September 22, 2012
Mick Jagger, The Rolling Stones And The Yobbo Revolution
Mick, Kenneth Anger And Satan
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.
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
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.
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
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 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.
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
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.
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.
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.
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
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 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
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.
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.
August 21, 2011
Lick Me: How I Became Cherry Vanilla
Living In The System
Kathy was born in 1943 so as she left high school the sixties were emerging. Everybody talks about the sixties but nobody does anything about them. The sixties didn’t just happen, they erupted, the Exploding Plastic Inevitable as Warhol put it. Andy was right. The reason no one can remember the sixties is because so much was going on all anyone could see was their little fragment, that includes the so-called taste makers. All that crap you get from the sixties politicos glorifying themselves and their exploits is just crap. They were performing their act in a small little corner or the room pretending it was the whole stage. They were just a bunch of hard core losers anyway. Abbie Hoffman! Excuse me! Jerry Rubin, get out of my way. Allen Ginsburg? Pardon me while I puke.
No, no. The sixties were a happening no matter where you were. I’ve already touched on the drugs in Part One. Trust me, everyone but we happy few was on drugs whether prescription or street. I mean, Valium, my god! Straights ‘needed’ it to get through the day.
As I touched on in my Edie Sedgwick series the sixties were ushered in by the big 707 flying non-stop between NY and Europe beginning in 1959. That created the Jet Set who were the envy of all. Airports were small and intimate at the beginning of the decade burgeoning into the behemoths they have become as the airlines reduced prices and seduced people to fly. Not that I was, I didn’t get into the air until the seventies but as soon as I could I emulated the Jet Set flying to Europe and back three times in my best year.
So there were drugs and the Jet Set and the Kennedies. The Kennedies were the worst thing that ever
happened to the country. Of course in pedigree sensitive USA we are all conditioned to ignore national, religious and racial origins as if they don’t count but, let me tell you, they do. John F. Kennedy began the decade in 1960 replacing the vacated spot of Dwight David Eisenhower. The change was not nominal. Eisenhower knew what he was doing, Kennedy didn’t. Ike, as he was affectionately known, engineered the victory in Europe in WWII. He’d done a stellar job from ‘52 to ‘60. Knowing the devastation of war he resisted the hawks to keep the peace, and we hawks were quite vocal. Having inherited the Viet Nam situation from the French and FFL collapse he had contention in Indo-China under control which Nixon, had he been elected, was pledged to honor, if he could have executed.
Like I said, we’re not supposed to think, much less talk about, race, religion and nationality but the Kennedies were Irish Catholics who finally won the triumph over the Anglo-Saxon Protestants in America. The war between the Irish and English was hundreds of years old in 1923 when the Irish freed themselves from the English yoke. The Irish and Anglo-Saxon war in America had only been going on since the 1840s when the potato famine drove the Celtic lads to our shores at which time, in reaction, the so-called Know Nothing Party was created. In 1928 the Irish put Al Smith up as the Irish attempt to capture the New Island after De Valera’s 1923 success on the Ould Sod.
Times were not propitious for an Irish Catholic and Al was soundly defeated. But a gentleman named Joseph P. Kennedy, accruing a bootleg fortune with solid connections to Organized Crime was about to engineer the election of one of his sons to the highest office in the land. God only knows what goes on behind the scenes but his first choice, Joe Jr., was blown up flying over the channel. His second son John F. was given one of the most dangerous posts in the Navy, commanding a PT boat. It’s hard to believe that whoever it was that got Joe Jr. didn’t want him dead but John survived the war and began the corruption of the land from the highest office in 1960.
Kenney with amphetamines coursing through his veins and a mind centered on sex, which is to say fucking, was clueless along with his brother Bobby and his other nitwit sibling, Teddy. Within a matter of months he had us involved in a shooting war in Viet Nam, threatened by Khrushchev in the Cuban missile crisis, after he had taken the drug addicts measure at the summit, and then aborting the reconquest of Cuba at the Bay of Pigs. Is it any wonder the magnificent crew Ike had assembled offed him. Regardless of how history has been revised their were a great many us who sighed and said: Good riddance.
When Bobby stuck his head up from under his rock in 1968 there was no doubt he’d get it blown off, and he did. If you think the two assassinations aren’t connected, think again. So ’63 and ’68 were big years of a decade of big years. Teddy kept his head down after that but gained a measure of revenge by sponsoring the 1965 immigration bill.
In far off Africa a gentleman by the name of Barack Obama Sr. was leaving for Hawaii to get a college degree and beget the future President of the United States on a little simple minded White girl. It was in 1957 when the African colonies renounced their allegiance to their European overlords that Ghana proclaimed independence from Britain. Thus the complexion of the United Nations was changed overnight as colony after colony of a congeries of warring tribes, now known as countries, declared independence and sent emissaries to the UN. Thus the balance of power was shifted from the capable to the incapable in that momentous decade.
It should be noticed that Marcus Garvey began the coordination of the African peoples of the world a
few decades before independence was achieved by Africans and not improbably Garvey also furthered the beginnings of the Civil Rights Movement in the US, thus the African independence movement and the Civil Rights Movement were occurring simultaneously and I suspect coordinated. Thus the African presence in the UN complemented the enormous Black riots that began in LA in ‘65 and reached their apex through ‘67, ‘68 and ‘69. The fabric of the country was rent and torn. The future of the country became increasingly ugly.
