The Long Strange Trip of Jules Siegel by Adam Ellsworth

THE LONG STRANGE TRIP OF JULES SIEGEL

Adam Ellsworth


When Jules Siegel stopped writing for publication, he felt like an unbelievable burden

had been lifted. It was the early 1980s and he had recently moved to Mexico. “I really felt as if I

was released from the chain gang,” he told me in October 2011 from his home in Cancun. He’d

just had a book rejected sight unseen and he no longer saw the point. “I felt, ‘What am I doing?

What is the reason for subjecting myself to these humiliations?’” He went so far as to sell his

typewriter. He was done.1

Of course he wasn’t really done. He still wrote and he occasionally even tried to get

published, but from then on, writing wasn’t going to be something he did to make a living.

“Almost everything I’ve written since 1983 has been because I just wanted to write it,” he said.

“I wrote only out of what I realize now is passion.”2

It seems then that Jules Siegel has been passionate about a lot these past three plus

decades.

Online alone his writing has appeared on Huffington Post, Mexconnect, The Blacklisted

Journalist and LA Progressive. He administers the websites The People’s Republic of Moronia,

Café Cancun, and Newsroom-L.net. Since 1997, he has published or self-published four books:

Lineland: Mortality and Mercy on the Internet’s [email protected] Discussion List, Cancun

User’s Guide, The Human Robot: Understanding the Emotional Effects of Industrialism, and

most recently, Mad Laughter: Fragments of a Life in Progress.

Today, it’s a piece of writing from Siegel’s more distant past that has him back in the

spotlight. “Goodbye Surfing, Hello God!” his 1967 Cheetah magazine article that followed the

creation and collapse of the Beach Boys’ lost masterpiece, Smile, has been published as an e-

book by The Atavist to coincide with the release of the much anticipated Smile Sessions Box Set.

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The entire e-book project came together in about two weeks, Evan Ratliff, founder and

editor of The Atavist said in a phone interview. He wanted to make sure it was out in time for the

box set release, which not only meant getting Siegel on board with the project, but also getting

him to read the story for the audio portion of the e-book. This was something Siegel was not

keen to do. “It turned out great,” Ratliff said. “We also have a lot of funny outtakes with him

absolutely furious, saying, ‘I will never do anything like this again in my life.’”3

The e-book itself includes more than just the text and Siegel’s audio. It includes footage

of Brian Wilson, alone at the piano, singing “Surf’s Up” during the fabled 1967 television

special, “Inside Pop: The Rock Revolution.” There’s biographical and other information to

enhance the story embedded in the text, and a music video for the Beach Boys’ hit “Good

Vibrations,” with the band running around a firehouse. At one point in the clip Siegel himself

makes an appearance, ambling down a hill, wearing a fire helmet, and, in his own estimation,

“looking like a complete idiot.”4

As promotion for the e-book, an excerpt of “Goodbye Surfing, Hello God!” appeared on

Rolling Stone’s website in early November 2011,5 Siegel’s first Rolling Stone byline since 1971.

When I spoke with Siegel the day after the excerpt appeared, he admitted he was surprised, citing

an early 1970s falling out he had with Rolling Stone founder Jann Wenner.

But more on that later.

“Goodbye Surfing, Hello God!” is the story Siegel is best known for, but it is just one

story in a career that has spanned nearly half a century. From Cavalier to the Saturday Evening

Post, and Playboy to the Internet; from New York to California to Mexico; from Kennedy and

Nixon to Dylan and Brian Wilson; Jules Siegel’s trip through the past seventy-plus years has

been a unique one, filled with highs and lows. Buckle up.

