A Review

Woman

by

Alan Clayson

Yoko Ono And The Men Who Influenced Her

Review by R.E. Prindle

Clayson, Alan: Woman: The Incredible Life Of Yoko Ono, Chrome Dreams, 2004.

 

Girlish Yoko- Warhol School by Richard Bernstein

     Yoko Ono involved herself with several of the most influential men in the arts during the sixties, seventies and eighties of the twentieth century.  She drew her inspiration from them patterning her own efforts after them.  At the same time she was one of the leading feminists of the day having her share in shaping and furthering the movement.  The mantra was female liberation, equality between men and women.  In fact women were equal to men in the West but only by acknowledging the biological differences between men and women.  The fact is the differences are real and not social constructs as women would have us believe.  The fact is women are women and men are men.   So, in seeking ‘female liberation’ feminists were seeking much more than ‘equality’ however the term may be defined.

     The fact is that in the Ages old war between the sexes feminists are seeking to restore the Matriarchy and destroy the Patriarchy.  That is why many men favor feminism, they prefer the Matriarchy.  Thus the feminists are atavistic.  Yoko and her cohorts wished, in her words, to restore ‘heart’ as she viewed the Matriarchy and eliminate ‘reason’ as she viewed quite rightly the basis of  Patriarchalism.  Nevermind that bilogical science has invalidated the concepts of Matriarachy and Patriarchy.  This is a post Matriarchy and Patriarchy world.

     Circa -2000 in the West men revolted against the mind stifling Matriarchy and the vaginal swamp of the ‘heart’ seeking to establish

Smilin' Jack Cage

the authority of the infinite power of the mind of Zeus on ethereal Olympus.  This is the story of Homer’s Iliad and Odyssey and the Greek myths in general recording the struggle.

     The Western male was able to impose the ascendency of reason over the heart for 3000 years until the disestablishment of the old order by science about mid-nineteenth century.  The center could not hold during this period of extreme change as W.B. Yeats put it as the rearrangement of the intellectual order moved into the twentieth century.

     Yoko Ono sought with her feminist fellows to return to the biological innocence of 2000 BC.  She herself had no talent.  Filled with audacity she pitted her ‘heart’ against the reason of John Cage, Andy Warhol and John Lennon.  I’m sure she had a mentor for her so-called performance art but I am as yet unaware of who he may be.  Perhaps Maciunas and the Fluxus group.

     Thus her first manifestation as an artist was based on the musical ideas of John Cage while her artistic efforts were at least based in the avant garde ideas of the Fluxus group.  Her first assault on the NYC art world failed so in 1961 she returned in defeat to Japan.  When she returned to NYC in 1964 she found an entirely different art scene.  On the musical side the focus was on Bobby Dylan and the Beatles while on the artistic side Andy Warhol and his Factory had destroyed the Abstract Expressionists and the old avant garde.  Dylan, the Beatles and Warhol had in fact usurped the avant garde which now had little meaning.  From my point of view held at the time the avant garde had ceased to exist.  Of course I didn’t understand exactly why or how.

     From 1964 when Yoko returned to NYC until 1966 when she left for London I’m sure Yoko was at a loss.  She developed her silly

The Bag Yoko And Tony Are In

notion of Bagism at this time even having a black bag on a stand in Max’s Kansas City that some one or ones were supposed to slide into.  This seems to have been thought a lame idea at the time as it seems now.

      At this time while retaining allegiance to John Cage’s musical ideas she was falling under the influence of Andy Warhol’s artistic notions.  Warhol’s intent had been to destroy the idea of ‘fine art’.  In this he pretty well succeeded.  As Yoko expressed it you didn’t need any talent to be an artist.  She seems to demonstrate this notion in her own artistic efforts.  Warhol had also redefined the notion of film with his static studies.  He then sought to combine his film ideas with live music, probably in competition with Bob Dylan who was also attempting to move in that direction.   Warhol adopted Lou Reed and his band the Velvet Underground as the Factory house band while creating a multi-media show called the Exploding Plastic Inevitable, innovative for its time.  Thus a concert at his hall, the Dom, was an ‘experience.’

     While Yoko makes no mention about how this, actually, incredible development affected her there can be no doubt that she was well aware of Dylan, the Beatles and the Warhol Experience and was affected by it.  Indeed, the first manifestation was the making of her Warhol style films such as Bottoms.

     The second manifestation was her removal to London to seduce either Lennon or McCartney of the Beatles, thus in the manner of Warhol’s adoption of the Velvet Underground she sought to co-opt the Beatles, the premier rock group in the world.  Real chutzpah and more than one upping Warhol.  I think it would be nonsense to think she had any other goal in mind.

