A Review

The Last Days Of John Lennon

by

Fred Seaman

Part III

Review by R.E. Prindle

Key Texts:

Green, John: Dakota Days: The True Story Of John Lennon’s Final Years, 1983, St. Martin’s

Haden-Guest, Anthony: The Last Party, Studio 54, Disco, And The Culture Of The Night,1997, William Morrow

Seaman, Frederic: The Last Days Of John Lennon: A Personal Memoir. 1991, Birch Lane

 

You know, someone once said

That the world’s a stage

And each must play a part.

Fate had me playin’ in love,

You as my sweetheart.

Act one was when we met,

I loved you at first glance,

You read your lines so cleverly

And never missed a cue.

Then came act two.

You seemed to change and acted strange,

And why, I’ll never know.

Honey, you lied when you said you loved me,

Now the stage is bare

And I’m standing here

With emptiness all around.

And if you don’t come back to me

Then make them bring the curtain down.

Are You Lonesome Tonight?

As Recited By Elvis Presley

Crazy People With Guns

     The question here is what was Yoko’s attitude toward her conquest at the beginning of Act Two.  Did she really fall in love with a relatively unsophisticated rube like John Lennon or were her motives more calculated.  Yoko was a Japanese aristocrat which she never let John forget who could trace her ancestry back to the emperors of Japan.  She came from major financial families on both sides.  Her father had an illustrious diplomatic career while having artistic pretensions.  She considered herself as one of the leading lights of the NYC avant garde.  Although I haven’t seen it mentioned she acknowledged the authority of  the reigning avant garde doyen, Marcel Du Champ who actually founded the NYC avant garde at the 1913 Armory Show.  His greatest artistic feat was the display of an actual pissoir as an original work of art.  Yoko followed his example of outre suggestions in her small volume Grapefruit.  Andy Warhol to whom she was attracted can be considered a disciple of Du Champ.  So, in one sense, she was in with the ultimate artistic in group.  She then, had delusions of grandeur while probably looking down on and humouring, John Lennon.

     She used this background to baffle the mind of Lennon.  At the least Lennon was a very unsophisticated young man from what in America would be considered the boondocks.  Bad enough that he grew up in a cultural but vital backwater but barely out of high school he and his band were immersed in the criminal underworld of Hamburg.  They were at one point under the protection of the master criminal of Europe.  This in some of your most impressionable years.

John And Yoko In Better Days

     So, in comparison with Yoko Lennon felt insignificant.  As he said Yoko had all these attributes while what did he have- nothing.  Lennon had actually achieved the impossible but he  had very low self-esteem.  Like many musicians he longed for recognition but was terrified of actual success.  Unlike some bands who can’t get beyond the rehearsal stage Lennon had the drive and ability to realize his stated goal,  to be ‘the toppermost of the poppemost.’  He probably didn’t believe he’d ever make it but when that goal had been reached, in spades, he began to falter not believing his success was deserved.  The first step in rejecting his role was the abandonment of touring.  He then sank into a fairly severe depression not unlike that between 1975 and 1980.  Whether he might then have scotched his role, his intent was aborted by the drive and ambition of partner Paul McCartney who having reached the toppermost of the poppermost intended to stay there, make a career of being no. 1 if possible.  Any conflicts are secondary to Lennon’s feeling of unworthiness.  That was the rock on which the Beatles broke.

     It would have taken Yoko two seconds to analyze Lennon’s psychological state.  That she exploited it is clear from Lennon’s abject servility that she cultivated and most likely induced.

     In point of fact Lennon was everything while Yoko was nothing.  Quite against his will he had made himself  more of a spokesman for his generation than his cross-ocean rival, Bob Dylan.  His social capital was enormous while his fortune, even being grossly mismanaged, was gigantic.  He and the Beatles had created intellectual properties that extended 0ut over fifty years were worth billions.  Yoko managed to finesse this enormous legacy of money and prestige.

     How did she do it?

     Quite simply she hypnotized Lennon.  As Lennon complained to the Tarot reader, John Green, Yoko wanted to play the Count To Ten Game.  Lennon lay his head in her lap while she stroked his hair and counted slowly back from ten to one.  Classic hypnotism.  The essence of hypnotism is the suggestion, more especially the post-hypnotic suggestion.  This means that, while hypnotized it is suggested to the subject that he will perform certain acts at a later date after he has been awakened.  Once the suggestion is in the subject’s mind he will act on the suggestion.  Hypnotism would then explain the seemingly irrational acts of Lennon at the very least from 1973 to 1980 and probably before.  May Pang describes how Yoko hypnotized her to take up with John while in all probability she hypnotized John to run off with May.  Thus John’s reputation was compromised to some extent.

     While Lennon was in LA Yoko was on the phone to him many times a day.  Anyone who has seen the movie, The Manchurian Candidate, realizes the importance of post-hynotic trigger words.  Thus Lennon’s peculiarly destructive and bizarre behavior in LA was probably programmed by Yoko to make him appear weird in comparison to her ‘stability.’

     Thus when he and May Pang returned to New York Yoko made a phone call, John put down the phone, walked out of his and May’s apartment and returned to Yoko.  According to May John said he was essentially made captive while being put through some horrible hypnotic indoctrination for a couple of days by ‘them.’  We don’t know who ‘they’ were except for Yoko but I’m guessing probably she and John Green or perhaps some other occult accomplices of which she had several.

