EVERY SO often I write a spin-off paper, kind of like how the Ewok movies were spin-offs of the Star Wars Trilogy, and this is one of them. Our initial source material involves somebody named Vito Paulekas. The good news is, if you don’t know who Vito is, you will still be able to follow the plot, so long as you’re familiar with SNL alumni Phil Hartman. You can read my report on Vito and the Freaks here. Vito Paulekas. Or else you will need to remain content knowing that Vito was the very first hippie, created by the intelligence agencies, and therefore a spook. Identifying the counter-cultural, anti-war flower children with their father—the CIA—is important, specifically when it comes to why they were created, because a very specific person identified in this paper has a role in the psyop. Vito’s created character role as the first Charlie Manson—perhaps even intended to be the psyop we know now as Charlie Manson before his Freak family fell apart—will loom over this conversation without being further commented upon. We shall briefly turn to him in a moment.
Oh, and one more thing. I probably don’t need to explain to you that comedian Phil Hartman was murdered on May 28, 1998. Had you not known this little detail, then you probably wouldn’t have clicked onto the article. Hartman played the Unfrozen Caveman Lawyer on SNL and Troy McClure on The Simpsons, but you knew that already. And so, here you are. Rest assured that we will arrive at the event in a little while. The old suicide-murder scenerio. However, an astute reader will hopefully identify everything being discussed, in one way or another, as interconnected with his entrance and exit from the world stage. That includes Vito.
It was while researching the life and times of Vito and the Freaks that I stumbled upon a man named John Hartmann, and I thought to myself: As in… Phil Hartman? Perhaps. But first, some context. By the spring of 1968, Hartmann was not only the manager and booking agent of the band Canned Heat (they had a successful single with ‘On the Road Again’), he was also a recent proprietor of the Kaleidoscope Club. The night club, located at 6230 Sunset Boulevard in Hollywood, featured two concentrically rotating stages at the center of the venue. They had once been intended for displaying naked women, since, at the time, it was illegal to have naked women in motion, but not stationary women on a moving stage. Its former incarnation as an establishment featuring rotating cloth-less girls was far more successful than its later preference for featuring rotating rock gods. Go figure.
Anyhow, I stumbled upon a quote from Hartmann concerning Vito, where he says: “we would let Vito and his dancers into the Kaleidoscope free every week because they attracted people. They were really hippies, and so we had to have them. They got in free pretty much everywhere they went. They blessed your joint. They validated you. If they’re the essence of hippiedom and you’re trying to be a hippie nightclub, you need hippies.”
Knowing what we do of Vito, assuming you have read the former report, then you will want to pay careful attention to his words. Plant a Neil Armstrong moon flag or two. For instance, when Hartmann says “they blessed the joint,” and “they validated you,” we know that Vito was created. And night clubs, conveniently rehabilitated along the Strip in the months leading up to the explosion of pimped-out rock bands like The Doors and The Byrds, were utilized for that very purpose: to ordain something into permanence. We are constantly told that free enterprise and organic folk movements are the preferred methods of devils and the way in which the world ultimately works, but this is a lie. The government isn’t trying to shield us from devils and gods. They work for them. Therefore, the CIA doesn’t infiltrate movements. They create movements. What this means is, the subliminal messaging of rock n’ roll didn’t happen as a result of Langley arm-wrestling the lyrics and album sleeves away from teenage angst; they created the teenager and the angst and the music and the radio station, and eventually the music video, to control them with.
If you don’t know how this works, then I suggest reading the following papers. Jim Morrison. John Lennon. Paul McCartney. Elvis Presley. Teenagers. Jackson Pollock. Andy Warhol. Shel Silverstein. The hippies. Pinocchio. Walt Disney. Ghislaine Maxwell. Donald Trump. George Floyd. The Boy Scouts of America. Winnie the Pooh. Anne Frank. Tom Cruise. Steven Spielberg. Hollywood. Ironically, Canned Heat performed at Woodstock. Might as well go read that one too. Woodstock.
Despite being spelled with a double dosage of “n” rather than just one, I recognized the name, Hartmann, and decided look into him, which, mind you, is the entire point of this paper. My search reaped its rewards.
