A Review: Beyond The Farthest Star by Edgar Rice Burroughs
February 26, 2010
A Review
Beyond The Farthest Star
by
Edgar Rice Burroughs
Review by R.E. Prindle
There’s a kind of a hush all over the world.
Sadness all over again. The agony of another world war. Tears and sorrow. One would say that it was with a weary pen that ERB wrote the tale of dreary events to come were it not for the fact that he claimed that the story was transmitted across the eons from the farthest star as his typewriter keys began mysteriously clacking by themselves. One almost believes him as the story was completed in only eleven days from 10/24 to 11/05 in 1940.
It must have been with some fear and trepidation that his generation faced the horrifying repeat of 1914-18 in 1940. In that earlier conflict ERB expressed his thoughts in an equally short novel titled Beyond Thirty. As a result of the Great War he forecast an abandoned England, a Europe invaded by Africa and turned Negroid, an Eastern empire ruled by a beneficent China and the New World of North and South America governed benignly and peaceably by the United States.
Faced with the grim reality of possible total destruction from the air he now drew a much more dismal picture. His old rival H.G. Wells in The Shape Of Things To Come was even more desolated. Burroughs’ agent of destruction was accurately projected. It was the great air fleets of, as it turned out, B-29 bombers that flattened whatever they flew over.
“Planes!” said Yamoda’s mother bitterly, “Planes! The curse of the world. History tells us that when they were first perfected and men first flew in the air over Poloda, there was great rejoicing, and the men who perfected them were heaped with honors. They were to bring the peoples of the world closer together. They were to break down international barriers of fear and suspicion. They were to revolutionize society by bringing all people together, to make a better and happier world in which to live. Through them civilization was to be advanced hundreds of years; and what have they done? They have blasted civilization from nine tenths of Poloda and stopped its advance in the other tenth. They have destroyed a hundred thousand cities and millions of people, and they have driven those who have survived underground, to live the lives of burrowing rodents. Planes! The curse of all times, I hate them. They have taken thirteen of my sons and now they have taken my daughter.
So ERB projects a view of planes and that was before the B-2 bomber was constructed or the A-bomb perfected. At that dim far off time at the beginning of the twentieth century when the Wrights flew the first heavier than air craft the hope was that it would eliminate war but now forty years later after a rapid series of improvements the airplane was the ultimate weapon of destruction. Of course both Burroughs and Wells had foreseen such a development. Burroughs in his great Martian air fleets and Wells in his sky darkening flotillas in The War In The Air.
The great B-29 fleets were already being discussed so that Burroughs merely projected what within a few short months would be a reality in Frankfurt when bombs and incendiary devices rained down creating a fire storm with such intense heat that hydrogen and oxygen molecules in the river separated with the inflammable hydrogen being fed by the oxygen.
Forty-three thousand people- men women and children- died in that fire storm that devastated several square miles creating winds of 150 miles per hour. The devastation was unequaled until the atomic bomb exploded over Hiroshima. The level of destruction was almost equal in each.
It was almost as though Burroughs had the image of the firestorm before his eyes as he wrote.
As the scene of this great air war that had been fought non-stop for over a hundred years he selected the planet Poloda part of the stellar system beyond the farthest star indicating that war was so endemic to humans that even beyond the farthest star there was no escaping it.
At that time Burroughs placed the farthest star 450,000 light years from earth. One is astonished at the low level of astronomical knowledge of the times. The truer figure for a farthest star would be well over 12 billion light years but that would have been incomprehensible at the time. One is startled to think that the vast knowledge, still a fragment, we now possess was unknown even as the fifties began when I was a child. Everything I learned in school was invalidated by the time I graduated. The novel geologic idea of tectonic plates whereby all the continents had been connected and drifted apart was ridiculed while I was in college in the mid-sixties but shortly prevailed. Astronomical horizons were pushed further out as everything that was believed to be true was transfigured before your eyes, nearly on a daily basis. Today the Hubble telescope penetrates space as far as it has even been penetrated yet has still to find the farthest star. Burroughs farthest star was pretty close. At any rate it made a great title.
In many ways Burroughs’ description of the two competing political systems on Poloda, those of Unis/Athens and Kapara/Sparta more anticipated the post-war struggle between the West and the Communist East rather than the Nazis and the West even though the Kapars seem to be clearly based on the Nazis. Burroughs old hatred of Germans stemming from the days of athe Haymarket Riot in Chicago through the Great War was now reactivated and cast in concrete.
The war on Poloda mirrored the reality on earth projected into a distant galaxy. Nor was ERB wrong as WWII morphed into the Korean War and from thence into Viet Nam and now into the great conflict with the Moslem States. We’re not too far from the centenaryof the beginningof the Great War- a full hundred years.
On Poloda as a result of the constant bombing raids from Kapara the Unisans had created retractable cities. When the air raid sirens went off whole cities were hydraulically lowered beneath the earth until the raid was over. Then the cities were elevated while work crews went out to reconstruct the terrain into livable space again.
In Kapara, somewhat like in North Korea during the incessant bombing of the Korean War, the Kapars had tunneled into their mountains in steel reinforced redoubts.
The Kapars had subjugated a race somewhat as the Spartans had the Messenians who had returned to the lowest subsistence level actually having reverted to cannibalism.
While thus portraying life on Poloda ERB was giving intimations of his fears for his own planet. The devastation of the ensuing war was not quite so complete but it came very, very close.
Of ERB’s wide ranging interests astronomy was one. As I indicated earlier the level of astronimcal knowledge in the first half of the twentieth century was fairly primitive. At the time man first walked on the moon in the sixties outer space was still largely a mystery. It is only since then with the huge arrays of radio telescopes on earth and the Hubble stationed in space above the earth that some of the mysteries of the universe are becoming more clear; even then compared to what there is to be known little is that clear.
Thus ERB imagined a solar system in which a ring of eleven planets circled a smaller sun from a distance of a million miles through an atmospheric tube shared by all eleven planets. The pollution from the incessant warfare on Poloda would be shared by all eleven planets in the tubular atmosphere returning back on Poloda.
Titillating stuff. ERB was always inventive.
I, of course, scoffed at the idea of more than one planet being in the same orbital plane but then all my notions of regularity and order were blasted when the Hubble found two gas giants close to each other on the same orbital plane, close to their sun, completing a revolution in three days. A three day year, think of it, something a million of their light years away would be right next door.
I imagine ERB would be having a field day if he were still alive.
A Review:
Dakota Days
The True Story Of John Lennon’s Final Years
by
John Green
Review by R.E. Prindle
Green, John: Dakota Days- The True Story Of John Lennon’s Final Years, St. Martin’s Press, 1983
John and Yoko looking pretty palmy.
The book should perhaps be subtitled: A True Story. John Green has crafted very nice portraits here of Yoko Ono and John Lennon, especially that of Yoko. She was very superstitious being dedicated to the occult from witchcraft to Japanese numerology to Tarot readings. It was the last that brought Green within her ken. She not only wanted a reading of the Tarot cards but she kept Green hopping day and night giving her readings on whatever little problem that pressed her mind. So for six years Green made a very good living reading for John and Yoko while developing a profound familiarity with their characters; in other words, he knows whereof he speaks.
Neither he nor the Japanese numerologist who he mever met were the only occultists Yoko was consulting but Green seems to have been unaware of the others. He is very careful and doesn’t overstep the bounds of what he knows first hand. There was a great deal that Green wasn’t privy to making this A rather than The true story.
While I know that many people know what the Tarot is I will give an explanation for those who don’t. While I don’t participate in Tarot myself I do have a deck of cards on hand to study for historical reasons.
The Tarot is a deck of 78 cards of some psychological subtlety. It arose as a means to preserve the Egyptian religion when after the various invasions of the first millennium BC the matrix of the religion was shattered. The Tarot was devised as a means of perpetuating the religion. The various spreads of cards provide means of interpreting responses to a problem.
Over the centuries many different decks have evolved representing various time periods. I have the Egyptian deck. It would be
Tarot Card From Deck
interesting to know which deck Green used. He fails to tell us.
To be able to read well one must have an implicit understanding of each of the cards as well as being a subtle enough psychologist to apply the meanings to he or she for whom you read. Green apparently had both qualifications. Thus over thousands of readings over the six years he became very familiar with the characters and personalities of his subjects John and Yoko. Still, they seem to have been very successful in letting him know only what they wanted him to know.
As he apparently didn’t take notes, limiting in itself, he relies on his memory and familiarity with the Ono’s mental processes to reconstruct a continuum of the six years. While one may question the veracity of his method he seems to capture the mental and vocal traits of both John and Yoko. I have no trouble accepting the portraits while as the details can be corroborated elsewhere I see no reason to question Green’s general accuracy. Otherwise there is no one who doesn’t make mistakes in fact or interpretation.
His two portraits while revealing conflict with other accounts such as that of May Pang or Fred Seaman the obvious reason is that
May Pang
the Onos are only letting him see what they want him to see. For instance, in their 1980 interview the Onos state that Yoko had brought the estate up to 150 million dollars yet Green has Yoko spending so fast that they are always on the brink of insolvency. At times expenditures seem to exceed cash on hand.
Green believes himself to be their only investment advisor but that isn’t the case. Just as Yoko had her Japanese numerologist who Green didn’t come into contact with and other occult advisors she must have had other financial advisors.
The picture Green paints of Yoko is far from pretty while he never openly denigrates her yet as he creates his layers of detail she not only becomes but goes beyond eccentric. Her dependence on the occult is such that when someone advised her of a ‘genuine’ witch in Colombia she dragged Green along on the trip to South America to visit the woman. Always lavish in her expenditures, she gave one medium a blank check for her to fill out, she gave this woman 60,000 dollars for her ministrations. When Green protested that the woman had meant pesetas rather than dollars Yoko was unfazed.
Thus while Yoko denied any dependence on John she only was able to realize her vision of herself through the former Beatle’s wealth and influence.
Yoko in one of her many guises.
This was no more evident than in Yoko’s competition with her mother. For two successive summers John and Yoko visited Japan. According to Yoko the intent was to establish some rapport so that her son Sean wouldn’t be cut out of the family fortune that was considerable. The trips were conducted on such an extravagant scale that according to Green the Onos were cash poor as a result. Nevertheless Yoko went on spending so either they had funds of which Green knew nothing or they got money from somewhere.
The fact that they always seemed to have enough cash to do anything from spending a few millions on dairy farms and cows to Japanese vacations that it seems strange that when they received an extortion attempt for 200,000 dollars Yoko said they had no money. The extortion attempt seems to have been a protection racket- pay and live or go the police and die. As the extortioners told Yoko that if she went to the cops they would only protect her for a while. When they left whether a year or two later the extortioners would strike.
The Onos refused to comply calling in the FBI. The FBI advised them to substitute newspaper for money and they would arrest the pickup man. Strangely the pick up man was able to elude the FBI. And then two years or so later Lennon was hit by exploding bullets and killed on his doorstep. While one cannot say the two events are connected yet the assassination followed the extortionists plans. Chapman did make a stop to speak to an unidentified party before he pulled the trigger. But nothing is clear.
Yoko first contacted Green during Lennon’s ‘Lost Weekend.’ While Lennon believed, and it seems clear, that Yoko had informants watching John while he was in LA, Green has her denying this saying that it was his card readings that kept her informed of John’s doings. In all likelihood she checked her spies’ information against his readings.
From ’75 to ’80 Lennon was in a severe depression being unable or unwilling to function in a normal way. Of course there was no reason for him to act ‘normal’ as he was able to deal with his funk in his own way. Who is there to say that ‘normal’ was better? As he told Green his muse had left him leaving him unable to write. As he said, call it writer’s block or whatever, he couldn’t work. Enough reason for depression in an artist.
Then in 1980 when he came out of it being again able to write, Yoko in her desperate attempt to be his equal insisted on being part of the new record she called Double Fantasy. John adamantly refused to let her perform on his own tracks while she didn’t want her tracks all on one side for fear that no one would listen to side B, so they alternated tracks.
Thus, even though Yoko insisted that she was the most talented artistically and musically of the two she was forced to hitch her wagon to John’s star.
Yoko in one of her variety of men's hats and double fantasy glasses.
2.
I found Green’s treatment of Lennon to be more sympathetic than his treatment of Yoko. The inevitable conclusion one comes to about Yoko is that at best she was a pathetic human being while at worst an obsessive-compulsive and a dangerous one at that.
The portrait he depicted of John is that of a man with a completely disintegrated personality entering the mid-life crisis. During this five year period he begins a process of reintegration. Actually his course is that of the mythological hero who experiences his ‘madness’ at this period of the mid-life crisis.
During this period Lennon is essentially egoless. Part of Timothy Leary’s LSD mantra was that one should abandon the ego. Of course to abandon the ego leaves one defenseless and a prey to sharpers who use their ego only too well, nevertheless Lennon bought in and abandoned his ego, or so he says. As he abdicated his identity to the use of Yoko Ono this was obviously the case.
So, he allowed himself to be manipulated by Yoko spending long periods of months over years ruminating naked in his bed, totally exposed as it were protected only by the good will of Yoko. Then, for whatever ulterior motive, Yoko sent John on a solo trip around the world. This was her mistake.
While in Macau, China Lennon had an epiphany in his hotel room. This is a fairly common one but self-revelatory. One might name it the peeling of the onion. In Lennon’s case he obviously felt that he had multiple personalities acquired through various traumatic events in his life.
As he described it to Green he was in his hotel room when he succeeded in peeling a layer of the onion, a personality, off which appeared as real and visible to him as shirt or a suit of clothes. He draped the personality over a chair then began to peel off layer after layer hanging them about the room or draping them over the furniture. When he awoke the next morning he could see them just where he put them. He then conceived the notion of leaving them there as he ran away from their influence.
