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


R.E. Prindle

Chapter 6

Orders From Headquarters

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

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

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

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

Chairman Mao Ze Dong

Chairman Mao Ze Dong

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

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

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

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

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

Mick After A Lifetime  Walking Down The Long And Winding Road

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

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

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

The Master And Margarita

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

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

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

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

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

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

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

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

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


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


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

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


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

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

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

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

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

‘Unquestionably,’ Koroviev answered with dignity.

‘My sweetie…’ Koroviev began tenderly.

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

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

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

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

‘Dostoevsky’s dead.’ Said the citizeness…

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

Jean Luc Godard

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

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

Kenneth Anglemeyer aka Kenneth Anger

Kenneth Anglemeyer aka Kenneth Anger

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

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

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

Chapter 7 follows.

Marianne Faithfull: The Faerie Queene Of The Sixties


R.E. Prindle

Chaps. 3, 4,5

Chapter 3


Of all the performers of the Rock era Mick Jagger and Paul McCartney have been the most successful while I would give the nod of most successful to Jagger. One must admire the way he learned the ropes and then used them to strangle others as he had been strangled. Mick in his own way was the Midnight Rambler and the Street Fighting Man. Don’t think I blame him; you either rule or are ruled. But, one does have to live with the reputation one creates.

Mick began cultivating his image from the beginning. As this story concerns Mick’s relationship to Marianne I will concentrate on aspects of their sexuality. Andrew Loog Oldham made a movie of the Stones’ January 1965 Irish tour. Unfortunately he sold the rights to it along with the Stones 1963-70 master recordings to Allen Klein along with, by the way, the first Marianne Faithfull masters. Klein then became the Stones’ manager.

The movie disappeared into Klein’s archives to surface in November 2012 when the Klein estate released it to DVD. It can now be purchased as I did. The DVD features both the Abkco edit and Oldham’s original Director’s Cut.

Mainly a concert film it also features group member interviews and Richards and Jagger cutting up. While they were horsing around they appear to improvise a song with the lyric: I’d rather be with the boys than here with a stupid girl like you.

While Jagger has always cultivated an ambiguous image he has also announced a record of having had sex with four thousand or more different girls. That’s only eighty per annum over fifty years so I imagine that shows an admirable restraint. Yet, at the same time Mick has always been misogynistic while always seeking to emasculate or squash his closer women under his thumb. In fact Mick probably has a domination or emasculation complex. He may have rather been with the boys but in his competition with them he sought to emasculate or squash them too. One of the favorite forms of emasculation and domination is to take other men’s women from them.

Thus when he took Jerry Hall from Bryan Ferry he quipped he had to do it to save her from going through life as Jerry Ferry. One winces when one reads of Eric Clapton begging Mick not to take Carla Bruni from him. Mick even took one of Eric’s temps, Catherine James from him.

Mick And Chrissie

Mick And Chrissie Shrimpton

Mick And Chrissie Shrimpton

When Mick first enters the scene for Andrew Oldham he is in an alley fighting it out with Chrissie Shrimpton, the model Jean Shrimpton’s younger sister. If one reads more deeply into that situation it shows a very cruel sadistic streak in Mick, quite shameful in a celebrity of Mick’s first magnitude of brightness.

Chrissie began the relationship as a strong willed girl battered by and battering Mick. In that day before the change in sexual mores girls weren’t quite so sexually open so Chrissie didn’t want her parents to know she was shacking up with Mick. They insisted to Mick that they not. As a humiliation tactic to break the girl down he let it be known to her parents that in his eyes she was little more than a common whore and she and they should see it that way too as he was in fact shacking with her.

Gradually the monster beat her down completely destroying her self-respect then, more than publicly, he broadcast his triumph on records and over the radio with such songs as Stupid Girl and Under My Thumb which their whole circle knew referred to her. Dylan would later use the same tactic against Edie Sedgwick when he wrote Like A Rolling Stone to break her down.

Both Chrissie and her parents believed Mick and she were to marry but having crushed her beneath his thumb, as it were, with a toss of his curly locks Mick sneeringly walked away adding insult to injury. Cruel in this instance it became psychotic with repeated use.

Years after word got back to Mick that Chrissie had a bundle of his letters, and, now this is unforgivable, without a word to her he immediately set his attorneys on her threatening an expensive law suit while demanding she return his letters. Even though Chrissie had not intended to publish them, still shaking this long after Mick’s brutal treatment, Chrissie without delay forwarded her letters from Mick to him. Shameful.

Mick And Marianne


Mick And Marianne

Mick And Marianne

Mick then turned his attentions to the Guinevere, the Ophelia, the Faerie Queene of pop music, our own Marianne. While I’m sure Mick was somewhat enamored with Marianne I’m also sure he had a couple ulterior motives. Marianne was married to John Dunbar at the time while living with Mick so Mick had the pleasure of emasculating and humiliating Dunbar.

At the same time I’m sure he was envious of Marianne’s fame which was probably greater than his at the time. No room in the spotlight for two. He couldn’t stand that Marianne was getting even more press than himself. Thus he undertook to destroy her career. In the process he emasculated her and humiliated her to an astounding degree.

Marianne and Mick were playing with psychologies in a very destructive manner. The events I am going to describe did incalculable damage to their psyches while altering the direction of their subsequent lives dramatically, especially Marianne’s. Of course, few people seem to realize they have a psychology or how it was formed, what expectations they devised. Those hopes and dreams were more especially dashed when they turned to drugs. That was certainly the case with Marianne.

I don’t know how seriously Marianne took her Medieval interest and reading but she was influenced by her Arthurian studies. Like the most or possibly rest of the generation she was also influenced quite heavily by Alice In Wonderland and Peter Pan, probably both books and movies.

The key for the generation in Peter Pan was his refusal to grow up or accept adulthood. It was quite fashionable at the time to pretend that you would always be young, keep in contact with your ‘inner child.’ I was a victim of the psychosis myself.

At any rate Marianne was influenced by all three. Thus, when she and Mick met she quizzed him extensively on his knowledge of King Arthur to see how much he knew as though that litmus test would seal his fate. Mick passed and Marianne moved in still married to John Dunbar. Thus her life clashed with her Catholic upbringing. At first Marianne had royalties coming in from her records enabling her to maintain a certain independence but gradually the royalty checks decreased making Marianne financially dependent on Mick.

At the same time Mick was under no obligations to Marianne and observed none. How this clashed with Marianne’s Arthurian expectations in an atmosphere of Peter Pan and Alice she doesn’t go into but there must have been a severe disappointment as Mick treated her as a mere possession.

While in California he was the object of desire for all the groupies including the doyenne Miss Pamela- Pamela Des Barres nee Miller- of Frank Zappa’s girl group the GTOs (Girls Totally Ornery or else in reference to the hottest car of the period, the GTO). Miss Pamela as well as the rest of the California groupies studied to come up with better and better more outrageous sexual thrills with which to astonish the boys in the band which easily surpassed the imaginations of the boys in the band including Mick.

Mick returned home and demanded of Marianne that she perform these tricks which astonished Marianne no less than Mick had been astonished. However she believed the tricks degrading. Marianne quite rightly refused to perform them.

But the repertoire of the boys in the band kept expanding so that the home girls were led to view new horizons. Group sex and that sort of thing became the norm.

As with all loosely knit movements or phenomena this sort of reputation brought more and more of the sado-masochistic libertine drug oriented element gradually forcing out the less inclined to sexual erotica just as bad money drives out good money. Rock and Roll became progressively more degenerate from 1964-65 on until it was disgraceful to be associated with it.

Mick and the Stones were leaders of this degeneration whether the Stones embraced sexual sado-masochism personally their public persona was based on it making them leading corruptors of youth and society in general. They did as much or more to change the sexual mores of the present than anyone. Their LP cover for Black and Blue was the apex of this very sado-masochistic misogynistic persona. The cover caused me all kinds of trouble in running my record store.

As one presents oneself so must one be.

Chapter 4

The Redlands Bust.

Many psychologically devastating events happened to Marianne in the years from 1967-70. It is very difficult from this perspective to evaluate some of them. One can’t tell how Marianne’s renunciation of her career affected her mind. After all in 1964-65 and 66 she went from just another teenager to superb success far beyond her expectations financially, while becoming the female idol of the youth of England and a phenom in the US- ultimately the Faerie Queen of rock and roll. That’s really only two short years until the Redlands bust.

In those two years she passed through several sexual transmogrifications. She went from virgin to the most outre of sexual practices. Its all very well to say that this was her decision but as Paul McCartney said of his own experience in Miles’ biography it was impossible for him to resist peer pressure, especially in the use of drugs. He was ‘forced’ to try heroin even though he was dead set against.

So peer pressure on Marianne and any young girl to be sexual ‘free spirits’ was impossible unless you were prepared to accept group rejection. The same with drugs that couldn’t be resisted so that when depression set in she ended up addicted to the greatest depression drug available- heroin. It was up to Mick to give what protection he could. Regardless of current sexual nonsense it us up to the man to guide his woman.

Now, the era began in relatively clean-cut innocence . It was never quite so white bread as it is depicted, trying to escape the sleaziness, even then, was no easy matter. Then as the decade wore on it all got worse, then it got disgusting. First pot, pills and amphetamines, then LSD that came on like a hurricane. LSD more than anything else conditioned you for cocaine that in at the end of the decade, at least on the West Coast where I was. Remember that there was no national consensus in the US
In 1964 or so when the ‘counter-culture’ hit in the Bay Area it was a very local manifestation not shared by the East Coast the Mid-West or even for that matter LA. LA was never hip in the way the Bay Area was. While the Beatles are credited with introducing long hair, when the Charlatans came down from Virginia City they had hair and they must have been growing it long before the Mop Tops showed up.

The West Coast could not tolerate New York groups. Mafia outfits like the Rascals nee Young Rascals and Vanilla Fudge made the West Coast puke. There really wasn’t any place for The Velvet Underground either. Of course the British groups that had their own sound that really couldn’t compete with that of say, The Doors, an LA group. The LA groups being more commercially oriented pretty much shoved the Bay Area groups aside, although were a couple of real successes. I don’t include freak groups like the Grateful Dead as commercial successes. Cults are cults.

But to the point, boy, LSD. Owsley Stanley kept the West supplied and how. By the time of Altamont and Stonewall the atmosphere was really foul. And then it got worse still.

About the time of the Redlands bust society and the police were losing their patience. Kesey and Leary had them terrified. The drug thing kept growing. When one says that marijuana was generational it is true only to the extent that a significant minority of the generation smoked it. The hippies were only a small and despised part of the generation but they, we, made a lot of noise and got a lot of notice. Without the radio, rock and corrupt record companies the Movement probably wouldn’t have broken the bounds of Bohemia. But, the time was ripe for the Bohemian conquest of America. That was led from New York, principally by Andy Warhol.

The records made the Bohemian life seem very glamorous. Thus the cops focused on groups where actually the greatest drug activity was located and the propaganda the strongest. As the groups began to make good and even big, very big, money they were the natural prey of the drug dealers. And don’t underestimate the role of LSD. The groups also chose to flaunt their drug use- ‘I’ve got to be free to put anything into my body and life I want to’, disdaining the law, the police and actually common decency. This was the case with the Stones and it’s the flaunting, not the use, that got them in trouble.

In 1967 they naturally were set up. Brian Jones in an interview, barroom chat actually, with News Of The World reporters boasted of his drug use. The journalists then attributed the statements to Mick, whether from ignorance or design I leave to your imagination.

When Mick read the article he was indignant. As I said, while Mick and the rockers thought they were big because of records, radio and TV they were actually socially marginal and not particularly appreciated. Musicians get no respect outside their own circle.

Rather than evaluate his situation, considering that he was doing drugs and everyone knew it thus making him an obvious target, he foolishly brought suit against the newspaper. You don’t have to be brilliant to know News Of The World wasn’t going to let that one fly. Hey! Hey! What’d I say! Mick was sleeping or day dreaming.

The police wanted to get England’s bad boys anyway. There may or may not have been collusion between the News Of The World and the police but the way the raid was conducted indicates there was.

Shortly before the bust some guy named Schneiderman drops from the sky with a brief case reportedly filled with whatever you required. Mick, Marianne and Keith and a couple others, I will mention in the next section, were having an LSD weekend at Keith’s house, the Redlands. Schneiderman insinuated himself into the party with his briefcase while probably being in the employ of the News informed them and they in turn notified the police.

For Schneiderman allegedly having a briefcase full of drugs there were remarkably few drugs in evidence at the bust. Jagger was booked only for possession of four pep pills bought legally in Italy, while Keith had no drug charges at all except for being charged with ‘knowingly’ providing a place where pot was smoked. Robert Fraser actually had heroin jacks of his own on him but Schneiderman produced nothing from his briefcase and indeed no drugs were visible in it when the police required him to open it. No drugs were seen only packaging that were assumed to contain drugs by the Bohemians. In any event he hopped the first flight to elsewhere.

While Marianne had no drugs concealed on her person her situation was the most tragic of all. The Faerie Queen would lose her official status.

When the cops came calling the crowd was of course flipped out on LSD but then that was always the danger; the cops would come calling when you’re least prepared to deal with them. Come on, this was just one of the hazards of using illegal substances. And naturally, you tend to be flippant, wise cracking and mocking. Very bad behavior in such a situation when maximum seriousness is the order of the moment. It’s not like everyone didn’t live in fear of being busted. They used to call it deep paranoia.

Marianne whose clothes had become wet from walking in the rain laid them out to dry dressing in nothing more than some sort of rug wrapped around her. Well, what is one to think of a nude woman amongst a bunch of men; what is this Dejeuner Sur L’herbe redux? Even if two thirds of them were screaming fairies as they were, how is one to know that and what to think?

It was said that Marianne let her wrap slip giving the coppers an eyeful. Of course the cops were square and the gang was hip but squares outnumber hips by a very large margin while as Roger Miller sings: Squares make the world go round. And a good thing too. Roger said that hips have too much water for their land; this was a gathering of pretty watery people. Oh, OK, my people, but folks you have to be realistic. That’s what hip means in my book.

And then someone probably at News Of The World concocted the story that Marianne had a Mars bar slipped between her legs and that Mick was grazing away at it. Preposterous, wouldn’t you think? Boy, now that was a blow that will getcha and you’ll be down for a long time too. As might be expected Marianne was devastated. Boy, that opened a lot of anfractuosities in her brain. A hit like two trains running in opposite directions at top speed on the same tracks over a two hundred foot high trestle. That’s a big crash and a long way to tumble, buddy.

It ended any hope Marianne may have had of appearing on a stage. Can you imagine stepping up to the microphone and being showered with Mars bars. Oh no, no,no, better to board a rocket ship for…oops…Mars.

Marianne and Mick may have thought they were handling it well but the bile and psycho-somatic reactions entering the sub-conscious aren’t so easily dismissed. This horror was merely added to their childhood fixations.

In the turmoil of the months succeeding this mind wrenching event fixations would only worsen. Of course the intent of the establishment was not so much to succeed in jailing them but making an example of them while hopefully destroying their careers. The bust should have been career destroying but for the generational gap. When a teacher chastises a student the other students smirk but don’t disown him. After busting Mick and Keith the establishment then went after the more fragile Brian Jones, the guy who got this whole thing rolling by shooting off his mouth. If the three could have been jailed they wouldn’t subsequently have been allowed to enter the US or so it seemed. No one could have forecast the incredible changes that were about to occur that essentially placed the Stones above the law.

Chapter 5

Enter Donald Cammell And His Movie Performance


One reads many amusing reasons for the incredible social disintegration of the sixties. One of the most preposterous to come to my attention is the notion that it was caused by lead poisoning.. There’s a hobby horse for you. While I couldn’t rule it out I think lead poisoning would be among the most obscure of reasons. No, the sixties was no more an aberration than was Hitler’s Germany; like the latter it was the result of long historical development, a part of psychological history.