 

Ultra Sophisticated Yoko

    This brings up another important side of Yoko.  She was a devotee of black magic, or, perhaps, magick.  She even recorded a song titled: Yes, I’m A Witch.  Yoko had an extensive library of magical texts that she apparantly studied plus she was into all the great conspiracy theories as is evidenced on one of the multitude of Ono and Lennon sites on the web today.  Imagine Peace for instance is a remarkable site.

     At the basis of her magic was a return to the most primitive form of magical shamanism.  She combined this magical shamanism with her Feminism to found an organization named One On One which is designed to aid female shamans of the Pacific Islands.  Certainly a specialized foundation, one would think.

     In 1974 just prior to John’s return Yoko hired John Green as her Tarot reader cum curioso.  Green was an accomplished magician affiliated with the Santeria religion of the African Yoruba tribe of Nigeria.   He was also familiar with the Caribbean magicians known as curanderas if female and curiosos if male.

     When Yoko and John Green traveled to Colombia SA to barter with Satan for her soul it was necessary for Green to offer his curioso credentials to the curandera which he successfully did.  Thus, to obtain her heart’s desire in 1977 Yoko sold her soul to the Devil, or believed she did which is the same thing.

     The point is that Yoko was thoroughly immersed in hypnotism and magical practices.  Put into practice we have the remarkable incident in John’s immigration hearings.  To ensure success Yoko contacted a Black witch to provide assisstance.  This witch was apparently well versed in the techniques of aromatherapy.  She gave John a package folded in a recondite way that he was to unfold in court in a specified way.  John concealing the folded paper in his lap did so.  He said the courtroom filled with an unpleasant aroma.  the judge asked what that smell was and ordered the windows opened.  John repeated the act the next day after which, he says, the judge’s attitude softened toward him.

      Thus, we have a pattern of Yoko resorting to magical means to gain her ends.

Psychedelic John

      Now, let’s consider Lennon’s attachment to this rather eccentric woman.  Contrary to Yoko’s assertion that she was just so darn cute John had to fall head over heels in love with her, the evidence is that he required a great deal of active persuasion.  Yoko showed up unannounced at his door completely violating the sanctity of  Cynthia’s home.  At one point as John and Cynthia were leaving an event Yoko appeared and got into the car with John and Cynthia.  At the time it was reported that Yoko sat between them but in her memoir, John, Cynthia says that Yoko entered first sitting on her left side.  Yoko sat silently, mysteriously, exiting the car without a word.  A hypnotic technique.

     Yoko bombarded Lennon with cards and letters through the mails including one with the suggestion:  Look at the sky, see a cloud, that cloud is me.  In other words- Je suis partout.  I surround you.

     Thus when Cynthia was gone on vacation Yoko spent the night with John in Cynthia’s house once again violating the sanctity of her private space, displacing her as it were.  Drugs were involved which would have made John more susceptible to hypnotic suggestion.  The fact that the duo recorded ‘Two Virgins’ at this session and John wasn’t revolted at her so-called singing proves he must have been hypnotized to me.

     The fact that he was depressed, overwhelmed by his success, and unhappy in his marriage to Cynthia merely means that he was very susceptible.  Perhaps the turning point in their relationship came with the death of the Beatles’ manager Brian Epstein just the Beatles were leaving for a Transcendental Meditation retreat  in India.

     Up to Epstein’s death the Beatles had had no responsibilities; Epstein had managed all business and monetary matters for them.  Now, bereft of their management the Beatles were cast adrift on their own with disastrous or near disastrous consequences.  In his personal desperation Lennon undoubtedly clung to Yoko Ono as his security blanket and surrogate mother.  Yoko had obtained her goal, she had captured a Beatle and the Beatle’s reputation was nearly that of a secular saint; he was held in religious awe by the Beatles’ fans.

     Yoko exploited her opportunity with brilliance.  As I think, through hypnosis she had John make the attempt to insinuate her into the group as the Fifth Beatle.  Not content with Two Virgins she intended to screech her way through a few Beatles’ side thus attributing their success to herself.  Because of her friendship with the experimental composer, John Cage, she considered herself a better musician than the combined Beatles.  She failed in her attempt to join the boys breaking up the band instead.

     Nothing daunted she decided to exploit John with her astouonding avant garde performance art.  Thus she organized the Bed-In events which were actually successes of sorts.  From there she persuaded John to form the Plastic Ono Band to gain some musical credentials.  Despite sensational packaging the record flopped.

     At this point Yoko decided to return to New York City and reestablish her art connections.  By this time, in my estimation, the avant garde was dead, killed by Andy Warhol and perhaps by diffusion into the general culture by groups like the Beatles.

     At this point, I believe, John became a liability.  Still Yoko was nothing without him.  She wanted to connect up with Andy Warhol but her intro to Warhol was Lennon.  Nevertheless John, Andy and Yoko did become fairly intimate.

     Two years after her return she sent John away with May Pang.  Act Two was well under way.  Then eighteen months later she called him back again.  I have to believe that from ’66 to ’75 John was under hypnotic influence.  That’s about the only thing that explains his bizarre behavior then and certainly is the only thing that can explain his even more bizarre behavior in the five years leading up to his death.

