and if you go chasing rabbits

The Smothers Brothers Comedy Hour aired in CBS’s coveted Sunday night primetime slot for three seasons between 1967 and 1969 before its controversial cancellation with one episode still in the can. Pulling in around 12 million viewers per week — approximately one fifth of the total number of homes that owned a television in late 60s America — it more than held its own against NBC’s western hour-long Bonanza, whose fourteen-year-long popularity makes a lot more sense when you learn it was one of the first regular colour telecasts in a sea of grainy black and white (and even more once you’ve seen a young Michael Landon — aka Pa Ingalls from Little House on the Prairie — holding court as Little Joe). The charm of Tom and Dick’s shtick lay somewhere between Ant & Dec and Craig Ferguson: cheeky and affable, dapper without quite being handsome in their matching side-parts and blazers; spry and absurd, their subversive intent plated in glinting smiles and feigned naivety. As the show continued, with the help of a provocative young writing team including Bob Einstein and Steve Martin, the pair increasingly allied themselves with Haight Ashbury philosophy and the anti-Vietnam movement, pushing the boundaries of political satire both overtly and subtextually, and the show became so well-thought-of in countercultural celebrity circles that The Beatles chose it to premiere their 1968 proto-music videos for ‘Hey Jude’ and ‘Revolution’ in the United States (a full month after they were shown on The David Frost Show in the UK). Earlier in the show’s run, on 7th May 1967, Jefferson Airplane burst onto the mainstream with this performance of new single ‘White Rabbit’ — the first time the band had been televised in colour, with psychedelic special effects worthy of a 90s school disco and Grace Slick’s preternaturally steady gaze boring down the camera. Introducing the band, Richard Smothers encourages the audience at home (to the delight of those in the studio) ‘to… eat a banana while you’re watching this — or smoke a banana as my brother said, but actually he’s pretty far out, even for me.’

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It’s hard now to imagine an entire month’s wait between the transatlantic premieres of a new recording by the biggest band in the world, and just as hard to imagine what it must have felt like to watch this hallucinogenic spectacle as a contemporary adolescent (or as one of their permanently-disconcerted parents). Although the cultural sea change was well under way, ’67 was the year pop music outgrew the rainy day women and magic dragons of its gateway drug to embrace the mind-bending lures of LSD and psychedelic rock in the heady lead-up to the Monterey Pop Festival and San Francisco’s Summer of Love. The Beatles had already made their quantum leap from the woozy folk-rock of 1965’s Rubber Soul (featuring a brief sitar experiment from Harrison on ‘Norwegian Wood’) to Revolver and the trippy tamboura and tape-loops of ‘Tomorrow Never Knows’ in August 1966, but Sgt Pepper’s Lonely Hearts Club Band, with its more deliberate ode ‘Lucy in the Sky with Diamonds’, would not appear for another month, and it was especially shocking to see an attractive and self-assured young woman — not a bedraggled bearded burn-out — espousing the sublime joys of drug experimentation. (Contemporaries such as Janis Joplin, Joni Mitchell, and Joan Baez may well have walked the walk, but didn’t so explicitly talk the talk. Though of course this presumes that the audience at home understood what the lyrics were truly getting at when in fact they — and the majority of censors at the time — didn’t quite.) Indeed, the acid anthem wasn’t just sung by Slick, brought to life by her trademark primal howl and shamanistic intensity, but was one of two tracks she had brought with her from disbanded project The Great Society, the other being Jefferson Airplane’s 1966 single ‘Somebody to Love’, which achieved a similar level of success and renown. In an unlikely meeting of influences, ‘White Rabbit’ is inspired musically by Maurice Ravel’s ‘Boléro’ (1928) and Miles Davis’s Sketches of Spain (1960), and lyrically by her childhood love of Lewis Carroll’s Alice volumes, as Slick guides us steadily to an orgiastic crescendo with her winding, cameo-heavy retelling of the tale.