This is a beautiful little fantasy. But then he turned the corner and there was oneof his selves waiting for him. Visualize the Rock And Roll cover and I think you begin to have it. He then realized he couldn’t escape in that fashion so he went back to his hotel and said ‘C’mon’ to his personalities and continued on his journey. However having identified his ‘problems’ by name, as it were, the seeds for resolving those problems had been sown.
He then returned to the Dakota and while he confined himself to his room rather than merely sinking into depression he began working through those layers of fixations or depression gradually recovering his muse and removing his writer’s block enabling him to compose again.
It would seem that Yoko preferred John psychologically incapacitated so that she could either control him or make herself believe that she was the more talented. Green notes that as John improved Yoko seemed to deteriorate. He quotes her as saying that she had heard some of John’s new songs and they were not very good while hers were.
Dissociated from reality as she was then she couldn’t let John record an LP of songs that might be a hit while anything she recorded on her own would be relegated to the garbage. She even refused to record one side all John and one side all her for fear that no one would listen to her side so she demanded they alternate tracks. I presume that is one reason the LP is entitled Double Fantasy.
While Yoko actually believed in the Tarot and her Japanese numerology, witchcraft and whatever John intelligently disregarded the occult aspects while he might have seen the utility of the Egyptian religous aspects to reveal character and motivation. In fact the innumerable readings of the Tarot might have led up to the revelatory epiphany in China and hence the lifting of his depression.
If that were the case then there would have been little difference between the Egyptian system of Tarot and psychoanalysis. But, as I say, I have no idea of which deck Green was using although the principle remains the same.
3.
After having been on 24/7 call for six years as the Onos moved into what seems to have been a new phase Green lost his usefulness to Yoko sitting by a phone that never rang.
Green had succeeded too well. As he has John explain to him when Yoko first employed him she set him seven tasks. He had successfully completed all seven being now redundant. While John promised to look out for him, of course events eliminated any such possibility.
Regardless of whether the Ono Lennons were the subject of Green’s book I found the whole concept interesting. I like the way Green told his story, his tone and his outlook. His telling made me take an interest in himself. Unfortunately his name being so common makes it too difficult to search out anything of his subsequent career other than he moved to Washington DC.
Perhaps he could write a sequel to Dakota Days from another angle and with more detail. Pressing issues might not be so pressing now. I’d be interested.
Happy Trails To You.
Conversations With Robin Page 4
January 28, 2010
Conversations With Robin Page 4.
Conversations between R. E. Prindle and Robin Mark
Concerning certain musical questions.
Robin:
Sorry to be so remiss but I was really involved with writingt Exhuming Bob 23 a and b: Bob, Andy, Edie and Like A Rolling Stone. I got them up a couple days ago and then I was really exhausted.
I think they’re really good work, real Sherlock Holmes stuff. The feud between Dylan and Warhol with Edie Sedgwick as their pawn is very important althougth Dylan has been very effective in shuffling it under the carpet.
I’ve always been amazed that no one came after Dylan because of the savage badgering he and Neuwirth put people through during what was apparently his Acid phase. Anent that I’ve always been suspicious of the back wheel of his bike locking up, obvious sabotage to me. Of course the reuslt would be flying over the handle bars that did happen. A probable result of that would be damage to the head neck and/or back with a very good chance of being paralyzed from the neck down much as Christopher Reeve did from his horse jumping accident which was also contrived.
Who would take that exact means to attempt to paralyze Dylan, I don’t think murder was intended. Warhol is my first choice. In addition to other humiliations Dylan publically insulted him in both Stone and Street using motorcycle imagery. Of course, it is now clear that chrome horse refers to a motorcycle so the line reads: You used to ride on a bike behind your diplomat…. Warhol had a bike and was Edie’s ‘diplomat’ so stripped of an obscure term the meaning is clear- Edie and Andy.
In Street Dylan sings: You know you’d like to see me paralyzed…so the bike accident is prefigured in the imagery of the two songs that have references to Warhol. If and when you read Part b of Bob And Andy the inference that Warhol’s crew were the perpetrators will become more evident.
That was hard work pulling all those details together but rewarding. Still, I’m going to have to take a week or so to recover. Research goes on of course. I think next I’ll tackle Exhuming Bob 24: Bob, Jack and Allen. I’ll start working on the ton of the period some.
Part of Elvis’ problem was that the ton shifted so dramatically after he was drafted. He began his career in the post-war ton of the late forties and early fifties actually causing the shift or, at least, abetting it. Then he was removed from the flow for two crucial years. when he came back the Kingston Trio had already shifted the ton toward the Folk genre that made Dylan possible but made Elvis an anachronism. While I don’t believe Elvis was part of any Illuminati type thing earlier or later it is quite possible that some such sort of conspiracy found him a useful tool. Of course, Parker, who was in the country illegally, could easily be manipulated to betray his and ‘his boy’s’ interests.
By the time of the return from the military Presley’s career was obviously being directed by Hollywood. So, who was getting what from mismanaging Elvis’ career?
Just thoughts.
Exhuming Bob 23b of a & b: Bob, Andy, Edie And Like A Rolling Stone
January 27, 2010
Exhuming Bob 23b
Of a & b.
Bob, Andy, Edie
And Like A Rolling Stone
by
R.E. Prindle
The System Of Doctor Tarr And Professor Fether
All the fags and dykes they boogien’ together
Leather freaks dressed in all kinds of leather
The greatest of the sadists and the masochists too
Screamin’ please hit me and I’ll hit you.
The FBI dancin’ with the junkies
All the straights are swingin with the funkies
Cross the floor and up the wall
Freakin’ at the Freakers ball,
y’all
Freakin’ at the Freakers ball.
–Shel Silverstein
Oh no! Must be the season of the witch.
–Donovan
Don't Look Back, Something Might Be Gaining On Ya
It may be true that the answer was blowin’ in the wind but, if so, as Donovan said: You might as well try to catch the wind and nobody did. Nobody even had a clue as the inmates poured out their cells and seized the asylum. Even then it wasn’t so easy to tell the nuts from the Docs.
His parents brought a seventeen year old to the asylum to be cured of homosexual tendencies. The psychiatrists had an astonishing method for a cure. Strapping the kid to the torture rack they fixed a couple of electrodes to his body and sent some serious voltage coursing the through his existence rearranging a few brain cells on the way. As his body arched when the juice hit him one is reminded of the prisoner on death row when the steel cap was lowered on his shaved skull. As maximum voltage coursed through his body he too convulsed but when the skull cap was removed the temperature of his blood in his brain was 212 degrees. They’d boiled him to death.
The kids temperature didn’t rise that high but they still managed to scramble his brain. His memory was so blotted he got lost trying to walk around his own block. The cure was worse than the disease. The cure was in fact, no cure as he remained a homosexual. And they call that medicine.
As soon as the kids eyes uncrossed he picked up a guitar and began to wail. Then he formed a band and began to formulate what he would call Metal Machine Music. He hooked up with Doctor Filth who ran an asylum called The Factory that he filled with mental cases. Unlike the psychiatrists Dr. Filth intended to create mental cases.
The kid picked up a whip, donned his leathers and began to boogie. Those leather freaks. Uncomfortable in their own skins they wear the flayed skins of cows, a feminine skin not their own. A guitar and a spike all anyone needed. Jamming his spike in his arm the kid flew from the asylum Factory out to the Cuckoo’s Nest in Keseyland.
Now known as the Velvet Underground, the kid, going by the personal of Lou Reed landed in a disused bowling alley where he and his
three bandmates gave a concert. there were perhaps a hundred fifty people in the audience of which a hundred had been let in free by one of the promoters. Imagine a promoter opening the back door for free.
The audience in the bleachers stepped up to the ceiling where the top row required them to stoop to seat themselves edged into their seats. Keep your eye on the right top corner, that’s where the action will be. This was the first concert the promoters had done. The band stood on the floor two thirds of the way down the alleys. The spotlight was on their right directed across the group rather than down on them. I thought it was an interesting effect. The Cuckoo’s Nest had never seen anyhthing like this. A girl drummer had what appeared to be a single snare drum with a mallet underslung so it hammered the bottom of the snare while she banged away at the top with the sticks. Not exactly a beat more like a steady unvarying rumble, an effect almost as interesting as the lights. The two guitars and the bass of the leather clad crew began to hammer out the sound which was just like what became Metal Machine Music although more articulated. Not exactly as continuous am MMM but close.
Then the singer began to chant something about heroin. This wasn’t The Factory this was the Cuckoo’s Nest. A disquieting murmur underscored the machine music. Then some local agitators had a guy stand up to shout out incitements to a riot. The light guy got uneasy. The Velvets twitched, a note of panic came into Reed’s voice. Without so much as a change of tone he incorporated ‘Turn off the light’ into the lyric as the crowd began to think of rushing the Velvets and they gave every indication of bolting.
Turn off the lights, hell. I knew who the agitators must be so I swung the light from the Velvets across the crowd to the right corner where I picked up the agitators. I left the spot on them steadily. Their anonymity stripped from them the crowd recognized them and quieted down. The Velvets hadn’t missed a beat but they did get a little wobbly.
I quickly picked out the ‘mastermind’ , who was who I thought he was and his stooge who had been loaded up with something. With the spot on him he thought he was the star continuing to orate as Reed intoned on while the band chugged along like an assembly line gone berserk.
The ‘mastermind’ now ordered me to turn the light off him. The noise was too loud for him to hear me laughing. At last he got his stooge to sit down and the light swung back to the Velvet Underground and they continued their chaunt to the glories of heroin as though nothing had happened. Nothing had, just a variation on the show down on Desolation Row. They left the Cuckoo’s Nest finding their way back to the Factory and Dr. Filth.
Back home in The Factory the fags and dikes were cracking their whips, blowing their whistles and banging their gongs while the necrophiliacs were looking for dead ones.
As we left them in part a, Dr. Filth had been castigated by the Man Of The Hour over the air for all to hear if not recognize in his musical rants, Like A Rolling Stone and Positively 4th Street.
I’m not prepared to say it’s so but others have suggested that a few lines in Desolation Row refer to the Factory and Andy Warhol. As Desolation Row was recorded on August 4th a few days after Stone and Street it is quite possible ill feeling lingered and found expression in Dylan’s lines.
The lyrics are purposely written in obscure language meant to imitate poetry and mystify. Without a key one can speculate all day ending up where you began. Dylan does give us a clue as to his imagery in Chronicles where he says Pound and Elliot were fighting it out in the Captains’s tower. The Captain’s Tower refers to Dylan’s brain and the discussion of the two poets.
There is a very large discussion of this stuff on the internet if anyone wants to go through it. Anyway the lines thought to refer to Warhol are these.
Dr. Filth, he keeps his world
Locked inside his leather cup
But all his sexless patients
They’re trying to blow it up.
Now, his nurse, some local loser,
She’s in charge of the cyanide hole
She also keeps the cards that read
“Have mercy on his soul.”
They all play on the pennywhistle
You can hear them blow
If you hang your head out far enough
From Desolation Row.
Contemporary Bob
I think most commonly people take Dr. Filth to refer to Freud. Multiple meanings are possible while the cast of characters in Row appear to be well known historical figures or characters from literature. At the same time, as Warhol points out, the songs of this period are personal protests so the figures can stand in for people Dylan knows. He changed their faces and gave them brand new names.
On the other hand Dr. Filth could refer to Warhol whose reputation was suffering by mid-’65. The society people had begun to avoid the Factory leaving Andy only the derelicts.
As I said I can’t find anything totally convincing to pin Dr. Filth on Warhol but the next verse isn’t applicable to Freud and the verse after depending on how you interpet pennywhistle and blow might apply to the Factoryites.
And then there are these lines:
Now, at midnight all the agents
And the supernatural crew
Come out and round up everyone
That knows more than they do.
Then they take them to the Factory…
Like I say, it’s up to you. What is clear is that there was serious competition between Dylan and Warhol and that Sedgwick was a bone of contention.
As the late fall and summer progressed then, Dylan worked hard to draw Edie from Warhol. This made Andy very, very jealous and he turned from Edie spurning her from him ‘with his foot.’ There is a possibility that in some weird homosexual way Warhol loved Edie. According to the movie Factory Girl Warhol took her home to meet his mom. It might mean that that was an actual declaration of love and that he considered her his girl.
By this time Edie was broke having gone thorugh her inheritance whnile even having her stipend from her parents suspended because of her association with Warhol and the Factory crowd. ‘In her prime when she dressed so fine’ she refused to use taxis having a white limo waiting at the curb for her use. Now that she could no longer afford one Dylan rented a black one for her use. Thus when she rode around town in Dylan’s limo she would be known as Dylan’s kept woman. This would also have been a direct insult to Warhol who was penniless in comparison being unable even to pay Sedgwick for her roles in his films or even, her rent. Thus as the Dylan figure in Factory Girl tells her: You’re just one of Warhol’s props.
Now, Dylan in his first English tour had Donn Pennebaker do a film verite that would be released in 1967 as Dont Look Back. Dylan and his entourage who all had parts in the film just like the Factory crew did in Warhol’s would have been talking up the film thus actually becoming direct competitiors of Warhol. As an enticement to Edie Albert Grossman threatened to become her manager while promises were made to her that she would be Dylan’s co-star in a planned movie and even be paid for her services. Remember she was stone broke at this time being desperately in need af an adequate income. Rather than being Dylan’s girl friend she was passed to his gofer, stooge, right hand man, Bobby Neuwirth who became her possessor while she was living at the Chelsea.
That November of ’65 Dylan married Sara Lowndes. According to Bob Spitz in his biography Dylan met Lowndes in 1963 installing her in Grossman’s apartment where he ‘lived’ with her which I suppose means visited her from time to time as among his other duties he was living with Suze Rotolo and heavy with Joan Baez.
