Part IV: Mick Jagger, The Rolling Stones And The Yobbo Revolution

September 22, 2012

Part IV

Mick Jagger, The Rolling Stones And The Yobbo Revolution

Mick, Kenneth Anger And Satan

by

R.E. Prindle

R.E. Prindle

 1.

A Musical Digression

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

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

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

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

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

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

Dr. Strangelove by Peter Sellers. Must see movie.

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

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

Shifting The Mores

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

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

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

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

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

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

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

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

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

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

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

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

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

The Great Joe McCarthy

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

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

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

The Vile Erskine Caldwell

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

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

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

H.L. Mencken

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

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

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

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

The One And Only

     The Commies Were Everywhere

The Law Of Unintended Consequences

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

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

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

The Weavers w/ Pete Seeger

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

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

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

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

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

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

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

Organizing The Future

Procol Harum 1967

She wandered through the garden fence

And said I’ve brought at great expense

A potion guaranteed to bring

Relief from all your suffering.

And though I said: You don’t exist

She grasped me firmly by the wrist

And threw me down upon my back

And strapped me to her torture rack

And without further argument

I found my mind was all so bent

Upon a course so devious

It only made my torment worse.

–Procol Harum

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

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

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

Andy Warhol-Yoko Ono Practicing The Black Arts

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

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

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

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

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

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

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

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

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

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

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

Sussing Out The Ghouls

Groovy Bob Fraser- Good book.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Kenneth Anglemeyer aka Kenneth Anger

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

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

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

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

The Magus- Aleister Crowley

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Andrew Loog Oldham

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

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

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

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

Prince Rupert Loewenstein

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