Conversations With Robin Page 4.

Conversations between R. E. Prindle and Robin Mark

Concerning certain musical questions.



     Sorry to be so remiss but I was really involved with writingt Exhuming Bob 23 a and b:  Bob, Andy, Edie and Like A Rolling Stone.  I got them up a couple days ago and then I was really exhausted.

     I think they’re really good work, real Sherlock Holmes stuff.  The feud between Dylan and Warhol with Edie Sedgwick as their pawn is very important althougth Dylan has been very effective in shuffling it under the carpet.

     I’ve always been amazed that no one came after Dylan because of the savage badgering he and Neuwirth put people through during what was apparently his Acid phase.  Anent that I’ve always been suspicious of the back wheel of his bike locking up, obvious sabotage to me.  Of course the reuslt would be flying over the handle bars that did happen.  A probable result of that would be damage to the head neck and/or back with a very good chance of being paralyzed from the neck down much as Christopher Reeve did from his horse jumping accident which was also contrived.

     Who would take that exact means to attempt to paralyze Dylan, I don’t think murder was intended.  Warhol is my first choice.  In addition to other humiliations Dylan publically insulted him in both Stone and Street using motorcycle imagery.  Of course, it is now clear that chrome horse refers to a motorcycle so the line reads:  You used to ride on a bike behind your diplomat…. Warhol had a bike and was Edie’s ‘diplomat’ so stripped of an obscure term the meaning is clear-  Edie and Andy.

     In Street Dylan sings:  You know you’d like to see me paralyzed…so the bike accident is prefigured in the imagery of the two songs that have references to Warhol.  If and when you read Part b of Bob And Andy the inference that Warhol’s crew were the perpetrators will become more evident.

     That was hard work pulling all those details together but rewarding.  Still, I’m going to have to take a week or so to recover.  Research goes on of course.  I think next I’ll tackle Exhuming Bob 24:  Bob, Jack and Allen.  I’ll start working on the ton of the period some.

     Part of Elvis’ problem was that the ton shifted so dramatically after he was drafted.  He began his career in the post-war ton of the late forties and early fifties actually causing the shift or, at least, abetting it.  Then he was removed from the flow for two crucial years.  when he came back the Kingston Trio had already shifted the ton toward the Folk genre that made Dylan possible but made Elvis an anachronism.  While I don’t believe Elvis was part of any Illuminati type thing earlier or later it is quite possible that some such sort of conspiracy found him a useful tool.  Of course, Parker, who was in the country illegally, could easily be manipulated to betray his and ‘his boy’s’ interests.

     By the time of the return from the military Presley’s career was obviously being directed by Hollywood.  So, who was getting what from mismanaging Elvis’ career?

     Just thoughts.


Exhuming Bob 23b

Of a & b.

Bob, Andy, Edie

And Like A Rolling Stone


R.E. Prindle

The System Of Doctor Tarr And Professor Fether

All the fags and dykes they boogien’ together

Leather freaks dressed in all kinds of leather

The greatest of the sadists and the masochists too

Screamin’  please hit me and I’ll hit you.

The FBI dancin’ with the junkies

All the straights are swingin with the funkies

Cross the floor and up the wall

Freakin’ at the Freakers ball,


Freakin’ at the Freakers ball.

–Shel Silverstein

Oh no!  Must be the season of the witch.



Don't Look Back, Something Might Be Gaining On Ya

     It may be true that the answer was blowin’ in the wind but, if so, as Donovan said:  You might as well try to catch the wind and nobody did.  Nobody even had a clue as the inmates poured out their cells and seized the asylum.  Even then it wasn’t so easy to tell the nuts from the Docs.

     His parents brought a seventeen year old to the asylum to be cured of homosexual tendencies.  The psychiatrists had an astonishing method for a cure.  Strapping the kid to the torture rack they fixed a couple of electrodes to his body and sent some serious voltage coursing the through his existence rearranging a few brain cells on the way.  As his body arched when the juice hit him one is reminded of the prisoner on death row when the steel cap was lowered on his shaved skull.  As maximum voltage coursed through his body he too convulsed but when the skull cap was removed the temperature of his blood in his brain was 212 degrees.  They’d boiled him to death.

     The kids temperature didn’t rise that high but they still managed to scramble his brain.  His memory was so blotted he got lost trying to walk around his own block.  The cure was worse than the disease.  The cure was in fact, no cure as he remained a homosexual.  And they call that medicine.

     As soon as the kids eyes uncrossed he picked up a guitar and began to wail.  Then he formed a band and began to formulate what he would call Metal Machine Music.  He hooked up with Doctor Filth who ran an asylum called The Factory that he filled with mental cases.  Unlike the psychiatrists Dr. Filth intended to create mental cases.

     The kid picked up a whip, donned his leathers and began to boogie.  Those leather freaks.  Uncomfortable in their own skins they wear the flayed skins of cows, a feminine skin not their own.  A guitar and a spike all anyone needed.  Jamming his spike in his arm the kid flew from the asylum Factory out to the Cuckoo’s Nest in Keseyland.

     Now known as the Velvet Underground, the kid, going by the personal of Lou Reed landed in a disused bowling alley where he and hisHigh Voltage Lou three bandmates gave a concert.  there were perhaps a hundred fifty people in the audience of which a hundred had been let in free by one of the promoters.  Imagine a promoter opening the back door for free.

     The audience in the bleachers stepped up to the ceiling where the top row required them to stoop to seat themselves edged into their seats.  Keep your eye on the right top corner, that’s where the action will be.  This was the first concert the promoters had done.  The band stood on the floor two thirds of the way down the alleys.  The spotlight was on their right directed across the group rather than down on them.  I thought it was an interesting effect.  The Cuckoo’s Nest had never seen anyhthing like this.  A girl drummer had what appeared to be a single snare drum with a mallet underslung so it hammered the bottom of the snare while she banged away at the top with the sticks.  Not exactly a beat more like a steady unvarying rumble, an effect almost as interesting as the lights.  The two guitars and the bass of the leather clad crew began to hammer out the sound which was just like what became Metal Machine Music although more articulated.  Not exactly as continuous am MMM but close.

     Then the singer began to chant something about heroin.  This wasn’t The Factory this was the Cuckoo’s Nest.  A disquieting murmur underscored the machine music.  Then some local agitators had a guy stand up to shout out incitements to a riot.    The light guy got uneasy.  The Velvets twitched, a note of panic came into Reed’s voice.  Without so much as a change of tone he incorporated ‘Turn off the light’ into the lyric as the crowd began to think of rushing the Velvets and they gave every indication of bolting.

     Turn off the lights, hell.  I knew who the agitators must be so I swung the light from the Velvets across the crowd to the right corner where I picked up the agitators.  I left the spot on them steadily.  Their anonymity stripped from them the crowd recognized them and quieted down.  The Velvets hadn’t missed a beat but they did get a little wobbly.

     I quickly picked out the ‘mastermind’ , who was who I thought he was and his stooge who had been loaded up with something.  With the spot on him he thought he was the star continuing to orate as Reed intoned on while the band chugged along like an assembly line gone berserk.

     The ‘mastermind’ now ordered me to turn the light off him.  The noise was too loud for him to hear me laughing.  At last he got his stooge to sit down and the light swung back to the Velvet Underground and they continued their chaunt to the glories of heroin as though nothing had happened.  Nothing had, just a variation on the show down on Desolation Row.  They left the Cuckoo’s Nest finding their way back to the Factory and Dr. Filth.

     Back home in The Factory the fags and dikes were cracking their whips, blowing their whistles and banging their gongs while the necrophiliacs were looking for dead ones.