     She undoubteldy learned that Paul McCartney was actively involved with John Dunbar and his Indica Gallery that opened in 1965. 

Psychedelic Dylan

Some say she first set her sights on McCartney but the more vulnerable Lennon showed up and the Spider Woman spread her web.

     She was still married to her second husband, Tony Cox, but, regardless of what she says she very aggressively pursued, or attacked, Lennon.  Lennon was emotionally under water unable to handle his success while drugging himself out of his mind.  He was unwillingly married to his wife Cynthia.  It appears that he married Cynthia out of duty when she became pregnant.  He doesn’t seem to have been happy in his virtue.  Yoko had no difficulty in capturing his affections.

      Now, just as Warhol had adopted the Velvets and imposed his female singer, Nico, on the band Yoko sought to imp[ose herself on the Beatles through Lennon.  At this time she was still musically completely in thrall to John Cage understanding nothing about Rock music.  She and Lennon had made a ridiculous LP called Two Virgins in 1968.  She combined her cagian screechings while using an avant garde ‘performance’ notion of the couple posing nude on the cover; full frontal on the obverse, full posterior on the reverse.  As no store would carry the cover the couple reverted to Yoko’s idea of Bagism placing the cover inside a plain manila envelope or bag.  While it didn’t sell the record this form of Bagism was actually a successful artistic statement.  The nude cover given an outer garment so to speak.

     Well, the public was prepared to forgive the Beatles anything but the other three Beatles weren’t prepared to forgive Yoko for forcing herself on them thus she broke up the most successful act of the sixties.  Still, she had succeeded according to her wildest dream.  Lennon and his wonderful reputation and fortune were hers.  She had gone from a neglected, nondescript ‘performance’ artist to center stage, not on her own womanly talents but by attaching herself to a talented man.   Yoko’s ‘heart’ was useless without the male intellect.   Yoko was now the most influencial feminist in the world.  She knew what to do with that.

     After several ‘performance’ acts such as the ‘Bed In For Peace’ the couple left England to return to the place Yoko wished to subjugate artistically, New York City.  She had raised herself to a par with Andy Warhol.  She now had to meld her musical and artistic goals through Lennon and Warhol.

     On the musical side she began to develop her rock n’ roll skills under  the tutelage of Lennon.  While not abandoning the avant garde notions of John Cage she now emasculated her husband.  Always semi-delusional or perhaps completely so, she fantasized that she was not only equal to Lennon in skill and popularity but superior to him.   She imagined herself more popular than Lennon.  Thus one has such travesties as the LP Double Fantasy.  It was only after Lennon’s death that she was forced to recognize than Lennon’s fans did not appreciate her efforts.  So she failed as a musician.

     She quickly tired of being Mrs. Lennon.  Thus she and Lennon separated for eighteen months or so during the years 1973-75.  She then realized that her financial well being and musical acceptance depended on Lennon.  In 1975 she called him back resuming their relationship until his death in 1980.  But, things had changed.

     She began to adopt Warhol’s life style on her return to NYC.  While she propagated the notion that she was some sort of business whiz Iam having difficulties discovering any such skills.  It appears that with the enormous income of Lennon she emulated Warhol in

Andy the Demon

spending her way to prosperity.

     She was in a position to not only match Warhol’s spending but exceeding it by many times.  Through the seventies and eighties Warhol came into his own as an artist while reaping a fortune doing portraits.  There appears to have been no effort on his part to invest in income producing vehicles.  Rather he bought stuff.  He purchased buildings in NYC and elsewhere while acquring undeveloped acreage in places like Aspen.  He shopped nearly every day buying antiques from furniture to objets d’ art by the bushel almost as though he were trying to excel the incredible W.R. Hearst.

     He usually didn’t even look at the stuff once he bought it merely filling rooms with his shopping bags.  At his death all this junk was auctioned off for 25 million dollars, a nice appreciation in value.

      Yoko followed the exact pattern buying apartments and houses as well as an extensive dairy farm with a herd of prize cows.  She not only had but has five apartments in her principal dwelling, the Dakota apartment building and many other houses scattered around.

     Like Warhol the Dakota apartments are stuffed with junk.  Valuable, but, you know, stuff.  She bought at good prices.  Her extensive collection of Egyptian antiquities was mostly purchased before a steep rise in value.

     Like the Rothschilds of old Yoko didn’t do all her own shopping but employed agents to search things out.  Chief among these was an associate of Warhol’s, Sam Green, and an Hungarian immigrant by the name of Sam Havadtoy.

Buddies- Yoko, John, Andy

     There should be no surprise then that she now has an extensive collection of  Warhol’s artwork as well as his portraits of Lennon.  The Warhols would have been purchased for form 25 to 50K while now being listed on her assets at tens of millions.  She also has been said to have a good collection of Magrittes as well as one assumes other artists.  So, much of her net worth is tied up in artwork purchased through Sam Green.

