Angelina Jolie's Heroin And Cocaine Dealer Speaks!

In a new interview with Life & Style Weekly, a man claiming to be Angelina Jolie's former drug dealer is spilling stories of the actress' past abuse of narcotics. Franklin Meyer -- who spent eight months in 2002 at Rikers Island jail for attempted cocaine possession, RadarOnline reports -- claims that in the 1990s Jolie came to him to purchase drugs on many occasions.

"We'd see each other two to three times a week when she was in town. She would buy cocaine and also heroin," says Meyer, who claims he first met the actress in February 1997 when she and a male friend came to buy drugs from him at N.Y.C.'s Chelsea Hotel.

Jolie was just 21 at the time, but, according to Meyer, she soon became a regular customer.

"She would generally spend about $100 each time -- that would buy maybe half a gram of coke and a 10th of a gram of heroin," he says. "She would snort the cocaine and the heroin in front of me. It didn't seem to matter to her who else was there."

Meyer says that sometimes he would even go to Jolie's apartment on the Upper West Side, which he described as a frightening scene, claiming the walls were covered with photos of dead bodies.

"I assumed they were real bodies," he said. "They were like places or apartments where there were murders. I don't know where someone would get pictures like that."

But what surprised Meyer most about the young woman, who now has six kids with Brad Pitt, was her determination to eventually adopt a child.

"She would say to me, 'I think I would really like to adopt a kid.' I was shocked," Franklin says. "In the middle of the drugs and the knives, she'd be talking about wanting to adopt a child."

Of course, this isn't the first time Angelina Jolie's fame has made her the subject of rumors -- so it's best to take Meyer's claims with a grain of salt possibly. either way she fucked up.

I guess, either way we love her. Franklin, also claimed Angelina went on TV show Charlie Rose, high on dope in 2000. I know many men that would probably take a shot of heroin to copulate with Ms Jolie, even though physically her best years are behind her. One cant describe her entering into films the effect it had on many in the nineties, especially before her commercial peak which resulted in sub par roles and some stuff that didn't seem like her. personally id like to do a shitload of Ecstasy with Angie, maybe cut each other up..find some island to go to and live out the rest of days. I wonder if Brad Pitt parties, I know hes a prolific pot smoker, but i wonder about the real candy, you know A-Work cocaine, the brown bunny etc..Maybe he'd do better films he did party. Either way people the truth always comes to light, we just hope Angie speaks on it and sheds some light on it. Were horny for the truth. and yeah look at that mouth.

Rolling Stones Manager Finally Tells His Side Of Altamont

Sam Cutler claim to distinction is that he has served as tour manager for both the Rolling Stones and the Grateful Dead -- and he is finally willing to talk about the experience. The English-born Cutler got his start in the 1960s working at free concerts at London's Hyde Park, including a particularly famous
one by the Stones that turned into a memorial for original member Brian Jones. That concert led to a job tour managing the Stones for their legendary 1969 American tour, which ended tragically at a free concert at Altamont, just outside San Francisco, when an attendee was stabbed to death by Hells Angels handling security.

Cutler's long, strange trip continues after Altamont when he joined the Grateful Dead's organization. After whipping their touring department into shape, he took the band across Europe in 1972 and then Canada on the famed but doomed 'Festival Express,' where some of the biggest names in rock 'n' roll stayed up and jammed for days on end, fueled by drugs, booze and one another. All kinds of fascinating folks show up in Cutler's new tell-all book, 'You Can't Always Get What You Want' -- from Janis Joplin and Syd Barrett to shady gangster types and other unsavory characters. But the most intriguing story is that of the man whose job was to hold it all together: Mr. Cutler himself.


I was always under the impression that the Rolling Stones hired the Hells Angels to do security at Altamont, that the Hells Angels just mercilessly beat an innocent fan to death for no apparent reason and that it was the accident that killed the '60s. Your story paints quite a different picture.


Yeah, well, that's all on the media, isn't it? It was all media bulls---, that kind of narrative. It was just rubbish, man. And that's why I took a long time to write this book. You need distance and time to analyze things in order to really see them in their true perspective.
In 1969, you were hired as tour manager for the Rolling Stones. In some ways, it was the first major American rock 'n' roll tour -- at least of that size and scope. It also drew lots of criticism. In addition to high ticket prices, the tour was seen by some as a greedy, lawless beast that would roll through town, eating up all the girls and drugs along the way. I'm sure that's not completely true -- but is it totally false?


