Chap. 6, Marianne Faithfull: Faerie Queene Of The Sixties

by

R.E. Prindle

Chapter 6

Orders From Headquarters

This chapter will center around the Global Communist Cultural Revolution phase kicked off in 1968 while being managed by Mao Tse Tung who replaced the Russians as managing director.

The purpose of the CR was to destroy the Bourgeois past replacing it with itself. Hence Ira Levin who wrote Rosemary’s Baby in which Satan’s child is named Andy posited 1966 as the Year One much as the failed new dating of the French Revolution of 1789. ‘89 was the Year One of that Revolutionary calendar. Perhaps in preparation for the CR in 1965 in the US new immigration reform was pushed through Congress that opened the gates of the US to the world, especially Africa, Mexico and the East. By 1968 West and East Asians were flooding into the country. As seems obvious now this was with the intent to subvert and destroy the Aryan hold on the US.

In his song Bob Dylan would sing: In the museums infinity goes up on trial, in an opening blast on destroying past culture as displayed in museums. In China Mao was less timorous as huge gangs of the Red Guards coursed through museums smashing irreplaceable cultural artefacts. They even invaded peoples homes ransacking the houses destroying anything of value. Culture bearers such as college professors or any educated persons were rounded up and sent out to reeducation camps to work at manual labor; tens of millions were murdered outright. Regular people were called before neighborhood re-education cells to confess their bourgeois faults and pledge to Communists faults.

Outside of China local agents were recruited from Communist ranks; college campuses suddenly sprouted Chinese Communist stores selling Mao’s Little Red Book and those pretty little pins sporting a

Chairman Mao Ze Dong

Chairman Mao Ze Dong

gold Mao against a red enameled background. Nice work and cheap too. Any campus that hadn’t been disrupted by ‘Free Speech Movements’ now came under attack by the Cultural Revolution. The end result would be Kent State.

As no one knew what was going on the Cultural Revolutionists seized the institutions beginning to establish the tone, the matrix with which opinions would be considered. This was established in subtle ways that few noticed and even they hadn’t a clue as to who or why. The Revolutionists had seized the cultural venues of movies, TV, newspapers, magazines and music, or, recordings. One of the key units in recorded music was the Rolling Stones. Mick was a Communist, at least since his London School of Economics days.

Even before the Redlands Bust he had been bleating that victory was his side’s because ‘they had the kids’ in the palm of their hands. The bust had been a cold douche that rankled Mick to his core. The revolutionists were of the mind set that they were going to fight and win and never lose. Thus the mild reprimand of the bust struck Mick as foul play, an unforgivable insult and injury.

Many people in the US were brought up short when their outrages were tried and sentences passed. I know people who went to prison for their outrageous criminal acts. They were considered martyrs. They couldn’t comprehend what they had done wrong anyway. Of course, by their own revolutionary lights what they had done was right; unfortunately the law, the authorities and the people, who Nixon called the Silent Majority were not of the same mind.

Mick found this out to his chagrin although he vowed revenge. Like Sigmund Freud and many another if he couldn’t move the higher powers he would enlist the aid of the lower. Thus after escaping his prison sentence the Stones metamorphosed into Satanic sorcerers for the cover of their Dec. 1968 album, Their Satanic Majesties Request.

Mick After A Lifetime  Walking Down The Long And Winding Road

The title itself was a play on the Queen’s request on British passports for the visited countries to allow the visitor to pass. Thus in the Freudian sense Mick elevated himself to a competing royal status with the crown as their Satanic enemy. One presumes that being a Stones’ fan was the entre into Satanic circles.

Mick was not new to Satanic ideas. He ran with Bob Fraser and Chris Gibbs while having at least met the US Satanist Kenneth Anger who was associated with the West Coast big daddy of Satanists, Anton La Vey. In addition he was probably already known to Donald Cammell who would star Mick in his film Performance and Marianne in his Lucifer Rising.

In June of ‘68 Mick would be recording his song Sympathy For The Devil in studio while being filmed by Jean Luc Godard for his revolutionary film One+One, retitled Sympathy For The Devil. Sympathy was inspired by Satanic Russian novel titled: The Master And Margarita. The novel had been given to him to read by Marianne.

The Master And Margarita

For the promoters of The Master And Margarita the novel is an astounding mind blower. Maybe if you’re Russian and haven’t been exposed to the stunning variety of truly astonishing unending mind blowing fiction and movies of the US. The cultural scene in Russia was primitive compared to the unbroken line of development in the West where very few limitations, none actually, were placed on expression. Bulgakov has his Satanic girls running around without clothes as though that were something not routine in the West. I mean, beginning in the sixties there was a pornographic explosion. Movies were made that would have made the Marquis de Sade blush. That poor guy was egregiously defamed according to current standards. De Sade’s puerile novels were thrown into the shade. By 1972 a movie like Deep Throat was being shown in legitimate theaters to the general public. How’s that for a cultural revolution?

Before the wars we had Edgar Rice Burroughs whose female characters on both Earth and Mars ran around robust except for a few ornaments. Woo woo Bulkagov.

My god, we had the Shadow and Doc Savage and then in the thirties comic books were invented. Superman was born the same year I was in 1938 but he grew up faster and already had a job by 1948 while I was sitting in the orphanage as a kid. Superman, Batman, Capt. America came in a flood of characters that was unceasing. There were marvels presented every month that exceeded anything Bulgakov can come up with. And then…and then…William C. Gaines at EC Comics (Educational Comics, and what an education it was) came out with Tales From The Crypt with its copycats. You want to talk about mind blowing!!! There I was a ten year old kid permeated with terrific pornographic images, sadistic violence and mayhem that even I said, reading on, they shouldn’t let ten year old kids see this. I don’t know what kind of brain damage they did but I feel OK. But they did and I read every single story. Now that was mind expanding.

Of course the parents of America did catch up with Gaines forcing him to withdraw the comics. Then as if to thumb his nose at the United Parents of America he created the aptly named Mad Magazine. Boy oh boy, those were the days. Never see those again.

