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David Litvinoff

David Litvinoff (sometimes Litvinov; born David Levy; 3 February 1928 – 8 April 1975)[1] was a consultant for the British film industry who traded on his knowledge of the criminal elements of the East End of London. A man for whom there are few truly reliable facts, it is unclear how genuine his expertise really was, though he certainly knew the Kray Twins and was particularly friendly with Ronnie Kray, according to a biography published in 2016.[2] He entertained his showbiz friends with stories of the Krays' activities[3] and his niece Vida described him as "the court jester to the rich, smart Chelsea set of the sixties".[4]

Early life and family

[edit]
David's half-brother, Emanuel Litvinoff.

Litvinoff was born in 1928 at Hare Marsh,[5] Whitechapel, London, into a Jewish family with Russian origins. His mother and her first husband had fled tsarist pogroms in Odessa in 1913. She had four children with her first husband and five including David Litvinoff with her second husband Solomon Levy whom she married after the first was lost after he joined the Russian army in 1917. He took the surname of his mother's first husband rather than his biological father.[6] His older half-brothers were the writer Emanuel Litvinoff and the historian Barnet Litvinoff. The family were brought up in relative poverty, supported mainly by Mrs Litvinoff's earnings as a dressmaker.

Jazz and blues

[edit]

Unlike his step-brothers, little is known of David's early adulthood but he seems to have been a well-known figure in the jazz clubs of Soho in the 1950s. He knew George Melly who he first met at Cy Laurie's jazz club in Great Windmill Street[7] and he was also associated with Mick Mulligan. Melly, Mulligan and Litvinoff were all present at what Melly described as a near riot at the Institute of Contemporary Arts in London at what was supposed to be a serious lecture by Melly on "Erotic Imagery in the Blues" but turned into an impromptu stag night for Melly who was getting married the next day.[8] Litvinoff had a lifelong love of Blues music,[9] and left detailed instructions for the disposal of his music recordings on his death,[5] which mainly took the form of reel to reel tapes.[9] When he later had a cottage in Wales, it was described by a local as being wall to wall recordings, including everything that Bing Crosby had ever done up to the latest from Bob Dylan, of whom Litvinoff was a huge fan.[10]

David Levy or David Litvinoff?

[edit]

Litvinoff invented a complicated persona for himself that disguised his origins and family background. Iain Sinclair said "he had made himself over, so that even the sound of his voice on the telephone gave nothing of his background away".[5] Stories of beatings he had given or taken, people he knew or could put you in contact with all had to be taken with a large pinch of salt. Stories of Litvinoff's activities are legion, but all second hand and often differ according to the teller. According to Sinclair: "Litvinoff was everybody's best friend, he specialized in it. That was his profession. In your company, he was the perfect audience: witty, up to speed with the gossip, seductive".[5] John Pearson remarked on Litvinoff's natural intelligence and described him as "entirely self-taught and self-invented".[4] His friend George Melly, in Owning Up, described him as

The fastest talker I ever met, full of outrageous stories, at least half of which turned out to be true, a dandy of squalor, a face either beautiful or ugly, I could never decide which, but certainly one hundred percent Jewish, a self-propelled catalyst who didn't mind getting hurt as long as he made something happen, a sacred monster, first class.[7]

Criminal connections

[edit]
Man in a Headscarf (originally The Procurer), Lucian Freud. Oil on canvas, 1954.

Keith Richards wrote of Litvinoff that he "was on the borders of art and villainy, a friend of the Kray brothers, the East End gangsters."[11] The novelist Derek Raymond said, "Used to know Litvinoff's half-brother David quite well. He managed to kill himself. Which was probably just before he would have been murdered."[12]

In Notorious, John Pearson writes that Litvinoff was homosexual and that one function that he performed for Ronnie Kray, who was also homosexual, was to procure boys for sexual services for Ronnie's friends. Such activities also provided useful material for blackmail purposes.[13] Art dealer Christopher Gibbs said "He didn't have an affair with Ronnie Kray, but he used to pick up boys with him sometimes. I remember being flagged down, in Sloane Street, aged 18 or thereabouts [c. 1956], by this car with Litvinoff in it and these frightfully sinister-looking people. One of them was Kray."[14]