     As we left them in part a, Dr. Filth had been castigated by the Man Of The Hour over the air for all to hear if not recognize in his musical rants, Like A Rolling Stone and Positively 4th Street.

     I’m not prepared to say it’s so but others have suggested that a few lines in Desolation Row refer to the Factory and Andy Warhol.  As Desolation Row was recorded on August 4th a few days after Stone and Street it is quite possible ill feeling lingered and found expression in Dylan’s lines.

     The lyrics are purposely written in obscure language meant to imitate poetry and mystify.  Without a key one can speculate all day ending up where you began.  Dylan does give us a clue as to his imagery in Chronicles where he says Pound and Elliot were fighting it out in the Captains’s tower.  The Captain’s Tower refers to Dylan’s brain  and the discussion of the two poets.

     There is a very large discussion of this stuff on the internet if anyone wants to go through it.  Anyway the lines thought to refer to Warhol are these.

     Dr. Filth, he keeps his world

Locked inside his leather cup

But all his sexless patients

They’re trying to blow it up.


Now, his nurse, some local loser,

She’s in charge of the cyanide hole

She also keeps the cards that read

“Have mercy on his soul.”


They all play on the pennywhistle

You can hear them blow

If you hang your head out far enough

From Desolation Row.

Contemporary Bob

     I think most commonly people take Dr. Filth to refer to Freud.  Multiple meanings are possible while the cast of characters in Row appear to be well known historical figures or characters from literature.  At the same time, as Warhol points out, the songs of this period are personal protests so the figures can stand in for people Dylan knows.   He changed their faces and gave them brand new names.

     On the other hand Dr. Filth could refer to Warhol whose reputation was suffering by mid-’65.  The society people had begun to avoid the Factory leaving Andy only the derelicts.

     As I said I can’t find anything totally convincing to pin Dr. Filth on Warhol but the next verse isn’t applicable to Freud and the verse after depending on how you interpet pennywhistle and blow might apply to the Factoryites.

     And then there are these lines:

Now, at midnight all the agents

And the supernatural crew

Come out and round up everyone

That knows more than they do.

Then they take them to the Factory…

     Like I say, it’s up to you.  What is clear is that there was serious competition between Dylan and Warhol and that Sedgwick was a bone of contention.

     As the late fall and summer progressed then, Dylan worked hard to draw Edie from Warhol.  This made Andy very, very jealous and he turned from Edie spurning her from him ‘with his foot.’  There is a possibility that in some weird homosexual way Warhol loved Edie.  According to the movie Factory Girl Warhol took her home to meet his mom.  It might mean that that was an actual declaration of love and that he considered her his girl.

     By this time Edie was broke having gone thorugh her inheritance whnile even having her stipend from her parents suspended because of her association with Warhol and the Factory crowd.  ‘In her prime when she dressed so fine’  she refused to use taxis having a white limo waiting at the curb for her use.   Now that she could no longer afford one Dylan rented a black one for her use.  Thus when she rode around town in Dylan’s limo she would be known as Dylan’s kept woman.  This would also have been a direct insult to Warhol who was penniless in comparison being unable even to pay Sedgwick for her roles in his films or even, her rent.  Thus as the Dylan figure in Factory Girl tells her:  You’re just one of Warhol’s props.

      Now, Dylan in his first English tour had Donn Pennebaker do a film verite that would be released in 1967 as Dont Look Back.  Dylan and his entourage who all had parts in the film just like the Factory crew did in  Warhol’s would have been talking up the film thus actually becoming direct competitiors of Warhol.  As an enticement to Edie Albert Grossman threatened to become her manager while promises were made to her that she would be Dylan’s co-star in a planned movie and even be paid for her services.  Remember she was stone broke at this time being desperately in need af an adequate income.  Rather than being Dylan’s girl friend she was passed to his gofer, stooge, right hand man, Bobby Neuwirth who became her possessor while she was living at the Chelsea.

     That November of ’65 Dylan married Sara Lowndes.  According to Bob Spitz in his biography Dylan met Lowndes in 1963 installing her in Grossman’s apartment where he ‘lived’ with her which I suppose means visited her from time to time as among his other duties he was living with Suze Rotolo and heavy with Joan Baez.

     Dylan attempted to keep his marriage secret, it was publicly revealed in April of ’66 but Warhol got word of it in December spitefully revealing the news to Edie.  The news was devastating to Edie who was nurturing her fantasies of being Dylan’s woman and future co-star.  Apparently at that time she was told that any movie role was in some very distant future.  At any rate with her relationship with Andy broken Dylan no longer had any use for her.   She was just a pawn in his game.

     Perhaps in competition or emulation of Dylan’s recording career Warhol decided he wanted to manage a band thus recruiting the

Nico, Andy And The Velvets

Velvet Underground.  To assist the Velvets he picked up on Nico who had just arrived from Europe.  As fate would have it Dylan had already had a fling with her during his 1962 visit to England when he worte I’ll Keep It With Mine for her.  Warhol now insisted she front the Velvet Underground, thus the Velvets first LP with Nico and the famous Banana cover.

     Apparently forgetting Edie Dylan renewed his acquaintance with Nico showing up with songs to give her.  Lou Reed of the Velvets is a great admirer of Dylan but I don’t believe any of his songs made it to the record.  In any event Nico was gone by the time of the second Velvets LP.  Possibly as part of the Dylan-Warhol feud.

     Dylan wasn’t finished with Edie yet nor was Warhol finished with Dylan.

     In the Spring of ’66 Dylan recorded his ultimate record Blonde On Blonde.  the songs of personal protest as Warhol pointed out revolved around this period.  There are two songs that are pointedly about Edie Sedgwick- Leopard Skin Pill Box Hat and Just Like A Woman while other references seem to be scattered about.  The two songs were unnecessarily cruel.

     In the Spring of ’66 Warhol began a film titled The Bob Dylan Story.  This was a derogatory depiction of the Folk Singer that Warhol thought better of releasing.  Giving Dylan’s reaction to Factory Girl, Warhol’s pockets weren’t deep enough to take Dylan on who by ’67 when the film first could have been released Dylan was worth millions while warhol was still essentially penniless.

     Anent the Bob Dylan Story I quote from the web site :

     Sterling Morrison speaking:

     “Dylan was always around, giving Nico songs.  there was one film Andy [Warhol] made with Paul Caruso called The Bob Dylan Story.  I don’t think Andy has ever shown it.  It was hysterical.  they got Marlowe Dupont to play Al Grossman.  Paul Caruso not only looks like Bob Dylan but as a super caricature he makes even Hendrix look pale by comparison.  This was around 1966 when the film was made and his hair was way out here.  When he was walking down the street you had to step out of his way.  On the eve of filming, Paul had a change of heart and got his hair cut off- close to his head and he must have removed about a foot so everyone was upset about that.  then Dylan had his accident and that’s why the film was never shown.”

     Although sterling Morrison suggested that the Bob Dylan film was never shown because of Dylan’s motorcycle accident, the accident occured at the end of July 1966 and Susan Pile was filmed for the movie in October 1966.

