How the Government Killed Martin Luther King, Jr.

 

 

How the Government Killed Martin Luther King, Jr.

By Carl Gibson, Reader Supported News

03 April 13

Dr. Bob Hieronimus interviewed James Earl Ray from prison in 1992 and we will be posting a transcript of that interview in the near future.

Before scoffing at this headline, you should know that in 1999, in Memphis, Tennessee, more than three decades after MLK’s death, a jury found local, state, and federal government agencies guilty of conspiring to assassinate the Nobel Peace Prize winner and civil rights leader. The same media you would expect to cover such a monumental decision was absent at the trial, because those news organizations were part of that conspiracy. William F. Pepper, who was James Earl Ray’s first attorney, called over 70 witnesses to the stand to testify on every aspect of the assassination. The panel, which consisted of an even mix of both black and white jurors, took only an hour of deliberation to find Loyd Jowers and other defendants guilty. If you’re skeptical of any factual claims made here, click here for a full transcript, broken into individual sections. Read the testimonies yourself if you don’t want to take my word for it.

It really isn’t that radical a thing to expect this government to kill someone who threatened their authority and had the power to organize millions to protest it. When MLK was killed on April 4, 1968, he was speaking to sanitation workers in Memphis, who were organizing to fight poverty wages and ruthless working conditions. He was an outspoken critic of the government’s war in Vietnam, and his power to organize threatened the moneyed corporate interests who were profiting from the war. At the time of his death, he was gearing up for the Poor People’s Campaign, an effort to get people to camp out on the National Mall to demand anti-poverty legislation – essentially the first inception of the Occupy Wall Street movement. The government perceived him as a threat, and had him killed. James Earl Ray was the designated fall guy, and a complicit media, taking its cues from a government in fear of MLK, helped sell the “official” story of the assassination. Here’s how they did it.

The Setup

The defendant in the 1999 civil trial, Loyd Jowers, had been a Memphis PD officer in the 1940s. He owned a restaurant called Jim’s Grill, a staging ground to orchestrate MLK’s assassination underneath the rooming house where the corporate media alleges James Earl Ray shot Dr. King. During the trial, William Pepper, the plaintiff’s attorney, played a tape of an incriminating 1998 conversation between Jowers, UN Ambassador Andrew Young, and Dexter King, MLK’s son. Young testified that Jowers told them he “wanted to get right with God before he died, wanted to confess it and be free of it.”

On the tape, Jowers mentions that those present at the meetings included MPD officer Marrell McCollough, Earl Clark, an MPD lieutenant and known as the department’s best marksman, another MPD officer, and two men who were unknown to Jowers but whom he assumed to be representatives of federal agencies. While Dr. King was in Memphis, he was under open or eye-to-eye federal surveillance by the 111th Military Intelligence Group based at Fort McPherson in Atlanta, Georgia. Memphis PD intelligence officer Eli Arkin even admitted to having the group in his own office. During his last visit to Memphis in late March of 1968, MLK was under covert surveillance, meaning his room at the Rivermont was bugged and wired. Even if he went out to the balcony to speak, his words were recorded via relay. William Pepper alleges in his closing argument during King v. Jowers that such covert surveillance was usually done by the Army Security Agency, implying the involvement of at least two federal agencies.

Jowers also gave an interview to Sam Donaldson on “Prime Time Live” in 1993. The transcript of the interview was read during the trial, and it was revealed that Jowers openly talked about being asked by produce warehouse owner Frank Liberto to help with MLK’s murder. Liberto had mafia connections, and sent a courier with $100,000 to Jowers, who owned a local restaurant, with instructions to hold the money at his restaurant.

John McFerren owned a store in Memphis and was making a pickup at Liberto’s warehouse at 5:15 p.m. on April 4th, roughly 45 minutes before the assassination. McFerren testified that he overheard Liberto tell someone over the phone, “Shoot the son of a bitch on the balcony.” Other witnesses who testified included café owner Lavada Addison, who was friends with Liberto in the 1970s. She recalled him confiding to her that he “had Martin Luther King killed.” Addison’s son, Nathan Whitlock, also testified. He asked Liberto if he killed MLK, and he responded, “I didn’t kill the nigger but I had it done.” When Whitlock pressed him about James Earl Ray, Liberto replied, “He wasn’t nothing but a troublemaker from Missouri. He was a front man … a setup man.”

The back door of Loyd Jowers’ establishment led to a thick crop of bushes across the street from the Lorraine Motel balcony where Dr. King was shot. On the taped confession to Andrew Young and Dexter King, Jowers says after he heard the shot, Lt. Earl Clark, who is now deceased, laid a smoking rifle at the rear of his restaurant. Jowers then disassembled the rifle, wrapped it in a tablecloth and prepared it for disposal.