The story of Alice in Wonderland is very much how I experienced things. She grew up in rigid Victorian England, but she arrives in Wonderland, and suddenly it’s nuts, it’s political, and she’s all by herself ­– no Prince Charming comes and saves her. Same thing with going from the 50s into the 60s, so you had to have faith in yourself, because nobody’s going to save you: if you expect that, you’re in trouble. Little girls read Cinderella, Snow White, Sleeping Beauty, and in all of them the heroine is saved by some guy — they don’t do anything for themselves! Snow White worked a little bit,­ she made breakfast for a bunch of guys. I’m sorry, I never cooked anything for the band. You play the guitar, I sing, you don’t make breakfast for me, I don’t make breakfast for you. We buy breakfast. –GRACE SLICK, INTERVIEW MAGAZINE, 2007

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It’s apt here that Slick draws a connection between autonomy and food, independence and sustenance, because Alice’s Adventures in Wonderland (1865) is a story preoccupied with the boundaries of selfhood as they relate not just to tests of the heroine’s mettle, but to distortions of her body through ingestion. One pill makes you larger and the next pill makes you small. For Alice these are the Eat Me/Drink Me confections that affect her in a wonderdrug way; which she swallows moments after descending the rabbit hole in hopes of fitting through a tiny locked door into the beautiful garden on the other side. Of course, sizeshifting is a staple of children’s stories — a cousin to the low fantasy “while you were sleeping”-style narratives of The Borrowers, Toy Story, Grimm’s helpful elves, et al. In these examples, the protagonist/reader is allowed an awe-inspiring glimpse of a world beneath a world, operating outwith human hours but by its rules and upon its scraps, the secret often warmly shared with deserving children by an all-knowing, twinkly-eyed narrator. But sizeshifting narratives are far less to do with the invocation of the magical and more about questions of identity, personhood, and one’s place in society. Such tales often tap into the cultural anxieties of the time in which they were written. In Gulliver’s Travels (1726), the protagonist himself doesn’t shrink and stretch but he stumbles through a series of worlds in which he is rendered hugely disproportionate, first a giant among the Lilliputians then a pocket-sized doll in Brobdingnag. Through an odyssey of intercultural errors and astute satire, Jonathan Swift engages with theories of innate human nature and political philosophy, disorientating his protagonist at every turn in a reflection of the sociopolitical instability of the early eighteenth century. Poor Gulliver stays physically the same, but each time he arrives in a new society he brings the ideology of the previous one along, his sense of self-and-other knocked by each experience, a completely different man by the end of his travels. Meanwhile, Disney live action classic Honey I Shrunk the Kids (1989) toys with an 80s parent’s twin anxieties: achieving work-life balance (not letting your career absorb you to the point you sweep your quarter-inch-tall children out with the trash),keyz_web and the thought of growing children fending for themselves out there in an often hostile world (giant bees). On the kids’ part, it is a tale with a moral not unlike the vast majority of family blockbusters: you are stronger than you realise but also more vulnerable; if you settle your differences and work as a team you have a better chance of survival; your parents are just idiots who are trying to do their best. Simultaneously, it rides the wave of science-gone-awry movies of this period, which responded to recent progress in take-home technologies such as personal computers and cellular phones, and in the advancing field of genetic engineering. (This would later develop into the dark brand of early 90s computer-driven narratives, featuring hacking conspiracies, virtual reality, and other assorted “cyberspace” nightmares.) The Victorian era too was a time of prodigious scientific invention and experimentation, and great medical strides were being taken with the discovery of “laughing gas” anaesthetics and surgical antiseptics. But for most the apothecary — apprenticed as opposed to qualified, ancestor to today’s homeopath — was still king, and in Carroll’s brand of sizeshifting he plays with the anxiety of medicine-taking in a time of thriving cure-all trade; the prescription of an unknown substance that is going to affect you bodily, allegedly overwhelmingly, in untold ways. It’s this daunting prospect that fundamentally links the stories Slick loved in childhood and her experiences as part of the drug revolution — this idea of being metamorphosed by a substance stronger that your will, that makes you bigger and smaller, pushes and pulls you, but that also risks drawing out whatever is already inside you to create a different self, just as true if not truer, unbridled and unselfconscious. ‘How [Alice] longed to get out of that dark hall, and wander about among those beds of bright flowers,’ writes Carroll. For the acid generation, the beautiful garden was locked deep within the mind, and LSD was the key.