It’s difficult to say but after the double whammy of the movies The Blackboard Jungle and Rebel Without A Cause of the mid-50s a new tone emerged in which the youthful violence came to the fore and not just lower class kids. This senseless rebellion without a cause represented a change in outlook occurring in the mid-fifties perhaps aggravated by Elia Kazan’s influential movie. Gangs of young rich guys terrorized the well to do sections of LA in ways that were inexplicable. The graduating classes of ‘53, ‘54 and ‘55 belonged to the previous era while 1956, the year I graduated, was the swing year between what was and what would be that began with the class of ‘57. About half the class of ‘56 looked backward and half, maybe less, faced forward toward the future. I was in the latter half.
Then in 1958, a twenty year old, class of ‘56 actually inspired by Rebel Without A Cause and James
Dean, so it was said, by the name of Charlie Starkweather went on a murderous rampage in Nebraska murdering several people simply for the sadistic thrills. It was bone chilling, perhaps the first of its kind. Charlie was quickly apprehended and executed in 1959.
Also in the fifties the homosexual, William Inge, wrote and produced the play Bus Stop, turned into a movie starring Marilyn Monroe and Don Murray in 1956. From those emerged the astonishingly violent TV series of one year only, Bus Stop, the production of which was supervised by Inge. That TV series transcended by miles any sadism and violence seen as yet in either TV or the movies. It even made the comic book Tales From The Crypt look tame by comparison.
Perhaps the most sickening episode in a season of sickening episodes was the one starring the teen idol Fabian as a sadistic murderous thrill killer who was obviously based on Charlie Starkweather. The episode by Altman was ambiguously titled: A Lion Walks Among Us. So the sadist was compared to a lion. The episode altered the direction of TV drama breaking down the doors for whatever followed and you know what that’s like. The impact was so strong that a Congressional hearing was called immediately to denounce it.
Already in an excited delirium young people were shown a new direction that was seized. Serial murderers that were unheard of during the early and mid-fifties became commonplace escalating, so it seemed, year by year.
Thus the scene in New York where Kathy was living her life became more violent by the month until after 1969 and the liberation of the homosexual psyche by the Stonewall Riot, when the crime became ultra sadistic and unbearable.
By the early seventies Dirty Harry and Death Wish symbolized the era moving well beyond Rebel Without A Cause or even Bus Stop as sadistic sick, sick violence. Insanity, really, and it characterized the country in the coming decades.
At the same time beginning in the early sixties pornography began its rise into the mainstream. While it was a good sized underground business before, in 1953 Hugh Heffner began publication of Playboy Magazine which brought porn into the mainstream. Playboy was followed by a host of ‘men’s’ magazines that got raunchier and raunchier. In the early sixties in San Francisco I noticed for the first time open advertisements in the Chronicle of porn films. There was a very active push to further pornography which was participated in by Andy Warhol, Paul Morrissey and the Factory. In 1968 I Am
Curious: Yellow and Curious Blue were released. I Am Curious: Yellow was very influential in loosening sexual mores. Blue and Yellow were the colors of the Swedish flag. A Swedish pervert made the movie. This all led up to 1972’s Deep Throat which for all practical purpose shot porn into the mainstream. Porn and the so-called Sexual Revolution went hand in hand.
Since sex had been practiced the same ways since the origin of mankind the real sexual revolution was whether you could say ‘fuck’ in public. The pervert Lenny Bruce led that charge followed by George Carlin and certainly by the mid-seventies few movies were made where the word didn’t constitute 20% or so of the dialogue.
And then, of course there was the Viet Nam war. This effort was hampered in the US by the Judaeo-Communist allies of the Viet Namese. Naturally the US Communists said that there was no reason for the US to be involved blithely ignoring the history of the situation. Actually the war was part of the US-Soviet confrontation in which the US had made several mutual defense pacts with countries on the Communist borders in an effort to contain it. South Viet Nam which came into existence when the French Foreign Legion forsook their reputation was part of a mutual defense pack called SEATO- South East Asian Treaty Organization. When they were attacked by North Viet nam, of which there an be no doubt they were, the clause of the treaty was invoked involving the US in the defense of South Viet Nam. So, the US was legitimate if foolish in going to the defense of South Viet Nam.
Now, because of the seeming passiveness of the Jews during the so-called holocaust the Jews had acquired a reputation for being a weak ineffective people. The skullduggery that established the State of Israel in 1948 did nothing for their pride but the seemingly easy triumph of 1956 against the Egyptians through which war Israel purloined the Negev Desert Jewish pride of prowess began to blossom. You started seeing identifying marks like gold Stars of David necklaces appearing on bosoms of Jewish men with wide open shirt collars unbuttoned to the penis. Little different than Nazi insignia they were now worn with pride.
The 1967 war against the allied Arab States completed the transformation of Israel into the Neighborhood Bully. Jews now began to strut down the streets virtually knocking people out of the way with the Stars of David dangling everywhere. The Jewish Defense League followed in 1968 soon splitting into an even more violent Jewish Defense Organization. Under their leader Rabbi Kahane a war not too different from the Jabotinsky days in Palestine ensued with the ubiquitous bomb exploding in NYC instead of Jerusalem.
Now, as has recently emerged, the crucial years for Jews in the United States, which had nothing to do with any so-called holocaust, were the years between 1933 and the accession of Wolf Hitler in German and the US entry into WWII in 1942. Before the war in the ‘30s the Jews called opponents to their machinations, Fascists. The name included anyone from Henry Ford to Charles Lindbergh. A marginalization campaign was begun against all American nationalists that largely succeeded. In that period the Jews created the notion in their minds that they were the true Americans who had created this near-perfect democracy and the Anglo-Saxons who had preceded them were out to destroy the country and turn it into a Nazi satrapy.