The corporate media says it was James Earl Ray who shot MLK, and he did it from the 2nd floor bathroom window of the rooming house across the street from the Lorraine Motel. The official account alleges the murder weapon was dropped in a bundle and abandoned at Dan Canipe’s storefront just before he made his getaway. But even those authorities and media admit that the bullet that tore through MLK’s throat didn’t have the same metallurgical composition as the bullets in the rifle left behind by James Earl Ray. And Judge Joe Brown, a weapons expert called to testify by Pepper in the 1999 trial, said the rifle allegedly used by James Earl Ray had a scope that was never sighted in, meaning that the weapon in question would have fired far to the left and far below the target.

The actual murder weapon was disposed of by taxi driver James McCraw, a friend of Jowers. William Hamblin testified in King v. Jowers that McCraw told him this story over a 15-year period whenever he got drunk. McCraw repeatedly told Hamblin that he threw the rifle over the Memphis-Arkansas bridge, meaning that the rifle is at the bottom of the Mississippi river to this day. And according to Hamblin’s testimony, Canipe said he saw the bundle dropped in front of his store before the actual shooting occurred.

The Conspiracy

To make Dr. King vulnerable, plans had to be made to remove him from his security detail and anyone sympathetic who could be a witness or interfere with the killing. Two black firefighters, Floyd Newsum and Norvell Wallace, who were working at Fire Station #2 across the street from the Lorraine Motel, were each transferred to different fire stations. Newsum was a civil rights activist and witnessed MLK’s last speech to the striking Memphis sanitation workers, “I Have Seen the Mountaintop,” before getting the call about his transfer. Newsum testified that he wasn’t needed at his new assignment, and that his transfer meant that Fire Station #2 would be out of commission unless someone else was sent there in his stead. Newsum talked about having to make a series of inquiries before finally learning that his reassignment had been ordered by the Memphis Police Department. Wallace testified that to that very day, while the official explanation was a vague death threat, he hadn’t once received a satisfactory answer as to why he was suddenly reassigned.

Ed Redditt, a black MPD detective who was assigned to MLK’s security detail, was also removed from the scene an hour before the shooting and sent home, and the only reason given was a vague death threat. Jerry Williams, another black MPD detective, was usually tasked with assembling a security team of black police officers for Dr. King. But he testified that on the night of the assassination, he wasn’t assigned to form that team.

There was a Black Panther-inspired group called The Invaders, who were staying at the Lorraine Motel to help MLK organize a planned march with the striking garbage workers. The Invaders were ordered to leave the motel after getting into an argument with members of MLK’s entourage. The origins of the argument are unclear, though several sources affirm that The Invaders had been infiltrated by Marrell McCollough of the MPD, who later went on to work for the CIA. And finally, the Tact 10 police escort of several MPD cars that accompanied Dr. King’s security detail were pulled back the day before the shooting by Inspector Evans. With all possible obstacles out of the way, MLK was all alone just before the assassination.

The Cover-Up

Around 7 a.m. on April 5, the morning after the shooting, MPD Inspector Sam Evans called Public Works Administrator Maynard Stiles and told him to have a crew destroy the crop of bushes adjacent to the rooming house above Loyd Jowers’ restaurant. This is particularly odd coming from a policeman, since the bushes were in a crime scene area, and crime scene areas are normally roped off, not to be disturbed. The official narrative of a sniper in the bathroom at the rooming house was then reinforced, since a sniper firing from an empty clearing would be far more visible than one hidden behind a thick crop of bushes.

Normally, when a major political figure is murdered, all possible witnesses are questioned and asked to make statements. But Memphis PD neglected to conduct even a basic house-to-house investigation. Olivia Catling, a resident of nearby Mulberry Street just a block away from the shooting, testified that she saw a man leave an alley next to the rooming house across from the Lorraine, climb into a Green 1965 Chevrolet, and speed away, burning rubber right in front of several police cars without any interference. There was also no questioning of Captain Weiden, a Memphis firefighter at the fire station closest to the Lorraine, the same one from which Floyd Newsum had been transferred just a day before.

Memphis PD and the FBI also suppressed the statements of Ray Hendricks and William Reed, who said they saw James Earl Ray’s white mustang parked in front of Jowers’ restaurant, before seeing it again driving away as they crossed another street. Ray’s alibi was that he had driven away from the scene to fix a tire, and these two statements that affirmed his alibi were withheld from Ray’s guilty plea jury.

The jury present at Ray’s guilty plea hearing also wasn’t informed about the bullet that killed MLK having different striations and markings than the other bullets kept as evidence, nor that the bullet couldn’t be positively matched as coming from the alleged murder weapon. Three days after entering the guilty plea, James Earl Ray unsuccessfully attempted to retract it and demand a trial. Incredibly, James Earl Ray turned down two separate bribes, one of which was recorded by his brother Jerry Ray, where he was offered $220,000 by writer William Bradford Huey and the guarantee of a full pardon if he would just agree to have the story “Why I Killed Martin Luther King” written on his behalf.