And then the science fiction through the fifties. My god. There was school and there was school and the best school was the sci-fi. Arthur Clarke’s Childhood’s End, John Wyndham’s Midwich Cuckoos and its two movies The Village Of The Damned and the sequel Children Of The Damned. I mean, Jack Schaefer and William Tenn. Try to top those two. The movie Dr. Strangelove Or How I Learned To Stop Worrying And Love The Bomb. Christ! And for God’s sake the stunning James Bond movies. I could go on an on. The clearly Satanic Bus Stop TV series. Jesus Christ! All the scripts could have been written by Charlie Starkweather. All that and more. Much, much more before 1967 when M&M was published. Since then, I mean, have you seen the TV shows Dexter or Breaking Bad? Hell on wheels, guys, hell on wheels. All men to their battle stations. It’s not that M&M isn’t decent sci-fi/fantasy/horror, but that’s all it is. Doesn’t even compare with Bram Stoker’s Dracula. But, then, maybe I’m over educated. Still, I think of myself as an average All American Boy.

Hey, have you seen A Giant Crab Come Forth? I have. Have you seen a single octopus tentacle demolish the city of San Francisco? I have. Have you seen the eggplant that ate Chicago…I could go on.

I don’t know how deeply or extensively the Russian author Mikhail Bugakov’s novel has penetrated the Western mind. It was certainly unknown in the sixties except to the initiated. Definitely not a best seller. I can’t remember ever hearing of it until the turn of the century when references to it as a literary marvel began popping up in my reading. In 2010 the book was published as a selection of the Folio Society of which I have been a long time member and so I acquired a copy. I have read it twice and while I recognize its purpose I am unimpressed with it as a novel.

Essentially a manual of social deconstruction the book is being heavily promoted in Communist circles. In Russia the book has been turned into a TV series, at least a couple movies and several stage plays for Western consumption.

In addition to the book I have acquired a three disc set of Vladimir Bercko’s film version and the TV series. The blurb on the back cover gives some idea of what the book means to its promoters:

Quote:

…An imagined world where one’s consciousness actually perceives and experiences sorcery. The Master And Margarita by Mikhail Bulgakov, the novel on which this film is based, is a rare, mind-expanding pleasure, a journey whenever one takes and reads. The book is about the great, burning, perennial areas of the human predicament, story of the Christ, seen by Matthew, Judas and Pilate; the tale of Faust’s pact with the devil; the confrontation between individual genius and the demands of an ideologically driven State; the meaning of entertainment in society; and the love of man and woman. Bulgakov is an early precursor of the literary genre of magic realism exemplified by the South American writers Jorge Luis Borges and Gabriel Garcia Marquez.

Unquote.

The above seems somewhat overblown to me; about the only thing I would agree to unequivocally is that it is of the sci-fi/fantasy/horror genre. Its actual purpose is as a manual for disrupting society, of cultural upending; in other words, of furthering the Cultural Revolution.

After the novel was finished , in a long post-climax, this passage is inserted into the novel.

Quote:

…the two blackguards marched down the asphalt path under the lindens straight to the veranda of the unsuspecting restaurant.

A pale and bored citizeness in white socks and a white beret with a nib sat on a Viennese chair at the corner entrance to the veranda, where amid the greenery of the trellis an opening for the entrance had been made. In front of her on simple kitchen table lay a fat book of the ledger variety, in which the citizeness for unknown reasons wrote down all those who entered the restaurant. It was precisely this citizeness who stopped Koroviev and Behemoth.

‘Your identification cards?’ She was gazing in amazement at Koroviev’s pince nez, and also at Behemoth’s primus and Behemoth’s torn elbow.

‘A thousand pardons, but what identification cards?’ asked Koroviev in surprise.

‘You’re writers?’ The citizeness asked in her turn.

‘Unquestionably,’ Koroviev answered with dignity.

‘My sweetie…’ Koroviev began tenderly.

‘I’m no sweetie,’ interrupted the citizeness.

‘More’s the pity,’ Koroviev said disappointedly and went on: ‘Well, so, if you don’t want to be a sweetie, which would be quite pleasant, you don’t have to be. So, then, to convince yourself that Dostoevsky was a writer, do you have to ask for his identification card? Just take any five pages from any one of novels and you’ll be convinced, without any identification card that you’re dealing with a writer? And I don’t think he even had an identification card, what do you think?’

‘…You’re not Dostoevsky,’ said the citizeness who was getting muddled by Koroviev.

‘Well, who knows, who knows,’ he replied.

‘Dostoevsky’s dead.’ Said the citizeness…

‘I protest!’ Behemoth exclaimed hotly. ‘Dostoevsky is immortal!’

‘Your identification cards, citizens,’ said the citizeness.

Unquote.

This passage served as a blueprint for obstructionists. Passing into common use by the late seventies Village Fucks of this variety harassed innocent clerks to distraction. As an instruction manual how then did the book fit into the continuum of the proto-Cultural Revolution from the end of WWI to the present, for there is a question of authorship found here.

The passage concerning Koroviev and Behemoth might well have been written by the Dadaists of the Café Voltaire in Zurich. Their efforts were meant to disorient European culture, knock it off center. Themselves Jewish they were followed by the establishment of the Jewish Critical Theory school in Germany. Critical Theory meant that European customs, ideas and politics were to be denigrated whether virtues or vices as though by superior beings viewing from above and apart. This led to the debunking school of the twenties in the US by which all American heroes were attacked turning their virtues into vices and vices as evidence of ghastly criminality. Eventually the Critical Theorists would leave Germany migrating to the US en masse along with the entire Freudian psycho-analytic establishment. How this must have cheered Hitler.

One then begins to see the similarities between The Master And Margarita and this Jewish continuum. The protagonist of the novel was Satan going by the name of Woland (Woe to the Land) who was a master hypnotist dealing in counterfeiting.