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**********

Jules Siegel was born October 21, 1935 “on the Island of Manhattan.”6 His father was

born Elias Segalowitz in 1901 in what is today the north-eastern portion of Belarus7. “Eli,”

along with his mother and his siblings, immigrated to New York in 1906, joining Siegel’s

grandfather who had come ahead of the family. The family name was changed to “Siegel” when

they arrived. The change was the result of a compromise between Siegel’s grandfather, who

wanted something American, and his children, who thought any change at all was cultural

treason.8

“He was a gangster” Siegel told me of his father. 9 Before Siegel was born, his father Eli,

who was known among his friends as Jimmy, was involved with The Combination or, “Jewish

Mafia.” He served eight years in Clinton Correctional Facility, a maximum security prison in

Dannemora, NY, for armed robbery,10 a fact Siegel used to show up and shut up a contemptuous

Bob Dylan many years later.11

In the early 1960s, Siegel worked with Mario Puzo, author of The Godfather, at the

Magazine Management Company. “Mario often said to me, ‘You have to write a novel about

your father. If you don’t, I will.’ I urged him to do so,” Siegel wrote in Mad Laughter. Siegel

provided Puzo with stories and research materials, and while it would be going too far to claim

that Don Vito Corleone is Eli Siegel, any resemblance is more than mere coincidence.12

Siegel’s mother, Evelyn, was born in 1911 and married Eli after leaving her first

husband. She took Siegel’s half-brother, Kenneth, with her. Siegel would later write of his

mother saying: “I was only a young girl, but I knew that a child has to have a father…When your

father came, he was like a knight in shining armor.”13 Siegel didn’t know that Kenneth was his

half-brother until many years later.14

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When Eli married Evelyn, his days with the Combination came to an end. In the 1940s,

Eli worked as a plumber’s helper at the Todd Shipyards in Hoboken, New Jersey, though even

there he ran gambling and sold his fellow workers coffee he made using “government beans and

government equipment.”15 There was no denying he worked hard though. “He woke at four

every workday morning, went to bed early at night and paid his income tax for the first time in

his life,” Siegel would later write.16

After three years, Eli left the shipyard to start making loans on Eighth Avenue.17 While

his days with the Combination were long behind him, in 1960, Eli stabbed the son of a partner

during a fight after the partner and his sons came to collect money they felt Eli owed them. The

son survived and Eli was acquitted. Eli’s customers spoke on his behalf at the trial. “Your father

fed plenty of people around here,” one of these customers told Siegel. “I was proud to go in

there and testify for him,” the customer continued. “We all love Jimmy on Eighth Avenue.”18

Growing up in the Bronx, Siegel was artistic and liked painting and drawing, which his

parents were less than thrilled about. They wanted him to become a writer.

“Among my earliest memories are of my mother and father in bed, each one with a nose

in a book,” he told me. “I was not very interested in writing, but they were such huge readers.”19

When he was in junior high, Siegel sat down at his “rich Uncle Irving’s” typewriter and

wrote a hundred words on another one of his interests, photography. He passed the piece in for

an assignment and his teacher liked it so much that it was published in the school newspaper.

Siegel was awarded the silver medal for journalism. “I was really pissed off about that,” he said,

“because some jerky girl who wrote in this flowery, poetic prose got the first prize.” But his

parents were thrilled. “From then on, nothing was acceptable except that I should become a

writer,” he said. On the bright side, his parents did buy him a camera as a reward.20

4


After high school, Siegel went to Cornell, but left after one year. He wrote later that he

spent his nights drinking and his days reading in the library rather than attending class.21 He did

stay long enough to befriend Thomas Pynchon, a relationship Siegel described in “Who is

Thomas Pynchon and Why is He Taking Off with My Wife,” published in Playboy in 1977.

After dropping out of Cornell in 1954, he joined the Army,22 and served as a

photographer and military intelligence analyst in Korea after the war.23 Some of his short stories,

including “Déjà Vu,” which was published in Esquire in 1970 and was anthologized in Best

American Short Stories of 1970, feature protagonists who fit this description. After the Army, he

returned to college, attending Hunter College and graduating in 1959 with a bachelor’s degree in

English and Philosophy.24 He was going to become a writer.