The Deception

One of the 70 witnesses that William F. Pepper called to testify in King v. Jowers was Bill Schaap, a practicing attorney with particular experience in military law, with bar credentials in New York, Chicago, and DC. Schaap testified at great length about how the government, through the FBI and the CIA, puts people in key positions on editorial boards at influential papers like the New York Times and Washington Post. He describes that although these editorial board members and news directors at cable news outlets may be liberal in their politics, they always take the government’s side in national security-related stories. Before you write that off as conspiracy theory, remember how people like Bill Keller at the New York Times, as well as the Washington Post editorial board, all cheerfully led the march to war in Iraq ten years ago.

Another King v. Jowers witness was Earl Caldwell, a New York Times reporter who was sent to Memphis by an editor named Claude Sitton. Caldwell testified that the orders from his editor were to “nail Dr. King.” In the publication’s effort to sell the story of James Earl Ray as the murderer, the Times cited an investigation into how Ray got the money for his Mustang, rifle, and the long road trip to Tennessee from California. The Times said that according to their own findings as well as the findings of federal agencies, Ray got the money by robbing a bank in his hometown of Alton, Illinois. In Pepper’s closing argument, he says that when he or Jerry Ray talked to the chief of police in Alton, along with the bank president of the branch that was allegedly robbed, neither said they had been approached by the New York Times, or by the FBI. Essentially, the Times fabricated the entire story in order to sell a false narrative that there was no government intervention and that James Earl Ray was a lone wolf.

So for the following 31 years after King’s death, nobody dared to question the constant reiteration of James Earl Ray as the murderer of Martin Luther King. Even 13 years after a jury found the government complicit in a conspiracy to murder the civil rights leader, the complicit media continues to propagate the false narrative they sold us three decades ago and vociferously shout down any alternative theories as to what happened as “conspiracy theory,” framing those putting forth such theories as wackjobs undeserving of any credibility. It’s strikingly similar to how the Washington Post defended their warmongering in a recent editorial commenting on the invasion of Iraq, and had one of their reporters defend the media’s leading of the charge into Iraq.

As we remember Dr. King and the important work he did, we should also reject the official account of his death as loudly as the government and media shout down anyone who tries to contradict their lies. As Edward R. Murrow said, “Most truths are so naked that people feel sorry for them and cover them up, at least a little bit.”


Carl Gibson, 25, is co-founder of US Uncut, a nationwide creative direct-action movement that mobilized tens of thousands of activists against corporate tax avoidance and budget cuts in the months leading up to the Occupy Wall Street movement. Carl and other US Uncut activists are featured in the documentary “We’re Not Broke,” which premiered at the 2012 Sundance Film Festival. He currently lives in Madison, Wisconsin. You can contact him at
This e-mail address is being protected from spambots. You need JavaScript enabled to view it
, and follow him on twitter at @uncutCG.

Reader Supported News is the Publication of Origin for this work. Permission to republish is freely granted with credit and a link back to Reader Supported News.

Misteltoe Cancer Trials Donate Now

 

 

Historic Clinical Trial at Hopkins: Mistletoe to become Standard Cancer Treatment Protocol in U.S.

Other Countries Using Mistletoe Therapy Now

Mistletoe (Iscador or Iscar)

When Dr. Zohara Hieronimus, D.H.L. founded the Ruscombe Mansion Community Health Center in 1984, her goal was to create one location where many options for complementary or holistic services would be available. The first professional she recruited was Dr. Peter Hinderberger, M.D., a physician who practices homeopathy and anthroposophic medicine.

Born and raised in Switzerland where he attended medical school, Dr. Hinderberger has studied internationally including professional courses in homeopathy from the National Center for Homeopathy, and under master homeopaths George Vithoulkas and Jacques Imbrecht.

Zohara has been proud of Dr. Hinderberger for 30 years because he is an exceptional healer, but she has never been as proud of him as she is today thanks to his involvement in this historical trial on a botanical cancer treatment.

Dr. Hinderberger has used mistletoe in his practice successfully for over three decades as an integral part of standard cancer treatment protocol. Mistletoe (Iscador or Iscar) is one of the most widely studied complementary and alternative medicine therapies in people with cancer in Europe. In certain European countries, preparations made from mistletoe are among the most prescribed drugs for patients with cancer.

But in the United States, no pharmaceutical company will fund the clinical trials necessary to allow oncologists to offer it to their patients as “standard of care”. That is because mistletoe is a botanical that cannot be patented, and there is no huge profit to be made for them to fund this study.

So into this breach steps one of Dr. Hinderberger’s extraordinary patients. After being diagnosed with stage 4 cancer and a bleak prognosis, she is now free of cancer thanks to her lifestyle changes and mistletoe. These results sparked the interest of her oncologist at Johns Hopkins Hospital, and led to his decision to do a trial on mistletoe.