‘Tomorrow Never Knows’ was written in April 1966 when John Lennon visited London’s newly-opened Indica Gallery Bookshop, looking for a copy of The Portable Nietzsche, leaving instead with The Psychedelic Experience. Located in Masons Yard, St James’s (where White Cube now stands), the gallery was famous for its VIP-heavy happenings and groundbreaking support of the alternative arts scene, and is incidentally where Lennon would later meet Yoko Ono in November that same year, at an exhibition of her conceptual work with avant-garde collective Fluxus. Indica co-owner Barry Miles ran the bookshop side of the business, and its provocative range reflected his avid personal interests in experimental literature, drug culture, eastern philosophies, and ‘pataphysics (which would appear to have outlived the 60s). Timothy Leary hadn’t quite yet reached the heady heights of his eventual notoriety — President Nixon would purportedly name him ‘the most dangerous man in America’ come the early 70s — but by the time his Psychedelic Experience was published in 1964 the former clinical psychology professor had already been sacked by Harvard for his controversial drug trials, which were just beginning to embrace LSD, and which most notably involved famous beat poet Allen Ginsberg, and a group of the university’s Divinity Studies graduates, soon introducing a psychedelic culture across the wider campus. Based upon an ancient funerary text known in the west as The Tibetan Book of the Dead (c8BC), Leary’s book aims to provide a correspondent guide through a psychedelic drug trip, in the belief that both experiences involve a journey to ‘new realms of consciousness’, initiating a transcendence of the material and verbal, and ego-death. Borrowing its language and distilling its essence, ‘Tomorrow Never Knows’ became a veritable LSD For Dummies. Turn off your mind, relax, and float downstream. It is not dying, it is not dying. In one of the most brilliant closing scenes of the ever-brilliant Mad Men, Don listens to the track for the first time at the encouragement of younger wife Megan, and the camera pans across other characters playing their part in the zeitgeist before we are jolted back to the Draper residence, where Don shuts off the music and retires wearily to the bedroom. When the screen cuts to black and the credits begin, the music picks up again from where it left off. In the dawning 60s, as the show began, Don was our blueprint for cool, for progressive. In his opening scene he talks to a black server as an actual human being, and in early seasons he fraternises with beatniks and has an emotional moment with Frank O’Hara. Despite some bumps in the road (homophobia, antisemitism, generic misogyny) he fondly encourages both Peggy and Dawn’s ladder-climbing, even making it as far as skinny ties, electric razors, and The Rolling Stones, before falling at the psychedelic hurdle. Here, the counterculture (and the show, thus the audience) happily leaves Don behind, playing on no matter how many times he would like to lift the needle. Absolutely worth whatever exorbitant licensing fee the show’s producers must have had to pay.

Bed In

Tommy Smothers, Rosemary & Timothy Leary join John & Yoko’s Bed-In, June 1969

On 25th June 1967, the first ever live satellite television event was broadcast around the world to an estimated audience of 350 million. Live on air, at the height of the Vietnam War, The Beatles cut their next single ‘All You Need Is Love’, playing over a backing track with a little help from some very special friends, in a performance that George Harrison would later describe in the Beatles Anthology as ‘a bit of subtle PR for god’. Timothy Leary too was no stranger to the power of advertising. As Mad Men has illustrated, this was an exhilarating time in the field of audiovisual media — the peak union of burgeoning globalism, forward-thinking creativity, and commercialism. Throughout his career as The Establishment’s Most Wanted, Leary assembled an arsenal of slogans to publicise what fast became not just a lifestyle choice, but a spiritual movement. In autobiography Flashbacks, he relates his 1966 lunch date with media theory titan (and king of the punchy one-liner) Marshall McLuhan, who advised Leary on the importance of ‘arousing customer interest’: ‘you are promoting a product — your product is the new and improved accelerated brain.’ With an academic background in English language and literature, McLuhan had by this time earned his reputation as a pioneering public intellectual in what would later become known as the field of cultural studies, with three popular works already in circulation and The Medium is the Massage (1967) soon on its way. ‘Prophet of the electronic communications age’, he in fact opened the Our World satellite link-up from Toronto’s CBC Studios control room, discussing the lightspeed evolution of the “global village”, and his ideas on the unique ‘all-at-onceness’ property of the televisual medium: the new worldwide tribalism he believed would result from this unified gaze upon the tv set. (In the end television would only occasionally rise to this challenge, becoming a primarily national as opposed to international tool.) Though difficult to trace the explicit source, legend has it that McLuhan gifted Leary with his most famous slogan at that very first lunch, the phrase that would come to define the acid generation and its reverberations down through the decades: turn on, tune in, drop out. Later, for a child of the 80s or 90s, Leary’s phrase might easily seem to be referring to the ills of television culture — a scathing criticism of late twentieth century westerners who would return home from work all too ready to numb their minds with another evening of “chewing gum for the eyes“. Not quite what McLuhan had in mind, but in 1968’s High Priest, Leary paints a similar picture of his life before psychedelics, describing himself as ‘A rootless city-dweller. An anonymous institutional employee who drove to work each morning in a long line of commuter cars, and drove home each night and drank martinis and looked like and thought like and acted like several million middle-class liberal intellectual robots.’ You don’t have to own a television to be alienated here, but it helps. When George Harrison visited Haight-Ashbury in August ’67 he found for himself that the reality of drug culture had long since parted ways with Leary’s evangelic teachings: ‘It wasn’t what I’d thought — spiritual awakenings and being artistic — it was like alcoholism, like any addiction.’ Even with the very best of ad campaigns, any medium can soon enough be twisted off-message.