Through all of this, Eli wasn’t well. While Siegel was in basic training, Eli attempted

suicide. He’d bet a large amount of money on the Yankees and lost. Unable to pay the rent, “he

had taken enough sleeping pills to kill himself several times over,” Siegel wrote.25 Interestingly

enough, when Eli woke from his coma, he was more thrilled than ever to be alive. But in 1960,

there was another suicide attempt, this one successful. Police found Eli, who had been missing

for days, in the trunk of his car. The autopsy showed suicide of acute barbiturate intoxication.26

It was at this point that Siegel learned Kenneth was actually his half-brother. Kenneth

was afraid his half-brother would find out some other way and be traumatized, so he decided the

best course of action was to tell him himself, right after Eli committed suicide.27

In December 1969, Siegel wrote about all of this.

“I took the largest dose of amphetamine I’d ever taken in my life,” he said. He was

supposed to be working on a novel, but when he sat down to write, it was “Family Secrets” that

came out. “All I remember about it is twelve hours later, or however long it was, there was this

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pile of paper by the typewriter and the story was finished.” “Family Secrets” was published in

The New American Review in 1970. “That was the single greatest story of my career,” he said.28

After the story came out, Siegel heard from a well-to-do cousin named Helen, who

wasn’t at all pleased with the airing of family secrets. “Surely there was something you could

have left out,” she said.29 Apparently not.

**********

After college, Siegel went into public relations. He worked simultaneously for the Nixon

and Kennedy campaigns in 1960, handling advertising for Nixon in Westchester County, and

press releases for Kennedy in Nassau County. He voted for Kennedy.30

Next he worked for Koster-Dana Publishing Company under Will Eisner, creator of “The

Spirit,” and father of the graphic novel.31 Koster-Dana owned North American Newspaper

Alliance, among other media properties that eventually became United Media.

While working on the Koster-Dana annual report, he came across a footnote that didn’t

make sense. “I got the contract out, because that’s the kind of person I am, and it turns out that

North American Newspaper Alliance was essentially a dependent of the CIA and the Defense

Department,” he said. “Or, let’s say that two individuals, who were known to have been

government intelligence agents, had lent them money, and exercised a great deal of control over

the company.”32

Soon after, President Kennedy was assassinated and two days later Siegel got a call from

his first wife, Phyllis who told him to turn on the television. “They’ve killed Oswald,” she said.

“And so that was it,” Siegel remembered. “Basically, I was disgusted at where I found

myself.” He soon left, and began his career as a freelance writer.”33

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Siegel’s first magazine assignment was to profile Sterling Hayden for Cavalier

magazine.34 More pieces for Cavalier and then the Village Voice followed. Then, his friend

Arthur Kretchmer, who would go on to become editorial director for Playboy, became Cavalier’s

managing editor. “When the editorial director later resigned,” he said, “there was a 24-hour

hiatus before the new editor arrived.” Siegel and Kretchmer had been discussing the possibility

of publishing an issue on rock and roll, so to make it happen Kretchmer went into the office at

night and retyped the magazine’s schedule to include their ideas. When the new editorial

director started, Kretchmer handed him the schedules and said, “Here’s what we’re working on.”

The new editorial director suspected nothing, and the rock and roll issue went ahead.35

It was in this 1965 issue that Siegel’s article “The Big Beat” appeared. Siegel described

the article as “a sociological and psychological explanation of the youth culture in terms of the

music that was being played and written.”36 “The Big Beat” traces the history of rock and roll

from African slaves to Dixieland jazz to big band to rhythm and blues to country and western to

pop to Elvis to the Beatles to Dylan. It was an early examination of rock and roll and an early

example of writing that took rock and roll seriously.

“Without any false humility, I can say that I was one of the people who invented rock

journalism,” Siegel wrote for The Blacklisted Journalist in 2004. “Journalists such as Al

Aronowitz, Richard Goldstein and I were among the first to write about rock in mainstream

media without being condescending or demeaning.”37 Today, Siegel says that invented belongs

in quotes, but none the less, he helped set the tone for how to write about rock and roll.38

“I read a story by Tom Wolfe in Esquire about the guys who make the signs in Las

Vegas,” Siegel said. “They considered themselves artists and Wolfe accepted them as artists and

he treated them with the respect that you’d give any artist.” Siegel combined this idea with his

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knowledge that throughout history, the principal artists have almost always been commercial

artist, and his style of writing about rock and roll was born.