     Sam Havadtoy was an antiques dealer as well as an interior designer.  He appears to have been a somewhat shady character.  It is very difficult to find much about him, however there is a sharp portrait available from the notorious A.J. Weberman ( http://www.acid-trip.org/lennon/ )

     …(the Lennons) hired a sleazy Eastern European bisexual to renovate the pad. (Dakota)  I had heard of this dude, whose name escapes me, from an asswipe named BRUCE KIRSH, who worked for him.   KIRSH told me that the dude, who worked for the King of Morocco, would form a dummy renovation company, hire employees like Kirsch who were willing to work under false names, then, when it came time to pay taxes, everyone would disappear.  I learned of him long before he was hired by John and Yoko, and I was taken aback when Yoko took up with him after John’s death.

     I know that Weberman is not particularly well thought of by fandom but this is because of his harassment of Dylan who did, after all, misrepresent himself to the revolutionaries like Weberman.  A.J. himself is an intelligent observer who was wading through it when it was deep.  I do believe he knows what he’s talking about although his interpretations of Dylan’s lyrics seem absurd.

     I would have to question Yoko’s judgment in taking him in.  Both he and Sam Green were candidates as successors to Lennon with

Lennon by Warhol

whom she consorted in front of  Lennon before he died while Yoko chose Havadtoy as his successor the day he died.

     Perhaps she selected Havadtoy over Green because he was more rough trade.  With Lennon while managing to reconcile revolution with peace and love with Havadtoy she discarded peace and love in favor of strong arm methods against her former employee Fred Seaman when it was totally unnecessary.

     Havadtoy was living in a homosexual arrangement with his business partner when Yoko beckoned him to switch to her.  Apparently an able switch hitter he was lured by the money to this much older woman.  The arrangement did last for twenty years before Havadtoy removed to his native Hungary taking a nice cash settlement and several of the Warhols.

     Thus, just as Warhol had his live-in homosexual arrangement so after Lennon’s death Yoko adopted the exact arrrangement.  Today she apparently lives alone, a seventy-eight year old woman.

     After Lennon’s death there was an accession of from 30 million to a possible 100 million dollars as their last album, Double Fantasy, sold into the millions while the rest of Lennon’s catalog and one assumes the Beatles’ catalog was reinvigorated while all things Lennon sold.   This is, of course, no reflection on Yoko but the inevitable result  with intellectual properties when the maker dies.

     Post-Lennon, then, Yoko realized that her recording and art careers were nil.  Heart without intellect is worthless.  She then became the caretaker of the Lennon legacy.  His recordings, of course, continued to sell, but even his artwork eclipsed that of Yoko.  So she suffered the humiliation of being a mere appendage to a man.  The feminine dismal swamp was eclipsed by the Olympian heights of the male intellect.   As in ancient times the God had trumped the Goddess.  And yet as with Hera and Zeus the Goddess gets her way.   Yoko came up with the money and goods while Lennon’s spirit was wafted into the stratosphere.

     As any reader of mythology knows Hera ruled the Lernean swamps of Argolis while Zeus ruled the gods on ethereal Olympus.  Thus one has the symbolism of the biological difference between the male and female.

     In ancient times the female had her share in magic.  She knew herbs and plants, was familiar with poisons and cures as with the arch witch of the ancient world, Medea.  The reputation of the female witch even as a consort of Satan persisted down through medieval and post-medieval times, indeed, even up to the dawn of the scientific enlightenment.  One would have thought that magic and witchery were a thing of the past in the 1960s and yet Yoko embodied the whole female swamp mentality.

     She established something called the Spirit Foundation attributing the direction to Lennon who in fact knew nothing of these matters but followed her lead.  The Spirit Foundation celebrated the ancient art of the Shaman or witch doctor.  Shamanism itself even preceded the Matriarchal swamps of Argolis.  It was a rich repository of magical tradition.  Further the Foundation was feminist in that it was dedicated to preserving the magical traditions of the women of the Pacific islands still living in such archaic societies.  The wealth generated by the male intellect was appropriated by the female vagina or ‘heart.’

     In her own life and that of Lennon’s Yoko was addicted to a variety of magical practices- astrology, numerology, Tarot readings, and indeed she traveled to the Caribbean to sell her soul to Satan through the offices of a female curandera.  Her Tarot reader, John Green, was a priest in the shamanistic, magical, Yoruban African cult of Santeria.

     Her feminism was more a magical effort to restory Matriarchal supremacy over the Patriarchy thus reversing the Patriarchal victory of three thousand years previously.  Indeed, what has been called the movement for female equality is nothing more than a covert campaign to restore the Matriarchy.