Philip Roth commemorated this attitude in his novel back dated to this period, The Plot To Destroy
America. Thus through the fifties and sixties the Jews conspired to dispossess the ‘New Nazis’, that is non-Jewish White Americans. The war of ‘56 emboldened them so that by 1964 they were encouraged to seize the university system of the US. The first front opened was the so-called Free Speech Movement on the UC Berkeley campus whose real purpose was to displace Free Speech with Jewish controlled speech.
This was successful and when the dust had settled the Jews were in control of the campus stifling the free speech that had been the ostensible reason for the battle. As Mark Rudd would later say: The issue is not the issue. Jewish commissars set up tables at the Sather Gate to which students were demanded to submit to Jewish governance or else.
From Berkeley the battles strung out to other campuses, the most notable being Columbia in NYC while the other Ivy League campuses fell in line. Freedom of speech was the last thing on their mind.
Having achieved their goal at Berkeley the next step was to escalate the resistance to the Viet Nam war hence shielding their Communist allies in Hanoi. This was furthered significantly by the 1968 world wide offensive led by Chairman Mao and his Cultural Revolution so that by the time of Nixon’s reelection in 1972 the country was in a State of near revolution although it wasn’t that apparent on the street. I was amazed just before the election to see truckloads of soldiers brought into Eugene where I was living and a revolutionary hotbed, to be secreted in the hills in the event of an insurrection.
I have no idea if John Lennon and Yoko Ono knew how close they were to the edge but in retrospect they were not only lucky to be allowed to stay in the country let alone avoid imprisonment. If they hadn’t been so high profile I’m sure they would have been arrested. They were committing some pretty provocative acts. I’m sure that the money they gave to the movement through A.J. Weberman found its way into bombs.
Back in 1964 when Lyndon Johnson had inherited the White House after John F. Kennedy had escalated the war so that there was no way out but to go forward, Johnson was presented with the choice of guns or butter. Would there be a period of austerity as in WWII when the choice had been guns or butter. Between those two choices Lyndon chose a third- guns and butter. Things would go on as close to normal as possible. It was weird. His administration occupied the center years of the decade while the Judaeo-Communists would give him no peace. I mean, you know, the hundreds of bombings went on with no qualms on the part of the domestic terrorists.
And lastly, while all previous generation had been known by their literature the current generation, my generation, was known by its song writers and music. Everyone picked up a guitar and wrote songs. This essentially came in two, maybe, three waves. The first was spearheaded by Elvis Presley, the second by the British Invasion from 1964 to 1966 and the possible third from 1966 to 1974 after which the generation exhausted itself. It was along about 1966 that Kathy made the fateful decision to become a groupie and this would define her life until her mental breakdown in the late seventies.
When the Beatles and the Stones hit these shores they were just singers and bandsmen, popular, but nothing more. The notion of the Group began to be deified in San Francisco after Ken Kesey’s Acid Test. The group members were suddenly invested with nearly superhuman powers and wisdom. All you had to do to become a Holy Guru was stand up on stage, hit a couple of chords, and shout out ‘Mercy, mercy me, the ecology.’ with a raised fist. The Grateful Dead, Jefferson Airplane, Big Brother And The Holding Company, people of questionable character all became secular saints. One grows faint thinking it but, yea verily, gods. And this only from playing the guitar badly and voicing universal popular sentiments. Don’t trust anyone over thirty said a twenty-nine year old and immediately thirty-somethings were posing as teenagers. Too late now, isn’t it?
If you break down the ages, the first wave was born sometime in the early to mid-thirties, Presley was born in ‘35, Little Richard in ‘32.
The first wave of Rockers was spent by the late fifties succeeded by an interim group of nondescripts like Bobby Vee and Bobby Vinton. Nice enough but not essential or memorable. The Beach Boys were the top American group from 1960-64. Then came the second wave, these were men born from 1938 to 1945- Lennon ‘40, Dylan ‘41, Jagger ‘43 and this was the core age through the sixties. So the second wave, the true Rock phenomenon was a product of people born from 1938 to 1945. In the seventies Bowie ‘47, Billy Joel ‘49, those of the fifties came to fore as the generational impetus sputtered out. The Bowies and Joels were of a different sensibility than the main second wave. They grew up under different circumstances.
As the second wave gathered strength not as mere entertainers but as potent pop culture figures, adoring young girls emerged as groupies. Their sexual excesses were scandals although the concept of groupie was nothing new. Anywhere there are glamorous or powerful men accessible women will appear as well as, one might add, homosexuals. There are literary groupies and business groupies, etc. However Rock groupies tended toward being under aged jail bait not infrequently barely out of puberty and unconcerned for any consequences, indeed, not knowing of any.
So when Kathy discovered groupies she determined to become one although incongruously as old as the musicians themselves as she had been born in ‘43. It was kind of like somebody’s mother turning groupie. As she said of her groupie career she wanted a band to offer her a job. Finally David Bowie did.
This was the world in which Kathy Dorrotie was making her way.
January 14, 2010
One Giant Step For Somebody
Review by R.E. Prindle
Lennon, Cythia: John, Three Rivers Press, 2005
Remember what the door knob said…
We built this city on Rock and Roll.