Woland is almost a duplicate of Fritz Lang’s Dr. Mabuse who was also a counterfeiter and a master hypnotist. He also was out to destroy European society. Lang’s first effort was the silent flick Dr. Mabuse: The Gambler of 1922 which it is possible Bulgakov might seen but the events of the Russian Civil War make that improbable. There is no chance that Bulgakov could have seen Lang’s talkie sequel of 1933 The Testament Of Dr. Mabuse in which Dr. Mabuse having been placed in an insane asylum in 1922 has hypnotized his analyst, Dr. Baum, through his writing, into carrying out his subversive schemes. While Bulgakov couldn’t have been influenced by Lang the similarities are so close one may posit a central organization directing the publication of books and movies of this sort. This becomes more evident when one looks for similarities in the US.

In the US a coordinating agency had been founded in 1906 called the American Jewish Committee, the AJC, under the direction of Jacob Schiff and Louis Marshall. Those are two names that don’t mean much outside of Jewish circles but they should. Louis Marshall’s collected correspondence is very interesting.

Now, the Great War of 1914-18 devastated Europe to be following by the greater devastation of WWII from approximately 1938 to 1945. At the same time in the Far East Japan opened hostilities that engulfed and unsettled that area beginning in the 1930s also through 1945. Hostilities continued in China through 1950 between the Communists and the Nationalists aided and abetted by massive shipments of US arms which even though granted to the Nationalists passed directly into Communist hands and then the Korean conflict began that ran through 1953.

In contrast the US and North America were not directly affected by these wars allowing permitting a unique uninterrupted culture to develop.

This period also coincided with astonishing technological advances that only the US was able to take full advantage. Thus radio became a reality beginning in the twenties although it didn’t become commercially effective until the early thirties. Perhaps even more significant was the introduction of sound to movies. The talkies made movies the most effective propaganda tool available until the emergence of television in the fifties.

As is probably not all that well known TV was commercially feasible in the late thirties but WWII postponed its introduction into homes until after the war.

Significantly the first successful talkie was the Jewish themed The Jazz Singer starring Al Jolson. Following that would be the series of films featuring the Marx Bros. Their movies would mesh with the Dada attack in art and the emerging Critical Theory school riding over a bed of Freudian psychology. All were direct attacks on Aryan Culture. As Joseph Goebbels told Fritz Lang when he denied a license to show The Testament Of Dr. Mabuse: No government could withstand propaganda if its kind. The truth of Goebbels statement was proven in 2008 with the US election of the Communist Barack Obama. After decades of the most vitriolic criticism and denunciation of US politics and society by the Left, all of a sudden such criticism was denied the opposition who were described as Domestic Terrorists and denied access to the media with the exception of the internet.

So, from 1930 to 1954 the Marx Bros. systematically mocked and vilified as many social institutions and Aryan mores as they could. In Germany before the wars this was called the Kultur kampf or culture wars, an early version of the Cultural Revolution. And of course the same program was carried on in films in general. Naturally it was all denied but now looking at those same films through the new spectacles provided post 9/11 it all seems clear and apparent. One sees with new eyes. Thus there are great similarities between the techniques of the Marx Bros. and The Master And Margarita.

What I consider the greatest of the Marx Bros. movies, although the Marx Bros. didn’t appear in it, was the movie of the Year One, 1966, A Funny Think Happened On The Way To The Forum starring the very Jewish Zero Mostel. The movie was the ultimate instruction manual for the demolition of society that The Master And Margarita follows very closely. Forum appeared in 1966 in the US while M&M was discovered in Russia the very same year #1. A succession of similarly themed movies followed of which the most significant perhaps was the movie Cabaret.

The question of the provenance of The Master And Margarita remains. Its similarities to the cultural trend of the previous decades is too strong to be coincidental. It is possible that in old religious terms the book could be called a pious fraud, something along the lines of The Protocols of Zion.

The provenance is certainly somewhat suspect. According to the legend that is impossible to adequately check, the novel was labored over for ten years by Bulgakov at which time he realized that Stalin would take the novel as a personal affront insuring that it would never be published while he would end up in the infamous Lubyanka Prison where in all likelihood he would receive a bullet to the base of his skull. No, better to put it in a drawer and forget about it until a better day should a better day ever come.

So who was Mikhail Bulgakov? He was apparently a novelist and a playwright. As improbable as it may seem, during the Russian civil war between the Communist Reds and the Royalist Whites after the Great War ended he was on the side of the Whites. In Revolutionary terminology white referred to the white cockade of the French royalists and not the color or their skin. Nevertheless according to legend he was a favorite of Stalin who actually favored this enemy of the State. Wouldn’t let his stuff be published but still thought him a fine fellow worth preserving. Bulgakov survived all the purges so common to the era.

Time passes, WWII, the rape of the German women, the Atom Bomb, the Korean War, the death of Stalin in 1953 while the precious manuscript sits quietly yellowing in its drawer. I might add that five hundred hand written pages fills a good sized drawer.

Beria and Khruschev follow Stalin followed in turn by Leonid Brezhnev and then this astonishing twist of fate happened. From the Orlando Figes Folio introduction:

Quote:

After Bulgakov’s death in 1940, the manuscript was hidden in a drawer by Elena Sergeevna until 1966, when, by one of the most ironic twists in Russian literary history, unknown until recently, it was prepared for publication by Konstantin Simonov, one of Stalin’s henchmen in the Writers’ Union who had taken part in the persecution of many writers before the Khruschev thaw. In 1956 Simonov had been made the chairman of the commission in charge of Bulgakov’s literary estate by the writer’s widow, who was an old acquaintance of Simonov’s mother, Alexandra Ivanisheva. (nee Princess Obolenskaya). Simonov then gave the manuscript ..to his ex-wife Evgenia Laskina, who was the working at Moskva (Magazine)…

Unquote.

To make a long story short, Moskva was a failing magazine and as there was great doubt in Simonov’s mind as to whether it would pass the censorship of now premier Leonid Brezhnev’s stringent rule he, I guess, decided to let his ex-wife take the fall if it didn’t pass. Better her than him and a subtle revenge indeed. But, why even take the chance against apparently insuperable odds.