If one reads a good deal with the purpose of understanding the historical background of the sixties things begin to take form. Then if one tries to make one’s intellect rise and float over the information gleaned from that reading patterns will form, a map of the past will appear. Then of course one notes nodes and axons, connections that require further reading and rereading what’s already been read so that a fair approximation of what happened can be more or less confidently stated. Much of it will be subterranean history that doesn’t make it to the history books.

Such is the psycho-sexual mind set that began to develop oh, say, about from 1890 on which a key node was from 1900 to 1920. Western understanding of the human mind developed fairly rapidly from the mid-eighteenth century rapidly gaining momentum after say 1860 and the spectacular doings at Paris’ Salpetriere mental hospital under the tutelage of the amazing Dr. Jean-Martin Charcot.

While his investigations were of a psycho-sexual nature they were not perceived as such except perhaps by a transient student by the name of Sigmund Freud. Sometime after Charcot’s studies toward the nineties people calling themselves sexologists, sex therapists and sex magicians began to appear.

Along with Freud who might be called a sex therapist two leading figures slightly earlier than he were the German Richard von Krafft-Ebing (1840-1902) and the Englishman Havelock Ellis (1859-1939). In the academic scientific or pseudo-scientific manner all three made their contributions although Freud managed to incorporate their discoveries or understandings into his system acquiring preeminence in the field.

Goerg Groddeck and Wilhelm Reich, two of Freud’s disciples also gained prominence in the sex therapist field.

On the religious or supernatural side the most prominent and influential of the sex magicians was the so-called Magus Aleister Crowley and his organization of the Golden Dawn.

With the exception of Krafft-Ebing all were out to overturn European sexual mores, designated disparagingly as Victorian. Of course there was never a time when men and women didn’t behave sexually because…well, how could they? The real goal then was to disturb prevailing sexual mores and replace them with sexual license. This essentially came to fruition in the 1960s when the influence of Freud and Crowley were at their peak. The two principal cultural nodes of the US, New York and Los Angeles, were flooded with European Jewish émigrés of the Freudian school while Aleister Crowley had established himself and his Golden Dawn in Los Angeles.

The corrosive sexual mores of Freud and Crowley were aided and abetted by the rise of the equally corrosive drug use and, of course, ‘lead poisoning.’

Our next object then is to discover who Donald Cammel might be.

Searching For Donald

Cammell is the central figure in this little drama so we will begin with him although even though the Stones biographers don’t delve into these other characters they are integral to the social scene of Mick, Marianne and Keith. It appears that Brian Jones, Bill Wyman and Charlie Watts served a peripherals to Mick primarily and Mick and Keith secondarily. Oldham tried to make himself a third but apparently was incompatible or other interests pulled him in a different direction. By ‘67 he would be out of the picture.

In Marianne’s biography she makes it sound like Cammell was a stranger to the group while actually he was well known to Bob Fraser, and Chrissie Gibbs who were at the Redlands bust and quite familiar with Mick, Keith and Marianne. They all knew each other before the movie began to be filmed.

Cammell was older than the three being contemporary with the first generations of rockers; he was born in 1934 in Scotland. He came from a well to do family immersed in the occult; his father actually knew Aleister Crowley and wrote a biography of him. One may then assume that his father was something of a sex magician as Marianne’s father was a sexologist. It was impossible to escape Freudian influences from at least 1920 through the fifties. So some reference to repression and the unconscious is inevitable.

Cammell’s father was likely familiar with Krafft-Ebing’s Psychopathia Sexualis with its emphasis on psychotic sexual practices. All the sexologists and magicians immersed themselves in bizarre sexual practices. If a reader counters that all sex is legitimate it shows how perverted he or she is. No argument from me, we know where each other stands.

As Cammell was born in ‘34, in ‘44 he would have been 10 and 20 in 1954. Thus he would have been aware of the war between the ages of 4, 5, 6, or so and 10 but perhaps in a muddled and uncomprehending manner but in ‘44 and ‘45 he would have been aware enough to partially comprehend. Certainly when the Big Baby turned Hiroshima to ashes in August of ‘45 something would have registered affecting his mind and outlook.

I was 7 in ‘45 and while I have a clear remembrance of VE Day I don’t have any recollection at all of the Bomb or if I do it had little or no significance to me. I have never had a horror of the A-bomb.

Obviously something other than lead poisoning affected the psyches of the crop of kids from ‘33-’34 to 1942-43. It may have had something to do with the total destruction of the world capped by the Bomb. What a terrific exclamation mark to the end of hostilities. What Cammell’s reaction to this destruction was isn’t clear to me while it probably wasn’t clear to himself.

After the war he experienced rationing during the whole of his teen years. He was probably less affected than others as he became prosperous in his teens on his own as a painter. He was successful as a portrait painter. From the pictures I’ve seen he was more than talented while possibly possessing genius. His mind already exhibited an extreme darkness with sexual confusion easily perceived.

Much of the following information comes from web sites such as the fabulous Another Nickel In The Machine that records the history of London, Sam Umland’s 60X50 and many others. I have not read Umland’s biography of Cammell as yet.

Cammell divorced his first wife and then married a very successful model, the American Deborah Dixon, moving to Paris where they both lived. Cammell apparently was supported by his wife.

Bored with painting, not unlike Andy Warhol, he began to take an interest in film. There is nothing like a movie to exhibit one’s sexual fantasies in real life; indeed a movie is a record of the unconscious. Cammell and Dixon were sexually compatible taking an interest in anything remotely copulatory. Cammell’s first few attempts at filmmaking were not successful or, at least, lacked box office magic.

Along with his lack of interest in painting and his attraction to the movies Cammell gravitated toward the pop world of rock and roll seeking out Jagger. Where was a sexual degenerate to turn? The bad boys of Rock, the Rolling Stones, Mick, Keith and Marianne at least. He found Mick and Marianne’s talked about sexual escapades irresistible. He was undoubtedly attracted by Mick’s dope legend also. Mick claims not to have been an excessive user of drugs, which may be true but I doubt there was anyone at the time who didn’t think he was a heroin addict and druggie par excellence.

As an artist Cammell was acquainted with Bob Fraser and that pop art crowd. Both he and Fraser were known to the infamous crime lords, the Kray Brothers. The Krays, of course, were homosexuals as were Fraser and Gibbs. Mick’s legend is that he is bi-sexual, at least, so there is no reason that he wasn’t sexually involved with the bunch in some manner.

Cammell and Fraser also knew the Satanist and sex magician, the American experimental film maker, Kenneth Anger, as did Mick and Marianne. Fraser introduced Anger to the underground film crowd.

In addition Anita Pallenberg knew Cammell from her pre-Brian Jones, Keith Richard days. She was shown the script in the south of France the year before filming began. So, unless I have seriously misread Marianne’s first auto-biography, Cammell didn’t just show up one day with a movie proposal; it was actually old home week.

Cammell did go on to make an additional three or four movies of which I have seen two, Demon Seed and Wild Side. The last movie has escaped my vigilance so far. Wild Side is a virtual remake or variation of Performance. Demon Seed that I will review in an addendum to Chapter 5 is actually a great movie handling a major sci-fi them to perfection.

Just prior to the beginning of filming in 1968 Mick impregnated Marianne. This is 1968 and if Marianne hadn’t been on the Pill she would have had a number of children now in addition to Nicholas her child by John Dunbar. The question then is why she allowed herself to get pregnant at this time. She was still married to Dunbar so one must think he must have suffered humiliation and emasculation to have another man impregnate his wife. Perhaps Mick’s emasculation genes or maybe just a drug haze.

At any rate Marianne was exiled to Ireland while filming was going on. One can only imagine the anxiety she felt separated from her lover in her condition. One doesn’t have to imagine; she suffered a miscarriage.

Point Blank
The Movie

In 1967 the English director John Boorman had filmed a movie that took
Cammell’s mind by storm. The movie was Point Blank starring Lee Marvin as the protagonist Walker. Cammell recommended that all the cast see the move and bear it in mind. It might be advantageous to review the movie here.

Point Blank was only Boorman’s second effort. Unsuccessful on release it has apparently become a cult classic. His movie is obviously a dream sequence or nightmare. Nothing is real. This indicated by the hero’s name of Walker. He has only one name, no first. No one even knows what his first name could be. The name seemed significant to me but I hadn’t a clue as to what it could mean. Well, you know, when the student is ready the teacher will appear. While writing this piece I was also reading Denis Machail’s 1941 biography of J.M. Barrie, the author of Peter Pan. There on page 190 was the explanation of Walker. Barrie had written a play titled Walker, London. That was a telegraphic address.  Quote:

Two impudent jokes in one, the second even more mysterious then as it is now. For the word ‘Walker’ is still in the dictionary- “interjection (slang) expressing incredulity and suspicion of being hoaxed” but when was it last used? Not during the present century, one would say; yet before that there was a time when it was the very crystalization of Cockney humor. “Walker!” you said, to show that you could never be caught with chaff. It was the standard answer to the attempted leg pull. It was also one of those blessed with with which any comedian could bring down the house.

So now the viewer knows he is being hoaxed and can suspend belief. The plot involves Lee Marvin as Walker who takes part in a heist then is shot by his partner who runs off with Walker’s share or 93,000 and adding insult to injury Walker’s wife. The rest of the story involves Walker trying to retrieve his money forget the wife. The story is told through a series of frustrations to a paranoid Walker. So, we have a dream study of a frustrated paranoid.

The opening and closing settings are the same; the walking or exercise area inside Alcatraz prison. The joke seemingly being that one walks around and around, never getting anywhere while returning to the same place. Cry “Walker” and then start laughing like a Cockney at the joke.

Alcatraz, the Rock, is of course a small island in the middle of San Francisco Bay between the Golden Gate and the Bay Bridge. Established in 1934 it was closed in 1963, so the filming was done in a closed facility and before the Indians occupied the island claiming it as their heritage. The filming was done, then, in vacated premises.

As a dream story it concerns the psychic life of Walker. It’s all going on inside his head. The prison, castle or house represents the psychic the self so that Walker lives a bleak, barren, paranoid inner life.

A helicopter lands in the enclosure, picks up a package and leaves a bundle of money. Walker and his pal Mal (mal, French for bad) kill the messenger while robbing him. Walker is then examining an empty cell signifying his empty life when Mal with Walker’s wife looking on puts a couple bullets in him leaving him for dead while appropriating Walker’s share of the money and his wife. Thus we have some basic paranoia that, of course, might possibly be true. As his wife would say later, Walker just kind of left her cold.

Left for dead Walker somehow recovers while being compelled to take the only way off the island available to him- swim for it. Another grim joke as legend has it that no one who tried ever succeeded.

The rest of the story concerns surmounting the treachery and double crosses Walker encounters in trying to recover his money. He finds his wife, abandons her and takes up with her sister. While he seems a little obsessive-compulsive in the matter, the money in fact represents his lost identity, purpose in life or masculinity. The recovery of the money is central for his personality.

As in the Cockney joke whenever he shows up people exclaim “Walker!” If you’re in on the joke it might be funny. Angie Dickenson makes up the sex interest as Chris as there is no love interest. Just a four letter word in this movie. The three kingpins Walker must knock down are Carter, Brewster and Fairfax. Ironically Carter and Brewster are disposed of by their own team when Walker’s paranoia protects him while the others take the hit meant for him.

The actual climax takes place in Brewster’s house when Walker and Chris have spent the night together, the only consummated sex in the movie. As Walker is walking out the door Chris asks what her last name is. Walker doesn’t know and neither do we. Walker counters, seemingly weakly, does she know his first name. Either check mate or an uproarious joke to Cockneys. But as Walker in joke is a hoax or a put on then it doesn’t matter anyway. Dreams are like that, they follow a different logic than the waking mind.

The denouement returns to the opening at Alcatraz but now Walker is more canny staying out if sight. The drop is made, Brewster calls to him to come get the money. But, as when Walker was supposed to get the money from Carter, after he survived the assassination attempt, the bundle proved to be waste paper, Walker’s paranoia saves him again. A shot rings out and Brewster takes a long walk off a short pier never to return again. Now enter Fairfax who is the head man and the assassin who shot Carter and Brewster and would have shot Walker. Fairfax shouts Walker several times that in another century would have brought the house down.

Walker’s paranoia prevents him from taking what might be money in the bundle but is probably waste paper so that as the bundle of funny paper represents his ego he is left stranded in the haunted empty house of Alcatraz representing his mind for one presumes the rest of his life.

The movie was a box office failure, except for the few like Cammell but holds up well as a psychological thriller. That is what Cammell saw. So, now, he’s basing his own movie ‘Performance’ directly on Point Blank.


He gathers together essentially the ‘gang’ to make his movie. Even Deborah Dixon took part. He already knew and was friends with James Fox as was apparently Mick, cast as the criminal Chas. Cammell had known Anita Pallenberg in Paris where it is said she formed a brief menage a trois with Cammel and Deborah. Chrissie Gibbs was the set designer…Mick was an old friend, a few outsiders and Cammel had his movie.

Mick sent Marianne to Ireland for the duration. Keith who was shacking with Anita was so unhappy about Cammell’s pairing of Anita with Mick that he found it impossible to visit the set. Instead he brooded outside in his car sending Bob Fraser in to keep tabs until Cammell banned him from the set.

I can’t be sure that Cammell understood the Cockney meaning of Walker but he so admired the character that he based Mick’s role on Walker giving Mick the single name of Turner. No first name. Turner is also meant to be significant. A turner is a sort of acrobat. The word could also be used in the sense of changeling, or perhaps in the homosexual sense or turning a man gay. Turner does turn Chas. from a tough guy to a passive fairy, his sort of changeling. Turner changes the tough hoods into faggots. Probably then that is the meaning of the name. So maybe Cammell was in on the Walker joke.

As the movie is permeated by sex magic and sex as a sort of therapy the influence of Krafft-Ebing, Ellis, Freud and especially Aleister Crowley is very apparent. Kenneth Anger was around at the time while being known to all the participants thus reinforcing the Crowley connection.

All the sex therapists were concerned with aberrant sexual practices that the movie concentrates on. Cammell elaborates the sexual implications of Boorman’s Point Blank, while the decaying mansion obviously represent Cammell’s mind. In the end the sex therapy or magick doesn’t seem to work as Turner turns suicidal obsessed with a death wish.

Boorman’s crime angle comes in through Chas. In order for Fox to appear authentic Cammell actually required him to live the criminal life under the tutelage of a mobster, even to the extent of taking part in actual crimes. Of course, madness is the theme of the movie but even madness can go too far.

Chas. has offended the criminal chief, based on the Kray Bros., who has commanded a man hunt to track Chas. down. When he is located he is summoned to his execution. Turner says: Don’t leave me, take me where you’re going. Chas. says ‘You don’t want to go where I’m going.’ Turner: ‘Yes I do.’  Chas. then blows Turner’s head off, gets into the car and the car drives off, as he looks out the window we see Turners face. Thus the turning or change is complete as each becomes the other.

The version now available for purchase or rental is apparently much different from the original. While even the available version is violent and pornographic the original must have anticipated the current pornographic output of Hollywood . While I wouldn’t call Performance tame almost every movie you see today is as or more explicit. At any rate the movie has no redeeming moral value. If you want porn plain and simple, there it is.

The legend has it that the movie changed the lives of the participants. Perhaps so, but perhaps not. Michele Breton was already a lost child and stayed lost. Anita, no stranger to drugs moved into intense familiarity. James Fox, who was criminally mistreated by Cammell, gave up movies for ten years but he says he was already fed up with the seedy side of movie making so perhaps Performance just capped it. Keith? God, what can you say? Who was going to keep him from drugs? If Cammell was already inclined toward suicide he topped himself off in 1996 finally taking Keith’s advice.