“The confluence of these different trends led me to accept the rock performers at their

own estimate, at what they thought they were doing, as opposed to what the people that

published their music or broadcast their music thought they were doing,” he said.39

After “The Big Beat,” Siegel was sent by the Saturday Evening Post to cover Bob Dylan.

“The original manuscript of that was much more thoughtful,” he said. “They edited almost all

the thoughtfulness out of it, and turned it into the classic celebrity caricature.”40

Dylan did not like the resulting story. “I don’t know what Dylan disliked about the

article I wrote, except, maybe, that I pictured him as a crazy, whining little boy, which is what he

looked like to me,” Siegel wrote in 1971’s “Midnight in Babylon.”41

“Goodbye Surfing, Hello God!” followed soon thereafter. Siegel spent two months

covering Brian Wilson for the Saturday Evening Post while Wilson tinkered away on Smile.

So ever-present was Siegel that Wilson would sometimes turn to him for advice.42 One

particular piece of advice Siegel gave Wilson was to release “Surf’s Up,” the beautiful song that

would have been the centerpiece of Smile, just as Wilson performed it on “Inside Pop: The Rock

Revolution.”43 Wilson made his excuses, claiming his voice wasn’t as good as it needed to be

during the performance. “Well whatever, do it over again, but just concentrate on that and release

it as a single and you will be hipper than the Beatles,” Siegel told him.44

“It was really good advice, but in retrospect they were never going to let him do it,”

Siegel said. “The Beach Boys weren’t going to let him do it, Capitol wasn’t going to let him do

it, nobody was going to let him do it. His own manager was going to plead with him to not do

it.”45

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As everyone familiar with the legend knows, Smile was eventually scrapped. There were

two reasons for this, Siegel says. The first was that Wilson “just wasn’t mature enough as a

musician. He’d exceeded his abilities at the time.” The second reason was “pretty obvious,”

Siegel said. “No-one around him would let him do it. Mike Love’s personal style, his career, his

wealth, everything depended on ‘Ba-ba-ba-bar-bar-Barbra-Ann,’ and he was perfectly content to

continue in that way.”46

Not only was Smile scrapped, but the Saturday Evening Post rejected Siegel’s story. His

editor said it wasn’t “objective” enough.47 Siegel says the people at the Post couldn’t believe the

story actually treated Wilson and his music with respect. How could anyone take the Beach

Boys seriously?48

Additionally, it turned out the magazine’s editorial board had never approved the

assignment in the first place, and Siegel was out $1,500 in expenses.49

Things weren’t a complete loss for Siegel though. At one of the recording sessions he

met Chrissie Jolly, who would become his second wife and with whom he would have his

daughter, Faera. “She is one of those perfect blonde girls you find mostly in California,” Siegel

wrote later. “She was a hippie and a flower child before any of that had a name.”50

And while the Saturday Evening Post had rejected the story, Siegel was named editor-in-chief of

the new magazine, Cheetah, and in October 1967, “Goodbye Surfing, Hello God!” appeared in

its inaugural issue. Soon, the cult of Smile was born.

“My opinion about it,” Siegel said, “is that if it weren’t for me, and if it weren’t for that

story, the most likely event is that all these tracks would have been forgotten.”51

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“There’s plenty involved in the myth making,” Evan Ratliff, founder and editor of The

Atavist said, but he thinks it’s completely legitimate to believe that Siegel’s story laid the

foundation.52

When Brian Wilson released his solo-version of Smile in 2004, David Leaf wrote in the

linear notes that Siegel’s story “just might be the touchstone story in the creation of the Smile

fantasia.”53

In Smile: The Story of Brian Wilson’s Lost Masterpiece, Domenic Priore notes that

Siegel’s original writing about the instrumental “Mrs. O’Leary’s Cow” whetted the public’s

appetite for the song before the Wilson solo-version was released in 2004. Unlike so many other

tracks from Smile that appeared over the years in various forms, “Mrs. O’Leary’s Cow” never

received an official release until 2004. As such, it was Siegel’s reporting that let people know

about a piece of music so powerful, that Brian Wilson was afraid it was causing actual fires to

break out.54

Certainly, everyone who has tried to tell the story of Smile has had to use “Goodbye

