Hippies and the War Machine
“He was great, he was unreal – really, really good.”
“He had this kind of music that nobody else was doing. I thought he really had something crazy, something great. He was like a living poet.”
[Today’s first trivia question: both of the above statements were made, on separate occasions, by a famous Laurel Canyon musician of the 1960s era. Both quotes were offered up in praise of another Laurel Canyon musician. Award yourself five points for correctly identifying the person who made the remarks, and five for identifying who the statements refer to. The answers are at the end of this post.]
In the first chapter of this saga, we met a sampling of some of the most successful and influential rock music superstars who emerged from Laurel Canyon during its glory days. But these were, alas, more than just musicians and singers and songwriters who had come together in the canyon; they were destined to become the spokesmen and de facto leaders of a generation of disaffected youth (as Carl Gottlieb noted in David Crosby’s co-written autobiography, “the unprecedented mass appeal of the new rock ‘n’ roll gave the singers a voice in public affairs.”) That, of course, makes it all the more curious that these icons were, to an overwhelming degree, the sons and daughters of the military/intelligence complex and the scions of families that have wielded vast wealth and power in this country for a very long time.
When I recently presented to a friend a truncated summary of the information contained in the first installment of this series, said friend opted to play the devil’s advocate by suggesting that there was nothing necessarily nefarious in the fact that so many of these icons of a past generation hailed from military/intelligence families. Perhaps, he suggested, they had embarked on their chosen careers as a form of rebellion against the values of their parents. And that, I suppose, might be true in a couple of cases. But what are we to conclude from the fact that such an astonishing number of these folks (along with their girlfriends, wives, managers, etc.) hail from a similar background? Are we to believe that the only kids from that era who had musical talent were the sons and daughters of Navy Admirals, chemical warfare engineers and Air Force intelligence officers? Or are they just the only ones who were signed to lucrative contracts and relentlessly promoted by their labels and the media?
If these artists were rebelling against, rather than subtly promoting, the values of their parents, then why didn’t they ever speak out against the folks they were allegedly rebelling against? Why did Jim Morrison never denounce, or even mention, his father’s key role in escalating one of America’s bloodiest illegal wars? And why did Frank Zappa never pen a song exploring the horrors of chemical warfare (though he did pen a charming little ditty entitled “The Ritual Dance of the Child-Killer”)? And which Mamas and Papas song was it that laid waste to the values and actions of John Phillip’s parents and in-laws? And in which interview, exactly, did David Crosby and Stephen Stills disown the family values that they were raised with?
In the coming weeks, we will take a much closer look at these folks, as well as at many of their contemporaries, as we endeavor to determine how and why the youth ‘counterculture’ of the 1960s was given birth. According to virtually all the accounts that I have read, this was essentially a spontaneous, organic response to the war in Southeast Asia and to the prevailing social conditions of the time. ‘Conspiracy theorists,’ of course, have frequently opined that what began as a legitimate movement was at some point co-opted and undermined by intelligence operations such as CoIntelPro. Entire books, for example, have been written examining how presumably virtuous musical artists were subjected to FBI harassment and/or whacked by the CIA.
Here we will, as you have no doubt already ascertained, take a decidedly different approach. The question that we will be tackling is a more deeply troubling one: “what if the musicians themselves (and various other leaders and founders of the ‘movement’) were every bit as much a part of the intelligence community as the people who were supposedly harassing them?” What if, in other words, the entire youth culture of the 1960s was created not as a grass-roots challenge to the status quo, but as a cynical exercise in discrediting and marginalizing the budding anti-war movement and creating a fake opposition that could be easily controlled and led astray? And what if the harassment these folks were subjected to was largely a stage-managed show designed to give the leaders of the counterculture some much-needed ‘street cred’? What if, in reality, they were pretty much all playing on the same team?