Susan Pile speaking:

     “Andy filmed The Bob Dylan Story, starring Paul Caruso…Ingrid Superstar and I were folkrock groupies who rushed in (to the studio), attacked his body and taped him to the motorcycle…  Paul Morrisey suggested all of Paul Caruso’s lines be from songs, but Andy, knowing it was a good idea (this is a direct relay from Paul Morrissey) vetoes….My one line (which I wasn’t supposed to say; I was to remain mutely sinister) was:  “You’re just like P.F. Sloane and all the rest- you want to become famous so you can get rid of those pimples.”  (accompanied by quick slaps to P. Caruso’s acne-remnanted cheeks)…

     The psychology is clear but noteworthy is the taping of Dylan to his ‘Chrome horse.’   When Dylan had his bike accident the rear wheel locked throwing him over the handle bars.  Thus taping him to the bike would prevent that.  Now, the animosity between the two was real and deep.  It may have seemed to Dylan that he had trumped Warhol.  While Warhol may have passively taken the humiliation it is also quite likely he would have retaliated.  The wheel locking would seem to indicate someone tampering with the bike.  Either Warhol had the bike tampered with and was gloating over Dylan here in his movie or else it is a cruel joke.   Whether Warhol was responsible for the bike accident or not he was certainly gleeful about it as evidenced here.  If the bike was tampered with then someone wanted to see him paralyzed.

     Thus matters stood at the end of ’66.  In 1971 Edie Sedgwick in circumstance of total degradation, shamefully abandoned by her parents and both Dylan and Warhol who both disclaimed any responsiblity died.

     In closing I quote Andy Warhol from his Philosophy Of  Andy Warhol From A To B:

Handy Andy

     “(Edie) drifted away from us after she started seeing a singer-musician who can only be described as the Definitive Pop Star- possibly of all time- who was then first gaining recognition on both sides of the Atlantic as the thinking man’s Elvis Presley.  I missed having her around, but I told myself that it was probably a good thing that he was taking care of her now, because maybe he knew how to do it better than we had.

     Snide, very snide.

There’s gonna be a Freaker’s Ball, tonight at the Freaker’s Hall

Ya know you’re invited one and all. 





Exhuming Bob 23a of a and b

Bob, Andy, Edie And Like A Rolling Stone


R.E. Prindle

If Tomorrow Wasn't Such A Long Time

     As concerns the oeuvre of Bob Dylan through 1966 Andy Warhol astutely remarked that the first phase that  established Dylan’s reputation was social protest while the latter half was personal protest.  Warhol should have known.  That’s what the Jews call kvetching and American’s whining.  It was from this latter period that a pure kvetches like Positively Fourth Street and Like A Rolling Stone would be written.

     There is absolutely nothing prophetic or profound in songs of this type by Dylan.  They are simply complaints.  In this early phase the finger pointing was directed at society; in the later at people.  John Lennon, who was heavily influenced by Dylan analyzed his method, said the notion is to seem to say more than you are saying.  So Dylan disguises his kvetches in obscure language while the subject remains simple.

     Thus the subject of Like A Rolling Sone is Dylan’s relationship with the woman, Edie Sedgwick.  Edie is a sore point with Dylan because

Andy Warhol

he has been blamed for her death in 1971 some six years later.  Doesn’t seem likely but he’s sensitive to the accusation.  So sensitive that he obscures whatever relationship he had.  When questioned he doesn’t deny it saying instead that he couldn’t remember one.  Well, Dylan’s always had a ready hand with the ladies so it is quite possible he’s forgotten a few of them.

     But I think Edie would have been one of  the Big Four and he remembers her quite well.  Dylan then had four women on the string at one time.  The first was Suze Rotolo, a long time girl friend and live in dating back to his arrival in NYC in 1961; the second was Joan Baez who he met a little later.  The third was Sara Lownds who he was keeping at the Chelsea Hotel; the fourth was Edie Sedgwick, of whom he wrote at least three songs.

     Of course there were many other women married and unmarried that he ‘comforted.’  One or more of these might have been ongoing relationships.  Dylan married Sara Lownds in November of ’65 without mentioning the fact to any of his other women.   His relationship with Suze Rotolo blew up in 1964 when Suze’s sister Carla and her mother grew tired of Dylan’s abuse of the relationship ordering him away.   Dylan maintained a relationship with Suze even asking her to be his mistress after he married.  He records the dispute with Carla in Ballad In Plain D when he heard Carla scream out the famous imprecation:  Leave my sister alone.  Goddamn you, get out.  In his usual way Dylan makes himself the aggrieved party as though there were four Bob Dylan’s in town and he had nothing to do with the other three.

     He must have known something of the other three because the Dylan of Bob and Sara offered Suze a role out on the side.  Hep. Hep.

     To Edie Sedgwick:  I’ve read several versions about Dylan and Edie.  In one both Dylan and Bobby Neuwirth knew Edie in Boston where she attended Radcliffe and whose eccentric behavior had already made her notorious.  Both Dylan and Neuwirth were in Boston at

Edie Sedgwick

times so that is possible.  It was in Boston Dylan met the folksinger Eric Von Schmidt who he admired greatly.  Some say he met Edie only in December of ’65.   Whether he first met Edie in December of ’65 or renewed the acquaintance it seems clear that Edie became involved with Dylan personally or with the Dylan organization.

     Remember that Dylan arrived in NYC in 1961 with nothing, no money, no reputation.  he was a hick from the sticks.  It might have been deadly to admit that he was just another kid from Podunksville come to the big city, so, to give himself glamour and mystery he invented a preposterous past, claiming to have been an orphan, the babe in the bullrushes, just like Sargon or Moses, Romulus or Remus out in the woods feeding off a wolf.  Undoubtedly a very wise move.  He gained credibility and he was to a large extent granted his glamour and mystery.

     Four years later he was a pinnacle in the NYC underground.  As ’65 was ending he seems to have been in competition with Andy Warhol for the top spot.  Warhol had been a successful commercial artist in the fifties.  Beginning in 1960 almost as the same time as Dylan he made his move into fine art being one of the innovators in the move to Pop Art.  Unlike Dylan’s career in Folk Warhol had had a diffiucult time breaking into the fine art world.  Having succeeded he remained an outsider running an atelier he called The Factory populated by bums, drug addicts and losers.  Like Dylan everything he touched he wanted to destroy.  He wanted to destroy the concept of fine art and largely he did it.  By 1965 he fancied himself a filmmaker.  One of his stars was Edie Sedgwick. 

     Dylan himself takes credit for destroying Tin Pan Alley because they had no place for him.  While he didn’t destroy folk music he transformed it along with others.  Of course by 1964 folk artists had about exhausted the genre.  The same songs were being sung while the artists had stylized the genre to boredom.  Who wanted to go see trios in loden green Robin Hood outfits?  If anything Dylan escaped a dying scene.

     Dylan and Warhol were nearly identical while both were vying to be King of the Underground.  Perhaps Edie Sedgwick became merely a pawn in their game.  She became the prize that would determine the winner.  That contest raged between December ’65 through February ’66. 

     The competition between the two- Dylan and Warhol- went back further.  Perhaps Dylan’s screen test with Warhol in the summer of ’65

The fabled Silver Elvis

 crystalized the conflict.  Dylan went down to the Factory, Warhol’s atelier for the screen test claiming a copy of Warhol’s silk screen, the Silver Elvis, as his price.  Warhol is reported to have been outraged by the appropriation.

     While both men tried to maintain their cool the underlying hostility was apparent.  On Warhol’s part he said that he heard that Dylan was using the painting as a dart board so maybe he, Warhol, should be worried.  While Dylan may have been doing so he showed his contempt for Warhol by trading the Silver Elvis with his manager Albert Grossman for a sofa.