Surfing, Hello God!” as the founding text. In his two-part, 1971 article on the Beach Boys for

Rolling Stone, Tom Nolan quoted Siegel, quoting Brian Wilson, in an effort to explain the

meaning of the song “Surf’s Up,”55 and Nick Kent, in his section on Brian Wilson included in

The Dark Stuff: Selected Writings on Rock Music, directly quotes from Siegel’s story to describe

Wilson’s paranoid belief that Phil Spector was “out to get him.”56

So, if you’re looking for someone to blame because you spent nearly $150 on The Smile

Sessions Box Set, you may have found your man.

**********

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As evident by the new e-book release, the story lived on, but Cheetah magazine, and

Siegel’s time as editor-in-chief, did not.

Despite the magazine folding, the following years were perhaps the most fruitful of his

career. 1970 saw the publication of “Déjà Vu” in Esquire and “Family Secrets” in the New

American Review.

“I was in demand as a writer. I was really respected as a writer, because the New

American Review was classier than the New Yorker,” Siegel said. “If you published in the New

American Review, you were a serious writer. You were important.”57

In 1971, Siegel published “Midnight in Babylon” in Rolling Stone. “No-one ever wrote a

story like ‘Midnight in Babylon’ and then actually got it published,” he said.58 The story was a

profile of James Taylor, though we learn as much about Siegel as we do about the stated subject.

Joni Mitchell, James Taylor’s girlfriend at the time, is quoted in the piece as saying, “Jules is an

absolute egomaniac.” The response comes from Girard Landry, a friend of Siegel’s. “Yes,”

Landry said, “but he’s so honest about it.”59

Despite this, the story does manage to show just how mysterious and truly odd Sweet

Baby James was once upon a time. Siegel even managed to make him sound kind of interesting.

The release of Siegel’s first book, Record, by Rolling Stone’s Straight Arrow Books,

followed in 1972. The book was a collection of Siegel’s more autobiographical work to date.

“Family Secrets,” “Déjà Vu,” “The Big Beat,” “Goodbye Surfing, Hello God!” and “Midnight in

Babylon,” were all included. Also included, between the stories, was the start of Siegel’s

reintroduction to calligraphy, and his first foray into book art.

“I found myself one day, just kind of at the end of things, and I really didn’t know what

to do with myself and I went and bought a journal,” he explained. At first, he wrote in in the

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journal in his own, usual, handwriting. A few days later, he took acid. He picked up Chrissie’s

watercolors, and his repressed love and skill for art came flooding back. With this in mind he

returned to his journal.60

“I went out and bought myself some calligraphy pens and I started teaching myself

calligraphy again,” he said. His first introduction to calligraphy had come as a child when his

father gave him a Webster’s College Dictionary with a list of typefaces in the back. He’d been

fascinated by these typefaces, and he soon found that he could approximate the typefaces fairly

well with pen and ink.61

As an adult, his calligraphic writing represented a break through. “I realized, why don’t I

just publish this?” he said. “It was so obvious. Just the appearance of my handwriting itself told

more of what I was thinking than the words themselves were portraying or conveying.”62

While his calligraphy wasn’t the main focus in Record, it was the sole focus in Memoir,

his 1975 handwritten novel that was published in a limited run of 350.

Since, he has had his book art pieces, including Memoir, displayed in the Artists Book

Collection of the Museum of Modern Art in New York.63

There may have been a missed opportunity during this time however. While Siegel and

Chrissie were living in a Marin County commune called the Chinese House, he was working on

a story for Rolling Stone about dope dealing in Marin County, California. The story was taking

longer to write than he originally hoped, and when it was completed, Rolling Stone founder Jann

Wenner didn’t like it. “He wanted a story about tough dope dealers with guns,” Siegel said.