If you want to be a girl of mine
You’d better bring it with you when you come,
Cynthia Lennon’s autobiography of her life with John Lennon opens the door to a number of possibilities of which I’ll explore one, at least, here.
Let’s begin with Lonnie Donegan’s 1955 hit The Rock Island Line. Lonnie was the originator of his own genre- Skiffle Music. Skiffle was all the rage in the British world from England to Australia to New Zealand while passing very lightly over the States except for the fortunate few of which I was one. Rock Island Line was a major hit in the US though.
Lonnie, may he rest in peace, was also the originator of the Big Beat. Of course Lennon and most of the young English rockers studied at Lonnie’s feet. The first band Lennon formed, the Quarrymen, was a Skiffle band. That was back in the fifties before the second stage of the big change kicked off. The first stage began about 1950 with Johnny Ray and his song Cry.
Eisenhower had the world pretty well organized in 1960 before John Kennedy stole the baton from the intended successor, Richard Nixon. With the accession of Kennedy the American personality or identity, such as it was, began to disintegrate- I mean in the psychological sense.
The Celts tried to establish Kennedy as the second coming of King Arthur and his Camelot. Not the smartest thing they could have done; a couple bullets fired in Dallas on November 22, 1963 put a period to that dream. By the then the sixties were fairly launched about to begin in earnest in January of 1964 when Lennon’s next group, the Beatles, hit.
The Beatles began as a Big Beat band rooted in the fifties. Seized by the avant garde they were made the avatar of the sixties. In their own way they launched the sixties although the makins’ were already out of the can. Kennedy was shot almost in December and in January the Fab Four washed his memory out on the Ed Sullivan Show. The Kennedy assassination was so then, then. The Beatles were NOW. IS in capital letters.
While the Beatles were revamping fifties music they edged into the future with modified Prince Valiant haircuts and collarless suit jackets. They were then NEW emerging into a brave new world.
Almost at the beginning of 1960 the art world was shaken by the emergence of Pop Art. Jasper Johns, Claes Oldenburg, Robert Indiana, Roy Lichtenstein, Robert Rauschenberg and especially Andy Warhol with his Campbell’s Soup Can set the sixties on its ear. On
the film scene the James Bond series with its new sensibility began. Bond also was a revelation portending changes with unintended consequences.
Pop Art would figure signficantly in Cynthia Lennon’s life in a few years when one of its more laughable practitioners, Yoko Ono, would step into her life and filch her husband from her. In fact Pop Art would be inextricably linked with the record industry. All the pop motifs would find their way onto record covers with increasing frequency. Tiny Alice would have a cover that opened like a match book. Talking Head’s colored disc would even become a happening designed by Rauschenberg himself. The burgeoning poster business would find its way into record sleeves. Astonishing packages never seen before in the record business although perhaps anticipated by the experimental ESP label of NYC. Some interesting stuff. Perhaps Milton Glaser’s poster of Bob Dylan could run for the distinction of the most popular poster design of the whole era. It was innovation itself at the time although not quite so fresh today.
Now, all this was happening so fast and from so many directions that it was impossible to get it all or even keep up on what you did get; after all people had lives to live.
In the San Francisco Bay Area where I was during the sixties the Scene was especially heavy. I wasn’t in the thick of things but a little off to the side. Thus while the UC Berkeley Free Speech Brouhaha took center stage in the East Bay, Ken Kesey, the Merry Pranksters and the Acid Tests were simmering on the Peninsula, but actually invading the middle class especially at Stanford and UC Berkeley. The San Fransciso Mime Troupe was very important in the early stages while Bill Graham was commercializing the Trips Festival with his Fillmore shows and Chet Helms was organizing the Avalon Ballroom out at the beach. The posters for the ballrooms which epitomized the psychedelic was the first inkling I had that something ‘new’ was happening. I don’t know how quick on the uptake I was but the first inkling of New York Pop I had was 1966-67 when I opened a poster store soon to be a record store.
LA, always commercial, would nevertheless provide the great Ron Cobb political cartoons for the LA Free Press one of the best of the Hippie papers soon to degenerate into porn as did the Berkeley Barb and all the rest. R. Crumb in San Francisco became the king of Hippie porn which characterized the movement from then on. The scene was then set for George and Pattie Harrison’s famous descent on the Haight-Ashbury that disappointed them so.
This brief sketch only contains a few of the highlights of the period. It was into this world that John and Cynthia Lennon stepped unprepared. Both Cynthia and John came from a background of very low expectations. Cynthia’s dreams were very modest while per her John’s dreaming was no bigger than reaching the tops of the pops in England.
Indeed the much touted German clubs showed no promise of a future whatever. Essentially playing in brothels in Hamburg one wonders what the ‘lads’ were thinking of the whole process. The wonder is that they paid enough attention to hone their skills. One of those making lemonade from lemons situations.
Only the greatest good luck showed them to success and fortune. They would have labored in the vineyard for a while and then drifted off into jobs but for the fact that an entrepreneurial romantic by the name of Brian Epstein saw them as the vehicle to realize his own dreams. He had the direction and energy to galvanize their careers. Still they were rejected by all the labels until a producer, George Martin, apparently heard what the rest of the world would hear and agreed to record them. It was then that the unbelievable happened elevating the Beatles into the most successful pop group ever. It was success far beyond their imaginations. With that success came challenges that neither John nor Cynthia could meet. The fact that they failed is no reflection on either one; they came from very low expectations and having fallen down the rabbit hole they were slightly unprepared. ‘One side makes you larger, the other side makes you smaller.’
