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L. Ron Hubbard into artistry: Music & Film (1973-78) (Following L. Ron Hubbard in his artistic endeavours: Music (since 1973-74) and Cine (since 1976-78), and onward)

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1) G e n e r a l   o v e r v i e w / i n t r o d u c t i o n :   M i s s i o n   s t a t e m e n t ,   o v e r v i e w ,   r e s e a r c h   s p e c i f i c s I n t r o d u c t i o n   t o   S c i e n t o l o g y   a n d   L R H K e e p i n g   S c i e n t o l o g y   W o r k i n g ,   f u n d a m en t al s S c i e n t o l o g y   i n   m e d i a   a nd   I n t e r n e t   ( +   f o r u m s ,   W i k i p e d i a ) S c i e n t o l o g y :   I t s   t r u e   h i s t o r y   e x p o s e d ? S c i e n t o l o g y   Q & A   ( F A Q ) E x t e r n a l   l i n k s M a t e r i a l s   w a n t   l i s t R e c o m m e n d e d   l i s t   o f   m a t e r i a l s 2) R e s p o n s e s   ( w i t h   a n n o t a t i o n s ) : A p p r e c i a t i v e   r e s p o n s e s   t o   m y   p a g e s C r i t i q u e   r e c e i v e d   ( 1 )   f r o m   c h u r c h g o i n g   S c i e n t o l o g i s t s C r i t i q u e   r e c e i v e d   ( 2 )   f r o m   o u t - o f - c h u r c h   S c i e n t o l o g i s t s C r i t i q u e   r e c e i v e d    ( 3 )   f r o m   a n t i - S c i e n t o l o g i s t s 3) T o p i c s   o f   p a r t i c u l a r   i n t e r e s t : (a): G e n e r a l   t o p i c s H o l y   S c r i p t u r e s   v s   S c i e n t o l o g y L R H   v s   D i c t i o n a r i e s L R H   v s   t h e o r y   o f   e v o l u t i o n L R H ' s   w o r k s   o f   f i c t i o n (b): O r g a n i z a t i o n a l   t o p i c s A   p r i n t i n g   h i s t o r y   o f   t h e   m a t e r i a l s   o f   S c i e n t o l o g y S c i e n t o l o g y   M e m b e r s h i p :   H A S I   v s   I A S L R H   v s   p r i c i n g   p o l i c i e s T h e   c o p y r i g h t s   i s s u e   a n d   l i c e n s i n g (c): T e c h n i c a l   t o p i c s H i s t o r y   o f   G r a d e   C h a r t :   a )   G e n e r a l H i s t o r y   o f   G r a d e   C h a r t :   b )   D e t a i l e d ‘ C l e a r ’   d e f i n e d N E D   f o r   O T s T h e   ‘ P r i m a r y   R u n d o w n ’ 4) C o n t r o v e r s i a l   t o p i c s : M i s t a k e n   i d e a s   o f   ‘ E t h i c s ’   c l a r i f i e d T h e   F a i r    G a m e   L a w P r a c t i c e   o f   D i s c o n n e c t i o n S e c u r i t y   C h e c k i n g F r e e l o a d e r s   v s   E x - s t a f f   m e m b e r s T h e   ‘ R e h a b i l i t a t i o n   P r o j e c t   F o r c e ’   ( R P F ) 5) C h a n g e s   i n   t h e   f l o w   o f   ‘ i n f o r m a t i o n ’: (a): A l t e r a t i o n s   ( L R H   o r   n o n- L R H ? ) L R H   v s   A l t e r a t i o n s N o n - L R H   t u r n s   i n t o   L R H ?   &   P r o p o s a l   t o   s o l u t i o n T h e    ‘ C r a m m i n g   S e r i e s ’   -   L R H   o r   n o t   L R H ? B a s e d   o n   L R H   p u b l i c a t i o n s (b): G e n e r a l   o v e r v i e w L R H   v s   A   N e w   O r d e r   ( i n t r o d u c t i o n ) → A d m i n i s t r a t i v e   a n d    o r g a n i z a t i o n a l   m a t t e r s S e t u p   o f   t h e   p r i n t e d   m a t e r i a l s   ( 1 9 7 3 - 8 6 ) T h e   R T R C ,   t h e   u n i t   t h a t   w r o t e   L R H   i s s u e s   ( 1 9 7 3 - 8 2 ) T h e   d a w n i n g   o f   R T C   a n d   n e w   m a n a g e m e n t   ( 1 9 8 2 - 8 3 ) → T e c h n i c a l   m a t t e r s I n t r o d u c t i o n   t o   t h e   e v e n t   o f   l o s i n g   a   B r i d g e ) A n a l y s i s   o f   H C O B   “ T e c h   C o r r e c t i o n   R o u n d - u p ” L o s t   B r i d g e :   T e c h   c h a n g e s   d u r i n g   1 9 7 8 - 8 2 T h e   h i s t o r y   o f   t h e   o r i g i n a l   O T   V I I I ‘ G o l d e n   A g e   o f   T e c h ’   ( G A T )   a n a l y s i s D r i l l i n g   i n   S c i e n t o l o g y (c): T h e   m a t t e r   o f   D a v i d   M a y o S t o r y   o f   D a v i d   M a y o ‘ S O   E D   2 3 4 4   I n t’   a n a l y s i s T r a i n i n g   d r i l l s   ( T R s ) M a y o   r e f e r e n c e   l i s t 6) C o n s p i r a c i e s   -   I n   L .   R o n   H u b b a r d ' s   f o o t s t e p s S c i e n t o l o g y   v s   a   N e w   W o r l d   O r d e r → W h e r e   i s   L .   R o n   H u b b a r d ?   ( c h r o n o l o g y   o f   S c n   h i s t o r y ) W h e r e a b o u t s   o f   L .   R o n   H u b b a r d   c h r o n o l o g y T h e   e r a   o f   a d o r a t i o n ;   P r e s e n t a t i o n   o f   L .   R o n   H u b b a r d L .   R o n   H u b b a r d   i n t o   a r t i s t r y :   M u s i c   &   F i l m → W h e r e   i s   h i s   w i f e   a n d   f a m i l y ? S t o r y   o f   M a r y   S u e   H u b b a r d T h e   l a s t   s t a n d :   T h e   G u a r d i a n   O f f i c e 7) S c i e n t o l o g y   u n d e r   a t t a c k (a): A   p r e m e d i t a t e d   s e r i e s   o f   o c c u r r e n c e s ?   ( ’ 8 0 s   c o n s p i r a c y ) I n t r o d u c t i o n   &   R o n   D e W o l f G e r r y   A r m s t r o n g   ( ‘ a f f i r m a t i o n s ’ ) R u s s e l l   M i l l e r    ( ‘ B a r e - F a c e d   M e s s i a h ’ ) A   r e l i g i o n   c r e a t e d   f o r   t h e   m o n e y ? (b): B a t t l e s   f o u g h t   a n d   t h e   i n t e r n e t   ( 2 0 1 6 -   ) L e a h   R e m i n i :   S c i e n t o l o g y   a n d   t h e   A f t e r m a t h   ( T V   s h o w )