This is a Phase 1 trial for six to nine months to evaluate the safety, identify any side effects on a small group of patients, and serve as an intro study for further mistletoe trials. This study will cost approximately $300,000. Remember, because mistletoe is a natural substance and there is not a patent possibility, pharmaceutical companies will not fund this trial. All funding will come through philanthropic and private donations.

It is truly historic that none of the funds will come from Big Pharma, and that Johns Hopkins, one of the top ranked medical research facilities in the world, is doing a study on a botanical substance for cancer. This in itself is absolutely remarkable, but just as remarkable is that this is patient-driven, not initiated by the manufacturer, nor a researcher, or by Big Pharma, or an article in the New England Journal of Medicine. This is funded by a grass roots organization, not the government, but by us, YOU and ME!

You can be a proud and active partner of this historic event with a donation specifically for this trial. The link is www.BelieveBig.org/ClinicalTrial.html.

Scroll down to DONATE!

The Mistletoe Clinical Trial has the potential to change the way cancer is thought of and treated in the United States. It is time for mistletoe to be an integral part of a standard cancer treatment protocol in the U.S.

Donate here:  www.BelieveBig.org/ClinicalTrial.html

More about Dr. Hinderberger here: www.Ruscombe.org/alternativehealthpractitioners/phinderberger.html

More information about mistletoe and cancer treatment: https://allgemein.mistel-therapie.de/index.php5?lang=1

 

Dr. Bob Speaks at 100th Birthday Celebration Honoring Leon Day

 

 

Dr. Bob Speaks at 100th Birthday Celebration Honoring Leon Day

Well, we had a GREAT time at the Leon Day 100th Birthday party on Saturday, October 29, at the Babe Ruth Museum. You can see part of Dr. Bob’s speech in the link below. Thanks to the hard work of Michelle Freeman and her group of friends and family that pulled this off, we were able to honor our old friend, the Negro League legend, Leon Day, who finally made it into the National Baseball Hall of Fame in 1995, just six days before he died. Thank you to the Baltimore Sun, and especially to Dan Rodricks for his column and podcast, and to Mary McCauley for her terrific article in the Baltimore Sun, and to Karl Merton Ferron for his very touching video included as part of that article online. Thanks to them we had close to a hundred people turn out and enjoy birthday cake and baseball stories and snacks and participate in our silent auction and sales table where we raised even more money for the West Baltimore youth baseball leagues. Keeping alive the integrity and grit and resilience of the old Negro Baseball Leagues and inspiring that sportsmanship in a new generation. More information at LeonDayFoundation.org. We highly recommend you support this worthy foundation.


Photo Gallery

Click thumbnails to enlarge.

 


A Personal Appeal from Dr. Bob Hieronimus: “Have You Seen This Bus?”

 

 

A Personal Appeal from Dr. Bob Hieronimus:
“Have You Seen This Bus?”

Woodstock, 1969. Ricky Peters and Trudy Morgul atop the bus “Light” painted by Bob Hieronimus. Associated Press.

I’m trying to find someone who remembers what may have happened to the original VW bus I painted called “Light” and later nicknamed the “Woodstock Bus” after it became famous. I know it sounds hard to believe, but I do not remember to whom I sold it or possibly gave it away to circa November 1972. At the time it was a rusting relic that was not recognized as a historic icon yet. After my musician friend Bob Grimm, the original owner of this bus, drove it back from the Woodstock festival, he later left it with me when he went to England to pursue his musical career. The Woodstock Bus then became a community van, used by all the members of the Savitria community and AUM Esoteric Study Center running around town. In the end, it was literally falling apart. Many engines were installed, transmissions repaired, the floor rusted out and it was dangerous to drive. About this time period, mostly what I remember is trying to keep the AUM Esoteric Study Center afloat. Also, this was just one of several VW busses I painted in this era, and as I read through my journals, it’s hard to know which VW bus I’m talking about sometimes.

If you know anyone who was connected with the Savitria community or the early days of AUM, would you ask them to contact me please if they have any memories of this bus? Ultimately we want to discover to whom I ultimately sold it or gave it away to and where it ended up. We are talking to a couple of film crews who are creating 50th anniversary documentaries about Woodstock, and they want to try to find the original Woodstock Bus or even just a piece of it – a fender or a hubcap would do! You can email me directly at bob@21stcenturyradio.com if you have ideas. Thanks.

For those of you not yet familiar with the Woodstock Bus “Light,” here is an excerpt from the passage describing it in the David and Cee Eccles book, Traveling with the VW Bus and Camper, published by Abbeville Press. “Not only was the ‘Light’ Bus by Bob Hieronimus one of the first VW buses to be painted in the ‘psychedelic sixties’ style, its Woodstock heritage adds to its importance and influence on the future. It is not just another ‘hippie bus,’ but a work of art in its own right, which captures the mood and aspirations of a generation searching for its own identity and place in the universal scheme of things. The bus may have passed into legend, but its legacy as inspiration for new generations of VW bus owners lives on.”