     Now, as Warhol correctly said, after Another Side, Dylan edged into personal protest.  That means that the songs of the personal trilogy- Home, ’61 and Blonde, were written about specific events or people.  Both of Dylan’s two most irate kvetches were written back to back.  One should compare them to Ballad In Plain D for intent.  First was Like A Rolling Stone directed at Edie and then Positively Fourth Street directed at Warhol.   Both obviously written around the Factory.  Stone evinces a sexual scream of perhaps the rejected lover addressed to a woman while Street is a sneering putdown of a man.

     It may be true that Stone began as a twenty page vomit of pain as Dylan says but the catalyst to distill the actual song from the kvetch was Sedgwick.

     To take the second song, Positively Fourth Street, first.  The sixth verse terminates with the line, what HE don’t know to begin with, so the song is directed at a single man, a he.  This is not a generalized he, a philosphical rant but a putdown of one specific guy.

     The first verse states the HE wasn’t around when Dylan could have used him, the second verse states the HE is merely an opportunist, the third verse addresses a kvetch by HIM that Dylan disappointed HIM, the fourth verse claims a loss of faith in Dylan that Dylan scoffs at, the fifth verse acknowledges that HE defames Dylan behind his back, the sixth verse derides him as a poseur who ‘tried to hide what he didn’t know to begin with’, the seventh verse accuses HIM of insincerity, while the eigth verse say that HE wishes Dylan ill luck.

     Coming to the ninth verse we have this telling line:  No, I do not feel that good when I see the heartbreaks you embrace.  Warhol filled the Factory with drug addicts, losers and nutty street people of all kinds so that it actually sickens one to read about them much less see or mingle with them.  Then Dylan adds, Perhaps if I were a master thief I’d rob them.  Well, Dylan was a master thief and he did steal the only superstar Warhol had who was Edie Sedgwich so perhaps the struggle for her body and soul began that summer of  ’65.

     Next Dylan adds the verse:

And I know you’re dissatisfied

With your position and your place

Don’t you understand

It’s not my problem.

     OK, that describes Warhol to a T and warns him not to use Dylan as a stepping stone.   The last two verses describe how Dylan is revolted by Warhol

     So, rather than being some allegorical complaint the song is a description of Dylan’s kvetch against Warhol.  If one bears that in mind the song reads like a letter rather than an allegory.

      Having solved that problem let us turn to Like A Rolling Stone.  this song too reads like a letter if you bear in mind Deylan’s relationship to Warhol and Edie.

     By mid-sixty-five Dylan had become a success.  At this stage in his career Dylan’s success consisted of his publishing royalties brought about by the efforts of his manager, Albert Grossman.  Grossman’s first effort was to create and establish his folk group, Peter Paul And Mary.  As this was astonishingly quick and easy one believes that Grossman was well connected.  As PPM were on Warner Bros. run by Jews his connections most probably originated in Chicago where he had established The Gate Of Horn as the premier folk club.

     Once PPM was a big hit Grossman had them record Dylan’s songs which then allowed him to place Dylan’s songs elsewhere.  Thus Dylan was known outside NYC as a songwriter while not so much as a performer.  But he was a songwriting sensation thereby receiving substantial royalties making him the richest and most powerful folkie.  The future promised to be even more golden once he got into touring.

     Now his mind disoriented by success and even further disoriented by his massive intake of drugs Dylan and Grossman needed to flex their muscles lording it over the scene.

      Dylan apparently wished to have a sexual relationship with Edie Sedgwick who was being billed and the next Marilyn or America’s ‘It’ girl because of her role in Warhol’s trashy films.  She too was another drug abuser and unstable personality.  Whether she and Dylan did get together is unclear.  Edie is dead, of course, and can say nothing while Dylan neither denies or affirms.  He says that he can’t remember having relations with Edie and you’d think he’d remember if he had, wouldn’t he?  Given the drugs, who knows, but saying you can’t remember such a desired object as America’s new ‘It’ girl is the same as saying yhou didn’t, while saying you would remember if you had is expressing regret or resentment.

     I will write on the assumption that at least by the time of writing he hadn’t and Like A Rolling Stone is a frustrated rant of rejection not too different than Ballad In Plain D.  For the time Dylan ony vents his anger at both Sedgwick and Warhol while he begins plotting his revenge against both.

     Edie had come from a wealthy California family but a difficult home environment.  She was pampered, having a Mercedes to drive around campus in Cambridge so she went to the finest school and now would have to learn to live out on the NYC streets as the song says.  She also had an 80,000 dollar inheritance in 1964, the equivalent of 300 to 500 K today that she went through in a few months leaving her only a stipend from her parents although living in her grandmother’s penthouse’ in NYC.

     The first verse of Stone then describes Edie perfectly.  There is nothing allegorical about it.  No abstruse meaning, this is pure kvetch.  It should  be read only as a spiteful rant against Edie.

Once upon a time you dressed so fine

You threw the bums a dime in your prime, didn’t you.

     Edie had spent a large part of her fortune on clothes, as Dylan asserts, dishing out the change to the bums as she went along.

People’d call, say, “Beware doll, you’re bound to fall”

You thought they were all kiddin’ you.

     Born to wealth she couldn’t conceive not having money.

You used to laugh about

Everybody that was hangin’ out.

     Like, for instance, Bob Dylan.

Now you don’t talk so loud

Now you don’t seem so proud,

About having to scrounge for your next meal,

     Self explanatory, then comes the chorus:

How does it feel,

How does it feel,

To be without a home,

Like a complete unknown.

Like a Rolling Stone.

     Here Dylan, the rejected lover, compares Edie’s fall to his own situation when he arrived in NYC.  Like a Rolling Stone seems to be an inept comparison but my corespondent, Robin Mark, (see Conversations With Robin on I, Dynamo) points out that Stone was Dylan’s mother’s name.  Robin, also Jewish, points out that descent is matriarchal  in Judaism so that Dylan would consider himself more a Stone than a Zimmerman.   Given his psychology then Bob Stone is a footloose rolling stone without a home.  That makes the term make more sense than ‘a rolling stone gathers no moss.’   The latter meaning has no application to the song.

     The second verse continues the description of Edie:

You’ve gone to the finest school (singular in the lyric) all right, Miss Lonely

But you know you only used to get juiced in it.

     The school was Harvard’s Ratcliffe and Dylan implies that that doesn’t make her any better than himself who didn’t attend any university as she only partied and never studied.

And nobody has taught you how to live on the street

And now you find you’re gonna have to get used to it.

     The second line especially indicates that this is an immediate situation Dylan is referring to : you FIND you’re gonna have to get used to it.  Edie is now out of her familiar environment no longer protected by her money into Dylan’s, who said he once hustled Times Square, where she had better make some rapid adjustments, beginning now.

You said you’d never compromise

With the mystgery tramp, but now you realize

He’s not selling any alibis

     Mystery Tramp is Dylan’s romantic term for himself- Rolling Stone= Tramp- and he’s turning a deaf ear to any excuses she’s offering.

As you stare into the vacuum of his eyes

And ask HIM do you want to make a deal?

      The roles are now reversed, Dylan has a lot of money coming in the future while Edie is all but broke.  Vacuum is the blank, unresponsive stare Dylan gives while listening to her try to make a deal.

Princess on the steeple and all the pretty people

They’re drinkin’, thinkin’ that they got it made

Exhangin’ all kinds of precious gifts and things

But you’d better lift your diamond ring, you’d better pawn it, babe

     Here Edie is thought of as a princess among the Harvard types that Warhol noted drifting down from Cambridge to make the scene, the ‘Beautiful’ privileged class that Dylan has been excluded from both by his social background and lack of college education.  It’s a party he can’t join.  Worse still, they’ve been laughing every time they see him.  Now the party is over, if Edie needs money she can pawn her jewelry.