To this time in their lives neither had even eaten at anything other than the English equivalent of McDonald’s, fish and chips or whatever. Now in one great step they were introduced into the haut ton by their manager Brian Epstein. Cynthia leads us to believe that Epstein gave special attention to John over the other ‘lads.’ As Epstein was a homosexual and as other sources, Peter Brown, Goldman actually state that Epstein seduced Lennon he obviously had a crush on John seeking to mold him in his own image. Indeed, John may have been his incentive for taking the Beatles on. Lust at first sight.
John had an attractive flip attitude that left the impression that he was much better educated than he was. Actually he left Art School, already a step down from the top, flunked out or whatever preferring to devote himself to his guitar chords. Most of the rockers were in the same situation. It’s amazing that their fans looked to them for salvation. This was tragic, because the generation invested all their hopes and dreams in these muscians attributing universal knowledge and genius to them, each and everyone. While they all did changes on certain political and social themes there was an appearance of ‘deep’ knowledge. Being anti-pollution was a badge of authority. Grace Slick of the Jefferson Airplane made the mistake if, one hopes, jesting that one should never trust anyone over thirty; this while she, John and others were about twenty-nine.
The phrase stuck. Those under thirty trusted these youthful, perhaps well-meaning rock stars. Being somewhat older at the time I could only see some very ordinary boys and girls who were just youthful wiseacres as we all were in that phase of our journey through life. Give me a break.
The most revered of all were the three Beatles John, Paul and George with Ringo thought of more as the court jester. John seemed to take his role most seriously as the guru of the generation, especially after he abandoned Cynthia for, spare me, the psychotic Yoko Ono.
Her abandonment by John for Yoko Ono is of course the most traumatic incident in her story. One can only commiserate with Cynthia. Then one has to search for reasons why; there was certainly no physical attraction there. Lennon did release a solo album called Mind Games so perhaps the best place to look is the mental. Lennon’s success must have placed great stresses of various kinds on him. The transition from a fair degree of poverty to one of a very large income to great wealth under the management of Yoko Ono would be psychologically unsettling in itself. Cynthia was unable to transit from poverty to wealth always remaining a lower middle class haus frau while John appears to have lacked the social climbing instincts of, say, Mick Jagger.
Musicians in general are held in very low esteem by the social elite so without unbounded desire and chutzpah, an ability to endure slights of the most painful kind it is highly unlikely that a musician would ever find acceptance in society. The aristocrats, Marrianne Faithfull describes as associating with Jagger appear to me to be more of the Black Sheep variety. So, Lennon may have been experiencing some frustration at that level.
At the same time there are numerous flatterers who are adept at putting ideas of omnipotence into your head not only intimating but saying that you are godlike. Even though one rejects the notion on the conscious level still a feeling of super powers creeps into your subliminal mind. One feels invulnerable, that one can do what’s never been done, that one can do drugs with impunity. There was never a time when the availability of drugs was ever greater or more socially acceptable.
At the time rumors abounded which have since turned into facts. During the Kennedy administration there was one Dr. Feelgood operating in New York to whom the social elite went for their drugs. His name was Dr. Max Jacobson and he was your friendly amphetamine pusher. His speed cocktails were extraordinary and they lasted for days. It’s comforting to know that President John F. Kennedy was amphetamine fueled while he was making those difficult international decisions- like Cuba. Nothing like having an A-man on the job. He wasn’t alone, VP Lyndon Johnson, followed in his footsteps into the office of Dr. Feelgood. He would have found his place at the end of the line of the NYC elite.
One person who took the good doctor’s prescription said that he went blind for three days staying high for several. Max was the economic type, dirty needles too.
At the same time Dr. Timothy Leary was sending everyone from prison inmates to Beat poet Allen Ginsberg tripping into inner space with his free handed distribution of LSD. Kennedy was involved in that too.
Prior to their arrival for the Sullivan show we are led to believe that the Mop Tops had only used pep pills in Hamburg to fuel their twelve hour sets. We are told that Bob Dylan was the one who turned them on to La Cucuracha, the most mild of the intoxicants. From there the boys graduated to LSD through spiked drinks or food.
Just as Harrison’s wife, Patti, records a spiked introduction to LSD so does Cynthia Lennon. Cynthia quite properly was revolted by drugs having no use for them. John was quite the opposite. He embraced LSD apparently ingesting regularly for long periods of time. As he would describe it, thousands of trips. At that point in my estimation the marriage was over. There is nothing for which Cynthia has to reproach herself except for her small divorce settlement. Nothing disintegrates the personality like drugs.
The drug influence was followed by a change in their music patterned after Dylan. When I first heard the Rubber Soul album I found it extremely noisy and unpleasant. This album was probably influenced by the Band’s playing behind Dylan on the ’65-’66 tour or perhaps the Bringing It All Back Home and Highway ’61 albums. It seems p;robable to me that the song Norwegian Wood commemorated Dylan’s turning them on to marijuana. The girl obviously represents Dylan.
Succeeding albums would aim for a ‘heavier’ feel with more social significance. As Lennon said in his ’80 Playboy interview, I Am The Walrus was written in imitation of Dylan.
The cover of Rubber Soul was traditional uninfluenced by pop art trends. The succeeding cover in the US, the famous ‘Butcher’ cover would be widely interpreted in the US as a comment on the Viet Nam War. It may have been meant as a pun- prime cuts of both meat and record tracks, but I don’t know. Whether there was a Pop Art influence isn’t clear.
