A Review: DVD, Everybody Went To Max:

Remembering “Dr. Feelgood”, The Merlin Of Kennedy’s Camelot

A Documentary Biography By Martin Kasindorf

by

R.E. Prindle

Kasindorf, Martin (auteur):  Everybody Went To Max:  Remembering “Dr. Feelgood,” The Merlin Of Kennedy’s Camelot, 2013, Los Angeles

Lertzman, Richard A. and Birnes, William J.”  Dr. Feelgood, 2013, Sky Horse Publishing

One of the most interesting back stories of the sixties is that of Dr. Max Jacobson, the first of the amphetamine feel good doctors.  Until Spring of this year when both works above appeared getting information on Jacobson and the feel good doctors was a laborious process of going through many autobiographies written by his patients.  Now we have a fair rush of information.

I have already reviewed the Dr. Feelgood book and here offer some commentary on Everybody Went To Max and everybody includes the auteur, Martin Kasindorf, and his twin brother at the ages of 11-14 from 1951 to 1954.  They were recommended to Max by their two aunts who were being treated by Max.  Treated is the operative word here.  Martin’s brother describes how when the aunts returned from a visit to Max one aunt feeling particularly energetic would roast nine consecutive pot roasts.  If the twins partook of the pot roasts in commensurate measure then indirectly Max cured their anemia.

Martin has fond memories of his old doctor thus being dismayed if not offended by hostile evaluations of Max’s career.  Martin’s DVD is his first commercial effort, low to non-existent budget to be sure, but effective as far as it goes.

While Lertzman and Birnes go into some detail, although at 173 pages not nearly enough, Martin’s DVD is a fast skim over Max’s life and career with no interpretation.  A little too fast, actually.  Martin’s collection of pictures, stills and some film clips, are quite good however the transience of the text which he wrote  that handles the details leaves much unexplained.  Without a background on the subject one may be left wondering what it’s all about but with some knowledge the DVD hangs together.  Still, one wishes Martin had taken the time to set a context, that of Max and his amphetamine cocktails, and then broken his subject into manageable chapters or episodes.

Martin briefly mentions types of amphetamines, which are after all central to the story, while a couple of skeleton chains of molecules are flashed on the screen with no identification and none of which apply to the amphetamines he is mentioning.  For a good discussion of what Martin appeared to be trying to illustrate one can refer to Nicolas Rasmussen’s On Speed:  The Many Lives Of Amphetamine, 2008, NYU Press.  If Martin were to bring the subject up it would have been better to present a five minute précis of Rasmussen’s discussion or something like it.

Max’s New York career would better have been put into a historical perspective to make some sense of it.  For instance Max is supposed to have had no interest in money, being nearly a perfect altruist by nature, yet when Anthony Quinn, the actor, began to have medical problems from Max’s treatments and refused to pay him, if one can believe the 18,000 dollar or so debt rung up at 75.00 a shot no less, Max invaded his apartment grabbing a Rodin sculpture in payment.  Unfortunately he was no longer fleet of foot as one of the experimental shots he gave himself had left him crippled in one leg.  Quinn easily ran him down and snatched his Rodin back.

So Max was so spectacular it would be difficult not to make an entertaining video of his career.  Martin could have done better but until he or someone else does Everybody Went To Max will have to do.  Perhaps Martin should try to interest the History Channel in either running his DVD or redoing it to whatever standards the History Channel may have.  Martin may already be ahead of them.

The DVD is available direct from Martin at 9.95 each, address:

Martin Kasindorf

419 Carroll Canal

Venice, Ca.  90291

A Review: Dr. Feelgood By Lertzman and Birnes

Dr. Max Jacobson, John F. Kennedy And Amphetamines

by

R.E. Prindle

Jacobson On Right

Jacobson On Right

Lertzman, Richard A. and Birnes, William J.:  Dr. Feelgood, The Shocking Story Of The Doctor Who Changed History, 2013, Skyhorse Publishing

The outstanding characteristic of 1960s New York is that the city was awash in amphetamines.  The whole city was cranked up.  During the sixties methamphetamines were legal.  Over the counter preparations under various names from major pharmaceuticals had been available from the thirties all through the fifties and sixties as pep pills, diet pills, alertness pills, what have you.

By 1960 the dosages being administered by Feelgood doctors had been changed from minimal to not only maximal but suicidal.  Behind the change were the Feelgood doctors.  Chief of these was the Jewish German expatriate doctor Max Jacobson.  He was abetted by many others, most notably John Bishop aka Dr. Roberts and Robert Freymann aka Dr. Robert of Beatles fame.  Between just these three they distributed perhaps millions of mega doses, primarily to notable figures in politics and entertainment.

