"SUEANNE C. SHAFFER"

Born Sueanne C. Shaffer, in 1943, the native Northern Californian was the daughter of a typical middle class couple, enjoying a childhood not unlike that of thousands of other 'Baby Boomers' born prior to the conservativism of the 1950s.
The pretty 'All-American' blonde was an intelligent youngster, a good student, with an inquisitive nature beyond that of her peers. Her brains, and beauty, contributed to her popularity in High School, earning her a position on the school's cheerleading squad. It was at this point in her young life that the popular teenaged cheerleader's future would change forever. She met an intriguing eccentric (labeled 'aging beatnik'), a man 30 years her senior, Vito Paulekas.    {right-newlyweds-Haight Ashbury}

The image {below} is a recent photo of the Hollywood building located at 303 Laurel Ave. at Beverly Dr. which once housed Szou's "Freak Boutique" , featuring refurbished, redesigned, antique clothing, and accessories. Her store was at the street level {left-middle showroom windows}, while Vito's elaborate, Mayan designed, art studio, "Clay Vito" (AKA "Chez Clay"), as well as their overflowing 'crash pad', resided in the Studio's basement.  
It's uncertain exactly when Vito & Szou made their move from San Francisco's Haight Ashbury district, migrating south to LA's famed  Sunset Strip area in the heart of Hollywood.
Another uncertainty is if Szou had amassed a collection of antique, used clothing in SF prior to the 'freak' couple's move and establishment of their Los Angeles  artistic/business enterprise.
Whatever the source of the store's initial stock of antique clothing and accessories is irrelevant, as Szou quickly located the few nearby Melrose antique stores, while she also scoured Hollywood for estate sales. and any other source, for discarded or used fashion items. Szou became a regular shopper at the Hollywood outlets of both Goodwill Industries, and the Salvation Army, establishing a rapport with the female volunteers, forging a mutually beneficial alliance between the national charities and the young, "Freak Entrepreneur". 
    As such, Szou should definitely be considered an early advocate of recycling.
It was this young 'Freak Lady's' unique fashion eye and sewing talents which enabled the beauty to transpose the discarded, outdated, finery of Hollywood's elite into the fresh, new, dramatically accessorized, styles which became popular in the mid 60s. Thanks to the glamorous styles of the Hollywood leading ladies, and other wealthy fashion mavens, the area offered a plethora of antique treasures for Szou to utilize in her oft outrageous, sometimes transparent, creations.

{right - Vito breaks into an impromptu free-form dance among his sculptures and other original art pieces in his 'Chez Clay' basement art studio}  [click}

Szou's stylized ensembles were eagerly embraced by the teenaged Sunset Strip girls, especially the members of Vito's growing number of 'freak dancers', and communal 'crash pad' regulars. The dance troupe attracted several of the future GTO members, with Miss Christine {left} being the most prominent convert to Szou's radical new fashion ideas and 'freak dress' styles.   

SZOU'S FASHION BUSINESS

'Vito & His Freakers' proved to be an excellent advertising tool to showcase Szou's latest styles. By the time Vito's gang of homeless misfits moved from the 'Chez Vito' studio to the rustic confines of Laurel Canyon's infamous Log Cabin, Szou's outlandish fashion styles had been relatively accepted along the Sunset Strip and throughout the hills of Laurel Canyon. The canyon girls residing in the Log Cabin all began searching for discarded antique clothing and accessories, often devoting entire evenings to displaying their finds, and experimenting with styles & offbeat accessorizing.  {right-Miss Mercy's look}
Szou continued her business from the basement of the Log Cabin, expanding her clientele to many of the girls attending Log Cabin parties plus the Cabin commune's expanding list of female friends.
By the time of Zappa's arrival (March,1968), it was necessary for the ensemble of 'Cabin Girls' to spend hours with their hair, makeup, clothes, and jewelry, to set them apart from the new radically styled 'groupies' and other female music fans.
 {left} Misses Christine & Mercy offer examples...

Instead, Szou pioneered the decadent style of finery first embraced by musicians, and groupies, which was quickly popularized in London by the British Superstars, and soon adopted by the showmen and band members of Rock Music's elite, including their groupies and countless celebrity followers.