You used to be so amused

At Napoleon in rags and the language he used

Go to him now, he calls you, you can’t refuse.

     This implies Dylan knew Edie before Warhol as she apparently used to tell him how Warhol’s language amused her.  Napoleon in rags is Warhol who like Dylan has been trying to undermine the social order thus he has delusion of grandeur, of being a Napoleon.  As Warhol and Dylan are twins in intent Dylan is also inadvertantly describing himself.

When you’ve got nothin’ you’ve got nothin’ to lose

You’re invisible now, you’ve got no secrets to conceal

     Now that Edie has been reduced to street level, anything goes because from where Dylan was when he hit NYC it was all up from hustling Times Square.  Being invisible means as the invisible man in the Ralph Ellison novel sense.  One walks by negroes without acknowledging their existance hence they are invisible.  Now broke, that is Edies case since she is now insignificant per Dylan she has nothing anyone wants to hear  as per Ellison’s Invisible Man, hence no secrets to conceal.

     So as of mid-summer Dylan has vented his frustrations on Warhol in Positively Fourth Street i.e. the bottom, and Edie in Like A Rolling Stone.  More remarkably he has vented, blasted his privacy all over America on a thousand radio stations as well as in Europe and the world.  The two songs are as searing as Ballad In Plain D although the subjects of his rants are not so obvious.  For him to now say that he want’s to protect his privacy is preposterous.

      The story does not end here.  In Dylan’s war for the top spot of the NYC underground scene, the avant garde, he has to establish himself there for all to see and acknowledge.  In a shameful display of callous disregard for the well being of Edie she will be the object of a tug-of-war between Dylan and Warhol.  She will be the symbol of supremacy in the underground.  That struggle will be the topic of  Exhuming Bob 23b which follows.



A Review



Cynthia Lennon

One Giant Step For Somebody

Review by R.E. Prindle

Lennon, Cythia: John, Three Rivers Press,  2005

Remember what the door knob said…

–Grace Slick

We built this city on Rock and Roll.

–Jefferson Starship

If you want to be a girl of mine

You’d better bring it with you when you come,


John and Cynthia- Sometime In Liverpool

     Cynthia Lennon’s autobiography of her life with John Lennon opens the door to a number of possibilities of which I’ll explore one, at least, here.

     Let’s begin with Lonnie Donegan’s 1955 hit The Rock Island Line.  Lonnie was the originator of his own genre- Skiffle Music.  Skiffle was all the rage in the British world from England to Australia to New Zealand while passing very lightly over the States except for the fortunate few of which I was one.  Rock Island Line was a major hit in the US though.

     Lonnie, may he rest in peace, was also the originator of the Big Beat.  Of course Lennon and most of the young English rockers studied at Lonnie’s feet.  The first band Lennon formed, the Quarrymen, was a Skiffle band.  That was back in the fifties before the second stage of the big change kicked off.  The first stage began about 1950 with Johnny Ray and his song Cry.

     Eisenhower had the world pretty well organized in 1960 before John Kennedy stole the baton from the intended successor, Richard Nixon.  With the accession of Kennedy the American personality or identity, such as it was, began to disintegrate- I mean in the psychological sense.

     The Celts tried to establish Kennedy as the second coming of King Arthur and his Camelot.  Not the smartest thing they could have done; a couple bullets fired in Dallas on November 22, 1963 put a period to that dream.  By the then the sixties were fairly launched about to begin in earnest in January of 1964 when Lennon’s next group, the Beatles, hit.

     The Beatles began as a Big Beat band rooted in the fifties.  Seized by the avant garde they were made the avatar of the sixties.  In their own way they launched the sixties although the makins’ were already out of the can.  Kennedy was shot almost in December and in January the Fab Four washed his memory out on the Ed Sullivan Show.  The Kennedy assassination was so then, then.  The Beatles were NOW.  IS in capital letters.

     While the Beatles were revamping fifties music they edged into the future with modified Prince Valiant haircuts and collarless suit jackets.  They were then NEW emerging into a brave new world.

     Almost at the beginning of 1960 the art world was shaken by the emergence of Pop Art.  Jasper Johns, Claes Oldenburg, Robert Indiana, Roy Lichtenstein, Robert Rauschenberg and especially Andy Warhol with his Campbell’s Soup Can set the sixties on its ear.  On

Premier example of Pop Art

the film scene the James Bond series with its new sensibility began.  Bond also was a revelation portending changes with unintended consequences.

     Pop Art would figure signficantly in Cynthia Lennon’s life in a few years when one of its more laughable practitioners, Yoko Ono, would step into her life and filch her husband from her.  In fact Pop Art would be inextricably linked with the record industry.  All the pop motifs would find their way onto record covers with increasing frequency.  Tiny Alice would have a cover that opened like a match book.  Talking Head’s colored disc would even become a happening designed by Rauschenberg himself.  The burgeoning poster business would find its way into record sleeves.  Astonishing packages never seen before in the record business although perhaps anticipated by the experimental ESP label of NYC.  Some interesting stuff.   Perhaps Milton Glaser’s poster of Bob Dylan could run for the distinction of the most popular poster design of the whole era.  It was innovation itself at the time although not quite so fresh today.

     Now, all this was happening so fast and from so many directions that it was impossible to get it all or even keep up on what you did get; after all people had lives to live.

     In the San Francisco Bay Area where I was during the sixties the Scene was especially heavy.  I wasn’t in the thick of things but a little off to the side.  Thus while the UC Berkeley Free Speech Brouhaha took center stage in the East Bay, Ken Kesey, the Merry Pranksters and the Acid Tests were simmering on the Peninsula, but actually invading the middle class especially at Stanford and UC Berkeley.  The San Fransciso Mime Troupe was very important in the early stages while Bill Graham was commercializing the Trips Festival with his Fillmore shows and Chet Helms was organizing the Avalon Ballroom out at the beach.  The posters for the ballrooms which epitomized the psychedelic was the first inkling I had that something ‘new’ was happening.  I don’t know how quick on the uptake I was  but the first inkling of New York Pop I had was 1966-67 when I opened a poster store soon to be a record store.

     LA, always commercial, would nevertheless provide the great Ron Cobb political cartoons for the LA Free Press one of the best of the Hippie papers soon to degenerate into porn as did the Berkeley Barb and all the rest.  R. Crumb in San Francisco became the king of Hippie porn which characterized the movement from then on.  The scene was then set for George and Pattie Harrison’s famous descent on the Haight-Ashbury that disappointed them so.

     This brief sketch only contains a few of the highlights of the period.  It was into this world that John and Cynthia Lennon stepped unprepared.  Both Cynthia and John came from a background of very low expectations.  Cynthia’s dreams were very modest while per her John’s dreaming was no bigger than reaching the tops of the pops in England.

     Indeed the much touted German clubs showed no promise of a future whatever.  Essentially playing in brothels in Hamburg one wonders what the ‘lads’ were thinking of the whole process.  The wonder is that they paid enough attention to hone their skills.  One of those making lemonade from lemons situations.

     Only the greatest good luck showed them to success and fortune.  They would have labored in the vineyard for a while and then drifted off into jobs but for the fact that an entrepreneurial romantic by the name of Brian Epstein saw them as the vehicle to realize his own dreams.  He had the direction and energy to galvanize their careers.  Still they were rejected by all the labels until a producer, George Martin, apparently heard what the rest of the world would hear and agreed to record them.  It was then that the unbelievable happened elevating the Beatles into the most successful pop group ever.  It was success far beyond their imaginations.  With that success came challenges that neither John nor Cynthia could meet.  The fact that they failed is no reflection on either one; they came from very low expectations and having fallen down the rabbit hole they were slightly unprepared.  ‘One side makes you larger, the other side makes you smaller.’

