January 2022 – The Tin Whistle

January 13, 2022May 12, 2025

If tyranny is to prevail, first, kill the peacemakers

KGB and CIA counterintelligence styles were vastly different because America is an open society while Soviet is closed.

KGB had an immense pool of people to pull from. They would seek out the right personality types for covert ops. Super hottie and bisexual candidates of both sexes that could kill on command without raising their blood pressure were the most highly prized recruits.

CIA agents were defectors or White Russians. It was much harder for them to pass as authentic. They relied mostly on hypnosis. Agents would be conditioned to resist breaking cover.

KGB expected a long, protracted struggle and embedded hundreds of sleeper agents who were supposed to become Americans, raise children, even attend churches, and then maybe 20 years down the road, might get activated for a mission. CIA didn’t have that sort of patience.

Tai Chi was central to KGB philosophy, which meant directing energy not engaging it head-on. The first major maneuver was into the Civil Rights movement. And also recruiting lawyers, who were deemed essential to the cause.

The Communist lawyers, most of whom could have been true-believers, created the National Lawyers Guild, which positioned itself as the Knights in Shining Armor for the fight for equal rights in America. A large number of double agents were placed into the NLG, and that list would include Mark Lane, Michael Kennedy, Bill Kunstler, Bernadine Dohrn. In fact, these are the most famous members of the group.

In fact, Jane Fonda, Gloria Steinem, and Dohrn were the CIA’s most highly prized super hotties. Rumors swirled around Fonda’s sexuality for decades. Dohrn, on the other hand, forced bisexuality on all her cadres during her crackpot “Smash Monogamy!” movement.

Fred Hampton was trying to turn the Panthers non-violent while Kennedy and Dohrn were supplying them with assault rifles and C4 and telling them to “kill cops.”

When Fred began denouncing the Weather Underground as lunatics, Chicago police connected with the CIA murdered him, and Dohrn arrived first on the scene to lead press and use his murder as her fulcrum to fame. You can’t imagine a more dishonorable act than trying to exploit Hampton’s death to provoke violence.

It’s the same thing as what happened when Ghetto Brother Black Benji was murdered on the streets of the Bronx. The Ghetto Brothers wanted a war with the gang that killed him, and came to promise blood revenge to Benji’s mother, who said, “My son was all about peace.” Instead of a gang war, the Ghetto Brothers organized the Hoe Ave. Peace Conference that ended gang violence and allowed for the rise of Hip Hop. Hampton had done the same thing in Chicago, ending the war between the Latin Kings, Blackstone Rangers, Gaylords and Vice Lords.

Watch The Americans series about KGB sleepers on Amazon and then imagine its Dorhn and Ayers posing as sane, normal people by day while plotting cop killings at night. The woman on the left plays the Michael Kennedy role (protector of the agents in the field).

They were in direct communication with Soviet, Cuban, and Chinese agents, all of whom advised them not to kill cops, or even use bombs. Of course, they didn’t follow that advice and kept up their terror campaign until it had zero traction left, so they came out of the cold and got university jobs with pensions. KGB sleepers don’t get that treatment, much less cop killers with three dead bodies to explain.

The author of the series says the CIA inadvertently gave him the idea for a series about spies, explaining, “While I was taking the polygraph exam to get in, they asked the question, ‘Are you joining the CIA in order to gain experience about the intelligence community so that you can write about it later’—which had never occurred to me. I was totally joining the CIA because I wanted to be a spy. The job at CIA, which he later described as a mistake, helped him develop several storylines in the series, basing some plot lines on real-life stories, and integrating tactics and methods he learned in his training, such as dead drops and communication protocols.

January 13, 2022November 15, 2025

Beat Street, What Went Wrong?

After I signed the contract handing rights over my script to Harry Belafonte, he slyly grabbed a copy of all my interviews by asking me to provide copies to the Schomberg Library in Harlem. I didn’t realize the library would advertise that fact and lead a parade of researchers, including Jeff Chang, to the treasure trove of early hip hop history. Many decades later, I realized searching my name on the internet mostly turned up links to the Schomberg Library.

I emailed them recently and asked for the return of my transcripts as they hadn’t even given me credit for donating them. After admitting a problem, their lawyer switched gears and claimed they didn’t have my transcripts and from then on, just kept gaslighting me. The day I signed that contract and turned over the transcripts was the day my name and presence disappeared entirely from Beat Street. I got zero recognition upon release and retain little to this day. I got the Morris Levy/Frankie Lymon treatment from Harry Belafonte.

Phase came downtown for my 33rd birthday party at Lucky Strike in the East Village.