Dr. Bob Hieronimus
Baltimore, MD

bob@21stcenturyradio.com


 


Maryland Steeplechase Racing on the Radio

 

 

Maryland Steeplechase Racing on the Radio

Racing historian Mike Finney returns to 21st Century Radio on WCBM 680 AM to preview Maryland’s upcoming race season. Sunday evening, March 24th, 2013 from 8-9 PM with host Dr. Bob Hieronimus, Finney will review the Steeplechase Races at Elkridge-Harford Hunt Point to Point (4/6/13), My Lady’s Manor (4/13/13), Maryland Grand National (4/20/13), and the Maryland Hunt Cup (4/27/13).

We’ll also reveal the truth behind the legend of the black American jockey Isaac Murphy (1861-1896). Murphy was the first American jockey elected to Racing’s Hall of Fame in Saratoga Springs, New York, and only one of two black jockeys (Willie Simms is the other) to have received this honor. Throughout his career, Murphy rode 628 winners in his 1,412 mounts, including the three Kentucky Derby winners, four American Derby winners, and five Latonia Derby winners. Murphy has the best winning average in history to date with better than 34 percent. His career came to an end in 1895 after he began struggling with his weight and alleged bouts of drinking. Mike Finney has uncovered some new twists on this story that he will share with our listeners.

Michael H.S. Finney is a Maryland racing historian and sporting art dealer specializing in equine art and attire. (Visit their beautiful new location for Yoicks! in the Stevenson Village) He began his polo career at the Bostwick’s Village Farms Club in New York and went on to reside with Hector Barrantes in Argentina before playing for White Birch Farm. Finney has also served as an instructor, announcer and referee at the Myopia Polo Club in Boston and as a consultant on polo art for Polo Magazine.

Join us on 21st Century Radio with Dr. Bob Hieronimus on March 24, 2013 from 8-9 PM to hear all about it. Listen live on the air on WCBM 680 AM on the dial or over the Internet at wcbm.com. Check back later in the week at 21stCenturyRadio.com to listen to the archived show available for free.

 

Secret Life of Lady Liberty Talk at Mitchell Courthouse, December 1

The Secret Life of Lady Liberty
at Mitchell Courthouse
December 1, 2016



On Thursday, December 1, 2016, Robert Hieronimus, Ph.D. and Laura E. Cortner will be coming to the Library for a visual presentation centering on their new book The Secret Life of Lady Liberty: Goddess in the New World. They will examine the symbolism of Lady Liberty, tracing her lineage all the way back to the Neolithic Earth Mother, Mary Magdalene, Minerva, Joan of Arc, the Indian “Queen” and the Revolutionary generation’s Indian “Princess.” Join us for a fascinating topic and presenters for what should be a fascinating evening.

Dr. Robert Hieronimus, Ph.D. is an internationally known historian, visual artist, and radio host. He has appeared on History, Discovery, BBC, and National Geographic and hosted 21st Century Radio on WCBM in Baltimore since 1988. Laura E. Cortner is an honors graduate of Goucher College and has co-authored previous titles with Dr. Hieronimus including Founding Fathers, Secret Societies and United Symbolism of America.

Place: Mitchell Courthouse – 100 North Calvert Street – Main Reading Room of the Bar Library (Room 618, Mitchell Courthouse).

Time: 5:00 p.m., Thursday, December 1, 2016, with a wine & cheese reception immediately following.

Invitees: Members of the Library Company of the Baltimore Bar and their guests, judges, employees of Baltimore City and its courts, courthouse employees, government lawyers, public interest lawyers, law librarians, law and college faculty and students. For all others there is a $20.00 charge which will be waived upon subscribing to a Bar Library membership.

RSVP by calling 410-727-0280 or emailing jwbennett@barlib.org.

 


Lady Liberty and Public Art at Baltimore’s Mitchell Courthouse

Lady Liberty and Public Art
at Baltimore’s Mitchell Courthouse

The Secret Life of Lady Liberty came to one of the most beautiful historic libraries in Baltimore on December 1, 2016. Co-authors Robert R. Hieronimus, Ph.D., and Laura E. Cortner presented a visual tour of their new book exploring the symbolism of the Goddess Lady Liberty, revealing why everyone claims the Statue of Liberty as one of “us,” but most forget that she is GOD in female form.


Nearly 40 years ago today, Dr. Hieronimus was the commissioned artist hired to restore the American history murals inside the Mitchell Courthouse, like “The Surrender at Yorktown,” above.

As the female half of our national conscience, the Statue of Liberty is all about finding balance. Her history as a goddess can inspire us to find our mission in life and activate it.