{left}  Even San Francisco's most popular female rocker, Janis Joplin, shed the former 'SF hippie look' of Big Brother & the Holding Co., as well as shedding the band itself. However, Southern Rockers and the majority of SF bands retained their 'dirty hippie' look, a fashion style embraced by most to this day.
On the other hand, the 'British Invasion' had introduced a bevy of English groups to American audiences, and the Brits' music & clothing styles would soon introduce an important musical genre, labeled by most music pundits, "GLAM ROCK".   

 

"The fashion industry took its cue and raised hemlines drastically, creating the mini-skirt and see through blouses. Women expressed their newfound freedom by going one step further and freeing their breasts from the confinement of brassieres, much to the fashion industry's dismay and many a man's delight! "  - Skip Stone Hippies from A to Z

When Szou's initially shocking, ornate creations began appearing on the bodies of numerous Hollywood celebrities (the new radicals-Barbara Hersey, Jane Fonda, etc.), the fashion industry recognized the potential of this revolutionary trend in ladies fashion.
It has been alleged in numerous articles and interviews, that a buyer from the North Hollywood MAY CO. showed up at the Log Cabin inquiring about Szou's involvement in the new fashion styles. Creations which were initially considered outlandish, shocking, and even repulsive, were now coveted by Hollywood's 'rich and famous'.
Among the most popular of her selections was the shocking new "see-through look", prominently utilized in many pieces of Szou's apparel.
Szou was elated when The May Company Rep purchased a couple of her unique creations, even selecting one of the bolder transparent blouses.
No one knows the details of that meeting, but all agree that mass-produced copies of Szou's styles appeared throughout all the May Company's vast chain of stores, in time for the 'Back To School' sales promotions during late August and September of the same year. The following November, a line of see-through apparel was introduced by May Co. & its affiliates, becoming one of the commercial Christmas Season's biggest sellers.

Obviously, Vito, and Szou, never received 'fame & fortune' for any of their artistic talents, numerous innovative endeavors and/or revolutionary social concepts; despite eventually gaining community acceptance for several.
It was only later, when they settled in the tiny hamlet of Cotati, California, that the Freak Trio received some civic recognition for their selfless efforts, and community contributions. Even then, the little town was strongly divided regarding the Trio and their sometimes unorthodox methods. SEE: COTATI     

FREAK MEDIA APPEARANCES

Vito Paulekas was never one to avoid publicity or the media.
Whether to spread his 'message', promote Szou's fashions,
or sell his artwork (clay sculptor classes & art pieces)
'The Freaks' managed to get their share of TV  appearances

Vito was a regular guest on The Joe Pyne Show, serving as a flamboyant foil to the right-wing moderator's views and opinions. During one of Vito's many appearances on The Steve Allen Show (Steve was one of Vito's students), the topic of Szou's fashions arose, and conveniently, Szou arose from the Studio front row,
introducing a dozen of the Cabin girls, each adorned in her
most outrageous 'Freak Finery'.

NOTE: There is a brief scene in 1967's "LSD-25" (an LSD-is-evil-film), in which the 'Freak Brothers', Vito & Carl, are seen entering a shop & trying on some mod glasses...

Hollywood Reporter - July 31, 1967
"MONDO HOLLYWOOD," a quasi-crazy film documentary focuses on the underbelly of Hollywood, is a bravura work by Robert Carl Cohen, who produced, directed, photographed & edited. Technically, much of it is outstanding, particularly the photography... Cohen does not appear to take advantage of his subjects... There are surfers, body painters, junkies, transvestites, health nuts, hair stylists, sky divers and assorted trippers. Cohen caught startling views of the city and its braid of freeways from the Goodyear blimp. He uses the fisheye lens for some excellent effects and the color is outstanding. Editing, too, is sharp, building with the successive insanities to delirium by the film's enervating climax.
(John Mahoney)