>> Do you want to help with preserving the original technology? <<  Consult my want list here!

Please note that words with an asterisk (*) are defined at the bottom of this page! Only first appearances are indicated.

	“Although Mr. Hubbard never counted himself as a professional musician in the strictest sense, his musical accomplishments are by no means insignificant. A radio balladeer in the 1930s, he once held a slot Arthur Godfrey would later fill, he would continue to compose and perform through the remainder of his life.”
	(from Official Church of Scientology website, Ron Series: Music Maker, source (external link) (last checked: 22 Oct 2019))

	“Although he had only informally stood behind the camera through his Hollywood days in the 1930s, by the spring of 1979 there was literally no aspect of the subject he had not studied. In evidence thereof stand eleven basic texts on the subject he drafted through the course of training film crews in Southern California.”
	(from Official Church of Scientology website, Ron Series: Filmmaker, source (external link) (last checked: 22 Oct 2019))

Tracking the involvement of the person L. Ron Hubbard relating to music and film since 1973. Is it nonsensical or are the claims made about his superior artistry credible and accurate? This is what is being looked into in this overview.

 
Index:

		Foreword
	Music
		‘The Apollo Stars’ (Sept 73 - 2nd half 74)
			(Includes: A record release; Art Series; Their sound; Where is the today's promotion?; Disbandment?)
		Further musical intermezzos (1976, 82, 85, 86, 98, 99 & 2001)
			- ‘Ron's Journal 28’ (1976) - ‘Space Jazz’ (1982) - ‘The Road to Freedom’ (1986) - ‘Mission Earth’ (©1985, released 1986) - ‘State of Mind’ (1998) - ‘Why TRs?’ (1999) - ‘The Joy of Creating’ (2001)
	Film
		‘The Secret of Flag Results’ (Dec 77) & ‘The Case He Couldn't Crack’ (autumn 78)
		Technical training and dissemination films (1978-90)
		Afterword

 
Foreword

It may be perceived that some rather odd happenings and claims are passing the revue here. See, we have in fact a former sea captain apparently turning to musician and even instructing other professional musicians. Suddenly L. Ron Hubbard is credited having been “a professional singer” in some “early days”?

Then soon this is followed by getting active in what is called the movie business? Mind that his only registered “movie experience” is deriving from authoring some movie scripts for some cliffhanger serials in the ’30s.

Where is all this coming from?

The contrasting aspect here is that the Church of Scientology is raving about L. Ron Hubbard's supposed qualifications in each and every of these music and film endeavours from the mid-’70s, whereas the indications may be that this rather would be an exaggeration of gargantuan proportion. Can the claims that are being made backed up properly?

We know from publications like the Ron Series (1989-99) and the ‘The L. Ron Hubbard Series: The Complete Biographical Encyclopedia’ (2012) that really a lot of boasting is being exercised to make it appear as if everyone is junior to L. Ron Hubbard and have to pay respect and obedience to his person in regards to anything and everything. He is always the best and the first in anything he touches per these promotional activities. Of course this is just not very realistic!

‘The Apollo Stars’ (Sept 73 - 2nd half 74)
(Includes:  A record release; Art Series; Their sound; Where is the today's promotion?; Disbandment?)

“In 1973 L. Ron Hubbard developed an incredible new sound in music.   Aboard the famous ship Apollo he organized THE APOLLO TROUPE, a group of musicians. The   major section of this group was and is THE APOLLO STARS.   Radio, TV and stage people have uniformly decreed that the Apollo Stars ARE a new and exciting sound in music. It is often repeated that the STARS are playing the music of the future.   Thunderously welcomed wherever they have appeared in the world, the Stars have received a multitude of standing ovations, awards, plaques, and keys to cities.   L. Ron Hubbard has continued to work with them closely.         The Stars are all professional musicians, many having played with big name bands and each is or is becoming a big name himself.   L. Ron Hubbard is an acknowledged professional in many fields.   His movie experience and his early days as a professional singer come again publicly to light in the brilliant presentation of the STARS.”           (from liner notes on record ‘The Apollo Stars’: “Power of Source”, © L. Ron Hubbard: 1974)

The vinyl record listed the songs:
	“SIDE 1
	1.    2.	The Power of Source  (Arbuckle-Ferreira) Summertime  (George Gershwin)
	SIDE 2
	3.    4.   5.	We're Moving In  (Hubbard-Ferreira) Johnny Comes Marching Home  (Folksong) My Dear Portugal (Meu Querido Portugal) (Hubbard-Marple-Ferreira)”
Only 2 songs note collaboration of L. Ron Hubbard.

Advertisement notices for this vinyl record appear in the various Scientology magazines at its earliest during April 1974.

Art Series

The only ones of these HCOBs actually falling in the correct time frame are then Art Series 3 & 4! Not so much “technology” however is revealed in these.

“7403C06 & 07   SO  Ron's Talk to the Marineros (Music Group) 7403C07   SO Ron's Talk to the Apollo Stars’ Choreographer 7403C14   SO  Instructions to Apollo Stars Musicians 7403C20   SO  Talk to a Photographer 7403C21   SO  Talk to a Choreographer 7404C08   SO  Ron's Talk to the Apollo Stars 7405C20   SO  Ron's Talk with Musicians 7405C20   SO  Songs 7408C31   SO  Accenting Melodies”

These talks however remain unavailable to the public till this day. They are listed in ‘What Is Scientology?’ (1978 edition) on page 319, then the 1992 release of the book, for some reason, has stricken them from the records. Talks to some musicians and choreographers are not likely to contain confidential information, then what is the reason they were stricken?

