To get at the nexus of the "Hippie Generation" one must address the principals:
The place the Laurel Canyon "Log Cabin" "crash pad", "Ringmaster" Frank Zappa, "Vito Paulekas - Carl Franzoni and their Freakers" and later "Ringmaster" Charles Manson and his "Family"...
Also note that there are VERY FEW PHOTOS of the LOG CABIN available....
So let skip over to Part 6....
But first some supporting doc and photos:http://seastwood.com/backup310/logcabinhistory.asphttp://members.cox.net/bill_lantz/pm2001.html
Photos by Peter Mackay - Laurel Canyon 2000-2003
--------------------------------------------------------------------------------Frank Zappa and his extended family lived in the famed Log Cabin in Laurel Canyon
, Hollywood, from May to September 1968 after returning from the 6-month Garrick run in NYC. The building was built in the early 1900's by silent movie cowboy star Tom Mix
who reputedly entertained Wyatt Earp there after the latter had moved to California. Before Zappa took over the place for $700/month it was occupied by (Mothers Auxiliary) Carl Franzoni's commune, renting from an African-American widow who owned it.
The Log Cabin was destroyed in a (reputedly drug related) fire around 1970 long after FZ had moved elsewhere in Laurel Canyon, leaving only the basement and a few other structures to be seen. On the adjacent hillside one can still see an artificial grotto inhabited in Zappa's days by members of the GTO's, an all-girl group produced by FZ which included the later Pamela Des Barres. Both this band and the Mothers themselves used to practice in the basement seen in the pictures below. The old-time picture of the Log Cabin reproduced below is the only one I have ever seen of the intact building. The property was sold for $1.5 million in 2003 and the basement was filled in as shown below. http://www.laurelcanyonstories.com/logcabinhistory.asp
Carl Orestes Franzoni
- Former Breast Pump Salesman
- Franzoni had met Frank Zappa at Ben Frank's coffee shop on the Sunset Strip and told him they were being evicted from the Log Cabin, and suggested Frank take it over for $700 a month.
Vito Paulekas (w/son Godot)
-Sculptor & first leader of dance troupeOh well let's move on....Part 6 http://www.illuminati-news.com/articles2/00216.htmlVito operated “the first crash pad in LA, an open house to countless runaways where everyone was welcome for a night, particularly young women.
mid 1960s, the group had expanded into a second communal location in addition to the basement studio at 303 Laurel Avenue: the ubiquitous Log Cabin.
architect Robert Byrd and his son built a new guesthouse (aka ‘the treehouse’
) on the property in the early 1960s, and “The following year, a communal family of weirdos moved into the cabin and treehouse
, centered around two underground hipsters named Vito Paulekas and Carl Franzoni
, organizers of freeform dance troupes at clubs along the Sunset Strip.”
1967, the dancers were splitting “their rent with staff from the hippie publication The Oracle
. Retired journalist John Bilby recalls at least 36 people living and partying at the Log Cabin and treehouse, including the band Fraternity of Man. ‘Tim Leary was definitely there, George Harrison and Ravi Shankar
were there,’ Bilby says.”
the Fraternity of Man
were best known for the novelty song, “Don’t Bogart Me,” Tim Leary was best known for being a painfully obvious CIA asset The Oracle was a San Francisco-based publication with intelligence ties
that specialized in pitching psychedelic occultism to impressionable youth.
“Franzoni’s commune ended in May 1968
,” as that was when The Oracle moved out and our old friend Frank Zappa moved in
The lead Mother “had visited Karl at the log cabin on a previous trip and realized it was perfect for his needs.”
Frank, since he was already living in the canyon at the home of Pamela Zarubica (aka Suzy Creamcheese)
at 8404 Kirkwood Drive, where Zappa had met his new wife, Gail, and where Gail’s old kindergarten pal, James Douglas Morrison, was known to occasionally pass the time. Ms. Zarubica/Creamcheese was yet another member of Vito’s dance troupe
. Frank Zappa took over as ringmaster
, to be sure, but Franzoni and all his cohorts stayed on.
the Freak dancers
became so closely associated with the Mothers of Invention that “they got dubbed as ‘the Mothers Auxiliary’
angelic hippie child that the readers of Life magazine met in 1966
, and who we now must sadly add to the Laurel Canyon Death List. For young Godot Paulekas
, you see, never made it past the age of three (by most accounts). The specifics of the tragedy are all but impossible to determine, unfortunately, as there is little agreement in the various accounts of the event. Left unclear is exactly how the child died, when the tragedy occurred, and what age the boy was.