      Thus while Yoko o9riginatd nothing she usurped the abilities of the reason of men- Cage, Warhol, Lennon and male magicians such as John Green.  Indeed the Trojan War itself was a war of men in service of  women.

     In her associations with men she preferrred to deal with emasculated types such as homosexuals like Cage, Warhol, Sam Green and Sam Havadtoy.  Lennon claimed to have always been dependent of women for comfort and guidance while Yoko caught him at his most confused and vulnerable. 

     While she received direction from Cage and Warhol she was able to manipulate Lennon out of his talent somewhat as Vivian did that of Merlin of the Arthurian saga.  When Vivian had usurped Merlin’s magical knowledge she buried him deep much as Lennon was put out of the way.  Yoko  then appropriated his wealth and residual income after his death.   It was this constant inflow of cash that allowed her to propagate the notion that she was a financial genius.

      Then as the female of the ‘heart’ or vaginal swamp she managed and appropriated the reason of Olympus through Cage, Warhol and Lennon.  What she got from Havadtoy other than brute strength is not clear to me.

     As such Yoko is Woman.  In her case a seeming reversion to the archetypal Shaman of the most ancient times.

 

 

Mourning Becomes Yoko: Part I

The Passing Of John Lennon:

Part One

by

R.E. Prindle

Main Texts:

Goldman, Albert:  The Lives Of John Lennon, Chicago Review Press, 1988

Green, John:  Dakota Days, St. Martin’s, 1983

Norman, Philip:  John Lennon, Ecco, 2008

Pang, May:  Loving John

Seaman, Frederic: The Last Days Of  John Lennon, 1991

Warhol, Andy:  POPism:  Harcourt, Brace, 1980

Numerous internet sites of  the many thousands, most of which I haven’t investigated, concerning principal and minor characters of which Warholstars is most prominent. 

Yoko One in Lennon Cap And Glasses

       There were many changes that ushered in the sixties, changes that made the sixties possible.  Not least of these was the introduction of the commercial jet fleet.  Gone were the much smaller, less comfortable propeller planes, slow and relatively uncomfortable with limited range.  The Boeing 707s, DC 8s, mammoth in their time quickly evolved into the flying cities of the 747s and DC10s.  With the big jets came the envy of the sixties, The Jet Set.  Golden people off to the capitols of Europe so stunningly portrayed in Hollywood movies and travel posters.  One can’t imagine the effect of travel posters today but then they created unfulfillable desires.

     With ease not only were the capitols of Europe within spitting distance but also the exotic cities of the East- Tokyo.

     The entertainment industry was about to spike as technology revolutionized the recording studio as well as the stage.  Guitar amps as the sixties began were small, portable units.  Amplifiers rapidly grew in size.  Massive arrays of Marshalls rose behind the first of the heavy metal bands, Blue Cheer, like a low mountain towering above the group.  Greatful Dead took the stage in front of tens of thousands of dollars of electronic equipment.  Four guys could sound like Krakatoa on that fateful day.

     In those far off sunny days when our world began the old world crumbled before the onsllught of bold intrepid pioneers, and behind them came the leeches and parasites.

     The sixties started slowly almost imperceptibly changing until the Beatles stepped off one of those big jetliners in 1964.  Seemingly innocuous, their arrival was to change the whole paradigm.  Through the fifties and early sixties, before the Jet Set, was the Avant Garde, those bold experimenters moving in advance, well to the fore, of the dull plodding Middletown Babbitry and those mental habits the hip, the aware, the Avant Garde despised.   There were still such things as modern art, experimental novels, cutting edge jazz.  They were all swept away in ’64 when the Beatles led the British Invasion.  All of a sudden the Avant Garde was turned inside out as Pop took possession of the field.

     The first intimations of change took place in Art.  As the 50s ended the dominant art form was Abstract Expressionism.  From those ranks rose what would be known as POPart.  Roy Lichtenstein with his comic book panels, Jasper Johns with his flags, Robert Rauschenberg with his messy effort and, of course, Andy Warhol and his soup cans.  Interestingly they were all homosexuals.  With the exception of Warhol they were all discreet, in the closet, Warhol was a man with an agenda, he wanted to legitimize himself and

Yoko, John, Andy

whatever he liked or did.  He was an advocate.

     One of the big changes of the sixties was the rise of the cult of the homosexual.  Let Leroi Jones as a Negro spokesman rail against the cult as he might he was powerless to resist its course.  Homosexuality was then illegal all over America until the great homosexual revolt at Manhattan’s Stonewall Bar in 1969 as the decade drew to a close.  Homosexuals were aggressively out of the closet roaring for revenge.  One item on Warhol’s  agenda in fact.