The talk went over what the authors discovered while researching the history of the Statue of Liberty, and why she is an energizing symbol for activism. The Statue of Liberty is a unifying Symbol — just look at the current crop of political cartoons showing her at odds with, or violated by, president-elect Trump. Hollywood has discovered the emotional impact on viewers when they show her being destroyed in the multiple disaster films of the last decade. Most people on the planet associate the Statue of Liberty with the self-identity of Americans. We identify with her as both our “Mom” and “one of Us.” The Secret Life of Lady Liberty argues that learning to see the Statue of Liberty as a powerful depiction of divinity in female form can energize America toward a more compassionate future.

In the 1970s, Dr. Bob was appointed by then-Mayor William Donald Schaefer restore the beautiful murals at the Mitchell Courthouse. Leading a crew of assistants, and then working solo for several more months after the budget ran out, he restored them to their original splendor. They cleaned every square centimeter of every mural, dealing with delays, bureaucracy, and damage to the artwork until completion.

Click to enlarge:




Several legal luminaries attended the presentation. Above, from left to right: Chief Judge of the Circuit Court for Baltimore City Alfred Nance; Judge Wanda Keyes Heard; and George W. Liebmann, president of Liebmann and Shively, P.A.

For more information about the book and future public appearances, visit SecretLifeOfLadyLiberty.com or click here to buy it on Amazon and here to buy from Barnes and Noble.


 


Hieronimus & Co., Inc.

Experience Hendrix 2010 at the Hippodrome in Baltimore

Photos by Stuart Zolotorow and Hieronimus & Co.

Side of an equipment case backstage before the November 11, 2010 Experience Hendrix concert in Baltimore revisiting the music and inspiration of Jimi Hendrix with an all-star line up.

 

Stuart Zolotorow photographing Janie Hendrix and Dr. Bob in front of the Little Help From Our Friends mural in South East Baltimore.

 

Dr. Bob and Janie visit the mural for Hampden’s two Congressional Medal of Honor recipients: Lt. Ricketts (U.S.Navy) and Pvt. Sheridan (U.S.Army).

 

Dr. Bob Hieronimus and Janie Hendrix (sister of Jimi Hendrix) in front of the We The People Biodiesel Artcar outside the Hippodrome before the concert.

 

Dr. Bob Hieronimus in front of the Experience Hendrix tourbus in front of the Hippodrome in Baltimore, Maryland.

 

Brad Whitford (of Aerosmith) in front of the tourbus. He played extended dates with the Experience Hendrix tour.

 

Chris Layton (drummer for Double Trouble) checking out the We The People artcar.

 

The Experience Hendrix tour bus and We The People artcar outside of the Hippodrome before the concert.

 

Dr. Bob and Billy Cox, who first met Jimi Hendrix in the U.S. Army in the 1960’s, and re-united musically with Jimi in 1969, when Hendrix called on Cox to play bass in the Band of Gypsys.

 

Dr. Bob and Billy Cox hanging outside by We The People artcar before the show.

 

Dr. Bob charms Billy Cox’s wife Brenda who’s always got Billy’s back!

 

Dr. Bob and Dori Armor, Sr. Director of Booking the Hippodrome Theatre.

 

Bassist Doug Wimbish (of Living Colour and Jungle Funk) with Dr. Bob sharing their appreciation for the Negro League Baseball.

 

Stuart Zolotorow checking out the guitars backstage.

 

Dr. Bob holds the setlist for the Baltimore performance of Experieince Hendrix backstage before the show.

 

Ernie Isley & Billy Cox onstage at the Hippodrome in Baltimore.

 

Dr. Bob Hieronimus watching from the side of the stage.

 

Johnny Lang and the Experience Hendrix band.

 

Noah Hunt and Kenny Wayne Shepherd onstage at Experience Hendrix.

 

The crowded atrium of the Hippodrome at the Experience Hendrix show.

 

 

Dr. Bob Responds to 2012 Predictions – Hieronimus & Co., Inc.

Dr. Bob Responds to 2012 Theories

2013: After the Apocalypse

by Dr. Bob and Zohara Hieronimus

 

This article is based on the contribution we made to the book by Dr. Marie Jones 2013: The End of Days or a New Beginning: Envisioning the World After the Events of 2012 (New Page Books, 2008). It is based on a 1969 mural of Bob Hieronimus’s called “The Apocalypse.”

When asked to contribute to this book, I knew immediately where I would focus. Over 40 years ago, in late 1965, I began to be plagued by horrifying dreams and visions of future calamities on this planet, and I found that the only way I could master them was to express them in my artwork. My magnum opus along these lines was the 2,700 square foot mural I completed at the Johns Hopkins University student union building in 1969. Still extant today, it covers an entire room, four walls, ceiling, and stairwell with the overarching theme that history is cyclical and not linear. Civilizations have repeatedly risen and died through cosmic, natural, and man-made cataclysms. I called this mural “The Apocalypse.”

