A Review:
John Pearson's
The Profession Of
Violence
by
R.E. Prindle
|
John Pearson |
Pearson,
John: The Profession of Violence, The
inside story of the twin brothers who ruled the London underworld. 1973, The
Saturday Review Press.
Let us say
the inspiration for this essay is John Pearson’s 1973 book. My struggle is trying to put the post war
period together especially the contribution of England that so influenced the
course of the Sixties in the US after 1964.
I think I can use Pearson’s The Profession of Violence as a base.
The criminal
Kray Twins are the subject of Pearson’s biography during the period 1956 to
1968. No one in England, except for
recent immigrants, will have to ask who the Krays were while the vast majority
of Americans and Canadians as well as Mexicans will draw a blank.
|
David Bailey's Portrait of Ronnie (front) and Reggie Kray |
Quite simply
the Krays- Ronnie and Reggie- were the most fearsome villains in England of the
period. The English refer to their
mobsters as villains and truly there was no English Mafia, just a collection of
villains under the hegemony of the Krays.
Their notoriety was such that at the height of Swinging London the
fashion photographer David Bailey issued a portfolio of photos of England’s
scene makers which included the villains Ronnie and Reggie Kray. David Bailey, who is the subject of Fellini’s
movie Blow Up was more influential than one might suppose. The Krays were, as Bailey recognized, in many
ways the epitome of Swinging England; they were mixed into many things. Their career coincided with the birth of the
Sixties and ended in 1968 when they were returned to prison for life thus
ending their spectacular career.
David Bailey
was criticized for including mere villains in his portfolio, but in fact the
Krays made themselves members of the scene as surely as Bailey, the Beatles,
the Rolling Stones, Mary Quant, Twiggy and the rest. The Krays were on their way to acquiring
control of the whole record business when the law brought them down.
Really,
then, the Krays are part of the generation that spent their youthful years during
the Second World War under very harsh living conditions from the War’s end
through the Fifties and still into, at least, the early part of the Sixties.
It is
difficult to accurately recreate the effect of the destructive war years on
post-war Europe and England. France and
England were mad to involve themselves in Hitler’s crusade against the Soviet
Union except as enablers. The crimes
against humanity, the offences against sanity are indescribable. The agony of Russia, horrible conditions of a
Germany actually bombed flat and the genocide against them that followed,
Northern France shredded by the march of armies more devastating than a sky
filled with locusts, swatches of England bombed flat while the cream of their
manhood left over from WWI was destroyed by WWII leaving nations with inferior
human resources while hordes of women were condemned to live their lives
without men.
And the
youth, what desperation they faced growing up, what stunted bodies caused by
the lack of nutrition, of nearly a full decade on short rations. Strict rationing while a Black Market
flourished creating whole new social
classes of semi-criminal spivs and wide boys.
And to add insult to injury a compulsive National Service of two years
just as they were coming were coming into manhood. Not a draft of the less fortunate men as in
the US but the whole male population.
When
National Service ended in 1960 that whole generation born in from 1938 to 1945
were released from the indignities suffered all their lives. Is it any wonder that the early Sixties in
England were characterized as the Swinging Sixties as exuberance burst out all
over the place. Release, release,
release.
Even in the
depths of their desperation a light crossed the ocean from the US in the
character of Elvis Presley. Hope in
human form. Just as Elvis gave hope to
the same age cohort in the US the light of Elvis showed the way for English
youth. Music was the path for poor boys
to follow to prosperity. Naturally the
results weren’t even but neither was the talent.
Those that
succeeded had parties where the Groaning Board was truly groaning with all the
really good delicacies the earth provided.
Strangely the table was just for show.
To take vengeance on the deprivation of those early years that generation
turned up their noses at all that food, refused to eat it, and it went into the
garbage. How many other neuroses and
psychoses of those years have had their sources gone unrecognized.
So, the
Krays coming into early manhood rose from their difficult conditions, not to
mention their origins. They were from
the notorious East End, Bethnal Green, a desperate area since Victorian
times. It was one of the most heavily
bombed areas of London. Ronnie Kray was
a certified lunatic, as psychotic as they come.
While twin Brother Reggie lived out his life in prison, Ronnie was in an
asylum such as Colney Hatch.
Colney Hatch
was a legendary asylum of the Victorian era.
Its name was legendary in my youth.
It was always pronounced Coney Hatch so while in England in 1976 I found
myself driving on a street in London where upon looking right I saw a sign
saying Colney Hatch. There it was, the
legendary insane asylum. Colney, not
Coney. Ronnie wasn’t there he was
somewhere else.
Thus Ronnie
was nuts, his brain probably affected by a serious fever in his childhood,
while he exerted a compelling influence over his twin dragging him into infamy
as it is told. The old generation of
villains was on the way out by the mid-fifties, the Krays barging into the void
to establish their hegemony.
Just as the
cadre of 1942-43 wanted to indulge themselves so did the returning soldiers and
those that stayed behind. There was also
a fluttering between socialism and Adam Smith economics, sometimes referred to
as Capitalism, the name that is more a Communist smear that disguises its true
nature. And the rebuilding of thousands
of London’s leveled areas.
It was a
time. Not the very worst of times, but
not the best either. It was depressing
whatever the time was. Is it a coincidence
that British youth embraced the US Negro blues as their musical
expression? I don’t think so.
As David
Bailey, the fashion photographer, recognized, the Krays were not mere
villains. They emerged from the
underworld into the Twilight World between the Under and Overworld just Over
world players like Lord Boothby descended into the Twilight world with the
Krays. Caught up into the Twilight World
was the whole music industry. It is
bonding of these three worlds, the Under, Over and Twilight worlds that this
essay is really about.