Well, golly, the book did get past some very stupid or traitorous censors and the rest, as they say, is history, although the time line is very tight.

Moskva published Part One in its November 1967 issue doubling its subscriber list Moscow was so bowled over, and Part Two in January 1968. Now, Marianne received a copy of the translation of the American Grove Press imprint, read it, got it to Mick who by the June recording sessions for Sympathy For The Devil had read and digested it. Not much time in there for the Russian publication, translation into English and publication and distribution by the Grove Press, shipment to England and acquisition by Marianne. I mean, what was the big rush for something that might not sell? Therefore I believe something else must have been uppermost in certain minds. As I said earlier this book reeks of a fraud or forgery. Its happened before. The Donation Of Constantine as an egregious example.

The 1997 Hollywood movie Wag The Dog demonstrated exactly how it is done. In Wag The Dog the President of the US asks a Hollywood producer to stage a phony war to shore up his flagging popularity. The producer does this but as Shakespeare wrote: What a tangled web we weave when first we deceive. As the variables unfold in unforeseen manner the producer’s ingenuity is strained but equal to the task. He creates a war hero who while on the way to the ceremony dies. Consequently he manufacturers a sentimental story about Schumacher, the dead would be hero, who they dub Old Shoe.

The producer contacts a couple songwriters, explains his needs and they come up with an old timey 20s-30s type country cum folk ditty. The performance is doctored to sound like a scratchy old 78RPM.

Now, here’s the key point. It is arranged to place a copy of this forgery in the appropriate thirties archive location in The Library Of Congress. Miracle of miracles the forgery is ‘discovered’ becoming a hit generating a worshipful attitude for ‘Old Shoe.’ Old Shoe is buried in Arlington Cemetery, full military honors and mission accomplished.

There you have it- that was a forgery no different than, say, The Donation of Constantine or The Protocols of Zion.

The question then is why did The Master And Margarita surface in Year One in 1966 in time for the Cultural Revolution already begun actually but not announced by Mao until 1968, Year Three.

Quite simply it was necessary to place an instruction manual into the hands of certain key people and agitators. The passage I quoted at the beginning of this chapter is an example of a lesson. Mick received his copy through Marianne and understood. How then did this unknown Russian novel immediately find its way into Marianne’s hands upon publication of the English translation of Grove Press?

I mean, how did the Jewish translator, Mirra Ginsburg, receive a copy immediately after the Russian book publication. I imagine she didn’t. The window of opportunity between January 1968 and end of May 1968 is too narrow. She must have been involved either immediately after the Moskva publication of Part One or possibly even before. Therefore that indicates a plan by somebody.

We know for a fact that the novel as published was not as written by Bulgakov. We are told that several hands altered the text including various censors. A full sixty pages were deleted in Mirra Ginsburg’s translation to be restored thirty years later…to reflect what?

There is plenty of reason then to believe the book was a put up job or, indeed, intended as a disguised instruction manual for easier distribution to interested parties…like Mick.

Mick when he received his copy immediately began to write or conceive the lyrics for Sympathy For The Devil. Satan the key figure in the novel is a master magician and hypnotist. He hypnotizes virtually the entire city of Moscow. As a refresher on continuity lets remember that Dr. Sigmund Freud was a master hypnotist seeking the destruction of European civilization and so was Lang’s Dr. Mabuse who was based on Freud.

We know that Bulgakov couldn’t have been aware of Lang’s Mabuse and I doubt that Bulgakov was much of a Freudian so that leaves forgery as the most probable explanation. As a point of fact the AJC, American Jewish Committee, has employed a stable of writers in the US since at least the thirties to churn out plausibly academic diatribes condemning those they consider anti-Semites. The AJC was global in scope having been active in European politics from its beginning so it would be easy enough to concoct The Master And Margarita either in toto or possibly a revision and claim to have discovered it in a drawer in 1966 The Year One by one Simon-ov in much the same manner that the fictional ‘Old Shoe’ was discovered in the Library Of Congress.

Jean Luc Godard

In an interview Mick said that the Master and Margarita influenced the writing of Sympathy For The Devil. In the furtherance of the Cultural Revolution Jean Luc Godard of the French Nouvelle Vague school of film makers made his revolutionary movie One+One, reissued as Sympathy For The Devil filming the Stones recording the song. So the Stones are placed in the heart of The Cultural Revolution.

Mick was fully aware of hypnosis as, actually, were a very great many of the rockers, so that he and Keith set the piece to a Samba rhythm. As Mick said in the interview the Samba is a very hypnotic rhythm. Thus, by creating a hypnotic mode everyone would receive the lyrics as suggestion. The suggestion being that the devil is a good fellow and one should have sympathy for him discarding one’s prejudices. There was actually a strong effort to rehabilitate Satan in the years following Year One. It will be remembered that both Mick and Marianne were tight with the Satanist Kenneth Anger who had a huge LUCIFER tattooed across his chest. Marianne would later perform in Anger’s Lucifer Rising while Mick performed a soundtrack for another of Anger’s offerings.

Kenneth Anglemeyer aka Kenneth Anger

Kenneth Anglemeyer aka Kenneth Anger

Mick beginning shortly after Year Three would turn his act into performance art of a highly suggestive nature accompanied by an intentional hypnotic beat with stun gun volume, flashing lights and the stimulated hysteria of the crowd reaction. A proper atmosphere for hypnotic suggestion.

Mick’s vengeance for the drug bust then was to play the Pied Piper to lead the ‘kids’ to their destruction.

Marianne would be a casualty of his mania as she sank into the deepest of depression.

Chapter 7 follows.