I should probably mention here that, contrary to popular opinion, the ‘hippie’/’flower child’ movement was not synonymous with the anti-war movement. As time passed, there was, to be sure, a fair amount of overlap between the two ‘movements.’ And the mass media outlets, as is their wont, did their very best to portray the flower-power generation as the torch-bearers of the anti-war movement – because, after all, a ragtag band of unwashed, drug-fueled long-hairs sporting flowers and peace symbols was far easier to marginalize than, say, a bunch of respected college professors and their concerned students. The reality, however, is that the anti-war movement was already well underway before the first aspiring ‘hippie’ arrived in Laurel Canyon. The first Vietnam War ‘teach-in’ was held on the campus of the University of Michigan in March of 1965. The first organized walk on Washington occurred just a few weeks later. Needless to say, there were no ‘hippies’ in attendance at either event. That ‘problem’ would soon be rectified. And the anti-war crowd – those who were serious about ending the bloodshed in Vietnam, anyway – would be none too appreciative.
As Barry Miles has written in his coffee-table book, Hippie, there were some hippies involved in anti-war protests, “particularly after the police riot in Chicago in 1968 when so many people got injured, but on the whole the movement activists looked on hippies with disdain.” Peter Coyote, narrating the documentary “Hippies” on The History Channel, added that “Some on the left even theorized that the hippies were the end result of a plot by the CIA to neutralize the anti-war movement with LSD, turning potential protestors into self-absorbed naval-gazers.” An exasperated Abbie Hoffman once described the scene as he remembered it thusly: “There were all these activists, you know, Berkeley radicals, White Panthers … all trying to stop the war and change things for the better. Then we got flooded with all these ‘flower children’ who were into drugs and sex. Where the hell did the hippies come from?!”
As it turns out, they came, initially at least, from a rather private, isolated, largely self-contained neighborhood in Los Angeles known as Laurel Canyon (in contrast to the other canyons slicing through the Hollywood Hills, Laurel Canyon has its own market, the semi-famous Laurel Canyon Country Store; its own deli and cleaners; its own elementary school, the Wonderland School; its own boutique shops and salons; and, in more recent years, its own celebrity reprogramming rehab facility named, as you may have guessed, the Wonderland Center. During its heyday, the canyon even had its own management company, Lookout Management, to handle the talent. At one time, it even had its own newspaper.)
One other thing that I should add here, before getting too far along with this series, is that this has not been an easy line of research for me to conduct, primarily because I have been, for as long as I can remember, a huge fan of 1960s music and culture. Though I was born in 1960 and therefore didn’t come of age, so to speak, until the 1970s, I have always felt as though I was ripped off by being denied the opportunity to experience firsthand the era that I was so obviously meant to inhabit. During my high school and college years, while my peers were mostly into faceless corporate rock (think Journey, Foreigner, Kansas, Boston, etc.) and, perhaps worse yet, the twin horrors of New Wave and Disco music, I was faithfully spinning my Hendrix, Joplin and Doors albums (which I still have, or rather my eldest daughter still has, in the original vinyl versions) while my color organ (remember those?) competed with my black light and strobe light. I grew my hair long until well past the age when it should have been sheared off. I may have even strung beads across the doorway to my room, but it is possible that I am confusing my life with that of Greg Brady, who, as we all remember, once converted his dad’s home office into a groovy bachelor pad.
Anyway … as I have probably mentioned previously on more than one occasion, one of the most difficult aspects of this journey that I have been on for the last decade or so has been watching so many of my former idols and mentors fall by the wayside as it became increasingly clear to me that people who I once thought were the good guys were, in reality, something entirely different than what they appear to be. The first to fall, naturally enough, were the establishment figures – the politicians who I once, quite foolishly, looked up to as people who were fighting the good fight, within the confines of the system, to bring about real change. Though it now pains me to admit this, there was a time when I admired the likes of (egads!) George McGovern and Jimmy Carter, as well as (oops, excuse me for a moment; I seem to have just thrown up in my mouth a little bit) California pols Tom Hayden and Jerry Brown. I even had high hopes, oh-so-many-years-ago, for (am I really admitting this in print?) aspiring First Man Bill Clinton.
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