But, now, Mick and Marianne. Mick was advised to play himself but Marianne wisely overruled that advice perhaps saving Mick’s sanity but still leaving him off balance. Marianne advised him to adopt some of the fey characteristics of Brian Jones’ character along with some of Keith’s tough guy stance. Not too difficult as that is the way Mick already appeared but it permanently shifted his personality in that skew. Nevertheless Mick has always remained supremely functional.

As to Marianne, how did she relate to Mick’s rejection of her by sending her to Ireland and the subsequent miscarriage of her child. That is a lot of psychological battering. I think that it is certain that as 1968 progressed she was already in a depression and sinking rapidly. While she was able to hold on for another year or so, by 1969 she would be spinning out of control as further events tested the strength of her mind.

Marianne Faithfull, The Faerie Queene Of The Sixties

Chapters I and II


R.E. Prindle

She’s one of those girls

Who come with the Spring

One look in her eyes

Makes you forget everything.

Younger Girl- John Sebastian

The sixties came walking in slowly, hands in pockets shuffling along barely recognized going down the road.  Few recognized that it was a period of god formation.  All the icons of later years came from those days.  John Lennon, Jim Morrison, Jimi Hendrix, Mick Jagger.  The comptetion for goddesses was less crowded, Janis Joplin carried too much baggage, Grace Slick had her shortcomings and the rest were wannabes- except for Marianne Faithfull.  She floated through, became entangled with his Satanic majesty, Mick Jagger, crashed and disappeared from sight to reemerge damaged but triumphant.  When she resurfaced it was in another guise bearing little resemblance to the Faerie Queene of he sixties.

Perhaps only in retrospect does she appear as the angel of the sixties.  Only looking back does she stand head and shoulders above the women of the decade.  In her day she aspired to be Guenivere to Mick Jagger’s Lancelot.  High expectations doomed to disappointment.  Buth then the high, even ridiculous, expectations of the sixties couldn’t hope to be more than failed and fail they did.

The sixties were born in the despair of the World War II, the Korean War and the Atom Bomb.  The decade was shaped by the children born from 1934-38 to 1945 most heavily represented by the years of ‘42 and ‘43.  The years had their effect on those nborn in the United States but devastated those of England who formed the backbone of the sixties in both the US and England.  Stunted by ill nutrition the English boys and girls entered childhood in a world of deprivation, millions of bomb craters, square miles of devastation, limited amounts of food that were rationed until they reached their teens.  Nutrition triumphed over genes leaving perhaps a majority stunted almost to the height of midgets.  Then in the mid-fifties they came off rations as the country rebuilt and a degree of prosperity returned.  Thus the favored members of a generation with low or no expectations burst into an energized prosperity, as the flower of the sixties grew and blown in a trice.

Marianne herself was born in 1946, a baby boomer, in one of those ill-starred marriages of the post-war world.  Thousands of young English girls married American servicemen and left the lad of their birth forever.  Perhaps more wisely than they knew as the hundred of thousands of English men who never returned live would have left them spinsters all their lives.  As it was Marianne’s father, Glynn Faithfull met her mother in occupied Austria returning with her to England where Marianne was born.  As might be expected of a marriage made under Third Man circumstances the marriage proved ill matched each partner going their own way.  Thus by 1953 when Marianne was seven and rationing was lifted she divided her time between her two parents.

One ponders the effect this had on the psychological development of the girl.  Her father was one of those strange utopianists who believed the Holy Grail of personal redemption could be found in fucking so he founded some Jim Jones type of sex retreat where all the inmates were encouraged to copulated indiscriminately and freely.

One doesn’t know Glynn Faithfull’s background.  There may have been a couple reasons for this faith in fucking.  A significant underground current was Aleister Crowley and his faith in sex magic.  Crowley and his disciples with figure in

Aleister Crowley

Marianne’s life in the sixties.  His influence would continue to grow during the forties, fifties and sixties.  Perhaps more significant was the sex therapy of the one of the centuries most eminent madmen, Sigmund Freud.  While generally unaccredited for his sexual influence, his sex theories combined with his bizarre vision of the unconscious did terrific damage to the world’s psyche, especially during the fifties and sixties when his notion dominated psychology.

As a young girl Marianne was encouraged to observe the inmates copulate.  They apparently did so in front of open windows in a series of rooms fronted by a ledge or sort of long balcony.  As a young girl her father encouraged Marianne to use this ledge to view the couples at play.  In the innocence of youth she little knew what to make of this although what effect the flickering memories  played in her development she either does not say or doesn’t know.

Her mother removed her from this environment placing her in a Catholic convent school until she was sixteen.  The transition from open sex practices to a chastity minded Catholic education must have provided an unusual contrast in the growing memory bank of her mind.  At least Marrianne was out of harm’s way for a few years.

Marrianne’s mother, Mrs. Faithfull, was an Austrian.  She had witnessed the years of the Anschluss and the Nazi administration of the war years.  Necessarily as the Soviet troops moved in she suffered the horrors of the rape of the German women by the Communist troops.  This event made the Rape of the Sabine women look like a pleasure romp.  History records that when things had settled that there were long lines of pregnant German women before the hospitals waiting their turn for an abortion of a hateful pregnancy.

It was in this environment that Eva met her future husband Glynn Faithfull.  It was possibly love among the ruins in which Marianne was conceived.  Born out of the ashes so to speak.  ;Marianne’s mother Eva was of the Sacher Masoc line; he who gave masochism its name and wrote the Venus In Furs that Lou Reed purloined for the title of his song.  Hard core rock and rollers have been in awe of Marianne’s ancestry as though she had a hand in masochism’s naming.  Sins of one’s distant relatives and all that.

When Marianne escaped or was released from the nunnery she was ill prepared to deal with life on the streets, but then aren’t we all.  So as the sixties dawned this attractive girl with no prospects began to wend her way through life.  The Catholics gave her some vocal training of some sort, perhaps Gregorian chant, so Marianne took up folk singing.  Rather than the subdued tones of A Years Go By she was more of the bellowing Joan Baez variety.  Thus when Andrew Oldham asked John Dunbar if she could sing and John answered yes he was stating a fact.

In John Dunbar Marianne fell into one of the hippest young crowds London had to offer.  Dunbar himself was of a Bohemian mentality and he associated with the future historian of the musical and artistic scene of the sixties, Barry Miles.  Miles has never gotten the recognition he deserves.  To begin with he co-founded the very avant garde Indica Art Gallery with Dunbar.  The Indica lasted only a couple seasons but those were two memorable seasons.

The two entrepreneurs were discovered by Paul McCartney who, I don’t know if active is the right word, took at least an active inte3rest in the gallery which led to John Lennon’s eureka moment with the scourge of rock and roll, Yoko Ono.

In the course of time this led to Dunbar’s being invited to the famous party in which Andrew Oldham is said to have gallantly remarked:  Who’s the broad with the big tits?  Or words very close to that.

It was at that point that Oldham asked the musical question: Can she sing?  To which Dunbar unwisely responded yes.  Marianne, given that she was already a folksinger, sagely pretended to be at sea so that Oldham was afforded the pleasure of coaching her along.  Whether he made it inside the Magic Circle or not he had to come up with a song for Marianne to record.  More at sea over this matter the legend has it that Andrew locked Mick and Keith of the Rolling Stones into a closet, toilet or kitchen and said he wouldn’t let them out until they wrote him a song.  Thus Marianne indirectly is responsible for the Richards-Jagger song writing team with its ill fated effect on popular culture.

With Marianne Oldham struck gold the first time out.  The song Richards-Jagger wrote was a languid ditty titles As Tears Go By sung in a lisping fainting manner by the newly nominated Faerie Queene.  Songs are pretty much ephemeral to the time but within the ephemera of the time both Marianne and As Tears Go By were a very major hit.  In her way Marianne and her song was the sunrise 1964 was waiting for.



…I trusted you and did my best

To make you happy.

Is this what I get for loving you?

Spector, King, Goffin

Marianne was some kind of folksinger cum chanteuse.  She had a high virginal voice.  She came from a Catholic convent school that signified purity to the English public.  In her early interviews she appears shy, modest, and if I may say, virginal.  The very antithesis of the increasing vulgarity of the times.  They set Marianne on a pedestal.

In the early sixties rock and roll had not yet driven every other rorm of music off the field as it would by 1970.  From 1960 to 1964-65 folk music was the dominant musical form although not of the New York purist variety; more along the commercial lines of Harry Belafonte, the Brothers Four, the Kingston Trio and Randy Sparks’ New Christy Minstrels.  Peter Paul and Mary were at their peak not year claiming to ‘love your rock and roll music’ until 1968.  In 1966 the Christies spin off The Association was a big hit.

Apart from sappy team acts he Beatles sparked the rock and roll revival although their wasn’t too much difference between them and the sappy teen acts.  I never did understand what the public revered in them.  Listening to the early Stones recently reminded me why I didn’t like them the first time around either; they sound quite a bit like a bad garage band.  Jagger isn’t much better a singer than Dylan, he couldn’t have been much worse.  But fate is fate and a hit is a hit.  Can’t argue with it.

Marianne then entered the lists with a number nine hit in the UK and a number twenty-two in the US.  Her second song Blowin’ In The Wind, didn’t chart while her third, Come And Stay With Me was number four UK and twenty-six US.

She released four LPs in 1965 which is at an exploitative rate.  No one at the time realized that the next wave of pop acts would be extremely long lived.  No one thought that the Beatles, even though they broke up, would go on dominating popular music for fifty years.  No one would have believed that the Stone would be projected a tour fifty years on.  No one could have believed that Marianne would still have a career fifty years on.  So they were trying to gut the goose that laid the golden eggs as soon as they could.  How could anyone at the time have believed that Jagger would become a pop god and Marianne a goddess?  Icons for a generation.  Unthinkable.

The first two UK albums charted at twelve and fifteen while in he US Marianne Faithful charted at twelve.  Her US sales then were somewhere between seventy-five and a hundred thousand copies.  She didn’t make the charts with a new title until 1974s Broken English weakly settling on the US charts at eighty-two.

Prior to 1964 most British bands had little presence outside their native England.  With the arrival of the Boeing 707 in 1959 the US became readily accessible while the vista for global band was opened.  First through the breach, of course, were the Beatles, soon to be followed by Bob Dylan and The Stone and even Donovan.  Most people don’t understand how big Donovan was in the sixties; almost an equal to the Beatles and Stones.  Thus the era of global popularity was inaugurated changing the face of popular music and group economics.  Oddly enough the field was limited to English and American bands for a very long time.

An astute manager with his eye on the future might easily have turned Marianne into a global attraction.  However Marianne after jettisoning Andrew Loog Oldham after her first two single signed with some small minded English putzes who were both incompetents and only interested in exploiting her.  Somewhat like Edie Sedgwick in New York it was all there waiting to be picked up but no one saw it.

It does seem that they saw the image ready for use but ignored it.  Where was that eagle eyed Allen Klein I wonder.  Marianne herself was into Queen Quenivere, King Arthur, the Holy Grail and the faerie aspects of the epic.  The record people got it.  For instance the liner notes on the back of the US Faithfull Forever US release quote from Keats’ La Belle Dame San Merci:

I met a lady in the meads

Full beautiful- a fairy’s child.

Her hair was long, her foot was light

And her eyes were wild.

I made a garland for her head

And bracelets too, and fragrance zone

She looked at me as she did love

And made sweet moan.

I set her on my pacing steed

And nothing else saw all day long

For sidelong she would bend and sing

A fairy’s song.

She found me roots of relish sweet

And honey wild and manna dew

As sure in language strange she said

“I love thee true.”

So there it was.  Everything was in place but the management wasn’t there.

It really couldn’t be seen in 1964 that this was the year of myth making in popular culture, actually ‘64, to ‘66.  Marianne had all the elements to make her as big and long lasting as, say, Bob Dylan.  She already was a myth.

Perhaps Mick Jagger of the Rolling Stones surveying the horizon saw this.  Ever envious he may have said to himself ‘This woman is a threat to my supremacy;  I must destroy her.’  I can’t say but he did sidle up to her, pour some wine down between her breasts and with that introduction proceed to seduce her whispering ‘Come stay with me.’  A couple years later he threw the remains aside.

And Marianne plunged into a deep depression.

Part IV

Mick Jagger, The Rolling Stones And The Yobbo Revolution

Mick, Kenneth Anger And Satan


R.E. Prindle

R.E. Prindle


A Musical Digression

While this part deals with the rise of the occult it will require a digression or two to flesh out the argument to provide credibility.

Mark Sullivan, the author of the fabulous turn of the twentieth century study, Our Times, quotes Plato as observing that when a people’s music changes it signifies a great change of consciousness; the only question is, for what duration.

As Sullivan notes, the incoming waves of immigration to the US during the nineteenth century each brought its musical consciousness with it which was grafted onto American consciousness; thus the German, Polish, Italian and Irish musics etc. all had their influence.  Sullivan was somewhat puzzled because with the huge Jewish influx he couldn’t find a commensurate Jewish music.

Sullivan failed to note that while the Jews had no national music of their own they were past adepts at mimicking the music of other nationalities; hence a large percentage of US music of other nationalities, Irish, Polish and German songs were actually written by Jews in the appropriate idiom.  Jack Yellin for instant within ten years of his arrival was writing quintessential Southern songs such as ‘Are You From Dixie.’  A very high percentage of what is considered quintessential Americana has been penned by Jews thus infusing Jewish culture into and replacing American culture with their own.

While immigration was held to a minimum from 1914 to 1965 there was a huge internal migration of Negroes from the South to the North and West.  The Jews served the same function with Negro music as they had with the external migrants.  They wrote the songs for Negroes to sing.  This was especially evident during the fifties and sixties of the twentieth century when the terms Negro and Jew became synonymous.

In the fifties when I was a boy Rock and Roll made its entry into musical history.  From an elders’ point of view Rock and Roll was a corruption of our musical tastes that extended into our morality.  This was as Plato and Sullivan predicted.  The intense tough and decisive battles for  supremacy in American culture were being fought between Communists and Americanists- Collectivism vs. Individualism.  The decisive battle was the failure of Joe McCarthy.  When McCarthy went down the war was lost although a long rear guard action delayed the Communist triumph that actually only took place in 2008 with the election of the Negro Barack Obama.

Dr. Strangelove by Peter Sellers. Must see movie.

Thus the fifties was a long intense struggle that was fought out in the movies, phonograph records, publishing and radio with an increasing boot from television.  While we knew we were fighting the Communists for survival the means of the warfare were noticed but by a few and they were demonized by the Communist controlled media as cranks.  Most frequently  the accusations were made by wild eyed hysterical sounding Fundamentalist ministers.  As the majority couldn’t see the accusations that Fluoride and Rock and Roll were Communist plots the accusers were laughed off.  I could never understand how something I loved, Rock and Roll, was a Communist plot.

I did note the accusation was uttered with such complete sincerity however that it troubled my mind over the decades as to how these ministers could make such an accusation.  I suppose the first seeds of comprehension were planted by the Peter Sellers’ movie ’Dr. Strangelove or How I Learned To Love The Bomb And Stop Worrying.’  The movie while hilariously funny was so skewed toward the Communist cause that it gave me pause.  I vaguely comprehended that I was being manipulated.

Shifting The Mores

     Now, after something like sixty years of thought and study, including Plato and Sullivan, I have I believe the explanation.

The Mores of the US have probably always been relatively fluid.  Almost from the beginning the mores of East Anglia clashed with those of Wessex and then came the Scots, the Rhineland Germans (known as the Pennsylvania Dutch), the Anglo-Scots of the Border Country, the Midland English Quakers and a smattering of others along with the strong Negro element.

After Independence the Negro population burgeoned when the invention of the cotton gin  created the cotton culture of the South.  This population would create the tension that led to the Civil War and from that conflict the tension that would lead to the post-WWII Negro revolt.

The Irish invasion of the 1840-60 period brought the great clash of mores between the Celts and Anglos that reached its head in the 1960 election of the Celt, John F. Kennedy.