     It seems certain that at least upon Lennon’s return he was being regularly hypnotized by Yoko.  As I mention with my ‘Look at the sky’ reference it is clear to me that Yoko was using hypnotic techniques and suggestion from ’66.  Even the story of John climbing the ladder at the Indica Gallery to look through a magnifying glass to decipher the word ‘Yes’ can be construed as a technique of hypnosis or suggestion.  Climbing the ladder is well know sexual symbolism.

     Unless hypnotized it is difficult for me to understand how a man could emasculate himself so far as to turn his identity over to a woman of whom John Green, himself, advised Lennon to be suspicious.   And Green who read Yoko’s Tarot hundreds of times over those five years would have been able to figure out what Yoko was thinking.  She was unguarded.

     Yoko’s first step in emasculating Lennon was to tell the media that he was withdrawing from the world to become a house husband.  There were few men in the world who didn’t understand that to mean that Lennon had been deballed.  This was also a Feminist revolutionary move to turn the Patriarchy back to the Matriarchy.

    

Lennon Lighting Up

 Having made Lennon ex-communicado the story of his withdrawal from life during this period into clinical depression was also released.  From a careful reading of John Green and Fred Seaman this notion can be disrgarded.  He may have been entering a period of what Dynamic Psychologists call a ‘creative illness’ but he wasn’t just brooding.  He had to have a period to sort out the crowded years from 1958 to 1974 and deal with what must have been some very painful memories.  Keeping the channel button on his remote depressed to let the channels flip thorugh continuously could be construe as an attempt to deal with multitudinous memories flashing through his mind.

     While supposedly in this inert state, Warhol records in his diaries that Lennon while eating lunch at another table in a fashionable eatery came over to Warhol’s table surprising him by laying on the floor by his chair on his back with arms and legs simulating a puppy and panting with his tongue lolling out.  Now, that is lack of self-esteem.

     So his so-called depression was more an attempt to understand the past more than just depressive brooding.  In fact he did get his life organized.  While he claimed he was incapable of writing during this period as his muse had left him, which is to say he had writer’s block, by 1980 he had resolved his problems and was ready to go back to work.  Personally I have to admire the guy for achieving this regeneration.  He had a lot of fortune and misfortune to sort through while coming to terms with being a success he had never hoped to be.

      Now, what was Yoko doing during these five years?

     First, let’s keep track of the various revolutions subsumed under the Warhol umbrella.  Andy was shot by Valerie Solonas in 1969 which effectively shut down Factory #1 although #2 was already in existence.  The seventies were a dull period for Warhol as he recovered his lustre after actually having been declared dead.  The homosexual nightlife was burgeoning however, while reaching a dfinitive point in 1977 when the nightclub Studio 54 was created by Steve Rubell and Ian Schrager.  It was the serendipitous moment for the Homo Revos and Rubell and Schrager hit the groove as sharp as a knife.  The criminal/revolutionary elements working out of Andy’s old Factory had found a new home.  Andy had found a new home; he apparently haunted the place nearly every night of its existence.  A real fixture.

     There’s a very interesting book that was issued in 1997 by Anthony Haden-Guest titled:  The Last Party, Studio 54, Disco And the Culture Of The Night.  The book sank but left traces.  A remainder copy, first edition, can be picked up new for a couple dollars on the internet.  If you’re interested in this topic you should do it.

     As an example of how vile these revolutionaries were conducting, say the sexual revolution, Haden-Guest tells an alarming story.  Now, Studio 54 was in existence only eighteen months before the Feds loaded them into the vans.  I’m sure Rubell and Schrader were not involved directly in this escapade but while Warhol at the Factory was using the Undermen as his foils in ’77 and ’78 some unnamed revolutionaries, perhaps Warhol among them, set out to corrupt the WASP students at prep schools.  This must have been on the drawing boards for some time waiting for the opportunity because there wasn’t much time to act.  The students were fourteen, fifteen and sixteen year olds.  Lists of students were compiled and approached.  Haden-Guest says likely subjects were pointed out by ‘moles’ in the schools.  We all know what moles are from spy novels so already having moles in the schools shows some advanced planning.  What they were doing while waiting for opportunity is a question worth pursuing.

     Now, these decidedly underage kids were enticed to the come to Studio 54, bussed to it, where they were given free admittance as bait to entice other underage children.  At Studio 54 they were systematically debauched with free drinks and free drugs.  The perves then were delivered young boys and girls drunk or on drugs to seduce which was done.

     Many if not most of these kids beca,e drunks and debased drug addicts, heroin and what all.  Haden-Guest draws an astonishing picture.  While Haden-Guest doesn’t say Warhol was one behind this plan to debauch the most priviliged of Young America he leaves room for conjecture.  So, things were getting rough in this toughest of American cities.

     Yoko had set her cap for Warhol.  She cultivated his acquaintance with Lennon as celebrity bait.  She befriended his associate Sam Green who was an art dealer and procurer of desirable legal or illegal items for those with the money.  In 1977, for instance, he was able to procure tickets to the Carter inauguration for himself, John and Yoko.  Sam Green’s associate Bart Gorin also delivered Yoko’s heroin to her.  This is interesting.

     Anthony Haden-Guest in his The Last Party says in his coded way that a major heroin dealer lived in a gothic apartment house on Central Park West, that would be the Dakota.  He calls the dealer The Elfin Queen, that’s a small eccentric woman.  I don’t know how many small eccentric women lived at the Dakota but the specifics do describe Yoko Ono.  The Elfin Queen was also a denizen of Nightworld which would seem to narrow things further.