“Vito and Szou’s three-year-old son Godo had fallen through a trapdoor on the roof of the building and died.”
“two or three” year old Godot “fall[ing] to his death from a scaffold at the studio.”
“a 5-year-old boy” who died when he “fell through a skylight.”
Godot, fell through a skylight during a wacky photo session on the roof and died at age three-and-a-half.”
“[Vito] got married, had a baby, gave it acid, and it fell off the roof and died.”
“Godo” Paulekas, he inserted the following caption: “Died age 2 – victim of medical malpractice.”
Vito and Szou insisted on continuing our plans for the evening. We went out dancing, and when people asked where little Godot was, Vito said, ‘He died today.’ It was weird, really weird.” Godo Paulekas. Born on December 1, 1963, Godo died on December 23, 1966,
having just made it past his third birthday. December 23 was, curiously enough, the winter solstice (or very close to it). And it wasn’t just any winter solstice, mind you, but specifically the first winter solstice in the Age of Satan (as declared by Kenneth Anger’s buddy, Anton LaVey, on April 30, 1966).
The date of his death also means that young Godo died less than 48 hours before Christmas morning, and yet his parents still thought it a good time to go out dancing.
Vito and Sueanne divorced in Northern California in March of 1975. Before doing so, they produced several more children, each given increasingly ridiculous names. Gruvi Nipples Paulekas was born on June 23, 1967, exactly six months after Godo’s death and, therefore, very near the summer solstice. Bp Paulekas was born on December 29, 1969, just days after the third anniversary of Godo’s death. Bizarrely enough, Sky Paulekas was born on December 1, 1971, on what would have been Godo’s eighth birthday. Last but certainly not least, Phreekus Mageekus Paulekas was born on January 28, 1974, a little over a year before Vito and Sueanne divorced. According to one report, Gruvi has joined Godo in the great beyond, a victim of her voracious appetite for drugs and alcohol.
“[Kenneth Anger’s] first candidate to play Lucifer, a 5-year-old boy whose hippie parents had been fixtures on the Los Angeles counterculture scene, fell through a skylight to his death. By 1967, Anger had relocated to San Francisco and was searching for a new Lucifer.” As many readers may be aware, he soon found his new Lucifer in the form of Mansonite and former Grass Roots guitarist Bobby “Cupid” Beausoleil
so it was that the soon-to-be convicted murderer replaced the cherubic hippie child as the face of Lucifer
Kenneth Anger was at one time investigated by the police on suspicion that he had been producing snuff flicks
Vito Deported Late 1968..
Haiti that Vito appears to have fled to, and then to Jamaica (which at the time had no extradition treaty with the United States), accompanied by his wife Szou and their new baby daughter Groovee Nipple (or possibly Gruvi Nipple; does anyone really care which is the proper spelling?
1968, Carl Franzoni, meanwhile, became embroiled in some unspecified legal troubles of his own and went into hiding, resurfacing in Canada by some reports Frank Zappa moved on to yet another location in Laurel Canyon, a high-security home on Woodrow Wilson Drive. Late 1968, the Manson Family came calling at the Log Cabin: “One former Manson family associate claims that a group of four to six family members lived on Laurel Canyon Boulevard in the log cabin house once owned by cowboy-actor Tom Mix
Manson also came calling at the Vito Clay studio on Laurel Avenue: “Applebaum took over Vito’s place when Vito vacated at Beverly and Laurel. So he inherited all the people that came after that … he was the beginning of the Manson clan. Manson came there because he had heard about Vito but Vito was gone.