Along with the Irish came the 48ers of that failed European revolutionary phase that would create the collective-individualist conflict in mores that has resulted in the Communist triumph of Barack Obama of today.

Then in the 1870s began the invasion of the Southern and Eastern Europeans that created a conflict in mores between themselves and the Irish, Anglo and Northern European element.  As noted things settled down into a contest of moral wills until 1965 when the gates were thrown open to the entire world as though the fraction of the world’s surface designated the US could house all humanity.  Thus any possible hope of a unity of mores was completely shattered.  Any center that might have existed was destroyed.

Now, as unpleasant as the facts may be to some intelligences, the control of the creation of a unified set of mores was seized by the Jewish immigrants in the aftermath of WWI.

To merely select a highlight of the process, in 1938 the Stalinist-Jewish agent, Congressman Samuel Dickstein. with the complicity of FDR created the House Un-American Activities Committee to root out anti-Semites and Fascist/Nationalists thus shifting control of mores to the Judaeo-Communists.  The move was only partially successful initially as it had to face an intense post-war reaction ultimately conducted by the near great Joseph McCarthy.

As ever the mores of the majority were attacked at the weak joints in their armor.  The key point was the long festering Aryan-Negro conflict.  In realistic terms it was a conflict that could have only two results, the physical subjugation or extermination of the Whites by the Blacks or vice versa or the amalgamation of the two species.

Like it or not, the Jews and Negroes are calling for the extermination of Whites.  The problem in post-war 1946 was how a small minority of Jews and Negroes representing perhaps 14% of the population could eliminate the 86% who were fully armed and dangerous.

The first step would be to knock the majority off its moral center.  Without a moral focal point the majority would flounder.  The route taken was nothing new.  Ever since post WWI when the newly formed Anti-Defamation and NAACP Leagues were formed the majority had been cast as bigots.  This caused a polarization among its Liberal and Conservative elements and Immigrants and Natives.  By 1950 there was a 50-50 split between descendents of pre-1800 and those who came after.   These splits were exacerbated by propaganda.  Outside those divisions were the Negroes.

So, then how to fracture and fragment the majority White population even further.

Until 1954 the music that you heard on the radio was all Western, not cowboy but derived from the White or Aryan

The Great Joe McCarthy

population.  And there wasn’t much of that music broadcast.  Radio was controlled by the networks and they only slotted a couple hours a day of fairly wishy-washy stuff.  Then about 1954 when television, commercially introduced after 1946, displaced radio as the source of home entertainment, radio floundered and only saved itself by going to all music that soon developed into Top 40 and teen dominance of the radio airwaves.  That was my age cohort.

That was a time when the designation race music meant the stuff that only Negroes listened to.  The designation Country and Western replaced the term Hillbilly at this time.  Some considered Hillbilly a race music with a degree of accuracy if with malice.  Hillbilly was despised by all but a minority not much larger than the Negroes of which I was one.

Strangely at about the same time efforts were made to bring both musics into the mainstream.  Actually they would combine with folk to form Rock and Roll-  Rhythm and Blues and Rockabilly.  Hard to tell which was the harder sell.

The Vile Erskine Caldwell

H.L. Mencken in the teens and twenties had excoriated the hill people, from which I derive on my father’s side, while the vile Erskine Caldwell vilified and completely defamed Southern Whites in his two hateful and extremely popular novels Tobacco Road and God’s Little Acre.  The two novels remained a tremendous influence through the fifties as well as the pervert Al Capp’s cartoon strip L’il Abner.  Thus a large part of the majority population was more receptive to Negro music than Hillbilly.

Naturally the agents in the forcing of Negro music on the Aryans were the Jews.  The actual recordings of real Negroes were pretty raw and unmusical.  Though stuff to digest.  Of course there had always been Negroes catering to White audiences such as Duke Ellington, Louis Armstrong, Billie Holliday, the Ink Spots and Mills Brothers of the earlier generation and the great Platters, Fats Domino and Johnny Mathis of the next generation but the real Negro music was unmistakable.

Thus Jewish songwriters such as Leiber-Stoller, Doc Pomus, Mort Shuman and others adopted Negro personas and wrote most of the Rhythm and Blues performed by Negroes.  It was this Negro music geared to Aryans by Jewish song writers with a foot in each camp that made the inroads leading up to Berry Gordy’s Motown Sound where you had a new generation of Negroes packaged exclusively for

H.L. Mencken

Aryans singing songs largely written by Negroes and, of course, from there it melded into the more racial Soul Music of the sixties.

So, in 1954 Rock and Roll began to develop.  First was Bill Haley, the former leader of a Country band who picked up on some Negro/Jewish shouts like Shake, Rattle And Roll and moved them over to the White side of the tracks.  And then came acceptable cuddly Negroes like Fats Domino and the respectable Bill Doggett with his great Honky Tonk Pts. I & II.  I don’t know how Little Richard squeezed between Fats and The Platters but he did.  Of course he wasn’t even of this planet and there was no discrimination toward extra-terrestrials.

Acts like James Brown And His Famous Flames were rejected out of hand.  There were no crossover possibilities there.  The greatest hit he ever made was his beloved televised funeral.  That was something else.

The Chess artists that the Brits idolized made absolutely no impression at all with the exception of Chuck Berry.  After Maybelline Chuck had tough sledding although he has fared reasonable well in the aftermath.  Memphis, Tennessee, a true classic.

The One And Only

     The Commies Were Everywhere

The Law Of Unintended Consequences

     When the Fundamentalist ministers objected to Rock and Roll as a Communist plot I’m sure they were ignorant of the actual evolution of Rock so I am not clear on what their antennae were picking up.  They may have been watching something that isn’t so obvious now.

The world of Folk Music was clearly Communist run with a very strong Jewish influence.  While other people knew of the Red influence in the arch Commie group The Weavers, it was not at all obvious to kids like myself.  The Weavers’ great hit On Top Of Old Smoky betrayed nothing that could be considered Communist.  However the idea of Folk Music which I have always interpreted as Appalachian style music, essentially real oldtime hillbilly, was slowly expanded into a political notion of poor people’s music, the music of the ‘oppressed.’   Now, let me tell you, I come from this social group but have never considered myself ‘oppressed.’  That attitude comes from some very well situated people who have never been at the bottom.  Seeger and his Almanac singers brought Depression songs into the mix so that ‘real’ people went around saying things like ‘I knowed it wan’t  no good.’  Poor people with the folkies were always illiterates who ‘knowed’ things.

Seeger and the Weavers had a hit with the Israeli song Tzena, Tzena, Tzena that was a sprightly song but hardly folk.  Apparently not realizing the song was a success because of its tune not its Jewishness the Weavers followed that song with some propaganda called The Song Of The Sabra, some kind of Israeli kibbutz song.

The Weavers w/ Pete Seeger

At that time the TV Hit Parade show was big and practically the only source of hit songs so Seeger got his song on as an extra because no one bought the record.  It may have been the first Israel as the fifty-first state attempt.  If so the reaction was completely negative.  Shortly after, Seeger and The Weavers were investigated as Reds and disappeared.

Seeger became an anti-commercial purist but a major guru of the heavily Communist and Jewish New York folk scene of the late fifties and early sixties from whence the young Bob Dylan became a stellar performer.  So, between the Negro race music and the Aryan Hillbilly race music along with the Folk music that became a part of the meld, Rock and Roll was sort of the unintended consequence of the effort to force Negro music on Aryans and the Red influence of Folk.

When Fred Hallerman of the Weavers became a consultant for the Kingston Trio in the late fifties revival of the Weaver ethic, the Kingstons did follow a Communist musical agenda that most folkies adopted.  Once again, you had to have a score card to know the players and follow the game.

In England beginning around 1960 a funny thing happened on the way to the recording studio that the Judaeo-Communists could not have anticipated.  The second generation of rockers worshipped Negroes and Negro American music especially the urban electric bluesmen of the fifties that White Americans had already rejected.  It is true that the small coterie of American White Negroes were fanatical about Negro artists like Muddy Waters, John Lee Hooker, Chuck Berry, Bo Diddley and a few others but the mass market would have nothing to do with them either in the fifties or after thirty years of ballyhoo.  The fanaticism was not contagious.  Indeed a really nice picker like Mississippi John Hurt is unknown.  You can count the number of records sold by the Blues hero Robert Johnson on one hand.

Yet the English rockers born from 1940 to 1944 literally worshipped these Negro guys, listening to their records until they had them note for note, even attempting to be Negro, chasing Negro women.  Of course the music had to be adapted to the mass taste to succeed and in the adaptation a new, or at least different, style of music was created.  As strange as it may seem both the Communist Jagger and Richards of the Rolling Stones had an attraction to American Country and Western while being reared on the Englishman, Scots actually, Lonnie Donegan’s big beat folk rock.

What came out of the Stones then was a strange Negro-Country and Western sound performed by White Negroes.

Thus Negro slave music despondent and defeated was successfully laid as the basis for the Folkways of a generation or two of Whites.  Musically the revolutionary program was on course as the sixties dawned developing rapidly.  The Fundamentalist ministers as it turns out were right about Rock and Roll being a Communist plot or turning into one.

Organizing The Future

Procol Harum 1967

She wandered through the garden fence

And said I’ve brought at great expense

A potion guaranteed to bring

Relief from all your suffering.

And though I said: You don’t exist

She grasped me firmly by the wrist

And threw me down upon my back

And strapped me to her torture rack

And without further argument

I found my mind was all so bent

Upon a course so devious

It only made my torment worse.

–Procol Harum

The Communist strategy was to break up prevailing mores and replace them with its own.  Thus the so-called concept of Critical Theory, which was Jewish, was used.  Critical Theory is mostly taking a superior moral attitude as though one knew best and then carping at the existing society as though only fools had devised it and they could do better if they only had the chance.  This attitude applies to all established standards and customs.

Key to our argument here is the assault on artistic standards.  The Semitic religions of Judaism and Moslemism reject the representation of living life forms especially that the human relying on abstract designs instead.  Thus Aryan representational art is anathema to them.  More or less as the twentieth century began, coeval with the rise of Freudian psychology, the assault on representational art began.

In the US the assault began with the New York Armory show of 1913.  The most sensational work of this seminal deconstructive exhibit was the Marcel DuChamp picture of  The Nude Descending A Staircase, he, himself was a Communist agent.  The process continued led by Jewish artists who formed a blobs and dabs ethic leading into Abstract Expressionism and finally completed by the anti-art of Andy Warhol in the early sixties.

Andy Warhol-Yoko Ono Practicing The Black Arts

In 1959 thirty-two short years after the American hero Charles Lindbergh flew his single engine prop airplane across the Atlantic over a period of days a four engine Jet 707 lifted from the runway of Idlewilde airport in New York City to cross the Atlantic non-stop to London in a few hours.  This inaugurated the Jet Era while creating a new phenomenon, the Jet Set.  Logistics had been made incomparably quicker and easier.  Revolution could be co-ordinated as never before.

One imagines that David Bailey watching this first flight recognized its momentousness.  I like to think his breath was taken away by this miracle of science and that he rushed down to get a ticket for the return flight to New York.  Who was David Bailey?  He was a young fashion photographer  for British Vogue.  Antonioni’s film Blow Up was based on his career in what would be known as Swinging London in a few years.  Dave in his early twenties would catch the wave at its inception and ride the wave all the way up and all the way down.  As I write he’s still out there.

As a result of the 707 Fashion itself was made identical on both sides of the Atlantic.  New York and London became one huge metropolis for lucky Jet Setters.  While Dave Bailey was in New York either this time or another time he met fellow revolutionary Andy Warhol.  Andy was a fashion illustrator of shoes during the fifties so it is not improbable that someone at American Vogue called Andy to Dave’s attention.  Or, perhaps as Dave was a switch hitter he wandered into the Serendipity where Andy was a fixture and formed an acquaintance there.

In any event in 1963 Dave Bailey took Mick Jagger on a 707 jet flight to New York.  Mick, as we all know, was a revolutionary who at that time was attending the Communist London School of Economics while singing with the nascent Rolling Stones.  Dave took Mick to call on Andy and the three became fast friends, mates as Dave would say.  Mick revered Andy.  Andy himself playing the fey fool for security became a very important figure in revolutionary circles until his death in 1987.  Andy himself revered Marcel DuChamp while considering himself DuChamp’s disciple.

David Bailey and Jean Shrimpton today. First she’s yours and then she’s his.

Just as Yoko Ono realized the potential of the Happenings for bending society to her will so did Andy.  Having put the finishing touches to art, pop art would be followed by graffiti artists like Keith Haring and Basquiat, Andy turned to film.  His atelier known as The Factory became a very long Happening from ‘64 to’67 when Andy was turned out of his quarters.  After a hiatus of a decade the torch was picked up by the nightclub Studio 54 which in many ways was a continuation of The Factory as a social scene.  Andy was no less a fixture at Studio 54 than he had been at his own Factory.

The Union of Jagger and Warhol was fortuitous as with Andy’s blessing the Stones became practically the Village house band.  The Village was a stronghold for the Stones.  Perhaps inspired by the success of the Stones as well as Bob Dylan Andy made a foray into music when he adopted the Velvet Underground as the Factory house band launching their very short career and the much longer one of Lou Reed.

The stage on which the ‘60s revolutionaries played out their gig was gradually falling into place as the unintended consequence of the foisting of Negro music on White youth by the Jews.  As it turns out it was a Communist plot.

The Communist strategy was to break up prevailing mores and replace them with its own.  This is an age old technique.  No surprises here but to the uninformed.  To mention only one example common to all religions, when a new religion is seeking to replace an old religion the simplest thing is to build new shrines on old sites.  Thus a Christian church replaces a pagan shrine, then a Moslem mosque replaces the Christian church.  The ‘Holy’ site remains the same but faith replaces faith.

Thus, the Communists made their assault on popular culture.  Several very potent technologies had been developed by the ‘Capitalists’ that would never have come into existence under Communism, movies, TV, radio, records and print as well as the art world.  They have used them all effectively.  In authoritarian societies such as the USSR content could be strictly controlled and any deviants punished unlike the West with a long habit of freedom of expression.  As the sixties progressed any attempt to control such things as pornography, nudity and actual sexual perversity were removed.  By the end of the decade the cherished Holy Grail of the revolutionaries of being able to say ‘fuck’ in movies or on TV had been realized.   The Warhol movies of Paul Morrissey,  Blood For Dracula and Flesh For Frankenstein, carried the portrayal of Sado-Masochism to lengths that would have delighted De Sade and Sacher-Masoch themselves.

In an extreme pornographic Happening in 1971 Mick Jagger before an audience of millions would have a huge inflatable penis unroll from the back of the stage, which he mounted.  If there was any community objection it was hooted down in the name of freedom of expression.  Truly a cultural revolution of some sort had been achieved by a small minority.

Sussing Out The Ghouls

Groovy Bob Fraser- Good book.

The key to the psychology of the twentieth and twenty-first centuries is Sigmund Freud and where he fits into the culture.  Unfortunately he was not on the side of the angels.  In the struggle between Reason and Un-reason Freud was the champion of un-reason, the Lord of Misrule.  He aligned himself with ancient traditions, none of them Jewish as when they were formed there were no Jews, at the dawn of human history.

Freud discussed these ancient attitudes, in one guise or another, in his 1930 complaint Civilization And Its Discontents.  To mention merely one strain, that of sex.  While we cannot hope to recreate the mind of early man let us assume that early man took a cop from the nearest available woman where he found her.  Rape was not yet a concept so for our purpose here, like Freud we’ll assume that forced sex was common and men, at least, suffered from no sexual repression.  This is the very core of Freudian psychology.

Thus in the good old days a man in the mood who came across a woman drawing water at the spring simply grabbed the woman copped and strolled away without so much as a thank you.  Nine months late the woman said a god appeared to her and the baby was his.  Easy.  But as populations evolved civilized new rules were introduced and men, at least, began to suffer the horrors of repressing their sexual appetites.  This was very nearly original sin in Freud’s mind.  Restrictions were placed on uninhibited copulation.  However the memories of the good old days lived on and men subjected to the new discipline complained of their loss of rights.