     Yoko in the late seventies was a heroin addict which is an additional point.  She had her paper delivered daily by Sam Green’s assistant Bart Gorin.  That means that Sam Green was holding.  It is also clear that Yoko only held her daily dose so she was smart enough to have no evidence around.  If this is true there had to be contact with an underworld wholesaler.  Whether that was Sam Green or another buffer to distance themselves or not isn’t known.  It is beyond dispute however that Sam Green was the supplier for Yoko.

     I find little evidence that Yoko was a financial genius who went from John’s current income to 25 million in three years with the usual figure of 150 million being mentioned.  There might have been some sub-rosa dealing. 

     It is also true that Sam Green  was active as an agent obtaining items for Yoko’s various art collection.  He was undoubtedly her gigilo, there being hope for him to replace Lennon after he was shot in 1980.

     Sam Green and John Green were both known to each other while there is some speculation that the Greens collaborated to overcharge Yoko for items.  It may be true but whatever she overpaid was insignficant as in the seventies the prices of all collectibles just sky rocketed.  The 70s was the decade of the collector.

      In ’77 Yoko met Sam Havadtoy while on one of her shopping expeditions who became a fast friend while actually replacing Lennon on the day of his death.

     Now, during John’s absence in ’74 Yoko had tested the waters for her solo screeching and found the temperature tepid.  She still needed John for his reputation as well as his money.  John had her on the short leash of 300 K during his absence which Yoko found irksome.  She now set out to gain control of John’s entire fortune and income.  She secured a Power of Attorney and the legal assumption of his entire identity so that she acted not only in his name but as himself.  I can’t believe Lennon would agree to this, which isn’t to say he didn’t, but I find it more likely he was following a post-hypnotic suggestion.  Now in control of his money and having assumed his identity as well as her own Yoko had little use for him.  As Seaman records during ’79 and ’80 she sent him out to Long Island for long stretches of time and then on a dangerous sea voyage to the Bahamas that almost claimed his life which would have been very fortuitous for Yoko.  John stayed in the Bahamas several months.

     It was there his writer’s block unblocked or, as he might express it, his muse returned and he was able to begin writing again.  Thus, perhaps to Yoko’s surprise, he returned to NYC with a packet of new songs ready to go back into the studio.   Here the plot thickens.

     Yoko had John out of the Dakota for much of 1980.  During that time her relations with both Sam Green and Sam Havadtoy intensified,  so there was a reason John was sent away.  That he was so complaisant to her wishes is truly amazing unless he was controlled through post-hypnotic suggestion.  When John came back from the Bahamas he went into the studio.  At this point Yoko and he were inseparable.  She insisted on alternating songs on the LP- one of his, one of hers.  There was a giveaway there.  One of John’s songs was I’m Losing You followed by Yoko’s I’m Moving On.

      A reading of Seaman’s memoir shows a  Yoko who was inconsiderately entertaining both Sams in a closed room at the studio not only in front of John but the whole band.  It seems clear that that the two song titles were more than relevant.

     Now, by this time Yoko had all the money in her control and possibly in her name and this was legally irrevocable although John could revoke future use of his identity and cancel the POA and possibly regain control of his royalties unless Yoko had also assigned those to herself.  So the day she ‘moved on’ John would be effectively penniless.   If you thought Colonel Parker was the manager from hell Yoko was the topper.    She literally was from hell as she had sold her soul to Satan.

     There remained the matter of popularity.  It seems clear that Yoko thought she had created a mega chart buster, not John.  She sincerely thought that the success of the record would depend on her contributions,  but the record sold well on the basis of Lennon’s reputation alone.  This was a setback for Yoko necessitating a change in procedures.

      In any event Lennon was assassinated by a ‘lone nut’ on December 8, 1980.  John lost Yoko and she moved on.

      The case against Mark Chapman, the man who shot Lennon, would seem to have been open and shut.  Several witnesses saw him shoot Lennon while he quietly laid the gun down and quietly assumed responsibility, never denying it.  Attorney’s wanted to plead insanity but Chapman refused.  As often happens  in ‘lone nut’ assassinations many found the fact inconclusive.  And, indeed, there are reasons to believe that Mark Chapman was just a tool, a pawn in someone’s game.  The question has been, who?  Many people believe Chapman was a Manchurian Candidate hypnotized to commit the murder.  The Manchurian Candidate is a book and movie in which a former American soldier ws given a post-hypnotic code word that activated certain instructions.  The question once again was, who?  Some suggested the government.  There is no clear solution so one can’t rule a Fed hit out but the Ono-Lennon’s quarrel was with the Nixon White House.  The Carter administration was then in office while John and Yoko had wrangled tickets to Carter’s inauguration.  I don’t think the Carter administration probable.

      There is also a sizeable group who believe Yoko herself was involved.  The idea involves more of a how than the government accusation.  What seems clear to doubters is that Chapman seemed to act programmed rather then autonomous.  Before I tackle a probable how let’s review Yoko’s situation before and after the assassination.  There seems to be an incongruous continuity.

      Lennon had been away from the Dakota for much of 1980 returning from the Bahamas mid-year to go into the recording studio.  We know that a close associate of Yoko, Sam Green, was at the very least a conduit for Yoko’s heroin.  Heroin may account for his presence in the Studio and Yoko’s need for a private room.