Dylan attempted to keep his marriage secret, it was publicly revealed in April of ’66 but Warhol got word of it in December spitefully revealing the news to Edie. The news was devastating to Edie who was nurturing her fantasies of being Dylan’s woman and future co-star. Apparently at that time she was told that any movie role was in some very distant future. At any rate with her relationship with Andy broken Dylan no longer had any use for her. She was just a pawn in his game.
Perhaps in competition or emulation of Dylan’s recording career Warhol decided he wanted to manage a band thus recruiting the
Nico, Andy And The Velvets
Velvet Underground. To assist the Velvets he picked up on Nico who had just arrived from Europe. As fate would have it Dylan had already had a fling with her during his 1962 visit to England when he worte I’ll Keep It With Mine for her. Warhol now insisted she front the Velvet Underground, thus the Velvets first LP with Nico and the famous Banana cover.
Apparently forgetting Edie Dylan renewed his acquaintance with Nico showing up with songs to give her. Lou Reed of the Velvets is a great admirer of Dylan but I don’t believe any of his songs made it to the record. In any event Nico was gone by the time of the second Velvets LP. Possibly as part of the Dylan-Warhol feud.
Dylan wasn’t finished with Edie yet nor was Warhol finished with Dylan.
In the Spring of ’66 Dylan recorded his ultimate record Blonde On Blonde. the songs of personal protest as Warhol pointed out revolved around this period. There are two songs that are pointedly about Edie Sedgwick- Leopard Skin Pill Box Hat and Just Like A Woman while other references seem to be scattered about. The two songs were unnecessarily cruel.
In the Spring of ’66 Warhol began a film titled The Bob Dylan Story. This was a derogatory depiction of the Folk Singer that Warhol thought better of releasing. Giving Dylan’s reaction to Factory Girl, Warhol’s pockets weren’t deep enough to take Dylan on who by ’67 when the film first could have been released Dylan was worth millions while warhol was still essentially penniless.
Anent the Bob Dylan Story I quote from the web site http://www.warholstars.org/ :
Sterling Morrison speaking:
“Dylan was always around, giving Nico songs. there was one film Andy [Warhol] made with Paul Caruso called The Bob Dylan Story. I don’t think Andy has ever shown it. It was hysterical. they got Marlowe Dupont to play Al Grossman. Paul Caruso not only looks like Bob Dylan but as a super caricature he makes even Hendrix look pale by comparison. This was around 1966 when the film was made and his hair was way out here. When he was walking down the street you had to step out of his way. On the eve of filming, Paul had a change of heart and got his hair cut off- close to his head and he must have removed about a foot so everyone was upset about that. then Dylan had his accident and that’s why the film was never shown.”
Although sterling Morrison suggested that the Bob Dylan film was never shown because of Dylan’s motorcycle accident, the accident occured at the end of July 1966 and Susan Pile was filmed for the movie in October 1966.
Susan Pile speaking:
“Andy filmed The Bob Dylan Story, starring Paul Caruso…Ingrid Superstar and I were folkrock groupies who rushed in (to the studio), attacked his body and taped him to the motorcycle… Paul Morrisey suggested all of Paul Caruso’s lines be from songs, but Andy, knowing it was a good idea (this is a direct relay from Paul Morrissey) vetoes….My one line (which I wasn’t supposed to say; I was to remain mutely sinister) was: “You’re just like P.F. Sloane and all the rest- you want to become famous so you can get rid of those pimples.” (accompanied by quick slaps to P. Caruso’s acne-remnanted cheeks)…
The psychology is clear but noteworthy is the taping of Dylan to his ‘Chrome horse.’ When Dylan had his bike accident the rear wheel locked throwing him over the handle bars. Thus taping him to the bike would prevent that. Now, the animosity between the two was real and deep. It may have seemed to Dylan that he had trumped Warhol. While Warhol may have passively taken the humiliation it is also quite likely he would have retaliated. The wheel locking would seem to indicate someone tampering with the bike. Either Warhol had the bike tampered with and was gloating over Dylan here in his movie or else it is a cruel joke. Whether Warhol was responsible for the bike accident or not he was certainly gleeful about it as evidenced here. If the bike was tampered with then someone wanted to see him paralyzed.
Thus matters stood at the end of ’66. In 1971 Edie Sedgwick in circumstance of total degradation, shamefully abandoned by her parents and both Dylan and Warhol who both disclaimed any responsiblity died.
In closing I quote Andy Warhol from his Philosophy Of Andy Warhol From A To B:
Handy Andy
“(Edie) drifted away from us after she started seeing a singer-musician who can only be described as the Definitive Pop Star- possibly of all time- who was then first gaining recognition on both sides of the Atlantic as the thinking man’s Elvis Presley. I missed having her around, but I told myself that it was probably a good thing that he was taking care of her now, because maybe he knew how to do it better than we had.
Snide, very snide.
There’s gonna be a Freaker’s Ball, tonight at the Freaker’s Hall
Ya know you’re invited one and all.
Exhuming Bob 23a: Bob, Andy, Edie And Like A Rolling Stone
January 22, 2010
Exhuming Bob 23a of a and b
Bob, Andy, Edie And Like A Rolling Stone
by
R.E. Prindle
If Tomorrow Wasn't Such A Long Time
As concerns the oeuvre of Bob Dylan through 1966 Andy Warhol astutely remarked that the first phase that established Dylan’s reputation was social protest while the latter half was personal protest. Warhol should have known. That’s what the Jews call kvetching and American’s whining. It was from this latter period that a pure kvetches like Positively Fourth Street and Like A Rolling Stone would be written.
There is absolutely nothing prophetic or profound in songs of this type by Dylan. They are simply complaints. In this early phase the finger pointing was directed at society; in the later at people. John Lennon, who was heavily influenced by Dylan analyzed his method, said the notion is to seem to say more than you are saying. So Dylan disguises his kvetches in obscure language while the subject remains simple.
Thus the subject of Like A Rolling Sone is Dylan’s relationship with the woman, Edie Sedgwick. Edie is a sore point with Dylan because
Andy Warhol
he has been blamed for her death in 1971 some six years later. Doesn’t seem likely but he’s sensitive to the accusation. So sensitive that he obscures whatever relationship he had. When questioned he doesn’t deny it saying instead that he couldn’t remember one. Well, Dylan’s always had a ready hand with the ladies so it is quite possible he’s forgotten a few of them.
But I think Edie would have been one of the Big Four and he remembers her quite well. Dylan then had four women on the string at one time. The first was Suze Rotolo, a long time girl friend and live in dating back to his arrival in NYC in 1961; the second was Joan Baez who he met a little later. The third was Sara Lownds who he was keeping at the Chelsea Hotel; the fourth was Edie Sedgwick, of whom he wrote at least three songs.
Of course there were many other women married and unmarried that he ‘comforted.’ One or more of these might have been ongoing relationships. Dylan married Sara Lownds in November of ’65 without mentioning the fact to any of his other women. His relationship with Suze Rotolo blew up in 1964 when Suze’s sister Carla and her mother grew tired of Dylan’s abuse of the relationship ordering him away. Dylan maintained a relationship with Suze even asking her to be his mistress after he married. He records the dispute with Carla in Ballad In Plain D when he heard Carla scream out the famous imprecation: Leave my sister alone. Goddamn you, get out. In his usual way Dylan makes himself the aggrieved party as though there were four Bob Dylan’s in town and he had nothing to do with the other three.
He must have known something of the other three because the Dylan of Bob and Sara offered Suze a role out on the side. Hep. Hep.
To Edie Sedgwick: I’ve read several versions about Dylan and Edie. In one both Dylan and Bobby Neuwirth knew Edie in Boston where she attended Radcliffe and whose eccentric behavior had already made her notorious. Both Dylan and Neuwirth were in Boston at
Edie Sedgwick
times so that is possible. It was in Boston Dylan met the folksinger Eric Von Schmidt who he admired greatly. Some say he met Edie only in December of ’65. Whether he first met Edie in December of ’65 or renewed the acquaintance it seems clear that Edie became involved with Dylan personally or with the Dylan organization.
Remember that Dylan arrived in NYC in 1961 with nothing, no money, no reputation. he was a hick from the sticks. It might have been deadly to admit that he was just another kid from Podunksville come to the big city, so, to give himself glamour and mystery he invented a preposterous past, claiming to have been an orphan, the babe in the bullrushes, just like Sargon or Moses, Romulus or Remus out in the woods feeding off a wolf. Undoubtedly a very wise move. He gained credibility and he was to a large extent granted his glamour and mystery.
Four years later he was a pinnacle in the NYC underground. As ’65 was ending he seems to have been in competition with Andy Warhol for the top spot. Warhol had been a successful commercial artist in the fifties. Beginning in 1960 almost as the same time as Dylan he made his move into fine art being one of the innovators in the move to Pop Art. Unlike Dylan’s career in Folk Warhol had had a diffiucult time breaking into the fine art world. Having succeeded he remained an outsider running an atelier he called The Factory populated by bums, drug addicts and losers. Like Dylan everything he touched he wanted to destroy. He wanted to destroy the concept of fine art and largely he did it. By 1965 he fancied himself a filmmaker. One of his stars was Edie Sedgwick.
Dylan himself takes credit for destroying Tin Pan Alley because they had no place for him. While he didn’t destroy folk music he transformed it along with others. Of course by 1964 folk artists had about exhausted the genre. The same songs were being sung while the artists had stylized the genre to boredom. Who wanted to go see trios in loden green Robin Hood outfits? If anything Dylan escaped a dying scene.
Dylan and Warhol were nearly identical while both were vying to be King of the Underground. Perhaps Edie Sedgwick became merely a pawn in their game. She became the prize that would determine the winner. That contest raged between December ’65 through February ’66.
The competition between the two- Dylan and Warhol- went back further. Perhaps Dylan’s screen test with Warhol in the summer of ’65
The fabled Silver Elvis
crystalized the conflict. Dylan went down to the Factory, Warhol’s atelier for the screen test claiming a copy of Warhol’s silk screen, the Silver Elvis, as his price. Warhol is reported to have been outraged by the appropriation.
While both men tried to maintain their cool the underlying hostility was apparent. On Warhol’s part he said that he heard that Dylan was using the painting as a dart board so maybe he, Warhol, should be worried. While Dylan may have been doing so he showed his contempt for Warhol by trading the Silver Elvis with his manager Albert Grossman for a sofa.
Now, as Warhol correctly said, after Another Side, Dylan edged into personal protest. That means that the songs of the personal trilogy- Home, ’61 and Blonde, were written about specific events or people. Both of Dylan’s two most irate kvetches were written back to back. One should compare them to Ballad In Plain D for intent. First was Like A Rolling Stone directed at Edie and then Positively Fourth Street directed at Warhol. Both obviously written around the Factory. Stone evinces a sexual scream of perhaps the rejected lover addressed to a woman while Street is a sneering putdown of a man.
It may be true that Stone began as a twenty page vomit of pain as Dylan says but the catalyst to distill the actual song from the kvetch was Sedgwick.
To take the second song, Positively Fourth Street, first. The sixth verse terminates with the line, what HE don’t know to begin with, so the song is directed at a single man, a he. This is not a generalized he, a philosphical rant but a putdown of one specific guy.
The first verse states the HE wasn’t around when Dylan could have used him, the second verse states the HE is merely an opportunist, the third verse addresses a kvetch by HIM that Dylan disappointed HIM, the fourth verse claims a loss of faith in Dylan that Dylan scoffs at, the fifth verse acknowledges that HE defames Dylan behind his back, the sixth verse derides him as a poseur who ‘tried to hide what he didn’t know to begin with’, the seventh verse accuses HIM of insincerity, while the eigth verse say that HE wishes Dylan ill luck.
Coming to the ninth verse we have this telling line: No, I do not feel that good when I see the heartbreaks you embrace. Warhol filled the Factory with drug addicts, losers and nutty street people of all kinds so that it actually sickens one to read about them much less see or mingle with them. Then Dylan adds, Perhaps if I were a master thief I’d rob them. Well, Dylan was a master thief and he did steal the only superstar Warhol had who was Edie Sedgwich so perhaps the struggle for her body and soul began that summer of ’65.
Next Dylan adds the verse:
And I know you’re dissatisfied
With your position and your place
Don’t you understand
It’s not my problem.
OK, that describes Warhol to a T and warns him not to use Dylan as a stepping stone. The last two verses describe how Dylan is revolted by Warhol
So, rather than being some allegorical complaint the song is a description of Dylan’s kvetch against Warhol. If one bears that in mind the song reads like a letter rather than an allegory.
Having solved that problem let us turn to Like A Rolling Stone. this song too reads like a letter if you bear in mind Deylan’s relationship to Warhol and Edie.
By mid-sixty-five Dylan had become a success. At this stage in his career Dylan’s success consisted of his publishing royalties brought about by the efforts of his manager, Albert Grossman. Grossman’s first effort was to create and establish his folk group, Peter Paul And Mary. As this was astonishingly quick and easy one believes that Grossman was well connected. As PPM were on Warner Bros. run by Jews his connections most probably originated in Chicago where he had established The Gate Of Horn as the premier folk club.
Once PPM was a big hit Grossman had them record Dylan’s songs which then allowed him to place Dylan’s songs elsewhere. Thus Dylan was known outside NYC as a songwriter while not so much as a performer. But he was a songwriting sensation thereby receiving substantial royalties making him the richest and most powerful folkie. The future promised to be even more golden once he got into touring.
Now his mind disoriented by success and even further disoriented by his massive intake of drugs Dylan and Grossman needed to flex their muscles lording it over the scene.
Dylan apparently wished to have a sexual relationship with Edie Sedgwick who was being billed and the next Marilyn or America’s ‘It’ girl because of her role in Warhol’s trashy films. She too was another drug abuser and unstable personality. Whether she and Dylan did get together is unclear. Edie is dead, of course, and can say nothing while Dylan neither denies or affirms. He says that he can’t remember having relations with Edie and you’d think he’d remember if he had, wouldn’t he? Given the drugs, who knows, but saying you can’t remember such a desired object as America’s new ‘It’ girl is the same as saying yhou didn’t, while saying you would remember if you had is expressing regret or resentment.