Through Ronnie Kray, Litvinoff met Francis Bacon and Lucian Freud who were friends and used to gamble at Esmeralda's Barn, a gambling club in which the Krays had a stake. According to Christopher Gibbs,[10] the man in Freud's painting Man in a Headscarf (originally The Procurer) (1954) was Litvinoff before he was slashed across the face in an attack (sometime before 1968) by an unknown assailant.[4][5] The Krays were happy to take the credit for the attack as it bolstered their reputation.[4] Pearson claims that Freud gave the work its original name in reference to Litvinoff's function. The painting sold for £1,156,500 at Christie's in 1999. At one time, it had been thought to be a self-portrait.[15]

Mim Scala recalls that around 1960, Litvinoff was the Faginesque head of a small group based at the Temperance Billiard Hall, 131-141 King's Road, Chelsea, that included Eddie Dylan, Brian Masset and Tommy Waldron. According to Scala, "what Litvinoff liked best were little boys, particularly naughty, runaway Borstal boys."[16] Scala described him as "physically quite ugly: thin lips, a huge nose and a prematurely bald head" but with the ability to "talk the birds out of the trees, money out of pockets, boys into bed, and gangsters out of killing him".[16]

After Litvinoff ran up a debt at Esmeralda's Barn, he did a deal with Ronnie Kray whereby he let Ronnie have the end of the lease on Litvinoff's flat in Ashburn Gardens, near the Gloucester Road in Kensington, as well as the use of Litvinoff's young male lover who also got a job at the Barn. Litvinoff continued to live in the flat and the arrangement suited everyone very well.[17]

The Pheasantry

[edit]
The Pheasantry in 2009

In 1967, Litvinoff was living at The Pheasantry, 152 King's Road, then dilapidated flats with a club in the basement that was in the process of turning into a form of artistic commune. Litvinoff worked in Tim Whidborne's studio.[18] Eric Clapton and Martin Sharp of Oz magazine shared a studio there and other residents included Germaine Greer, Robert Whitaker and Nicky Kramer.[19]

After the Redlands raid

[edit]

In February 1967 the British police raided Keith Richards' home at Redlands in West Wittering after having received a tip-off that illegal drugs were being used at a party there. Litvinoff is not thought to have been at the party but according to multiple sources, took it upon himself to find out who the police informer was. Nicky Kramer, a member of the trendy Chelsea set, immediately came under suspicion and Litvinoff and hard-man John Bindon interrogated him fairly roughly before deciding that he was not the man they were looking for.[9] Supposedly, they held him out of a window by his ankles.[20]

Work in the film industry

[edit]

In May 1968 the Kray twins were arrested on charges which included conspiracy to murder. In the autumn of 1968[21] shooting started on the film Performance, (released 1970) written by Donald Cammell and co-directed by Cammell and Nicolas Roeg, and starring James Fox and Mick Jagger. Litvinoff got the job of "dialogue coach and technical adviser". He had been a friend of Cammell since childhood, and through knowledge gained from his friendship with the Kray twins, he was able to introduced the cast and crew to London's underworld.[14] Marianne Faithfull said: "They hired real gangsters ... and a genuine mob boss as adviser. This was David Litvinoff. Part of Litz's job was to be James Fox's tutor in infamy."[14]

John Clark, art director on the film, said: "I did a lot of work with Litvinoff. He was very good on details. All the things for Chas (James Fox)'s apartment: the colours, ashtrays, phones. Litvinoff was a shadowy character. He had this massive razor slash across his face."[14] According to Chris Sullivan in The Times, it was Litvinoff who recruited real life criminal John Bindon to act in the film.[22] Writing about Performance in The Independent, David Thomson calls him "the most brilliant nutter anyone had ever met ... the catalyst – he just brought the whole thing together".[23]

Wales

[edit]

Sometime in 1968, Litvinoff rented Cefn Bedd cottage in Llanddewi Brefi. A stream of notable 60s figures seem to have stayed at the cottage including Eric Clapton, the artist Martin Sharp who designed the album covers for Cream, and Nigel Waymouth who was one of the owners of boutique Granny Takes a Trip. There was speculation that a bearded man with long hair and an American accent named Gerry was actually Bob Dylan, but Christopher Gibbs has said that this was really Litvinoff's "sidekick", Gerry Goldstein.[9] Local legend also has it that the Rolling Stones, Jimi Hendrix and even Yoko Ono visited and that Litvinoff distributed signed Stones LPs.[9] One local saw an invitation to Hendrix's funeral on the cottage mantlepiece.[10]

Litvinoff left Llanddewi Brefi around the end of 1969[10] after being tipped-off about possible police interest in the cottage, returning to London and then going to Australia.[9] On his return he stayed with Christopher Gibbs.[10] In 1977, Operation Julie busted a large LSD manufacturing and distribution network operating partly from Llanddewi Brefi. Although this network is believed to have only been operating from 1969, and there is no evidence of any involvement by Litvinoff, media reports have linked it with his time in Llanddewi Brefi and the music industry figures that he brought to the village.[24][25]

Death and legacy

[edit]
Davington Priory, c. 1910.