No. But first off, on the ticket prices bit, the Rolling Stones weren't really charging any more than the Doors were, OK? The Stones were charging $8.50 and the Doors were charging $7.50. But the Rolling Stones have always had sort of a bad-boy image and I don't think they've ever done much to sort of play that down, as it were. But it was a complex tour. There were different energies at stake being put into play. And that's a lot of what the book is about. But as far as the band is concerned, by current rock 'n' roll standards, it was all very tame, really. In some ways. Go to a backstage scene at a Grateful Dead gig if you want to see madness. The Rolling Stones always tried to have it pretty cool backstage. It was their workspace.

At the same time, do you think there's any truth to the accusation that the Rolling Stones were just in it for the money?


They were broke when they did that tour, so they needed the money. But I don't think the Rolling Stones could ever be accused of only playing for money. The Rolling Stones love to play. They give really great value for money -- they play for two or three hours, always, when they do shows. So I don't think the Rolling Stones have ever been in it solely for the money. I think that's like saying the Grateful Dead were only in it just for the money. You can't do things that long and with that intensity without loving it, man.






You're the one that gave the Rolling Stones the motto 'The Greatest Rock 'n' Roll Band in the World,' when you announced them each night. Do you still think that?


When they're on, when they're really cooking, yeah. I love them. I always have, you know? I think they're a brilliant, brilliant band. You really see that when they play in a 1,500 seat club. That's where the Rolling Stones are f---in' unbelievable. The Grateful Dead and the Rolling Stones to me -- they're the two best bands that I've enjoyed the most in my life, but of course these are subjective things, aren't they? But I love them both and I still, to this day, consider myself a member of the Grateful Dead family.


Of course, it's hyperbole, isn't it, to call some band the "Greatest Rock 'n' Roll Band in the World." That's obviously a tall claim. But as I pointed out in the book, I said it as a bit of reverse psychology. Mick [Jagger] was furious with me for saying it. He hated it.


It seems like it was almost a challenge to them each night.

Exactly. Get out there and prove it!

 Immediately after the tragedy at Altamont, the Rolling Stones distanced themselves from it. They went back to Europe while you stayed in California to clean up the mess -- and suddenly they even stopped answering your phone calls. If Altamont didn't happen, do you think you would've continued to work for them?


Oh, I'm sure. Why not? I looked after them. To this day, Keith and I, and Charlie and I, we're close. They've got no complaints about me, man.


Within the Grateful Dead and Rolling Stones organizations, people were willing to let you take the blame for Altamont. Yet, the blame really falls elsewhere.

The point is, Altamont was a collectively organized thing -- but by the West Coast bands, not by the Rolling Stones. The Rolling Stones had f-- all to do with the organizing of it, man -- I arrived three days before it happened! To total chaos! I mean, the Grateful Dead couldn't organize a piss-up in a brewery in those days. They didn't have a clue. And everybody else, they were all on this trip, but it was chaos and that was the point.


So the concert was thrown together by a loose collective, but someone close to the Dead's organization told me that the blame falls partially on Jerry Garcia and Mick Jagger. Do you agree?

Well, um, yeah, there's some truth in that. But the biggest single reason why Altamont was a disaster -- let's get this straight, right? -- was the fact that the stage was a hundred centimeters [three feet] high. It came up to your knees. It was meant to be on the side of a hill at Sears Point [where the concert was originally planned]. They moved it to Altamont and they made the mistake of putting it at the bottom of the valley. If it had been a stage that was, let's say, 10 feet high, no one could've climbed it. There would've been no security issues. See what I mean?


I think the San Francisco community has been in denial about the thing for God knows how long. Everybody shared in the f--- up, from the Grateful Dead to Santana to Crosby, Stills, Nash and Young, all those people, all the hippies that were involved with trying to get it together. It was a complete stuff-up, organizationally, and it proved that it was beyond the capabilities of the San Francisco community, at that time, to put something together on this kind of epic level.

But the San Francisco community had put on free concerts in Golden Gate Park, within the city limits, that ran smoothly. And the Grateful Dead were a group of hippies, whereas the Rolling Stones were a brash rock band from England. If the Rolling Stones hadn't been on the bill at Altamont and it was just the Bay Area bands, do you think the disaster was still inevitable?