I will write on the assumption that at least by the time of writing he hadn’t and Like A Rolling Stone is a frustrated rant of rejection not too different than Ballad In Plain D. For the time Dylan ony vents his anger at both Sedgwick and Warhol while he begins plotting his revenge against both.
Edie had come from a wealthy California family but a difficult home environment. She was pampered, having a Mercedes to drive around campus in Cambridge so she went to the finest school and now would have to learn to live out on the NYC streets as the song says. She also had an 80,000 dollar inheritance in 1964, the equivalent of 300 to 500 K today that she went through in a few months leaving her only a stipend from her parents although living in her grandmother’s penthouse’ in NYC.
The first verse of Stone then describes Edie perfectly. There is nothing allegorical about it. No abstruse meaning, this is pure kvetch. It should be read only as a spiteful rant against Edie.
Once upon a time you dressed so fine
You threw the bums a dime in your prime, didn’t you.
Edie had spent a large part of her fortune on clothes, as Dylan asserts, dishing out the change to the bums as she went along.
People’d call, say, “Beware doll, you’re bound to fall”
You thought they were all kiddin’ you.
Born to wealth she couldn’t conceive not having money.
You used to laugh about
Everybody that was hangin’ out.
Like, for instance, Bob Dylan.
Now you don’t talk so loud
Now you don’t seem so proud,
About having to scrounge for your next meal,
Self explanatory, then comes the chorus:
How does it feel,
How does it feel,
To be without a home,
Like a complete unknown.
Like a Rolling Stone.
Here Dylan, the rejected lover, compares Edie’s fall to his own situation when he arrived in NYC. Like a Rolling Stone seems to be an inept comparison but my corespondent, Robin Mark, (see Conversations With Robin on I, Dynamo) points out that Stone was Dylan’s mother’s name. Robin, also Jewish, points out that descent is matriarchal in Judaism so that Dylan would consider himself more a Stone than a Zimmerman. Given his psychology then Bob Stone is a footloose rolling stone without a home. That makes the term make more sense than ‘a rolling stone gathers no moss.’ The latter meaning has no application to the song.
The second verse continues the description of Edie:
You’ve gone to the finest school (singular in the lyric) all right, Miss Lonely
But you know you only used to get juiced in it.
The school was Harvard’s Ratcliffe and Dylan implies that that doesn’t make her any better than himself who didn’t attend any university as she only partied and never studied.
And nobody has taught you how to live on the street
And now you find you’re gonna have to get used to it.
The second line especially indicates that this is an immediate situation Dylan is referring to : you FIND you’re gonna have to get used to it. Edie is now out of her familiar environment no longer protected by her money into Dylan’s, who said he once hustled Times Square, where she had better make some rapid adjustments, beginning now.
You said you’d never compromise
With the mystgery tramp, but now you realize
He’s not selling any alibis
Mystery Tramp is Dylan’s romantic term for himself- Rolling Stone= Tramp- and he’s turning a deaf ear to any excuses she’s offering.
As you stare into the vacuum of his eyes
And ask HIM do you want to make a deal?
The roles are now reversed, Dylan has a lot of money coming in the future while Edie is all but broke. Vacuum is the blank, unresponsive stare Dylan gives while listening to her try to make a deal.
Princess on the steeple and all the pretty people
They’re drinkin’, thinkin’ that they got it made
Exhangin’ all kinds of precious gifts and things
But you’d better lift your diamond ring, you’d better pawn it, babe
Here Edie is thought of as a princess among the Harvard types that Warhol noted drifting down from Cambridge to make the scene, the ‘Beautiful’ privileged class that Dylan has been excluded from both by his social background and lack of college education. It’s a party he can’t join. Worse still, they’ve been laughing every time they see him. Now the party is over, if Edie needs money she can pawn her jewelry.
You used to be so amused
At Napoleon in rags and the language he used
Go to him now, he calls you, you can’t refuse.
This implies Dylan knew Edie before Warhol as she apparently used to tell him how Warhol’s language amused her. Napoleon in rags is Warhol who like Dylan has been trying to undermine the social order thus he has delusion of grandeur, of being a Napoleon. As Warhol and Dylan are twins in intent Dylan is also inadvertantly describing himself.
When you’ve got nothin’ you’ve got nothin’ to lose
You’re invisible now, you’ve got no secrets to conceal
Now that Edie has been reduced to street level, anything goes because from where Dylan was when he hit NYC it was all up from hustling Times Square. Being invisible means as the invisible man in the Ralph Ellison novel sense. One walks by negroes without acknowledging their existance hence they are invisible. Now broke, that is Edies case since she is now insignificant per Dylan she has nothing anyone wants to hear as per Ellison’s Invisible Man, hence no secrets to conceal.
So as of mid-summer Dylan has vented his frustrations on Warhol in Positively Fourth Street i.e. the bottom, and Edie in Like A Rolling Stone. More remarkably he has vented, blasted his privacy all over America on a thousand radio stations as well as in Europe and the world. The two songs are as searing as Ballad In Plain D although the subjects of his rants are not so obvious. For him to now say that he want’s to protect his privacy is preposterous.
The story does not end here. In Dylan’s war for the top spot of the NYC underground scene, the avant garde, he has to establish himself there for all to see and acknowledge. In a shameful display of callous disregard for the well being of Edie she will be the object of a tug-of-war between Dylan and Warhol. She will be the symbol of supremacy in the underground. That struggle will be the topic of Exhuming Bob 23b which follows.
A Review: John By Cynthia Lennon
January 14, 2010
A Review
John
by
Cynthia Lennon
One Giant Step For Somebody
Review by R.E. Prindle
Lennon, Cythia: John, Three Rivers Press, 2005
Remember what the door knob said…
–Grace Slick
We built this city on Rock and Roll.
–Jefferson Starship
If you want to be a girl of mine
You’d better bring it with you when you come,
–Trad.
John and Cynthia- Sometime In Liverpool
Cynthia Lennon’s autobiography of her life with John Lennon opens the door to a number of possibilities of which I’ll explore one, at least, here.
Let’s begin with Lonnie Donegan’s 1955 hit The Rock Island Line. Lonnie was the originator of his own genre- Skiffle Music. Skiffle was all the rage in the British world from England to Australia to New Zealand while passing very lightly over the States except for the fortunate few of which I was one. Rock Island Line was a major hit in the US though.
Lonnie, may he rest in peace, was also the originator of the Big Beat. Of course Lennon and most of the young English rockers studied at Lonnie’s feet. The first band Lennon formed, the Quarrymen, was a Skiffle band. That was back in the fifties before the second stage of the big change kicked off. The first stage began about 1950 with Johnny Ray and his song Cry.
Eisenhower had the world pretty well organized in 1960 before John Kennedy stole the baton from the intended successor, Richard Nixon. With the accession of Kennedy the American personality or identity, such as it was, began to disintegrate- I mean in the psychological sense.
The Celts tried to establish Kennedy as the second coming of King Arthur and his Camelot. Not the smartest thing they could have done; a couple bullets fired in Dallas on November 22, 1963 put a period to that dream. By the then the sixties were fairly launched about to begin in earnest in January of 1964 when Lennon’s next group, the Beatles, hit.
The Beatles began as a Big Beat band rooted in the fifties. Seized by the avant garde they were made the avatar of the sixties. In their own way they launched the sixties although the makins’ were already out of the can. Kennedy was shot almost in December and in January the Fab Four washed his memory out on the Ed Sullivan Show. The Kennedy assassination was so then, then. The Beatles were NOW. IS in capital letters.
While the Beatles were revamping fifties music they edged into the future with modified Prince Valiant haircuts and collarless suit jackets. They were then NEW emerging into a brave new world.
Almost at the beginning of 1960 the art world was shaken by the emergence of Pop Art. Jasper Johns, Claes Oldenburg, Robert Indiana, Roy Lichtenstein, Robert Rauschenberg and especially Andy Warhol with his Campbell’s Soup Can set the sixties on its ear. On
Premier example of Pop Art
the film scene the James Bond series with its new sensibility began. Bond also was a revelation portending changes with unintended consequences.
Pop Art would figure signficantly in Cynthia Lennon’s life in a few years when one of its more laughable practitioners, Yoko Ono, would step into her life and filch her husband from her. In fact Pop Art would be inextricably linked with the record industry. All the pop motifs would find their way onto record covers with increasing frequency. Tiny Alice would have a cover that opened like a match book. Talking Head’s colored disc would even become a happening designed by Rauschenberg himself. The burgeoning poster business would find its way into record sleeves. Astonishing packages never seen before in the record business although perhaps anticipated by the experimental ESP label of NYC. Some interesting stuff. Perhaps Milton Glaser’s poster of Bob Dylan could run for the distinction of the most popular poster design of the whole era. It was innovation itself at the time although not quite so fresh today.
Now, all this was happening so fast and from so many directions that it was impossible to get it all or even keep up on what you did get; after all people had lives to live.
In the San Francisco Bay Area where I was during the sixties the Scene was especially heavy. I wasn’t in the thick of things but a little off to the side. Thus while the UC Berkeley Free Speech Brouhaha took center stage in the East Bay, Ken Kesey, the Merry Pranksters and the Acid Tests were simmering on the Peninsula, but actually invading the middle class especially at Stanford and UC Berkeley. The San Fransciso Mime Troupe was very important in the early stages while Bill Graham was commercializing the Trips Festival with his Fillmore shows and Chet Helms was organizing the Avalon Ballroom out at the beach. The posters for the ballrooms which epitomized the psychedelic was the first inkling I had that something ‘new’ was happening. I don’t know how quick on the uptake I was but the first inkling of New York Pop I had was 1966-67 when I opened a poster store soon to be a record store.
LA, always commercial, would nevertheless provide the great Ron Cobb political cartoons for the LA Free Press one of the best of the Hippie papers soon to degenerate into porn as did the Berkeley Barb and all the rest. R. Crumb in San Francisco became the king of Hippie porn which characterized the movement from then on. The scene was then set for George and Pattie Harrison’s famous descent on the Haight-Ashbury that disappointed them so.
This brief sketch only contains a few of the highlights of the period. It was into this world that John and Cynthia Lennon stepped unprepared. Both Cynthia and John came from a background of very low expectations. Cynthia’s dreams were very modest while per her John’s dreaming was no bigger than reaching the tops of the pops in England.
Indeed the much touted German clubs showed no promise of a future whatever. Essentially playing in brothels in Hamburg one wonders what the ‘lads’ were thinking of the whole process. The wonder is that they paid enough attention to hone their skills. One of those making lemonade from lemons situations.
Only the greatest good luck showed them to success and fortune. They would have labored in the vineyard for a while and then drifted off into jobs but for the fact that an entrepreneurial romantic by the name of Brian Epstein saw them as the vehicle to realize his own dreams. He had the direction and energy to galvanize their careers. Still they were rejected by all the labels until a producer, George Martin, apparently heard what the rest of the world would hear and agreed to record them. It was then that the unbelievable happened elevating the Beatles into the most successful pop group ever. It was success far beyond their imaginations. With that success came challenges that neither John nor Cynthia could meet. The fact that they failed is no reflection on either one; they came from very low expectations and having fallen down the rabbit hole they were slightly unprepared. ‘One side makes you larger, the other side makes you smaller.’
To this time in their lives neither had even eaten at anything other than the English equivalent of McDonald’s, fish and chips or whatever. Now in one great step they were introduced into the haut ton by their manager Brian Epstein. Cynthia leads us to believe that Epstein gave special attention to John over the other ‘lads.’ As Epstein was a homosexual and as other sources, Peter Brown, Goldman actually state that Epstein seduced Lennon he obviously had a crush on John seeking to mold him in his own image. Indeed, John may have been his incentive for taking the Beatles on. Lust at first sight.
John had an attractive flip attitude that left the impression that he was much better educated than he was. Actually he left Art School, already a step down from the top, flunked out or whatever preferring to devote himself to his guitar chords. Most of the rockers were in the same situation. It’s amazing that their fans looked to them for salvation. This was tragic, because the generation invested all their hopes and dreams in these muscians attributing universal knowledge and genius to them, each and everyone. While they all did changes on certain political and social themes there was an appearance of ‘deep’ knowledge. Being anti-pollution was a badge of authority. Grace Slick of the Jefferson Airplane made the mistake if, one hopes, jesting that one should never trust anyone over thirty; this while she, John and others were about twenty-nine.
The phrase stuck. Those under thirty trusted these youthful, perhaps well-meaning rock stars. Being somewhat older at the time I could only see some very ordinary boys and girls who were just youthful wiseacres as we all were in that phase of our journey through life. Give me a break.
The most revered of all were the three Beatles John, Paul and George with Ringo thought of more as the court jester. John seemed to take his role most seriously as the guru of the generation, especially after he abandoned Cynthia for, spare me, the psychotic Yoko Ono.
Her abandonment by John for Yoko Ono is of course the most traumatic incident in her story. One can only commiserate with Cynthia. Then one has to search for reasons why; there was certainly no physical attraction there. Lennon did release a solo album called Mind Games so perhaps the best place to look is the mental. Lennon’s success must have placed great stresses of various kinds on him. The transition from a fair degree of poverty to one of a very large income to great wealth under the management of Yoko Ono would be psychologically unsettling in itself. Cynthia was unable to transit from poverty to wealth always remaining a lower middle class haus frau while John appears to have lacked the social climbing instincts of, say, Mick Jagger.
Musicians in general are held in very low esteem by the social elite so without unbounded desire and chutzpah, an ability to endure slights of the most painful kind it is highly unlikely that a musician would ever find acceptance in society. The aristocrats, Marrianne Faithfull describes as associating with Jagger appear to me to be more of the Black Sheep variety. So, Lennon may have been experiencing some frustration at that level.