John Hartmann is indeed Phil Hartman’s brother. I was able to identify him in the above picture. That’s John Hartmann on stage left, standing next to brothers Paul Hartmann and Phil Hartman in 1995. You’re probably wondering why Hartman’s brothers douse their surnames with an added dosage of the alphabet. In fact, Hartman has seven siblings. Mary. Nancy. Sara. John. Jane. Paul. Martha. And they all spell their surname Hartmann. But more on that in a little while.
After discovering Hartmann through Vito Paulekas via the Kaleidoscope Club and Canned Heat, I then decided to follow the bread crumbs away from Hartmann, just to see where they go. For you rookies out there, this is precisely how rabbit holes work. You begin in one standing position and end with another understanding completely. In turn, those bread crumbs led me right back to Hartman.
There were two other names associated with Hartmann, Canned Heat, and the Kaleidoscope that warranted my attention. Skip Taylor and Gary Essert. I found very little on Skip Taylor, aka Lawrence Taylor Tatman III, other than the fact that he was co-manager of the short-lived psychedelic nightclub and a producer of Canned Heat. Gary Essert went on to become the founder and director of the Los Angeles International Film Festival before dying of AIDS at 54. There is probably a lot to be found there, but I decided to look elsewhere.
Upon second glance, both Skip Taylor and John Hartmann started their entertainment careers in the William Morris Agency mailroom. Perhaps I was already feeling desperate, having reached a dead end, but I decided to do a little digging into the mailroom at the William Morris Agency, and this is what I discovered. Hartmann also started out in the mailroom with a certain David Geffen. I recognized the name immediately, but from where?
I turned to The Wikipedia. David Geffen was a Brooklyn-born Jew (wink-wink) who went on to co-create Asylum Records in 1971 with Elliot Roberts, Geffen Records in 1980, DGC Records in 1990, and DreamWorks SKG in 1994. SKG is an acronym for Steven Spielberg, Jeffrey Katzenberg, and David Geffen. What this tells us is that the man who started out in the mailroom with John Hartmann went on to become a Hollywood mogul and can therefore be painted in shades of Louis B. Mayer or Jack Valenti, president of the Motion Picture Association of America. Mayer played his part in the Hollywood psyop. There’s one little known detail which I hope to cover in an upcoming paper on Sharon Tate. But I also recently covered Valenti’s involvement in the JFK assassination hoax, which you can read here. Agent Zapruder. Other tidbits includes David Geffen’s close friendship with spook Joni Mitchell, his coming out as gay in 1992 (Gary Essert died of AIDS that very year), and his weighty art collection, which includes originals by spook Jackson Pollock.
Ah, but there’s more.
I want you to think about this picture. Place it as a book mark in your Phil Hartman murder investigation. Here is a scene where Yoko Ono is leaving Roosevelt Hospital in New York, only hours after John Lennon was shot by Mark David Chapman on December 8, 1980. It is all too familiar with another occurrence which we will finally turn to.
Presently however, Yoko is in the arms of David Geffen.
If you are asking why Geffen would be helping Ono out of the hospital then we think alike, because I had the very question. Do note that I only discovered the picture, and by complete accident, mind you, because I scrolled down the list of artists contracted under Geffen Records, and John Lennon was strangely among them. I simply wanted to find a picture of Geffen standing next to Lennon, but Google did better, which once again catches us up to speed.
Remember that Geffen had only established Geffen Records in 1980. Lennon was shot that very year. This can only mean that Lennon was one of Geffen’s first signed artists. I checked. Donna Summer was brought in first, apparently over a lack of contract complacence. John Lennon followed in her heels. The story we are given, according to Lennon, is that Geffen was the only person with enough confidence in the former Beatle to agree to a deal without hearing the record first. That is a rather droll explanation, coming from the Past Master Lennon, and quite unbelievable, but it is all we’re given to work with. Yoko Ono double-downed by stating that Geffen was the only label head to pay attention to her, which very well may be true. No surprise, a record exec leads a grieving widow out of the morgue, and Double Fantasy became a massive seller.