The cover for the following Revolver by Klaus Voorman seems to indicate an awareness of Pop. For a band that was thought to be on the cutting edge of everything there are only two covers very avant garde with neither being very satisfying to me.
Sgt. Peppers Lonely Hearts Club Band that follows Revolver is a complete Pop Art package. A bizarre and macabre conception it does succeed. The grave in the foreground with the floral Beatles is chilling, perhaps a presage of the break up of the band. As Dylan said: If you’re not busy being born you’re busy dying.’ The Beatles are pictured in dead black and white looking down mournfully on their grave while the newly born Sgt. Peppers Lonely Hearts Club Band stand front and center in vibrant living color. Obviously the one has risen from the other.
Behind the band are row on row of ‘ancestors’ or, as was commonly assumed, influences. In fact members of the band contributed only a few of the names while the rest were contributed by others. Dylan is certainly among the pictures. The album comes complete with a childhood toy, a sheet of cut outs, making a complete Pop Art package. They could have had a designed inner sleeve but they overlooked that. Peter Blake, the main designer, is known as a Pop Artist.
The musical content follows the downer social significance motif with aural pyrotechnics such as had not been heard on record before. The release, as everyone is aware, was a complete smash, but it went beyond smash into realms not achieved until Michael Jackson’s Thriller. Thriller failed to excite as did Sgt. Peppers. That summer of ’67 was literally a surround of Sgt. Peppers. It was almost the only record anyone played. The Beatles easily trumped Dylan’s Blonde On Blonde of the summer of ’66.
The rest of the Beatles’ covers are pedestrian. The White LP probably influenced by One was trite at the time.
Cynthia seems to lack all understanding of what tremendous pressures the very unstable Lennon was subjected to , how his mind was being affected by adulation from the fans and respect from the world at large. Kid me, being named one of the three most influential men in the world wouldn’t have inflated the head of a Liverpool loser? My god, the Beatles even sung ‘I’m a loser.’ I couldn’t believe anyhone would sing such a song much less the Beatles who were clearly winners. How does one endure thinking of oneself as a loser on one hand and one of the most influential men in the world on the other?
At the same time that Lennon was enlarged Cynthia shrunk into the Liverpool realities of her youth. The couple had a mansion but unfamiliar with so much space Cynthia preferred to live in one small room! Clearly she was not equal to the demands of her situation.
The situation became critical when Lennon began mass consumption of drugs, including heroin, which Cynthia correctly declined to do while at the same time the poisonous Yoko Ono injected herself into Lennon’s life. There was no hope for Cynthia. Yoko Ono was a walking disaster looking for a place to happen- and then there was John.
Quite frankly Yoko Ono’s ‘career’ was going nowhere. Born in 1933 she was 33 in 1966 when she began her assault on John who was 25.
The sexual dynamic is that Lennon seemed to prefer older women than himself having a masochistic submission impulse. Cynthia herself was a year older. She too apparently sought security in younger men. Her second husband was two years younger and her third six. She seemed to lack the dominating impulse to make such marriages work. Ono had it in spades.
While John was by this time psychotic, Ono had been so from childhood, in addition she seems to suffer from extreme cognitive dissonance. Ono got the rock critic Robert Palmer to shill for her in her 1992 release, Onobox. In the essay Palmer states:
It is quite likely that having John Lennon fall in love with her was the worst thing that could have happened to Yoko Ono’s career as an artist.
Notice the lack of mention of falling in love with Lennon. This was written, I almost said, dictated to Palmer, in 1992 twelve years after Lennon’s death. No serious critic could have written that line so one must assume that it was dictated by Ono herself. The line shows how far she has distanced herself from reality.
Ono was in fact, a poor little rich girl. As a woman she felt inferior to the male writing such pieces as ‘Woman Is The Nigger Of The World.’ Once again cognitive dissonance. Yoko Ono was never in the position of being ‘a nigger in the world.’ It is true that her father advised her against attempting composing believing that women didn’t make good composers. How wrong was he, hey? Ono milked every man she was ever with before actually going into the dairy business herself. Secondly, having chosen to enter the Western world as an Asian she places her artistic neglect on the twin facts that he is a woman and an Asian. It never occurs to her that her art is unpleasing.
As an artist, whether woman or not, Asian or not, she had nothing to offer the art loving peoples of the world. In this increasingly globalized world of the sixties being Asian meant nothing while being a woman held no one with talent back. Indeed, male artists were increasingly being suppressed in favor of women in all the arts. If all girl rock bands isn’t an oxymoron I don’t know what is.
By her own admission she thought she was an influential person in the New York City art world of the early sixties after an apprenticeship of one year even gaining ’an international reputation.’ As she told May Pang: I was famous before I met John. So, one asks how does one reconcile her imagined great success with the feeling of being held back as an Asian and woman?
She rented a loft for fifty dollars a month which she coyly implies that as a starving artist the money was not easy to find. Well, Daddy was only a phone call away, she should have reached out and touched him. You can be sure he wasn’t going to let his little girl starve. By comparison I was paying 125.00 a month for an apartment in the Bay Area. I think we can dismiss the impoverished struggling artist scenario as so much more cognitive dissonance.