At the same time there are numerous flatterers who are adept at putting ideas of omnipotence into your head not only intimating but saying that you are godlike. Even though one rejects the notion on the conscious level still a feeling of super powers creeps into your subliminal mind. One feels invulnerable, that one can do what’s never been done, that one can do drugs with impunity. There was never a time when the availability of drugs was ever greater or more socially acceptable.
At the time rumors abounded which have since turned into facts. During the Kennedy administration there was one Dr. Feelgood operating in New York to whom the social elite went for their drugs. His name was Dr. Max Jacobson and he was your friendly amphetamine pusher. His speed cocktails were extraordinary and they lasted for days. It’s comforting to know that President John F. Kennedy was amphetamine fueled while he was making those difficult international decisions- like Cuba. Nothing like having an A-man on the job. He wasn’t alone, VP Lyndon Johnson, followed in his footsteps into the office of Dr. Feelgood. He would have found his place at the end of the line of the NYC elite.
One person who took the good doctor’s prescription said that he went blind for three days staying high for several. Max was the economic type, dirty needles too.
At the same time Dr. Timothy Leary was sending everyone from prison inmates to Beat poet Allen Ginsberg tripping into inner space with his free handed distribution of LSD. Kennedy was involved in that too.
Prior to their arrival for the Sullivan show we are led to believe that the Mop Tops had only used pep pills in Hamburg to fuel their twelve hour sets. We are told that Bob Dylan was the one who turned them on to La Cucuracha, the most mild of the intoxicants. From there the boys graduated to LSD through spiked drinks or food.
Just as Harrison’s wife, Patti, records a spiked introduction to LSD so does Cynthia Lennon. Cynthia quite properly was revolted by drugs having no use for them. John was quite the opposite. He embraced LSD apparently ingesting regularly for long periods of time. As he would describe it, thousands of trips. At that point in my estimation the marriage was over. There is nothing for which Cynthia has to reproach herself except for her small divorce settlement. Nothing disintegrates the personality like drugs.
The Ghost In The Machine- Albert Hofmann
The drug influence was followed by a change in their music patterned after Dylan. When I first heard the Rubber Soul album I found it extremely noisy and unpleasant. This album was probably influenced by the Band’s playing behind Dylan on the ’65-’66 tour or perhaps the Bringing It All Back Home and Highway ’61 albums. It seems p;robable to me that the song Norwegian Wood commemorated Dylan’s turning them on to marijuana. The girl obviously represents Dylan.
Succeeding albums would aim for a ‘heavier’ feel with more social significance. As Lennon said in his ’80 Playboy interview, I Am The Walrus was written in imitation of Dylan.
The cover of Rubber Soul was traditional uninfluenced by pop art trends. The succeeding cover in the US, the famous ‘Butcher’ cover would be widely interpreted in the US as a comment on the Viet Nam War. It may have been meant as a pun- prime cuts of both meat and record tracks, but I don’t know. Whether there was a Pop Art influence isn’t clear.
The cover for the following Revolver by Klaus Voorman seems to indicate an awareness of Pop. For a band that was thought to be on the cutting edge of everything there are only two covers very avant garde with neither being very satisfying to me.
Acid Art- Victor Vasarely
Sgt. Peppers Lonely Hearts Club Band that follows Revolver is a complete Pop Art package. A bizarre and macabre conception it does succeed. The grave in the foreground with the floral Beatles is chilling, perhaps a presage of the break up of the band. As Dylan said: If you’re not busy being born you’re busy dying.’ The Beatles are pictured in dead black and white looking down mournfully on their grave while the newly born Sgt. Peppers Lonely Hearts Club Band stand front and center in vibrant living color. Obviously the one has risen from the other.
Behind the band are row on row of ‘ancestors’ or, as was commonly assumed, influences. In fact members of the band contributed only a few of the names while the rest were contributed by others. Dylan is certainly among the pictures. The album comes complete with a childhood toy, a sheet of cut outs, making a complete Pop Art package. They could have had a designed inner sleeve but they overlooked that. Peter Blake, the main designer, is known as a Pop Artist.
The musical content follows the downer social significance motif with aural pyrotechnics such as had not been heard on record before. The release, as everyone is aware, was a complete smash, but it went beyond smash into realms not achieved until Michael Jackson’s Thriller. Thriller failed to excite as did Sgt. Peppers. That summer of ’67 was literally a surround of Sgt. Peppers. It was almost the only record anyone played. The Beatles easily trumped Dylan’s Blonde On Blonde of the summer of ’66.
The rest of the Beatles’ covers are pedestrian. The White LP probably influenced by One was trite at the time.
Cynthia seems to lack all understanding of what tremendous pressures the very unstable Lennon was subjected to , how his mind was being affected by adulation from the fans and respect from the world at large. Kid me, being named one of the three most influential men in the world wouldn’t have inflated the head of a Liverpool loser? My god, the Beatles even sung ‘I’m a loser.’ I couldn’t believe anyhone would sing such a song much less the Beatles who were clearly winners. How does one endure thinking of oneself as a loser on one hand and one of the most influential men in the world on the other?
At the same time that Lennon was enlarged Cynthia shrunk into the Liverpool realities of her youth. The couple had a mansion but unfamiliar with so much space Cynthia preferred to live in one small room! Clearly she was not equal to the demands of her situation.
The situation became critical when Lennon began mass consumption of drugs, including heroin, which Cynthia correctly declined to do while at the same time the poisonous Yoko Ono injected herself into Lennon’s life. There was no hope for Cynthia. Yoko Ono was a walking disaster looking for a place to happen- and then there was John.
Yoko Ono- Single Fantasy
Quite frankly Yoko Ono’s ‘career’ was going nowhere. Born in 1933 she was 33 in 1966 when she began her assault on John who was 25.
The sexual dynamic is that Lennon seemed to prefer older women than himself having a masochistic submission impulse. Cynthia herself was a year older. She too apparently sought security in younger men. Her second husband was two years younger and her third six. She seemed to lack the dominating impulse to make such marriages work. Ono had it in spades.
While John was by this time psychotic, Ono had been so from childhood, in addition she seems to suffer from extreme cognitive dissonance. Ono got the rock critic Robert Palmer to shill for her in her 1992 release, Onobox. In the essay Palmer states:
It is quite likely that having John Lennon fall in love with her was the worst thing that could have happened to Yoko Ono’s career as an artist.
Notice the lack of mention of falling in love with Lennon. This was written, I almost said, dictated to Palmer, in 1992 twelve years after Lennon’s death. No serious critic could have written that line so one must assume that it was dictated by Ono herself. The line shows how far she has distanced herself from reality.
Ono was in fact, a poor little rich girl. As a woman she felt inferior to the male writing such pieces as ‘Woman Is The Nigger Of The World.’ Once again cognitive dissonance. Yoko Ono was never in the position of being ‘a nigger in the world.’ It is true that her father advised her against attempting composing believing that women didn’t make good composers. How wrong was he, hey? Ono milked every man she was ever with before actually going into the dairy business herself. Secondly, having chosen to enter the Western world as an Asian she places her artistic neglect on the twin facts that he is a woman and an Asian. It never occurs to her that her art is unpleasing.
As an artist, whether woman or not, Asian or not, she had nothing to offer the art loving peoples of the world. In this increasingly globalized world of the sixties being Asian meant nothing while being a woman held no one with talent back. Indeed, male artists were increasingly being suppressed in favor of women in all the arts. If all girl rock bands isn’t an oxymoron I don’t know what is.
By her own admission she thought she was an influential person in the New York City art world of the early sixties after an apprenticeship of one year even gaining ‘an international reputation.’ As she told May Pang: I was famous before I met John. So, one asks how does one reconcile her imagined great success with the feeling of being held back as an Asian and woman?
She rented a loft for fifty dollars a month which she coyly implies that as a starving artist the money was not easy to find. Well, Daddy was only a phone call away, she should have reached out and touched him. You can be sure he wasn’t going to let his little girl starve. By comparison I was paying 125.00 a month for an apartment in the Bay Area. I think we can dismiss the impoverished struggling artist scenario as so much more cognitive dissonance.
Ono spread herself pretty thin apparently attempting to cover all aspects of the avant garde. She’s keen on belonging to the avant garde. In music she patterned herself after John Cage and that weird contemporary ‘classical music’ approach with perhaps more than a nod to the early electronic composers such as Robert Maxwell who she mentions. She began her career in 1969 between the end of the Absract Expression mode and the beginningof the Pop movement so she was too late for the one and too early for the other. She and Lennon would try to rectify this in 1971 by doing obeisance to the Pop guru, Andy Warhol.
In 1961 she threw a party and was devastated that a snow storm discouraged the uptown crowd she had invited from coming. At least she said there was a snow storm. This may be another instance of cognitive dissonance. As she was an actual nobody she had no reason to expect society people to attend, snow storm or no snow storm. Nevertheless she was devastated, leaving town for Japan shortly thereafter. One may question where she obtained the fare for that flight when she had difficulty of meeting a fifty dollar rent bill.
In Japan she acquired her first husband simultaneously being committed to an insane asylum. As difficult as it may be to believe, her soon to be second husband, Tony Cox, heard these marvelous things about Ono in NYC deciding to fly to Japan to look her up. He found her thoroughly doped staggering around the halls of the asylum. He succeeded in getting her released then he, Ono and her first husband formed a menage a trois. The first husband wisely was the first to leave so Cox claimed the prize and the couple returned to NYC in 1964 so she is having an eventful four years. Shortly after their arrival they pulled up stakes and headed further East to London. Of the move Ono says:
I thought (the) avant garde world in New York was still very exciting but that it was starting to become an institution in itself, and there were rules and regulations in an invisible way, and I just wanted to get out of it. I never considered myself a member of any group. I was just doing my own thing.
That is just another way of saying that the art scene was a cliquish group in its terminal stages that was difficult or impossible to break into so unable to do so Ono was ‘just doing her own thing.’ It might be noted however that the NYC art scene was or was in becoming a nearly totally homosexual affair. At any rate we have evidence of sour grapes- I never considered myself a member of any group. And the result of rejection- I was just doing my own thing.
After her rejection she ‘composed’ a musical piece called Wall Piece For Orchestra in which she knelt on a stage and repeatedly banged her heard on the floor. Today that would be called ‘acting out.’
Off to new worlds to conquer in London and at the Indica Gallery of John Dunbar, the resident ‘head’ art gallery. Now, at this point she ‘ruined her career’ by pursuing John Lennon until he caught her. I imagine that she had been shrewdly observing his career and undoubtedly came to the psychological conclusion that he was a dependent personality who could be easily manipulated by the older maternal type with the right touch. That John Lennon could be made dependent on this woman eight years his senior is proof positive. Indeed, John even referred to her as Mother.
Cynthia for whom the role was impossible correctly assessed the situation noting the influence of Lennon’s Aunt Mimi who brought him up. Ono courted Lennon, interfering directly in his marriage. Ono was quite willing to drug herself along with Lennon so that both were heroin addicts. Ono thus established a sado-masochistic control over Lennon that Cynthia had no chance of breaking.
Rather than ruining Ono’s career the ‘third most influential man’ in the world gave her a stage on which to perform that she could never have found on her own. She now considered herself a collaborator with the Beatles. The injection of the Cage and Maxwell garbage combined with Lennon’s erratic behavior produced the nonsense of Revolution #9 on the White Album.
Lennon on drugs and under the influenceof Ono, who had her motives, according to Dire Corrector’s blog quoting the biographer of Paul McCartney, Many Years From Now, says:
The meditation had essentially precipitated a nervous breakdnown which was not helped by John’s tremendous drug intake. On May 18, 1966 he summoned a meeting of the Beatles at Apple and announced to them that he was Jesus Christ…the night after he told the other Beatles that he was the Savior, he finally called Yoko Ono and told her to come over.
Quite obviously Lennon was either teetering on the brink or had fallen over the edge. If he hadn’t broken with Cynthia by this time it is quite clear that apart from a certain inappropriateness of being wed to the Savior she was quite innocent of causing the break in any manner and should have a clear conscience.
Lennon’s state of mind would explain the insensitive manner in which he broke with Cynthia and its aftermath. The man must not have been in his right mind. While easing Cynthia out was relatively easy, from Ono’s end Tony Cox to whom she was still married was not such a simple matter. One wonders why he would fight so hard to keep a women who was so psychotic. Perhaps it was their daughter who he later took into hiding to keep her away from Ono. Justly so, it seems.
At any rate by ’69 Ono and Lennon were free to marry. Definitely by this point Lennon had all but surrendered his identity to Ono. She was now in possession of the reputation of one of the three most influential men in the world. Blending her identity with his she was about to become hermaphroditic. Perhaps Lennon was overawed by her avant garde credentials, such as they were, as well as whatever passed for her musical sensibilities.
She became Yoko Ono Lennon while he legally changed his name to John Ono Lennon so they both became Ono Lennons. After a number of happenings which one must believe were entirely Ono’s conceptions, such as the ‘bed in’ in Holland and the organization of the Plastic Ono Band, the pair settled in New York in an apartment building known as the Dakota. The Dakota was a connection to Ono’s past fulfilling an old desire to surpass those uptown types who she felt had slighted her.
In that connection also the cover of the Plastic Ono Band is a fulfillment of an old desire of Ono’s. While a child she witnessed the fire bombing of Tokyo in the US attempt to bring an end to the war. The blue sky was obliterated by the billowing clouds of smoke. While she didn’t witness Hiroshima yet she imagined the same sky as that over Tokyo. She then developed a blue sky obsession. If you notice the cover of the Plastic Ono Band is just a blue sky. One assumes then that Ono’s plans were coming together.