As might be
expected this volatile mix was bound to explode and explode it did in 1963 in
what was called the Profumo Affair. If
anything the Affair exposed the sexual underside of London society. But not completely . There was a homosexual underside involving
the three worlds and ones of which the Krays or at least Ronnie was
central. And this homosexual underside
extended almost universally into the music business.
A little
more background. Gambling had been illegal
in England until that magic year of 1960.
In that magic year England legalized gambling. This Act alone probably did more to create
the Twilight World than any other. Now
clubs were established that brought the Under and Over Worlds together, shoulder
to shoulder. Now Ronnie and Reggie felt
themselves to be elevated, rubbing shoulders with the Old Nobility, the Upper
Crust, the cream of London society.
Lots of
people gambled and gambled stupidly.
Prominent for this essay are gamblers like Brian Epstein, the manager of
the Beatles and the premier art dealer of the period, Groovy Bob Fraser. And binding the whole thing together like a
taut rubber band, drugs. Heroin, cocaine,
pot and the whole pharmacopeia. Uppers
and downers. Society had found the
perfect brew to corrupt it completely.
Sex, drugs and gambling. A soul
destroying combination. A descent into
hell. And was this a coincidence? What
should appear at the same time but a nascent Satanism to give definition to the
emerging Weltanschauung.
Criminals
always go where the money is, one place the money seemed to be was in the music
and recording industry. Rock and roll,
the Beatles, the Rolling Stones, Donovan.
For younger readers the music world was a different place than
today. It was much smaller with minimal
presence on TV and no videos. Hits were not instantaneous world wide but took
weeks to get started in a key market like New York or LA and cross
country. London was a separate market
just emerging on the larger global stage.
Much of the English repertoire originated in the US and was then
recorded by British artists.
After the
Beatles hit in the US in 1964 Swinging London furnished the world with its
premier rock groups, those already mentioned, The Yardbirds, the Animals, the
Dave Clark Five, on the list grows. Many
of these groups were clustered around single managers thus if you co-opted a
manager a gaggle of groups came with him.
I wasn’t in
the record business in the first surge of English rock but I was by the second
from 1967 on. I owned significant record
stores in Eugene and Portland Oregon.
Not world centers but its not what you do but how you do it. I did it.
It’s not what you see but how you see it. I saw it.
I never left the Overworld and I never entered the Twilight World but I
was positioned to see over the dividers.
I had to deal with Twilight Worlders and brushed against Underworlders.
John Pearson
who only provides a base for the essay doesn’t touch on many activities of the
Krays. I’m not sure he wanted to deal
with the Krays but as the saying goes, they made an offer…. At any rate Pearson soon realized that he was
in deep dangerous waters. He was
learning things he didn’t want to know.
The Krays took him on in 1967 as
the first Sixties were in transition to the second Sixties. In 1968 the Krays would be behind bars for
good. The Krays are said to have been
calling the shots from prison still while Over/Twilight world characters such
as the homosexuals Tom Driberg and Lord Boothby were still around and were not
less dangerous than the Krays in their own way.
Pearson trimmed his wick accordingly.
Little is said of Boothby and nothing about the homosexual Twilight
World. That would be coming out later.
Homosexuality
and Rock and Roll. Did you ever see Mick
Jagger prance or mount his forty foot inflatable penis on stage in front of
tens of thousands people? There’s story
here.
2.
So, now,
we’re going to have to take an excursion.
It is rather difficult to locate an entry point here but I’m going to
select a much overlooked player by the name of Spanish Tony Sanchez. Tony may not be an unfamiliar name to most,
perhaps, while those that know the name may not know the man bearing it or are
perhaps hostile because of Tony’s realistic if unflattering books about the
Stones: Up And Down With The Rolling
Stones and I Was Keith Richard’s Drug Dealer.
The latter is a variation of the former adding material but not a
different book. Tony also had a
relationship with the chanteuse Marianne Faithfull. Altogether he is a unifying factor in the
story.
Tony as a
teenager was fascinated by the Underworld, so he decided to become a
villain. Naturally he took an entry
level job at one of the clubs as a protégé of Albert Dimes, a villain from the
old guard. While sitting around a bar
before work one day he struck up a conversation with the rising art dealer,
Robert Fraser. Known as Groovy Bob
Fraser, he was more well known than Tony while also being an influential
player. Fraser apprenticed in the art
world in the NYC of Andy Warhol. For
those not familiar with Warhol, and believe me, there are many, he was the
foremost Pop artist of the Sixties and the most renowned of that group. Fraser then joined the Pop movement
introducing Pop art to England upon his return in 1962.
As he and
Tony talked at the bar, conversation turned, as they did at that time, to
drugs. Seeing an opening Tony related
that he had access to drugs, heroin being Fraser’s drug of choice, and could
supply as much as was needed. There is
no friendship so fast as that between a dealer and his addict. Tony and Bob became fast friends.
Groovy Bob
Fraser ran a sort of musical salon. His
art dealings were an entrée into the rock scene. He began to provide artworks to Paul
McCartney of the Beatles. Having
established that connection while being able to supply drugs, at a profit of
course, to his circle of rockers his circle of rockers grew. When Mick Jagger of the Rolling Stones was
drawn into his circle he tried to sell him art works too. While Mick was wary of investing in art he
and the Stones as a group were just coming on so Mick really didn’t have the
money, but he did have money for drugs.
One doesn’t put off buying drugs just because the funds are low. Groovy Bob had ins with the rock community.
He was not
only an addict, but a homosexual and not only that but a gambler; three of the
most potent human failures.
Now, in 1960
England legalized gambling. The Krays
were attracted to gambling as easy money.
Through a questionable chain of circumstances, they were criminals, an
early period ramshackle gambling club called Esmeralda’s Barn found a way into
the Krays’ hands. If you see pictures of
Esmeralda’s Barn it is less than appealing compared even to the Vegas of the
time or London clubs as they became. As
shabby as it was it was the no. 1 club.