Ono spread herself pretty thin apparently attempting to cover all aspects of the avant garde. She’s keen on belonging to the avant garde. In music she patterned herself after John Cage and that weird contemporary ‘classical music’ approach with perhaps more than a nod to the early electronic composers such as Robert Maxwell who she mentions. She began her career in 1969 between the end of the Absract Expression mode and the beginningof the Pop movement so she was too late for the one and too early for the other. She and Lennon would try to rectify this in 1971 by doing obeisance to the Pop guru, Andy Warhol.
In 1961 she threw a party and was devastated that a snow storm discouraged the uptown crowd she had invited from coming. At least she said there was a snow storm. This may be another instance of cognitive dissonance. As she was an actual nobody she had no reason to expect society people to attend, snow storm or no snow storm. Nevertheless she was devastated, leaving town for Japan shortly thereafter. One may question where she obtained the fare for that flight when she had difficulty of meeting a fifty dollar rent bill.
In Japan she acquired her first husband simultaneously being committed to an insane asylum. As difficult as it may be to believe, her soon to be second husband, Tony Cox, heard these marvelous things about Ono in NYC deciding to fly to Japan to look her up. He found her thoroughly doped staggering around the halls of the asylum. He succeeded in getting her released then he, Ono and her first husband formed a menage a trois. The first husband wisely was the first to leave so Cox claimed the prize and the couple returned to NYC in 1964 so she is having an eventful four years. Shortly after their arrival they pulled up stakes and headed further East to London. Of the move Ono says:
I thought (the) avant garde world in New York was still very exciting but that it was starting to become an institution in itself, and there were rules and regulations in an invisible way, and I just wanted to get out of it. I never considered myself a member of any group. I was just doing my own thing.
That is just another way of saying that the art scene was a cliquish group in its terminal stages that was difficult or impossible to break into so unable to do so Ono was ‘just doing her own thing.’ It might be noted however that the NYC art scene was or was in becoming a nearly totally homosexual affair. At any rate we have evidence of sour grapes- I never considered myself a member of any group. And the result of rejection- I was just doing my own thing.
After her rejection she ‘composed’ a musical piece called Wall Piece For Orchestra in which she knelt on a stage and repeatedly banged her heard on the floor. Today that would be called ‘acting out.’
Off to new worlds to conquer in London and at the Indica Gallery of John Dunbar, the resident ‘head’ art gallery. Now, at this point she ‘ruined her career’ by pursuing John Lennon until he caught her. I imagine that she had been shrewdly observing his career and undoubtedly came to the psychological conclusion that he was a dependent personality who could be easily manipulated by the older maternal type with the right touch. That John Lennon could be made dependent on this woman eight years his senior is proof positive. Indeed, John even referred to her as Mother.
Cynthia for whom the role was impossible correctly assessed the situation noting the influence of Lennon’s Aunt Mimi who brought him up. Ono courted Lennon, interfering directly in his marriage. Ono was quite willing to drug herself along with Lennon so that both were heroin addicts. Ono thus established a sado-masochistic control over Lennon that Cynthia had no chance of breaking.
Rather than ruining Ono’s career the ‘third most influential man’ in the world gave her a stage on which to perform that she could never have found on her own. She now considered herself a collaborator with the Beatles. The injection of the Cage and Maxwell garbage combined with Lennon’s erratic behavior produced the nonsense of Revolution #9 on the White Album.
Lennon on drugs and under the influenceof Ono, who had her motives, according to Dire Corrector’s blog quoting the biographer of Paul McCartney, Many Years From Now, says:
The meditation had essentially precipitated a nervous breakdnown which was not helped by John’s tremendous drug intake. On May 18, 1966 he summoned a meeting of the Beatles at Apple and announced to them that he was Jesus Christ…the night after he told the other Beatles that he was the Savior, he finally called Yoko Ono and told her to come over.
Quite obviously Lennon was either teetering on the brink or had fallen over the edge. If he hadn’t broken with Cynthia by this time it is quite clear that apart from a certain inappropriateness of being wed to the Savior she was quite innocent of causing the break in any manner and should have a clear conscience.
Lennon’s state of mind would explain the insensitive manner in which he broke with Cynthia and its aftermath. The man must not have been in his right mind. While easing Cynthia out was relatively easy, from Ono’s end Tony Cox to whom she was still married was not such a simple matter. One wonders why he would fight so hard to keep a women who was so psychotic. Perhaps it was their daughter who he later took into hiding to keep her away from Ono. Justly so, it seems.
At any rate by ’69 Ono and Lennon were free to marry. Definitely by this point Lennon had all but surrendered his identity to Ono. She was now in possession of the reputation of one of the three most influential men in the world. Blending her identity with his she was about to become hermaphroditic. Perhaps Lennon was overawed by her avant garde credentials, such as they were, as well as whatever passed for her musical sensibilities.
She became Yoko Ono Lennon while he legally changed his name to John Ono Lennon so they both became Ono Lennons. After a number of happenings which one must believe were entirely Ono’s conceptions, such as the ‘bed in’ in Holland and the organization of the Plastic Ono Band, the pair settled in New York in an apartment building known as the Dakota. The Dakota was a connection to Ono’s past fulfilling an old desire to surpass those uptown types who she felt had slighted her.
In that connection also the cover of the Plastic Ono Band is a fulfillment of an old desire of Ono’s. While a child she witnessed the fire bombing of Tokyo in the US attempt to bring an end to the war. The blue sky was obliterated by the billowing clouds of smoke. While she didn’t witness Hiroshima yet she imagined the same sky as that over Tokyo. She then developed a blue sky obsession. If you notice the cover of the Plastic Ono Band is just a blue sky. One assumes then that Ono’s plans were coming together.