My interpretation of Apocalypse, however, is not the end of the world, as many assume by its title or by misinterpreting its symbolism. What I attempted to depict was the evolution of our physical world through scores of symbols and mythologies. The main wall shown here is focused on America. Like much of my work during this time period, it was hailed by art critics (who called it “a work of genius,” “prophetic,” and me, “one of the country’s best muralists”), while at the same time it was verbally abused and even physically attacked by some members of the establishment and many of the fundamentalist Christian sects. It was partially destroyed when near completion in December of 1968 by a disturbed student, who, ironically, did not disagree with its message. As a Christian fundamentalist he believed a type of world-wide destruction was prophesied in the Bible, but he feared the message was too strong for most of his fellow Americans to see, and that it should be kept secret for the few. I spent the next two months repairing the damage.

I also went to court to testify in defense of this student and even agreed to help supervise him in order to keep him from being institutionalized. No stranger to confusing emotions over world-shattering visions, I could empathize with his rage, and after getting to know him realized we shared a lot more commonalities than differences. I was also quite used to my artwork inspiring this kind of defensive reaction in the public, particularly among people who have vested interests in the status quo. My dreams were showing me the death of America, and I was wrenched night after night with the sight of millions of bodies floating lifelessly in rivers of mud, some face up, some face down. It was not until I began to express my concerns in a series of paintings and constructions that I was able to control these visions.

The first creation resulting from these visions was a 12-foot long sculpture construction of the American eagle lying in a coffin on wheels. I called this piece “The American Express.” Covering the American flag that draped the coffin were medals and logos of corporate giants like Coca-Cola, General Motors, Chiquita Banana and play money. Always intensely patriotic and a lover of America’s symbols, I didn’t like the message portrayed by this construction, but I was being pushed to awaken others to the realization that America had lost its way, and even its very reason for being. Whenever it was shown on display at Johns Hopkins or other universities and galleries in the spring of 1967, it followed a familiar pattern of inspiring rave reviews from the art world, along with threats and abuse from the administration. This time even the Maryland Attorney General’s office was involved and there was some talk of locking me up for desecrating American symbols. Forty years later, America has changed a great deal. We are no longer respected around the world as the dominant world leader or power, a position we forfeited most recently with the invasion of Iraq. Despite this loss of our reputation world-wide, the number of fundamentalist-conspiratorialists in this country continues to grow, and these are the people who are insulted by any interpretation of American symbolism that differs from their own. In the past several decades, we have also voted in leaders who have allowed the corporations to control our media. This status has led to an ever stronger worship of materialism and the military industrial complex. Meanwhile, the giant that is China rises.

Fortunately, we continue to evolve. As we speed toward the apocalypse predicted by the Mayan calendar in 2012, the new age sciences have begun to provide a new basis for the science of spiritual transformation. The notion that 2012 marks the end of a cycle also means that the year 2013 marks the beginning of a new one. In the future, universal consciousness will bring enlightenment, and all humans will share the secrets of clairvoyance, telepathy, remote viewing, interspecies communication with extraterrestrials, spiritual and non-physical beings. The knowledge and understanding of life after death will lead to a huge awakening and an openness to unconditional love and universal spirituality. A return to balance with the feminine side of consciousness where intuition is the guide will lead us to planetary transformations, the development of free energy systems, and a host of achievements that will lead to sustainability of the planet. We will realize that we are all Earth people and co-creators of our future, and will begin this process by visualizing and engaging in healing activities in every sphere of our being.

Many new paradigm thinkers have given us great hope regarding the huge shifts predicted for 2012. Though I personally believe we cannot escape widespread planetary weather crises that will result in great loss of life, we can diminish the impact by increasing the number of people who are conscious of their roles as co-creators of our future. Other writers have emphasized that the 2012 time period presages great shifts leading to a new phase of galactic evolution and its relationship with the UFO phenomenon (José Argüelles); the global dawning of the wisdom age (Peter Russell); becoming a world-wide family and possibly part of a greater family in the cosmos (Gregg Braden); learning to use our breathing as a spiritual link to our divine selves (John Major Jenkins); projecting new images into space to bring about healing and develop a coherent idea for an effective transition to the new world (John L. Peterson); huge surges in remote viewing, telepathy, clairvoyance, and interspecies communication leading to universal spirituality (Karl Maret); and a reminder that those who fear Armageddon may create their own private doomsday (Gill Edwards).