     To this time in their lives neither had even eaten at anything other than the English equivalent of McDonald’s, fish and chips or whatever.  Now in one great step they were introduced into the haut ton by their manager Brian Epstein.  Cynthia leads us to believe that Epstein gave special attention to John over the other ‘lads.’  As Epstein was a homosexual and as other sources, Peter Brown, Goldman actually state that Epstein seduced Lennon he obviously had a crush on John seeking to mold him in his own image.  Indeed, John may have been his incentive for taking the Beatles on.  Lust at first sight.

     John had an attractive flip attitude that left the impression that he was much better educated than he was.  Actually he left Art School, already a step down from the top,  flunked out or whatever preferring to devote himself to his guitar chords.  Most of the rockers were in the same situation.  It’s amazing that their fans looked to them for salvation.  This was tragic, because the generation invested all their hopes and dreams in these muscians attributing universal knowledge and genius to them, each and everyone.  While they all did changes on certain political and social themes there was an appearance of ‘deep’ knowledge.  Being anti-pollution was a badge of authority.  Grace Slick of the Jefferson Airplane made the mistake if, one hopes, jesting that one should never trust anyone over thirty; this while she, John and others were about twenty-nine.

     The phrase stuck.  Those under thirty trusted these youthful, perhaps well-meaning rock stars.  Being somewhat older at the time I could only see some very ordinary boys and girls who were just youthful wiseacres as we all were in that phase of our journey through life.  Give me a break.

     The most revered of all were the three Beatles John, Paul and George with Ringo thought of more as the court jester.  John seemed to take his role most seriously as the guru of the generation, especially after he abandoned Cynthia for, spare me, the psychotic Yoko Ono.

     Her abandonment by John for Yoko Ono is of course the most traumatic incident in her story.  One can only commiserate with Cynthia.  Then one has to search for reasons why; there was certainly no physical attraction there.  Lennon did release a solo album called Mind Games so perhaps the best place to look is the mental.  Lennon’s success must have placed great stresses of various kinds on him.  The transition from a fair degree of poverty to one of a very large income to great wealth under the management of Yoko Ono would be psychologically unsettling in itself.  Cynthia was unable to transit from poverty to wealth always remaining a lower middle class haus frau while John appears to have lacked the social climbing instincts of, say, Mick Jagger.

     Musicians in general are held in very low esteem by the social elite so without unbounded desire and chutzpah, an ability to endure slights of the most painful kind it is highly unlikely that a musician would ever find acceptance in society.  The aristocrats, Marrianne Faithfull describes as associating with Jagger appear to me to be more of the Black Sheep variety.  So, Lennon may have been experiencing some frustration at that level.

     At the same time there are numerous flatterers who are adept at putting ideas of omnipotence into your head not only intimating but saying that you are godlike.  Even though one rejects the notion on the conscious level still a feeling of super powers creeps into your subliminal mind.  One feels invulnerable, that one can do what’s never been done, that one can do drugs with impunity.  There was never a time when the availability of drugs was ever greater or more socially acceptable.

     At the time rumors abounded which have since turned into facts.  During the Kennedy administration there was one Dr. Feelgood operating in New York to whom the social elite went for their drugs.  His name was Dr. Max Jacobson and he was your friendly amphetamine pusher.  His speed cocktails were extraordinary and they lasted for days.   It’s comforting to know that President John F. Kennedy was amphetamine fueled while he was making those difficult international decisions- like Cuba.  Nothing like having an A-man on the job.  He wasn’t alone, VP Lyndon Johnson, followed in his footsteps into the office of Dr. Feelgood.  He would have found his place at the end of the line of the NYC elite.

     One person who took the good doctor’s prescription said that he went blind for three days staying high for several.  Max was the economic type, dirty needles too.

     At the same time Dr. Timothy Leary was sending everyone from prison inmates to Beat poet Allen Ginsberg tripping into inner space with his free handed distribution of LSD.  Kennedy was involved in that too.

     Prior to their arrival for the Sullivan show we are led to believe that the Mop Tops had only used pep pills in Hamburg to fuel their twelve hour sets.  We are told that Bob Dylan was the one who turned them on to La Cucuracha, the most mild of the intoxicants.  From there the boys graduated to LSD through spiked drinks or food.

     Just as Harrison’s wife, Patti, records a spiked introduction to LSD so does Cynthia Lennon.  Cynthia quite properly was revolted by drugs having no use for them.  John was quite the opposite.  He embraced LSD apparently ingesting regularly for long periods of time.  As he would describe it, thousands of trips.  At that point in my estimation the marriage was over.  There is nothing for which Cynthia has to reproach herself except for her small divorce settlement.  Nothing disintegrates the personality like drugs.

The Ghost In The Machine- Albert Hofmann

     The drug influence was followed by a change in their music patterned after Dylan.  When I first heard the Rubber Soul album I found it extremely noisy and unpleasant.  This album was probably influenced by the Band’s playing behind Dylan on the ’65-’66 tour or perhaps the Bringing It All Back Home and Highway ’61 albums.  It seems p;robable to me that the song Norwegian Wood commemorated  Dylan’s turning them on to marijuana.  The girl obviously represents Dylan.

      Succeeding albums would aim for a ‘heavier’ feel with more social significance.  As Lennon said in his ’80 Playboy interview, I Am The Walrus was written in imitation of Dylan.

     The cover of Rubber Soul was traditional uninfluenced by pop art trends.  The succeeding cover in the US, the famous ‘Butcher’ cover would be widely interpreted in the US as a comment on the Viet Nam War.  It may have been meant as a pun- prime cuts of  both meat and record tracks, but I don’t know.  Whether there was a Pop Art influence isn’t clear.

     The cover for the following Revolver by Klaus Voorman seems to indicate an awareness of Pop.  For a band that was thought to be on the cutting edge of everything there are only two covers very avant garde with neither being very satisfying to me.

Acid Art- Victor Vasarely

     Sgt. Peppers Lonely Hearts Club Band that follows Revolver is a complete Pop Art package.  A bizarre and macabre conception it does succeed.  The grave in the foreground with the floral Beatles is chilling, perhaps a presage of the break up of the band.  As Dylan said:  If you’re not busy being born you’re busy dying.’   The Beatles are pictured in dead black and white looking down mournfully on their grave while the newly born Sgt. Peppers Lonely Hearts Club Band stand front and center in vibrant living color.  Obviously the one has risen from the other.

     Behind the band are row on row of ‘ancestors’ or, as was commonly assumed, influences.  In fact members of the band contributed only a few of the names while the rest were contributed by others.  Dylan is certainly among the pictures.  The album comes complete with a childhood toy, a sheet of cut outs, making a complete Pop Art package.  They could have had a designed inner sleeve but they overlooked that.  Peter Blake, the main designer, is known as a Pop Artist.

     The musical content follows the downer social significance motif with aural pyrotechnics such as had not been heard on record before.  The release, as everyone is aware, was a complete smash, but it went beyond smash into realms not achieved until Michael Jackson’s Thriller.  Thriller failed to excite as did Sgt. Peppers.  That summer of ’67 was literally a surround of Sgt. Peppers.  It was almost the only record anyone played.  The Beatles easily trumped Dylan’s Blonde On Blonde  of the summer of  ’66.

     The rest of the Beatles’  covers are pedestrian.  The White LP probably influenced by One was trite at the time.