That’s not what the story was about and that was the end of their relationship. “If I had

maintained a better relationship with Jann Wenner,” he said, “I probably would have been as

famous as Hunter Thompson, because he wanted to publish anything that I wrote.”64

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His relationship with Playboy, however, flourished during this time. “West of Eden,” his

story about communal living appeared in the magazine in 1970. “Who is Thomas Pynchon and

Why is He Taking Off with My Wife,” appeared in 1977 and finally, “Why Things Don’t Work”

was published in 1982. He also began a relationship with Penthouse, where he created the

concept for the magazine’s popular “Dreams & Diversions” section.65 “Our job was to make

those nude pictures respectable,” he said of himself and others who wrote at that time for

Playboy and Penthouse. “I was the piano player in the brothel.”66

By the end of the 1970s, Siegel’s marriage to Chrissie was over. Theirs had been a

difficult relationship in the final years, punctuated by Chrissie’s affair with Thomas Pynchon,

which Siegel wrote about in his article about Pynchon for Playboy, as well as Siegel’s infidelities

and refusal to maintain an upper-middle-class lifestyle. Near the end of the relationship, Siegel

asked Chrissie why she hated him. “Because I married a man in a Brooks Brothers suit who was

writing for the Saturday Evening Post,” she replied, “and here I am living in the jungles of

Mexico with a worried baby and a crazy hippie artist.”67 They had been living in Mexico for a

time, but after this comment, Siegel brought Chrissie and Faera back to America. He would

soon return south of the border.

In 1977, Siegel met Anita Brown, the woman who would become his third wife. He was

41 and she was 2368 and he was incredibly in love. It was during this time that he experienced

what he describes as one of the greatest moments of his life. He was walking down the street in

Westwood, California with Anita. A man walking past turned to his female companion and said

to her, “That’s Jules Siegel!”

“I would have paid him $100,000 to say that at that point,” Siegel told me.69 He didn’t

have to pay for it—Jules Siegel was with the love of his life, and he was famous. In 1981, he

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and Anita were married. That year, Anita gave birth to their first son, Eli, while they were living

in Washington. In December 1981, when Eli was six weeks old, they moved to Mexico.70

**********

The Human Robot—Essays on the Emotional Effects of Industrialism was the book Siegel

had rejected sight unseen in the early 1980s. It had been commissioned by Playboy, which had

left the book business before he finished. The contract was sold to Putnam, and soon cancelled

after they claimed he hadn’t submitted it to them by their deadline. Putnam apparently did this to

all the Playboy Press writers.71

From then on, Siegel was, at least professionally speaking, a graphic designer. “My

graphic design was how we survived,”72 he said of the time in Mexico in the early 1980s when he

decided to no longer write for publication. Noting that the new hotels that were springing up in

Cancun would mean more graphic design work for Siegel, Anita pushed for a move that would

prove permanent in 1983.73 It was there in 1984 that Anita gave birth to their second son, Jesse.74

As a graphic designer, Siegel was an early user of the personal computer. When he first

connected to the Internet in the late 1990s, he did what most people do when they first go online:

he searched for himself. What he found was he’d become a “sub-set of the Thomas Pynchon

industry,” because of his 1977 article about his former friend.75 Out of this came the book

Lineland, published in 1997 by Intangible Assets Manufacturing. In the book, Siegel writes

about his experience on the Internet’s Thomas Pynchon message boards. In the 21st century, he

self-published Mad Laughter: Fragments of a Life in Progress. In any ways, Mad Laughter is

Record 2.0, as it follows his life from birth to the present day. He even included “Family

Secrets,” the story that shed so much light on whom he is and where he comes from.

**********

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Asking a 76-year-old man, “What’s next?” might seem strange, but that assumes you’re

not speaking with Jules Siegel.

Siegel thinks “Cops and Robbers,” the story he was working on when his relationship

with Jann Wenner went sour, could be perfect as an e-book, and he may pursue it.76

He plans on publishing a book on book art, and should know by the end of 2011 whether

or not it has been accepted by a publisher. If it isn’t accepted, he will do what he did with Mad

Laughter and publish it himself.77

Finally, he plans to produce a limited edition of Mad Laughter, to be bound in Mexican

leather and his own jeans. The limited edition will be available for $10,000 and will come with

subsidiary rights to the book. Basically, it will be an investment, as much as a collector’s item.