As near as can be determined the treatment was conceived by Max Jacobson in his native Germany in the early thirties.  Max was born in 1900.  At seventeen as an untrained assistant he was working in hospitals filled with horribly wounded war casualties.  One can only wonder what effect such horrors might have had on a seventeen year old brain.

During the Weimar period Jacobson became a full fledged doctor.  At the end of the decade he found a use for methamphetamine combined with the emerging discoveries in vitamins.

Amphetamines had first been synthesized by the German chemist A. Edeleano then refined to methamphetamines by A. Ogata of Japan in 1919.  In 1929 Smith, Kline and French began to commercially market amphetamines under the trade name of Benzedrine.

Vitamins began to be discovered and organized in the 1920s continuing through the thirties, so that by the early thirties Dr. Max Jacobson was able to combine amphetamines along with vitamins and such old standbys as monkey glands, types of blood serum and whatever else was handy to formulate his miracle drug and panacea for the world’s ills.

Before he left Germany the Nazis, so we are told, demanded he turn over his miracle formula to them which the authors inform us he did.  So then the logical conclusion is that Dr. Theodor Morrell used Jacobson’s amphetamine/vitamin formula to treat Hitler causing his psychotic reaction and inability to deal with Germany’s war problems.  Thus in the History Channel’s very interesting segment in which they sneer at Hitler’s use of amphetamines they are actually sneering at the Jewish Doctor Jacobson’s magic formula for eternal youth.

But by 1935 Smith, Kline’s Benzedrine began its phenomenal success so that during the Second World War all the combatants were distributing amphetamines to the troops.  The troops of course had no idea what the pills were and if they had it wouldn’t have mattered.  In that context though my step-father served at Guadalcanal, one of the horror spots of a horrendous war.  In one of the few times he discussed his war experience he did mention that the Army used to distribute these pills (he didn’t know what they were) that were meant to keep you alert and awake but he didn’t like the effect and refused to take them.

The bombers over Europe more or less were compelled to use them while in today’s air force pilots have to sign a disclaimer so that if they refuse amphetamines their flight commander can disqualify them for a mission

Mad Max left Germany going first to Czechoslovakia  where he realized his precariousness, then for Paris and finally he fled to the security of the United States with his medical bag and a plan to turn on the world, an early day Timothy Leary.

To place Max in context, while Max acted as an individual he was part of the Jewish collective or in today’s terms, the diverse Jewish Culture.  As a Jew he believed himself one of the elect superior to the other.  Thus he had the desperate need to excel while at the same time wishing to be considered as one of the ‘movers and shakers’, the great politicians, the movie stars, the authors, the entertainers, the luminaries of the world.

The only thing he had to put him there was his concoction which in his more sober moments, if he had any, must have seemed of dubious value even to himself.  Max was nothing but a snake oil salesman, for that reason he had to stay high on his own nostrum lest reality should intrude.  To maintain the mirage he concocted an incredible persona to match his dubious nostrum.  Yes, Max was hooked on amphetamines. Obviously the vitamin doses as huge as the amphetamine masked the effect while moderating the damage of the amphetamines.   Max was an improbable youthful appearing ‘72 after forty years or so of amphetamines, vitamins, monkey gonads, and lack of sleep.  God bless America, hey?  The first one is free and after that….

Max set up business in New York, the celebrity capitol of the world.  Max was Jewish and it appears that his early converts were too.  If you led a strenuous life as celebrities tend to do you deplete your energy pretty quickly.  It can be exhausting.  So, you drop into Max’s office, he plunges the needle in and presto!, the Zippity Doo Dah Moment.  The sun is shining and you go dancing out of the office feeling like a million and high as the Fourth of July.  You go back, you go back again and then you can’t keep from going back.  You tell everyone about the source of your well being.  They go see Max and pretty soon all the Beautiful People in New York, the US and the world are beating a path to Max’s door.  The 707 that made the Jet Set possible was the magic carpet into the future of post-1960.  The whole era just made you high.  Things got big, bigger and biggest.  Money began to multiply by magic.  It was the Sixties, that Magical Time.  John Sebastian asked:  Do you believe in magic?  Sure, why not?  It was the Sixties and magic was happening.  And then to be flying on amphetamines as you boarded the Magic Carpet to place you in the fabled Jet Set…Wow o Wow!  Far out, man.

By the end of the fifties Max had been striding through the stars like a giant Nimrod for so long he was only in a very tenuous touch with reality.  Perhaps he is so out of it he doesn’t know what he looks like.   Perhaps he didn’t create the persona; perhaps it was the inevitable consequence of never having to come down.  John Bishop was the same way.

