“Neither the counterculture nor the prosecutors and prison system knew what to make of her,” Michael Horowitz, Mr. Leary’s archivist, said in a 2017 interview. “Her outspoken, upper-class European manner put people off,” he said. “She had an edge and knew how to get her way. Tim empowered her, and she in turn was tremendously loyal to him, dedicated to getting him out — whatever it took. Alienating many in the counterculture was the fallout from that.”
He got out of prison in 1976, as the 2 of them became "federal informants" That led Allen Ginsberg to call her "a C.I.A. sex provocateur." The feds put them in the witness protection program — "outside Santa Fe under the aliases James and Nora Joyce."
They were both alcoholics and fought all the time before splitting up. Ms. Harcourt-Smith moved to the Caribbean and lived on a sailboat for a few years. She stopped drinking and taking drugs in 1983 and settled in Santa Fe, where she began life anew. “I felt like a child who grew up in the forest,” she said... “I had to relearn everything.... I had so much shame and guilt that I could barely write.”
The great filmmaker Errol Morris has made a documentary about her that will be on Showtime soon. She wrote a memoir "Tripping the Bardo with Timothy Leary: My Psychedelic Love Story."
It doesn't have any one star reviews at Amazon, so I read the 2 star reviews. Here's one:The show was created by Ed Friendly and George Schlatter, the producers of Rowan & Martin's Laugh-In. Bristol-Myers contracted with them to develop the show, and provided it to ABC for a projected 13-week run after NBC and CBS rejected it. A CBS official confessed, "It was so fast with the cuts and chops that some of our people actually got physically disturbed by it." Production executive Digby Wolfe described it as a "visual, comedic, sensory assault involving animation, videotape, stop-action film, electronic distortion, computer graphics—even people."
Turn-On's premise was that it was produced by a computer. Distinguishing characteristics of the show were its use of the Moog synthesizer and lack of sets, except for a white backdrop. Unlike Laugh-In the show "focused almost exclusively on sex as a comedic subject," using various rapid-fire jokes and risqué skits, but no laugh track. The program was also filmed instead of presented live or on videotape. Several of the jokes were presented with the screen divided into four squares resembling comic strip panels....
An ABC executive... compared the show negatively to the comedy of Dean Martin, Laugh-In, and the Smothers Brothers, which the executive described as "absolutely beyond belief ... awfully blue," but were popular and less controversial because unlike Turn-On, "they're funny."... [TV Guide] quoted a source... "(T)here wasn't any sort of identification with the audience -- just a bunch of strangers up there insulting everything you believe in."
"It wasn't that it was a bad show, it was that it was an awkward show," concluded author Harlan Ellison, a fan of counter-cultural comedy and a TV critic for the Los Angeles Free Press in 1969....
Many assumed the show's title was itself an implicit reference to Timothy Leary's pro-drug maxim, "Turn on, tune in, drop out."
The slogan was popularized by controversial psychologist Timothy Leary....Since — as quoted in the previous post — "Everybody's shouting "Which side are you on?,'" I'm on Timothy Leary's side. About questioning authority. About questioning adverbs, I'm on Meade's side. I question them, but — as with authorities — after questioning, I sometimes go along with them.
It is intended to encourage people to avoid fallacious appeals to authority. The term has always symbolized the necessity of paying attention to the rules and regulations promulgated by a government unto its citizenry. However, psychologists have also criticized Leary's method of questioning authority and have argued that it resulted in widespread dysfunctionality. In their book Question Authority, Think For Yourself, psychologists Beverly Potter and Mark Estren alleged that the practice of Leary's philosophy enhances a person's self-interest and greatly weakens the ability to cooperate with others.