Get your checkbooks ready.78

Jules Siegel’s trip has been a long one, and at times it has been an unconventional one. It

has had highs and lows and has brought him from the heights of the Saturday Evening Post to the

lows of sight unseen rejections. Through it all, a passion for writing has endured. “Why I

continue to write, I have absolutely no idea,” he told me.79

“It’s an obsession,” was the closest he came to a conclusion.80

That’s reason enough.

15

1 Siegel, Jules. Phone interview. 28 Oct. 2011.2 Ibid.3 Ratliff, Evan. Phone interview. 14 Nov. 2011.4 Siegel, Jules. Phone interview. 4 Nov. 2011.5 Siegel, Jules. “Goodbye Surfing, Hello God: Brian Wilson’s Tortured Effort to Finish ‘Smile.’” RollingStone.com. 3 Nov. 2011. <http://www.rollingstone.com/music/news/goodbye-surfing-hello-god-brian-wilsons-tortured-effort-to-finish-smile-20111103>.6 “Who is Jules Siegel?” Book@rts. <http://www.cafecancun.com/bookarts/jsiegel.shtml>.7 Biely, Ales. “Why is the Russia White?” Pravapis.org. <http://www.pravapis.org/art_white_russia.asp>.8 Siegel, Jules. “Family Secrets.” Record. San Francisco: Straight Arrow Books, 1972. Pg. 13.9 Siegel, Jules. Phone interview. 28 Oct. 2011.10Siegel, Jules. “Family Secrets.” Record. San Francisco: Straight Arrow Books, 1972. Pg. 13.11Heylin, Clinton. Bob Dylan: Behind the Shades Revisited. New York: HarperCollins, 2001. Pg. 230.12 Siegel, Jules. Mad Laughter: Fragments of a Life in Progress. Cancun: The Communications Company, 2010. Pg. 21413 Siegel, Jules. “Family Secrets.” Record. San Francisco: Straight Arrow Books, 1972. Pg. 18.14 Siegel, Jules. Mad Laughter: Fragments of a Life in Progress. Cancun: The Communications Company, 2010. Pg. 23-25.15Siegel, Jules. “Family Secrets.” Record. San Francisco: Straight Arrow Books, 1972. Pg. 22-23.16 Siegel, Jules. “Family Secrets.” Record. San Francisco: Straight Arrow Books, 1972. Pg. 23.17 Ibid.18 Siegel, Jules. “Family Secrets.” Record. San Francisco: Straight Arrow Books, 1972. Pg. 29.19 Siegel, Jules. Phone interview. 28 Oct. 2011.20 Ibid.21 Siegel, Jules. “Family Secrets.” Record. San Francisco: Straight Arrow Books, 1972. Pg. 24.22 Ibid.23 “Who is Jules Siegel?” Book@rts. <http://www.cafecancun.com/bookarts/jsiegel.shtml>.24 Ibid.25 Siegel, Jules. “Family Secrets.” Record. San Francisco: Straight Arrow Books, 1972. Pg. 27-28.26 Siegel, Jules. “Family Secrets.” Record. San Francisco: Straight Arrow Books, 1972. Pg. 30.27 Siegel, Jules. Mad Laughter: Fragments of a Life in Progress. Cancun: The Communications Company, 2010. Pg. 23.28 Siegel, Jules. Phone interview. 28 Oct. 2011.29 Siegel, Jules. Mad Laughter: Fragments of a Life in Progress. Cancun: The Communications Company, 2010. Pg. 39.30 Siegel, Jules. Phone interview. 28 Oct. 2011.31 Ibid.32 Ibid.33 Ibid.34 Siegel, Jules. Mad Laughter: Fragments of a Life in Progress. Cancun: The Communications Company, 2010. Pg. 88.35 Siegel, Jules. Phone interview. 28 Oct. 2011.36 Ibid.37 Siegel, Jules. “Brian Wilson’s ‘Smile.’” The Blacklisted Journalist. 1 Apr. 2004. <http://www.blacklistedjournalist.com/column104d.html>.38 Siegel, Jules. Phone interview. 28 Oct. 201139 Ibid.40 Ibid.41 Siegel, Jules. “Midnight in Babylon.” Record. San Francisco: Straight Arrow Books, 1972. Pg. 211.42 Siegel, Jules, in conversation with The Atavist. “Afterword.” “Goodbye Surfing, Hello God!: Brian Wilson’s Epic Struggle to Complete Smile , the lost Beach Boys Classic . The Atavist, Issue No. 8. 2011.43 Siegel, Jules. Phone interview. 28 Oct. 2011.44 Ibid.45 Ibid.46 Ibid.47 Siegel, Jules. “Goodbye Surfing, Hello God!” Record. San Francisco: Straight Arrow Books, 1972. Pg. 91.48 Siegel, Jules, in conversation with The Atavist. “Afterword.” “Goodbye Surfing, Hello God!: Brian Wilson’s Epic Struggle to Complete Smile , the lost Beach Boys Classic . The Atavist, Issue No. 8. 2011.49 Ibid.50 Siegel, Jules. Mad Laughter: Fragments of a Life in Progress. Cancun: The Communications Company, 2010. Pg. 94.51 Siegel, Jules. Phone interview. 28 Oct. 2011.52 Ratliff, Evan. Phone interview. 14 Nov. 2011.