Either way the claim that L. Ron Hubbard would have instructed these musicians strikes as odd and presumptuous. After all, they were professionals in the filed of music that had “played with big name bands” and here we have then L. Ron Hubbard instructing them how to go about music and things? L. Ron Hubbard that as far as I know and that what is recorded had no previous proven skills in the area of music! It is a fair question to ask though, what did he learn from these musicians which ended up in these HCOBs as opposed to that “He personally instructed the musicians and dancers”!

Are we may be to assume that these instructions have been extracted from these 9 lectures and were published in these Art Series 5-17 released from 1977 to 1989? We are not receiving any specifics.

Their sound

Where is the today's promotion?

Disbandment?

I am uncertain about exactly when the group ‘The Apollo Stars’ may have disbanded. Though I have been unable to find recorded performances of the group after 1974. The vinyl record nonetheless was still listed in ‘Scientology Publications Organization, International Catalogue No 4 (Autumn 1979)’ (see page 49). I could imagine that the sales did not go as expected, and that these were still not sold out 5 years later in 1979. Is there anyone out there that has details about the actual fate of these Apollo Stars? Then please contact me!

Since the ’90s or so ‘The Apollo Stars’ have been replaced with another musical group calling themselves ‘The Jive Aces’. The kind of music that they play is jazzy, but not progressive. It has a softer and much less busy sound and is obviously aiming at a more popular music sound, and therefore is seeking a much broader general acceptance.

And me? Well, I could actually appreciate the sound of these Apollo Stars, but I fear that these Jive Aces are just not my cup of tea!

• ‘Ron's Journal 28’ (1976)
• ‘Space Jazz’ (1982)
• ‘The Road to Freedom’ (1986)
• ‘Mission Earth’ (©1985, released 1986)
• ‘State of Mind’ (1998)
• ‘Why TRs?’ (1999)
• ‘The Joy of Creating’ (2001)

 
‘Ron's Journal 28’ (1976)

“This is an address by L. Ron Hubbard personally recorded and mixed by L. Ron Hubbard and the staff of LRH Audio Visio especially for your org.” This was a cassette tape recorded message from L. Ron Hubbard for each individual church of Scientology for December 1976. They are all different, in that, as the organization it was send to, was personally addressed and spoken in on the tape. It is 17½ minutes long. The music comes in during the first 4 minutes. For a while I have thought that it was an arrangement and played by L. Ron Hubbard, and it may generally have been thought it was. Well, it appears it is not. The introduction notices at the beginning of the tape make that clear, but who listens attentively to these. These introduction notices are at a lower volume compared to the rest of the tape, so you don't hear this even very clearly. You can't replay it either as the tape was not for sale to the public. The musical arrangement sounds like someone playing around a bit with a synthesizer. The introduction notices explain it is “Zarathustra composed by Richard Strauss in 1896 and arranged and played by Steve Cartmill on Ron's Baldwin organ.”.

I am told it was not a recent speech from L. Ron Hubbard, that it would be a selection pulled from some previous lecture. Why would you do that if you, L. Ron Hubbard, could easily have spoken in a real personal new message? If this is true does anyone know from what original lecture it was taken from? (contact me!) In the tape L. Ron Hubbard is directing himself to AOSH EU, which would be the Advanced Organization in Copenhagen, Denmark, that was founded 7 Jul 1969. Today this tape is definitely very hard to acquire a copy of. The various older Scientology organizations however appear to have it, and may play it if the occasion is suitable. It was for example played in Gothenburg org (Sweden) when they were to move to new premises about 2010.

 
‘Space Jazz’ (1982)

This was promoted as a sound track created from a book. The book was the in the same year released ‘Battlefield Earth’. It said that “L. Ron Hubbard is the originator of Space Jazz and the composer and lyricist for the album.”.
Liner notes say amongst other: “SPACE JAZZ is a completely new musical sound destined to be hailed as the music of the future. ... Now the sound of the future has been established by L. Ron Hubbard, author of the blockbuster science fiction novel Battlefield Earth.”. Remember that the liner notes for ‘The Apollo Stars’ release also promoted it as being music for the future or sorts and it being a new sound.
This record was fairly modestly promoted at the time of release. Salesman slogans printed on the cover of the record say: “Read the Book! Hear the Music! A New Experience Awaits You!”. The usual phrases that end up in the promotional machinery. The music however, as it was for the previous Apollo Stars record, again wasn't for everyone's taste. It carried various unusual experimental sounds and compositions. Artistically it was interesting.