Mick Jagger, The Rolling Stones And The Yobbo Revolution

Part III

By

R.E. Prindle

Mick And Keith Come Face To Face With Nemesis

Keith Richards- Face Of The Stones

The sixties were very critical years for the various revolutions that made up The Revolution.  Yet their activities were very disguised to prevent detection.  At no time could they admit who they were or what they were doing.  For Instance the takeover of the university system of the US that began at UC Berkeley in 1964 was disguised as some sort of ‘student protest’ over some supposed lack of or suppression of free speech, hence its name, The Free Speech Movement.  While it appeared spontaneous it must have been a planned maneuver.  I was at Cal State Hayward a couple of miles down the road.  We had library privileges at UC that had one of the spectacular libraries of the world that I used so I was on campus when this noise was going down.  It was quite professional, extremely well organized and no student revolt per se.  The leaders were well instructed in the psychology of crowds.  Something the ordinary person would never recognize.  From UC it spread throughout the US intensifying in the years 1968-72.

Chairman Mao Ze Dong

Nineteen sixty-eight, of course, kicked off the worldwide  Cultural Revolution orchestrated by Chairman Mao’s China.  It was all organized from China.  The Paris fiasco, everything even into remote corners such as the University of Oregon in Eugene was run from China.  By 1968 I was a grad student at UOregon and in the poster and record business.  Some crazed Chinese styled Communists from out on the rural route opened this Communist book store right next to my store.  Needless to say police surveillance increased drastically as I was already under suspicion for selling posters and rock and roll music, literally the devil’s music in fundamentalist Eugene.  As the whole world knew anyone in the record business was also dealing drugs whether they were or not and I wasn’t.  And then the nutty SDS Jews from New York City flooded into town in their hip denims and abetted the Maoists.  This increased the fun.

Wait a minute now, there’s more.  Eldridge Cleaver and the loony revolutionaries in the Bay Area were conducting open

Eldridge Cleaver

warfare, guns and bombs you know,  with the Feds and local police that naturally enough led to the arrest of such Negro revolutionists.  But then, quite naturally, Eldridge escaped from maximum custody or something just like it and disappeared.  No one knew where he was and they really wanted to.  He didn’t surface for a few weeks so in the interim where did they look for him?

I hesitate to say this because I know you’re not going to believe it.  They asked me if I had him hidden in my four hundred square foot record store.  You see the logical progression, revolution= rock and roll= dope, Marxist store next door- where else is Eldridge going to hide, right?  The store was an open square with a two by four enclosure for a toilet in the right corner.  I pointed out to the cop that he was already looking at the entire store and he could see that there was no Eldridge Cleaver.  But he wanted to check the 2×4 enclosure.  I knew better than to laugh but I could barely contain myself.  The cop opened the door to find himself staring into a toilet bowl.  Eldridge cabled from Algeria shortly after.

I certainly was not aware of revolutionary activity per se or else I couldn’t take their stuff seriously but looking back things remained on red alert until at least ‘72.   For the election of the second Nixon term, which I now see as serious potential danger, I saw them move several truckloads of Army troops out beyond Spencer’s Butte.  One might say Mick Jagger and John Lennon, and I say this modestly in a local way, myself, had them worried.

I’ve always respected the intelligence agencies but placing me in the same category with Mick and John makes me have some doubts.  I had no revolutionary or drug connections.  It wasn’t that they couldn’t find them, as they thought, they didn’t exist.

There you have it, ‘68 was the crucial year.  The authorities in both Europe and America were aware that something was going down.  They were  not taken by surprise.  The Stones were.

They might have asked why are they busting us in ‘67 when they had plenty of cause for at least three years.  Undoubtedly in an attempt to defuse the ‘68 show as much as possible.  The direct action of the revolution failed so whatever counter revolutionary action the authorities took voided that while the revolutionaries themselves misgauged their popular support by a little more than somewhat.  There were only a few fanatics backing them.  The ‘kids’ were just not that dissatisfied.  We were getting plenty of satisfaction.

According to Tony Sanchez/John Blake in their Up And Down With The Rolling Stones Mick fumed thusly after the ‘67 bust, p. 62:

I see a great deal of danger in the air.  Teenagers are not screaming over pop music anymore, they’re screaming for much

Tony Sanchez

deeper reasons.  Pop music is just the superficial issue….When I’m on that stage I sense that the teenagers are trying to communicate with me, like by telepathy, a message of some urgency.  Not about me or our music, but about the world and the way they live.  I interpret it as their demonstration against society and its sick attitude.  Teenagers the world over are weary of being pushed around by half-assed politicians who attempt to dominate their way of thinking and set a code for their living…..This is a protest against the system.  And I see a lot of trouble coming in the dawn.

I don’t know about Mick’s mental telecommunications but the message he was getting was maybe being scrambled by some alien force.  Apart from some experts at crowd control and excitation there wasn’t that much interest in fighting in the streets.

Mick remained pugnacious personally, according to Sanchez/Blake:

They think they can break us, man, but no way.  We’ll take everything that they can throw at us, and we’ll still win.  We’re in a position to tell the kids about all the shit that’s going down, and that’s just what we’re going to do.

Mick was smoking some powerful stuff while taking the teaching of the London School Of Economics a little too seriously.  He should have said ‘some kids’, by no means all the kids were concerned with the Stones while as the events in Chicago during the worldwide insurrection  of ‘68 showed that concentrating on sex and drugs was not conducive to direct political action.  ‘The kids’ made a poor showing.  Besides which teenagers were only a part of the rock audience; most of us were at least over twenty.

Nor in ‘72 in Miami after much hoopla and the expenditure of large sums of John and Yoko’s money was there much of an insurrection.  Keith in his auto of 2010 speaking of 1985 and 1972 had this to say about that on page one no less.

Every copper wanted to bust us by any means available, to get promoted and potentially rid America of these little fairy Englishmen.  It was 1975, a time of brutality and confrontation.  Open season on the Stones had been declared on our last tour [that of the inflatable penis], the tour of ‘72, known as the STP.  The Department had noted riots (true), civil disobedience (also true), illicit sex, (whatever that is) and violence across the United States.  All the fault of us, mere minstrels.  We had been inciting youth to rebellion, we were corrupting America, and they ruled never to let us travel in the United States again.  It had become, in the time of Nixon, a serious political matter.  He had personally deployed his dogs and dirty tricks against John Lennon, who he thought might cost him an election.  We…they told our lawyer officially, where the most dangerous rock-and-roll band in the world.