The NYC art world of 1960-’61 had shifted totally, the Abstract Expressionists she had tried to piggyback on were gone having been replaced by Pop Art of which Andy Warhol was the reigning doyen. If the Abstract Expressionists had been exclusive Warhol was nothing if not inclusive. He worshipped celebrities and Lennon was the number one celebrity. Himself a groupie and maximum social climber he welcomed an association with the Onos. For Yoko Ono the association with the leaderof the NYC art scene was her dream come true. Nothing but blue skies from now on.
In the accompanying picture you will notice that Warhol is seated in between a standing Yoko Ono with one hand on her right tit while his hand is on a drugged out looking John Ono with his hand on Warhol’s crotch. The symbolism is quite clear. The standing Yoko
is the master of two emasculated males who happen to be two of the most influential men in the world. She ain’t no nigger no more, Maggie’s Farm is a thing of the past, yes, men are now niggers in relation to herself. Warhol as an artist takes precedence over the disposable oafish John Ono. Yoko is tallest and standing, Warhol is second tallest and sitting while the now disposable John is lowest, lying on his back. The future is clear. Study John’s face; study all three faces.
The sexually besotted John Ono has surrendered his entire identity even as a musician allowing Yoko Ono to usurp his place by putting out those horrid hideous LP musical montrosities. Robert Palmer aside, with song titles reminiscent of her head bashing days: What A Bastard The World Is, I Felt Like Smashing My Face In A Glass Window, Woman Of Salem (Witches), Coffin Car, Hell In Paradise and Walking On Thin Ice. Clearly this woman had an unsettled, disturbed mind.
Having usuped Lennon’s role and identity he became expendable. Her problem now was to transfer his past and his wealth to herself thereby becoming Yoko-John Ono, Double Fantasy. Two fantasies melding into her one personality.
John Ono’s finances were, of course, in complete disorder. As Yoko was soon to show billions of dollars were disappearing down a sink hole. She rapidly organized his finances turning his money green. Within short order the Onos were worth a hundred million or so which she would swell to a billion or more after John’s death.
I imagine it was fairly easy to have John Ono give her a power of attorney, indeed he forked over his identity allowing her to function in his stead as himself. An awesome abdication. A POA would negate the need for a will, and indeed having made herself not only co-owner of John’s assets as well as his identity Yoko Ono would merely acquire full ownership leaving no assets to be willed. Indeed, she could have turned him out penniless at any time. When Cynthia was clamoring for a reading of the will she was wasting her breath; if a will existed, unlikely in itself, there would have been no assets to bequeath.
Yoko Ono having now incorporated John Ono’s reputation and identity into her own had also incorporated the assets and with the assets the legacy of all copyrights held by John Lennon as the double fantasy melded into one fantasy. The only obstacle to Yoko’s apotheosis into man-woman was John himself as he was alive. However John was only thirty-five. To wait thirty-five years or more with a man she didn’t love or even like would be unbearable. Some hard thinking was in order.
She manipulated the poor dolt into thinking he was a boorish oaf who needed to go off to get himself together. Rather than just sending him off she chose an employee, May Pang, an Asian like herself, to be John’s consort while away.
In reading May Pang’s book, Loving John, it becomes clear that Yoko Ono was a master hypnotist. She knew how to make suggestions and have people act on them. Acccording to Pang she fixed an hypnotic glare on one, assuming an authoritative posture while intoning her suggestion. She had the reputation of always getting her way.
Of course her version of what happened is different than Pang’s. Yoko having suggested she go off with John, the act was soon consummated. Pang insists she and John were in love, yet a year and a half later when Yoko called John back he came running.
Thus, from 1975 to Double Fantasy in 1980 Yoko and John Ono were out of public life living as a double fantasy of Howard Hughes. Then in 1980 Mark Chapman became the man who shot John Lennon. There have been speculations that Chapman was hypnotized when he committed his deed. Conspiracy theories therefore have sprung up.
One must ask who the death of John Lennon benefited. Two possible people. Yoko One on one hand and possibly Chapman on the other. On the one hand Yoko Ono achieved the psychotic desire to escape being the ‘nigger of the world’ by becoming John Ono Lennon while physically remaining the sweet little girl she had been before the fire bombing of Tokyo. She was unable to manage the memory of that transformative experience. In her mind, then, she became the prominent artist-musician of the world.
I don’t believe the government had anything to do with the assassination.
As we know Yoko Ono was a master hypnotist; the question is how did she find Mark Chapman and how did she hypnotize him?
Earlier in the day Chapman had approached Lennon for an autograph. He can be seen worshipfully smiling beside his hero in the picture. There appears to be no indication he meant to harm Lennon. He might easily have shot him point blank at the time, yet when he came back in the afternoon with a voice in his head insistently saying: Do it. Do it. Do it. he gunned his hero down.
At the time Yoko Ono had dropped a few steps behind John. In similar murder attempts, people step away from the intended victim so as not to be caught in the line of fire. This may have been the case with Yoko.
Certainly Yoko is opposed to Chapman’s release from prison even though he has fulfilled the twenty year requirement of twenty to life. I doubt if he is a threat to society however he may be a threat to Yoko Ono if he were to remember or reveal the details leading up to his shooting of John Ono Lennon.
Of course, I don’t know why Chapman shot but I do know that Yoko Ono Lennon was the sole beneficiary. She left Cynthia holding the bag while she realized her double fantasy.