The next thing you need to know about the above photograph is that John Lennon never really died at all. It’s all an illusion. A masterful slight of hand. I have already linked my paper concerning the death hoax of Lennon and the emergence of Beatles impersonator Mark Staycer, but considering how you’ve probably skipped right over it, I’ll link it again. John Lennon. Also, Paul McCartney. And since we’re on the subject, Elvis Presley Lives, they’re all three interrelated.
We know Yoko Ono was Lennon’s handler. But suddenly I found myself asking if Geffen was brought in simply to make Lennon go away. Is Geffen a wizard?
Look. There are more bread crumbs to follow.
The story of Nirvana’s success is something that I’ve known about since my own adolescence. The official narrative, repeated verbatim by the likes of Mk-Ultra programming that is MTV and VH1, revolves around the cornerstone that is David Geffen. You see, Kurt Cobain and his no-name Seattle garage band was bogged down and disenchanted by their former record label, Sub Pop. They decided to seek out a deal with a major label since no indie label could afford to buy the group out of its contract. After contacting Soundgaren and Alice in Chains manager Susan Silver, who then directed them to agent Don Muller and music business attorney Alan Mintz, Nirvana signed to DGC Records in 1990—again, the very year in which Geffen started the company.
The suicide of Kurt Cobain was a spook operation.
Presently, you will have to remain content knowing that I have satisfactorily concluded in my own mind that the suicide of Kurt Cobain is another psycho-dramatic episode and a hoax without showing a shred of proof for it. Perhaps we will touch on this subject at another time. Between Lennon and Cobain, we are already beginning to see some repeated episodes, but let’s keep picking up the bread crumbs, turning them over in our fingertips, and move on.
There are far too many artifacts in the Hartman-Geffen rabbit hole to name here, but I believe Guns N’ Roses is worth our attention. The band signed to Geffen Records on March 26, 1986, for an estimated $250,000—a steep investment for such a motley crew. Legend has it that guitarist Slash immediately went out and spent his cut on heroin. A few years down the VH1 Where Are They Now? timeline and Guns N’ Roses released a cover of “Look at Your Game, Girl” on their 1993 album “The Spaghetti Incident?”
The song was written by Charlie Manson.
Mm-hmm, we’ve somehow ended up gazing upon Charlie Manson, if only from afar. Axl Rose has claimed that he thought he was recording a song written by Beach Boy Dennis Wilson, and if true, that just goes to show how easily studio slaves are handled. The song actually made sizable waves among music columns in 1993—controversial headlines, which was undoubtedly Geffen’s motivation all along. Need I remind you that it is the CIA-owned media’s job to create the news. At the time, critics were concerned that Manson might profit off the song. Ultimately, Manson’s royalties from the cover were assigned to Bartek Frykowski, the son of Manson victim Wojciech Frykowski. He and girlfriend Abigail Folger (of Folgers coffee) were murdered in the 1969 Manson Family killing spree, and it should be noted that the couple were dear friends with both director Roman Polanski and actress Sharon Tate. We are told that they moved into the Polanski-Tate house to keep the pregnant starlet company, but that’s a conversation for another time, one which I’m actively working on.
I am now more convinced than ever that the Manson murders were a hoax. If you demand an immediate explanation from me than I have none to give. You will simply have to be content knowing that I’m actively looking deeper into the Manson murders and, as a result, I’ve changed my opinions entirely. Remember that this is a spin-off of Vito Paulekas when the intended sequel was Charles Mason. At the time, I believed Charles Manson was an Mk-Ultra who really had Sharon Tate murdered, but I no longer believe this to be true. I’ve seen too much. My innocence is gone and I’m completely disillusioned of any mainstream narrative. If you tell me that Manson as an agent of Mk-Ultra isn’t the mainstream narrative then I will disagree. I’ve told so many people, and we’re talking people asleep behind the wheel, that Manson is Mk-Ultra and they’ll shrug, as if to say, “Makes sense.” No, I am not saying that Manson is not Mk-Ultra. I am simply saying that the Mk-Ultra program was brought into the narrative in the same manner as the second shooter and the magic bullet theory was introduced into the JFK assassination, and we know that was a hoax. Nobody was killed in Dallas.
They’re all actors.