      She also became close to Sam Havadtoy, another art dealer,  who has the appearance of an enforcer.  Indeed, he moved into the Dakota the day John died where he remained for twenty years.  Shortly after John’s death Havadtoy sent for two Hungarian ‘cooks’ from then Soviet ruled Hungary.  Why Yoko would need two cooks isn’t clear so let us assume that the two were bodyguards or assistant enforcers.

     The peaceable Yoko turned violent after John’s death.  As Fred Seaman records she had a couple of thugs beat him in the attempt to force him to give up John’s diaries.  I would think that peaceable attempts to recover the diaries would have worked just as well on Seaman.

      Yoko had wanted to connect up with Andy Warhol since about 1965.  On her return to NYC in 1971 she cultivated Warhol assiduously but John was in the way and for various reasons she couldn’t just divorce him.  I am convinced her only iinterest in him had been for monetary and publicity reasons.

     Three months after John’s death she offered herself to Andy Warhol.  Warhol’s diary entry for Friday, March 20, 1981, three months after the murder reads:

Andy- Classic Phone Pose

     We had to do our Rex Smith interview, Bob (Colacello) and I, so I decided it was easier to stay uptown because it was going to be at Quo Vadis.  We fell in love with him.  He had the curly Vitas Gerulaitis look but better looking.

      And then we heard a voice say, “Andy!”  It was Yoko Ono.  We were so stunned.  She looked so elegant, like the Duchess of Windsor with her hair back and dark wraparound glasses, and beautiful makeup and Fendi furs and jewelry- an emerald ring with a big ruby in it and Elso Peritte diamond earrings.  So I said that I wanted to call her for lunch and so she gave me her phone number.  It was really strange, a whole new Yoko.

     And all Andy had to do to unify the whole avant garde was to climb that ladder, take the magnifying glass and read out loud one little word- YES.  Some little time later when he thought he might need a woman who could accompany him to parties he did think of Yoko but then nixed the idea.  He’d already been shot once.

     So, not only was there no period of mourning for Yoko but three months after she in effect proposed to the man who she thought of as her dream husband.

     So that is Yoko’s situation in the period  on both sides of John’s death.  His was a convenient murder releasing Yoko to attempt to gratify her secret ambitions.

     Let us assume that Yoko programmed or had Chapman programmed.  Yoko was connected to a number of magical networks that could have located Chapman as a perpetrator.  John Green was a Santeria priest and curioso.  Santeria was functioning all up and down the East Coast and especially in Atlanta where Chapman was from and which he visited before the shooting.  Plus the religion is dispersed around.

     ‘Magic’ had been employed to help John’s immigration problem, apparently provided by a Black witch from Chicago.  Chapman stopped over in Chicago on one of his trips to NYC to dispose of a painting.  Yoko was Japanese, her numerologist was Japanese and Gloria Abe, Chapman’s new wife was Japanese.  Yoko’s One On One Foundation was involved with female Shamanistic magicians from the Pacific Islands that might have included Hawaii so, shall we say, he was mentally unstable which is an aid in hypnotism?

      Thus there are ways Chapman could have been recruited and having been recruited and brought under mind control so that  a telephone call from anywhere in the world could have been used to utter the trigger word.  And then there is the question of where the money came from for Chapman’s frequent air flights especially his flight around the world with several layovers.  He had in excess of two thousand dollars on him at the time of his arrest.

     None of this is conclusive, of course, there is always the chance that Chapman was a ‘lone nut.’  These things do happen.  On the other hand someone who had provided for herself so well and was so prepared to weather the shock must be equally rare.  Those things happen too.

     As Seaman notes, he was more grief stricken than Yoko.  And at the same time Yoko had sold her soul to Satan to obtain desires that were never revealed.  The astonishing coincidence is the Satanic stuff took place not only in the Dakota of Rosemary’s Baby but on the same floor and in some of the same rooms.  An early candidate for the mother of Satan’s baby threw herself from the seventh floor window landing on nearly the spot where Lennon was shot.  Very eerie, almost Rosemary’s Baby II.

     

Fred Seaman then

 

A Review

The Last Days Of John Lennon

by

Fred Seaman

Part II

Review by R.E. Prindle

How The Fifties Became The Sixties

Yoko, Andy, John: The Fifties And Sixties United

     The sixties seem to have erupted by some process of autogenesis.  They seem to be a decade unrelated to the fifties but nothing could be further from the truth.  The sixties were very carefully structured in the fifties, that supposedly somnolent decade.  The fifties themselves evolved from the fantasy notion of  The United States Of America- the American Dream.  In truth there had never been a united America and an American Dream only in the mind of certain immigrants who believed they had reached the Promised Land of their dreams.  The country has always been one of conflict with conflicting peoples.  There was no mythological age as in distant times so no mythopoeic era preceded the scientific one.  America was born in science.

     The warfare against the aboriginal peoples to clear the land for the European invaders created the first layer of conflict.  The second layer of conflict was the importation of Africans as slave labor.  This created a second irreconcilable conflict that erupted in 1954 when the Black revolution began in earnest and began to accelerate in the sixties.  This was what Eric Foner described as America’s unfinished revolution in his writings.

     Each succeeding group of immigrants created its own friction but assimilation did go on with most peoples.  In the fifties the sort of ethnic identities in song and humor that makes the talkies of the thirties now seem quaint was coun

Levy's Jewish Rye- Subtle Form Of The Imposition Of Ethnic Superiority

teracted.  While visibly subdued ethnicism simmered below the surface until the sixties when it burst out again in a new form and triumphed.