     Warhol began his fine art career about 1960.  By 1964 when the Beatles deplaned he had completed another item on his agenda, the destruction of fine art.  Thus, although few of us realized it at that time POPism was overtaking Euroamerica like a tidal wave lifting the level of the sea.

     The Beatles would of course be the core, the heart of the sixties.  They defined the sixties and gave the decade its form.  While they were busy conquering the world a little Japanese woman who desperately wished to incarnate and represent the Avant Garde was beginning her career on the Lower East Side as a ‘performance’ artist.  Zany beyond description was Yoko Ono.  By 1967 she will have entrapped the leader of the free musical world and the Beatles, John Lennon.  Together they will dominate what became of the Avant Garde until Lennon’s passing in 1980.

YOKO ONO

Yoko Lisa- One of many facets,

     A description of Yoko to begin.  A Spider Woman, a self professed witch, a psychotic obsessive-compulsive who was driven and completely organized to realize her goals.  She however lacked the talent to realize those goals.  As she searched for a way the seemingly unrelated success of the Beatles fortuitously occurred.

     The success of the Beatles was uprecedented.  Once their success had been achieved then the parasites and exploiters moved in to get whatever they could steal.  While the Beatles were revered for their success one member, John Lennon, was selected to fill the almost messianic needs of the sixties.

     Needless to say succes on the order of the Beatles who were after all of lower middle class origins with no preparation for dealing with success of the magnitude they achieved were completely overwhelmed while nevertheless comporting themselves creditably.  Still, as Paul McCartney’s song Fool On The Hill demonstrates their heads were swimming.  John Lennon even issued a musical plea in his song Help! which was a forthright request for guidance for whoever might recognize it while being able to fill his need.

     As it was, this young Japanese avant garde artist, Yoko Ono, understood the plea and acted on it.  John Lennon was tailor made to fulfill her own needs and ambitions.

      Yoko Ono was born in Japan in 1933 as the Japanese were initiating their plan to impose the Greater East Asian Co-Prosperity Sphere on the whole of the East from India through China to Japan.  In 1942 when she was ten the Japanese made their move to annex the oil reserves of Indonesia, bombing Pearl Harbor at the same time in the attempt to secure their ocean perimeter.  The invasion did not come off as planned so a short three years later in 1945 the B-29s unloaded their incendiary devices over the capitol city of Tokyo where Yoko Ono’s family lived.

     Now thirteen she was aware of what was happening.  Moved to the country outside Tokyo Yoko Ono witnessed the massive clouds of smoke obscurring the blue sky, one presumes, for hundreds of square miles.  Within a few days Hiroshima and Nagasaki had been wholly obliterated by atomic bombs.  Yoko imagined the blue sky over those two cities obscured as was the sky of Tokyo.  This made an indelible impression on her mind causing a psychological disturbance.  She would be haunted by the memory.  Thus having appropriated John Lennon in the late sixties she and he created the Plastic Ono Band whose LP was a picture of a blue sky with fluffy white clouds.  After 1973 she had her office in the Dakota painted in replica of the cover.   Thus she would always have a blue sky above her.

     Even though the Japanese had attacked the United States first in this instance, not without provocation to my mind, thereby acquiring guilt for beginning the war there can be little doubt that Yoko blamed the West for Japan’s shame.

     While Yoko experienced some discomfort after the bombing of Tokyo, as her father was a banking executive with experience in dealing with Westerners, she shortly after the war moved to the US where she lived in luxurious circumstances eventually attending Sarah Lawrence College from 1957 to 1960 but leaving without a degree.

     As of 1960 Yoko Ono had experienced little of the hardships caused by the Wars in Europe and Asia.  Indeed, as Philip Norman points out John Lennon’s England suffered greater hardship from 1945 to the sixties.  Japan, once defeated, was given extremely benevolent treatment by the US.  The paternalistic approach of the US can be seen in the picture of the tiny five foot Emperor, Hirohito, beside the relatively giant protective figure of Douglas MacArthur.  Efforts began immediatly to rebuild the Japanese economy.  The millions of Japanese soldiers throughout the Pacific and China were repatriated to Japan without consequences, forgiven as it were.  In contrast to Europe where the carnage had been enormous there was relatively little damge to the Japanese homeland.  If you watch Japanese movies of the late forties and early fifties there is only a slight indication that there has been a war.  A few references are made to soldiers who never returned but the landscape is intact and undisturbed.

