Playing the Indian Card

Showing posts with label Sixties. Show all posts
Showing posts with label Sixties. Show all posts

Wednesday, March 05, 2025

Who Killed the Counterculture?

 


On a recent JRE episode, Joe Rogan and Bill Murray reminisced sadly about the counterculture of the Sixties. They read a piece by Hunter S. Thompson that described it as a wave that suddenly broke and disappeared. There was a magical spirit of confidence then that was lost, and both pondered why. We all knew we were going in the same direction, we were in the right, and victory was inevitable. But at the same time, we did not know where we were going.

They seemed to agree that spirit died when the Nixon administration made LSD illegal in 1968.

That might be so; but it seems to me there were still plenty of psychedelics around after that date. And LSD was already illegal in Canada in 1962, and the same counterculture throve in Canada, in the same years. We had the Georgia Straight, and Yorkville, and Rochdale, just when America had Haight-Ashbury and The Village Voice. And our hippiedom died around the same time the American scenes died.

I think it was something else, something that came later. LSD was only a gateway drug. It did not account for everything. There was also that excited hopeful spirit in the folk boom of the early Sixties, in early rock and roll, and in the Beats, before drugs became generally involved. “Bliss was it in that dawn to be alive.” 

The counterculture was actually the rebellion against modernism. The culture it was countering was modernism and scientism. It began in the old Victorian walkups of the Haight, which were being stripped of their ornamentation to conform to the modernist style: “a house is a machine to live it.” Hell no. In reaction, hippies moved in and preserved the old Art Nouveau ornamentation they found preserved from the general rebuilding of San Francisco after the 1906 earthquake. And that same Art Nouveau style inspired much of the art of the counterculture. Natural, flowing, organic forms. Avoid geometry and hints of the machine. We are more than machines.

It was a rebellion against the emphasis on STEM in American education in the early stages of the Cold War and the technological race with the Russians; the popular hysteria over Russia getting the bomb, and then sputnik. I recall my college buddy’s Firesign Theatre albums mocking “More Science High.” And we all knew what they were talking about. Science and math were soulless. We wanted “more poetry in the classrooms.”

And what, after all, was the predictable end point of all this emphasis on science and on competition and on material progress? Mutual assured destruction. Our leaders said it themselves.

Hell no; we won’t go.

And the apex of all, the arch-villain, was B.F. Skinner and behaviourism. Which saw us all as lab rats condemned to a meaningless life on the exercise wheel. “Beyond Freedom and Dignity.” Skinner said we had no soul.

Psychedelics were significant because they were the disproof of all that. Psychedelics were not fun. They were omore often terrifying. There were inevitably “bad trips.” Why would anyone actually volunteer to, in effect, go temporarily mad.

They were a necessary gateway because they proved there was a world beyond the material. People dropped acid to see God. 

But there was of course a contradiction here too: drugs were a material means to transcendence. It was kindergarten. Relying on a chemical was still not making the leap. 

Some made the leap with suicide. Hence Heaven’s Gate. Hence the 27 club. It seemed to make sense. The rocket ship to heaven. 

The majority chickened out, and became yuppies. Back to the exercise wheel and shut up.

But the logical move was to religion: the Jesus Freaks, Transcendental Meditation, the Hare Krishnas, the Moonies, those exploring Eastern mysticism.  We were heading for a Great Awakening.

And what killed it then was not the banning of drugs; most people lost interest in psychedelics naturally once they’d done the experiment. It was the popular anti-cult hysteria of the seventies and eighties. This was the empire striking back. Waco was stormed. And, of course, Charlie Manson, or the People’s Temple, and other frauds, did much to discredit the cults.

Young people who joined the new religions were kidnapped by professionals hired by their parents and “deprogrammed.” Whether or not the religious groups they’d voluntarily joined were brainwashing them, these professionals certainly were. 

That’s what killed it; or at least, threw the rebellion against materialism into a coma for a few generations. 

There are signs we see at last a revival. There is a reason people like Rogan and Murray are looking back now with nostalgia. We are beginning to understand we took a wrong turn, and lost something.