     Cynthia seems to lack all understanding of what tremendous pressures the very unstable Lennon was subjected to , how his mind was being affected by adulation from the fans and respect from the world at large.  Kid me, being named one of the three most influential men in the world wouldn’t have inflated the head of a Liverpool loser?  My god, the Beatles even sung ‘I’m a loser.’  I couldn’t believe anyhone would sing such a song much less the Beatles who were clearly winners.  How does one endure thinking of oneself as a loser on one hand and one of the most influential men in the world on the other?

     At the same time that Lennon was enlarged Cynthia shrunk into the Liverpool realities of her youth.  The couple had a mansion but unfamiliar with so much space Cynthia preferred to live in one small room!  Clearly she was not equal to the demands of her situation.

     The situation became critical when Lennon began mass consumption of drugs, including heroin, which Cynthia correctly declined to do while at the same time the poisonous Yoko Ono injected herself into Lennon’s life.  There was no hope for Cynthia.  Yoko Ono was a walking disaster looking for a place to happen- and then there was John.

Yoko Ono- Single Fantasy

     Quite frankly Yoko Ono’s ‘career’ was going nowhere.  Born in 1933 she was 33 in 1966 when she began her assault on John who was 25.

     The sexual dynamic is that Lennon seemed to prefer older women than himself having a masochistic submission impulse.  Cynthia herself was a year older.  She too apparently sought security in younger men.  Her second husband was two years younger and her third six.  She seemed to lack the dominating impulse to make such marriages work.  Ono had it in spades.

     While John was by this time psychotic, Ono had been so from childhood, in addition she seems to suffer from extreme cognitive dissonance.  Ono got the rock critic Robert Palmer to shill for her in her 1992 release, Onobox.  In the essay Palmer states:

     It is quite likely that having John Lennon fall in love with her was the worst thing that could have happened to Yoko Ono’s career as an artist.

     Notice the lack of mention of falling in love with Lennon.  This was written, I almost said, dictated to Palmer, in 1992 twelve years after Lennon’s death.  No serious critic could have written that line so one must assume that it was dictated by Ono herself.  The line shows how far she has distanced herself from reality.

     Ono was in fact, a poor little rich girl.  As a woman she felt inferior to the male writing such pieces as ‘Woman Is The Nigger Of The World.’   Once again cognitive dissonance.  Yoko Ono was never in the position of being  ‘a nigger in the world.’  It is true that her father advised her against attempting composing believing that women didn’t make good composers.  How wrong was he, hey?  Ono milked every man she was ever with before actually going into the dairy business herself.  Secondly, having chosen to enter the Western world as an Asian she places her artistic neglect on the twin facts that he is a woman and an Asian.  It never occurs to her that her art is unpleasing.

     As an artist, whether woman or not, Asian or not, she had nothing to offer the art loving peoples of the world.  In this increasingly globalized world of the sixties being Asian meant nothing while being a woman held no one with talent back.  Indeed, male artists were increasingly being suppressed in favor of women in all the arts.  If all girl rock bands isn’t an oxymoron I don’t know what is.

     By her own admission she thought she was an influential person in the New York City art world of the early sixties after an apprenticeship of one year even gaining  ‘an international reputation.’  As she told May Pang:  I was famous before I met John.  So, one asks how does one reconcile her imagined great success with the feeling of being held back as an Asian and woman?

      She rented a loft for fifty dollars a month which she coyly implies that as a starving artist the money was not easy to find.  Well, Daddy was only a phone call away, she should have reached out and touched him.  You can be sure he wasn’t going to let his little girl starve.  By comparison I was paying 125.00 a month for an apartment in the Bay Area.  I think we can dismiss the impoverished struggling artist scenario as so much more cognitive dissonance.

     Ono spread herself pretty thin apparently attempting to cover all aspects of the avant garde.  She’s keen on belonging to the avant garde.  In music she patterned herself after John Cage and that weird contemporary ‘classical music’ approach with perhaps more than a nod to the early electronic composers such as Robert Maxwell who she mentions.  She began her career in 1969 between the end of the Absract Expression mode and the beginningof the Pop movement so she was too late for the one and too early for the other.  She and Lennon would try to rectify this in 1971 by doing obeisance to the Pop guru, Andy Warhol.

     In 1961 she threw a party and was devastated that a snow storm discouraged the uptown crowd she had invited from coming.  At least she said there was a snow storm.  This may be another instance of cognitive dissonance.  As she was an actual nobody she had no reason to expect society people to attend, snow storm or no snow storm.   Nevertheless she was devastated, leaving town for Japan shortly thereafter.  One may question where she obtained the fare for that flight when she had difficulty of meeting a fifty dollar rent bill.

     In Japan she acquired her first husband simultaneously being committed to an insane asylum.  As difficult as it may be to believe, her  soon to be second husband, Tony Cox, heard these marvelous things about Ono in NYC deciding to fly to Japan to look her up.  He found her thoroughly doped staggering around the halls of the asylum.  He succeeded in getting her released then he, Ono and her first husband formed a menage a trois.  The first husband wisely was the first to leave so Cox claimed the prize and the couple returned to NYC in 1964 so she is having an eventful four years.  Shortly after their arrival they pulled up stakes and headed further East to London.  Of the move Ono says:

     I thought (the) avant garde world in New York was still very exciting but that it was starting to become an institution in itself, and there were rules and regulations in an invisible way, and I just wanted to get out of it.  I never considered myself a member of any group.  I was just doing my own thing.

     That is just another way of saying that the art scene was a cliquish group in its terminal stages that was difficult or impossible to break into so unable to do so Ono was ‘just doing her own thing.’  It might be noted however that the NYC art scene was or was in becoming a nearly totally homosexual affair.  At any rate we have evidence of sour grapes- I never considered myself a member of any group.  And the result of rejection-  I was just doing my own thing.

     After her rejection she ‘composed’ a musical piece called Wall Piece For Orchestra in which she knelt on a stage and repeatedly banged her heard on the floor.  Today that would be called ‘acting out.’

     Off to new worlds to conquer in London and at the Indica Gallery of John Dunbar, the resident ‘head’ art gallery.  Now, at this point she ‘ruined her career’ by pursuing John Lennon until he caught her.  I imagine that she had been shrewdly observing his career and undoubtedly came to the psychological conclusion that he was a dependent personality who could be easily manipulated by the older maternal type with the right touch.  That John Lennon could be made dependent on this woman eight years his senior is proof positive.  Indeed, John even referred to her as Mother.

     Cynthia for whom the role was impossible correctly assessed the situation noting the influence of Lennon’s Aunt Mimi who brought him up.  Ono courted Lennon, interfering directly in his marriage.  Ono was quite willing to drug herself along with Lennon so that both were heroin addicts.  Ono thus established a sado-masochistic control over Lennon that Cynthia had no chance of breaking.

     Rather than ruining Ono’s career the ‘third most influential man’ in the world gave her a stage on which to perform that she could never have found on her own.  She now considered herself a collaborator with the Beatles.  The injection of the Cage and Maxwell garbage combined with Lennon’s erratic behavior produced the nonsense of Revolution #9 on the White Album.

     Lennon on drugs and under the influenceof Ono, who had her motives, according to Dire Corrector’s blog quoting the biographer of Paul McCartney, Many Years From Now, says:

     The meditation had essentially precipitated a nervous breakdnown which was not helped by John’s tremendous drug intake.  On May 18, 1966 he summoned a meeting of the Beatles at Apple and announced to them that he was Jesus Christ…the night after he told the other Beatles that he was the Savior, he finally called Yoko Ono and told her to come over.