     In Europe Germany had been flattened, German civilians slaughtered in the millions.  Armies of German soldiers disappeared into the Gulag never to be seen live again.  The allies exposed millions of Germans in the depth of winter while depriving them of food.   The entire continent was desolated, England itself had suffered terrific bombing damage that was still being repaired into the sixties.  POP star Marianne Faithfull in her biography tells of sitting aove a bomb crater in the mid-sixties.  Thus any complaits of racism against the Japanese are ridiculous.

     In 1957 when Yoko Ono was beginning her cushy life at Sarah Lawrence I was sailing into Tokyo Bay aboard a US Navy Destroyer Escort.  We docked in Yokosuka across the strait from Yokohama.  There was absolutely no evidence of there ever having been war damage to Yokosuka.  Looking across the strait to the shipyards of Yokohama one was astonished at the glittering brand new derricks of the most modern design.  The stuff made ours look positively medieval.  Twelve years after the war Japanese shipbuilders were becoming the dominant force in that industry displacing the West under the guidance of the US which complacently ceded the industry to them.

      In 1960 as Yoko Ono was beginning her career as an avant garde artist in NYC the first Japanese autos were being landed on the West Coast.

     Now, Philip Norman tut tuts the English for supposedly outrageous racist comments against Yoko Ono in the late sixties as though the English had no grievances against their own racial treatment by the Japanese in WWII.  In point of fact the Japanese Greater East Asian Co-Prosperity Sphere was a racist organization directed at the West.  The Pacific war was a racist war if you wish to put things in those terms. There are other definitions.   This isn’t the place to discuss the racial antecedents to the Co-Prosperity Sphere so I won’t but one should look into the historical background which is very complex.

     The question is, did Japanese racism end with their defeat and if it didn’t how was the war carried on by other means?  In 1964 Yoko Ono published a small book of haiku style statements called Grapefruit ‘which aimed to make words like the commands of musical notation’:  “Steal a moon on the water with a bucket.  Keep stealing until no moon is seen on the water.”  Norman, John Lennon p. 475.

     I have a feeling the image is not original to Yoko but is part of Japanese culture much as Bob Dylan used commonplace mid-western phrases like It’s All Over Now, Baby Blue appropriating them to himself.  Of interest here is that Yoko used the verb ‘to steal.’  Her mental state then was one of taking what doesn’t belong to oneself much as in the Jewish prophecy that they will live in houses they didn’t build.  While the command seems nonsensical the results will not be.  The reflection of the moon on the water is beautiful but is only the image of the moon.  Removing buckets of water will not destroy the reflection unless and until all the water or substance on which the image is reflected is removed.  Thus the substance has been stolen while the image is disappears.  At the same time, one imagines, the moon is flattered by the attempt not realizing what is being done.

      Yoko Ono will apply the method to John Lennon while the Japanese applied the method to the US and the West.  All those unpunished repatriated Japanese warriors lost none of the hatred of the West now reinforced by the ignominy of defeat.  They could even believe that they were better warriors than the Americans being defeated by greater American resources for which there was some justification.  So, in 1957 under American tutelage the Japanese had lost noe of their aggressive hatred when I and my shipmates came ashore.

     Now, as Americans we were never allowed to celebrate our victory thus relieving the hardships we endured.  After three years of being taught ourtrageous racial caricatures of demonic enemies we were now the day after victory forbidden to call them Japs, for instance, upon pain of disciplining.  We were commanded to believe that our victury had been evil and unjustified.  Shortly after the war the Hiroshima ‘maidens’ were brought over to receive free medical treatment.  You won’t find anything in history books but there was a strong murmur of protest.  Less than a decade after ‘The Day Of Infamy’ we were commanded to shut up or we would be shut up and we wouldn’t like it.  I don’t know what the exact effect of  what this was on the American psyche but their was a serious reaction.

     Now going into Japan in 1957, ostensibly as conquerors, remember the Korean War had only ended in 1954, we were told that if we had any confrontations with the Japanese we would automatically be considered the aggressors, judged guilty and punished regardless of the facts.  This was Tom Brokaw’s Greatest Generation speaking to its sons.  So, our fathers castrated their sons for whatever idiotic reason they had.  Is it any wonder we revolted against the bastards in the sixties?

     The Japanese knew of the conditions imposed on us and used them to aggrandize themselves at our expense.  Of course, as epigoni we were callow teenage boys rather than the fierce warriors who had driven them through the islands.  As an example of what we were compelled to endure being unable to resist on pain of punishment was something like this.  As might be expected the souvenir joints exploiting us were set up next to the docks.  I entered a booth where I was treated insultingly by the middle aged female clerk.  As I turned to leave the booth she slugged me with a shore patrol baton, which they sold, between the shoulders on the upper vertebrae.  the sound was terrific but I was unhurt.  Expecting me to retaliate a couple of repatriated soldiers of the Bataan Death March started moving toward me to pound me to dust while mah fellow Americans moved away from me as though poison.  Heeding the advice of my Captain I walked unconcernedly away to the jeers of the former Death Marchers trying to further provoke me.  This is what the Greatest Generation did to their sons.  I would imagine that the lesson to the Japanese was that they had nothing to fear from Americans, young or old, while my own feeling of betrayal left me with an abiding distaste even hatred for the fathers that would turn me, a victor, over to the mercies of the defeated.