” Charles Manson was little more than a younger version of Vito Paulekas
. David Crosby had “taken to wearing an Oscar Wilde/Frank Lloyd Wright-ish cape wherever he went.” The Process
launched a major recruiting drive in the United States. They were in Los Angeles in May and June of 1968 and for at least several months in the fall of 1969.” The Processians, it should be noted, were instantly recognizable on the streets of LA due to the fact that they had a curious habit of donning black capes wherever they went
. “Vito was just like Frank, he never got high either. They were both ringmasters who always wanted to be in control.” “Zappa children watched porn with their parents and were encouraged in their own sexuality as soon as they reached puberty.
Gail insisted they shower with their overnight guests in order to conserve water.”
early 1970s, Vito Paulekas had resurfaced up north in Cotati, California, with Carl Franzoni once again at his side
Szou eventually split from Vito and went to work for an attorney, leaving the hippie life (and hopefully the “Z” in her name) behind.
Franzoni, meanwhile, turned up now and then on that early version of America’s Got Talent known as The Gong Show (apparently as one of the ‘Worm Dancers’). Chuck Barris
, who famously claimed that during the days when he appeared to be working as a mild-mannered game show producer, he was actually on the payroll of the CIA, “Chucky Baby” was at one time a resident of – guess where? – Laurel Canyon (though I have not been able to confirm that). Log Cabin - Eric Burden of the Animals moved in after Zappa vacated and the property continued to be communally occupied. Log Cabin - remained something of a commune throughout the 1970s, quite possibly right up until the time that it burned to the ground on October 31, 1981 Log Cabin - Who paid the rent is anybody’s guess
– as is why such a prestigious property seems to have been made available for dirt cheap to pretty much any “communal family of weirdos” who wanted to move in
Now let's move back to Part 5 and finish up with Vito:
Part 5 http://www.illuminati-news.com/articles2/00215.html
“Vito and his Freakers
were an acid-drenched extended family of brain-damaged cohabitants.” And that, in an incredibly self-indulgent 489-page tome, is the only mention you will find of “Vito and his Freakers” – despite the fact that, by just about all other accounts, the group dismissed as “brain-damaged cohabitants” played a key role in the early success of Crosby’s band. And the early success of Arthur Lee’s band. And the early success of Frank Zappa’s band. And the early success of Jim Morrison’s band. But especially in the early success of David Crosby’s band. Sunset Strip clubs when The Byrds played: “We had them all. We had Jack Nicholson dancing, we had Peter Fonda dancing with Odetta, we had Vito and his Freakers.” “The Byrds were closely associated with Vito and the Freaks: Vito Paulekas, his wife Zsou and Karl Franzoni, the leaders of a group of about 35 dancers whose antics enlivened the Byrds early gigs.”
In Waiting for the Sun, Barney Hoskyns writes that the early success of The Byrds and other bands was due in no small part to “the roving troupe of self-styled ‘freaks’ led by ancient beatnik Vito Paulekas and his trusty, lusty sidekick Carl Franzoni.”
Alban “Snoopy” Pfisterer, former drummer and keyboardist for the band Love, went further still, claiming that Vito actually “got the Byrds together
, as I remember – they did a lot of rehearsing at his pad.” The Byrds did indeed utilize Vito’s ‘pad’ as a rehearsal studio
, as did Arthur Lee’s band
the Freaks drew the crowds into the clubs to see the fledgling bands perform. “The first hippies in Hollywood, perhaps the first hippies anywhere, were Vito, his wife Zsou, Captain f**k and their group of about thirty-five dancers. Calling themselves Freaks, they lived a semi-communal life and engaged in sex orgies and free-form dancing whenever they could.” they “started the whole hippie thing: Vito, Karl, Szou, Beatle Bob, Bryan and me.”
They were let in for free, because they were these quintessential hippies, which was great for tourists.”
Vito Paulekas, whose full name is said to have been Vitautus Alphonsus Paulekas. Born the son of a Lithuanian sausage-maker circa 1912, Vito hailed from Lowell, Massachusetts. From a young age, he developed a habit of running afoul of the law.