There is no order to anything he does.  There are no precise measurements of his ingredients.  He even gives instructions to his untrained assistant to mix up the medicine.  I mean, wow, here let me inject you with this stuff, you might like it.  The bottles of ingredients are just strewn around the office higgledy piggledy.  Max looks like he never washes his hands, nails encrusted with dirt, chemicals or whatever, monkey balls, who knows, human placenta, this guy was scary, a living psychotic reaction.  Boy, howdy!  Yeah but Eddie Fisher called him Magic Max because of that muddle.

What a reputation that overcame filth, a bloodstained filthy smock, crap all over the floor, but few turned away.  Oh well, there was that guy who got an injection and went blind for three agonizing days.  When that guy came around he hung up his works and changed his way of living, changed the things he did.  Life saving.

But then, the Eureka Moment Max had been waiting for came in 1960, that magical year, when Chuck Spaulding came to see him to see if he could help his Presidential candidate friend John F. Kennedy who was feeling low and having voice problems.  He wasn’t sure he would be able to speak in his upcoming debate with Richard Milhous Nixon.

Boy, Max Jacobson meets John F. Kennedy.  I saw that movie, but they called it Dracula Meets Wolf Man.  John F. Kennedy and the Curse Of The Pharaohs.  Thanks to Max he was elected; we got him whether we liked it or not.  Watch Max rack ‘em up, first Hitler and now JFK.  Good thing they took away his license.

Let’s pause for a moment to say something of our authors.  Robert Lertzman published Screen Scene magazine while currently he is a director of an internet television network.  William Birnes resume includes being an editor, publisher, literary agent and television producer.  They have conducted numerous interviews while compiling an extensive bibliography.  The have done their homework.

Their primary concern in Dr. Feelgood is to provide an accurate reason for removing Kennedy from the presidency.  They’re not too much concerned with the aftermath of the erasure.  While the Kennedy material is germane to my interests, I am more interested in Jacobson’s motivations and consequences of his experiment in mixing amphetamines, newly discovered vitamins and human and other animal glands.  The glands identify Jacobson as pure quack.

Max first injected Kennedy before the first Nixon debates in which the consensus was that Kennedy annihilated Nixon.  Nixon really lost the election at that time.  Nineteen-sixty was worlds away from the period between the war when vitamins were new.  Max had had plenty of time to tinker with his formula obviously coming up with many variations.  During the forties and fifties Max had been self-medicating and trying any new variations on himself.  He had been flying then for fifteen years or a little more and would continue to so do until his death at the relatively advanced age of 79.  Thus, while addicted to meth Max had enough self control to manage his usage below destructive levels.

Given that self control one hesitates to call him insane still he obviously was not of this world although he had learned to function very well in it.  Eddie Fisher considered him his god while it is likely that Max confused the difference between himself and god.  While patients describe him as kindly that must have been so only when they treated him with the proper deference or, even, reverence.  His special séances after hours when celebrities gathered around in adulation waiting for that special mixture was confused by Max as love rather than addiction.  As will be seen, when the proper ‘respect’ was not shown him he could lash out viciously to the point of murder.

It seems that one would have to be very careful in one’s speech around Max lest one inadvertently dropped a remark he found offensive.  At that point Max reached into his bag of recipes and gave one a stunning rebuke.

Times had changed drastically since the thirties.  The Nazis were gone in fact but not gone from the minds of Max and his fellow Jews.  Since the thirties the holocaust had been executed, Israel created as a nation and a country, the war of independence fought and won as well as the ‘56 war.  In terror of another holocaust the Jews had initiated a campaign against the anti-Semitism they knew existed in the hearts of Americans.  Movies such as Gentlemen’s Agreement as soon as 1947 began the pursuit of any anti-Semites that might exist although there had never persecution of the Jews in America.

After the ‘67 war, exhilarated by their six day victory they decorated themselves with yellow stars flaunting them openly although unlike in Germany the yellow was gold.  Aggressive groups antagonistic to anyone, led by Kahane and going by names like the Jewish Defense League and the Jewish Defense Organization were terror groups not unlike the Brown Shirts of the Nazis.

Max acting as a Jewish national cultivated both the ‘Nazis’ of ‘Amerikkka’ and the Communists.  Thus he was manipulating both the US and USSR for Jewish purposes.  As he was being closely watched by the FBI and the CIA and most likely the KGB those organizations must have known or suspected Max’s triplicity.  His office was sacked more than once.  It is probable both US and USSR agencies were involved.