Of course,
Groovy Bob could be found trying to find his groove at the tables. I don’t know why they call it gambling
because it is a sure bet that you lose.
Insuperable odds are against you.
Oh, sure the odds are that a player can have a hot streak and win but it
is a certainty that if you begin with a certain amount it must diminish to
nothing.
With Bob’s
luck he ran in negative numbers hoping to make two negatives a positive as by
some miracle they do on paper. Bob wrote
paper backed by nothing. As was
inevitable in those circumstances the Krays
were holding a lot of Bob’s worthless paper. Now the circle enlarges. Spanish Tony believing himself to be a
villain of some worth offered to intercede for friend Bob with the notorious
villains Ronnie and Reggie Kray. Here’s
why Pearson titles his book The Profession of Violence. Ronnie was famous for the stunt of forcing a
sword crosswise into the mouth of a man called David Litvinoff giving him a
permanent rictus sardonicus. They
dangled men out windows of tall buildings by their ankles, unpredictable
fellows, or predictable, depending on how you looked at it.
Tony entered
this lion’s den, still an apprentice villain, and came out smiling believing he
had worked out a deal. The deal involved
making a percentage of the checks good but that involved having money so the
ever wily Groovy bob continued to be evasive.
No, no, don’t get up for a potty run this is just getting good.
Pearson
probably had good reasons for leaving this sort of stuff out of the book. On the one hand he may not have known about
it and on the other he may not have thought it important. While as with the
subject of Lord Boothby that we’ll leave for later, he may have thought it
expedient to maintain a discreet silence.
One of the
Krays many ‘business’ ventures was the protection racket that was working out
pretty well for them. They had a deal
with the US Mafia that when Mob artists such as Judy Garland or Johnny Ray were
visiting England the Kays provided protection for them. The American mob had their claws into a large
stable of entertainers. They suggested
that maybe the Krays might find that lucrative in England. The Krays did think it would be
lucrative and acting on somewhat less
than the spur of the moment went about
trying to take over the rock and roll scene.
The Krays
could not operate above ground as they had felony convictions and so were
unable to obtain licenses; however,
older brother Charlie Kray who had a clean record could. So they kept Charlie clean and recruited an
old Bethnal Green chum Laurie O’ Leary to run clubs. They made their move. As part of their move they conceived the
notion of taking over the Beatles from Brian Epstein.
This may
sound far fetched at first, but consider:
Epstein had all three knocks against him. He was a homosexual, a druggie, and a gambler
who played Esmeralda’s Barn. He was fair
game. The Krays had been advised by
wiser heads than theirs to forget attempting he Beatles. There were numerous good reasons why it was
ill advised but, knock, knock, knock, the Krays had all three against
themselves too.
So,
disregarding all the negatives the Krays went ahead. First they called in Spanish Tony because
they knew that Groovy Bob had an in with McCartney and that meant the
Beatles. They made a deal through Tony
that Fraser’s debts would be forgiven if he could reel the Beatles in.
One
objection that had been raised to them by the wisest criminal head in the
British Isles was that above ground businesses were much more difficult
businesses to run than knock ‘em on the head criminal businesses. The devil was in the details.
Having
Charlie and Laurie O’ Leary above ground Ronnie and Reggie thought they had
that angle covered.
I think
Groovy Bob was trying the delicate job of bringing the Beatles in but deciding
the proper course of action was interpreted as procrastination by the Krays so
they decided on more direct action. They
called Brian Epstein for a sit down to discuss transferring title to them.
Well, you
know, things that seem so simple when you don’t have all the facts can get
pretty complicated. The truth of the
matter is that Brian ‘Knock Three Times’ Epstein had bitten off more than he
could chew.
It seems
certain that neither Epstein or even anyone in the English record industry
could have imagined that the Beatles would ever become the worldwide phenomenon
that they did. Heck, they were the first
of the kind. The Beatles opened the door
but I doubt any group since has captured the hearts and minds of all but a few
the way they did. Their Sgt. Peppers
album issued in the summer of 1967 became a core strut in the psyche of more
than one generation that summer. I would
rate it as the most influential pop icon of all time. Today they are even celebrating the fiftieth
year since its release with all kinds of hoopla.
It is
doubtful that Epstein even imagined success on an English scale of any
magnitude. In all likelihood he had a
crush on John Lennon as Brian was a homosexual.
All the aspiring musicians wanted to have a record released, a
record…the Holy Grail and not that hard to obtain. Having met Lennon and learned that that was
John’s grail Epstein signed the unheard of group from the English backwater
town of Liverpool and then went to London to see if he could get a 45 rpm
pressed. Albums weren’t that big at that
time.
Now,
consider, the Beatles had no reputation outside Liverpool. Was it wishful thinking, invincible hope,
that Epstein actually thought he was going to get a record label to sign this
bunch of boisterous unknowns to a contract?
It just isn’t that easy. But
Brian who ran the NEMS record store in Liverpool was a big account so maybe
that opened the door. You know, it’s not
that big a deal to humor an account, do it, and then he’ll go away.
One imagines
that Brian’s thinking was that John gets his record as a present and then Brian
would proposition him. There are reports
that Brian was successful in this wish.
One can imagine his and the label’s eyes popping wide when the Beatles
hit and big in England. Recreating the
push in the US seemed more than difficult, English groups and rockers had had
no future in the US . They just didn’t
have it. Tommy Steele, a big thing
before the Beatles in England didn’t even make a sound when he flopped in the
US.
When the
Beatles were going to try the US it was a forgone conclusion that there was no
hope that they would succeed. Indeed,
before their arrival in the US an album full of songs on Veejay, a nondescript
label, was completely ignored. The EMI
subsidiary in the US, Capitol Records, had refused the album. Nineteen sixty-four was apparently their
destiny and the result was like tornadoes and a hurricane converging. They owned the airwaves with the same songs
that had been rejected on Veejay.