     I am unable to tell the education received in schools of the twenties and thirties but by the time I was in high school from 1953-56 the whole concept of revolutiuon was romanticized and this continued through my college years in the sixties.  It was iterated over and over again that revolution was an absolute virtue.  To be revolutionary was to be a person in full.  Kids in the walls ran around saying are you revolutionary, I’m revolutionary.  Thus they embraced any idea that was the opposite of the status quo.  This notion of revolution was combined with the notion of the absolute virtue of being an American.  This would result in Kennedy’s idiotic    Peace  Corps begun in the sixties.   Raw American youths were supposed to be able to tell the less favored peoples how to run their lives.   The war in Europe was treated as a crusade against Germans, a war of absolute black and white, no shades of grey.  I truly believed that no American in either the European or Pacific war ever committed an act of wanton brutality no matter what the provocation.  I would have dismissed out of hand that as a matter of policy millions of Germans were exposed to Winter weather in the years following the war unprotected  while being denied any kind of nourishment and, yet, it was so.  In subsequent years this would have been described as ‘American’ brutality while in fact it was instigated by revolutionary American Jews seeking vengeance.  Americanism was not involved.

     At the same time the new medium of television exposed us to unprecedented doses of propaganda disguised as the truth, doses far in excess of anything the hated Nazis devised.  Chief among those TV shows was a cartoon called Crusader Rabbit.  Now, Crusader Rabbit in reality is a vigilante dispensing vigilante justice.  He acted on his own ‘righting’ what he perceived as wrongs.  Of course those of us who read comic books in the late forties had already been exposed to vigilantism in the form of comic book heroes like the Blackhawks.  Or, for that matter Batman and Robin and Superman among many others, Plastic Man.  I sort of thought of myself as Plastic Man.

     So this whole age cadre was stoked up on revolution  and vigilantism with no venues to express it.  The sixties then was a god send as the existing revolutions- the Undermen, the Jews, the Blacks, the Homosexuals, the Feminists, the Communists had merely to whisper the word REVOLUTION  to get a positive response for their ideologies.  The generation was primed for revolution of any sort- a revolution in bubble gum for instance.

     Thus at Berkeley in ’64’s so-called Free Speech Movement you had the spectacle of the most advantaged members of the generation participating in what was a part of the Jewish Revolution in the guise of voluntary Undermen.

     Thus as the sixties dawned the way was cleared of any resistance to revolutionary schemes as hordes of self-righteous vigilantes confident that their perception and judgment was received from god himself began to act on their assumptions taken from their misguided elders.

2.

Little Miss Yoko

    The center of this maelstrom in the sixties was New York City.  The Bohemian life style stewing in Lower Manhattan since the Armory Show of 1913 was about to conquer the mind of the country.  Perhaps the leader of the sixties Bohos was Andy Warhol.  Certainly with a kind of genius he made himself the center of the storm.

     This most influential Bohemian attitude toward life was both stratified and diverse.  The first out of the box were the uptown Beats.  These men seized the attention of the country in the mid-fifties when Allen Ginsberg, a leader of the Jewish, Homosexual and Underman revolutions, gained prominence with his so-called poem, Howl.  He then dragged Jack Kerouac through with his On The Road and William S. Burroughs with his Naked Lunch.  All three works have been incredibly influential in creating a new Underclass of Undermen, in thought if not in fact.

     The Beats hung out in upper Manhattan around Kerouac’s alma mater, Columbia,  although Ginsberg gravitated downtown in an effort to pair up with the Beat musical epigone, Bob Dylan.  As Ginsberg represented four revolutions it could be said of him- Il est partout, a very important if disgusting figure.  Burroughs also gravitated to lower Manhattan before departing for the corn fields of Kansas.

    The well-to-do or rich Bohos, to which John and Yoko would belong, sometimes known as Cafe Society, were the upper crust of Bohemia.  And then there was the middle Bohemia and it Lower Depths.

     Running through all was the old avant garde which excluded the Beats who were not avant garde.

     Warhol, John Cage, La Monte Young and a host of artists and writers including Yoko Ono were part of the old garde.  Yoko dragged Lennon in but he was not constitutionally avant garde and probably not even a real Boho.  Fred Seaman seems to have had no affinity for Bohemia or revolution.

     As the sixties dawned Lennon coming from then obscure Liverpool was of the lower middle class but of the English art school background.  He spent a couple years in the German underworld before skyrocketing to super world fame with the Beatles  so that while he and the Beatles were instrumental in forming the sixties and subsuming the avant garde they were not actually of it.  Thus when Lennon came to earth around 1970 he was virtually a Rip Van Winkle who had slept through the decade.  The new reolutionary world he and Yoko entered in New York could have been barely understood by them.  It wasn’t even really understood by those in the thick of it.  Dylan’s ‘Something’s happening here but you don’t know what it is do you Mr. Jones’ could have applied to himself and everyone else.