 
‘The Road to Freedom’ (1986)

This was released on 13 Mar 1986 at the L. Ron Hubbard birthday event. This was the third musical release attributed to L. Ron Hubbard. This time it was fully prepared to serve the popular taste. Liner notes say: “This album is L. Ron Hubbard's musical statement of what Scientology is really about!”. Each of the 10 songs listed on this record claim: “Music and lyrics by L. Ron Hubbard.”. The last song ‘Thank You for Listening’ uses the voice of L. Ron Hubbard. Mind however that the voice, I figure, is not singing, but rather just rhytmical speaking. Judge for yourself in the sequences here below. So much though for L. Ron Hubbard's “early days as a professional singer”, still no singing?! As it would appear, as far as I know, these are the only existing and/or ever released pieces of ‘singing’ attributed to L. Ron Hubbard.

Sound snippet 1             Sound snippet 2

It appears that one person was involved in every of these 3 musical releases (1974, 82 & 86), and this was Charlie Rush that played percussions and drums.

 
‘Mission Earth’ (©1985, released 1986)

The liner notes on the previous musical release ‘The Road to Freedom’ (1986) made mention that “A fourth album has been recorded and is scheduled for release later this year.”. This will have turned out to be this ‘Mission Earth’. It is copyrighted 1985, but will have been released (vinyl version) during 1986 according to these liner notes. A CD release followed in 1989.
The liner notes of this release say: “Masterly performed by Edgar Winter, the songs on this album were written by L. Ron Hubbard, based on his ten volume, all-time best selling science fiction series, MISSION EARTH.”. Once again thus music based and inspired by a book.

 
‘State of Mind’ (1998)

By now, I was thinking, the musical endeavours would be over, after all 1998 was already 12 years past the announced passing of L. Ron Hubbard. But it was not to be. More stuff was coming out still. It is like L. Ron Hubbard never died.
Here it features the Golden Era Musicians that were performing songs that were claimed composed by L. Ron Hubbard. Some of the lyrics were also claimed written by him that were now set to music. It gives the impression to be some sort of modern mainstream Christian type of music.

 
‘Why TRs?’ (1999)

Another production featuring the Golden Era Musicians. This was a soundtrack for an instructional film for training routines*. It consisted of a single 12½ minutes long track claimed composed by L. Ron Hubbard as arranged by the Golden Era Musicians. I am not sure though what that means in regards to who did exactly what. It was entitled: “My Beautiful Home”.

Are we done now? No, not yet, one more to go!

 
‘The Joy of Creating’ (2001)

This time it was “Golden Era Musicians and Friends Play L. Ron Hubbard”. These friends were amongst other known and lesser known Scientologists such as Isaac Hayes, Shannon Star Roberts, Carl Anderson, Brenda Eager, Dough E. Fresh, Howard McCrary, L.J. Jackson, Pamela Falcon, Edgar Winter, Elena Roggero and Chick Corea.
This musical release probably works best as a sort of tribute to L. Ron Hubbard considering that it states on the back cover: “Musical compositions, arrangements and performances by the Golden Era Musicians”. Although the lyrics are attributed to L. Ron Hubbard. The music on this last album is a bit monotonous and repetitive.

The most appreciated and successful musical production to date, even considered so among the majority of Scientologists, would still be ‘The Road to Freedom’ album from 1986.

‘The Secret of Flag Results’ (Dec 77) & ‘The Case He Couldn't Crack’ (autumn 78)

These were all so-called cliffhanger serials that carried 15 episodes that run about 12-15 minutes each. Cliffhangers were characterized by sustained suspense. Each episode ended with some life threatening type of scene of which the outcome would be disclosed in the beginning of the next episode. All this to arouse interest from the public to return the following week to the cinema to see its conclusion. Such serials were popular and quite common during particularly the ’30s and ’40s.

