehandedly, saved Cohen’s career in the 1990s.

http://www.thecanadianencyclopedia.ca...

Take an iconic artist, mix in missing millions, hints of tantric sex, a lawsuit replete with other salacious details, and a ruptured relationship with a long-time, trusted associate, and you've got the makings of a Hollywood blockbuster. Except in the case of LeonardLeonard Cohen, it's a true tale…

http://www.abeldanger.net/2014/04/leo...

The man in the photo, taken at McGill University in 1951, is 17-year-old Leonard Cohen. He's wearing a blindfold, and his ears, fingers and hands are encased in padded restraints which prevent movement and cut off all sensory stimulation.



http://en.wikipedia.org/wiki/Project_...
MK Ultra - sometimes referred to as the CIA's mind control program — was the code name given to an illegal and clandestine program of experiments on human subjects, designed and undertaken by the U.S. Central Intelligence Agency (CIA). Experiments on humans were intended to identify and develop drugs and procedures to be used in interrogations and torture, in order to weaken the individual to force confessions through mind control


Kelley Lynch Cease & Desist Email To Stephen Gianelli & Emali To Steven Machat Asking Him To Maintain Gianelli's Email Evidence


From: Kelley Lynch <kelley.lynch.2010@gmail.com>
Date: Mon, Feb 2, 2015 at 11:53 AM
Subject: Re: Your preposterous email to Steven Machat about the book you claim to be writing; some facts of life
To: "STEPHEN R. GIANELLI" <stephengianelli@gmail.com>, Steven Machat <smachat@gmail.com>, "irs.commissioner" <irs.commissioner@irs.gov>, Washington Field <washington.field@ic.fbi.gov>, ASKDOJ <ASKDOJ@usdoj.gov>, MollyHale <MollyHale@ucia.gov>, nsapao <nsapao@nsa.gov>, fsb <fsb@fsb.ru>, "Doug.Davis" <Doug.Davis@ftb.ca.gov>, Dennis <Dennis@riordan-horgan.com>, rbyucaipa <rbyucaipa@yahoo.com>, khuvane <khuvane@caa.com>, blourd <blourd@caa.com>, "USLawEnforcement@google.com" <USLawEnforcement@google.com>, Feedback <feedback@calbar.ca.gov>
Cc: Jeffrey Korn <jeffkornlaw@live.com>


Gianelli,

DO NOT CONTACT ME again.  Paulette Brandt has also advised you to CEASE AND DESIST.  If Machat wants to speak with you, that's his problem.  No one else does and I am gathering evidence and declarations re. everyone in my life you harassed.  Richard Dallett, my first husband, already confirmed in writing that you LIED about him.  I advised him about you BEFORE I visited Ft. Lauderdale so he was aware that you would contact him.

I have also advised Walsh, who you have started copying in, NOT to contact me again.  I think Rutger nailed it when he wrote you after you copied him in with the "City Attorney."  


Kelley Lynch

On Mon, Feb 2, 2015 at 11:51 AM, Kelley Lynch <kelley.lynch.2010@gmail.com> wrote:

Steven,

Please maintain Gianelli's emails to you.  LAPD's TMU advised me to do that and were interested in the emails where Walsh, Cohen's fan who works in tandem with Gianelli, copied in Cohen's lawyer, Michelle Rice.  She's Kory's partner.  This is serious evidence and this freak has contacted everyone in my life.  I intend to file a federal lawsuit, re. the federal tax returns, etc. and will subpoena the information - and you - at that time.  LAPD detectives were curious about Gianelli's relationship to Cohen.  Paulette and I spoke to them and showed them one piece of evidence against Gianelli.  Investigator Frayeh thought he might be someone's "investigator."  

Thank you.  


Kelley

 Li'l Red by PhillyBoyWonder (print image)