From 1972 until his death in April 1975[26] from an overdose of sleeping pills, Litvinoff lived at Davington Priory, Faversham, Kent, (current home of Bob Geldof)[27] which was then owned by the art dealer Christopher Gibbs.[9]

Litvinoff left no published writings under his own name. Gerry Goldstein said that Litvinoff had once supplied material for the "William Hickey" column in the Daily Express newspaper, and his friend the film producer Sandy Lieberson later asked him to write a biography of the comedian Lenny Bruce but that was never completed.[28] There were once rumours in the London book trade, which have never been confirmed, of Litvinoff diaries.[29] Litvinoff was in the habit of recording his phone calls for amusement and the sound of the different voices and he was fascinated by the earliest phone-in radio shows.[10] One witness recalls Litvinoff speaking on the telephone to a confused Brian Jones of The Rolling Stones the night before Jones died.[10] According to Iain Sinclair, Gerry Goldstein, Nigel Waymouth and others together had a large collection of Litvinoff tapes.[29]

Iain Sinclair wrote in 1999 that it was hard to find anyone who remembered Litvinoff as the cost of joining that club was "burn-out, premature senility or suicide."[29]

References

[edit]

Further reading

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

David Litvinoff

View on Grokipedia
from Grokipedia
''David Litvinoff'' is a British film consultant and social figure known for bridging London's criminal underworld with the worlds of art and rock music in the 1960s, most notably as a dialogue coach and technical advisor on the film Performance (1970). Born in February 1928 in Whitechapel in London's East End to a Jewish family, Litvinoff was the younger brother of poet Emanuel Litvinoff and grew up in a working-class environment that shaped his early rebellious tendencies. His life was marked by a remarkable ability to move between disparate social spheres, including the bohemian Chelsea set, Soho's criminal and artistic scenes, and the East End underworld associated with the Kray twins and slum landlord Peter Rachman. He became notorious for his sharp wit, rapid-fire conversation, and volatile behavior, which often led to violent confrontations, including a razor slashing in 1963 attributed to the Krays that left permanent facial scars, and other brutal incidents stemming from disputes with figures such as artist Lucian Freud. Litvinoff's influence extended to popular culture through his close friendship with film director Donald Cammell, which led to his key contributions to Performance, where he provided authentic dialogue, suggested scenes based on his own experiences, and helped infuse the film with the menacing atmosphere of the London underworld. He also interacted with musicians including Eric Clapton, Mick Jagger, and others, influencing rock music's direction in the late 1960s through his exposure to American roots music and his colorful persona that fascinated figures like Jagger. After periods of instability that saw him flee to rural Wales and briefly Australia, Litvinoff died by suicide in April 1975 at age 47 in Kent, England, following an overdose of sleeping pills. His elusive, shape-shifting existence has been chronicled in later works that highlight his role as a hidden architect of Swinging London's cultural intersections.

Early life

Family background and birth

David Litvinoff was born David Levy on 3 February 1928 in Whitechapel, London, to Solomon Levy and Rose Levy. He grew up in a poor Jewish family that had emigrated from Russia to London's East End, where economic hardship was common among immigrant communities in Whitechapel. Litvinoff's mother, Rose, had fled the pogroms in Odessa before settling in England. From her first marriage to a man surnamed Litvinoff, she had children including David's half-brothers: the poet and novelist Emanuel Litvinoff, and Barnet Litvinoff, a historian and biographer of Zionist leader David Ben-Gurion. After her first husband disappeared, she remarried Solomon Levy, and David was born during this second marriage but later adopted the surname Litvinoff from his mother's first husband. The family endured poverty in the East End Jewish community, an environment that shaped Litvinoff's early familiarity with London's diverse and often turbulent social landscape.