Epstein has
been derided for not being adept enough to take full advantage of the
situation. Caught in the perfect storm
in his little canoe, what could he do?
He had no experience outside Liverpool, a mere babe in the woods not
only in London but the whole world. How
could he navigate without a compass? Who
was there that could guide him? No one
in the world was any more prepared than he.
The result
was a tragi-comedy. As fate would have
it not only were the Beatles the performers of the century but Lennon and
McCartney were the songwriters of the century.
They turned out songs by the ream.
Epstein signed a bunch of non-descript performers, supplied them with Lennon
& McCartney songs and they all had hits.
Epstein seemed like a genius but he was only a lucky bum.
And what did
it get him? He was sitting across from
the two biggest villains in England, murderers, demanding he give them the
Beatles.
Well, they
didn’t know what Epstein knew. He had
gambled away his own money as well as a large chunk of the Beatles. His control would expire in a few months and
he feared the Beatles wouldn’t resign at which point he would be in ruins. Brian Epstein did not have an ace in the
hole.
The Krays,
their blood up, couldn’t understand that NO was a one syllable word. They called Brian in for another tete a
tete. We don’t know what was said. What we do know is that Brian drove straight
home, locked himself in his room and was found dead the next morning. Whatever was said in the face to face it
prevented Brian from imagining a tomorrow.
-3-
How to get
the context right? In the course of
their careers the Krays in a limited manner were integrated into the Twilight
World between the Underworld and the Overworld.
The Profumo Affair, mentioned before was only a tip of the iceberg. The whole iceberg might be represented by the
rise of Satanism which by the early Sixties was slowly surfacing. The basis of the Satanism was the former
leader of the cult The Golden Dawn, Aleister Crowley. Crowley died in 1947. His cult grew.
His cult was
based on sex magic which aligned him with Freud and Freud’s acolyte the sex
magician, Wilhelm Reich. Thus during the
Fifties and into Sixties this threesome exerted a powerful influence on sexual
mores. Thus, from about the year 1900
Crowley’s ideas and practices, joined by those of Freud and Reich, were slowly
filtering into English society corroding the Godly morality into the
Satanic. The manipulation is represented
in many ways. A transition point from
the Godly religion to the Satanic religion happened in 1966. In that year Time magazine in the US
published an issue with the cover asking the question, Is God Dead? The answer of course was Yes. This caused a short uproar from the
Christians which was probably suppressed.
Unnoticed for what it was was a novel titled Rosemary’s Baby published
in the same year followed by a movie version in the next year in which Rosemary
gave birth to the Son of Satan, little Andy.
Thus, the symbolic transfer from the Godly to the Satanic was
effected. It is no coincidence that the
Manson Affair took place in 1969 in Los Angeles.
It may be a
coincidence but the Sgt. Pepper’s LP of the Beatles was released in 1967 with
its cover that amazed the world. The
cover has been a topic of conversation ever since, now fifty years later. Now the instigator for the design of the
cover was Groovy Bob Fraser who was at time under pressure from the Krays to
deliver the Beatles to them.
The hard
work was done by two other artists, Peter Blake and Jill Haworth with possible input from
McCartney. The cover is open to
interpretation and been interpreted in different ways, none very
satisfactory. I have little knowledge of
a correct reading of the cover and offer this as a mere possibility, maybe
unconscious on the part or the artists but this interpretation fits the social
conditions of the times as well.
The official
explanation is that it is an allegory for the Beatles’ transition from the Mop
Tops to a serious R&R band. This is
certainly valid. The cover shows the
Beatles as dead and buried along with their ghosts looking on standing to the
left of their reincarnation as Sgt. Pepper’s Lonely Hearts Club Band.
Still, as
there is also a transition from the Godly to the Satanic the scene might also
be read as the death of God, as the Beatles are in somber colors and the birth
of Satan in the gaudy colors and bizarre outfits of Sgt. Pepper’s. Remember the album was released in 1967 after
the Time cover, the book Rosemary’s Baby and more or less simultaneously with Roman Polansky’s movie version.
Filling the
rest of the cover is a gallery of 70 historical figures. While these are supposed to represent the
Beatles’ close influences actually only 20 some were recommended by the Beatles
while one of Lennon’s choices, Adolf Hitler, was rejected. That means that the rest of the pictures were
chosen by Groovy Bob and the artists Peter Blake and Jill Haworth, with
possible input by others. If one
examines the carefully they make the major influences of the English mind of
the generation with generous overlap to the US.
At the left
top of the cover, overlooking the assemblage, is the dominating face of
Aleister Crowley. So, an immediate
connection with Satanism is made.
Running through the photos and their portrayals a rather dark influence
on the mind of the generation is indicated.
This is
perhaps to be expected given the youthful experiences of the generation. It comes clearer why the English musicians
chose the Negro blues as their means of expressing their psyches. Their psyches were borne down by the sorrows
of the Forties and Fifties. Remember the
generation only began expressing itself at the end of the Fifties and the
beginning of the Sixties. Both the
Fifties and the Sixties are sacred decades.
While the
Beatles began as chirpers they rapidly turned dark and brooding. And that in such a manner that Charles Manson
is said by some to be their disciple.
Emerging just behind them were the Rolling Stones, a truly dark and
nasty group that openly embraced Satanism.
They also passed through Groovy Bob’s Academy of Darkness. Here they especially came into contact with
avatars of darkness.
As noted Bob
Fraser spent the first couple of years in NYC learning his trade. He met another avatar of darkness there, Andy
Warhol. Into the group came the founder
of the US Church of Satan, Anton La Vey from San Francisco. Also inducted into Satanism in a serious way
was the Angel of the Hipsters, Marianne Faithfull. She would be a sort of guide for her paramour
Mick Jagger of the Rolling Stones.