Richard Nixon

Kind of tells it like it was.  I was in the record business, considered an arch liberal, and I thought the Stones were attempting to corrupt the US if not succeeding.  I mean, you have only to look at the original picture inside their Black And Blue album to confirm that.  The Stones, Lennon-Ono, Dylan, the outlaw groups like the Baader-Meinhoff gang, the Weathermen, the Red Brigades and their ilk saw the world through some drug induced mental haze in which the finest, most just, most democratic and widest opportunity society the world had ever seen and will see was just the opposite of repressive and undemocratic.

I mean, I had been pushed down hard in life, I come from the orphanage, and I still made a major success in the record business and that was against the wishes, not of the system, but the people, the shitheads, I had to deal with.  Good god, you have to bully the bullies, elude their repression.  It will never be any other way.

Whence came such a bizarre interpretation of reality.  As the German politician in the movie, The Baader Meinhoff Complex thought, the insurrectionists were motivated by a myth.  The Robin Hood Complex.

Yes, by a sense of materialistic frustration which they justified by the myth of Robin Hood.  The problem was the same as the Negro insurrectionists in Watts.  The range and quality of material goods increased on a daily basis continually out of reach.  Yobbos like the Stones with no discernible abilities other than to write trite lines of lyrics and play hashed over music taken from nearly musically illiterate street corner Negro bands were realizing their material fantasies.  What did they do in their rebellion in Watts?  Break into stores and steal Tvs and stuff.  Mere economic frustration.  The Beatles were buying Rollers then desecrating  them with psychedelic mockery.  Richards himself driving without a legitimate license bought Rollers and smashed them up with glee laughing as he skipped away to avoid arrest.  Keith was living the Yobbos dream.  Baader-Meinhoff tried to replicate the dream by stealing Mercedes to go joy riding through the night.  Same thing the Negroes were doing.  That was what the revolution was about.  To revel in cash money as the Stones, Beatles and other rockers did they robbed banks to ease their frustration.  A leading hatred of the revolutionists was Consumerism.  In other words there were more goods than they could come up with money to buy.

Then, as that would garner no sympathy from hardworking people who looked on the cynosure of their eye- the Mercedes and Rolls Royces  being destroyed- with horror the gang claimed to be expropriating the expropriators a la Robin Hood and many another criminal but they bought no Thanksgiving dinner for the starving a la Pretty Boy Floyd.

Did the Stones believe the authorities so stupid that they didn’t know what was going on?  Apparently so.  Didn’t the Stones realize that they were merely taking advantage of the system the claimed to despise?  Apparently not.  The intelligence agencies infiltrated even the one man organizations of a nincompoop without a chance of success.  I was invited to join one by agents in which the ‘mastermind’ was the only non-agency member.  What are you supposed to think?

Who was this cocaine supplier to Keith, Freddie Sessler, if not a government agent?  I’ll go into him later.  Ask yourself, who can obtain unlimited quantities of sealed Merck cocaine containers if not government agents.  Some believe that during the sixties the availability of LSD was provided by the CIA/FBI.  There was so much LSD coming out of UC/Berkeley and Stanford programs that the whole Bay Area could have been supplied.  Who was Owsley?  Ask yourself.

The Agencies were funding programs by importing Indo-Chinese heroin also plentiful at that time.  What was the result of plentiful Acid, Cocaine and Heroin?  Incompetent malcontents.  Work it over in your mind.  Think about it.  Electro-shock therapy?  There’s a good one; scrambles your brain forever.  Then add Acid and Heroin.  Whoo-ee baby.

Anyway, the authorities knew what the Stones, Warhol, Lennon-Ono and the revolutionary crowd were up to.  If the West had been the Soviet Union the whole lot would have been shivering the winter through out in the gulag instead of making millions riding giant inflated penises.  Hello Mick, are you listening?

Andy Warhol

But, back to 1967 and the Redlands bust.

It is difficult to know exactly when Oldham and the Stones appeared on the authorities radar.  A reasonable assumption would be perhaps sometime in late ‘64 or early ‘65.   On the other hand Mick associated himself with David Bailey who probably was politically active since the late fifties who then drew Mick into a revolutionary circle including Andy Warhol in New York.  Perhaps some sort of notice was taken at that time but probably of a cursory sort.

Why the Stones would have gotten a shot on the Ed Sullivan show isn’t all that clear to me; they had no reputation in the States at all.  Or, for that matter why the Beatles got a shot.  Nor why Dave Clark and all the early Invasion groups were hooplaed and accepted so readily as the next big thing by the Sullivan show.  Obviously something was going on behind the scenes that we aren’t aware of.

Ed Sullivan

At any rate the Stones got their shot making a not overly favorable impression; definitely inferior to the Beatles although, as we were informed, top competitors of the Beatles over in England.  Well, bully.  Somebody must have figured out a money angle and it wasn’t in records.  In ‘64 a top selling record was 250,000 copies or a million dollars retail.  That was the definition of a million seller.  And there weren’t a lot of those.

Even drugs were not yet that prominent although the use of grass had been spreading since the fifties.  An elite clique in my high school in Michigan was covertly smoking it in 1956 imitating the kids in Scarsdale New York who were apparently leading the curve.

Pharmaceuticals and psychedelics were in use while I was in the Navy ‘56-’59 but not that widespread.  Then in the ‘60s psychedelics came into fairly widespread use.  I had no idea that amphetamines were practically universal in NY during the early and mid-sixties.  LSD became a phenomenon early in the sixties with Leary given the most attention at his post at Harvard becoming the spokesman for turning on, tuning in and dropping out.  One way streets were becoming ubiquitous at the time too.  That phrase may have sounded the alarm for the authorities as multitudes actually did drop out becoming rather a useless burden on society.  I can tell you, Haight-Ashbury wasn’t all that cool.

That ought to have been about ‘65-’66 when the revolution itself was gathering steam.