     Yoko Ono was a committed Feminist and key member of that revolution.  In a world of eccentric and unusual characters she was a standout.  Her career as an avant gardist began as a ‘performance artist’.  Essentially a stunt man.  Back in the twenties and thirties would be celebrities used their bodies to gain fame performing stunts.  One going by the name of The Mighty Atom attached ropes to his hair holding back an airplane.  This is essentially what Yoko was doing as a ‘performance artist.’  Her ‘Cut Piece’ urged viewers to come up on stage and cut away a piece of her clothing.    She and Tony Cox crawling into a black bag?  Whew!

 http://www.guba.com/watch/3000011865/YOKO-ONO

     But she was thereby connected to the avant garde.  She knew John Cage, Andy Warhol, Sam Green and the lot as early as 1960.  The friendships remained enduring as she maintained them throughout the seventies and eighties.

     As a performing artist Yoko was a sort of chameleon forming her art to suit the circumstances.  Having once captured John Lennon she first became a peacenik as peace was the prevailing notion- love and peace- returning to New York amid the wreckage of the peace, love and happiness bit she got up from her bed of peace and strapped a fully loaded bandolier of bullets around her hips and became a sullen revolutionary a la Bernardine Dorhn.  It all art and art is holy, isn’t it?

The Criminal Miss Dohrn

     The Ono-Lennon’s very serious looking revolutionary activities quite naturally brought the Heat down on them.  It should be clear that these were not lightweight posturings but she and John were financing the disruption of the Republican National Convention forcing a move of the site from San Diego to Miami.  There is small wonder the elected Nixon administration  sought to deport them.  Neither John nor Yoko were American citizens but essentially part of an international conspiracy, she being a Japanese and he an English national.  Thus in addition to being a leader in the Feminist and Sexual revolutions she lent herself to the Judaeo-Communist revolution.  Nearly all her revolutionary associates were of the Jewish revolution.  Plus John essentially represented the Undermen.  Thus Fred Seaman was employed by not only a celebrity household but a notorious one.  Nor was Fred an American but a German national.  No Americans involved.

3.

Warhol And Bob Dylan

Down below the subway’s screamin’

As I lay here halfway dreamin’

And face the long evenin’

Layin’ close beside my radio

Imaginin’ the kisses of the girl who sings the song

Lookin’ at the ceiling

Wonderin’ where the dream went wrong.

Last Morning- Shel Silverstein

As sung by Ray Sawyer and Dr. Hook.

The Wizard Reveals Himself

 

     New York City was indeed a tough cold city.  It was enough to make you crazy as you ‘fought the crowds, avoided the traffic and watched the world turn grey.’  Coming from Pittsburgh Andy Warhol had no trouble with the skies turning grey, he was used to much worse.  For Dylan coming from Hibbing, Minnesota way, way out on the edge of civilization the change must have been traumatic.  Both men, however, were uniquely equipped to succeed in such a tough environment although it turned both crazy, cruel and mean.  Both became paragons of  the revolutions.

     Warhol, the older of the two, forged the revolution of the Undermen and the Homosexuals while acquiring great wealth.  Dylan, too, made his appeal to the undermen (the confused, abused, strung out ones and worse) basing his career on the misfits and malcontents.  At the same time he was a key player in fundamental Jewish revolution.  Both men affected  innocent harmless personas so as to deflect attention from what they were really up to.  As both had complementary strategies it is quite possible that each saw through the other.  Warhol certainly saw through Dylan but I’m not sure if the reverse was true.  Both were heavily into drugs which altered their perceptions.

     Warhol preceded Dylan on the scene by a decade arriving in NYC in 1950.  His homosexual agenda was clear to him from the start even if its implementation wasn’t.  He was immediately successful upon his arrival easily gaining entry into the commerical art field.  Dylan too would have no trouble gaining both entry and prominence within a year, phenomenal success  in two and preeminence in three.

     Warhol commanded a large perhaps even great income within a matter of four or five years.  He spent madly but invested wisely.

     He was always interested in mass production techniques where the original was merely a prototype like a car model.  His original drawings were mass replicated by the newspaper ads.  Amazingly, new in New York, he sent a letter to CBS asking if he could design record covers and received assignments by return mail.  While his record covers are not among his best known works he did design at least fifty while perhaps more remain to be discovered.  While his designs were for very low selling jazz and classical records they are obviously the work of a homosexual or, as they are described- fey.

Bob (I Know What's Goin' On) Dylan     Thus they advance the Homosexual revolution.  True, they are tiny drops but by the time he designed the Sticky Fingers cover for the Rolling Stones his design, it can be confidently asserted, was seen by every single member of two generations while selling in the millions.  The title and cover are an ode to masturbation, one of the favorite thems of both the Homosexual and Sexual revolutions.  The illustration was of a male crotch clothed in blue jeans with a workable zipper.  It was a retailing nightmare but effective in sexually conditioning the minds of his audience.  The zipper was irresistible to record fans who broke the plastic on every single cover making them nearly unsaleable.  Success actually unimaginable to Warhol in 1950.

     In addition Warhol designed ‘fey’ book covers, frequently for homosexually oriented titles thus adding a few additional drops, pushing toward 9cc.  Andy had his sticky fingers in everywhere- stationery, wrapping paper…all with his fey designs.

     While he gained great success as a commercial artist he had his eye on the fine arts; about 1960 he made his move into ‘serious’ art- painting.  He called his style Pop Art.  Pop Art had its antecedents in the fifties of which Warhol would have been aware.  Here are a couple examples by Ray Johnson from the mid-fifties.  Johnson is described as proto-Pop.

     Having made his splash in Pop Art, becoming a major celebrity, Warhol was ready to move into his next phase in the subversion of art and society.  In 1964 he established his famous atelier known as the Factory.  There he continued his paintings while beginning an influential if unremunerative secondary career as a film auteur.