Understanding that great shifts are part of humanity’s history on this planet can help us transform the fear for the future into hope. That’s where I was at the end of August 1968 after spending a summer in New York City meeting backstage to discuss these ideas with Elektra Records recording artists. I had decided to decline the invitation to design album covers for the likes of Hendrix, Joplin, and Buckley (the proffered salary was abysmal, but I also felt urgently that I was wasting my time), and instead accept the commission from the Chaplain’s Office to paint the mural for the Johns Hopkins University. Dr. Chester Wickwire had long been a supporter of my work and vision, defending me through the “American Express” brouhaha, and he wanted to give me complete freedom to express myself with the new mural. The design encompassed humankind’s evolution from a hermaphrodite in the lost continents of Lemuria and Atlantis, through the advanced civilizations of ancient India, Egypt, and the Middle East and continuing on to the rising landmasses in the Atlantic, Pacific and Indian Oceans. It also included extraterrestrial craft overseeing our planet’s evolution from the beginning.

Details from The Apocalypse a 2,700-square-foot mural painted by Dr. Bob Hieronimus in 1968, still on view today at the Johns Hopkins University in Baltimore, Maryland.

The main wall seen here which focuses on the United States is the most relevant to the years around 2012. Measuring 32’ x 9’ (288 square feet), it reflects only about 10% of the entire mural. The story on this wall begins with the astrological sign Scorpio being monitored by a UFO mothership and three of its disc craft. A key to Scorpio is “desire,” and it is used here to symbolize our soul’s struggle to make itself known in the physical and desire worlds, which will lead to rebirth and regeneration. This is symbolized by Scorpio’s three-tiered image: the scorpion, the serpent and the eagle reflecting physical, psychic and spiritual regeneration. The stage is set for America to become the seed for planetary evolution.

At the opposite end of the wall is the winged being Aquarius pouring from its urn the energies of altruism and brotherhood, giving birth to planetary consciousness and harmony. Aquarius is also overseen by a fleet of seven UFOs in a V formation monitoring our planet’s evolution towards one people, one planet. The drama that unfolds between these two figures is the struggle from unconsciousness, to consciousness, to superconsciousness, and America is key to this struggle. This is shown along the top of the wall through a series of flags evolving from Great Britain’s flag, to America’s first flag of 1776, to America’s 13 star flag, to the Confederate flag, to the 50 star flag (the last three mostly blocked by the eagle), followed by the flag of the Soviet Union (to show how the two former enemies could work together), and finally a new “nation” flag made up of the 13 red and white stripes with a canton containing the ancient symbol of the hex-alpha, a six-pointed star with a circle and point in the center. This represents a flag of planetary consciousness.

Beneath these banners we see the American eagle is sinking in the flood tides, being weighed down by corrupting forces of the corporate, fascistic and oligargical powers bent on speedy profits at the cost of American liberties and the planet’s very life force. Some of those forces are identified on the body of the sinking eagle, though a black and white reproduction of this detail makes them virtually invisible. We have General Motors standing for the petroleum-based energy systems, Coca-Cola representing the reduction of food to a non-nutritional diet and agribusiness, Chiquita or the United Fruit Company epitomizing the sale of other nations’ illegal drugs to fund America’s black budget operations, and the dollar sign to symbolize America’s 70 trillion dollar debt leading to our enslavement. In this picture, the American eagle is rent asunder because it has worshipped the material world and ignored the spiritual dimension. It is surrounded by natural cataclysms expedited by its domination of nature for profit. Geological and weather changes are shown with fire and water engulfing the Statue of Liberty and the Golden Gate Bridge (barely discernable in this photo, in front of Lady Liberty). Also engulfed in these radical transformations is the Russian bear in front of the eagle, predicting the dissolution of the Soviet Union. Both the Russian bear and American eagle are confronted by a long green dragon-serpent representing China. As the potential threat to both superpowers, the dragon of China is composed of inverted (hidden destiny) five pointed stars, the symbol for Saturn (karma) and the number 666 (considered numerologically 6+6+6 = 18 = 1+8=9, the number of initiation).

Above the dying eagle there rises a transformed eagle in purple with silver and gold vibrations. This rebirth continues onto the ceiling where the transformation is completed in the form of the legendary phoenix that regenerates itself from its own ashes. On the ceiling we also see Poseidon/Neptune holding in his right hand a lost spiritual temple of Atlantis, which has been regained to preserve the spiritual sciences and assist the rebirth of our planet.

As one cycle is completed, a new cycle begins on the spiral of evolution. The outcome of these massive political, economic, geologic, and geographical changes is devastating to individual nations, but will serve to unite the planetary republic and pave the way for a more lasting peace. Human beings will realize we are not just physical beings, and that we all contain an immortal component that can lead us to universal wisdom, the oneness of beings, the oneness of all living things. The Apocalypse means a rebirth of spirit eventuating in planetary beings.

Reprinted, with permission of the publisher, from 2013: THE END OF DAYS OR A NEW BEGINNING (c) 2008 Marie D. Jones. Published by New Page Books a division of Career Press, Franklin Lakes, NJ. 800-227-3371. All rights reserved.

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