Childhood and early influences

David Litvinoff was born in February 1928 in Whitechapel, in London's East End, into a Jewish family. As the seventh child, he grew up in the Jewish immigrant community of the area and felt his Jewish ethnicity deeply throughout his life. His older brother Emanuel Litvinoff became a respected author and poet who publicly confronted antisemitism, notably in a 1951 encounter with T.S. Eliot. In 1939, during the first year of the Second World War, Litvinoff was evacuated from London as a child and suffered abuse during that period. This traumatic experience exacerbated his existing tendency toward mischief and confrontation. Regarded as the black sheep of the family, he was described as homosexual and barely controllable even in his youth. These early years in the East End, combined with the wartime evacuation, shaped his formative character marked by defiance and nonconformity.

Soho years and social ascent

Jazz scene involvement

David Litvinoff was a regular presence in Soho's jazz clubs during the 1950s, where he developed his reputation as an outrageous storyteller and one of the fastest talkers in London. George Melly, a fellow figure in the scene, described him as "the fastest talker I ever met, full of outrageous stories, a sacred monster, first class." His involvement in the jazz milieu complemented a lifelong passion for blues music, which led him to amass a vast collection of reel-to-reel tapes featuring early blues artists and rarities; he was known for copying these recordings and sharing them generously with friends. This encyclopedic knowledge of jazz and blues traditions marked him as a significant, if unconventional, contributor to the era's musical underground.

Early professional activities

In the early 1950s, David Litvinoff worked as a gossip columnist for the Daily Express, contributing material to the "William Hickey" column. This role required him to gather anecdotes about London's elite and social scenes, sharpening his ability to navigate the city and build networks across disparate groups. By the mid-1950s, he had positioned himself as a connector between the bohemian Chelsea set—including figures such as Christopher Gibbs and Donald Cammell—and Soho's overlapping circles of artists, bohemians at venues like the Colony Room, and criminals. His involvement in Soho's jazz clubs provided an early entry point into these networks. Litvinoff gained fleeting public visibility in 1955 through a brief appearance in the British Pathé newsreel "Soho Goes Gay," filmed during the Soho Fair carnival parade; he was shown sitting in the boot of a Messerschmitt bubble car, dressed in a bearskin hat, military tunic, and skimpy black shorts. To sustain himself during these years, he pursued a mix of legal and illegal schemes, including employment at Soho clip joints and participation in semi-legal or illicit gambling operations such as those linked to Lady Osborne, maintaining a precarious existence on the boundary between artistic and criminal spheres.

Underworld associations

David Litvinoff's association with the Kray twins began through his East End background and involvement in London club scenes, where he knew the brothers from upbringing and venues they frequented. He became directly linked to them at Esmeralda's Barn, a Knightsbridge gambling club owned by the Krays, where he spent time and accumulated significant debts. Litvinoff shared with Ronnie Kray a taste for young men, which drew him into Ronnie's orbit and resulted in a period of association during the early 1960s. The relationship soured due to Litvinoff's disrespect and inability to keep quiet, ending their association.

Violent attacks and repercussions

David Litvinoff suffered a series of violent assaults in the early 1960s, widely linked to his underworld associations and his reputation for loose talk. In autumn 1963, he was attacked on the Earl's Court Road and slashed ear-to-ear with a cut-throat razor, leaving permanent distinctive facial scars regarded as a classic underworld punishment for those who spoke too freely. Litvinoff himself later described the scars as "just a little present from the Kray twins." Around the same period, he endured another brutal incident in which he awoke naked and bleeding, with his head shaved, bound to a chair that had been suspended from the railing of his fifth-floor balcony overlooking Kensington High Street. This theatrical punishment has been attributed both to the Kray twins and, alternatively, to artist Lucian Freud in the aftermath of a bitter personal dispute. Lucian Freud painted a portrait of Litvinoff in 1954 and thus predates these attacks. These experiences of violence and humiliation are believed to have informed certain violent scenes in the film Performance.