Let us leave
the Fraser crowd for a while and return to the Krays who would become involved
with the Fraser set. While the Twilight
World of the hipster underground was becoming enmeshed in the toils of
Satanism, the ideology also influenced the Overworld. The Profumo Affair expressed the Overground
political cadre mixed with the Twilight World, the Underworld and the Homosexual
underground as epitomized by Lord Boothby.
The
Homosexual underground was especially nasty while intimately involved with the
Underworld of the Krays. The homosexual
influence in England during the Sixties is astounding. This group, that included the politician Tom
Driberg who was influential with Mick Jagger was especially enamored with young
boys and men, thus guilty of innumerable
charges of statutory rape. One of their
sources for boys came through Ronnie Kray who had access to boys from
orphanages. The boys were checked out
used and returned, something like a lending library. On at least one occasion a boy was murdered,
dismembered, stuffed into a suitcase and left by the side of the road. There was an attempt to expose Boothby but he
was able to publicly defy and chastise the newspaper that tried.
The matter
came to a head when Ronnie Kray lost his.
By 1966-67 the Krays were riding high, open celebrities, seeming
invulnerable to the law. But then, in a
fit of exuberance Ronnie thought himself superior to Boothby, threatening him
and knocking him about. Unrestrained
violence was verboten in Boothby’s homosexual underground. So, in beating Boothby Ronnie signed the
Kray’s arrest warrant. The good reason
for arresting the Krays was the murder of a villain, Jack McVie, and the means
for putting the Twins away for life. The
real reason, I maintain, is that when Ronnie used violence on Boothby, the
latter realizing his danger turned the police loose on the gangsters to do their
job. As his procurer, Boothby may have
been protecting Ronnie.
The Kray
reign of terror, then, effectively came to an end in 1968 when they received
life sentences. In the meantime they had
begun their takeover attempt of the music industry. I am going to concentrate on only one thread,
that of Robert Fraser along with Spanish Tony Sanchez.
Groovy Bob
through Warhol was into Satanism. He
brought Kenneth Anger of LA over. Anger
was an all around weirdo and bore L-U-C-I-F-E-R tattooed in big letters on his
chest. He fancied he was the Great
Satan. As a Satanist he was associated
with Anton LaVey of SF. Also a
homosexual he made a series of short films that allowed him to bill himself as
an underground filmmaker. His films
aren’t much but people who like that sort of thing think they’re great.
Through
Fraser Anger became familiar with Marianne Faithfull and hence Mick
Jagger. Marianne especially became
involved in Satanism on the one hand through the Satanic Process Church Of The
Final Judgment and on the other being familiar with Satanic literature
including ETA Hoffman’s The Devil’s Elixir and Bulgakov’s The Master And
Margarita. She apparently really
internalized the books.
It should be
noted that when the Stones are mentioned here it really means the two
principals Jagger and the guitarist Keith Richards. The other three Stones are not involved in
the first two’s escapades. Of them,
Keith became a total junkie with substantial needs. There to fill those needs was Fraser’s heroin
dealer Spanish Tony. The Stones
(read: Jagger and Richards) gave him the
nickname simply because he was Spanish.
Tony then
became Keith’s main supplier and almost a member of the inner circle very
closely connected. As mentioned one of
the titles of his books was I Was Keith Richards’ Drug Dealer. Now, Keith put Tony on salary at 250 pounds a
week or 18,000 pounds a year, an astonishingly high salary for the times. Keith was not known for being that
generous. There must have been a
reason. Unable to get their hooks into
the Beatles I’m speculating that they forced Tony on Keith’s payroll and were
taking a substantial cut of Tony’s pay as a way to get a hook into the Stones
or at least part of the take. At any
rate Tony became for all purposes a sixth stone while appropriating Mick’s
castoff Marianne for his own.
At one time
Tony set up a club with gang money provided either by Albert Dimes or the Krays
called the Vesuvius. As many key music
figures attended the opening it may be assumed that whoever was behind Tony
thought that it would become a real money maker. It didn’t pan out. Tony didn’t know how to manage it.
Eventually
Tony’s presence wore thin while with the Kray’s in prison control became a
little looser. Conditions between Keith
and Tony became strained and more distant.
Keith was living in Switzerland while Tony was in England. Keith still needed his dope so he would have
Tony fly to Switzerland with a supply.
Tony wasn’t a fool so he was appropriately suspicious of a set up. He didn’t carry himself, he employed a mule
for that.
He also
feared for his life thinking, probably with good reason that Keith would have
him killed. Indeed, Ronnie died before
Reggie and Reggie Kray died in 2000.
Tony immediately faked his death and disappeared. So far no record of Tony’s death exists. Keith, of course, is going along as merrily
as ever. Although, Anita Pallenberg’s
recent demise was taken hard by Keith.
Our condolences.
-4-
It should be
noted that nothing of this is reported by Pearson as he may not have been aware
of portions of it while much of it occurred after 1973 when his book was
published. When he says that he was
learning things he didn’t want to know perhaps the Boothby and Satanist aspects
are what he is talking about or perhaps he knew little or nothing about
either. At present there is a fair
amount of information about the homosexual network that revolved around Boothby
while, so far as my researches have taken me there is not much about Robert
Fraser and his Satanist influence on the scene.
I have seen nothing relating Satanism to the Sgt. Pepper’s cover
although there is evidence that McCartney knew something about the Satanist
scene as he should have from association with Fraser.
It is
important to know that there are degrees of familiarity. For instance, by the late Sixties, Satanism
was in the air. I, for instance, heard
references but I found it incredible that anyone could believe in the existence
of Satan at that late date. I thought it
was like an interest in the Rosicrucians or some such. I know people who evidently were familiar
with the Satanist Anton LaVey but I had never heard of him to that point while
if I had I had no interest and if I had I wouldn’t have had the time or
inclination to search further.