At that point society thought something had to be done to satisfy these reactionaries.  One possible solution was sacred prostitution.  Thus young girls were taken down to the temple precincts and couldn’t leave until they offered themselves to the first taker.

In other instances girls stayed until they earned their dowries.  In any event the illusion was created that any man could have any woman when he wanted her- if he had a shekel.  If not then back to laboring in the vineyards of the Lord until he earned one.

Presumably this system worked reasonably well until the mores of the Matriarchy were replaced by the mores of the Patriarchy and women became private property with the woman secluded out sight of leering male eyes.  This system had its problems, one being that some guys were so greedy for women that they collected hundreds in what they called a harem and said that these women were exclusively theirs.  A neat turnaround of temple prostitution.  Well, all systems have inherent flaws.

Middle Easterners then carried it so far that to prevent impertinent glances from passing fellow men they clothed their women cap-a-pie and then put a screen in front of their faces.  Wow! That’s thorough.

As odd as it may seem those memories persisted for thousands of years perpetuated by cults and secret societies.  In reaction to Catholic discipline societies such as the Free Spirits, the Anabaptists and such rebelled against the church in an attempt to re-establish that golden age of yore when it was supposed that men, at least, were unrepressed and could do as they pleased with any woman.  As Rabelais phrased it:  Do what thou wilt shall be the whole of the Law.  Law and Civilization go together so to get rid of one you have to get rid of the other.  Freud wasn’t dumb.

Then the Enlightenment evolved and the Free Spirits morphed into the Libertines and the Libertines morphed into the Bohemians and Organized Crime and, et voila! Here we are.  Today! Or at least New York City today.  We’re getting closer to Andy and Mick’s paradise.

And then we have the problem of good and evil or, in other words, God and Satan.  A lively division was carried on in ancient times that gradually evolved into  Christian Orthodoxy and Gnostic heterodoxy.  These went through additions and subtractions, mutation and changes until there gradually emerged a clarification of the Godly Church and the Satanic occult.  The Church was able to successfully manage Satanism until the Enlightenment when with their power broken Satanism, Bohemianism and Organized Crime were able to surface and operate in the open.

Many were the advocates and cults.  The central figure of Satanism was  the Frenchman Eliphas Levy (French not Jewish, Levy was an assumed name).  Levy organized modern Satanism.  The novels of J.K. Huysmans give a good insight into this period as well as being good reading.  Important to the US was the Golden Dawn of Aleister Crowley who managed to leave England and live and die in Los Angeles.  His publishing house still survives in the desert town of Barstow.

Thus Satanism grew in significance into the twentieth century when it aligned itself with Warhol and popular music.  When opportunity presents itself, snatch it.

Today, many self-styled adepts and magi have made their appearance over the decades usually with some sort of sex therapy that involves total indulgence or submersion in sexual congress.  Thus the link between Satanism and Freudianism is strengthened.  Freud himself has an appearance of a magus.  He was steeped in the Jewish occult, Frankism, the Zohar, Kaballah and so forth.  His answer to mental health was also unlimited sexual intercourse.  He believed that the more ejaculations per day the better a man would be.  Thus, once again, we have New York City of toady in which women are expected to indulge men in the most casual of sexual encounters.  It will be remembered that the Jewish psycho-analysts fleeing the Third Reich mainly settled in New York thus once again strengthening the Freudian connection.

Thus the anger of ancient sexual reactionaries has been made the ‘sexual liberation’ of today.  Sexual revolution?  What sexual revolution?  Just a return to the most primitive sexual indulgence.

As Freud was himself a homosexual it is no accident that he quietly promoted homosexuality or, at least, the end of sexual repression leading to…what appeared to be sexual liberation in his imagination.

Now, Mick Jagger first appeared in New York in 1963 with David Bailey as his cicerone just when all this fustian was about to ignite.  A later fellow revolutionary future associate, Bob Fraser was working in New York, learning his craft, at the time so it is possible the Dave and Mick met him at that time.  We don’t know as yet what all Bailey introduced Mick to.  Kenneth Anger, the homosexual filmmaker and self styled magus and Black Magician from California was very influential not only in New York but in London as well.  He would associate himself with the leading revolutionists such as Warhol, Jagger, Bailey, Lennon-Ono and the English art dealer Robert Fraser.  Fraser spent the first few years of the sixties in New York learning the art trade while he mingled with Warhol and the NY pop artists.  He was then to introduce their work to London.

Kenneth Anglemeyer aka Kenneth Anger

Kenneth Anger made ‘experimental’ films such as the influential ‘Scorpio Rising’ the movie had a great influence on Andy when he turned to films in 1963.  Scorpio Rising is a homosexual film about a gay primping to go out catting on his motorcycle in some Brando ‘Wild Ones’ setting.  It is a silent film except for the girl group soundtrack of a dozen or so songs.

Anger would then insinuate himself into Jagger’s entourage as he tried to bring Jagger into his Satanic circle.  Mick was supposed to write the sound track for an Anger film but didn’t produce causing Anger in revenge to claim the soundtrack was by Jagger then using some horrid static as a soundtrack.  Anger would also con Jagger’s then girl friend, Marianne Faithfull, into appearing in what he considered his magnum opus Lucifer Rising.  That movie was pretty much a waste which considering Anger’s other efforts is saying a great deal.

Nevertheless Anger influenced Jagger bringing Mick into the orbit of Satanic religion at least through the sixties.  Satanic tropes also began to be marketed to the general public in the mid-sixties with dozens of Satanic movies released over the next decade. In much more than a symbolic way the birth of Satan, Lucifer rising,  was for the modern age portrayed in the 1968 movie Rosemary’s Baby directed by the Jewish Roman Polansky based on the 1967 novel of the same name by the Jewish Ira Levin.

The movie purported to be filmed in New York’s legendary Dakota Apartment building, now condos.  The movie would

The Magus- Aleister Crowley

make the Dakota a Mecca for Satanists in the upcoming years.  John Lennon and Yoko Ono would acquire three apartments in the Dakota in the seventies including two on the seventh floor on which Rosemary’s Baby took place.

Ono herself was a devotee of the Black Arts (black doesn’t mean Negro in this context nor in the term Black Magic) so that her move into the apartment building may have had deep meaning to her.

The previous year, 1967, the Stones had released their record Their Satanic Majesties Request in which Mick introduces himself as Satan.  The disc was released on the eighth of December just before the birth of the baby Jesus.  This might have been coincidental or it might have been a Jewish joke.  At any rate the heavily Fundamentalist US audience of ‘kids’ took it literally thus identifying the ‘bad boy’ Stones as Satanists.  The record also set a tone for the next few years.

According to sources such as Marianne Faithfull Mick was not seriously into Satanism.  She says that he was influenced by the Russian novel The Master And Margarita.  That novel itself has a Wag The Dog quality.  Wag The Dog was a 1997    movie in which a fake war has been reported by a compliant media for political reasons.  However man proposes and God disposes.  The scenario has to be regulary adapted to changing circumstances that often fail to occur as planned.  A key point is when a song was faked, made to sound old, then inserted into the Congressional Library to be ‘discovered.’  The Master And Margarita has that quality.

Supposedly written by one Bulgakov, nearly a legend in his time but forgotten today, for whom a romantic biography has been concocted, he was too cautious to publish in his lifetime as he was already in disfavor with Stalin.  The manuscript was placed in a drawer where it lay undiscovered until 1966.  At that time it was discovered and not only rushed through the presses but this would be classic was considered such a phenomenal find that it was also rushed through a translation that was also published in 1966.

For some extraordinary reason a copy of this amusing but hardly earth shaking novel in which Satan comes to Moscow was also rushed to the hands of the singer in a rock and roll band, Mick Jagger.   Mick not only received a copy but immediately sat down and read it.  Thunderstruck, apparently, he, one supposes, in a blind daze dashed off the lyrics in time to include the then composed music into the new album:  Their Satanic Majesties Request.  The novel ain’t that good.

While Marianne may be correct the sequence of events seems contrived.

However his movie Performance of 1968 goes a long way in reinforcing the impression that he was somewhat into Satanism.  So, within several months the Stones released their record, Jagger released his movie and Rosemary’s Baby appeared.  These were dark years and growing darker and when ‘Satan’ appeared at Altamont the result was a foregone conclusion.  It didn’t help subsequently when Mick mounted his giant inflated penis.

Nineteen sixty-eight and nine were tumultuous years in the record business as the industry moved from an entertainment backwater into a major billion dollar player.  It was then that Mick and his fellow Stones realized that although their group was earning tens of millions of dollars very little of that money was coming their way.  It could hardly escape them that while their ‘managers’ Eric Easton and Andrew Oldham showed evidence of big money they were still living hand to mouth.  They sacked Oldham and Easton only to be tossed into the mouth of Leviathan, Allen Klein, by the departing Oldham.

Klein himself would manage to snag several major British groups including the two biggest, the Stones and the Beatles, any ogre’s dream.  One imagines that he and his heirs have made hundreds of millions if not billions as a result of their thefts albeit conducted through legal methods.

It was not too long after the departure of Oldham and Easton that Jagger realized the monstrous trap that was Klein that Oldham had led the Stones into.

Actually the relationship of the goyish artists and their Jewish managers and record corporation execs is an interesting sociological and psychological study.  I, of course, follow Freudian group theory from a Critical Theory perspective hence cannot be accused of anti-Semitism as Freud approached psychology from a scientific rather than a religious perspective himself being an atheist or so he said.

In Jewish thought they believe themselves to be Chosen of God hence occupying a position halfway between the godhead and humanity.  As such they consider themselves as owners of the goyim or, in other words, human cattle.  As the very Jewish Bob Dylan was to sing- Give me some milk or go home.  Thus the Jewish personnel in the record industry consider the artists as something to be milked.

As with any cattle there are certain maintenance expenses that are unavoidable.  It isn’t all profit.  Thus of the billions milked from the British artists alone it is doubtful that the artists were allowed a penny on the dollar in compensation if that.  The ‘milk’ obtained from the most fabulously successful act, the Beatles, is almost unbelievable.   Both the Stones and the Beatles only amassed fortunes after they had freed themselves from their Jewish owners.  Which is to say they buy their way out trailing mega dollars.

When Jagger realized the enormity of the criminality of Allen Klein he was desperate to escape his clutches.  Interestingly he turned to, Prince Rupert Loewenstein, to free his group from the clutches of Klein.

When Klein took over the Stones from Oldham they were successful but not the icons they were fast becoming as the seventies neared.  After freeing themselves from Klein the Stones went on to actually earn billions.  Their concerts alone grossed over a billion dollars from 1971 to the present with another supposedly on the horizon that could possibly take in a quarter billion or more.

Now, it is nearly impossible for an artist to manage money period but money in the billions can only be managed by a competent financial staff.  Rupert serves that function.   I do note that when Jerry Hall was divorcing Mick she thought it prudent to check with Rupert to see if her money was still there.  Apparently she was aware of the financial shenanigans of money managers.  Historically they can’t be trusted.  One never knows whether the money is there until one asks for the check.

However whether Klein or Loewenstein, the management, the control, virtually the possession of those billions is in the hands of others.

One can only imagine the fear, the panic, that gripped Mick’s mind when he realized that all his and the Stones efforts of ten years had changed hands without any compensation.  One can only imagine the horror with which he received the news that he and his fellows were penniless.  One probably cannot imagine Mick’s reaction as Allen Klein told him- tough shit, so sue me.

Sue him the Stones did but operators like Klein know how to stonewall court orders while using accounting methods to conceal tens or even hundreds of millions of dollars.  The Stones sued for a mere seventeen million dollars while settling for bankruptcy returns of ten cents on the dollar.  A little joke of Klein’s as he laughed merrily on the way to the bank.  How much the Stones got of the settlement and how much their lawyers took has yet to be revealed.

He was fortunate to obtain the services of Rupert Loewenstein who bore the honorific title Prince.  Rupert extricated the Stones from Klein while being associated with the City banking establishment of London and already managing the money of a couple dozen of the mega rich seems to have been a fortunate choice.  Letting himself out to pasture in 2007, Rupert will release an account of his experiences with the Stones in a March 2013 memoir ‘A Prince Among Stones.’  Sounds promising but we’ll see.  Place an advance order now and wait.

Andrew Loog Oldham

When Klein took over the Stones from Oldham they were very successful but not the icons they were becoming.  After freeing themselves from Klein the Stones went on to actually earn billions.  Never forget their are expenses, including Rupert.  I don’t know what Rupert’s fees were, perhaps he’ll tell but I imagine the Stones have made him wealthier than he had been before.

Now, artists are artists who must pay attention to their art rather than their finances so a manager like Rupert is an essential.  How trustworthy he actually was remains to be seen although no complaints from the Stones as yet.

Certainly Mick must have entered an extreme darkness of mind as he passed through the years from ‘67 to ‘71.  Psychologically he had been emasculated by Easton, Oldham and Klein.  One way to interpret his riding the inflatable penis could be as an attempt to regain the illusion of his manhood.  One could also interpret his extreme effeminacy  of this period as a result of his emasculation.  Psychologically Klein had stolen his manhood along with his money.  Not that Mick wasn’t always on the ambiguous side.

Mick’s association with Satanism then may have been prompted by his realization of just how evil life could be.  Indeed in Manichean terms the flesh and world belong to Satan while God, the higher powers, deal in spirituality which is the rejection of Satan and his works I.e. money.  Depending on what Mick was reading other than The Master And Margarita his mind may have been led to the conclusion that he was Rosemary’s Baby, that he was the Prince of Darkness.  Certainly he seems to have realized the ambitions of Their Satanic Majesties Request and become a man of wealth and taste.  Interestingly he seems able to move from the exquisite to clownish with the maximum of ease.

Prince Rupert Loewenstein

Mick Jagger, The Rolling Stones And The Yobbo Revolution

Part III


R.E. Prindle

Mick And Keith Come Face To Face With Nemesis

Keith Richards- Face Of The Stones

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

Chairman Mao Ze Dong

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

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

Eldridge Cleaver

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

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

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

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

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

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

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

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

Tony Sanchez

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

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

Mick remained pugnacious personally, according to Sanchez/Blake:

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

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

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

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

Richard Nixon

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

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

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

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

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

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

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

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

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

Andy Warhol

But, back to 1967 and the Redlands bust.

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

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

Ed Sullivan

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The jungle beat might have garnered them some real attention.

Louis Malle

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

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

Jean-Luc Godard

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

William Rees-Mogg 1967: An interesting article about the case:

Next:  Leading to Altamont

Mick Jagger, The Rolling Stones And The Revolt Of  The Yobbos

Part II


R.E. Prindle

Warhol Jagger

Mick, Dave And Andy

If you had looked you wouldn’t have seen it but Sigmund Freud, or at least, his ghost was quietly at work transforming the psychology of Western Man.  The old chivalric ideals of the Arthurian sagas was rapidly being replaced by the Jewish hopes and fears of Sigmund Freud and the Jewish people.

The Aryan ideal was based on an intense consciousness and objectivity while the Jewish understanding was unconscious and subjective.  Aryans followed a concept of honor, Jews followed a concept of chutzpah.  The transformation was understood if not clearly seen by the science fiction writers of the fifties.  Stories subsequently made into movies such as The Blob, Invasion Of The Body Snatchers, book title: The Body Snatchers, and I Am Legend told the tale of the subversion of the conscious as people were portrayed as the living dead or zombies.

Warhol Jagger

With the way prepared then the next step was the free expression of subconscious desires undeterred by reflection and the subversion of men and women in sex.  Freud proclaimed that the more frequently men ejaculated the better a person they would be, at the same time preaching the dangers of repressing those psychological ‘needs’ or desires to the exclusion of all others.