The Human Be-In focused the key ideas of the 1960s counterculture: personal empowerment, cultural and political decentralization, communal living, ecological awareness, higher consciousness (with the aid of psychedelic drugs), acceptance of illicit drug use, and radical liberal political consciousness....California had, only a few months earlier, banned LSD, shutting the door to cosmic perception. Timothy Leary was there to say "Turn on, tune in, drop out." Among the other gurus: Richard Alpert ("Ram Dass"), Allen Ginsberg, Gary Snyder, Michael McClure, Dick Gregory, Lenore Kandel, Lawrence Ferlinghetti, and Jerry Rubin. Yes, there were also women in those days, but it was before prideful enlightened men noticed a need to perform gender-diversity theater. Male human was human enough for the Human Be-In. There is, however, a snakily sexy lady dancing in the audience in that video.
In 1983, former Harvard University psychology lecturer Timothy Leary claimed that in the spring of 1962, Pinchot Meyer, who, according to her biographer Nina Burleigh "wore manners and charm like a second skin", told Leary she was taking part in a plan to avert worldwide nuclear war by convincing powerful male members of the Washington establishment to take mind-altering drugs, which would presumably lead them to conclude that the Cold War was meaningless.
)). Not really safe for work, of course, Adam and Eve being naked (until they realized they were naked). "The hippie culture of Haight-Ashbury, where it all started for me, was full of men doing nothing all day and expecting women to bring them food. The ‘chick’ had to provide a home for them, cook meals for them, even pay the rent. It was still very much ingrained from the earlier patriarchal mentality of our fathers, except that our fathers, generally, were providers. Free love meant free sex and food for men. Sure, women enjoyed it, too, and had a lot of sex, but then they served men. Even among left-wing political groups, women were always relegated to secretarial, menial jobs. We were all on LSD, so it took a few years for the smoke to dissipate and for women to realize what a raw deal they were getting with the ne’er-do-well hippie male. Men who acquired preeminence at the time were all frauds, fake gurus who were paying lip service to peace and love, charismatic cons who just wanted to fuck all their adoring disciples. Timothy Leary was like that. A big phony."ADDED: I was interested that Crumb drew a cover for The New Yorker on the subject of gay marriage that the magazine never published. I'd like to see it! And: "The America that I missed died in about 1935... In the U.S [in the 1920s] there were thousands and thousands of bands, dance halls, ballrooms in hotels, restaurants had dance floors, school auditoriums, clubs in small towns. A small town of 10,000 would have a least a hundred bands. In the mid 30’s radio spread very fast in America and the depression killed a lot of the venues where live music was performed. You could go to the movies for 10 cents. Then in the 50’s TV finished it all off. Mass media makes you stay home, passive. In the 20’s there was live music everywhere in the States.... The current pop music in the Western world is just plain god-awful. America is long gone. The ’80s killed it for me. The Reagan era, AIDS. It was an awful decade."
"[New Yorker editor David] Remnick would not give the reason for rejecting the cover, either to the cover editor, or to me. For this reason I refuse to do any more work for the New Yorker. I felt insulted, not so much by the rejection as for the lack of any reason given. I can't work for a publication that won't give you any guidelines or criterion for accepting or rejecting a work submitted. Does the editor want to keep you guessing or what? I think part of the problem is the enormous power vested in the position of chief editor of the New Yorker. He has been ‘spoiled' by the power that he wields. So many artists are so eager to do covers for the New Yorker that they are devalued in the eyes of David Remnick. They are mere pawns. He is not compelled to take pains to show them any respect. Any artist is easily replaced by another. Fortunately for me, I do not feel that I need the New Yorker badly enough to put up with such brusque treatment at the hands of its editor-in-chief. The heck with him!"Crumb said that back in 2011. In the new interview, he's still pissed off at Remnick.
At a Carnegie Hall concert recently, Neil Young stopped in the middle of a song because some people in the audience were clapping off-beat. Mike Love of The Beach Boys says that sometimes, it's a cultural thing.ADDED: Remember how the crowd clapping screwed up the beat in "Give Peace a Chance"?
"For instance, the preponderance of American pop music is based on the beat of two and four," he says. "You'll have a lot of cultural influences that cause people to do one and three. I remember being in the Vienna Stadthalle — the town hall in Vienna, with about 12,000 people in it — and it was, like, Teutonic."