Yet, looking
back, Satanism was quite strong. As far
as I was concerned the strong connection of Jimmy Page, the guitarist for Led
Zeppelin was merely rumor. As I was to
learn, not so. The Eagles’ Hotel
California song refers to La Vey but it made no connection with me although
many were in awe of it. When I began to
study the Beatles, Stones and British rock scene the Satanism became more real.
While one
may think that it was only rock and roll the fact of the matter is that the
rock groups and personnel were educating a generation or two and teaching them
Satanic ways while disparaging God.
Drugs, sex, Satanism, revolutions and rock n’ roll, a neat package. Massive stadium filled concerts. Hypnotic rhythms, the madness of crowds,
suggestive lyrics, wild hysteria in the stands, a perfect storm for implanting
post hypnotic directions. The Rolling
Stones were probably the leaders. The
apex of the whole thing, from the English side, occurred in 1966-67. That was really the end or the beginning of
the end of Swinging London. As the
Stones sang: It’s all over now.
Two key
events were the Redlands bust that sent Jagger and Richards to jail, albeit for
a very brief time while Groovy Bob Fraser was caught in the snare and did some
real time. He never recovered on his
release in 1968 so as the lynch pin of that particular musical moment, things
fell apart and English R&R entered a new and particularly potent phase that
might be called The Sixties Part 2.
In the US
where the Fifties style of R&R had been blown away by the British Invasion
a recovery began in ’66-’67 that restored some balance while leaving Swinging
England behind. The Hippie phase began that triumphed on both sides of the
Atlantic.
To return to
London. Satanism had taken hold and a
man named Donald Cammell decided to make a movie portraying the seedy side of
London and R&R and did a bang up job of it.
He chose as his lead actor Mick Jagger and some of the Stones entourage. Marianne Faithfull was slated to play the
female lead but she contracted pregnancy and was replaced by Keith’s
girlfriend, Anita Pallenberg.
Donald
Cammell was a lost soul. His father had
been an intimate of the arch Satanist Aleister Crowley and had written a
biography of him. Donald Cammell had
known Crowley. One might say he was
raised on Satanism. At one time a
successful portrait painter, he had grown weary of the discipline seeking
another side of life out there on the wild side in the degenerate world of
Bohemianism.
From
painting he edged into movie making. He
was something of an auteur playing out his subconscious on the screen and not
all so subconscious. He was at the time
married to Debra Dixon, a model of some taste.
Not much has been written about her, but she seems like a subject of
some interest but perhaps few sales.
Cammell’s
movie unites the most significant trends of the Sixties. If you have the requisite background
knowledge it makes for a better movie.
The Sixties had seen a Negro invasion of England mostly from the islands
of the West Indies. As was expected
there was resentment and resistance to this invasion that was overruled by this
what? evangelical religious notion of the brotherhood of man and White guilt
for having conquered the world? Who are
these devious people who have infiltrated the power centers of the world in
such a way that they can negate the will of the majority. Who can force on the majority their
Weltanschauung that defies all human nature?
It seems to be their will that as the West had conquered all peoples
that those peoples will now invade the West and destroy its civilization. Who are they?
What are their wellsprings of power?
Still, while Negroes kept on coming there was no place for them to
live. No Englishman wanted to rent to
them.
The problem
was solved, in part, by an enterprising Jew whose English name was Peter
Rachman. Rachman too had survived the
war but was permanently ditso by it although according to his biographer
Shirley Green (Rachman: The Slum
Landlord Whose Name Became A Byword For Evil) the people who knew him well
spoke well of him, but the people who knew him well were sleazy people too. He probably didn’t have much of a notion of
how people perceived what he was doing.
He finagled
decrepit properties which were well beyond the fixer upper stage of
deterioration, well into the tear down stage, of which there appears to have
been plethora in the Notting Hill area and rented them piecemeal to the
Negroes. As they had little money
Rachman would rent out each room of each house, perhaps to two or three
tenants, he would rent the toilet as a separate residence. It was amazing how many people he could pack
into a falling down house. Much of the
rental money came from government subsidization.
The Negro
men had no trouble finding White women to cohabit with them, then put out on
the streets as prostitutes; in fact the two key women in the Profumo Affair
came from this environment while pros Mandy Rice was Rachman’s mistress. The house Cammell used in the film was one of
Rachman’s located on Powis Square in Notting Hill.
As a Bohemian Cammell was also interested in
crime, as a Kray type criminal is a co-protagonist with the Jagger lead. The actor James Fox was required to immerse
himself in the gangster life style for months under the tutelage of David
Litvinoff, he who had his mouth widened by Ronnie’s sword. It was a devastating experience that
sidelined him from acting for years.
Jagger plays
Turner, a rock star whose career has entered the downhill slide. His living in Notting Hill was proof enough
of how far downhill he had slid. So, in
an amazing but degenerate, Satanic, way Cammell ties the whole period
together. The images are accurate
portrayals of the ideals of the class on both sides of the Atlantic. While the movie was filmed in 1967,
production problems delayed its release until 1970, then heavily edited, even
expurgated, by which time its impact was lost.
The second
key event was the Redlands bust that took place at Keith’s Redlands house in
Sussex. The reporting of this event usually
reflects amazement that the police would arrest drug users. Drugs were illegal. Everyone in the US who used marijuana lived
in fear of being arrested. The sentences
were draconian. Paranoia was one of the
most used words of the decade. People got
incredibly long sentences for possessing one joint. Murderers were released during the Sixties
after serving perhaps only three years put a pot smoker could disappear for
decades.
Anyone as
high profile as the Rolling Stones who were synonymous with heroin and drug use
in general, rather exaggerated or not, ought to have been aware that they were
under surveillance. There are murky
circumstances surrounding their bust but then there may be murky circumstances
surrounding any bust. A couple of people
are sitting smoking on a rock in the middle of a forest when a policeman
strolls up? Well, right.