Consider this a preview. A Sharon Tate paper is in the works. I am not expecting you to put this all together yet. Just bookmark the incident, because we have seen these occurrences happen time and again in past papers. The CIA likes has a scrabble assortment of psyops to pull from the bag, and they often like to refer to their own work. Let’s just say they like to leave behind their calling card, and Charlie Manson is one of them.
We’ve established by this point that John Hartmann began his career in the William Morris Agency mailroom with David Geffen. Well, after retracing my steps back to the mailroom, here’s something else that I stumbled upon. Hartmann served as the Morris office liaison to Colonel Tom Parker. Just in case you’re not caught up to speed, Parker was Elvis Presley’s handler. Also, spooks need to pass notes and learn from the other, hence the mail. We’re connecting the dots and so, there’s far too many similarities between them to overlook the obvious. Vito Paulekas and Charlie Manson likely had the same handler.
Interviewer Michael Limnios once asked John Hartmann to recount an experience with The Colonel. This was his response.
“I smile every time I recall meeting The King of Rock & Roll. I walked into The Colonel’s office and Elvis was leaning up against the wall. I had met him once before in a group on a movie set at Paramount Pictures. The Colonel says, “Johnny, you know Elvis.” The King walked over, stuck out his hand and said, “How do you do sir.” I said, “How do you do?” It was like being in the room with a fire. When The Colonel dismissed me, Elvis walked over and opened the door for me. He said, “See ya’ man” as only he could. That was cool.”
You might think this was a don’t let the door hit your butt on the way out sort of experience, but Hartmann clearly played his part in creating “the reality,” just as Geffen has, and they always present us with these astonishingly awkward Forrest Gump encounters. In the real world, Forrest Gump would be a spook. John Hartmann’s bio describes him as someone who “has provided career direction for such luminaries as Chad & Jeremy, Sonny & Cher, Buffalo Springfield, Neil Young, Joni Mitchell, Canned Heat, Eagles, Peter, Paul & Mary, Crosby, Stills & Nash, Jackson Browne, America, Poco, and many others.” That’s a mouthful. Tapping into the same interview, agent Hartmann was asked to explain his part in the development of Psychedelic Folk/Rock music.
“From the assassination of JFK forward through the sixties my generation separated from the establishment and created a counter culture to advance civil and women’s rights, establish free speech and bring an end to the Viet Nam war. The freedom they expressed allowed for open drug usage. Once they discovered that marijuana was benign, the Hippies had license to try everything else in the drug store. LSD had a calming effect on the youth that created a pacifist mindset that subdued any tendencies toward violent revolution.”
Another mouthful. If however you have been paying attention, then you will know that Hartmann had a conscious effort in helping to create the American hippie. He even lays it out. Spooks like Ken Kasey were used to usher in LSD, hence the creation of the Hippies, in order to pacify the antiwar movement which was, again, created by the government. If you feel I’m contradicting myself, it’s because you’ve failed to recognize that the government runs both the left and the right hand of politics and every other illusion of choice. Drugs will once again be brought into the Phil Hartman narrative, particularly his murder, but more on that in a moment.
Here’s something else of interest.
Colonel Parker had worked with cowboy Tom Mix, owner of the Log Cabin in Laurel Canyon, Los Angeles. Tom Mix, aka Thomas Hezikiah Mix, was a Freemason. But not just any Freemason. The only reason I made the Mix connection, after connecting Hartmann to Parker, is that I’m currently working on a paper titled, “The Wild West Was a Hoax.” Mm-hmm, I’m actually going there. And here’s a preview. The Wikipedia describes his agents role as “Hollywood’s first Western star” and someone who “helped define the genre as it emerged in the early days of the cinema.” Emphasis is my own. The wild west was scripted by Freemasons in order to massage the mud-flood narrative and completely scrub the Old World Order from our remembrance.
More importantly to this narrative, Tom Mix frequently used the Spahn Movie Ranch as a filming location for his Masonic creation of the western myth. That same ranch later became the home of Charles Manson and his Family.
Hang with me here, because we’re about to see how the Manson family swings right back around to the Hartmann’s.
Here we go.