The NYC art world of 1960-’61 had shifted totally, the Abstract Expressionists she had tried to piggyback on were gone having been replaced by Pop Art of which Andy Warhol was the reigning doyen. If the Abstract Expressionists had been exclusive Warhol was nothing if not inclusive. He worshipped celebrities and Lennon was the number one celebrity. Himself a groupie and maximum social climber he welcomed an association with the Onos. For Yoko Ono the association with the leaderof the NYC art scene was her dream come true. Nothing but blue skies from now on.
In the accompanying picture you will notice that Warhol is seated in between a standing Yoko Ono with one hand on her right tit while his hand is on a drugged out looking John Ono with his hand on Warhol’s crotch. The symbolism is quite clear. The standing Yoko
The transfer of power.
is the master of two emasculated males who happen to be two of the most influential men in the world. She ain’t no nigger no more, Maggie’s Farm is a thing of the past, yes, men are now niggers in relation to herself. Warhol as an artist takes precedence over the disposable oafish John Ono. Yoko is tallest and standing, Warhol is second tallest and sitting while the now disposable John is lowest, lying on his back. The future is clear. Study John’s face; study all three faces.
The sexually besotted John Ono has surrendered his entire identity even as a musician allowing Yoko Ono to usurp his place by putting out those horrid hideous LP musical montrosities. Robert Palmer aside, with song titles reminiscent of her head bashing days: What A Bastard The World Is, I Felt Like Smashing My Face In A Glass Window, Woman Of Salem (Witches), Coffin Car, Hell In Paradise and Walking On Thin Ice. Clearly this woman had an unsettled, disturbed mind.
Having usuped Lennon’s role and identity he became expendable. Her problem now was to transfer his past and his wealth to herself thereby becoming Yoko-John Ono, Double Fantasy. Two fantasies melding into her one personality.
John Ono’s finances were, of course, in complete disorder. As Yoko was soon to show billions of dollars were disappearing down a sink hole. She rapidly organized his finances turning his money green. Within short order the Onos were worth a hundred million or so which she would swell to a billion or more after John’s death.
I imagine it was fairly easy to have John Ono give her a power of attorney, indeed he forked over his identity allowing her to function in his stead as himself. An awesome abdication. A POA would negate the need for a will, and indeed having made herself not only co-owner of John’s assets as well as his identity Yoko Ono would merely acquire full ownership leaving no assets to be willed. Indeed, she could have turned him out penniless at any time. When Cynthia was clamoring for a reading of the will she was wasting her breath; if a will existed, unlikely in itself, there would have been no assets to bequeath.
Yoko Ono having now incorporated John Ono’s reputation and identity into her own had also incorporated the assets and with the assets the legacy of all copyrights held by John Lennon as the double fantasy melded into one fantasy. The only obstacle to Yoko’s apotheosis into man-woman was John himself as he was alive. However John was only thirty-five. To wait thirty-five years or more with a man she didn’t love or even like would be unbearable. Some hard thinking was in order.
She manipulated the poor dolt into thinking he was a boorish oaf who needed to go off to get himself together. Rather than just sending him off she chose an employee, May Pang, an Asian like herself, to be John’s consort while away.
In reading May Pang’s book, Loving John, it becomes clear that Yoko Ono was a master hypnotist. She knew how to make suggestions and have people act on them. Acccording to Pang she fixed an hypnotic glare on one, assuming an authoritative posture while intoning her suggestion. She had the reputation of always getting her way.
Of course her version of what happened is different than Pang’s. Yoko having suggested she go off with John, the act was soon consummated. Pang insists she and John were in love, yet a year and a half later when Yoko called John back he came running.
Thus, from 1975 to Double Fantasy in 1980 Yoko and John Ono were out of public life living as a double fantasy of Howard Hughes. Then in 1980 Mark Chapman became the man who shot John Lennon. There have been speculations that Chapman was hypnotized when he committed his deed. Conspiracy theories therefore have sprung up.
One must ask who the death of John Lennon benefited. Two possible people. Yoko One on one hand and possibly Chapman on the other. On the one hand Yoko Ono achieved the psychotic desire to escape being the ‘nigger of the world’ by becoming John Ono Lennon while physically remaining the sweet little girl she had been before the fire bombing of Tokyo. She was unable to manage the memory of that transformative experience. In her mind, then, she became the prominent artist-musician of the world.
I don’t believe the government had anything to do with the assassination.
As we know Yoko Ono was a master hypnotist; the question is how did she find Mark Chapman and how did she hypnotize him?
Earlier in the day Chapman had approached Lennon for an autograph. He can be seen worshipfully smiling beside his hero in the picture. There appears to be no indication he meant to harm Lennon. He might easily have shot him point blank at the time, yet when he came back in the afternoon with a voice in his head insistently saying: Do it. Do it. Do it. he gunned his hero down.
At the time Yoko Ono had dropped a few steps behind John. In similar murder attempts, people step away from the intended victim so as not to be caught in the line of fire. This may have been the case with Yoko.
Certainly Yoko is opposed to Chapman’s release from prison even though he has fulfilled the twenty year requirement of twenty to life. I doubt if he is a threat to society however he may be a threat to Yoko Ono if he were to remember or reveal the details leading up to his shooting of John Ono Lennon.
Of course, I don’t know why Chapman shot but I do know that Yoko Ono Lennon was the sole beneficiary. She left Cynthia holding the bag while she realized her double fantasy.
Double Fantasy- Yoko Looking Over John's Granny Glasses
A Review: II of II Wonderful Tonight by Pattie Boyd
December 17, 2009
A Review
Wonderful Tonight:
George Harrison, Eric Clapton. And Me
by
Pattie Boyd
Review by R.E. Prindle
Boyd, Pattie: Wonderful Tonight: George Harrison, Eric Clapton, And Me. Three Rivers Press, 2007
Good Morning Little Schoolgirl. The sixties fixation on young girls,
The darkest hour is just before dawn.
There’s one thing I want you to do
Especially for me.
And it’s something everybody needs…
Whisper a little prayer for me.
–Bass, Ralph. Pauling, Lawson
One needs a little encouragement in the black night of the soul. One needs a little encouragement amidst the trials and tribulations of life. The way is dark, the night is long and who knows what is waiting at the end of the road. All the mythological heroes went through a period of madness. Most likely at the mid-life crisis. The greater the stresses the more difficult to avoid errors. Why judge others so harshly when neither you nor I could have done better in the same circumstances. If a person is of good will and not ill why not be a little forgiving? Especially if no crimes are committed.
As Pattie points out, when manager Brian Epstein died the Beatles were suddenly on their own. To that time Brian had managed all the details, business as well as personal leaving the Beatles to do what they did best, write, record and perform songs. The relationship had been perfect of its kind. Given that the Beatles were now major successes rather than fledglings it would have been nearly impossible for them to put together a management team.
Of course, the Beatles were no businessmen. In the attempt their musical skills were compromised while the business end could not prosper. Cares such as they had not known descended on them. Nor, did they understand that the smallest action or word of theirs would reverberate around the world. They were no longer able to say or do what they pleased. Millions of vulnerable young people and unstable adults hung on every word giving them whatever interpretation suited them best. McCartney’s song Maxwell’s Silver Hammer did uncalculable damage.
When the Beatles closed their boutique waves of reaction crossed the world. It was said they opened the doors and invited anyone to take what they wanted. Away off in Keseyland on the West Coast of the US where I owned a record store a wave of kids descended on my store asking if everything was free. These were zany times where everything was possible so, mystified, I asked why they would think that. I was told the Beatles had just given away everything in their store and why wouldn’t I? I became a bastard for not following the Beatles lead.
So, when Pattie noticed a change in George when they came back from India it was probably caused by business cares, a new reality that neither he nor the others knew exactly how to deal with, nor was there time to learn. Those stresses, in the way of the human mind, are converted to sexual expressions. In George’s case he began to mumble about having a lot of concubines. A pretty normal reaction that he may never have acted upon. I’m sure that when he showed up with Chris O’ Dell in tow it may have seemed like the first step. (See Chris O’ Dell’s auto for a fuller description.) Chris became Pattie’s friend denying any relations with George, at least during her extended stay with the Harrisons, although after Pattie’s divorce the two came to terms. But, for now she and Pattie became bosom buddies shopping and cavorting together.
What a wonderful time to have unlimited money and a huge mansion to furnish.
While the sixties are primarily thought of for the groups and records that was only one component of that truly wonderful and amazing time, at least looking at the bright side of the penny.
P.F. Sloan, who penned Eve Of Destruction, titled one of his own LPs Raised On Records. The title explained the generation. Starting with perhaps Johnnie Ray leading on to Elvis the history of our generation was written by recording artists rather than novelists or even movies. You might question starting with Johnnie Ray but he was the first mind blowing departure from the norm. Mind blowing explains the whole period. Rock’s John the Baptist preceding the Jesus of Elvis. A trail of great records led up to the British Invasion when the world tipped on its axis. It was one mind blowing act after another.
First the Beatles upset the elders, long hair but clean cut. Then came the not so clean cut Rolling Stones with the weirdest thing you ever saw on stage, Brian Jones. You couldn’t take your eyes off him. Fantastic hair and the strangest clothes. Mick probably had to get rid of the competition. If the Stones weren’t bad enough they were followed by the appropriately named Animals. The name said it all sending the old folks wild with gnashing teeth. But backed up by Dylan and Peter, Paul And Mary the group mind was conditioned to move in the same direction in unison.
As Pattie says, she found the most wonderful art nouveau artefacts. Indeed, Aubrey Beardsley, Alphone Mucha, Toulouse Lautrec, 
god, even the names, whoever heard of anyone named Aubrey? The art focus shifted from that NY art junk. Travel posters had been a staple for several years but now other posters began to augment them, Peter Max, East Totem West, the Fillmore and Avalon posters and the most spectacular of all- the giant personality posters. Originally the posters were blown up real grainy so that if you stood close the picture wasn’t visible but stepping back and then back further the portrait emerged. Drove the old folks wild, mytified the less hip; minds weren’t prepared. Although by that time Telstar was old hat, and men had walked on the moon. The impossible was no longer impossible, anything was possible and it kept happening. Andy Warhol and his Campbell Soup can. Good god. Remember the Robert Indiana LOVE poster with the lopsided O?
Robert Indiana- Love
In the US the tax laws were such that you could make money on records and books without turning a profit. Publishing exploded. Nifty expensive art books of the strangest and most outre artists were available. Virtual toys like the works of Victor Vaserelly. It was incredible, it was magnificent, it was mind candy as never seen before.
I hope Pattie with all that coin took advantage of it. There was a canchre in wonderland though. Pattie didn’t keep her hand on the throttle but let her attention be diverted by sex. Some reviewer said that Pattie wasn’t the brightest bulb. Hmm. I do wonder what she was thinking.
Now comes the part difficult of analysis. Pattie, like all women portrays herself as an innocent, the helpless beauty in the clutches of two beasts who refuse to turn into princes when kissed. I defend n o one but like a clear picture. It was clear that Pattie is haunted by her parents relationships as she always mentions them at critical points. She perceives her mother as a victim so it is possible that she was seeking revenge for her.
The time sequence Pattie presents is inadequate to follow the actual course of the relationship’s deterioration. It is possible that Pattie decided to turn the tables and become polyandrous first. She did conduct herself in that manner or, at least, try to. The information is insufficient to determine the actual sequence of events. She appears to always have been flirtatious with other men. In reference to Clapton she says she allowed him to seduce her. This implies volition and that she encouraged his attentions. One might say she almost solicited the famous letter from Clapton she showed George. It wouldn’t have taken a genius to figure out the small e it was signed with referred to Clapton. George was no dummy. Pattie blithely passed it off as from an unknown fan. Then she innocently expresses surprise when Clapton called that evening and asked if she had gotten his letter. Oh please, Pattie.
George unable to take it anymore invites Clapton over, gives him one guitar, takes another engaging in a guitar duel with the prize being the fair lady. Well, George found her, raised her up to where she was and then let Clapton take her.
Now, this is fairly reprehensible I think, Pattie left, but rather than seeking a divorce she lived with Clapton for two years while married to Harrison. Affairs of the heart are beyond me so all I can say is that Harrison was too kind hearted, Pattie callous and cruel and Clapton a simple cad. George always did the honorable by Pattie and she should have done the same by him.
Forty Years Of Hard Travelin'. Lost innocence.
One questions Clapton’s motivations. Clapton had a housefull of women when he professed his great love for Pattie; a nice girl I’m sure, but not to die for. Pattie cagily put Clapton off so his threat was to become a heroin addict unless she came with him. He was only snorting the heroin not shooting it. Pattie let him, she says, for three years.
The only reason I can see for Clapton’s wanting her is emasculation games. George was a Beatle with a guitar reputation therefore above him. When the two had their guitar duel, by consensus, George lost thereby losing status. Clapton then took the woman thereby emasculationg the man he had made his rival. But now he was stuck with this woman he didn’t really want.
In an interesting twist in the contest for supremacy both Clapton and Pattie were put down by the redoubtable Mick Jagger. Pattie and Clapton had been married and threw a huge bash with mega fireworks, everything.
Mick Jagger came with Jerry Hall, who had been engaged to Brian Ferry but had left him for Mick.
So Jagger is leaving no stone unturned in his quest for supremacy even putting down a weak rival like Brian Ferry.
Jerry Hall and Mick
The party started in the afternoon and ended in the dawn.
By the time Eric and I went upstairs to bed it was daylight. We were ready to drop- but Mick and Jerry were tucked up and fast asleep in our bed, with little Jade, his daughter with Bianca Jagger sleeping sweetly beside them. Trust Mick to have found the best bed in the house.
So Jagger put down both Clapton and Pattie. Childless herself she saw Mick’s child. They could have turned Jagger out of the bed appearing boorish but if they had, dog tired, they would have had to change the sheets then crawling into a bed warmed by Jagger. Mick aced them both demonstrating his supremacy. Ah, those emasculation games.