COUNTERPUNCH - March 4, 2006
Revisiting MONDO HOLLYWOOD
Long considered a cult classic, Mondo Hollywood captures the underside of Hollywood by documenting a moment in time (1965-67), when an inquisitive trust in the unknown was paramount, hope for the future was tangible and life was worth living on the fringe. Musical Direction by Mike Curb -- later elected Lt. Governor of California (1978), despite being falsely accused of "singing falsetto in a bathtub scene in the film with two lesbians." The sound track is performed by Davy Allen & The Arrows along with The Mugwumps (including Mama Cass and Zal Zablonsky).
In retrospect, the unwarranted reactions against the film by authoritarians, ranging from the French Commission of Control to the CIA (which labeled it, along with all of Cohen's other films, as "pro-communist") indicate Mondo Hollywood had struck a nerve - and questioned myths that seemed essential to those who attempted to control our minds. Originally denounced as a "bizarre prophecy" by the critics, today the film reveals itself to be far more prophetic than "bizarre."
(Hammond Guthrie)
Cast:
Elizabeth Taylor, Richard Burton, Ronald Reagan, Frank Zappa, Sean Connery, Brigitte Bardot, Alfred Hitchcock and many more...

GODOT PAULEKAS

            DOB: Dec. 1, 1963  -  DOD: Dec. 23, 1966
After 18 months of marriage, Vito & Szou became the parents of the first of their eventual 5 children, naming the boy 'Godot'. In the same manner as the above 'Freak Media Appearances', the angelic towhead's photo was featured nationally in a LIFE magazine pictorial on The Sunset Strip, earning the 2 yr. old infant the nickname, "The Golden Child".
A few short months later, he was dead.
Many of the details, and other mysterious circumstances, related to Godot's tragic death, remain clouded, and are still debated to this day,

 I'd like to offer my interpretation of the facts, after reviewing several of the most reported explanations from numerous books, and various accounts posted on the Internet.
The first (and easiest) argument to settle is twofold: The date of death, & Godot's age when he perished. The dates posted above (verified by official Calif. State records), validate that Godot's age was (just) three yrs old, when he died on Dec. 23, 1966.
With that half of the mystery now clarified, let's examine the other half:
              'Where & How?'.

December, 1966 -On the studio set of MONDO HOLLYWOOD

Michael Walker, in his book, Laurel Canyon, writes:
 "Then there was Vito's son, Godot, soon to fall to his death from a scaffold at the studio". [pg.32].
This sentence follows one in which Miss Pamela recalls an incident that occurred at Vito's Studio (Laurel Ave. or Log Cabin - unclear).   {right-Mondo set}
Whether it is a factual error by the well-researched author, or a simple misinterpretation by his readers, the quote has further confused what has always been a tragic incident/accident, which few of the people present wish to recount. Actually the referenced 'studio' was not Vito's, it was the one used by Robert Carl Cohen, for interior shots of his film, Mondo Hollywood. {see above}

It's generally agreed (with various specifics) that Godot fell from the studio's rooftop, during a scheduled photo shoot. Paulekas' friends were devastated, while their detractors spiced up the tragedy, using it to exemplify "the depravity of the Freaks, and their amoral lifestyle".

As in the majority of "Laurel Canyon Myths & Legends", facts & logic were ignored and speculation was accepted to sensationalize another "Drug Crazed" family tragedy. For a perfect example which summarizes this phenomenon, we need only to look at the version offered by:
"Drug Crazed" Alban “Snoopy” Pfisterer, former drummer and keyboardist for the band "Love", who stated:
   "[Vito] got married, had a baby, gave it acid, and it fell off the roof and died."
With quotes from' friends'  like 'Snoopy', one can imagine the stories & gossip circulated by the conservative, god-fearing, opponents to everything that 'the freak couple' advocated.
To further cloud the cause of death, I offer the following excerpt from Dave McGowan's
"Center for an Informed America"  website...

THE OTHER KIDS 

 Gruvi Nipples Paulekas - DOB: 6/23/67  {above-front row-right}
Origin of her unusual given name - "Gruvi [AKA "Groovy"] Nipples Paulekas".
Vito & Szou's second child, and only girl, Gruvi, was born exactly 6 months after the tragic death of Godot. When she was born, her proud father, innocently enough, looked down on the baby's tiny body, and exclaimed, "Wow! Look! She has groovy nipples!"
Gruvi enjoyed a loving, carefree life, growing up among the 'Free Store' community in the tranquil environs of Cotati. Her name, "Gruvi", was no more unusual than many of her classmates in the little 'hippie' town. I'm sure she received her share of teasing from the young boys who were aware of her unconventional middle name; but kids are prone to such, regardless of the name. However, when graduating from Rancho Cotati High School in 1985, the middle name was omitted under her picture in the High School annual. 
 Cause & DOD:

? BB ? Paulekas -  DOB: 12/29/69
Vito & Szou's son, BB, was born after 'the freaks', with their new infant daughter, Gruvi, vacated the Log Cabin (est. Dec.'68). Likely BB was their first born in Sonoma County. BB married his local sweetheart, Sarah, who, despite the pair's amicable divorce, has remained close to all members of the Paulekas clan, steadfastly supporting her beloved Grandfather's reputation and legacy.