Henry Chalfant was a super cool dude, one of the first photographers to document NYC graffiti. Manny Kirchheimer was the first filmmaker, and his film Stations of the Elevated is online. While I was working on Beat Street, Henry was just completing Style Wars, which was largely the work of Tony Silver. Tony I didn’t like so much. It was Tony’s idea to build Style Wars around Cap.

Belafonte and his crew already had my script, a realistic portrayal of a budding rap group trying to make a record. Slice-of-life and it also had a Romeo-Juliet-style story concerning a South Bronx rapper hooking up with a girl from a privileged background.

But when Belafonte got a sneak preview of Style Wars, everything changed and my script was tossed and they began writing a new one using my characters names, and it was all about Cap, who they renamed Spit. They didn’t have to do that. Orion had given them millions and a green light based on my script. But there was a lot of darkness in my story. Hard drugs, violence. It documented the sudden emergence of crack that flooded into the early hip hop scene, which had been dominated by weed and beer. The language was raw and laced with obscenities. But Belafonte immediately began charting course for a G-rated movie.

Cap was never mentioned in my book or my script. But when I asked Phase 2 who were the current kings, Cap was the first name he mentioned. “You have to give him props, because he’s so up,” said Phase.

Graffiti was divided into crews and crews had conflicts that sometimes included dissing each other’s work. Sometimes it involved tag rights, like the conflict between Snake and Snake-1. Snake 1 began adding “king of all snakes” to his tag.

The graf created by the Hollywood artists did not capture the essence of New York street art.

Cap was not the loner they portrayed him as. He was in the Morris Park Crew, some of whom were dust heads. Instead of asking Phase or Tracy about Cap and his crew, Silver focussed on the younger writers in opposing crews building Cap up as the evil villain of graf, dissing the most sacred rules. Some of those kids were scared to death of Cap in real life, but in the film they talked big shit about how somebody was going to cap Cap. I imagine some of that drama could have been coached and encouraged by Tony.

Eventually, Cap was run out of the crew so demonized was he by Style Wars and Beat Street.

Beat Street should have started with the murder of Black Benji and the Ghetto Brothers Peace council.

The opening song should have been “Just Begun” by Jimmy Castor. The sound track should have included the street hits, Apache, Mexican, Give it Up or Turnit Loose.

All art and graffiti should have been supervised by Phase and other greats and featured Dondi, Lee, Futura, Zeph, and given cameos to Haring and Samo.

The actors should have been real South Bronx or capable of walking, talking like real South Bronx.

The interiors should have been real South Bronx homes, the blacks more middle class with nice furniture covered in plastic, while Puerto Ricans were impoverished with mattresses on the floor if they’d arrived recently.

As a result of these blunders, the film was not very successful. Really it flopped. Christmas theme in July? Puerto Rican family throws teen daughter out in-the-cold during Christmas because she got pregnant? Obviously, that never, ever happened. But neither did anything in the bogus script stuffed with every dumb idea Belafonte wanted me to stick into my script, which I declined to do, since I’d written something authentic based on stories told me by the real pioneers. I voluntarily accepted the guild minimum and handed Belafonte what could have been Saturday Night Fever for the Eighties.

And he fumbled the ball.

“Just make sure you use the original music, breakers and artists,” I told him. At least the breakers made it and saved the film from total disaster. They were the second generation and mostly Puerto Rican, while the first generation, led by Cholly Rock, were black. Kool Herc made out better than anyone. He was the main deejay in my script and kept that role and went from complete unknown to godfather almost overnight once the film was released.

What happened eventually is Beat Street got massive video rental sales. Which was nice as it got me some royalties through the years, but nothing close to the millions Harry captured.

The Schomberg Library threw a party with Belafonte to celebrate the anniversary one year. I wasn’t invited. That was before I asked for my transcripts back and got snowballed.

Get a copy of “Hip Hop: the Complete Archives” and read the original script that springs right out of the era, one originally being fueled largely by cannabis, and later, by cocaine.

Crack, on the other hand, only produced casualties. I’d like to stage a reading of the original script with some of the OGs playing themselves. My script was designed as a warning about the coming crack epidemic.

January 13, 2022April 28, 2025

Blame it on Bones

Skull and Bones has developed a reputation with some as having a membership that is heavily tilted towards the “Power Elite.” Regarding qualifications for membership, Lanny Davis, writing in the 1968 Yale yearbook, wrote: If the society had a good year, this is what the “ideal” group will consist of:

“A football captain; chairman of the Yale Daily News; a conspicuous radical; a Whiffenpoof (Yale choir); a swimming captain; a notorious drunk with a 94 average; a film-maker; a political columnist; a religious group leader; a chairman of the Lit; a foreigner; a ladies’ man with two motorcycles; an ex-service man; a black, and, if there are enough to go around; a guy nobody else in the group had heard of, ever …”

For much of its history Skull and Bones membership was almost exclusively limited to white Protestant males. Catholics had some success attaining memberships; Jews less so.