I hear strange echoes of the Sixties when I listen to RFK Jr.; and I begin to remember and feel within me the spirit of that age. Although he is talking about food and drugs, his tones are overtly moral and spiritual. J.D. Vance publicly refers to Catholic moral teaching. Candace Owens converts and declares “Christ is king.” The “New Atheists” of a few years ago seem to have been defeated in the public arena. Bishop Barron and William Lane Craig, their conquerors, have become the more prominent public intellectuals. Jordan Peterson is slowly converting in the public eye, and bringing many followers with him. 

That the revival seems to be rather Catholic is, I think, significant. Catholicism is the most spiritual and least materialist form of Christianity. It is the home of Western mysticism. No “Protestant work ethic”; no “prosperity gospel”; an emphasis on beauty. And, unlike the cults of the Seventies, it has a well-established system of oversight and authority, however imperfect, to prevent scandal, charlatanry and exploitation.

We may, at last, be achieving liftoff.


Thursday, March 03, 2022

Worst Pop Song of the Sixties


A Facebook page was asking recently what people thought was the worst pop song if the 1960s.

The consensus choice was “These Boots Are Made for Walking.”

I disagree. It’s a perfectly decent pop song, with a nice hook—the descending bass line after each chorus. I can’t guess why people dislike it.

Also often cited was “Tiptoe through the Tulips,” by Tiny Tim. Again, a decent song. Presumably folks are reacting to the quality of Tim’s voice and his persona. As a matter of fact, that might be so for Nancy Sinatra as well. Not the song, but the performer.

Cited almost as frequently: “Sugar Sugar,” by The Archies. This is actually a good tune, built around a catchy riff. Again, the problem seems to be the performer, not the song.

For my money, the worst song of the Sixties was ”Incense and Peppermints,” by Strawberry Alarm Clock. Virtually no consistent melody, and the lyrics were pathetic.




Good sense, innocence, cripplin' mankind
Dead kings, many things I can't define
Occasions, persuasions clutter your mind
Incense and peppermints, the color of time
Who cares what games we choose
Little to win, but nothing to lose
Incense and peppermints, meaningless nouns
Turn on, tune in, turn your eyes around
Look at yourself, look at yourself, yeah, girl
Look at yourself, look at yourself, yeah, girl, yeah, yeah
To divide the cockeyed world in two
Throw your pride to one side, it's the least you can do
Beatniks and politics, nothin' is new
A yardstick for lunatics, one point of view
Who cares what games we choose
Little to win, but nothing to lose
Good sense, innocence, cripplin' mankind
Dead kings, many things I can't define
Occasions, persuasions clutter your mind
Incense and peppermints, the color of time
Who cares what games we choose
Little to win, but nothing to lose
Incense, peppermints
Incense, peppermints


 

Thursday, July 22, 2021

Requiem for the Sixties

 


The 1960s was a good idea that went terribly wrong; or at least, there was a good movement underlying it, that then over time got flooded out by a bad one. 

As I saw it then and see it now, the Sixties were a rebellion against the materialism of modern society; behaviourism, demands for conformity, the growth of government and big business control; the rat race. This was headed in a spiritual direction, and ought to have ended in a religious revival. I really expected that to happen. The folk songs were religious, at the start of the decade; everyone was interested in Zen, TM, Eastern Religions. LSD was “mind expanding.” The Byrds publicly converted to Christianity, although no one seemed to notice. Bob Dylan publicly converted to Christianity. Jack Kerouac introduced us all to Zen, and declared himself a Jesuit general. George Harrison went Hindu. The “cults” appeared: the Hare Krishnas, the Children of God, the “Jesus freaks.” I saw it happening; it was starting to snowball.

Politics was there, but secondary. The main thing was to end the war and make drugs legal. That, and civil rights for blacks. But these are libertarian concerns; libertarianism is currently considered on the right. And perhaps was then as well. Kerouac claimed to support Taft; Dylan claimed to support Goldwater. Jerry Brown got hippie support, but this is because he embraced libertarianism: “small is beautiful.” Eugene McCarthy got hippie support, but on the single issue of ending the war. 