53 “David Leaf. “Linear Notes.” Brian Wilson Presents: Smile. Nonesuch, 2004.54 Pirore, Domenic. Smile: The Story of Brian Wilson’s Lost Masterpiece. New York: Bobcat Books, 2007. Pg. 83-84.55 Nolan, Tom. “The Beach Boys: A California Saga. Part One: Mr. Everything.” Rolling Stone. 28 Oct. 1971. Pg. 39.56 Kent, Nick. The Dark Stuff: Selected Writings on Rock Music. Cambridge: Da Capo Press, 2002. Pg. 40-41.57 Ibid.58 Ibid.59 Siegel, Jules. “Midnight in Babylon.” Record. San Francisco: Straight Arrow Books, 1972. Pg. 211. Pg. 218.60 Siegel, Jules. Phone interview. 28 Oct. 2011.61 Ibid.62 Ibid.63 “Who is Jules Siegel?” Book@rts. <http://www.cafecancun.com/bookarts/jsiegel.shtml>.64 Siegel, Jules. Phone interview. 28 Oct. 2011.65 “Who is Jules Siegel?” Book@rts. <http://www.cafecancun.com/bookarts/jsiegel.shtml>.66 Siegel, Jules. Phone interview. 28 Oct. 2011.67 Siegel, Jules. Mad Laughter: Fragments of a Life in Progress. Cancun: The Communications Company, 2010. Pg. 217.68 Siegel, Jules. Mad Laughter: Fragments of a Life in Progress. Cancun: The Communications Company, 2010. Pg. 237.69 Siegel, Jules. Phone interview. 28 Oct. 2011.70 Siegel, Jules. Mad Laughter: Fragments of a Life in Progress. Cancun: The Communications Company, 2010. Pg. 266.71 Siegel, Jules and Christine Wexler, et al. Lindland: Mortality and Mercy on the Internet’s [email protected] Discussion List. Philadelphia: Intangible Assets Manufacturing, 1997. Pg. XI.72 Siegel, Jules. Phone interview. 28 Oct. 2011.73 Siegel, Jules. Mad Laughter: Fragments of a Life in Progress. Cancun: The Communications Company, 2010. Pg. 283.74 “Who is Jules Siegel?” Book@rts. <http://www.cafecancun.com/bookarts/jsiegel.shtml>.75 Siegel, Jules and Christine Wexler, et al. Lindland: Mortality and Mercy on the Internet’s [email protected] Discussion List. Philadelphia: Intangible Assets Manufacturing, 1997. Pg. 4.76 Siegel, Jules. Phone interview. 4 Nov. 2011.77 Ibid.78 Ibid.79 Siegel, Jules. Phone interview. 28 Oct. 2011.80 Ibid.

Documents

The Long Strange Trip of Jules Siegel by Adam Ellsworth