The Libertine element or Bohemians of society seized the opportunity while those yet imbued with  Chivalric or Christian ideals held out while those ideals were slowly eroded replaced by Jewish ideals.   Of course the Pill and drugs came along to push Freudian ideals into fast forward, a bunch of Charlie Chaplins rushing to the future.

Warhol Jagger

At the same time movies and TV began to glorify the expression of an undefined rage  against Western ideals and justifications of its impression appeared regularly in ever more sadistic and uncontrolled expressions.  Movies glorifying drug use and homosexuality appeared regularly.  This enabled homosexuals, sadists and what have you to recognize and find each other thus being able to organize in associations.  The Homosexual, Sexual and Yobbo, or Undermen, revolutions were thus able to more forward much more rapidly.  One was able to discuss these aberrations as normal conversation, mere expressions of the varieties of sexual experience.  Then in 1962 Anthony Burgess published the Yobbo bible, A Clockwork Orange, which in 1971 was made into the most despicable of movies.

The Yobbo bible apparently found a ready audience awaiting it.  In New York, the Prince, even the King, of the Yobbos, Andy Warhol, teamed up with the London fashion photographer David Bailey to buy the screen rights from Burgess at bargain basement rates.  They obviously saw the book’s potential for forwarding the revolutions on the screen for the corruption of Western youth.  Bailey who must have been one the earliest jet setters having met Andy on an earlier occasion perhaps after Andy had introduced his soup cans unless Andy had been recognized as a leader of the revolutions before he had gained fame as an artist.

Warhol and Bailey were quick off the block obtaining the rights in either late ‘62 or early ‘63.  Certainly a prescient move.  As Andy was just beginning his switch from art to film while having no experience in film making Bailey’s collaboration seems as though it were a leap of faith.  Perhaps  if they met in ‘62 or even earlier he and Andy jabbered about the potential of movies while riding a white horse name Obetrol.

David Bailey who had risen rapidly in the late fifties at British Vogue is credited with being one of the originators of

Warhol Jagger

Swinging London.  What a knockout combination that was, had us all slavering at the mouth wishing we were part of it.  Bailey even had his career commemorated in Antonioni’s film, Blow Up of 1966.  A sensational film in its day though I find it difficult to see the significance today although still good mood and photography.

David had met Mick sometime in 1963 through his girl friend model Jean Shrimpton.  Mick was dating Jean’s sister Chrissie who introduced him to Jean.  Jean had no trouble spotting the Stones potential introducing David to Mick with the giddy news that he and the Stones were going to be bigger than the Beatles.  Slightly enthusiastic; the Stones were going to be big but not bigger.  Nothing really approaches the impact of the Beatles.  The dead Lennon is either a god or nearly one while none of the Stones will reach that status.

David and Mick bonded immediately becoming in David’s word, mates.  David was five years older than Mick and already successful so that must have enhanced his appeal to Mick.  As David looked at Mick and saw the Stones play he apparently said to himself;  These are the yobbos I need for my movie, droogs if I ever saw them.  He and Mick boarded a big 707 jetliner, one assumes, in mid to late ’63 to be introduced to co-owner of the movie rights of the intellectual property as the star of the semi-porn flick, at least as it would be filmed in 1971.

David Bailey- Fashion Photographer

This was a fateful connection for Mick and the Stones.  Now, Mick had been attending the London School of Economics, LSE, during ‘62 and ‘63 only leaving university in late ‘63 when he believed the Stones were going to make it.  It is hard to believe that he would give up school for the ephemeral success of England- two good years and out, replaced by the next pretty face.  Perhaps Bailey and Warhol were already planning the exploitation of the record industry as a propaganda tool.  Certainly Bailey was conscious of the trans-Atlantic connection between British and American Vogue.  For guys on the qui vive it wouldn’t be much of a leap to imagine trans-Atlantic musicians, after all, the Englishman (Scot, I know) Lonnie Donnegan had already had a few hits, including a monster, The Rock Island Line, in America.  If, in their discussion Mick could have seen the potential, leaving university would be a bet on a bigger and more glorious future.

Some think Bailey and Warhol would have made the movie but ALO placed the price of the Stone’s too high.  As Oldham was as keen on Clockwork Orange as anyone that doesn’t necessarily ring true.  There must have been other reasons.

Nor was Mick studying bookkeeping at LSE as often represented.  The school was established by the Fabian socialist Webbs c. 1900 and was a Communist training ground.  Mick did have a scholarship which means he must have been vetted as good future material.  Although LSE does have an accounting department Mick was enrolled in political science with the intention of being a Communist politician.  So, Mick, David and Andy were to follow a revolutionary agenda pushing the envelope in sex and unruliness.  The emerging drug scene promoted both aspects and added a new one.

Shortly after Mick returned home the Beatles burst upon the scene from the Ed Sullivan show in February of ‘64.  This was the avant garde of the British Invasion opening up fabulous new vistas for the yobbos of small insular England.  For whatever reason the Beatles were an immediate sensation.  I’ve got a very good ear but I couldn’t hear it then and I still can’t.  The Stones, not really that big a deal yet, followed shortly after gaining full national exposure on Sullivan’s show.  Young America was watching.  Regardless of the opinion of Stones’ fans they didn’t cut it.  There didn’t seem to be much there other than the hype.  Mick couldn’t sing while having a very weird appearance.  All eyes were on the magnetism of Brian Jones, looking right past Mick.  You can see him noticing where the attention was going and looking over at Brian as though to say:  But I’m the singer and should be the center of attention.  Perhaps Brian’s fate was sealed at that moment.  Certainly if he had been brought up front, as all four Beatles had been, there might have been more interest.

No matter, the first tour may have been a bummer but the conquest was still quick enough.  The Stones were after all British.  Gold, at the moment.

In any event Warhol and Jagger became fast friends. A friendship that was to endure to Andy’s death in 1987.  By the time the Stones had gotten settled in Andy had been shot in 1968 actually killing him but the doctors brought him back.

The early endorsement of Warhol had cemented the relationship of the Stones with the yobbos of Bohemia.  In ‘63-64 Warhol was only just getting the Factory, the clubhouse of homosexual drug addicted Yobbos, going but that gang would have spread the word effectively in Manhattan club land.

I’m sure Mick’s sexual ambiguity, bi-sexuality, or whatever you wanted to call it kept the enormous homosexual population of Greenwich Village Bohemia in his corner.  After Andy’s recovery in 1969-70 the relationship between the two men developed.

Andy Warhol

To quote the website :

Mick Jagger was painted [by Warhol] while he was at the height of fame.  Andy and Jagger first met in 1963.  Warhol spent a lot of time with Jagger and his wife, Bianca, but claimed he was the closest to their daughter Jade, whom Andy remembers teaching to paint.  Over the years the artistically inclined Jagger kept tabs on the musically inclined Warhol.  Mick was such an admirer, that in 1972 when the Stones formed their own record company, they tapped Andy to design their logo.

Montauk is the easternmost town at the end of Long Island.  Andy and Paul Morrisey had bought a twenty acre compound there that they rented out.  In 1975 they would rent it to the Stones for 5K a month while they were making Black and Blue.

In the meantime the Stones expanded their list of celebrity acquaintances on their 1972 Exile On Main Street tour.  Needless to say these celebrities were all related to Warhol and the Bohemian scene.  This included meeting the Warholite photographer Peter Beard who directed the Stones to Montauk.  The linked Montauk site is worth reading.

Clockwork Orange Poster

All right.  A Clockwork Orange was released in 1971 with devastating results.  Just previously in 1969 the Homosexual Revolution had succeeded in escaping the restraints of New York City laws with the   Stonewall  Riots  leading to the golden age of homosexuality before AIDS hit.  The Stonewall Inn was on Christopher Street in the Village, the very heart of the Homosexual Revolution and Warhol’s empire. This led to an increase in the corruption of society.  Following on the heels of the Riots perhaps encouraged by them the effects of A Clockwork Orange were much greater than The Blackboard Jungle and Rebel Without A Cause of the mid-fifties.

There were serious consequences not least of which was a sado-masochistic tone to the Stones as exhibited in their Black And Blue release of 1975.  It is hard to believe that this record didn’t reflect Andy’s sado-masochistic influence.  The inside cover depicting a bound woman being brutalized, the title Black and Blue seeming to indicate the bruises she was getting from the beating caused a major uproar, especially amongst Lesbian groups, resulting  in the photo’s being withdrawn to be replaced by a group shot.  Warhol and Mick were in sync.

In addition to providing the Stones’ logo Andy also designed three record covers for them which advanced the homosexual sadistic agenda.  The first was the blatantly homo Sticky Fingers.  The title was interpreted to mean the result of beating off while the cover has the famous zippered jeans with the working zipper.

The second cover was Love You Live with its double entendre of cannibalism.  The third, Emotional Tattoo, a bootleg, featured Mick on the cover of 1983.

In 1975 showing Andy’s great admiration or love or Mick he made a portfolio of large 42 x29 inch prints reproduced in this article.

During this whole period of the seventies Mick’s wife Bianca was the reigning queen of the Warhol/Halston entourage.   While Mick promoted satanic sex riding an enormous inflated penis on the stage he was somewhat more puritan with his wife off stage.  He found Bianca’s  sexual behavior in the Warhol entourage so humiliating that he was forced to divorce her.  One can say that he was patient with her past the endurance of most guys.

But Andy and Mick remained good friends.  In 1987 when Andy took the one way barge trip to a new life Mick was the only celebrity friend who took the time to attend Andy’s funeral in Pittsburgh.  Thus ended probably one of the most significant friendships of our time.

By the time Andy died they and one presumes, David Bailey, had been more successful in achieving their goals than they might have hoped.  Of course Sigmund Freud gave them more than a leg up.

Next:  Nemesis Catches Up With The Stones.

Who Is Mick Jagger?

June 16, 2012

Who Is Mick Jagger?


R.E. Prindle


     In one’s reading one often comes across the odd fact that makes one pause.  Such a fact was when I read that Mick Jagger was in New York City in 1963 where he became the fast friend of Andy Warhol.  This was a friendship that was to last for Andy’s lifetime.  How odd, I thought, what can that mean?  A year or two later now, I think I’ve begun to make sense of it after rereading A. E. Hotchkins Blown Away:  The Rolling Stones And The Death Of The Sixties.

     I’ve always found the Stones repellant so while I’ve read the odd volume It’s always been with a certain amount of disdain; I don’t pay any real attention then toss the book aside.  But Mick keeps popping up in the odd places, mostly in conjunction with Andy.  Consider that Bianca was a member of his entourage.

     So, reading Hotchkins:  Nineteen sixty-three was the coldest winter in England in perhaps four hundred years.  That found Mick and Brian and Keith freezing because they couldn’t afford to buy heat and starving to death because they had no money for food.  Yet, later in the year Mick has flown a big 707 to New York while being able to afford the time he spent there.  How could that be?  Why was it important for Mick to be in New York at twenty years of age never having held a job and in 1963 with no real rock and roll prospects.  Certainly not a hope of becoming what they did.  One couldn’t be a bigger nobody and yet he and Andy became buds.

     As we are constantly reminded Mick attended the London School of Economics- the LSE.  So, while Brian and Keith sat facing each other over the dead heater playing their fingers off, developing that two guitar style that so distinguished them Mick was off warm and toasty at the LSE.  Probably a little better nourished too.  Mick always takes care of himself.

     The London School of Economics.  While I have never seen Mick’s curriculum or how many units he earned, from the name of the school it has always been assumed that Mick was taking business classes and accounting.  But is the LSE a business school?  No.  It isn’t.  It’s a socialist or Communist university that is more interested in political and social issues than accounting, although that discipline is offered.

     The London School Of Economics was founded by Beatrice and Sidney Webb.  At the end of the nineteenth century and the beginning of the twentieth they were the leaders of the Fabian Socialist Society.  That society whose most famous members were George Bernard Shaw and H.G. Wells.  One might expect the LSE to be utopian in outlook and surprise! it is.

     The school is a relatively select small one accepting only 1200 new entrants a year out 20,000 applicants. From all over the world, actually.  So one must obviously meet certain rigorous requirements.  I suspect grades are a very small part of this.  One’s political and social views are much more important.  In other words, if you’re of the British Nationalist Party it wouldn’t make any difference if you were a second Einstein, you won’t be accepted.  So we can safely assume that Mick was thoroughly vetted and thought to be safely socialist to be admitted.

     Mick attended classes through 1963 leaving only when the success of the Stones was assured.  As his subsequent career furthered the LSE agenda it would seem that the LSE or someone associated with it linked him up with Andy in New York.  In 1963 Andy had gained a degree of notoriety with his Soup Cans but was not yet the social force that he


would become.  However, it is fairly clear to me that he was active, had been active through the fifties, if not yet a force, in the Homosexual and Underman Revolutions.  He and Mick together would be very active and influential in the Sexual, Homosexual and Underman Revolutions.  There may then have been the purpose in linking Mick and Andy up.  Remember, these two were tight until Andy’s death.  Mick was the sole celebrity to attend Andy’s funeral and he had to fly to Pittsburgh to do it.

     Specifically who financed this meeting in 1963 isn’t clear but the faith placed in both men was astounding.

     Mick carried through for whoever placed this faith in him.  His stage persona promoted homosexuality specifically and sexual liberation in general moving those Revolutions forward.

     The Stones were also leaders in the Underman Revolution.  As events led up to the social Revolution of 1968 the Stones were in the forefront recognized as revolutionary leaders in both the US and Europe.  Of course when the dominoes began to fall- Hendrix, Morrison, and Janice Joplin et al. Mick beat a hasty retreat and turned from a Street Fighting Man into ‘just a singer in a rock and roll band.’  His stage persona turned even more femmy than ever.  No threat here, Mick telegraphed.

     Mick then lived out the socialist revolutionary agenda openly through the sixties accepting emasculation rather than death when the ‘establishment’ became aroused.

     Who is Mick Jagger? and where did he come from? and for what purpose?  As his career lines up perfectly with the agenda of the LSE what compact with that particular devil did he make?

     Of course the Stones were talented but doors could have been closed, half-open or wide open.  They were wide open so the Stones had somebody’s approval.  In the music business that would would be somebody from the Left/Socialist/Communist influence.

7/10/12 Update

Young David Bailey

      Jagger’s 1963 or ’64 trip to New York was in company with the photog of 60s Swinging London David Bailey the model for Antonioni’s movie Blow Up.  He presumably paid Mick’s way.  He and Mick considered themselves Mates.  Bailey was running with model Jean Shrimpton while Mick had picked up on her sister Chrissie.  Chrissie introduced Jean to Mick who then advised David that Mick was going to be bigger than the Beatles.  The two men hit it off, David describing Mick as his mate.

After 40 Miles Of Bad Road

Bailey apparently had a close or fairly close relationship with Andy Warhol thus in 1963 he flew Mick to New York introducing  Mick into Andy’s circle.  Mick and Andy remained close friends throughout Andy’s lifetime.  Bailey was hugely influenced by Andy’s art while both as portrait artists may have been in synch or influenced each other.

     Bailey as in these pictures seems to have been a wild man probably open to any thing in the sexual way.  Looks to have been a hard traveling man.  He was born in the 1938 the same year as myself.

After The Crash And Reconstruction

Update 7/12/12

On p. 548 of Stephen Davis’ biography of the Stones- Old Gods Almost Dead- I got the piece of evidence I most coveted in unequivocal terms.

On the Moscow date of the 1998 European tour Mick announced to his audience: ‘I was a Communist in college.’  That is at the London School Of Economics.

But then money being the magic solvent of politics, that it is, with a hundred million in the bank ‘…things tend to fall away, and you become more pragmatic.’  Perhaps in defense of those millions Mick would scream into the microphone some time later: God gave me what I have.  A startling defense coming from an avowed atheist, but then money can paint a color from black to white.

There you have it from the horse’s mouth.  The runways are now cleared; it’s time for lift off.  I don’t have to defend my studies; I can tell it like it is:  How the Stones corrupted the youth of the world in the name of Communism.