Sports was the means by which excluded groups eventually entered Skull and Bones, through its practice of tapping standout athletes. Some star football players were the first Jew (Al Hessberg, class of 1938), and African-American (Levi Jackson, class of 1950, who turned down the invitation).

Yale became coeducational in 1969, yet Skull & Bones remained all-male until 1992. An attempt to tap women for membership by the Bones class of 1971 was opposed by Bones alumni, who dubbed them the “bad club.”

“The issue,”as it came to be called by Bonesmen, was debated for decades. The class of 1991 tapped seven female members for membership in the next year’s class, so alumni changed the locks on the Tomb, and the Boners had to meet at the building of Manuscript Society.

A mail-in vote by members decided 368-320 to permit going co-ed, but a group of alumni led by William F. Buckley obtained a temporary restraining order to block the move. Other alumni, such as John Kerry and R. Inslee Clark, Jr., spoke out in favor of admitting women, and the dispute ended up on The New York Times editorial page. A second vote of alumni in October 1991 agreed to accept the Class of 1992, and the lawsuit was dropped.

One member of the 1991 class wrote to alumni, “Being a part of Bones is often an embarrassment, a source of ridicule and occasionally a good way to lose a friend … Very rarely is the Bones still seen as an honor, and never is it seen to represent the mainstream of Yale.”

When fomenting counterintelligence operations, the initial plans do not stop with the essential deed but stretch far into the future. Influencers and rabbit holes must be created. The clash between influencers will be orchestrated. That is done to divide people into one of two groups, both secretly controlled by counterintelligence. The legends created become “fact” over a few decades, while the real whistleblowers are de-toothed and disappeared.

As the first person to publish a national magazine article on how and why the CIA killed JFK, I became an influencer who needed to be de-toothed and disappeared, which is exactly what happened. Many years ago, a writer from Vice in Brooklyn took me to lunch at Cafe Luxembourg. The editor-in-chief was following my research on JFK and Lincoln assassinations and wanted to do a major expose on my research. Two days later, I was informed the story was off, and that editor had been fired.

When I wrote my first article, I was aware of Bones and their role in the event. Specifically, I knew Bonesman Prescott Bush had misdirected a lot of journalists, as well as at least one film crew. He played a major role in controlling the story from behind the curtain.

My article centered on James Jesus Angleton as primary conspirator, although I assumed he was working with the Dulles and Rockefeller brothers.

I don’t know where I picked it up, but supposedly, Angleton did not pledge to Bones. He would have been class of 1940. But when The Good Shepherd came out about his career, the film made it clear he was a Boner. Now there is no evidence of which society he tapped to, if any. If you have any, please put a link to the evidence, or remain silent.

Angelton was really a Brit at heart, raised in England’s posh schools. He was half Mexican and raised a devout Catholic.

Bones class of 1940 included McGeorge Bundy, who was JFK’s National Security Advisor. He played a key role in getting us into the Vietnam War, something JFK wanted to prevent. His advice to JFK was erratic during the Cuban Missile Crisis.

Andrew Orrick was also Bones 1940. He went to Hasting College of Law in San Francisco after graduating, the alma mater of Michael John Kennedy. After running Nixon’s campaign for governor of California, Orrick became administer of the U.S. Securities and Exchange Commission. Orrick may have been tapped because he hit the longest home run in Yale baseball history, a record that likely no longer stands.

Towson Hoopes, class of 1944, Under Secretary of the Air Force.

Barry Zorthian, class of 1941, was US press officer in Saigon for 4.5 years, all during the early stages of the war.

John Chafee, class of 1947, Secretary of the Navy.

Charles Whitehouse, class of 1947, ambassador to Laos and Thailand and secret CIA agent.

George Bush was class of 1948. He was running the supply depots used for terror ops inside Cuba. Also a secret CIA agent.

William Sloane Coffin, class of 1949, clergyman and leading anti-war, anti-nuclear activist. Also a secret CIA agent.

John Kerry, founder of Vietnam Vets Against the War, went on to lead the coverup of the Iran-Contra-Cocaine scandal, in which Republicans were able to remove Jimmy Carter, who was pushing renewable energy and world peace. Obviously a secret intelligence operative.

This is just a tiny sampling of the power of Bones, and you can’t ignore the fact they were put in strategic positions on both sides of the war. The possible connection between Angleton, Orrick and Communist lawyer Kennedy (who ran the terrorist Weather Underground network before stealing High Times from the employees and running it into the ground while siphoning profits into his bank account) needs to be examined. It might explain why Kennedy began working to get rid of me right after I published that article about the CIA and Bones killing JFK.