Supposing you took the time to read my paper on the Elvis Presley death hoax, then you will likely recognize the above picture of Lynette “Squeaky” Fromme and the described incident. On September 5, 1975, one of the last free members of the Manson family attempted to assassinate President Gerald Ford in Sacramento, California. I say attempted because, although Squeaky stood a little more than an arm’s length from Ford and pointed a M1911 pistol at him, she had not chambered a round, and the gun did not so much as fire. How an incompetent child with probably little to no firearm experience was able to wiggle her way up to the president, we are not told. But it matters little. She is a Manson. And when it comes to Langley, there is no end to milking the tit of the psyop.
Here’s where our connections become especially strange. Lynette “Squeaky” Fromme was a high school chum of Phil Hartman. And you thought I wouldn’t deliver. Also, she attended drama class. Why do I get the impression that brother John Hartmann was a recruiter?
I thought it might be a good idea to discover if anyone else had childhood connections with Squeaky, and I was not let down. Mark Volman, co-lead vocalist for the Turtles, knew Fromme while attending Orville Wright Junior High School. If you can finally perceive the world as I’ve come to understand it, then the conclusion is an easy deduction to make. It only makes sense that they would.
Still, it gets better. As a teenager, Squeaky dated Bill Siddons.
Siddons went on to manage The Doors.
Since we’re obstinately stuck on the subject of the Manson Family, let’s make yet another connection—a little known fact which I haphazardly discovered along the way. You may want to hold onto something. The house where Sharon Tate was murdered, at 10050 Cielo Drive, was designed and built by architect Roberty Byrd. No, that is not the shocker. After knowing what I now know, I would very much like to find out if Byrd had any influence on spook David Crosby (who was, along with Vito Paulekas, a Manson protegee), particularly since his first band was called The Byrds. Nope, that’s not it either. Hopefully you are still holding onto something.
That same architect built and designed the Byrd House, which is essentially to say the Log Cabin guesthouse in Laurel Canyon, a legendary property where countless rock musicians, Manson family members, and other spooks lived for a time. But that’s not the only connection I am attempting to make.
I checked. Byrd also designed and built the house at 5065 Encino Avenue where, on May 28, 1998, Phil Hartman was murdered.
Coincidence? In Hebrew, there is no such word.
I think it’s time that we finally get around to talking about Hartman.
It shouldn’t surprise you to learn that Phil was born a Hartmann. Specifically, Phillip Hartmann. We are told that he later dropped the second “n” due to a belief in I Ching, the ancient Chinese Book of Changes, which calculates a symbolic numerical value to certain letters. Accordingly, the “destiny number” of the name “Phil Hartmann” is 8, which symbolizes ambition and a simple yet satisfying family life. By simply dropping one character, “Phil Hartman” has a destiny number of 3, which translates to “the height of artistic fulfillment” and the “pinnacle of creativity.”
I can’t help but wonder if there’s a slight of hand at play here, similar to actor Nicolas Cage. A moment ago, and merely out of curiosity, I asked Google how many movies Cage has stared in. Google responded: “At least 106.” See what I mean? We are led to believe that Cage played nearly the same droll character in over a hundred films by his own merit when he is indeed a Coppola. Nicolas Kim Coppola. A likely scenario is that Hartman wanted to be disjointed from the parts his brother and WMA roomie David Geffen had in shaping America’s perception of reality, while simultaneously taking his own swing at the sledgehammer. I’m willing to bet everyone at Saturday Night Live is a spook.
Hartmann legally changed his name to Hartman in 1992.
You were probably thinking I was chasing a fart in the breeze while going after David Geffen, when in fact Geffen’s first super group was Crosby, Stills, & Nash. And already, we’re back on Hartman again. You see, though Geffen became obscenely rich and powerful as string-pullers for Crosby and the like, Parker protegee John Hartmann found his brother work in designing the CSN logo. Phil Hartman went on to design album covers for other rock groups, like Poco and America, but the point I am trying to make is that there is absolutely nothing organic about how spooks operate, no matter how hard they try to pull the illusion off.