It is to be understood that all that L. Ron Hubbard did for these was writing either the story (providing the plot) or wrote (or participated in) the screenplay. He was not in any way involved in its production or directing. The year 1977 is claimed to mark a difference in this.

“The Secret of Flag Results is the first!
  And more films are on the way! Source magazine has learned from informed sources that Uni-Media Productions has a new film in production, based on a brilliant screenplay by Ron, entitled The Case He Couldn't Crack. This new film will be feature length, approximately twice the length of Secret.
  There are also introductory films, instructional films and much more in the plans.
  Yes, we really are in the movie business!”
(from ‘Source 14’, Feb/Mar 78)

And in ‘What Is Scientology?’ (1992 edition) we find on page 507: “Approximately one hundred miles east of Los Angeles, at the desert community of La Quinta, Mr. Hubbard established a Scientology training film studio (Source Productions) in 1977. Under his personal direction, in an 8-month period, Source Productions produced a public Scientology information film and 7 technical instruction films to preserve the standard training and application of Scientology long into the future.”.

1977-78 saw the release of 2 motion pictures. The story and screenplay for the both of these were claimed by L. Ron Hubbard.

It's promotion

According to the book ‘What Is Scientology?’ (1992 edition) this 1st film “The Secret of Flag Results” had been released on 9 Dec 1977. The various Scientology periodicals however make first mention of it no earlier than February 1978, at which time it was already promoting its second viewing. Everyone that had not seen it previously were now urged to go and see it. At this time we find various notices and reviews (see Scientology periodicals Source, The Auditor and Advance). An article from Source can be consulted at link here below:  (pop-up window)
‘Source 14’, Feb/Mar 78 “Behind the Scenes with ‘The Secret of Flag Results’”

The various Scientology periodicals announced months in advance that this 2nd film would be released in autumn 1978. However notices fail to report any details about its actual release or provide for any reviews about how it had been received by the public. We do find a registration of this 1st film in ‘What Is Scientology?’ (1992 edition), chapter 42: “Complete List of Books and Materials”, we fail however to find a record of this 2nd film. This is because this film had been abolished since. I have it reported that so-called missions were send out by senior Scientology management (around 1982-83) to ensure that its showing was withdrawn and that the film cassettes got returned and destroyed. Reason for this evidently is that David Mayo is starring as the C/S*, and he has since been expelled by the Church of Scientology (details here, separate window).

The film “The Case He Couldn't Crack” was still shown at the Flag Land Base, Clearwater Fl., during the late ’80s at some event at the Fort Harrison Hotel in its auditorium at which time I got the opportunity to see it. At the time I did not know what I was watching or its early history. I was just there and I happened to see it. Announcement notices from 1978 ensured the public that it was a “gripping motion picture adventure” that should not be missed. I recall after having viewed it that I judged it very amateurish done, the performances really were not very well, and that it had an unrealistic (as in unconvincing) silly plot. I had no preconceived ideas of any kind about this film, therefore how I perceived it is interesting. The film by my knowledge has not been promoted or shown since. May be this acknowledges the poor quality of it? Older Scientology organizations may still have the cassettes for this 2nd film, and may(?) even show it if requested.

Be it noted here that both the above films were available for purchase in the Scientology organizations and are accordingly listed still in “International Catalogue No 5; Books and materials by bestselling author L. Ron Hubbard” (released Autumn 83). But both films had been removed from listing since “International Catalogue No 6” (released 1986). Ironical is that this“International Catalogue No 5” had listed “The Secret of Flag Results” as David Mayo had been expelled at least some 7 months earlier in March 1983, which will have been something that was missed. It will not have been available either way for purchase in spite of the catalogue listing it, be assured of that.

Mind that these International Catalogues were primarily for use by book registrars employed in the organization and commonly did not end up in the hands of the Scientology public.

Both these films have been on sale to the public, available with a choice of 5 subtitles (languages: German, French, Swedish, Danish & Dutch), this according to International Calalogue No 4 & 5 (printed 1979 & 1983). They came in cassettes, “The Secret of Flag Results” had 2 cassettes.

Does anyone have copies of these films, then please contact me!

In the same book in chapter 35: “L. Ron Hubbard, A Chronicle” it says on page 634 for “1976-79”:

One additional film that is not made mention of in these notices I found listed in the brochure ‘The Bridge 1991’ which is: “The Solo Auditor”.

