Anthroposophy, Beatniks, Hippies and Wars...
From: Tarjei Straume
Date: Sun Dec 7, 2003 12:12 pm
Subject: Anthroposophy, beatniks, hippies and wars...
Walt Whitman, who was head-hunted by Ralph
Waldo Emerson, is considered to be "the original beatnik."
His "Leaves of Grass" reflects a national-romantic
sentiment rather than an anti-chauvinistic one like the beatniks
after WW II, but the latter were under the influence of a new
Archai (Michael) while Whitman shows the footprints of Gabriel.
Anyway, let's move on to Greenwich Village,
New York, the very cradle of American postwar counter-culture
- the heart and soul of the hippie movement that emerged on the
West Coast a few years later. Jack Kerouac and the rest of the
Beat generation. Allan Ginsburg and Bob Dylan. (I had the great
pleasure of exchanging a few words with Ginsburg in Oslo the
last year of his life, about six or seven years ago.)
Oh yes, the beat poets in greenwich Village,
Lawrence Ferlinghetti reading his "Tentative Description
of a Dinner Given to Promote The Impeachment of President Eisenhower"
- making the world safe for nationalism and all that. Even Cassius
Clay (later Muhammed Ali) participated in Poetry Reading there.
Wow, this is big stuff.
I'm not saying this is Anthroposophy, but
these changes of consciousness among young people who born in
the 1930's and 1940's certainly signify changes under the influence
of Michael, whose regency as Time Spirit has come into full bloom.
Of course there were other influences. Lucifer
and Ahriman had to find new angles to neutralize the "Age
of Aquarius," culminating in the infamous Manson massacres
in 1969, proving that hippies were criminal monsters, drugs were
the scourge of society to be fought tooth and nail, and nobody
was safe from the long-haired, dope-smoking, transient outlaw.
Nobody. Hollywood panicked, because Manson had struck a blow
at its very heart, and the trail was picked up from J. Edgar
Hoover's propaganda film "Reefer Madness." They couldn't
stop white teenagers from being influenced by the likes of Little
Richard, the black madman in drag, so they had to do everything
to prevent the same white kids from adopting smoking habits from
Afro-American jazz quarters. So ever since that time, the heart
and soul of the horror propaganda flick "Reefer Madness"
(where a joint makes you a homicidal maniac) evolved through
the War on Drugs with throat-slashing, long-haired pot smokers
who are serial killers or terrorists, all the way down to the
latest episode I saw of "CSI". A bus driver had lost
his job for smoking a joint, and he took revenge by sabotaging
a tire on a bus, killing a lot of passengers.
Why this concerted, organized effort to demonize
pot smoking hippie teenagers through entertainmant-propaganda?
Fear of Charles Manson after all these years? I think it goes
a lot deeper than that. The typical pot smoker is not a ravenous
murderer on the loose, but an antiwar activist who sits at home
listening to counter-culture music and meditating while staring
at a candle light. He is a threat to the Pentagon, to future
wars, to a possible reintroduction of the draft. He is a threat
to the police because he offers them flowers instead of bullets.
San Fransisco, 1967, "Summer of Love."
The hippies came in crowds to the police station with flowers
in their hands and in their hair, showering the officers with
flowers, saying that they loved them, and that they understood
they were only doing their jobs. The cops were flabbergasted,
some in tears. The same kids who had been attacking them with
bricks and sticks only days ago, were coming with flowers and
love - putting the slogan "make love not war" into
I'm not saying that this is what pot smoking
does to everybody, but it's what it did to some kids in the 1960's,
before the 1970's set in with hard drugs, increased criminality
and unsafe streets - and more police brutality. And this is why
pot smoking is such a threat to the Establishement, from Tricky
Dick to John Ashcroft, to the Pentagon and the Armed Forces and
the New World Order.
There was a time, Rudolf Steiner tells us,
when the consumption of alcohol was expedient for human evolution,
in order for man to forget his previous incarnations and atavistic
clairvoyant wisdom. By the same token, on a much, much shorter
time-scale, the post-war years between 1950 and 1970 we right
for psychedelic drug experimentation. Steiner said that the last
vestiges of atavistic wisdom would disappear by the middle of
the century, i.e. around 1950. That's why we see the remnants
of the socio-political power of the church being eroded precisely
after this time. After WW II, the time had arrived for humanity
to stand on its own and seek out a new vision of spiritual truth,
and to re-think the codes of ethics that dominated the status
quo, such as serving God and country by going to war even when
it made no sense to do so. The demand for blind obedience fuelled
by fear - the fear of being an outcast, a non-conformist etc.
- this was the tool of the Opposing Powers. But history has proven
the draft dodgers right.
Bob Dylan sang in "Tombstone Blues":
Well, John the Baptist after
torturing a thief
Looks up at his hero the Commander-in-Chief
Saying, "Tell me great hero, but please make it brief
Is there a hole for me to get sick in?"
The Commander-in-Chief answers
him while chasing a fly
Saying, "Death to all those who would whimper and cry"
And dropping a bar bell he points to the sky
Saving, "The sun's not yellow it's chicken"
Mama's in the fact'ry
She ain't got no shoes
Daddy's in the alley
He's lookin' for the fuse
I'm in the streets
With the tombstone blues
The king of the Philistines
his soldiers to save
Puts jawbones on their tombstones and flatters their graves
Puts the pied pipers in prison and fattens the slaves
Then sends them out to the jungle
Gypsy Davey with a blowtorch
he burns out their camps
With his faithful slave Pedro behind him he tramps
With a fantastic collection of stamps
To win friends and influence his uncle
Critics, and Controversy
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