     So, by flattering the Americans (the reflection of the moon on the unresisting water) the Japanese began to ladle out the American substance itself.  With the simple minded Americans there to instruct them the Japanese studied American technological achievements and began to reproduce them much more cheaply because of their lower wage differential.  At first the reproductions were clumsy, the first cars were laughable but they quickly honed their skills even, eventually, making improvements.

     Because of their relatively quick and easy victory over Japan the American veterans in Detroit refused to take the Japanese seriously even though they were warned by quicker witted countrymen.  The Japanese kept ladling the image out until today the
American auto industry is all but defunct today while Toyota has replaced GM as the dominant auto maker worldwide.  I won’t say the bastards of the ‘Greatest Generation’ didn’t have it coming but I still regret it for my country’s sake.

     In 1960 then Yoko Ono left Sarah Lawrence as I left the Navy to attempt a career as an artist in NYC.  In 1960 John Lennon was at the very beginning of his career as, actually, an avant garde musician although he may not have realized it.  It would be six years before their paths crossed in London.

     In the meantime Yoko attempted to storm avant garde New York demanding instant success and considering herself so talented that she couldn’t contemplate failure.  She took up with the unlistenable avant garde composers, John Cage, the premier electronic composer Robert Maxwell and people of that ilk.  At one time I wanted to be avant garde so I actually listened to people like Cage, Maxwell, Pauline Oliveros, Steve Reich and people like that.  If you want to you can make yourself listen to anything but I don’t want to make myself do it again.  Once was more education than I needed.

     So, Yoko was breaking into a very minority taste, even at the height of my enthusiasm I couldn’t make anyone sit through the stuff.  At the same time Yoko was trying to appeal to the uptown crowd who cut her cold creating deep resentment in her.

     Having stormed the gates and failed Yoko fled back to Japan awhere she had a psychotic reaction, nervous breakdown or depression.  At any rate she was committed to a mental hospital where she was heavily sedated, massive drugging.  Interestingly Norman say that before she went to  London she had never used drugs.  I don’t know what you would call the stuff given to her at the hospital but I’d call them drugs.  Just because a dentist gave me Nembutal doesn’t mean I never had drugs although I never used them otherwise.  As incredible as it may seem a fellow named Tony Cox heard stories about Yoko in New York that he found so intriguing he hopped a big jetliner and flew to Tokyo to find her.  Real fairy tale stuff.  Maybe he heard she came from a fabulously wealthy family.

     And Tony did find Yoko stumbling through the halls of the asylum under the influence.  He discovered a means to get her released then only had to deal with her Japanese husband Yoko had picked up along the way.  Apparently a smooth talker Tony convinced hubby to form a menage a trois.  This, of course, disintegrated the marriage 1964 finding Yoko and Tony back in New York.

     Now, back in 1960-61 Yoko had been sleeping around, she had a menage a trois in Japan while subsequently not taking the marriage vows to Tony overly seriously.  Yet in Norman’s biography she repeatedly tries to pass herself off as some virginal girl unable to deal with the rabid sexuality of her third husband.   Clearly Yoko suffers from cognitive dissonance, meaning her version of things is always questionable if not immediately dismissable.

     Yoko as a feminist wrote the song Woman Is The Nigger Of The World.  In rebellion of what she saw as the status of women she became what we boys call a man eater.  She emasculated the men of her life assigning them traditional female roles while she assumed the male role.  Thus all three of her husbands assumed the role of house husbands, housewife being a demeaning term in her lexicon while she tried to play the role of provider through her art although unsuccessfully.  Needless to say that she was a failure as a provider in all three marriages although in her last she proved an efficient money manager of the millions provided by her last house husband, John Lennon.

     Cox and Yoko left NYC for London in 1966.  By 1966 the decade was well along in its formation actually tipping into its demise.  By 1966 the British invasion of musical groups was entering its second phase.  A dozen or so groups had succeeded very well chief among them the Beatles and Rolling Stones.  They had pre-empted the avant garde becoming themselves an avant garde.   The chief American representative who had survived the British onslaught was Bob Dylan.