“Plays and Screenplays”   1977: Revolt in the Stars Full-length science fiction screenplay written in 1977. Unpublished. (note: page 32 of the Widder bibliography dates this to 1976) 1979: Unnamed movie plot Synopsis of a mystery-detective movie written in June 1979. 1981: Ai! Pedrito! Full-length comedy screenplay written in 1981. Unpublished.   A Very Strange Trip Full-length time-travel comedy screenplay written in 1981. Unpublished.

I guess there is nothing wrong with some person dabbling in music, film and other things. And this person may even be good at it. However if you start to send out a lot of promotion and claims giving the impression that this person would be a master in anything that he touches, that this person somehow places everyone else, unmistakably, in the shadow including professionals in some field, then you know something is not quite right! The question is why you would do such a thing? Why does the Church of Scientology go out with so much exaggeration in these things? It puts off people, and it certainly puts me off...

Vocabulary:

     ..R, ..RA, ..RB (etc) or #R, #RA (etc):
For example: ‘HCO PL 24 Sept 70R’ & ‘HCO PL 24 Sept 70RA’, etc. The given date denotes the first time it has been published in issue-form. The R, RA indication may also follow after an issue-number. The R stands for ‘Revision’ and would refer to that it has been revised since it was first published. If it is revised a 2nd time it is indicated as RA, a 3rd time RB, then RC, and so on.
     ASHO:
‘American Saint Hill Organization’. A higher level Scientology organization residing in Los Angeles.
     audit, auditing, auditor:
The application of Scientology processes and procedures to someone by a trained auditor (listener). The goal of the auditor is to make the receiver of the auditing look at incidents and reduce the mental charge which may lay upon them. The auditor may not evaluate and has to adhere to the Auditor's code.
     C/S:
‘Case/Supervisor’.  1. That person in a Scientology Church who gives instructions regarding, and supervises the auditing of preclears. The abbreviation C/S can refer to the Case Supervisor or to the written instructions of a case supervisor depending on context. (BTB 12 Apr 72R)  2. The C/S is the case supervisor. He has to be an accomplished and properly certified auditor and a person trained additionally to supervise cases. The C/S is the auditor's “handler.” He tells the auditor what to do, corrects his tech, keeps the lines straight and keeps the auditor calm and willing and winning. The C/S is the pc's case director. His actions are done for the pc. (Dianetics Today, Bk. 3, p. 545)
    HCO PL:
‘Hubbard Communication Office Policy Letter’. Color flash–green ink on white paper. Written by LRH only, but only so starting from January 1974. These are the organizational and administrative issue line. For more information go here (separate window).
     LRH:
An usual abbreviation for ‘L. Ron Hubbard’.
     preclear (pc):
1. A person who, through Scientology processing, is finding out more about himself and life. (The Phoenix Lectures, p. 20)  2. A spiritual being who is now on the road to becoming Clear, hence preclear. (HCOB 5 Apr 69)  3. One who is discovering things about himself and who is becoming clearer. (HCO PL 21 Aug 62)
     TA:
‘tone arm (action)’. See at that entry in vocabulary.
     tone arm (TA):
1. Tone arm refers to the tone arm or its motion. (HCOB 13 Apr 64)  2. Tone arm action. A technical term for a quantitative measure of case gain in the Scientology processing of a preclear for a given unit of time. (Introduction to Scientology Ethics, p. 38)  3. The measure of accumulation of charge. (Class VIII No. 6)  4. A measure of the amount of encysted force which is leaving the case. (SH Spec 291, 6308C06)
     TR:
‘training regimen or routine’. See at ‘training routine’ in vocabulary.
     training routine (TR):
Training regimen or routine. Often referred to as a training drill. TRs are a precise training action putting a student through laid out practical steps gradient by gradient, to teach a student to apply with certainty what he has learned. In particular these are for training of an auditor in regards to communication. The ones presently in use are OT TR 0, TR 0 confronting, TR 0 bullbait, TR 1, 2, 2½, 3, 4, 6, 7, 8, 9, 100, 100-A, 101, 102, 103 & 104. (for more data see ‘Dianetics and Scientology: Technical Dictionary’ & HCOB 17 Jul 69RB)