In 1938, he was convicted of armed robbery and handed a 25-year sentence
1942, however, just four years later, he had been released into the custody, so to speak, of the US Merchant Marine
1946, Vito arrived in Los Angeles.
by the early 1960s, Vito was ensconced in an unassuming building at the corner of Laurel Avenue and Beverly Boulevard, just below the mouth of Laurel Canyon (and very near Jay Sebring’s hair salon).
his young wife Szou’s clothing boutique,
which has been credited by some of those making the scene in those days with being the very first to introduce ‘hippie’ fashions “Vito Clay” studio
, where, according to Miles and various others, Paulekas “made a living of sorts by giving clay modeling lessons to Beverly Hills matrons who found the atmosphere in his studio exciting.” Vito’s reportedly insatiable sexual appetite and John Holmesian physique
. Vito’s students also apparently included such Hollywood luminaries as Jonathon Winters, Mickey Rooney and Steve Allen.
Carl Orestes Franzoni, he has claimed in interviews that his “mother was a countess” and his father “was a stone carver from Rutland, Vermont. The family was brought from Italy, from the quarries in the northern part of Italy, to cut the stone for the monuments of the United States.”
went into business with some shady Sicilian characters selling mail-order breast and penis pumps out of an address on LA’s fabled Melrose Avenue.
Franzoni remembered it, his business “partner’s name was Scallacci, Joe Scallacci – the same name as the famous murderer Scallacci. Probably from the same family.”
Franzoni, born circa 1934, hooked up with the older Paulekas sometime around 1963 and soon after became his constant sidekick Carl Franzoni, there were indeed a couple of brothers named Franzoni who were brought over from Italy in the early 1800s to carve the Masonic monuments of Washington.
According to Ihna Thayer Frary’s book, They Built the Capitol, Guiseppe Franzoni (and his brother Carlo) “had especially good family connections in Italy, he being a nephew of Cardinal Franzoni and son of the President of the Academy of Fine Arts at Carrara.” Also shipped over were Francisco Iardella, a cousin of the Franzoni brothers, and Giovanni Andrei, a brother-in-law of Guiseppe Franzoni. Thus far, I have been unable to verify that Carl Franzoni
is in fact descended from these men, but it seems quite likely given that Carl would probably not be aware of such an obscure chapter of American history were it not for a family connection. Vito’s wife Szou, an ex-cheerleader who had hooked up with Paulekas when she was just sixteen
and he was already in his fifties. young Rory Flynn (Errol Flynn’s statuesque daughter), Ricky Applebaum
who had half a moustache on one side of his face and half a beard on the other,
young girls who would later become part of Frank Zappa’s GTO project
other oddball characters who donned ridiculous pseudonyms like Linda Bopp, Butchie, Beatle Bob, Emerald, and Karen Yum Yum. young Gail Sloatman (the future Mrs. Zappa, for those who have already forgotten
a curious character on the LA music scene by the name of Kim Fowley
. The two were, for a time, closely allied, and even cut a record together as “Bunny and the Bear” that Fowley produced (“America’s Sweethearts”). In 1966, Fowley produced a record for Vito as well, billed as “Vito and the Hands.” The 7” single, “Where It’s At,” which featured the musicianship of some of Frank Zappa’s Mothers of Invention, came no closer to entering the charts than did Fowley and Sloatman’s effort Fowley, as with so many other characters in this story, has a rather interesting history. He was born in 1939, the son of actor Douglas Fowley, a WWII Navy veteran and attendee of St. Francis Xavier Military Academy.
He grew up in upscale Malibu, California
his later employment as a young male street hustler, a profession that he practiced on the seedy streets of the city of angels (by Fowley’s own account, I should probably add here, just as it was James Dean himself who claimed to have worked those same streets with Nick Adams).
Fowley spent some time serving with the Army National Guard
after which he devoted his life to working in the LA music industry as a musician, writer and producer – as well as, according to some accounts, a master manipulator.
Around 1957, Fowley played in a band known as the Sleepwalkers, alongside future Beach Boy Bruce Johnston.
Fowley was best known for producing such ridiculous yet beloved novelty songs as the Hollywood Argyles’ “Alley Oop” and the Rivington’s “Papa Oom-Mow-Mow,”
collaborating on some Byrds’ tracks
his original songs covered by both the Beach Boys and the Flying Burrito Brothers.