And there was like Tommy Smothers and Tim Leary and Dick [Gregory], and all people sort of clapping along and singing on the chorus. And if you hear the record, it's funny actually, because my rhythm sense has always been a bit wild, and halfway through it, I got on the on-beat instead of the back-beat and it was hard because all the...there were non-musicians playing along with us. And so I had to put a lot of tape echo to double up the beat to keep a steady beat right through the whole record, so it goes Bo-boom, bo-boom, instead of Ba, Ba.
Is the only reference to "water" in the Beatles' lyrics "muddy water"? (Typical of the kind of thing I need to know to blog.)Don't you think it's interesting that the word "water" appears only once in all those lyrics, and it's muddy water? The "he" of "Come Together" "got muddy water." (I'm not sure how well the "mojo filter" works to clarify said water.) Presumably, the reference is to the musician Muddy Waters, though surely he is not the "he" of the song. (It's Timothy Leary, right?)
Sit beside a mountain stream — see her waters riseThe usual things that are said about the difference between Paul and John can be said here. John's dark "shoot me" song has muddy water, and Paul's sweet happy song has us listening to the pretty music of a mountain stream. But I must add that "see her waters rise" today makes me think about global warming. Now, I hear that song and picture Paul, Mother Nature's son, in his field of grass, with his swaying daisies, and the mental picture is ruined by big old Al Gore lumbering up and harshing his mellow.
Listen to the pretty sound of music as she flies.
He was initially known as an expert on personality assessment, but, while on a sojourn in Mexico the following year, he was introduced to psilocybin mushrooms, and the experience was so transformative that psychedelics promptly became the central force in his life, his research and his teaching....Teachers involving their students in spiritual exercises? Now, that is outrageous. But he lost his position as a Harvard professor soon enough.
It wasn't long before any pretense to scientific detachment fell away and controlled experiments were chucked in favor of missionary zeal and contempt for all mundane exigencies. Chaotic tripping parties ensued, involving students, under "spiritual" or "philosophical" pretexts.
[T]he psychedelic caravan picked up the Hitchcock siblings, Peggy, Billy and Tommy, heirs to the Mellon fortune, and through them acquired the use of a fabulous rambling house and huge estate in Millbrook, N.Y. This became the headquarters of Leary and gang for the better part of five years, a period filled with endless parties, epiphanies and breakdowns, emotional dramas of all sizes.... It was also at Millbrook that Leary, [Richard] Alpert and Ralph Metzner wrote "The Psychedelic Experience" (1964), which contained the injunction to "turn off your mind, relax, float downstream," appropriated two years later by John Lennon for "Tomorrow Never Knows," the last song on "Revolver."...Oh, that's painful to read! We Baby Boomers were steeped in this stuff -- whether we took LSD or not. I think it had much more impact than the SDS material that also soddened my generation.
[H]e had no interest in politics. He called student activists "young men with menopausal minds" and suggested that LSD could stand for "Let the State Disintegrate." But by 1968, his slogans were so poised between derangement and Madison Avenue that they could pass for visionary; "Everyone should start their own nation," he uttered, just days after Martin Luther King's assassination. It was awfully hard to tell charlatans from prophets at the time, and besides, the denatured, anti-intellectual language that dominated discourse then (and is still with us, in a New Age guise) had been rolling off Leary's tongue since before he had ingested a single microgram of lysergic acid: people engaged in emotional "games"; all the world's bad stuff was a "system"; the state of being clued-in was "consciousness," and so on.
[T]he book provides a crash course in several aspects of 60's culture: its often gaseous rhetoric, its reliance on mahatmas and soothsayers, its endless bail-fund benefits and sometimes dubious appeals to conscience, its thriving population of informers, its contribution to the well-being of lawyers, its candyland expectations and obstinate denials of reality, its fatal avoidance of critical thinking, its squalid death by its own hand. That still leaves many meritorious elements largely outside Leary's sphere: civil rights, the antiwar movement, music and art, the impulse toward communitarianism, to name a few. In part because of Leary, however, ideals and delusions were encouraged to interbreed, their living progeny being avid consumerism and toothless dissent.Turn off your mind, relax, float downstream....
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