Sky Paulekas ? - DOB: 12/01/71

 

Phreekus Mageekus Paulekas - DOB: 1/28/74
When I noted that all kids make up different versions of given names to tease classmates, the name given to Vito & Szou's last born son sounds like a perfect example. Only when it's a given name, there's not much that kids can create to ridicule the youth.

AFTER THE CABIN

More than likely, the couple's decision to leave the Log Cabin was based on a combination of factors, much more than just fleeing possible legal prosecution for the accidental death of their infant son. If the above Franzoni account is true, Vito & Szou were then without 1/3 of the income, & energy, necessary for the Cabin's monthly rent & utilities. In addition, they would obviously be under increased police scrutiny due to Franzoni's Cabin residence, on top of Government administrative departments, such as Social Services, Child Welfare, or even the IRS. Another overlooked factor was likely the notorious reputation of the Log Cabin 'scene', in addition to their own reputations. The past 'peace & love' vibe had turned ugly to most observers' eyes. I'm sure they both recognized it was about time for a move.

Not only is the motivation for the 'freak couple's' relocation often erroneously reported, their destination has also been mired by controversy. Many versions of their 'out-of-the-ordinary' move seem to be offered solely to support the respective author's point of view. This author's extensive research shows the couple visiting Haiti as their first stop for a short period, before moving to Jamaica to temporarily settle. Finding the islands' uncertain political climate less than idyllic, they chose the more favorable option of returning to the security offered in the State of California, Whatever the motivating factors behind the move from their notorious rustic old home, it would effectively end the mythical legacy of Laurel Canyon's Log Cabin.

Wednesday, July 15, 2009 01:57 AM
Only weeks after writing the above 'relocation opinion', I discovered an intensely researched Frank Zappa website, UNITED MUTATIONS. COM, which included a page on Vito Paulekas -
    http://www.united-mutations.com/p/vito_paulekas.htm

There I came across the following email from none other than Robert Carl Cohen, the talented man behind Mondo Hollywood. - From: robert cohen (radfilms@usa.net)
VITO was a very old friend. I first met him at one of his then-renowned New Years Eve Parties at 333 Laurel Ave. He was then known as a "Bohemian" due to his wearing white bell bottom pants and sporting a small goatee....
*As the 1968 US Presidential Elections approached Vito told me that, if Nixon won, he planned to flee the coming fascist state by emigrating to HAITI. I suggested that he do some research on Papa Doc and the Tot-ton Macout first. He and his then-wife SZOU, did go to Haiti, lasted a few days there, then to Jamaica, lasted a week or so, and wound up in Cotati, CA, where I used to visit him. The story of how he built the Cotati Bandshell and contribuited to the local music scene, taught at Sonoma State, etc. is already probably well known to you. His death from some sort of blood disease deprived us of a most creative and outspoken soul.

SZOU & 'THE FREAKS' IN COTATI

After their Caribbean getaway, Vito & Szou would return to California, this time, settling a little north of San Francisco, in neighboring Sonoma County. not too far from Szou's family and childhood friends. They preferred the tranquil beauty, and especially the personal security, of Northern California, to the impoverished living conditions, and unstable political climate they found on the Caribbean Islands.
The pair selected a little rustic community, the township of Cotati. in which to start over, mellow out, and restart their family. Soon joined by old friend, Carl Franzoni, the reunited trio returned to their alternate style of living, this time, playing a more active role in the municipal politics, and the related civic legislation. Though often at odds with small-town rules & regulations, they managed to rally, and somewhat organize, the large group of 'Hippies' living throughout the vast rural area. Their civil activism began when, together with a few of their new followers, they set about establishing a co-op which would organize and open a community "Free Store".   {right- Szou & Vito in front w/3 kids}

AFTER VITO