So, in 1960 Max turned JFK on.

If Max’s formula was appropriated  by the Nazis then it is probable that Hitler’s Dr. Morrell either used Max’s formula or based his own variation on it.  Perhaps monkey balls were difficult to come by in wartime Germany.  As vitamins were that new back then it is quite possible that Max was the first to come up with his amphetamine cocktail.

If Morrell did appropriate Max’s formula then it is probable that both he and Max genuinely believed it was the fountain of youth and well being unaware of the destructive results of long term use.  I have read that the Germans did discover the harmful affects and discontinued use of amphetamines among the troops while Japan and the Allies continued to use them.

Max then, in effect, destroyed Hitler and the German war machine.  Now he turned his drug on the destruction of Kennedy in which he succeeded as only he knew how.  The insignificant Jacobson’s effect on history was then out of all proportion to his personal insignificance.

The first injection was such a lift for Kennedy who was actually a walking dead man that he was hooked from the first shot.  Kennedy was a very sick man.  He had severe osteoporosis so that his lower back pain alone would have influenced his ability to think clearly and work.  In addition he had Addison’s disease in which his body failed to synthesize corticosteroids.  He had to inject serum every day of his life to artificially replace those steroids or he would have died.  He should never have run for the presidency.  Max’s shots allowed Kennedy to function in an apparently normal way; twist the night away there in Camelot.

Max took full advantage of the situation frequently flying to DC from New York to inject JFK.  He even gave him a supply of vials to self medicate.  Jack then became very dependent on his Dr. Feelgood to the point that he couldn’t function without him.

Remember that Max was playing both sides against the middle while probably favoring the Communists with whom the Jews were closely associated, the majority of any national CP being Jewish.  As a caretaker of Kennedy Max was in a position to direct the course of US-Soviet politics.  This occurred during the 1961 Khruschev-Kennedy summit meeting of June 4th , 1961.

Between Kennedy’s first injection for the September  ‘60 Nixon debates and summit meeting of June 1961, a bare nine months, Kennedy had become addicted to amphetamines or psychologically dependent on Jacobson to relieve him not only of pain but anxiety.  Kennedy had reason for anxiety in his face to face confrontation with the Soviet Prime Minister.  Joe Kennedy, Jack’s father, had been a dominating father, so that Khruschev, old enough to be Jack’s father may have represented a threat to Jack’s ability to resist  his influence.

Jack then insisted that Max be with him in Vienna.  Now, as one believes as I do that Max was more sympathetic to the Communists than what he would have considered ‘Fascist Amerikkka’ it is not inconceivable that some sort of arrangement had been made with Khruschev to make Kennedy more manageable and suggestive by drugging.

Perhaps coincidence but Max gave JFK at least three shots just before he met Khruschev.  As Max had many different formulae, as will be seen in the sequel, it is possible that he gave Kennedy, in addition to an overdose, a shot that left him open to hypnotic suggestion, to make him a Manchurian Candidate.

In any event Khruschev virtually turned Kennedy upside down and bounced him on his head.  Even JFK was totally embarrassed by his performance.

Kennedy’s persistent reliance on Jacobson angered his Attorney General brother Bobby.  He had several vials analyzed discovering the composition of the formula Jack was using.   Subsequently then when Max and his associate Mike Semak appeared at the White House Bobby intercepted them and told them in no uncertain terms to clear out and not bother his brother again.

Max remembered Bobby’s wrath as his saying:  You kikes get out of here; go back to New York where you belong.  I doubt it.  That may have been what they thought they heard projecting their own prejudices on Bobby but I doubt that that is what Bobby said.  Remember Max had been on amphetamines for decades and Semak was probably also high.  They were dealing with subjective reality to say the least.

Now comes the reason that the authors think Jack was offed.  In the first place Jack is believed to have confided classified info to Marilyn Monroe as small talk that she used to threaten Jack and Bobby to get her way.  The authors believe that may have been the reason she was killed.

Jack became so desperate for Max’s shots that he went crawling back to him in New York to beg forgiveness and another shot.  Correct, the President of the United States humiliated himself and us by begging a quack doctor for his worthless nostrums.  Max then took his vengeance on Jack for Bobby’s humiliation of himself.

He gave Jack a formulation that caused the President of the United States to strip off his clothes and run naked through the halls of the Carlyle Hotel.  It took another doctor to medicate Kennedy to return to the planet.  In the meantime, Max, one imagines, cackling madly had fled the scene.