     The art scene Yoko was trying to influence had been taken over lock, stock and barrelo by POPart whose leading representative was

Andy In Full Are Mode

Andy Warhol who had a zoo of addicts and perverts known as the Factory.  Warhol, himself a homosexual, had always been a connoisseur of pop music playing 45s constantly.  He would have been aware, perhaps uniquely, of the significance of the British Invasion for POPart and the old Abstract Expressionist avant garde.  By 1965 he had aligned himself with the musical scene by adopting the Velvet Underground as the Factory house band.  He attempted to form connections with all the top musicians from Lennon, Mick Jagger, Dylan and on to Jim Morrison of the Doors not always successfully.  Most of the musicians waere as psychotic as he was, recotgnized him for what he was and were too canny to become involved with him.

     Yoko on her return from Japan, then, was dealing with a very different art scene than in her first foray.  She had to at some time between ’64-’66 make contact with Warhol.  As she left NYC in ’66 for London Dylan’s evaluation of her relayed through George Harrison  as quoted in Norman p. 671 must refer to this period:

     George by contrast, despite long marinading in soft-tongued Buddha-speak, was his most bluntly charmless.  “[He] insulted [Yoko] right to her face in the Apple office,”  John would remember.  “Just being straightforward, that game of  ‘Well, I’m going to be upfront because this is what I’ve heard, and Dylan and a few people said you’ve got a lousy name in New York and you give off bad vibes.’  That’s what George said to her and we both sat through it.”

     Dylan would have been speaking of Yoko in NYC from ’64 to ’66.  During the latter part of that period Dylan was in conrflict with Warhol and his Factory crowd because of Edie Sedgwick.  That Yoko Ono could have come within his ken is interesting.  Yoko wouldn’t have know of Warhol during her first assault on NYC but as she kowtowed to Warhol on her return after 1968 that might indicate that she might have visited the Factory, which was open to all, met and conversed with Warhol.  I haven’t found a mention of her on the main Warhol site, Warholstars, as yet but there must be a connection no matter how slight.  It is impossible to know what was said between them but as Yoko got into making Warhol style avant garde movies she must have at least made some notes.

     Whether music in relation to the avant garde came up with Warhol’s preference for Rock n’ Roll and possibly he Beatles isn’t known although she did drag Lennon down to do obeisance to Warhol when they eturned.  Then, too, she used Sam Green,  Samuel Adams Green had presented the Warhol exhibition at UPennsylvania a couple years previously, as her agent for acquistion of art.

     In 1980 she was thick with Sam Green leading Lennon to express discomfort because of Green’s association with the Warhol crowd.  There seems to have been a rather strong conection of Yoko to Warhol.  Certainly her husband of the time, Tony Cox, was well known around the Factory having stolen one of their cars and taken it to California.  Cox, who had criminal tendencies, is worth a little study too.  It would seem impossible that he knew nothing of the Beatles- I think Yoko Ono’s claim to have never heard of them can be dismissed too- as Cox seemed to have been always scheming he may have heard Lennon songs like Help and I’m A Loser and drawn the obvious conclusions.  Lennon in the right hands could be used.

     In 1966 then, Cox and Ono left for London presumably to take that art world by storm.  I think it quite probable that Yoko believed she could get inside Lennon’s head to use his wealth to further her art career.  Her bagism notion was well conceived by 1965 in NYC.  Her displays at London’s Indica gallery seem designed to get Lennon’s attention.  An apple on a stand priced at 200 pounds…how obvious can you get?  The tinyYES on the ceiling.  Yoko was very good at hypnotic suggestion.

     How did she find her way to the Indica anyway?  The gallery had just opened in 1965 and would only survive for two years, which isn’t to say Yoko’s exhibit  killed it.

     Her claim that she had never heard of Lennon before the show is contradicted by both John Dunbar, the owner, and Barry Miles, who wrote under the name of Miles.  He says that instead of coolly walking away not overly impressed with Lennon she actually tried to force her way into his car.  Certainly flooding his mailbox with cards and letters doesn’t indicate indifference.  No.  Yoko wanted access to Lennon’s money and she got it.

     There’s no need here to recount how she forced Cynthia Lennon out.  Suffice it to say that she quickly captured Lennon; by 1968 they were back in ‘her town’, NYC.  For a person who was there for maybe two years in 1960-61 and two more years in ’64-’66 I think it takes a certain amount of chutzpah to call New York ‘your town.’

     Once in New York she had Lennon dependent on her while with the acquisition of the Dakota Apartment in 1973 the real action began.  First let us do a character review of Lennon before beginning the denouement.

     I am assuming that any readers will be familiar with the main lines  of Ono’s and Lennon’s biographies.   If I’ve glided too quickly over certain points don’t hesitate to ask for clarification.  There are literally thousands of websites dedicated to all principals and minor characters, some of them very extensive so my exploration of all these sites is ongoing.