Ray Johnson' James Deas With Lucky Strike Cigarette Logos

Ray Johnson's Mid-Fifties Elvis

     There seem to be revolutionary motives in the founding of the Factory.  Warhol gathered about him a collection of the Undermen.  These were all Homosexuals, druggies, hustlers and prostitutes.

     There is an interesting passage in the Weathermen founder’s autobiography Fugitive Days where the author, Bill Ayers, says:

     …the most interesting alliance to me was struck in the first months underground, and it was with a kind of eccentric shadowy group that would become fast and reliable friends for decades to come.

     The group was without a name, contained hundreds of members in half a dozen cities, and was organized by a charismatic leader and psychologist who called himself Kaz.  They were all former heroin addicts, former beatniks, former hustlers, and prostitutes, five, ten, twenty years older than us, now living in luxury and working downtown but thinking of themselves primarily as deep, deep underground, a kind of fifth column waiting patiently for the revolution.

     What Ayers appears to be describing is the Haut Boheme Cafe Society of New York.  Now, Warhol with the Factory created a place where all Bohemia, high and low, could gather under the reasonable pretext of partying which is what happened.  Many attendees would be innocents of course providing even better cover for the revos.  To get some idea of what the scene was like review the lyrics to Shel Silverstein’s Freakin’ At The Freakers Ball appended.  Silverstein seems to be describing the Factory exactly.

     The police had the Factory under surveillance as well as one supposes, the FBI.  The deep underground wasn’t deep enough to conceal these characters.  The Factory would be forced out by ’68 giving it a four year run.  Bereft of a gathering place Bohemia would have to wait until 1977 for another when Rubell and Schrager put together Studio 54.  54 was better than the Factory because attendance could be monitored allowing only the Haut Boheme and other chosen in; the undesirables could be left out.  54 was run in contempt of all existing laws and moral codes.  Suspicious from the beginning it took the Feds only eighteen months to shut it down.  Like The Factory however Studio 54 had its revolutionary effect especially along sexual lines- unisex toilets for instance.

     The multi-talented Warhol, a perfect Prince of Bohemia added authorship to his achievements with his novel ‘a’ while moving into publishing in the seventies when he established the successful magazine Interview.

     He added several notable record covers, while forming in ’66 the immensely influential Exploding Plastic Inevitable centered around ‘his’ rock band The Velvet Underground.

     So, in promoting several different revolutions- the Undermen, the drug culture, the so-called sexual revolution and undoubtedly many others Warhol was one of the most successful and important revolutionary figures of the decade.

      Along the way he formed a close relationship with the Feminist revolutionary, the Japanese citizen, Yoko Ono.  As a bona fide member of the avant garde she tried to enter Warhol’s entourage before she left for England in ’66.  However at the time she was outspokenly antipathetic to homosexuality which probably necessitated her retreating to London to think things over before returning in 1971.

     She returned in grand style leading the founder of the Beatles, John Lennon, as though by a rope around the neck.  She and Lennon immediately threw themselves into the revolutionary movement associating themselves with various members of the Jewish revolution.  they apparently gave large sums of  money while lending their personas and prestige to raise much larger sums.  It was the fear of their popularity being used to rouse young Americans in this first election in which eighteen year olds could participate that put him under surveillance, quite justifiably so, by the FBI and the Nixon White House.  Thus for the next several years they were harassed by deportation threats as undesirable aliens.

     Having achieved her goal of reentry into New York avant garde society even becoming an intimate of Andy Warhol Yoko lost interest in Lennon.  The two split up for eighteen months or so from 1973 to 1975 then reuniting.  Yoko had employed her Tarot reader John Green in 1974 while Fred Seaman was added to the entourage as Lennon’s personal assistant in 1979.

     While the memoirs of Green and Seaman have been disparaged by the faithful I see little reason to do so on an objective basis although Yoko Ono may find them offensive for personal reasons.

Part III follows

Appendix

Freakin’ At The Freaker’s Ball

Shel Silverstein

As Performed By Dr. Hook & The Medicine Show

 

Well, there’s gonna be a freaker’s ball

Tonight at the Freaker’s Hall

And you know you’re invited one and all.

Come on Babys grease your lips

And don’t forget to bring your whips

We’re goin’ to the Freaker’s Ball.

Blow your whistle and bang your gong

Roll up something to take along

It feels so good it must be wrong

We’re freakin’ at the freaker’s ball.

Well, all the fags and dykes they’re boogie’n together

The 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 swingin’ with the funkies

Across the floor and up the wall

We’re freakin’ at the freaker’s ball y’all

We’re freakin’ at the freaker’s ball.

Everybody’s kissing each other

Brother with sister, son with mother

Smear my body up with butter

And take me to the freaker’s ball.

Pass that roach please and pour the wine

I’ll kiss yours if you kiss mine

I’m gonna boogie ’til I’m cold blind

Freakin’ at the freaker’s ball.

White ones, black ones, yellow ones, red ones

Necrophiliacs lookin’ for dead ones

The greatest of the sadists and the masochists too

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

Everybody ballin’ in batches

Pyromaniacs strikin’ matches

Freakin’ at the freaker’s ball, y’all

We’re freakin’ at the freaker’s ball.

 

   http://www.youtube.com/watch?v=uo9bKdIG_Yw