In the case
of the Stones’ bust they were in Keith’s isolated house making no disturbance
when a couple dozen cops burst in. Yes,
somebody must have notified the police.
It is not my intention to go into the details of the bust as they are
well described in several books. In
fact, Simon Wells wrote a 300 pager about it:
Butterfly On A Wheel, The Great Rolling Stones Drug Bust. A good demystifying account can be found in
Simon Spence’s history of Andrew Oldham’s Immediate Records label in the
chapter It’s All Over Now.
What is
important for this essay is Mick Jagger’s reaction to the bust.
-5-
The
difficulty here is not what happened but the underlying psychology. The world as it existed before WWII had
disappeared by war’s end. The
generations that spanned WWI and II enduring the extreme economic uncertainties
of the thirties had left their mark on those generations. The Generation from 1938 to 1945 that became
aware in the fifties knew nothing of what their fathers and mothers experienced
while they reacted to the world that existed to their senses, thus there was no
gradual transition through generations.
The interconnectedness had been cut off cleanly and sharply as the
post-war world began.
The old
forms, especially musical forms died away while the post-war musical forms
gradually shaped into the music of rock and roll. That musuc was alien to the
war and pre-war generations, which had stopped evolving under the stresses of
memories of the Depression and WWII.
Thus, there were not only the normal generational differences but youth
was virtually a different species, indeed, the name teenagers first came into
use at this time. The older generations
did not want to share power with a generation they couldn’t understand and
actually despised so the up and coming young were shunned by the older
generations who couldn’t understand what the younger generation ‘wanted.’
This was
made clear to us when Jagger fresh from jail after the bust was summoned to a
meeting, delivered by helicopter, with the people who were basically
persecuting him and demanded that Jagger tell them, the older generation,
exactly and specifically what his generation wanted so they could give it and
understand what was going on so the conflict could be ended. Of course, Jagger was no spokesman for the
generation, he was just a singer in a rock and roll band. I’m sure he hadn’t a clue about what was
puzzling them while he obviously had no answers.
My
understanding of it was that the generation didn’t want anything out of the
ordinary, we just wanted to live our lives in the manner we chose. There wasn’t anything to understand.
The world as
presented to the generation was just different than the pre-war and war that
the older generations were trying to replicate in this different world. While they had their Depression of which we
knew nothing, we were growing up in the shadow of Hiroshima. The A-bomb and instant annihilation was an
ever present threat. So they mocked
Jagger for not being the spokesman of the generation and derogatively dismissed
him. While he arrived stylishly on a
helicopter they now showed him the back door to exit and find his own way
home. It really was enough to piss
Jagger off especially as he had just gotten out of jail.
Now, Jagger
and the generation had become aware about 1954-55, after a childhood of
desperation and deprivation. Having
endured that they were faced with their eighteenth and nineteenth years in the
enforced servitude of the armed forces, putting their lives on the line. That was a bleak way to begin life. Who needed it?
Perhaps the
more sensitive turned inward into the world of music, sex and drugs and, more
importantly, revolution. When, in the
movie The Wild Ones, the actor Marlon Brando was asked what he was revolting
against, he replied, Whaddya got? While
that line got a laugh it was probably the truest answer Brando’s character
could give. We wanted a way out but we
couldn’t find the door.
When the
National Service ended in 1960 the generation was freed from an odious
obligation. Jagger and Richards were
freed from that servitude. They joined
the band that Brian Jones was forming.
It appears that Jagger was the only member who was political and he was
Communist/Socialist. He attended the
London School of Economics, the LSE, a Communist college while the band was
developing in 1963. There is an anomaly
in Jagger’s behavior at this time that needs explaining.
David
Bailey, the Vogue fashion photographer, was also a revolutionist, I’m not aware
of his politics otherwise, or, at least a spectacular hell raiser. In 1962 Anthony Burgess published his novel,
A Clockwork Orange. The book was made
into the movie of the same name in 1971. The book sold well but the movie was a real
game changer. It is perhaps the most
Satanic movie ever made and if not most, right up there in the top tier. The 1971 movie, directed by Stanley Kubrick
was pure evil.
I have read
the book but I found it dull and sentimental.
It may be said, I didn’t get it.
The wild boys did, David Bailey did.
He, in conjunction with Jagger bought the movie rights from
Burgess. Further, Bailey had a plan to
make a movie. He went to New York,
perhaps to shop the book around and raise money but ended up selling the rights
to the artist Andy Warhol, hell raiser deluxe.
Andy was just getting into making his special vision of movies.
Bailey took
Jagger along. Where Jagger got the money
to buy in isn’t clear. And why Bailey chose
Jagger to join in is mysterious too. It
is true that at the time Bailey was dating the model Jean Shrimpton and Jagger
was dating her sister Chrissie but Bailey was very successful and worldly while
Jagger was a college student and a fledgling unknown singer in an amateurish
rock and roll band. One wonders what
Bailey saw in Jagger that turned out to be justified. Perhaps there is something involved in the
London School of Economics that we don’t know about.
At any rate,
unless Jagger had funds that we don’t know about, Bailey paid Jagger’s way to
NYC for whatever reasons we don’t know about where the duo sold the rights to A
Clockwork Orange to Andy Warhol. All
three, Bailey, Jagger and Warhol become fairly close the rest of their lives
until Andy died for real in 1987.
Warhol did
make a movie said to be based on the book but you couldn’t tell it by watching
the movie. The rights eventually ended
up in Kubrick’s hands who made the commercial film. Bailey and Jagger returned to England. At any rate Jagger had connected solidly with
Warhol and that would payoff when the Stones arrived in the US in 1964.