‘Turn on’ meant go within to activate your neural and genetic equipment. Become sensitive to the many and various levels of consciousness and the specific triggers that engage them. Drugs were one way to accomplish this end. ‘Tune in’ meant interact harmoniously with the world around you — externalize, materialize, express your new internal perspectives. ‘Drop out’ suggested an active, selective, graceful process of detachment from involuntary or unconscious commitments. ‘Drop Out’ meant self-reliance, a discovery of one’s singularity, a commitment to mobility, choice, and change. Unhappily my explanations of this sequence of personal development were often misinterpreted to mean ‘Get stoned and abandon all constructive activity’. –TIMOTHY LEARY, FLASHBACKS (1983)

Hugely influential in its technical experimentation, ‘Tomorrow Never Knows’ stands as an evocative document of its time, but it was ‘White Rabbit’ that soon became cinematic shorthand for trippy psychedelia and a character’s first steps into a strange new hallucinogenic world. By the 90s, however, it was coming to be used to more comedic or sardonic effect. In 1998, The Simpsons used the song to soundtrack Homer’s foray into peyote-laced juice peddling, and the next year it accompanied Tony’s first begrudging hit of prozac in season one of The Sopranos. With the commercialisation of drug culture, the domestication of serotonin-affective substances, the alluring strains of ‘White Rabbit’s intro had now generally come to symbolise being drawn, snake-charmed, into anything you might not be able to control. In the quarter-century since its release the song has been covered by a vast array of bands in a vaster array of styles, from jazz guitarist George Benson in 1972, to goth punk rock Londoners The Damned in 1980, to a bassline sample in the Sugababes’ stunning debut single ‘Overload‘ in September 2000. By this time too, at a different point on the “girl group” spectrum, third wave three-piece Sleater-Kinney were including ‘White Rabbit’ in their live set-list: a fantastic recontextualisation of the track. Here, Slick’s lyrics toy with the band’s recurring themes of gender inequality, female invisibility, body image politics, and the sins of the mother, evident since their riot grrrl beginnings but especially so on recently released All Hands on the Bad One (2000). Propelled in popular culture by Washington’s underground music scene, 90s feminism was rooted in the theory and groundwork of the second wave (60s-80s) whilst rejecting its “solutions” of learnt masculinity and corporate careerism, instead embracing community ethics, diy culture, and the iconography of girlhood. In blistering album track ‘Youth Decay’, Corin Tucker sings her narrator’s feelings of existential deterioration, causing her visceral bodily pain that others believe to be psychosomatically self-inflicted, and therefore easily-endable. ‘Am I rotting out? Daddy says I’ve got my momma’s mouth,’ she howls, indicting not just the overbearing, emotionally abusive father, but also his over-accommodating wife, who says she suffered just the same pains when she was young and yet allowed herself to repeat the cycle, leaving her daughter to suffer through. And the ones that mother gives you don’t do anything at all. More recently, an Arabic version of Slick’s song featured in twisted crime dramedy American Hustle (2013), and it’s interesting to note that both The Beatles’ and Jefferson Airplane’s trip tracks were covered for teensploitation action flick Sucker Punch (2011), in which a young woman in the 60s is institutionalised and slips into a computer game-like fantasy world. In this setting, in a film that upends misogynistic geek/gamer culture, the song is recast as an empowerment anthem, a rejection of the patriarchal institutional strictures placed upon “wayward women”, a rebellion against playing by their rules. When the men on the chessboard get up and tell you where to go. Refreshingly, Mad Men dodged the cliché for Roger’s first LSD experience — laced sugar cubes for dessert at a dinner party hosted by his wife’s psychiatrist — instead opting for a warped-out version of ‘I Just Wasn’t Made for These Times’, from easily the most solid, most elegant long-player of the decade: Pet Sounds (1966). As with so many moments in the show, hearing Brian Wilson’s sumptuous harmonies in their natural habitat packs a huge emotional punch, stripping away forty-plus years of mythologisation to illuminate the everyday human reality of life in such a tumultuous, careening period. We crowd silently round the tv set on the day of JFK’s assassination, we are rocked by Marilyn’s death, our minds can hardly comprehend the fact a man is walking on the face of the moon. And despite all the years of The Beach Boys as shorthand for harmless youthful folly and good vibrations, we finally understand Pet Sounds as an album not in celebration of its time, but itself laced with a tender melancholy, anxiety and alienation, wistful simultaneous yearnings for the past and the future, home comforts and new horizons. We imagine how it really felt to be there, in the fray, out of sync, shrinking and stretching, disorientated at every turn by the sociopolitical instability of the 60s revolution.