Film career

Consultancy on Performance

David Litvinoff served as dialogue coach and technical adviser on Performance (1970), the hallucinatory crime drama co-directed by Donald Cammell and Nicolas Roeg. As a friend of Cammell and a longtime habitué of London's underworld, Litvinoff brought essential authenticity to the film's portrayal of East End gangster culture, drawing on his firsthand knowledge of criminal speech patterns, dress, and behavior. He acted as a crucial conduit to the East End criminal scene, facilitating connections that informed the movie's gritty realism. Litvinoff devoted considerable time to preparing James Fox for the role of Chas, the ruthless enforcer who enters hiding among the counterculture. He supervised Fox for several months, helping him shed his upper-class accent, absorb the mannerisms of a London spiv, and immerse himself in South London's boxing circuits and underworld circles. Litvinoff also arranged for Fox to visit Ronnie Kray in Brixton prison to gain direct insight into the mindset and world of a professional gangster. Complementing this preparation, he applied his expertise in swinging London's style to dress Fox's character in immaculate, streamlined tailoring from Cecil Gee on Shaftesbury Avenue, creating a silhouette more finessed and elongated than traditional Savile Row. He suggested scenes and worked on elements such as the decor of the criminals' interiors and the film's distinctive, menacing language style. Certain violent sequences in Performance drew inspiration from Litvinoff's own experiences, including the infamous head-shaving and intimidation scene that echoed a real-life assault he endured. Through these contributions, Litvinoff helped bridge the film's depiction of violent criminality with the hedonistic rock-and-roll counterculture, exerting a profound influence on its central thematic fusion.

Other credits and contributions

Beyond his consultancy work on Performance, David Litvinoff received few other formal credits and left limited tangible contributions in film and media. He appeared as himself in the Australian experimental documentary Sunshine City (1973), directed by Albie Thoms. In the early 1950s, Litvinoff supplied material for the William Hickey gossip column in the Daily Express. He was later commissioned to write a biography of the American comedian Lenny Bruce, though the project remained unfinished. During his residence in rural Wales around 1968–1969, Litvinoff pursued audio recording interests, producing tapes and transcripts of phone conversations and spoken-word material, including sessions with a local tramp named John Ivor Golding whose dialogue was noted for its Pinteresque quality.

Counterculture connections

Friendships with musicians and artists

David Litvinoff's associations with London's underworld provided an entry point into the counterculture, where he formed notable friendships with musicians and artists during the late 1960s. In 1967, he resided at The Pheasantry, a Georgian building on King's Road in Chelsea, sharing the space with guitarist Eric Clapton and psychedelic artist Martin Sharp. While living there, Litvinoff played Clapton an acetate of Bob Dylan's unreleased Basement Tapes, introducing him to the recordings that influenced Clapton's move away from the psychedelic rock of Cream toward more roots-based music. In 1968, Litvinoff developed a brief but intense friendship with Mick Jagger, who was fascinated by Litvinoff's distinctive vernacular and stories drawn from his outlaw experiences. This connection reportedly shaped elements of Jagger's songwriting, including the gangster imagery in the Rolling Stones' "Jigsaw Puzzle" and the tone of "Memo from Turner." Through his involvement with the Kray twins, Litvinoff also made connections to prominent visual artists Francis Bacon and Lucian Freud, both of whom were regular patrons of gambling clubs such as Esmeralda's Barn, which the Krays operated in Knightsbridge during the early 1960s.

Communal living and travels

During the late 1960s, amid violent repercussions and his work on the film Performance, David Litvinoff relocated to rural Wales. Around 1968, he rented Cefn Bedd cottage in the village of Llanddewi Brefi from Brigadier Powell, residing there until 1969. The cottage became a retreat and communal gathering place for friends from the London counterculture scene, with visitors including Marc Bolan and others who came amid the remote setting, where Litvinoff shared his extensive collection of reel-to-reel music tapes featuring rare blues and Bob Dylan recordings. This period represented a shift to communal living away from urban pressures, though he departed the area by the end of 1969 following a tip about potential police interest.

Later years and death

Final relocations

Following his departure from a cottage in Llanddewi Brefi, Wales, toward the end of the 1960s, David Litvinoff returned to London before embarking on further travels. He then spent a brief period in Sydney, Australia. From there, he relocated to Brogyntyn Hall in Oswestry, Shropshire, the ancestral home of Lord Harlech, for another short stay. In 1972, Litvinoff moved to Davington Priory in Faversham, Kent, a former Benedictine nunnery that his friend, the art dealer Christopher Gibbs, had purchased that year; he remained there as a houseguest for three years.