Mick, of course, was a political revolutionary committed to the cause while his lyrics are a negative portrayal of society if not a put down.  Richards was soured on society at age 13 or so when his voice changed.  He had been a boy soprano at his school where he and two others were so excellent that they won many prizes.  In the process they were excused from certain classes. Then their voices changed and naturally enough they were given their walking papers.

At this point their award winning efforts were thrown back in their faces as they were demoted in grade to make up the classes from which they had been excused.  The trio might have tutored to bring them up to speed but Keith felt that had been discarded like so much refuse.  Society made itself an enemy who as time would prove would be able to wreak his vengeance with effect.

Keith accepted adoption by the revolutionaries as one being shown the inner sanctum of the Red Brigades of Italy and other revolutionary groups.  So he and Mick were more or less of one mind.

Actually by even playing rock music in the fifties and sixties would be to know that he was infuriating the teacher class that had wronged him.  Rock was the devil’s music.  The notion that rock was part of the Communist conspiracy to corrupt youth was fairly widely believed, speaking of the US.  Folk Music was held to be subversive and there is a fair amount of truth in both assertions.

Certainly the Reds didn’t invent Rock but they quickly took advantage of it to inculcate their doctrines.

After the assault on youth in the late fifties when even Dion of the Belmonts was toned down by Mitch Miller and Columbia, the ‘sweet Jewish rock ‘n’ roll of Carole King and Bob Crewe’ and the promotion of a series of bland ballad singers rock seemed to have been contained by the reaction.  In Britain the pop scene had been managed so that only bright, pretty faces and perky personas were universal.

The Stones in a very rebellious revolutionary manner broke that mold.  On their entry to the United States they struck people as somehow dirty, compared to the Beatles I suppose.  They were actually more repulsive, although that might have been Oldham’s hype,  although not so much so as The Animals who absolutely horrified the old guard so that it seemed like the scruffy and scruffier were seizing the youth.  And of course even on their first Sullivan appearance you could easily see that Brian Jones was under the influence of something.  So the Stones may have come under suspicion by the authorities sometime in 1964.

Before 1965 pot and drugs were still somewhat clandestine among youth but by 1965 and after especially with the surfacing of Haight-Ashbury at least pot and LSD were endemic.  In very early ‘64 I used to know a guy who kept a bowl of LSD tabs on his living room table.  Of course that was Berkeley.  In those days acid was considered a sacrament or some kind of transcendental experience.  While not that common the experienced walked around like they had been transformed from ordinary mortals into demi-gods.  They wouldn’t talk to anyone who hadn’t dropped.  It was quite a sight to see although I never indulged myself.

There was one golden moment of, oh, perhaps a half a second in 1966 when the essence of the ‘60s came and went.  It was short and quick and even if you got it it was gone before you could grasp it, little golden shimmers filtered through your fingers and that was that.  Sic transit gloria and away we went to Altamont.  But I anticipate myself.

You’ve heard of the Generation Gap and that was real.  Nineteen thirty-eight when I was born was the year of the lowest number of recorded births in some time. We weren’t as rare as hens teeth but even the war babies out numbered us and when they were born half the male population was overseas, so you figure it.  Somebody was having a good time.  Then in 1946, of course, when the men who survived began to return the population really began to boom, hence baby boomers.  So, there was this gap between a huge youth and an older population.  The old folks didn’t like us and, well, the relationship was difficult, kind of like between Martians and Earthmen.

The Stones had that jungle beat the old folks couldn’t tolerate.  Shucks, the Stones hadn’t even heard real Negro music.  All they knew was Motown and that Chicago shit blues music that no one in the US would even listen to.  I owned a record store beginning in ‘67 and, let me tell ya, you couldn’t even give that stuff away and that includes Robert Johnson.  Oh sure, some stumblebum blues aficionado would shuffle in to ask for Lightning Hopkins, Little Walter or something like that but when you stocked it they would only fondle it say something like I like knowing it’s here.  To hell with those guys.

This was a university town and these fanatics would actually bring Lightning Hopkins, for instance, to town for a concert before twenty people in somebody’s living room.  Those guys couldn’t play guitar and they couldn’t sing.  Leadbelly!  Spare me.  Memorized Carl Sandburg’s American Song Bag.  I never could figure it out.

Shoot! The Stones missed out on the real thing.  They should have been in Oakland in ‘60 to ‘66 where I was.  Boy, we had the real thing.  The most godawful stuff you’d ever want to hear came blasting out of KDIA.  White disc jockeys though.  The Stones could have learned a lot.

The jungle beat might have garnered them some real attention.

Louis Malle

But then, under Andrew’s urging the Stones began to write and compose their own songs.   These were often cruel sexual songs expressing the desire to oppress and hurt women or else mocking the older generation.  Very strange, unsettling stuff at the time.  Now everyone has been unsettled, can’t move them now.  As Jagger and Richards, who wrote the songs, found their way in songwriting, the songs became ever more revolutionary while they meshed with a slew of revolutionary movies released during the mid-sixties on.  These were often coded plans of action that an agitator provided with the key could decode for other revolutionaries and direct action. Such a key movie that was very influential for the Baader-Meinhoff gang and among German revolutionaries in general was Louis Malle’s Viva Maria.  While on the surface a nonsensical even stupid movie when one has the key the movie becomes coherent indeed.  Part of the Matriarchal Revolution for starters, but watch it.

Jean Luc Godard, another Nouvelle Vaguer  also filmed  the very propagandistic film One + One (reissued as Sympathy For The Devil) built around the Stones song of the same title.  There was also a slew of satanic movies such Roman

Jean-Luc Godard

Polansky’s Rosemary’s Baby that aimed at undermining Christian Beliefs.  I Am Curious: Yellow that aimed at destroying female chastity.  But more of that in the appropriate place.

So, by ‘67 the time of the bust the Stones were building up a dangerous reputation.  Always remember that all of these outfits were infiltrated by espionage agents.  And those guys were the ones bringing in the dope so how couldn’t the authorities know what drugs the Stones were using and in what quantities. Nice calling card, isn’t it: an unopened ounce of Merck cocaine?