In 1975, Fowley had perhaps his greatest success when he created the Runaways, further lowering the bar that Frank Zappa had already set rather low some years earlier when he had created and recorded the GTOs. The Runaways featured underage versions of Joan Jett and Lita Ford, whom Fowley tastefully attired in leather and lingerie. As he would later boast, “Everyone loved the idea of 16-year-old girls playing guitars and singing about f**king.” Especially, I would imagine, their mothers and fathers. Some of the young girls in the band, including Cherie Curry, would later accuse Fowley of requiring them to perform sexual services for he and his associates as a prerequisite for membership in the group.
he received a guest vocalist credit on the Mothers of Invention album “Freak Out,” as did both Vito Paulekas and his sidekick, Carl Franzoni, to whom the song “Hungry Freaks, Daddy” was dedicated (some sources claim that Bobby Beausoleil also provided guest vocals on Zappa’s debut album, though his name does not appear in the album’s credits). 1962, not long before Carl Franzoni joined the group, the Freak troupe was already hitting the clubs a couple nights each week to refine their unique style of dance (perhaps best described as an epileptic seizure set to music) and show off their distinctively unappealing, though soon to be quite popular, fashion sense
Franzoni has said, “There were no white bands [in LA] yet,” and “There were no clubs on Sunset Boulevard.”
by magic, new clubs began to spring up along the legendary Sunset Strip beginning around 1964
old clubs considered to be long past their prime miraculously reemerged
January 1964, a young Chicago vice cop named Elmer Valentine opened the doors to the now world-famous Whisky-A-Go-Go nightclub
year later, in spring of 1965, he opened a second soon-to-be-wildly-popular club, The Trip
end of 1964, the legendary Ciro’s nightclub began undergoing extensive renovations. Opened in 1940 by Billy Wilkerson, an associate of Bugsy Siegel, the upscale club had flourished for the first twenty years of its existence, with a clientele that regularly included Hollywood royalty and organized crime figures
Ciro’s reopened in early 1965, just before The Trip opened its doors and just in time, as it turns out, to host the very first club appearance by the musical act that was about to become the first Laurel Canyon band to commit a song to vinyl: The Byrds.
Smaller clubs like the London Fog, where The Doors got their first booking as the house band in early 1966, opened their doors to the public in the mid 1960s as well. The paint was barely dry on the walls of the new clubs when bands like Love and The Doors and The Byrds and Buffalo Springfield and the Turtles and the Mothers and the Lovin’ Spoonful came knocking. the band members themselves didn’t actually play on their records (at least not in the early days), the rich vocal harmonies that were a trademark of the ‘Laurel Canyon sound’ were created in the studio with a good deal of multi-tracking and overdubs.
On stage, it was another matter entirely. Vito and Carl’s dancers were a fixture on the Sunset Strip scene from the very moment that the new clubs opened their doors to the public,
and they were, by all accounts, treated like royalty by the club owners. As John Hartmann, proprietor of the Kaleidoscope Club, acknowledged, he “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.”
Kim Fowley put it, with characteristic bluntness, “A band didn’t have to be good, as long as the dancers were there.” Gail Zappa candidly admitted that, even at her husband’s shows, the real attraction was not on the stage: “The customers came to see the freaks dance. Nobody ever talks about that, but that was the case.” Frank added that, “As soon as they arrived they would make things happen, because they were dancing in a way nobody had seen before, screaming and yelling out on the floor and doing all kinds of weird things. They were dressed in a way that nobody could believe, and they gave life to everything that was going on.”
Vito and Carl seem to have become minor media darlings over the course of the 1960s and into the 1970s. The two can be seen, separately and together, in a string of cheap exploitation films, including Mondo Bizarro from 1966, Something’s Happening (aka The Hippie Revolt) from 1967, the notorious Mondo Hollywood, also released in 1967, and You Are What You Eat, with David Crosby, Frank Zappa and Tiny Tim, which hit theaters in 1968. In 1972, Vito made his acting debut in a non-documentary film, The White Horse Gang.