Max and other Feelgood doctors such as John Bishop, aka Dr. Roberts, tried out different formulae on their clients.  The performer Cherry Vanilla who thought Bishop experimented on his clients once gave her a shot that caused her to strip and actually run down the street.  As that only happened once to her as well as once to Kennedy the shot must have been of that special formula.

The authors believe that the Carlyle incident threw the fear of god into high government officials who trembled at the thought of what Kennedy might do during a psychotic reaction especially with the nuclear arsenal at his command.

As Kennedy also sent his secret service men out to round up street prostitutes for his pleasure there was the fear that he could be programmed to divulge information to planted Soviet prostitutes.  Their next step was obvious.  The welfare of the country demanded it.  Unfortunately LBJ was vice-president and we got what we got.

But JFK was merely the tip of the iceberg.  Max had hundreds if not thousands of clients.  The authors mention many of them and publish a list of some of them at the back of the book.  Let’s assemble a group of his clients closely connected to Kennedy.  This is interesting:

Jack Kennedy

Jacqueline Kennedy

Judith Exner

Frank Sinatra

Sam Giancana

Marilyn Monroe

Mark Shaw

Peter Lawford

Robert Goulet

Jack and Jackie were both users.  Jackie’s family believed that the lymphoma she contracted came as the result of Max’s injections and was responsible for her death.  Jack invited disaster and received it.

Sinatra, Kennedy and Giancana were involved in discussions or negotiations of some kind. Sam Giancana was the front man of the Chicago Outfit.  The three men shared the two women Judith Exner and Marilyn Monroe.  Exner was a courier between Sinatra and Giancana and Kennedy.  She didn’t realize what she was in the middle of until it was too late, or knew it but couldn’t figure an out until later.  She chose the way of being overweight and therefore undesirable to find an exit.

Monroe was caught in a savage crossfire as she chased John Kennedy but was used by Giancana and Sinatra to punish Kennedy.  The authors believe that because she threatened to reveal classified information imparted by Kennedy that CIA/FBI did away with her.

That they all used Max is fairly remarkable.  That leaves it open as to whether Max received and transmitted information or whether he extracted information for his own purposes.

Mark Shaw who was CIA passed as a photographer, not surprisingly receiving commissions from insider publications to build his reputation and cover, was also a pilot who flew Max back and forth, DC and New York.  It seems likely he was murdered by Max who gave him a hot shot.  Lawford and Bishop and Davis had subsidiary roles while Goulet probably functioned as a handyman.

All and all Max’s role on the Kennedy administration was astonishing.  He had certainly injected himself into the center of things.  Not too bad for a kosher butcher’s son.

Perhaps even more astonishing was the effect he had on New York City.  As he probably originated the amphetamine/vitamin cocktail while introducing it to New York in the forties it follows that the Feelgood doctors, including Hitler’s Doctor Morrell in that group perhaps spuriously, were following his example.

One isn’t surprised then to find Andy Warhol and Edie Sedgwick among his clients.  Andy, so he said, visited Jacobson once, didn’t like it and never went back.  Of course Andy was creating his own amphetamine scene preferring Obetrol himself,  as well as was Bob Dylan another heavy amphetamine user.  Already in competition with Dylan for top spot in Bohemia Andy probably didn’t want to enhance Max as a competitor for No. 1 while possibly becoming dependent on him.

Edie not only used Max but also John Bishop and also Freymann.  Bishop also used his own medicine.  The amphetamines must have loosened one’s attention to detail because Bishop ran the same sloppy type of operation as Max did.

In Bishop’s case Cherry Vanilla, she who ran naked down the street, believed that Bishop used his clients as guinea pigs trying out different formulae.  Her opinion was that you never knew what was in the works.

One is surprised that Max wasn’t stopped by the CIA, by stopped I mean cold.  If they would kill Kennedy I don’t see why they wouldn’t off Max.  Perhaps he had powerful protectors.

He was allowed to operate unimpeded until 1972 when the medical board brought charges against him.  It took three years to lift his license but by 1975 Max lost the right to practice legally although he still operated out of another doctor’s back room.

However without his license Max was no longer an MD thus being unable to maintain his amphetamine fueled fantasy notion of himself.  Max faded quickly dying in 1979, although one year short of eighty he couldn’t have gone on much longer.

What is truly remarkable is that after fifty years of amphetamine use his body was intact and his mind functioning.  If he had any psychotic episodes they went unreported.  Either Max did know a magic formula that allowed him to operate outside reality or he led one damned charmed life.

The amazing thing is that the biographers and historians give Max such scant notice except Lertzman and Birnes in this important and even entertaining book.  Great reading and well worth the price of admission.  Get yours today.

 

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