Even before that, we first find Hartman working as a roadie for a band called the Rockin Foo. In June of 1969, the Rockin Foo played a show at an L.A. club owned by a friend of guitarist Jimi Hendrix. At the time, Jimi lived in the mansion just north of the Log Cabin on Laurel Canyon Boulevard. Remember, we have just tied Tom Mix and Roberty Byrd to the Log Cabin. Both Charlie Manson and Vito Paulekas are tied to the Cabin. And I haven’t even thought to mention Frank Zappa and countless others who stayed or conducted business there. It is at a Hendrix show where Hartman first enters the spook narrative. Noticing that a broken bass drum threatened to derail the Jimi Hendrix experience, Hartman’s roadie instincts kicked in. Hartman crawled on stage and held the drum in place for the remainder of his performance.
Again remember, even John Hartmann and David Geffen began their career together, officially speaking, in a mailroom. I am being repetitive—I know. But some things need to be repeated. Nearly everything about the counter-culture narrative and American grass-roots movements are sold to us as organic. Contrarily, recognizing how selected stage hands and roadies are spooks—set up from the very beginning to conquer free enterprise, and not simply the gods on stage—we can finally begin to comprehend how monstrously controlled the Slave Plantation is. Even slaves in the barracoon are planted there to keep the illusion alive.
I suppose no paper on the murder of Phil Hartman would be complete without dropping comedian Andy Dick into the discussion. The story goes that Andy Dick supplied Brynn with cocaine at the Hartman’s New Year’s Eve party in 1997, only months before their suicide-murder. Witnesses apparently claim they saw the two lock themselves in a bathroom for an extended period of time. John Lovitz has not hidden his deep-seated hatred for Dick, as the murder of Hartman at the hands of Brynn would not have happened, he maintains, had Dick not supplied drugs to Hartman’s wife. It is a hatred which eventually manifested at the Laugh Factory in West Hollywood in 2007, when Lovitz picked Andy up by the head, according to reports, and smashed him into the bar as many as four or five times.
I had considered totally snubbing the decade-long feud between Saturday Night Live alumni John Lovitz and NewsRadio co-star Andy Dick, as I am not impressed. Put in simpler terms, John Lovitz knows something about Hartman’s murder, and it involves Andy Dick. Sure, Dick probably supplied Brynn with a line or two of coke, but I’ve seen enough of these stories to know it’s all a cleverly planted distraction. Like crisis actor Jean Hill, aka the Lady in Red, in the JFK assassination hoax and her second shooter narrative is a distraction, or 33 Degree Freemason Arlen Spector and his absurd magic bullet theory is a distraction, John Lovitz and Andy Dick are dealing in drugs and another tiresome distraction. This is the filthy woman’s underwear spooks like to hold up to our noses on the internet, kind of like Anton LaVey and the ridiculous Satanic Panic Satanism narrative, in order to send the pack of conspiracy hounds howling down the wrong trail.
On May 28, 1998, we are told that Hartman was shot three times in bed in his Encino home by his wife Brynn Omdahl, who shortly thereafter, being snorted full of cocaine and an extra helping of Zoloft, shot herself with a different gun. This is only after she left the house and then returned with a friend, and also after the LAPD had arrived at the scene. Their children were asleep the entire time. If none of this makes any sense to you, then rest assured (like the Watergate scandal), it was designed that way. Just accept the official narrative and stop asking questions, but if you do, we’ve got Andy Dick and Jon Lovitz to distract and lead you away from the truth.
In an interview with National Post, brother Paul Hartmann said he turned on the television “and there was my brother John, in front of Phil’s house, with a police lady. They were wheeling two people away.” I read that little tidbit and then it occurred to me. He didn’t say they were wheeling his brother and sister-in-law away. They were simply wheeling two people away. Freudian slip? Maybe. Or perhaps I’m reading too much into it. Probably not. But no need to get hung up on that, because we’re following bread crumbs, and I’ve stumbled upon yet another one.
Hartman’s children were transferred to a hotel and security had been provided, Hartmann said, by David Geffen.
By now you should be asking yourself if David Geffen showed up to a real murder this time. John Lennon never died. Kurt Cobain never died. Andy Kaufman showed us how it’s done by pulling back the curtain and punking everyone. And now that I think about it, Sharon Tate was cast for her greatest role in the home of director Roman Polanski. Nobody died.
Call it a hunch. I’m willing to bet Hartman didn’t either.