‘Electric technology, by virtue of its immediate relation to our nervous system, is itself a sort of inner trip,’ McLuhan wrote in 1974. Both he and Leary held that their belief systems fundamentally overlapped, each seeking better understanding of life through experimental mediums. While each ideology was built upon individualistic rites — defying hegemonic culture, chasing the white rabbit deep inside your own mind, experiencing the world for oneself through a screen — the paradoxic pay-off of these practices was communality, a breaking down of barriers, the profound realisation of essential human oneness. This is the kind of utopian language we’re now so used to hearing in social media discourse, from Arab Spring commentators to twenty-first century philosopher kings (‘I’m trying to make the world a more open place’), which is really just globalism taken to its furthest point. The internet is of course the ultimate act of communalism-by-individualism, and McLuhan would be posthumously celebrated for “predicting” its invention as far back as 1962, envisioning the ‘extension of consciousness’ through a post-television medium — ‘a computer as a research and communication instrument’. Leary, for his part, would wholly embrace the new digital age, proclaiming the personal computer ‘the LSD of the 90s’, and the internet as a freedom from the dominant media culture: turn on, boot up, jack in. As with Slick’s ‘White Rabbit’ and each of its later feminist incarnations, as with McLuhan’s wish upon a satellite, the driving moral of psychedelic philosophy was to question everything, to challenge the party line and transcend received wisdom. To work to see things clearly, critically, and independently: to stop following the crowd and join the stream. Remember what the dormouse said: feed your head, feed your head.

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you drive like a demon from station to station

One of the things I always like to ask people when I’m playing getting-to-know-you is what’s your favourite David Bowie song? I think it says a lot about a person, which of his incarnations you’re drawn to, and my own pick is constantly shifting and changing. I guess he was always around in the background somewhere as I was growing up, though neither of my parents were ever particular fans. The first time I remember becoming conscious of him was when my amazingly eccentric/borderline secondary school Modern Languages teacher Mrs Smith, upon discovering that someone in our class had never heard of her favourite artist, cancelled the next day’s lesson to have us sit listening to Space Oddity with eyes closed and heads down on the desks. Afterwards, going around the room one by one, we were to list something we’d particularly enjoyed about the track. Anyone who hadn’t liked it was made to defend their opinion against The Ultimate Bowie Fangirl Machine, until they were inevitably beaten into submission and made to announce that 2 + 2 certainly did = a rather spectacular 5.