Now, Pattie left George, supposedly because, or after, Clapton wrote Layla, but she didn’t divorce him for two years. Thus as another man’s wife she was living as Clapton’s concubine. Call me old fashioned but I can’t endorse such behavior. Amazingly George didn’t press for a divorce letting Pattie divorce him on the grounds of lack of cohabitation for two years.
Perhaps she was avenging her mother’s treatment when her father carried on with the wife of an intimate friend for some time, perhaps two years, before divorcing the mother. Obviously some psychological end is being served.
Clapton was no where near as generous monetarily as Harrison. Pattie describes it as keeping her on a tight leash. Nor did this man who professed to love his Layla so deeply then marry her. No, they shambled along in his loose situation.
When they did marry it was under the most humiliating situation for Pattie. We have only her side here but she says that Clapton and his manager had a bet that the manager couldn’t get a story about Clapton in the papers. The manager without Clapton’s knowledge invented a story which was printed that Clapton would marry Pattie the next Tuesday.
Pattie had just walked out on Clapton and was in LA. On the Friday before Clapton called her and said he needed an immediate answer. Marry him by Tuesday or forget it. Pattie folded. After the I do-s Clapton left on an extended tour leaving Pattie to find her way home.
Amazingly she stayed with him for some time. Even so she had not severed emotional ties with Harrison who remained unmarried.
Clapton was still playing money games with her. One Christmas she went shopping running up a 5,000 pound tab at Harrod’s expecting to charge it to her Harrison account. Surprise! The account had been closed. Not having enough money in her checking account which Clapton apprently wouldn’t let her have she had the effrontery to ask Harrison who gave her a five thousand pound check. Apparently Pattie misunderstood the meaning of the word divorce.
For whatever reason she showed the check to Clapton who, realizing he had been aced in the emasculation game, refused to let her cash it.
Now tiring of the games with Clapton Pattie sought a divorce. More money games.
With Harrison, as a divorce settlement after abandoning him and cohabiting with another man, Pattie received 120,000 pounds. In the circumstances I would see that as very generous. She doesn’t say exactly what she received from Clapton but it was enough to provide her with a very sufficient investment income.
Not content with that while apparently assuming divorce or no that Clapton owed her more she demanded he buy her a million pound house as he had spent that much on one for himself. She was denied but it was agreed to buy her a 300,000 pound house although title would remain with Clapton. She found one for approx. 350,000 pounds and was allowed to live in that.
Subseqently Clapton remarried. The canny Pattie realizing that if Clapton died his wife would turn her out attempted some successful maneuvers. She asked for 40,000 pounds for some remodeling. Clapton refused but replying that he wasn’t aware that he was her landlord he deeded the house to her so she came out very well indeed.
During this time she was living with her third man named Rod. He was nine years her junior. Tiring of him she cruelly told him that his life as a ‘toy boy’ was up and to move on.
The inevitable conclusion is that Pattie viewed her mother’s relationships with men as she was growing up and came to some conclusions. Although neither Harrison or Clapton were perfect men I am convinced that whatever their shortcomings Pattie was not an innocent victim. She actively encouraged Clapton while married to Harrison, abandoning George for Clapton. She knew Clapton’s attitude toward women and stimulants, both drugs and alcohol before she ‘allowed herself to be seduced’ so his addictions came as no surprise. She has no complaint on that score.
Pattie made the remark in closing that if the right man came along she would snap him up in a minute. Having lived every groupie’s dream of snaring a Beatle and Clapton the only eligible rock star to complete her trifecta would be the Man himself- Mick Jagger.
I would be interested to see that combination. The odysseys of this simple Kenyan girl from Harrison to Clapton to Jagger would certainly equal the odyssey of her fellow Kenyan, Barack Obama.
Pattie today. Further down the road.
End.
A Review: Part IV, She by H. Rider Haggard
December 4, 2009
A Contribution To The
ERBzine Library Project
A Review Of
SHE
by
H. Rider Haggard
Review by R.E. Prindle
Part IV and end:
Herself Portrayed
Model of She
The idea of a twenty-two hundred year old woman patiently waiting for the reincarnation of a man she had murdered in that far off time is in itself an extraordinary concept. As an imaginative flight of fancy very likely Rider Haggard can be seen as its originator. Burroughs would borrow the notion twenty-seven years later in his The Eternal Lover when he reverses the sexes and has a cave man asleep for millennia wake to find his reincarnated woman. Since then variations on the theme have become quite common.
She, or Ayesha, was a powerful image of a woman. C.G. Jung saw her as the personification of his Anima theory. Haggard drew on many personal and historical details to create her. Ayesha was titled She-Who-Must-Be-Obeyed. As a child Haggard had a doll to which he gave that name. The doll must have represented his mother. If he invested characteristics of his mother into Ayesha then she must have been both warm and loving and cold and imperious. Over all one gets the impression that she was not particularly loving. Thus, Ayesha, while appearing to be in love with Leo/Kallicrates is nevertheless imperious, demanding and self-centered. In her only real display of afftection she kisses Leo on the forehead, as Haggard says, like a mother. As Haggard says of Meriamun in The World’s Desire, her love was not so much for her lover but an expression of her own vanity.
Haggard represents her as a living corpse in white funereal garments, completely shrouded. She has a strange accoutrement in the serpent belt with two heads facing each other. This is close to the caduceus. Perhaps Haggard had no idea of what the symbol meant in 1886 but by 1890 he had come up with an explanation. In The World’s Desire of that year Queen Meriamun of Egypt keeps something she calls the Ancient Evil in a box. The Evil is a small blob. When she warms it in her bosom it grows. World’s Desire pp. 144-45:
Thrice she breathed upon it, thrice she whispered, “Awake! Awake! Awake!”
And the first breath she breathed the Thing stirred and sparkled. The second time that she breathed it undid its shining folds and reared its head to her. The third time that she breathed it slid from her bosom to the floor, then coiled itself about her feet and grew as grows a magician’s magic tree.
Greater it grew and greater yet, and as it grew it shone like a torch in a tomb, and wound itself about the body of Meriamun, wrapping her in its fiery folds till it reached her middle. Then it reared its head on high, and from its eyes there flowed a light like the light of a flame, and lo! its face was the face of a fair woman- it was the face of Meriamun!
Now face looked on face, and eyes glared on eyes. Still as a white statue of the Gods stood Meriamun the Queen, and all about her form and in and out of her dark hair twined the flaming snake.
At length the Evil spoke- spoke with a human voice, with the voice of Meriamun, but in the dead speech of a dead people!
“Tell me my name,” it said.
“Sin is thy name,” answered Meriamun the Queen.
“Tell me whence I came.” it said again.
“From the evil within me.” answered Meriamun.
“Tell me where I go.”
“Where I go there thou goest, for I have war and thee in my breast and thou art twined about my heart.”
This quote gives an idea of what the snake belt worn by Ayesha signifies.
Of signficance while Meriamun is dealing in magic Ayesha denies all connection with the art saying she utilizes nature. She doesn’t use the word science but nature; nature would include psychology. She therefore draws on natural processes discovered but not scientific processes exposed. Thus when she kills her rival Ustane she does it by utilizing electro-magnetism, somehow using her own electro-magnetism to negate Ustane’s thus extinguishing her life force. We have then an example of tele-kinesis- action at a distance. As I’ve noted in other essays tele-kinesis was amongst an array of mental powers thought to reside in the unconscious being investigated by the Society For Psychical Research. Thus Haggard, probably through Lang, is up on the latest psychic developments.
Ursula Andress As She
The ability to kill by telekinesis places a moral burden on Ayesha. If one agrees that the use of such a power may be necessary the question arises of when it may be misused. It would seem that the killing of a sexual rival was an inappropriate use, so the warring good and evil heads of her snake belt refers to the moral dilemma Ayesha faces.
Her belt seems somewhat different than that of Queen Meriamun of The World’s Desire. The latter having accepted the aid of the Ancient Evil was committed to evil being unable to remove the belt. There seems to be an element of volition remaining to Ayesha. She is not ‘possessed.’ Of course Ayesha began her life some thousand years after Meriamun so perhaps psychology was somewhat further evolved at that time or evolved with her over her two thousand year life span.
Indeed, a topic of discussion Haggard introduces shouldn’t be dimissed lightly. That topic is the age old discussion of whether good can come from evil and evil from good. This is indeed a dilemma as bad results can arise from good intentions and vice versa. There is a serious side here.
Ayesha is pure irresistable beauty. Once she shows her face no man can resist her. She glories in this power. In The World’s Desire of four years hence Haggard will separate good and evil making Meriamun represent evil while Helen, the world’s desire, is all good.
Holly is an interesting character who may be a back hand slap at the concept of evolution. Holly also makes this the story of a beauty and a beast. Holly is described as having a low forehead with a hairline growing out of his eyebrows, further his beard and his hairline meet. He is said to have a hugely broad chest and shoulders with extra long arms, perhaps down to his knees although this is not stated. What we have in Holly then is the Wolf Man combined with King Kong. Monstrous indeed.
In contrast Leo Vincey is a Greek god, a sort of Apollo. As Ayesha is irresistable to men Leo seems likewise to be irresistable to women. Indeed, he was married to Ustane within minutes of arriving in Kor. He appears to have sincerely liked Ustane even though on sighting Ayesha’s face he too loved her. Ustane was a rival for a portion of Leo’s affections so Ayesha cut off her electrical supply.
Of several truly dramatic scenes in this spectacularly well constructed story a very dramatic one is when Leo confronts his twenty-two hundred year old incarnation 0f Kallicrates. Haggard doesn’t dwell on Leo’s understanding of this strange phenomenon although from the potsherd and his father’s letter he must have been convinced of the truth. Strangely he doesn’t ask Ayesha for an account of this earlier life, nor how it was that she came to Egypt from Yemen to interfere in his romance with Amenartas.
Haggard and Lang were aware of the early history of Yemen from whence Ayesha as a pure Semite came. She was pre-Christian, although not pre-Jewish, of some ancient Arabic religious beliefs. How she got to Egypt is never disclosed or how she came into conflict with the Egyptian princess Amenartas for Kallicrate’s affections.
Ayesha, by the way the name translates as Life, merely confronts Leo as the neo-Kallicrates without any preparation. A year or so to get to know her and become accustomed to her face might have been nice. Although, Leo was married within minutes of arrival in Kor and was apparently satisfied with his wife. He was a pretty adaptable guy.
At any rate Ayesha rushes him into immortality and while tomorrow may be a long, long time, eternity is even longer. One might want to consider a moment about a relationship of that duration. Nor does she adequately prepare Leo’s mind for the ordeal of fire that she wants him to go through to become immortal. Twenty-two hundred years of waiting had done little to improve her patience.
Haggard has put everything he has into this story. He was granted clear vision only once in his life and he took advantage of it. In later years he was frequently asked why he didn’t write another story as good as She. His reply was that such a story may only come once in a man’s lifetime. The concentration and focus probably will never return again. While Allan Quatermain, his third successive attempt to create a lost civilization was on the weak side I would argue that his last, Treasure of the Lake, comes close to She.
So, the four of them set out for the place of the fire of life. Masterful effects. High in the mountains there is a gigantic balancing rock, a huge mushroom type cap balanced on a spire. It would seems that Zane Grey was also greatly affected by She as Riders Of The Purple Sage hews very close to She. A narrow ledge of rock extends out opposite with a gap of fifteen feet. To cross this gap with high winds howling through, a plank carried by the ever patient Job has to be lowered across the gap. No mean task I’m sure, with only one chance of getting it right. Once in place, thousands of feet above the gorge each has to walk from side to side; plus they have only a few minutes for all four to get over during a single beam of light from the setting sun.
Fortunately all four make it crossing the balancing rock to descend into a cave leading to the bowels of the mountain. There an eternal flame that ensures the life of the planet rumbles by every so often. Twenty-two hundred years before Ayesha had bathed in this fire which following esoteric doctrines had burned away her gross, earthly, moral impurities making her essentially, pure spirit.
A famous incident of the process is recounted of the goddess Demeter in her travels after the abduction of her daughter Persephone by Hades. Coming to Eleusis Demeter in her form of an old crone was taken in by King Celeus and his wife Metaneira. As a reward for her kind treatment Demeter set about to make their infant son Demophon immortal. Thus each night she held him over the hearth fire to burn away his mortal impurities. Surprised one night by a startled mother, Metaneira, the process was disrupted so that Demophon retained mortal impurities and failed to attain to godhood.
In this sense then the fire that maintained the life of the Earth traveled a route through this mountain at the center of the Earth. It appeared something like Old Faithful at Yellowstone periodically. When it swept by, if one stood in the flame it burned away one’s mortal impurities leaving one, it is to be assumed, wholly Spiritual. All the materiality was gone.
Spirituality and materiality are still being discussed today. Some talk of Spirit as though it exists while the materialists aver that all so-called spirituality is a seeming effect of materiality. I am of the latter school of thought. Oneself is all there is, there is nothing more. The effect of spirituality is nothing more than a mirage created by intellect and consciousness which is entirely material. It is all reduced to psychology which is a description of material existence.
Come To Me
In Haggard’s story it is clear that Ayesha having lost her materiality to the flames is purely spiritual. This is going to cause her problems as she steps into the flames the second time.
The flame passes by while Leo dithers. Impatient for Leo to assume immortality Ayesha strips, as the flames will flame the material garments about her but not her body. As the flame comes around again Ayesha eagerly stands in its way. However having been once purified it is good for eternity. The second time is disastrous. Perhaps spiritually dessicated by the double dose Ayesha begins to wither devasted even in her death throes by her loss of beauty. Love in vain.
Job is so horrified he dies of fright leaving Leo and Holly alone.
The story for all intents is over but Haggard takes a dozen pages or so to get his heroes out of the caves and back to civilization.
Ayesha’s existence wasn’t extinguished. Her dying words were that She would return. Room left for the sequel which not surprisingly was called The Return Of She appeared in 1906.