Upon
Jagger’s return to England, the career of the Rolling Stones began. The first period was from 1963 to 1966 at
which time according to Keith he and Mick and run out steam, completely
exhausted. A short three years before
neither Jagger nor Richards had written a song; by 1966 after a spectacular
series of hits they had written themselves out, not unlike Dylan whose first
phase also ended in ’66. Thus, as the
First Sixties ended the Beatles, Stones and Dylan, the three most important
artists of the First Sixties and, indeed, perpetually from then on, were in
disarray. All three had to reinvent
themselves just as the establishment of Satanism took place. What a coincidence, hey?
Still, for
Jagger and Richards ’66 and ’67 would be transformative years, the
transformation made urgent their arrest for possession of drugs. By 1966 the Stones as a group and Jagger and
Richards specifically were thought to be heavily into drugs. They may or may not have been but if so it as
mainly LSD. LSD was only made illegal in
1966 so that in 1967 it was kind of edgy in my opinion to prosecute for it as
any hippie used pre-1967 may not have known it had been made illegal.
The drug
charges were extremely flimsy. Jagger,
for instance, was convicted on the basis of having four tabs of prescription
amphetamines. Amphetamines also had been
legal over the counter until 1964 when retail sales were stopped but prescriptions
were still legal so Jagger’s defense was still valid. Perhaps that is what so enraged him, the
charge was not only trumped up but invalid.
Richard’s
charge also was very questionable. He
was charged with keeping a house for pot smoking. Absurd on the face of it, although he and his
friends did smoke marijuana. But, there
is justification for both to believe that they were singled out as high profile
examples.
The effect
on Jagger’s psyche was devastating.
Depending on how serious his Satanic investigations were before his
arrest he definitely turned Satanic after.
Marianne Faithfull herself was deeply into Satanism bringing such texts
as Hoffman’s The Devil’s Elixir and Bulgakov’s The Master And Margarita to his
attention. The devil’s brew began
working on his mind. The first
manifestation was the disc Their Satanic Majesties Request in which Jagger
sings in the title song: Let me
introduce myself… and the introduction was to Satan. At that point, then, Jagger was beginning to
assume his role as the Great Satan. He
opposed himself to God on the one hand and to the British government on the
other as British passports began with Her Britannic Majesty…Requests….
As this mood
or fantasy was developing Donald Cammell the movie maker showed up to offer
Jagger his role in Cammell’s movie Performance which began filming in July of
1968. This film role was to have an even
more devastating role on Jagger’s psyche as it defined his character. Marianne who was close to Jagger at that time
said that he began as one person and came out another and never left the role
again.
Indeed, the
notion of being Satan fermented in his mind probably accentuated by the
Satanist Kenneth Anger with whom Jagger collaborated in Anger’s film projects
into 1972. Having finished filming
Performance Jagger concluded he too could make a film expressing his own
anger. That film was made at the end of
’68 titled Rock And Roll Circus. British
intelligence was nicknamed The Circus so once again Jagger voiced his
resentment of the government.
The film is
an alright Rock and Roll film while as a first effort is not all that bad. As with all Rock and Roll films music is
front and center. The invited audience
are all dressed in yellow and orange Munchkin outfits for some reason, colorful
enough. The message of the film is saved
for last as the band plays Sympathy For The Devil. During a long instrumental Jagger gets down
on his knees and grovels about with what, I suppose, is meant to be a Satanic
leer; then he slowly pulls off his shirt, standing up to reveal a tattoo, or
inking I hope, on his chest spelling out L-U-C-I-F-E-R identical to the tattoo
on Kenneth Anger’s chest. Thus, one is
led to believe, the metamorphosis is complete and Jagger has become Satan. One toke over the line.
Then in 1969
Jagger collaborated with Anger in his short film, Invocation To My Demon
Brother. The movie represents a Black
Mass in which Jagger is credited with a part, or appearance, but I couldn’t
pick him out. He did however perform
what purports to be a sound track on the synthesizer, one atonal riff repeated
throughout the eleven minute film.
Then, to cap
the period, on December 6th, 1969 came the Altamont disaster for
Jagger and the Stones. The concert was
ill conceived and poorly executed. The
choice of location was abominable. The
Altamont Pass from the Bay Area into California’s Great Valley in December is
cold and very windy, strong breezes. The
so-called race track they performed on was just a big barren field, a kind of
natural bowl. The track had last served
as a Demolition Derby so a few old wrecked hulks were strewn across it. A very unpleasant place to sit for a few
hours waiting for a concert. Put anybody
in a bad mood.
This was not
1965 when some fresh faced kids were trying out marijuana it was now almost
1970 and the audience was battle hardened have been blowing their minds out for
at least five years and they looked it; a fairly depressing scene. Of course the Hell’s Angel Motorcycle Club
was providing security. These guys were
some of the most objectionable people in the Bay Area. But don’t say I said it.
So, in this
scene from a frigid hell Mick Jagger in the heights of his Satanic glory,
dressed as God only knows what, pranced on stage and launched into Sympathy For
The Devil. The scene should have
scripted by Charles Manson. There was a
killing? What else would you expect?
True, there
had been changes of sites each spiraling downward but then events reach their
natural levels, don’t they? The Sixties
had hit rock bottom and then they were no more.
Where was there to go from there?
Fresh troops
were arriving. Leading the Satanic corps
was Jimmy Page and Led Zeppelin. Mick
and the Stones who were having management problems with the equally Satanic
Allen Klein changed over to the more gentlemanly Prince (no kidding) Rupert
Loewenstein who reorganized the group’s concert methods and put them on the
road with stadium concerts to make money as Klein had confiscated their
intellectual properties to all the pre-1970 material.
Continuing
with Clockwork Orange themes Mick put on some of the raunchiest shows ever
seen, not only stretching the envelope but makeing a new much larger one. Corruption of youth was Mick’s business. But that’s another story; this one ends here.