So maybe it’s like the musical version of Stockholm Syndrome, but I got a bit fixated on David Bowie a few years ago. I had been super into Madonna for a while and read a few interviews where she talked about how sneaking out to see one of his concerts was a formative moment in her life and career, then I took a class on psychoanalysis in pop culture and watched clips from Life on Mars and talked about performers like Bowie (and Madonna) who embodied the ideals of postmodernism, that the solid ‘self’ does not exist and we can choose to be who and whatever we want to be. Soon enough I started googling around and youtubed some of his videos and performances and interviews to get a sense of how much he played around with those kinds of concepts. There were a few of his songs that sunk their claws into me, but I would especially listen to TVC 15 on repeat for literally hours. It remains one of my favourite Bowie tracks.

I love the bizarre seediness of it, the strange calypso drums and Bowie’s odd Elvis intonations on the verse, and the kind of baggy trousers oompah oompah lairishness of it. I love the amazing sci-fi off-set of singing about state-of-the-art technology (oh, 70s) in such an old-fashioned thigh-slappin’ cabaret stylee. “The song was inspired by an episode in which Iggy Pop, during a drug-fuelled period at Bowie’s LA home, hallucinated and believed that the television set was swallowing his girlfriend.” Bowie’s relationship with Mr Pop has always fascinated me. There’s this whole rock ‘n’ roll mythology bit about how they moved into a tiny ramshackle flat in Wall-era West Berlin in the 70s to break away from their celebrity, find inspiration in the kraut rock scene, and get clean. Lou Reed joined them and the three spent the majority of their time nightclubbing, genderfucking, and writing some of the most depressing and sordid songs of their (/anyone’s) careers. I think about this, like, all the time.

Station to Station was the album preceding Bowie’s Berlin Trilogy.’ Subsisting on a diet of milk, peppers, and cocaine, obsessed with the occult, and living “in a state of psychic terror”, he performed under the guise of his last great character, the sinister Thin White Duke, “a hollow man who sang songs of romance with an agonised intensity while feeling nothing”; “ice masquerading as fire.” I love this clip of rehearsals for his 1976 tour. The wolf whistles and how feminised he becomes; the sort of new yoik sitcom theme tune jazz guitar intro and the pathetic weakness of his solo chorus. The pointy fingers at 3.17! It’s all so camp and bombastic, a parody of itself, almost mocking the (hypothetical) audience for seeming to think this is a song one should want to see performed. Wonderfully cruel.

There don’t appear to be many later renditions of the track kicking around — it’s not a song Bowie tends to play in concert anymore — but this is a great version performed on the London stage at Live Aid in 1985. The thrusting hips, the bouncing back-up girls, the frenetic oh-oh-oh-oh-ohs. No longer creepy and absurd and sparse as in the original studio recording, nor sung from very far away with a sneer of derision as by the Duke, all of a sudden TVC 15 becomes crazy meaningless happy bouncy party song! Of all his repertoire, at this point in his career, it strikes me as hilarious that Bowie would choose this song as one of only four to be broadcast before the eyes of the entire watching western world. It works completely in this context — it sounds, to all intents and purposes, like a perfect and obviously appealing candidate for performance to such a mass audience — but he had to completely renovate the track to make it such a rousing crowd-pleaser as this. And should any of the millions watching at home want to track down a copy for their personal collection, they would be introduced to quite a different Bowie in perusing Station to Station and beyond. He mightn’t be mocking himself so overtly anymore, as his alter-ego once did — in fact this performance, in all its shoulder-padded synthesized glory, is almost embarrassingly embarrassmentless. But the song’s inclusion at all perhaps suggests a certain level of discomfort in his status at this time, serving as a kind of caveat emptor, a look closer, an I’m not there.

For the record, I love Yuppie Sell-Out Stadium-Filling Bowie. I always thought it was more about playing into yet another role, monkey-barring his way into the big money music biz, trying on a different costume and stretching himself out in a different direction, without ever losing a sense of detached observation of what was going on around him. He’s never exactly been one for claiming moral integrity or rejecting the base desires. Once it was about lust and gluttony, now it was about greed and pride. But I watched an interview with him once, talking about those years, and he said one night he looked out over the audience and he realised they all looked like they should be at a Phil Collins concert. And he would never be at a Phil Collins concert. And suddenly he wanted to retreat and get back to a time when it was a little less about fame and a little more about infamy, where he might have been popular but never mainstream. So maybe this new interpretation of TVC 15 is just that; an artistic step forward, a bid to improve upon, or modernise, an earlier recording that perhaps at the time seemed silly, but now just seemed kind of… fun.