That's a hard one to say, isn't it? A hard one to answer. There's no question that everybody lost their heads, in a way. The Rolling Stones were involved and everybody just went loopy. But the fact of the matter is it was called "the Rolling Stones' free concert at Altamont," but it wasn't the Rolling Stones' free concert -- it was the Grateful Dead's, Santana's, Crosby Stills Nash and Young's, Jefferson Airplane's, the Flying Burrito Brothers' and the Rolling Stones' free concert at Altamont. I think the Rolling Stones have unfairly been labeled with the disaster when nobody else has ever took their fair share of the blame. It's nonhistoric. It's inaccurate.


When you started working for the Grateful Dead, you were seen as doing business in a hard-handed manner that was almost in contrast to the Dead's public image as hippies.


One of the things was that the Grateful Dead, when I joined them, were about four or five thousand dollars in debt. And in order to continue to be the Grateful Dead, they had to make money. This was a new thing for them, you know what I mean? A lot of people relied on them, they had a big family of people to support, the band to support, equipment requirements, all that stuff, you know? But they didn't really have any idea how to do it.

So when Jerry [Garcia] asked me to be involved in the Grateful Dead, it wasn't because he thought I was a wonderful person, necessarily. I think it was primarily because he felt I had the skills necessary to get the Grateful Dead on the road and make some money. Well, when I joined them they were only making $3,000 a night, and when I left them the figure that they got was $187,000 for [the 1973 Summer Jam at] Watkins Glen [festival].


You were raised in postwar England by card-carrying Communists. Do you think that played into your role with the Grateful Dead, in trying to make this band some money while retaining their free communal spirit?

 

The thing is, the Grateful Dead never operated on the kind of principle of naked greed. They never operated like a major corporation.

Could you say the same about the Rolling Stones?


The Rolling Stones like to see the money go directly to Switzerland -- you know what I mean?

In the book, you mention that you saved Jerry Garcia's life twice. Can you talk about that?


No, because that's personal. Listen, when you're a tour manager, you can discover things about people that really should never see the light of day. They're private. So I wouldn't demean Jerry's memory by talking about these things in an interview or in a book -- I wouldn't even talk about it with my friends. I hold his memory dear and sacred, and that's one of my ways of honoring him.


The book ends when the Grateful Dead and you parted ways. You closed shop with your booking agency in San Rafael, Calif. What did you do immediately after that?


I went to India to be a hippie!

Geezer Butler in Good Vibes about Sabb's

Geezer Butler keeps talking about how a Black Sabbath reunion is not out of the question. The bassist told our friends over at Hellbound.ca that he "wouldn't say no" to a reunion, adding, "You know it would be nice to finish the whole thing off with one last tour."

While words like "finish" and "one last tour" sound like the members are preparing for a victory lap, it's better to have one last hurrah with the godfathers of metal than none at all.

Butler acknowledged that the members are "getting a bit old now," so "time is running out." Geezer, drummer Bill Ward and singer Ozzy Osbourne have all expressed interest in reuniting, but Ozzy's dance card is incredibly full right now with his new album 'Scream,' and a global tour on the horizon. Nevertheless, the metal community would like to share Geezer's optimistic outlook. Black Sabbath needs to make a real record with John Osbourne to prove that after over 30 years, that they are able to tap into the dark elements which made them popular in the first place. Ozzy's new cd "Scream" is awful and auto tuned. Enough said. Lets cross our fingers

Goatwhore

Zack for a living gets to beat the shit out of his drums. If you have not seen them live , surely they will rip your face off. Zack plays for sludgy black thrash grind gurus Goatwhore. I caught up with Zack.


Goatwhore are playing Ozzfest this year, are you doing the whole tour?

We are playing all six of the Ozzfest dates this year as well as headlining dates on the off days. We hit the road in about a week and are out for just under a month. We are really looking forward to this run. It’s an honor to be a part of Ozzfest again.

You guys are well known for being one of the hardest working bands. What keeps you going?

This is all we know how to do basically. Go big or go home, I guess. Some of the guys have side jobs when we have time off, but for me, this is really all I’ve got. It’s probably one of the coolest jobs you can have.