Haggard hit the groove sharp as a knife in this incredibly well devised and executed story. One will find evidences of it strewn all through Burroughs’ corpus. Not least in his own character of La of Opar. La itself translates from the French as She, of course, so Burroughs even appropriates the name.
La is as ardent for Tarzan as She was for Leo/Kallicrates. Tarzan himself remains cold and indifferent to La throughout all four Opar stories finally abandoning her in Tarzan The Invincible.
She by Haggard is well worth three or four reads to set the story in mind and savor the wonderful and unearthly details
The End.
End of Review
A Review: Part II She By H. Rider Haggard
November 20, 2009
A Contribution To The
ERBzine ERB Library Project
She
by
H. Rider Haggard
Review by R.E. Prindle
From London To The The Caves Of Kor
She is dedicated to Andrew Lang:
I Inscribe This History To
ANDREW LANG
In Token Of Personal Regard
And Of
My Sincere Admiration For His Learning
And His Works
One may well ask then who is this Andrew Lang and what is his learning? In point of fact Haggard not only dedicated She to Lang but wrote three books in collaboration with him. Andrew Lang, 1884-1912, was a Scottish scholar specializing in folklore, mythology and religion so you can see where Haggard came by much of his esoteric knowledge. In addition Lang was one of the founding members of the Society For Psychic Research and a past-President. Lang wrote dozens of books over his lifetime. He even wrote a parody of She in 1887 called He. Today he is remembered only for his collections of fairy tales. Twelve volumes in all each titled after a color such as The Crimson, or Blue or Pink or Gray Fairy Book. The volumes are undergoing a fair revival now with a collector’s edition published by Easton Press and several nicely bound volumes by the Folio Society.
The nineteenth century was the one in which advanced knowledge of the past was rapidly extending European knowledge greatly. The Rosetta Stone deciphering Egyptian hieroglyphics had been achieved as recently as the 1830s. Nineveh and the Assyrian ruins had been unearthed. Schlieman had discovered the locations of Troy and Mycenae.
The exoteric side was covered by the academics while the esoteric side was covered by independent scholars like Madame Blavatsky and probably Andrew Lang. There was a clean split between the academic Patriarchal view of ancient history and the emerging Matriarchal view that had just been developed by the Swiss mythologist, J.J. Bachofen. Bachofen organized ancient history into Hetaeric, Matriarchal and Patriarchal periods. He himself was a member of the successor Scientific period.
The academics totally rejected the notion of a Matriarchal period. This, of course, led to a complete inability to understand Homer, both Iliad and Odyssey. The Iliad especially is a description of the war by the Patriarchy to destroy Matriarchy.
Lang seems to have understood the Matriarchal phase of ancient history. He must have passed this knowledge on to Haggard. Ayesha, as She, rules a Matriarchal society. While the ideas represented in She must have seemed bizarre or merely an amusing reversal of the Patriarchal world at the time, today it all reads comprehensibly. It rings true if not exact.
C.G. Jung, the psychologist, who developed such notions as the male Anima and the Shadow was very immpressed by what he saw as the male Anima in She. Madame Blavatsky lauded the book for its esoteric content. But then, Haggard was firing on all eight cylinders when he wrote it, it is difficult to conceive of a more perfect fantasy/adventure novel. Indeed Haggard subtitles the novel: The History Of An Adventure.
Haggard was an excellent Egyptian scholar. He not only visualized Egypt convincingly in his Egyptian novels but his Egyptian ideas pervade the African novels. Many of them involve Egyptian influences and even peoples filtering down into East and Central Africa. The Ivory Child is a case in point as is She.
The set up to the trip out is brilliant incorporating details that become cliches in B movies.
Leo Vincey’s father before he died gave a metal box to Leo’s guadian, Horace Holly, that wasn’t to be opened until Leo was twenty-five. This box is now opened. It contained a letter to Leo, a potsherd (a piece of a broken jar) covered with ‘uncial’ Greek lettering, a miniature and a scarab containing Egyptian hieroglyphics that read ‘Royal Son of the Sun.’
Thus Haggard captured most if not all of the elements that went into the intellectual aura fostered by B moves primarily in the first years of the talkies through the thirties. That entailed things like the Curse of the Pharaohs, movies like The Mummy melding into Wolf Man, Dracula, Frankenstein and African juju spells. Things against which Europeans had no defense because the ancient magic was stronger than modern science, or so we were led to believe. I can’t speak for others but it took me a while to shake this oppressive spirit. This was pretty strong stuff for my ten to twelve year old brain. Not to mention being bombarded by The Creature From The Black Lagoon, The Thing and The Day The Earth Stood Still. We wuz tried in the fire and come through good.
The gist of it is that Leo’s ancestor Kallicrates lived in the time of the last Pharaoh Nectanebo as one of the royal family. Spookier still Nectanebo was said to have fled Egypt before the conquering hordes, going to Macedon where he secretly impregnated Olympia, Philip’s wife, who then gave birth to Alexander which made him the rightful heir to the Pharaohship instroducing Greeks as rulers into his city of Alexandria.
At any rate Kallicrates girl friend, Ayesha, killed him in a jealous rage. The family nursing vengeance for all these two thousand years it is Vincey’s mission if he chooses to accept it, to follow the ancient map to the Caves of Kor and kill Ayesha or, She-Who-Must-Be-Obeyed who has been nursing regrets over killing Kallicrates two thousand years previously. Listen to me, I’m tellin’ ya it’s all here.
So Vincey, Holly and their man Job set out to find this place in Africa even more remote, if possible, than King Solomon’s Mines. And a heck of a lot more hostile too.
The trip out is some of Haggard’s finest writing. They are to be looking for a rock formation on the coast in the shape of a gorilla’s head. Sailing the coast they miraculously spot this head just as a terrific squall sends their felucca, dhow or other exotic ship from foreign climes to the b ottom.
But, even though the ship sinks they beat the reaper because they brought a boat containing unsinkable water tight compartments. As the storm subsides the three survivors along with an Arab float into the mouth of the appropriate stream as though it were all foreordained. What follows is some excellent writing with details I don’t need to recount.
Suffice it to say they are dragging their boat along an ancient canal when they are accosted by men from Kor. Ordinarily these guys would have speared them and moved on, no strangers needed in Kor. Using her magic She had learned of Leo’s coming a week previously thus ordering their lives spared while they were to be brought to her. Uh huh.
The detailing is terrific, this book is tight and well organized. It moves right along. The land is under the thumb of She-Who-Must-Be-Obeyed. This is a tight Matriarchy as we now recognize not just some strange place where a woman is in charge.
While the three are entering the Caves of Kor, Leo Vincey, being the cynosure of all female eyes, a knockout named Ustane steps up and kisses him. Not averse to a public display of affection Leo lays one on her back. New to the area and not aware of the customs of the place Leo had just accepted Ustane as his woman. In town for a few minutes and already married. That’s the way things happen in this particular Matriarchy. Ustane is now in conflict with Ayesha, She-Who-Must-Be-Obeyed.
The stage is now set for the main drama when Ayesha recognizes Leo as her long lost Kallicrates come back from all those reincarnations at last.
The exoteric Catholic Church is thus thrust aside in favor of all the heretical doctrines of the esoteric which have been bubbling under the Hot 100 for two thousand years. These unfamiliar esoteric doctrines would become the mainstay and staple of science fiction/fantasy for the next one hundred years.
Just as an example of how Burroughs probably learned esoterica, I became familiar with estoeric themes myself from reading 1950s science fiction and fantasy- Amazing Stories, William Tenn, Robert Heinlein, Ray Bradbury and all that sort of stuff without realizing what I was taking in, thus Burroughs surrounded by the Society for Psychical Research, Camille Flammarion, George Du Maurier and Stevenson et al. naturally learned the esoteric language. No mystery, he was speaking in tongues before he knew it.
Leo is awaiting the summons from Ayesha which will be covered in Part III.
Part I A Review: She By H. Rider Haggard
November 17, 2009
A Contribution To The
ERBzine ERB Library Project
SHE
by
H. Rider Haggard
Review by R.E. Prindle
Part I
The Framing Device
From eighteen eighty-five to two thousand nine is one hundred twenty-five years. The span records many changes. In 1885 there were no movies, no radio or TV. Movies came in c. 1900 beginning to change the literary paradigm. The movies produced a definite class structure in literature. With the introduction of sound in 1927-28 two classes of film developed. A movies and B movies. A movies employed A or literary fiction such as War And Peace, Oliver Twist and such while the developing fields of genre fiction were reduced to an inferior B status.
Time has erased the meaning of the terms A and B pictures. I suppose that if a younger person was told that he was watching a B movie he wouldn’t know what was meant. Even if a devoted movie buff, the mere classification would have no experiential significance. You had to have been there.
In the development of the film industry it was thought that studios had to have their own theatre chains. Thus MGM movies wouold be shown only at Loewe’s first run theatres and so on.
In those glory days of the movies first run theatres were gorgeous temples, often named The Temple, the Roxy in NYC has the most spectacular reputation. The goal of the studios was to produce 52 A movies a year to supply the ‘exhibition’ chain a new first run A film a week. Only MGM was to reach this goal.
Once having been exhibited for its week or period A movies were released to rerun theatres usually outside the chains where they were shown at reduced prices. As an added incentive a second feature was shown and this was a B movie.
We lucky kids who inhabited Saturday matinees every week year around usually got two B movies and selected short subjects which included previews, a serial, a cartoon, a newsreel, and some sort of film usually a travelogue on deep sea fishing or water skiing matter. These comprised an alternate reality in addition to real life and dreams. Nor did we feel shorted by B movies. To our young minds these movies were fraught with the most profound thoughts imaginable. Hopalong Cassidy and Tarzan were the favorites of most kids- Gene Autry, Roy Rogers a distant second to Gene. Unbeknownst to us of course the literary granddaddy of the B movie was H. Rider Haggard and She.
Not that Haggard movies were shown with any regularity but he managed to anticipate all the elements of B movies to perfection. Many if not most of the key elements of B moviedom were pinched from Haggard. What Haggard didn’t provide was tossed in by his disciple Edgar Rice Burroughs.
Burroughs borrowed his use of the framing device from Haggard probably with the frame of She as his model. The framing device of Tarzan Of The Apes shows emulation of that of She. It’s a good one.
Most writers of these tall yarns wanted the reader to believe he was reading a true story, in other words, an invitation to suspend disbelief- that is, everything fits in so he divised a framing story as persuasion.
The first paragraph of She’s preface is perfection of its kind:
In giving to the world the record of what, considered as an adventure only, is I suppose one of the most wonderful and mysterious experiences ever undergone by mortal man, I feel it incumbent on me to explain my exact connection with it. So I will say at once that I am not the narrator but only the editor of this extraordinary history, and then go on to tell how it found its way into my hands.
If one compares that to the first paragraph of Tarzan Of The Apes the similarities become immediately apparent. Both authors claim no authorship. In both cases the story, or history, was given to them by a second party. Thus Haggard the author as editor can speak in the first person while making editorial comments.
The hint is made that Allan Quatermain is the actual editor. The editor was visiting Cambridge University one day some twenty years previously when he noticed two interesting people. His friend knowing them offered to introduce him.
“All right,” answered my friend, “nothing easier. I know Vincey; I’ll introduce you,” and he did, and for some minutes we stood chatting- about the Zulu people, I think I had just returned from the Cape at that time.
So the canny reader hopefully having read King Solomon’s Mines can infer that the unnamed editor is, in fact, Allan Quatermain as a garrulous amiable gentleman.
Twenty some odd years after that casual and very brief meeting, as improbable as it may seem, one of the two men, Vincey’s guardian, Horace Holly sends the Editor the text for She.
Holly says: ‘You will be surprised considering the slight nature of our acquaintance to get a letter from me.’ I should say so. What a great memory.
Holly goes on:
I have recently read with much interest a book of yours describing a Central African adventure. I take it this book is partly true, and partly an effort of the imagination. However this may be, it has given me an idea. It happens, how you will see in the accompanying manuscript (which together with the scarab, the ‘Royal Son of the Sun), and the original sherd, I am sending you by hand) that my ward, or rather my adopted son Leo Vincey, and myself have recently passed through a real African adventure, of a nature and much more marvellous than the one which you describe, that to tell the truth I am almost ashamed to submit it to you but you should believe my tale.
So Holly sees through Quatermain’s preposterous story as only half true while Holly’s equally preposterous story is the whole truth, the real thing. Well, if you’ve accepted the premiss there’s no way to go but further in so, all one can say to Holly is that his story is going to have to go some to exceed Quatermain’s.
Generously Holly offers any profits from publication as a reward while underwriting any possible loss. That was real Haggard accepting that bundle on Quatermain’s part.
Rounding out the baloney the editor says:
Of the history itself the reader must judge. I give it to him, with the exception of a very few alterations, made with the object of concealing the identity of the actors from the general public, exactly as it has come to me.
As a reader my judgement is that it is an excellent whopper but I don’t believe a word- or do I?
The frame continues:
With slight [five pages] preface, which circumstances make necessary, I introduce the world to Ayesha and the Caves of Kor.
Ready when you are, C.B.
An excellent, convincing framing device. The Editor must be Allan Quatermain yet the name of the editor is concealed from us as well as the identities of the actors. Where we are going is mystery piled on mystery, the strange and wonderful lie before us, we in complete safety.
So with Burroughs framing device of Tarzan Of The Apes. While not copied word for word certainly idea for idea. The influence of Haggard is apparent but not paramount. Burroughs’ mind was a maelstrom into which innumerable influences (a slight exaggeration) are drawn to the depths of his subconscious and emerge melded into something so close and yet so different than his many, many sources.
Having roped the reader in like a carnival barker luring the victim into his peep show Haggard begins to lay out his nearly perfect story of the type.
Part B follows.
I, Dynamo 