There was a Marxist strand too—Marcuse and the New Left—but that was more something you heard about from Europe. That was no more politically mainstream within the hippie movement than “hip capitalism.”

Why did it all go weird? Why were the cults shut down? Why did it all get identified with Marxism, “political correctness,” big tech, and a resurgent demand for censorship, materialism, and conformity?

 At the time, we blamed the “yuppies”; who toyed with the spiritual ideas, but ended up selling out. But the real poison, I suspect, was sex. What we used to call “The Pill” was a poisoned pill.

Perhaps some future generation will do better. Or perhaps such things cannot be left to the young, whose natural urges are so strong. 



Tuesday, January 17, 2017

Albums of My Teenhood


Someone on Facebook has a chain letter-chain posting going in which folks are supposed to list the albums that were important to them as a teenager.

Okay, for what it’s worth, here are mine.

Lightfoot! His first, and still his best, album. With great bass by Bill Lee. I was a bassist.

Songs of Leonard Cohen Hit me where I lived. I lived a couple of blocks away from Cohen’s boyhood home, and took the same route home from school. He was a local boy. Introduced to Cohen by Nick Economides, who was older and whom I looked up to for his sophistication.

Songs from a Room. Neither this nor his first are his best albums. But these are the ones from my teenage years. "Nancy," "Tonight Will Be Fine." I remember listening to "A Bunch of Lonesome Heroes" on the porch with Violet Birch.

Birds, Fifth Dimension. One of the first three albums I bought, in a batch. It wore better than the others. Bought all the Byrds albums following it too. Tempted to put some others on the list. They were probably better albums, but as my first exposure, 5D is the one that influenced me the most.

Dylan, Highway 61 Revisited. First got to know it because a neighbourhood kid, Bob White, held dances where he used to play it. The strategy, all the guys knew, was to ask your favourite girl for “Desolation Row” for a long slow dance where you got to hold her close. Then I started listening to the lyrics. Trying to dance to Dylan was ridiculous. "It Takes a Lot to Laugh, It Takes a Train to Cry," was my favourite for a long time.

Bringing it All Back Home. I bought it after Highway 61. Almost as good.

Blonde on Blonde. It was a disappointment at first. But it grew and grew on me.

Peter Paul and Mary, See What Tomorrow Brings. A lot of great songs. Among other things, the album I listened to after my first real girlfriend broke up with me. My sister and I learned to sing harmony on Betty and Dupree.

Joni Mitchell, Blue, Not my album. My brother was the bigger Joni Mitchell fan. But this one was relly great. Humming “Carey” was the only thing that got me through one summer working in a plastics factory. But “River” and “All I Want” were even better.

Planxty. Bought when I was living in Ottawa. Perhaps the greatest album ever recorded by anyone.

Steeleye Span Please to See the King, Picked up second hand in a bargain bin. Yow!

The Band Music from Big Pink. Another album that seemed to change everything.

Moby Grape. Tipped off on this one by Hit Parader magazine—a great publication. Crazy good.

Rolling Stones, High Tide and Green Grass. Not my album. Was playing in a kid rock and roll band, and a couple of my bandmates were crazy about the Stones. I think Louis Lapierre owned the album. Did not especially like the music then—it was just the most fun to play on stage. But it has grown on me ever since. The Stones get better and better with time.

Ian and Sylvia Four Strong Winds. I love all their stuff, but this I think was where I came in. I cannot ever get “V’la le Bon Vent” out of my mind. Nor would I ever want to. Let alone the title track. Or “Royal Canal,” which oddly always reminds me of Kingston, with the canal and the penitentiary.

Rolling Stones, Let It Bleed and Beggar's Banquet.  These were like the soundtrack to Inscape, the Catholic teenagers' drop-in in Gananoque, the brainchild of Father Ed Shea. "Gimme Shelter."