     Quite obviously Lennon was either teetering on the brink or had fallen over the edge.   If he hadn’t broken with Cynthia by this time it is quite clear that apart from a certain inappropriateness of being wed to the Savior she was quite innocent of causing the break in any manner and should have a clear conscience.

     Lennon’s state of mind would explain the insensitive manner in which he broke with Cynthia and its aftermath.  The man must not have been in his right mind.  While easing Cynthia out was relatively easy, from Ono’s end Tony Cox to whom she was still married was not such a simple matter.  One wonders why he would fight so hard to keep a women who was so psychotic.  Perhaps it was their daughter who he later took into hiding to keep her away from Ono.  Justly so, it seems.

     At any rate by ’69 Ono and Lennon were free to marry.  Definitely by this point Lennon had all but surrendered his identity to Ono.  She was now in possession of the reputation of one of the three most influential men in the world.  Blending her identity with his she was about to become hermaphroditic.  Perhaps Lennon was overawed by her avant garde credentials, such as they were, as well as whatever passed for her musical sensibilities.

     She became Yoko Ono Lennon while he legally changed his name to John Ono Lennon so they both became Ono Lennons.  After a number of happenings which one must believe were entirely Ono’s conceptions, such as the ‘bed in’ in Holland and the organization of the Plastic Ono Band, the pair settled in New York in an apartment building known as the Dakota.  The Dakota was a connection to Ono’s past fulfilling an old desire to surpass those uptown types who she felt had slighted her.

     In that connection also the cover of the Plastic Ono Band is a fulfillment of an old desire of Ono’s.  While a child she witnessed the fire bombing of Tokyo in the US attempt to bring an end to the war.  The blue sky was obliterated by the billowing clouds of smoke.  While she didn’t witness Hiroshima yet she imagined the same sky as that over Tokyo.   She then developed a blue sky obsession.  If you notice the cover of the Plastic Ono Band is just a blue sky.  One assumes then that Ono’s plans were coming together.

     The NYC art world of 1960-’61 had shifted totally, the Abstract Expressionists she had tried to piggyback on were gone having been replaced by Pop Art of which Andy Warhol was the reigning doyen.  If the Abstract Expressionists had been exclusive Warhol was nothing if not inclusive.  He worshipped celebrities and Lennon was the number one celebrity.  Himself a groupie and maximum social climber he welcomed an association with the Onos.  For Yoko Ono the association with the leaderof the NYC art scene was her dream come true.  Nothing but blue skies from now on.

     In the accompanying picture you will notice that Warhol is seated in between a standing Yoko Ono with one hand on her right tit while his hand is on a drugged out looking John Ono with his hand on Warhol’s crotch.  The symbolism is quite clear.  The standing Yoko

The transfer of power.

 is the master of two emasculated males who happen to be two of the most influential men in the world.  She ain’t no nigger no more, Maggie’s Farm is a thing of the past, yes, men are now niggers in relation to herself.  Warhol as an artist takes precedence over the disposable oafish John Ono.  Yoko is tallest and standing, Warhol is second tallest and sitting while the now disposable John is lowest, lying on his back.  The future is clear.  Study John’s face; study all three faces.

     The sexually besotted John Ono has surrendered his entire identity even as a musician allowing Yoko Ono to usurp his place by putting out those horrid hideous LP musical montrosities.  Robert Palmer aside, with song titles reminiscent of her head bashing days:  What A Bastard The World Is, I Felt Like Smashing My Face In A Glass Window,  Woman Of Salem (Witches), Coffin Car, Hell In Paradise and Walking On Thin Ice.  Clearly this woman had an unsettled, disturbed mind.

      Having usuped Lennon’s role and identity he became expendable.  Her problem now was to transfer his past and his wealth to herself thereby becoming Yoko-John Ono, Double Fantasy.  Two fantasies melding into her one personality.

     John Ono’s finances were, of course, in complete disorder.   As Yoko was soon to show billions of dollars were disappearing down a sink hole.  She rapidly organized his finances turning his money green.  Within short order the Onos were worth a hundred million or so which she would swell to a billion or more after John’s death.

     I imagine it was fairly easy to have John Ono give her a power of attorney, indeed he forked over his identity allowing her to function in his stead as himself.  An awesome abdication.  A POA would negate the need for a will, and indeed having made herself not only co-owner of John’s assets as well as his identity Yoko Ono would merely acquire full ownership leaving no assets to be willed.  Indeed, she could have turned him out penniless at any time.  When Cynthia was clamoring for a reading of the will she was wasting her breath; if a will existed, unlikely in itself, there would have been no assets to bequeath.

     Yoko Ono having now incorporated John Ono’s reputation and identity into her own had also incorporated the assets and with the assets the legacy of all copyrights held by John Lennon as the double fantasy melded into one fantasy.  The only obstacle to Yoko’s apotheosis  into man-woman was John himself as he was alive.  However John was only thirty-five.  To wait thirty-five years or more with a man she didn’t love or even like would be unbearable.  Some hard thinking was in order.

     She manipulated the poor dolt into thinking he was a boorish oaf who needed to go off to get himself together.  Rather than just sending him off she chose an employee, May Pang, an Asian like herself, to be John’s consort while away.

     In reading May Pang’s book, Loving John, it becomes clear that Yoko Ono was a master hypnotist.  She knew how to make suggestions and have people act on them.  Acccording to Pang she fixed an hypnotic glare on one, assuming an authoritative posture while intoning her suggestion.  She had the reputation of always getting her way.

     Of course her version of what happened is different than Pang’s.  Yoko having suggested she go  off with John, the act was soon consummated.  Pang insists she and John were in love, yet a year and a half later when Yoko called John back he came running.

     Thus, from 1975 to Double Fantasy in 1980 Yoko and John Ono were out of public life living as a double fantasy of Howard Hughes.  Then in 1980 Mark Chapman became the man who shot John Lennon.  There have been speculations that Chapman was hypnotized when he committed his deed.  Conspiracy theories therefore have sprung up.

     One must ask who the death of John Lennon benefited.  Two possible people.  Yoko One on one hand and possibly Chapman on the other.  On the one hand Yoko Ono achieved the psychotic desire to escape being the ‘nigger of the world’ by becoming John Ono Lennon while physically remaining the sweet little girl she had been before the fire bombing of Tokyo.  She was unable to manage the memory of that transformative experience.  In her mind, then, she became the prominent artist-musician of the world.

     I don’t believe the government had anything to do with the assassination.

     As we know Yoko Ono was a master hypnotist; the question is how did she find Mark Chapman and how did she hypnotize him?

     Earlier in the day Chapman had approached Lennon for an autograph.  He can be seen worshipfully  smiling beside his hero in the picture.  There appears to be no indication he meant to harm Lennon.  He might easily have shot him point blank at the time, yet when he came back in the afternoon with a voice in his head insistently saying:  Do it. Do it. Do it. he gunned his hero down.

     At the time Yoko Ono had dropped a few steps behind John.  In similar murder attempts, people step away from the intended victim so as not to be caught in the line of fire.  This may have been the case with Yoko.

     Certainly Yoko is opposed to Chapman’s release from prison even though he has fulfilled the twenty year requirement of twenty to life.  I doubt if he is a threat to society however he may be a threat to Yoko Ono if he were to remember or reveal the details leading up to his shooting of John Ono Lennon.

     Of course, I don’t know why Chapman shot but I do know that Yoko Ono Lennon was the sole beneficiary.  She left Cynthia holding the bag while she realized her double fantasy.


Double Fantasy- Yoko Looking Over John's Granny Glasses