I agree. I think Goatwhore records sound great sonically, but i think there is a different kind of power when you lock in in a live setting. Do you think bands sometimes lose sight of that?

I know what you mean. There is an energy when you see a band live that cannot translate on an album. There are some bands that sound amazing on record but disappoint live, and vice versa. An album can only hit one of your senses. When you go to a show, you can see it, hear it, feel it, and smell it (if we haven’t showered.)

What drummers did you look up to when you got started?

I was a huge Ozzy and Sabbath fan growing up, and still am. I really looked up to Tommy Aldridge. He’s an amazing drummer. As I started digging deeper into the heavier stuff I got into Dave Lombardo, Nick Barker, etc… Nowadays I’m kind of rediscovering a lot of older drummers that kick ass like Cozy Powell, Ian Paice, etc. I’m more into solid rock drummers than drummers that exclusively play fast.

I think Tommy is underrated. Whats next in the chamber for the band?

We have been working on material for a new record that will be out sometime next year. The touring is probably going to slow down toward the end of the year so we can focus on that. Then we’ll hit the road and do it all over again.

Thanks for taking the time brother

No problem at all. Take it easy.

Michal Urbaniak

Although Mike is well respected in the suit and tie expensive $50 dollar drink miniumum joints, those in the know would know that the guy is most loved for his early seventies funk fusion vulgarities.After Urbaniak returned to Poland and the violin (which he abandoned for the saxophone during the time in Scandinavia), he created the self-named "Michał Urbaniak Group", to which he invited, among others, Adam Makowicz (piano) and Urszula Dudziak (vocals). They recorded their first international album, Parathyphus B, and played on many festivals, including Jazz Jamboree in 1969–1972. During the Montreux'71 festival, Urbaniak was awarded "Grand Prix" for the best soloist and scholarship by the prestigious Berklee College of Music in Boston. After many triumphant concerts in Europe and the USA, in May 1973 he played for the last time before a Polish audience and emigrated with Urszula Dudziak on September 11, 1973, to the United States, where he now lives as US citizen.

In spite of getting an award from Berklee, he did not study there. Recommended by John H. Hammond, Urbaniak signed a contract with Columbia Records, who published the west-German album Super Constellation under the name Fusion. For the promotion tour, he invited Polish musicians, including Czesław Bartkowski, Paweł Jarzębski, and Wojciech Karolak. In 1974, Urbaniak formed the band Fusion, and introduced melodic and rhythmic elements of Polish folk music into his funky New York based music.

Since 1970, Urbaniak is playing on a custom-made, five string violin furnished especially for him, violin synthesizer called "talkin'" violin, soprano, alto and tenor saxophones and on lyricon (electric sax-like horn). His fusion with a hint of folklore was becoming popular among the leaders of American jazz, and also provided opportunity for many new musicians (Harold Williams, Steve Jordan, Marcus Miller, Kenny Kirkland, Omar Hakim, and Victor Bailey. He started to play in well known clubs such as Village Vanguard and Village Gate, in famous concert halls such as Carnegie Hall, Beacon Theatre, and Avery Fisher Hall. In this period he played with such stars as Weather Report, Freddie Hubbard, Elvin Jones, Herbie Hancock, Chick Corea, George Benson, and Billy Cobham.

Urbaniak has invited and has been invited by many other well known jazz stars, including Lenny White, Wayne Shorter, Marcus Miller, Joe Zawinul, Ron Carter, Kenny Barron, Buster Williams and Quincy Jones. In 1985, he was invited to play during the recording of Tutu with the father of fusion, Miles Davis. Davis is reported to have said on this occasion: "Get me this fucking Polish fiddler, he's got the sound!"

Discography
Paratyphus B (1970)
Inactin (1971)
New Violin Summit (with Don "Sugarcane" Harris, Jean-Luc Ponty, Nipso Brantner, Terje Rypdal, Wolfgang Dauner, Neville Whitehead, Robert Wyatt) (1972)[1]
Super Constellation (and Constellation In Concert) (1973)
Polish Jazz (1973)
Atma (1974)
Fusion (1974)
Funk Factory (1975)
Fusion III (1975)
Body English (1976)
Urbaniak (1977)
Ecstasy (1978)
Music For Violin And Jazz Quartet (1980)
Serenade for The City (1980)