Suicide and immediate aftermath

David Litvinoff committed suicide in April 1975 at Davington Priory in Faversham, Kent, where he had resided since 1972 as a house-sitter and caretaker for his friend, the art dealer Christopher Gibbs. He died from an overdose of sleeping pills. Litvinoff's behaviour became so intolerable that Gibbs was obliged to move out of the house shortly before Litvinoff's death. A suicide note, hidden in some shirts and discovered three months later by Gibbs, contained instructions about his blues music tapes but no apology or expression of regret. His death marked the end of a turbulent period in his later life, with few immediate public details emerging beyond the circumstances of the suicide.

Legacy

Cultural influence and posthumous recognition

David Litvinoff's most lasting cultural influence stems from his contributions as dialogue coach and technical advisor on the 1970 film Performance, directed by Donald Cammell and Nicolas Roeg, where he profoundly shaped the film's tone, dialogue, and imagery. The work is steeped in Litvinoff’s personality and aesthetic, recreating the hidden criminal milieu of late-1960s London through his lightning-fast, almost psychotic switches of language that saturate the film with menace and authenticity. His input extended to specific scenes and the decor of the criminals’ interiors, converting real-life underworld elements into the film's dizzying convolutions of sense and logic. Litvinoff's linguistic style and outlaw persona also bore lasting echoes in the Rolling Stones' late-1960s output, notably in the gangster verse of "Jigsaw Puzzle" and the overall tone of "Memo from Turner," the main theme from Performance. Posthumously, Litvinoff was the subject of the 2016 biography Jumpin' Jack Flash: David Litvinoff and the Rock'n'Roll Underworld by Keiron Pim, which draws on extensive interviews to portray him as one of the great mythic characters of 1960s London and a prime mover in its shadowy intersections of music, art, and crime. The book reexamines his hidden but significant role in shaping the era, presenting him as a wanderer between worlds whose marginality and unquantifiable brilliance left a subtle but indelible mark. He continues to be remembered as a catalyst bridging the Chelsea set, Soho bohemia, pop stardom, and the criminal underworld in 1960s London, with Performance standing as the high point of his influence and the principal vehicle for his posthumous recognition.

References

  1. https://www.theguardian.com/film/2016/jan/19/the-real-life-jumpin-jack-flash-how-david-litvinoff-shook-the-60s
  2. https://www.imdb.com/name/nm0514840/
  3. https://www.the-tls.com/lives/biography/rubber-and-acid
  4. https://www.theguardian.com/books/2016/jan/31/jumpin-jack-flash-david-litvinoff-rock-roll-underworld-keiron-pim-review
  5. https://www.nytimes.com/2011/10/03/books/emanuel-litvinoff-poet-dies-at-96.html
  6. https://www.vice.com/en/article/a-fateful-hunt-for-a-buried-stash-of-the-greatest-lsd-ever-made/
  7. https://www.bbc.co.uk/blogs/wales/entries/9e8918d9-93ad-3e07-bb37-1793e68ed8bc
  8. https://www.theswinging60s.com/david-litvinoff/
  9. https://www.spectator.com.au/2016/02/david-litvinoff-queeny-aesthete-or-street-hustling-procurer/
  10. https://www.theguardian.com/books/2016/jan/28/jumpin-jack-flash-kieron-pim-review-david-litvinoff
  11. https://www.imdb.com/name/nm0514840/bio/
  12. https://flashbak.com/the-kray-twins-and-the-esmeraldas-barn-casino-in-knightsbridge-434152/
  13. https://www.gq-magazine.co.uk/article/performance-film-50-years-on
  14. https://www.3ammagazine.com/3am/minute-9-performance/
  15. https://www.theguardian.com/film/2015/jul/21/james-fox-sandy-lieberson-how-we-made-performance
  16. https://lukehoney.substack.com/p/performance-1968
  17. https://performancethefilm.com/david-litvinoff/
  18. https://rockandrollogist.wordpress.com/2020/07/17/the-pheasantry/
  19. https://www.telegraph.co.uk/obituaries/2018/07/30/christopher-gibbs-dandy-antiques-dealer-aesthete-friend-mick/
  20. https://www.express.co.uk/life-style/life/649069/Real-Jumpin-Jack-Flash-feature-life-biography-book
  21. https://greatwen.com/2016/02/25/uncovering-a-london-ghost-the-half-life-of-david-litvinoff/
  22. https://www.amazon.com/Jumpin-Jack-Flash-Litvinoff-Underworld/dp/0099584441
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