Edie Sedgwick

Maid Of Constant Sorrow


R.E. Prindle

Chapter 13

Blonde On Blonde

Her Fogs, Her Amphetamines And Her Pearls

     One can only guess at Edie’s feelings when Dylan dismissed her so brutally  from the lines of One Of Us Must Know (Sooner Or Later).  She must have intuited if not known that her short and glorious career as the toast of New York was going nowhere.  She came to New York with a handsome inheritance that she squandered in a trice, her parents disapproved of her conduct to the the point that they cut her off from support leaving her as Dylan had sneered in Like A Rolling Stone, a poor little rich girl ‘who had never lived out on the streets but now she was going to have to get used to it.’  Screamingly in pain from amphetamines one can only imagine her bewilderment with no way to rectify the situation.  Whatever golden opportunities she may have had were now gone forever.  Frome here to her death in 1971 would be one long wailing ‘horrorous’ nosedive that is terrifying to relive as a writer even.  My stomach quakes as I try to organize the course of events.

     Chuck Wein, one of the Harvard homosexuals she had associated with and who had come to New York with her was her evil genius, some say Svengali, who had guided her to Warhol and the

The Poet

Factory and then presided over her self-destruction.    Then for that brief glorious summer of ’65 she had set New York on its ear as a companion to Andy Warhol.  Made her feel giddy and indestructible.  Andy was apparently in love with her but as a self-centered homosexual was too flaky to work out a relationship that would give her dignity while he was unable to support her more than extravagant tastes.

     Behind Warhol was Dylan competing for Edie’s favors which he won in December of ’65 and then discarded her like an old shoe.  He recorded the course of his relationship with Edie in various songs from mid-1965 to the completion of Blonde On Blonde in the Spring of ’66.  His own career course was changed dramatically in July of ’66 when he had his motorcycle accident.

     It might be well to review the songs that comprise Blonde On Blonde now.  The song list of Blonde On Blonde is as follows:

1.  Rainy Day Women #12 And 35

2.  Pledging My Time

3.  Visions Of Johanna

4.    One Of Us Must Know (Sooner Or Later)

5.  I Want You

6.  Stuck Inside Of Mobile With The Memphis Blues Again

7.  Leopard Sking Pillbox Hat

8.  Just Like A Woman

9.  Most Likely You Go Your Way And I’ll Go Mine

10.  Temporary Like Achilles

11. Absolutely Sweet Marie

12.  Fourth Time Around

13.  Obviously Five Believers

14.  Sad Eyed Lady Of The Low Lands

     With a knowledge of the lyrics the titles themselves read consecutively tell story while the lyrics confirm the tale.  The story hinges on who the two women are.  One is Dylan’s mother who blasted herson’s psyche when at about the age of twelve she told him in so many words that he had ruined her life by being born.  Apparently it was more than Dylan could handle because it was then that his lifelong misogyny began.  It is forbidden for a son to revenge himself on his mother so his only recourse was to take it out on another woman or women.  Dylan has been a serial misogynist.

     One of the women he chose to vent his spleen on was Edie Sedgwick.  Thus the two rainy day women most likely are his mother and Edie.  All the time Dylan was bedeviling Edie he was courting Sara Lowndes who he eventually married in November of ’65.  It was a quiet wedding that didn’t became known for several months and not widely known until later than that.  He married just before he succeeded in abstracting Edie from Andy’s entourage so there is no doubt that he was only toying with Edie as a surrogate for his mother.

     He may actually have cherished her vulnerability from drugs, inexperience in the world and low self-esteem.  She would have been as helpless as a baby, almost like shot gunning fish in a barrel.  Sara was his Madonna, Edie his whore.  He waits to the very end of Blonde On Blonde to mention Sara and then he wrote Sad Eyed Lady Of The Low Lands for her.  Of course, this was all very mysterious  for us back in ’66 because we knew nothing of what was happening in New York.  None of us had even heard of Sara Lowndes until she showed up as Dylan’s wife

     As blogger Jim De Rogatis says, when he sat down to listen to Blonde:  What I discovered was an artist who sneered and snarled with more venom and conviction than Johnny Rotten, and

The Artist

finally it dawned on me:  Dylan was a punk…

     Jim wasn’t there at the creation as I was, he is a younger man.  I guess my soul was so canchred at the time that I welcomed the sneering and snarling as an expression of my own trauma while today I find the venom is so grating that I can no longer listen to Dylan’s records.  Besides he borrows nearly everything.

     The album opens on a note of forced sardonic merriment as though in a house of ill fame and ends with the dirge dedicated to his wife, Sara.  I leave the interpretation of that up to you.  I can’t pretend at this date to understand the lyrics to Sad Eyed Lady.  One would have to know more of her and Dylan’s courtship.  Dylan thought she was supposed to be impressed that he wrote a song for her with a title that sounds like another of his caustic insults.

     To take the songs in order:  Rainy Day Women is a raucous, very noisy mocking song along the lines of Like A Rolling Stone with its refrain of ‘How does it feel?’  On release the song was so noisy it was nearly unlistenable, certainly objectionable and barely music.  Time has conditioned our ears.  The refrain here:  Everyboyd must get stoned, has layers of possible meaning.  While the allegory of stoned meaning pelted with rocks is present, stoned can also have a secondary meaning of smoking marijuana.  I don’t think the meaning has anything to do with getting ‘stoned’ from dope.  I think it’s a combination of the first meaning and what was perceived by Dylan as a devastating insult from his mother.

     The refrain must refer on one hand to his mothers perceived ‘stoning’ of Dylan by her announcement to him that he had been basically unwanted.  That stoning is turned around to apply to his ‘stoning’ of Edie in vengeance.  He then gleefully taunts and mocks her with the refrain:  Do not feel so all alone, everybody must get stoned (How does it feel?) which refers back to his earlier song about Edie, Like A Rolling Stone.

     In order to make ‘poetry’ of his taunt, our incipient ‘Shakespeare’ gives several poetic references that have nothing to do with rocks or joints.  For instance the line ‘They’ll stone you when you’re riding in your car’ must refer to radio DJs pitching products.  Thus stoning is meant as a verbal assault.  One can compare that line with the Rolling Stone’s Mick Jagger’s lyrics to his song Satisfaction:

When I’m drivin’ in my car

And that man comes on the radio

The Singer

He’s tellin’ me more and more

About some useless information

Supposed to fire my imagination

I can’t get no, Oh, no, no, no

Hey, hey, hey, that’ what I say

I can’t get no


     So Dylan’s use of ‘stoning’ is giving or getting unpleasant information.

     Song #2, Pledging My Time merely means he is obsessed with  his mother’s ‘information’ that he was unwanted which is reflected in song #3, Visions Of Johanna when he sings:  These visions of Johanna have conquered my mind.  Johanna being his mother.  Then there is discussion about Andy and Edie.  (see my essay at    for a full discussion.)

     Song#4 Sooner Or Later mocks Edie who he ‘really did try to get close to’ as he dismisses here as he would have like to have dismissed his mother.   Song #5 is self-explanatory.

     Song #6, Stuck Inside Of Mobile With The Memphis Blues Again awhile the lyrics are unclear must refer back to I Want You on one hand and forward to Leopard Skin Pill Box Hat and Just Like A Woman on the other.  He’s stuck inside of Mobile, i.e. he wants his mother with the Memphis Blues, i.e. he want his vengeance on Edie is a possible interpretation.  At any rate it is placed between I Want You and the two Edie songs so it must be related to all three.

     Then come two really unnecessarily vicious songs that everyone agrees are about Edie- Leopard Skin Pill Box Hat and Just Like A Woman.  There are no obvious reasons for Dylan to express such vehement, disfiguring hatred of the poor girl unless he’s visiting his repressed hatred of his mother on her.

     Song #10 Temporary Like Achilles involves Edie and Andy and himself.  I doubt if Dylan had any understanding of the Iliad, if he had even read it, so apart from Achilles short life and the seven month interruption of his relationship with Edie by Warhol an interpretation is somewhat of a hazard.

     Songs 11, 12, 13, Absolutely Sweet Marie, Fourth Time Around, and Obviously 5 Believers seem to wander off topic.  I have read one interpretation in which the blogger thought Obviously 5 Believers was a response to the Beatles Norwegian Wood.  Or possibly they lead into song #14 Sad Eyed Lady Of The Low Lands that Dylan says he wrote about Sara Loundes.  The lyrics of this ‘poem’ are incomprehensible but if I had been Sara I wouldn’t have taken the title as a compliment, especially not after being locked out of a discussion about Dylan, Edie and his mother.  After all, this is a married man lashing out at Edie.

     After completing the LP Dylan left for his 1966 tour of England in which there was such a violent reaction to his electric backup band.  I don’t remember their being a violent reaction made on the West Coast.  For myself I welcome it.  I never did like that faux folk crap he did anyway.  Apparently Dylan didn’t either.  A new expanded edition, lots of new material. of Robert Shelton’s biography, No Direction Home, just released by Omnibus Press is available, speaking in 1965 Shelton quotes Dylan thusly:  ‘There never was any change.  No instrument will ever change love, death in any soul.  My music is my music.  Folk music was such a shuck.  I never recorded a folk song.’  He did however call himself a folk singer.

     So, whoever shouted Judas at the Manchester concert knew what he was talking about.  I never listened to those nauseous early Dylan records anyway.  Blonde On Blonde was released in June of 1966 while Dylan was thrown by his ‘chrome horse’ on 7/29/66 thus putting an end to the first phase of his career.

     I don’t know what Edie thought wen she heard the record that summer but one supposes she would have recognized herself as the topic of the conversation.  Warhol certainly did and he was not amused.  Knew something about motorcycles too.

     Both Edie and Dylan were so heavily into amphetamines that they probably were not responsible for their actions.  Drugs tend to put one into an internal state in which the outside world assumes a subordinate position, almost irrelevant, to one’s interior reality.  A person functions in his own mind as a sort of magician who can comman the world to his own world.  A certain type of insanity I suppose.  Right and wrong are merely expressions of one’s own subconscious will.  As Dylan confused Edie with his mother who he subconsciously wished to punish he transferred those feelings, that resentment, that hatret onto Edie as his surrogate mother thus gaining his revenge.  How much satisfaction he got isn’t known and he’s not telling.

     Edie herself was so far gone into amphetamines as to be oblivious to what was happening in her life.  As far as she could dissociate her life from reality she could obviously make black white and vice versa.

   Having dealt with Dylan’s relationship with Edie, let us return to January of ’66 to take up again the story from there.

Chap. 14 has been posted as of 6/23/11


Mourning Becomes Yoko Ono

The Passing Of John Lennon Part III


R.E. Prindle


Doppleganger #1

     When John Lennon met Yoko Ono he knew very little of art and nothing of the New York art scene.  His high school years had been spent in open and futile rebellion; the next few years had been spent only in the German underworld with no time for cultivation.  From there he went into the whirl of the Beatles years so one might say he had been in cultural suspended animation for all his adult life.

     Yoko Ono since 1960 had been engaged in the New York avant garde art scene.  She was au courant when she left for London in 1966.  Hooking up with Lennon she began to educate him according to her understanding of art.  By the time the Ono-Lennons arrived in New York in the late sixties that scene was dominated by the POP art of Andy Warhol while the world both she and Lennon knew in 1960 was unrecognizable.  Yoko wasted  no time in ingratiating herself with Andy but not the factory.  After he was shot in 1969 the old Factory disappeared and after his recovery Warhol began a new life.  It is possible that she tried to establish

Doppelganger #2

contact with him between ’64 and ’66.  She did know warhol’s associate, Sam Green, from her first days in the Village in 1960.

     By the time of her return to NYC Yoko had achieved world wide fame by using Lennon and his fame  in their charades for ‘Peace.’  Now she had the perfect entree to enter Warhol’s circle.  Warhol was a sucker for celebrities, he did Lennon’s portrait, so he was flattered when Yoko asked him to introduce she and John into society.  If Warhol could pester, Yoko was unstoppable.  While Andy wasn’t exactly persona gratis at that time he was thick with Sam Adams Green who did have entree to society.  Between the the two of them they set up a party to introduce the Ono-Lennons.

John was, of course, no Mick Jagger.  While Mick adapted himself quickly to the demands of his fame and moved easily in society, John was awkward being out of the element of his self-styled working class hero.  Yoko, too, was no mixer so at the party Yoko and John sat silently in a corner as though in one of Yoko’s bags watching the party goers.

Warhol Jagger 2

Warhol Jagger

     It might be apropos to point out that Jagger and Warhol were fairly close.  Jagger was one of the few people attending Warhol’s funeral in Pittsburgh while Bianca was in Warhol’s entourage in the eighties.  Warhol also painted a portfolio of Jagger pictures that today command healthy prices.


The Devil In Disguise

Witchy Woman and Warhol

  Yoko still persisted with Warhol but Andy having been disappointed once was not up for it twice.  He distanced himself from the pair describing them to Sam Green as boring.  An ultimate putdown.

     Initially the Lennons  lived in the Bohemian scene downtown.  Mickey Ruskin, the owner of Max’s Kansas City, described the Bohemian scene thusly:  the well-to-do Bohos, the middle and the lower class.  Those associated with the Kettle of Fish and its environs of which Dylan was a member were of the lower class while the Kettle of Fish itself was owned by the Mafia.  He believed Max’s was in the middle.  John and Yoko first lived in New York in the West Village at 105 Bank Street next door to Yoko’s her, John Cage.  They took over Joe Butler’s apartment, he formerly the drummer of Lovin’ Spoonful so Ruskin would have classed John and Yoko as haut ton beatniks.

     At any rate they soon left those environs to migrate to the Upper West Side where they secured apartments in the famous, or soon to be famous, Dakota.  It was then that their NYC life took its definitive form.

     I have been to NYC a few times so that I know the general layout and have some feel for the place but I have by no means an intimate knowledge so essentially I’m working from maps.  I know where MOMA and some few prominent art landmarks are from experience but not that many.

     At any rate the Dakota is a famous landmark..  Acceptance as a tenant is by committee approval.  John and Yoko were strenuously vetted but finally admitted.  They took over actor Robert Ryan’s apartment #72.  If you have seen the movie Rosemary’s Baby the camera pans past apartments 71 and 72.  No filming was allowed inside the Dakota so while the exterior shots are authentic the interiors were shot on sets.  Thus the apartment of the Satanists is a fictional 7E.  The apartment next to it  in which the young couple resided may have been number 72.  The man of the couple who was an actor sold his wife’s body to Satan as the carrier of his child for success in the theatre which he was granted.  Thus the Ono-Lennons moved into an apartment closely associated with devil worship, the occult and witchcraft..  This will become more important as Yoko associated herself with all three.  In fact, Yoko through John Green would have been familiar with the Yoruban Santeria religion that she in all likelihood would have reverenced.  The Spirit Foundation that she established is concerned with the preservation of just such tribal institutions. 


Dakota Entrance

  These are magnificent apartments that I presume Rosemary’s Baby duplicates.   Huge fifty foot long living rooms as part of a ten room apartment.  The Ono-Lennons would soon own both 71 and 72 lacking only the fictional 7E  while having a Studio apartment as well. 

     Being now permanently settled Yoko having access to John’s superb income began to spend it.  Of course, she virtually cleaned out department stores on her buying binges, any girl’s dream.  But, she also began to buy heavily into art and antiques as investments.  This brought Warhol’s friend Sam Adams Green into a close association with her.  Rich society women were Sam’s forte.  He has an interesting story.  He was actually descended from the second president of the United States, Samuel Adams.  He arrived in New york in 1960 about the same time Andy Warhol was trying to establish himself as a fine artist and Yoko the same.  Warhol of course began as a commercial artist doing shoe ads but in 1960 he changed the emphasis of his career.