At any rate they decided in 1967 to rein  the Stones in a little bit.  Shoot the old warning shot across the bow.  Also remember that as much as the authorities wanted to suppress the Stones there were just as many Communists or revolutionaries in just as high places to thwart their efforts and actually place the Stones above the law.  Their credo: To revolutionaries all things are permitted.  Now, you figure it out.

In point of fact the older generation just couldn’t understand the youthful attitude.  Everything was going along swimmingly as far as they were concerned.  The war recovery was proceeding nicely while the economy seemed stabilized, no return of the Depression.  That’s what really scared them and now the little creeps benefiting from this wanted to destroy it.  Go figure.  That high point of Western Civilization has been subverted today.

As far as the bust at Redlands the authorities were just giving the Stones a good razzing, a taste of what could happen if they were serious.  In all likelihood they probably had no intention of making Jagger and Richards serve their sentences.  Robert Fraser, the art dealer, arrested with them, was a different situation.  He was a member of the establishment having held high military responsibility in Kenya possibly during the Mau Mau insurrection.  Therefore he had no excuse whatsoever.

The Stones are quite right that it was a setup.  The supposed dope dealer, the American Jew Schneiderman was quite obviously a CIA plant, hence his unlimited supply of pharmaceutical Acid.

Rees-Mogg’s editorial ‘Who Breaks A Butterfly On The Wheel’ was obviously an inside joke as well as well as an insult to the effeminate Jagger.  One doesn’t take butterflies seriously hence they were calling Mick a little twit.  Why bother with someone so inconsequential?  Mick and Keith don’t seem to have understood this.  Indeed, Mick, according to Tony Sanchez blubbered:

They think they can break us, man but no way.  We’ll take everything they can throw at us, and we’ll still win.  We’re in a position to tell the kids about all the shit that’s going down, and that’s just what we are going to do.

Well, bravo, Mick.  But you might have been speaking from jail, a rather poor pulpit, had they  chosen to put you there while you were not speaking for ‘the kids’ just the yobbos who weren’t going to do anything.

Then according to Sanchez/Blake Mick launches into a clairvoyant séance:

I see a great of danger in the air.  Teenagers are not screaming over pop music anymore.  We’re only serving as a means of giving them an outlet.  Pop music is just a superficial issue…When I’m on that stage I sense that the teenagers are trying to communicate to me, like by telepathy, a message of some urgency.  Not about me or our music but about the world and the way they live.  I interpret it as their demonstration against society and its sick attitude…This is a protest against the system.  And I see a lot of trouble coming in the dawn.

So did the authorities and they were taking measures if not to avert it at least to minimize it.  I fail to see how the Paris imbroglio of 1968 took anyone by surprise.  I mean, there was no organization not infiltrated by the intelligence agencies.  The Chinese Cultural Revolution of which Paris and the rest was part, was directed from Beijing so the West’s intelligence agencies had to be well informed.  But as the enemy was their own children they had to be sparing in the use of force.  Even Chicago that would have been a great excuse to eliminate the proven troublemakers wasn’t used.  Instead we ended up with the farce of the Chicago Eight trial.

They should have just dumped on them.  No one was going to riot; those creeps didn’t have that much sympathy.

And then just to show Mick how little they thought of him they sent a helicopter to bring him to them for a little mocking chat.  A helicopter: give me a break.  Keith does have this to say about that in his autobiography Life of 2010:

The same day we were released the strangest TV discussion ever took place between Mick- flown in by helicopter to some English lawn- and representatives of the ruling establishment.  They were like figures from Alice, chessmen: a bishop, a Jesuit, an attorney general and Rees-Mogg.  They’d been sent out as a scouting party, waving a white flag, to discuss whether the new youth culture was a threat to the established order.  Trying to bridge the unbridgeable gap between the generations.  They were earnest and awkward, and it was ludicrous.  Their questions amounted to:  what do you want?….They were trying to make peace with us, like Chamberlin.  Little bit of paper…Yet you know they’re carrying weight, they can bring down some heavy duty shit, so there was this underlying aggressiveness.  In a way they were begging Mick for answers.  I thought Mick came off pretty well.  He didn’t attempt to answer them; he just said, you’re living in the past.

They flew Mick in a helicopter.  It was a mocking importance and it came off that way.  I saw the bit at the time and came to some different conclusions than Keith.  Mick staggered out of the chopper and had to walk across a broad expanse of lawn as though a suppliant to the haughty waiting establishment, sort of like going to see the school principal.  They awaited on the patio of a huge house.   It was the back door and Mick wasn’t even invited into the kitchen: he was treated like a servant or better yet, a beggar.  Butterfly indeed.

They were condescending enough to make your bones ache,  Rees-Mogg, one of the establishment, included.  They asked the spokesperson of the generation:  What do the kids want?  Mick flopped.  He just stuttered.  Keith may have thought he came off well but at my end of the tube I burst out laughing.  As far as I was concerned Mick humiliated himself, but then, it was planned that way.  All the power was on their side; Mick could really only stand like some penitent school boy and that’s pretty much what he did.  Mick wasn’t and couldn’t have been prepared.  The deck was stacked against him.  But then he, in his turn, shouldn’t have blustered in the aftermath.  I wonder if he had to walk home as the heli lifted off without him.  That would have been the usual part of the trick; to leave the victim stranded.

In their own way the establishment succeeded in that they knocked the Jagger-Richards writing team off center.  Or possibly the duo had exhausted their first momentum, much as Dylan had done and had to regroup as Dylan did.  Keith acknowledged that they were dry after the bust.  As he says the duo was able to find a new center that was just as successful, perhaps moreso, than the first.

The revolutions were still on and about to reach their first climax.

William Rees-Mogg 1967: An interesting article about the case:http://www.nickelinthemachine.com/2008/09/brixton-prison-and-mick-jagger/

Next:  Leading to Altamont