     In the fine arts field one of the first gallery people Andy met was Sam Green of the Green Gallery.  Different Green, Sam only

The Dakota

worked there and shared the name.  He and Andy hit it off.  By 1965 Green was associated with the art department of UPennsylvania where he staged a Warhol exhibition in the same  year.  From there he gravitated bck to NYC where he began a career as art consultant to rich women on both continents.  They liked him.  Through the socialite Cecile Rothschild he was introduced to Greta Garbo with whom he was sort of a trusted companion for 15 years.

     He was very knowledgeable about art as an investment traveling between Euorpe and the US advising socialites on the most investment worthy art.  He apparently derived a more than comfortable  income from his efforts.  He was a trusted advisor of Yoko.  Some say that he and Yoko’s Tarot reader, John Green, who would enter John and Yoko’s life at about this time, combined to bilk Yoko for overpriced objects.  This presumes that both men were dishonest and that Yoko was a fool.  As Yoko’s investments have prospered I think we can dismiss the latter, although Yoko did take pride in being able to spend vast sums.  She would have taken pleasure in overpaying.


Sam Green- Current

    Rather I would say that Sam Green was a very knowledgeable expert whose task was to find art that would appreciate in value.  Thus the question is did he perform that function and the answer is, yes.  Yoko’s acquistions increased in value far above her purchase prices.  I think it is unfair then to say that the Greens bilked her.  Surely the laborer is worth his hire.


Warhol Portrait

  Now, Sam Green as her agent had to buy the items he acquired for her.  Being knowledgeable as to who in society wanted to sell what at distressed prices he may have made some excellent buys that he then tacked on his margin which of course meant that he sold to Yoko for ‘more than they were worth.’  But, heck, even Christie’s and Sotheby’s take twenty per cent each from the buyer and seller.  That’s a forty per cent surcharge.  However Sam served his function of providing investment pieces  so I see no evidence of bilking.

     Sam Green also formed a close, probably romantic, liaison with Yoko that persisted until after John’s death.  Another art dealser she became close to was a Sam Havadtoy with whom she subsequently lived for twenty years beginning immediately the day after John’s death.

     Now the men Yoko associated herself with were all effetes, that were either emasculated when she found them or who she emasculated.  Strangely Lennon was the strongest of the lot.  Both her first Japanese husband and Tony Cox appear to have been heterosexuals but both Sam Green and Sam Havadtoy were dependent homosexuals.  With Havadtoy Yoko may have had her ideal relationship.  He was thoroughly emasculated while with the fortune Yoko  inherited from Lennon he was totally dependent on her.  The classic toy boy a couple decades younger than herself.  He, by the way, after his twenty year stint as live-in retired to Hungary with an abundant palimony but he isn’t talking.

     In my reading of the situation then, a not particularly compliant John became somewhat of a liability to her, especially as he began to reassert himself with the return to the recording studio in 1980.  The problem has the surface appearance of separating the man form his money and discarding the man.

     Yoko began building her entourage, Sam Green, John Green, Sam Havadtoy and her various occult people with what appears to be an admiration for and some sort of connection with Andy Warhol.  Sam Green and Havadtoy would be a troublesome presence in Lennon’s life during the recording of Double Fantasy while he does not appear to have been enchanted with the Warhol connection

     As has been mentioned Yoko became involved in occult practices.  She did practice hypnotism on Lennon and was an adept at suggestion which is the essence of hypnotism.  Thus on the one hand she suggested forcefully to May Pang that she take up with Lennon while it is probable she hypnotized Lennon into taking up with May Pang.  Post hypnotic suggestion would give her a command over all Lennon’s actions.  Once implanted she would only have to say the word and Lennon would follow her suggestions.

     How complicit John Green would have been in this isn’t exactly clear but any of Yoko’s suggestions to John could have been complemented by a reading.  John Green was after all dependent on Yoko for a very generous income beyond whatever he may have scammed.

     John Green is another interesting case.  He was apparently successful as a Tarot reader before he met Yoko while he is reported to hae been a student of the African Yoruba religion called Santeria.  The Yoruba are a tribe in Nigeria, middle river, Western side.  He would have obtained much of the magic information he displayed in Cartagena, Columbia, SA from that source.  The sixties themselves  were the great period of the dissolution of the American mind and personality.  One of the key items in the disintegration was the 1962 movie, Mondo Cane. (It’s A Dog’s World).  It is difficult to assess the impact of this movie on the malleable college age mind of the times.

      I saw the movie then and while it passed out of my conscious mind it struck me most forcibly and lodged in my subconscious mind.  I, of course, reviewed the movie for this essay and while I at first remembered little gradually my conscious mind recovered the images so that I remember almost all.  The viewing at the time was very repulsive and unsettling to my mind as it was for everyone I talked to about it and every college kid saw it.  Still, consciously I missed the true import of the movie completely.

     The filmmakers equated some New Guinea stone age people with modern Whites and equated them- said both states of

Mondo Cane Poster

consciousness were the same-  and that there had been no advance between the primitive and modern.  Then they showed Whites at their goofiest and most ridiculous.  Drunks at a German Oktoberfest, aged tourists clumsily trying to do a hula.  The movie was a real exercise in moral relativity.  It was shortly after viewing the movie that I first remember hearing the phrase ‘Nothing is good or bad but thinking makes it so.’  I don’t want to philosophize on this but my thought was that  if I think something is bad therefore it must be because I think it and I can’t be wrong.

     The movie had a devastating effect on the attitude of the generation.  It was a form of hypnosis with a great deal of post-hypnotic suggestion.  Whether John Green saw the movie or not I can’t say but if he had it would have prepared him for accepting Yoruban Santeria.   In fact these primitive forms of religion and what not flourished in the wake of Mondo Cane.  At the same, as I indicated, Yoko would have been very open to Santeria.  I think there is little doubt that Green and she at least discussed the religion and its African tribal origin.  Especially as she established something she calls the Spirit Foundation.  In the online prospectus she describes the foundation thusly:

     The Spirit Foundation is…concerned with the protection and promotion of creative and cultural diversity amongst shamanic tribal communities worldwide.  Part of the foundations work is the International Shamanic Network which aims at promoting the ancient creative archetypes of man and their binding ecological realtionship to the world.

     Our emphasis is on education for action.

          As mentioned Yoko and Lennon moved into the suites used in Rosemary’s Baby with its Satanic overtones.  In the movie a young woman living with the Satanic couple either jumps or is pushed to her death not far from where Lennon was shot.  In this very location Yoko took up Satanism.  She decided she wanted to make a pact with the Devil to obtain her wishes.  The ubiquitous Sam Green knew of a witch who could serve as an intermediary between Yoko and Satan.  (Remember I am only retailing the story, I don’t believe Satan exists.)

     Sam Green who had prospered as an art consultant had used some of his earnings to purchase what he called a castle in Cartagena, Colombia.  He recommended his witch to Yoko who asked John Green to take her to the witch as he doubled as Tarot reader and Wizard.  John Green did so and the witch duly negotiated a deal between Yoko and the Lord of Fire.  When it came time to sign the pact Yoko asked Green to do it for her which he did.  She was aghast when he told her he didn’t sign his name but hers.  Yoko trying to cheat the devil.

      We don’t know what she asked Satan for but we are compelled to believe she got it.

Santeria Illustration

     As I believe she hypnotized Lennon into taking the Long Weekend I don’t know exactly why she wanted him out of the house.  She certainly closely monitored his activities while he was away both in NYC and LA.  During his absence  Yoko didn’t have a Power of Attorney so she was somewhat constrained as John had her on a 300K budget.  When he returned she quickly obtained his POA so that she had unlimited use of his money and, in fact, his identity.

     Lennon is criticized for being a recluse in the years between 1975-80.  He certainly wasn’t a recluse in that he withdrew from the world.  He merely limited his contacts with it.  It is said there was a fifteen month period when he was completely withdrawn.  While he was obviously suffering from a mental malise in my opinion the withdrawal was completely justified.  He had mental issues that had to be resolved.  He had the money and time to work at it as he did.

     He had a mother/father fixation he had to resolve.  he had the feeling that he had been either a genius or a lunatic from boyhood.  In a remarkable rant within the 1970 Rolling Stone interview he rants for pages because no one recognized him as a genius in his youth while he had now convinced himself that he was and had been a genius.  The fact that he never did his schoolwork doesn’t  seem to him that that may have a reason why people missed his genius and though him somewhat mad.  What would theyhave done if they had?  So he had to reconcile the issue in his mind.

     He seems to have made no advance past his school years except in music.  The years between leaving school and taking up with Yoko were completely wasted intellectually while the pressures of phenomenal success and wealth disoriented him completely not to mention the massive doses of drugs.  At some time then he had to come down and organize his mind and life.    From 1968 to let us say 1980 he was completely dependent on Yoko for his mental balance.  In NYC he went where she did and did what she did.  Hence the connection to Andy Warhol and Sam Green.

     There are numerous pictures of Yoko, Lennon and Warhol.  Yoko even patterned some of her work after Warhol’s style as in the ‘work’ below patterned after Warhol’s double Elvis.  Thus she associates herself and Lennon with Presley.

Yoko Goes Warhol, Imitation of Double Elvis

     As I mentioned before the social entree arranged by Warhol and Sam Green failed because of the social ineptness of the Ono-Lennons.

     While we have a full record of what Lennon was doing during his ‘Lost Weekend’ we have a less full account of what Yoko was doing.  She seems to have had romantic liaisons with at least three men- Sam Green, Sam Havadtoy and the guitarist David Spinozza.

Sam Havadtoy

     Perhaps she wanted to see how well she could do on her own as a musician, to see if her reputation as a performance artist and, in her mind, musician, was sufficient to maintain a career on her own without John.  If so, she was brutally disappointed as in her only solo performance she failed miserably.  Thus she realized that as of 1974 her reputation as well as her wealth depended on Lennon.

     It was during Lennon’s absence that John Green came into her life.  While John Green tells a fairly smooth story in his Dakota Years one has the feeling that he is being highly selective in what he tells while he slyly ridicules the Ono-Lennons as their superior.  The attitude easily leads to contempt and from contempt to abuse.  Of course he would have to dissimulate both the contempt and abuse as Ono would be reading the book.  As I imagine, a priest in the Santeria religion, he would have been in the company of  some shady characters.  I don’t know how many actual Yorubas were in NYC but I have met a couple elsewhere.

     One imagines most of the hierarchy Green came into contact with was African or American Blacks.  Santeria involves a deal of ritual sacrifice while money would be needed.  I suspect that John Green was involved in the extortion attempt on the Ono-Lennons.  This may have been Santeria related.  Thus a sort of Black Hand organization was created.  Rather than go for the big money that would have created a stir, the group settled for hitting up people with millions for a mere 200K each.  An unpleasant tax for being rich but one more conveniently paid than to die resisting.

      We have only Green’s version of the extortion and his relationship to it.  He paints himself in a relatively good light.  The Ono-Lennons did call in the FBI, they did give the extortionists newspaper rather than cash as the FBI advised.  But then things went wrong.  The FBI apparently had only one tail on the extortionist who came for the money rather than a series of back ups.  The agent inexplicably lost his man.  The Ono-Lennons never received another call but they had been warned that if they failed to pay Lennon would be killed whether it took one, two or more years.  In December of 1980 the bill fell due.  On December 8th he was shot.  December 7th is Pearl Harbor Day so there may be a Japanese connection.  Yoko Ono being Japanese, her numerologist and the assassin’s wife while Chapman missed the appointed day by one.

     The question then hangs on Mark David Chapman the shooter.  He is still alive and in prison.  He was an assassin as the classic lone nut like Lee Harvey Oswald and any number of assassins who pay the law for the crime while the organizers go free.  The technique has been well known to criminals for centuries.  Any time a lone nut assassinates someone you may be sure that they were a patsy as Oswald announced over TV he was.

     It seems likely that Chapman had been hypnotized.  Witnesses said Chapman acted as though in a trance and he himself said he heard a voice in his head saying:  Do it. Do it. Do it.  The problem would be how he was recruited.  I, of course, can say nothing for certain  while what I am saying now is merely an hypothesis or inquiry.  The main thing is that Chapman was supposed to be a lone nut.  Ridiculous.

     The most obvious recruitment method was the Santeria of which John Green was a member and to which Yoko Ono was

Mark Chapman

sympathetic.  There are some oddities in the Chapman story that have to be explained not least of which are the large sums of money expended by Chapman in relation to his income.  He was a married man therefore had a wife to support.  Yet in 1978 he was in Japan at the same time as the Ono-Lennons beginning an around the world flight.

     Perhaps Tokyo was the first stop of the trip around the world that then led to Seoul, Hong Kong, Bangkok, Delhi, Israel, Geneva, Paris, London, Dublin, Atlanta and back to Hawaii.  His travel agent was a Japanese woman, Gloria Abe, who he then courted and married.  She is reported to have been involved in occult circles.  She may have seen so involved that, through Takahashi Yoshikawa, Yoko’s numerologist she was brought in to arrange the trip.  Such an around the world trip in a Westerly direction- sundown to sunup- according to Yoshikawa’s numerology would be characteristic of Yoko Ono.  She and Lennon made a round the world trip for occult reasons as did both Lennon individually and John Green at her instance.  Green made his trip in 59 1/2 hours only leaving a plane once to change to another.  As the financing of Chapman’s trip is unknown I would suggest Yoko Ono.

      Two years after this very costly trip around the world Chapman flew from Hawaii to first Chicago, then Atlanta, then to New York where he landed a few days before the assassination.  Once again, well beyond his means.  It is said that he took paintings to Chicago that he sold.  Where he would have gotten the paintings isn’t known but once again Yoko is the obvious source.  She had an art gallery of valuable art work.

     While in Atlanta he contacted a former roommate, then a Deputy Sheriff, Gene Scott, who gave him the hollow point exploding

Santeria Priestess

bullets for a handgun.  One assumes such bullets couldn’t be bought over the counter.  One wonders why Scott didn’t ask what Chapman intended to do with them.  And if he did and Chapman told him Gene Scott is clearly an accomplice and should be questioned.

     Chapman himself came from Atlanta where in his teen years he was known to ingest any and all drugs.  Atlanta was also a Santeria center with several weird Black cults.  Lennon’s death took place at the same time as the Atlanta child murders for which Wayne Williams was later convicted.  The Santeria religion has been suspected in these obvious sacrificial murders while John Green establishes a Santeria connection to the Ono-Lennons and Yoko in particular.

     Yoko was an excellent hypnotist who understood the use and power of suggestion.  The Santerists as Africans would be well versed in the use of suggestion and hypnotism.

     Chapman said he was possessed by the Devil while appearing to be in a hypnotic trance.  All this rather amusingly is taking place at the Dakota, the scene of the Devil’s birth in Rosemary’s Baby.  Indeed, the identical apartment.

     After Lennon’s death there was no period of mourning or sense of loss by Yoko.  All Lennon’s assets were in her control and name before his death.  The so-called will of Lennon is suspicious, although the will was unnecessary becaue I doubt if Lennon thought of a will while the will appointed the art dealer Sam Green as the gaurdian of son Sean in the event the Ono-Lennons perished together.  Lennon wasn’t that enamored of Sam Green.

     Within a few days Sam Havadtoy was installed as Yoko’s live-in where  he remained for twenty years.

     While Yoko’s success as an artist and rock n’ roller wasn’t affected by Lennon’s death she now had the money to pay to have her art exhibited.  Even then she found her reputation was indissolubly linked to her dead husband.  She has become a caretaker for the Lennon legend parceling out old recordings while humiliatingly Lennon’s artwork is more in demand than hers.

     She seems to have patterned her later career on that of Andy Warhol who as he acquired fame and fortune managed to insinutate himself into certain society circles.  So has Yoko.  Now, at 78, she has attained a certain status although still extremely self-centered while having an appearance of terminal aloneness.


Animus and Anima

Mourning Becomes Yoko: Part I

The Passing Of John Lennon:

Part One


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 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.