If you can remember the 1960s, the old quip goes, you weren’t really part of them. By that standard, the most authentic participants ended up as what used to be called “acid casualties”: those who took spiritual guidance from Timothy Leary’s injunction to “turn on, tune in and drop out” and ended up stranded in some psychedelic heaven or hell. Not that they’ve forgotten everything, of course. But the memories aren’t linear, nor are they necessarily limited to the speaker’s current incarnation on this particular planet.
Fortunately Stephen Siff can draw on a more stable and reliable stratum of cultural memory in Acid Hype: American News Media and the Psychedelic Experience (University of Illinois Press). At the same time, communicating about the world as experienced through LSD or magic mushrooms was ultimately as difficult for a sober newspaper reporter, magazine editor or video documentarian as conversation tends to be for someone whose mind has been completely blown. The author, an assistant professor of journalism at Miami University in Ohio, is never less than shrewd and readable in his assessment of how various news media differed in method and attitude when covering the psychedelic beat. The slow and steady buildup of hype (a word Siff uses in a precise sense) precipitated an early phase of the culture wars -- sometimes in ways that partisans now might not expect.
Papers on experimentation with LSD were published in American medical journals as early as 1950, and reports on its effects from newspaper wire services began tickling the public interest by 1954. The following year, mass-circulation magazines were devoting articles to LSD research, followed in short order by a syndicated TV show’s broadcast of film footage showing someone under the influence. The program, Confidential File, sounds moderately sleazy (the episode in question was described as featuring “an insane man in a sensual trance”) but much of the early coverage was perfectly respectable, treating LSD as a potential source of insight into schizophrenia, or a potential expressway to the unconscious for psychoanalysts.
But the difference between rank sensationalism and science-boosting optimism may count for less, in Siff’s interpretation, than how sharply coverage of LSD broke with prevailing media trends that began coming into force in the 1920s.
After the First World War, with wounded soldiers coming back with a morphine habit, newspapers carried on panic-stricken anti-drug crusades (“The diligent dealer in deadly drugs is at your door!”) and any publication encouraging recreational drug use, or treating it as a fact of life, was sure to fall before J. Edgar Hoover’s watchful eye. Early movie audiences enjoyed the comic antics of Douglas Fairbanks Sr.’s detective character Coke Ennyday (always on the case, syringe at the ready), or in a more serious mood they could go to For His Son, D. W. Griffith’s touching story of a man’s addiction to Dopokoke, the cocaine-fueled soft drink that made his father rich. But by the time the talkies came around, the Motion Picture Production Code categorically prohibited any depiction of drug use or trafficking, even as a criminal enterprise. Siff notes that in the 20 years following the code’s establishment in 1930, “not a single major Hollywood film dealing with drug use was distributed to the public.”
Not that depictions of substance abuse were a forbidden fruit the public was craving, exactly. But the relative openness of the mid-1950s (emphasis on “relative”) allowed editors to risk publishing stories on what was, after all, serious research on a potential new wonder drug. Siff points out that general-assignment newspaper reporters attending a scientific or medical conference, unable to tell what sessions were worth covering, could feel reasonably confident that a title mentioning LSD would probably yield a story.
At the same time, writers for major newsmagazines and opinion journals were following the lead of Aldous Huxley, the novelist and late-life religious searcher, who wrote about mystical experiences he had while taking mescaline. In 1955, when the editors of Life magazine decided to commission a feature on hallucinogenic mushrooms, it turned to Wall Street banker and amateur mycologist R. Gordon Wasson. He traveled to Mexico and became, in his own words, one of “the first white men in recorded history to eat the divine mushroom” -- and if not, then surely the first to give an eyewitness report on “the archetypes, the Platonic ideals, that underlie the imperfect images of everyday life” in the pages of a major newsweekly.
Suffice it to say that by the time Timothy Leary and associates come on the scene (wandering around Harvard University in the early 1960s, with continuously dilated pupils and only the thinnest pretense of scientific research) it is rather late in Siff’s narrative. And Leary’s legendary status as psychedelic shaman/guru/huckster seems much diminished by contrast with the less exhibitionistic advocacy of LSD by Henry and Clare Boothe Luce. Beatniks and nonconformists of any type were mocked regularly in the pages of Time or Life, but the Luce publications were for many years very enthusiastic about the potential benefits of LSD. The power couple tripped frequently, and hard. (Some years ago, when I helped organize Mrs. Luce’s papers at the Library of Congress, the LSD notes were a confidence not to be breached, but now the experiments are a matter of public record.)
The hippies, in effect, seem like a late and entirely unintentional byproduct of industrial-strength hype. “During an episode of media hype,” Siff writes, “news coverage feeds on itself, as different news outlets follow and expand on one another’s stories, reacting among themselves and to real-world developments. Influence seems to flow from the larger news organizations to smaller ones, as editors at smaller or more marginal media operations look toward the decisions made by major outlets for ideas and confirmation of their own judgment.”
That is the process, broadly conceived. In Acid Hype, Siff charts the details -- especially how the feedback bounced around between news organizations, not just of different sizes, but with different journalistic cultures. Newspaper coverage initially stuck to the major talking points of LSD researchers; it tended to stress the potential wonder-drug angle, even when the evidence for it was weak. Major magazines wanted to cover the phenomenon in greater depth -- among other things, with firsthand reports on the psychedelic universe by people who’d gone there on assignment. Meanwhile, the art directors tried to figure out how to convey far-out experiences through imagery and layout -- as, in time, did TV producers. (Especially on Dragnet, if memory serves.)
Some magazine editors seem to have been put off by the religious undercurrents of psychedelic discourse. Siff exhibits a passage in a review that quotes Huxley’s The Doors of Perception but carefully removes any biblical or mystical references. But someone like Leary, who proselytized about psychedelic revolution, was eminently quotable -- plus he looked good on TV because (per the advice of Marshall McLuhan) he smiled constantly.
The same hype-induction processes that made hallucinogens seem like the next step toward improving the American way of life (or, conversely, the escape route for an alternative to it) also went into effect when the tide turned: just as dubious claims about LSD’s healing properties were reported without question (it’ll cure autism!), so did horror stories about side effects (it’ll make you stare at the sun until you go bling!).
The reaction seems to have been much faster and more intense than the gradual pro-psychedelic buildup. Siff ends his account of the period in 1969 -- oddly enough, without ever mentioning the figure who emerged into public view that year as the embodiment of LSD's presumed demons: Charles Manson. You didn't hear much about the drug's spiritual benefits after Charlie began explaining them. That was probably for the best.
Let me tell you how I ended up on Jihad Watch. This is a tale of the new red scare wending its way across college campuses. More than an account of my own travails, this is an anatomy of how critical thought about Islam and Judaism, the Arab-Israeli conflict, anti-Semitism and anti-Muslim racism is today monitored in the academy with the goal of chilling reflection.
In March, at the University of Rochester, I gave a lecture entitled “Judeophobia and Islamophobia” in which I sought to consider the links between Muslims and Jews in contemporary European and American discourse and put it into historical perspective. In attendance was an appointed watchdog for Campus Watch, A. J. Caschetta, a lecturer in English at the Rochester Institute of Technology.
In May, he published his “report” of my talk on the website of the Middle East Forum. It was a pastiche of falsehoods, innuendos and quotes out of context, entirely obfuscating what I actually said. I was accused of maintaining that Islamophobia has replaced Judeophobia, an indefensible position given the rising tide of anti-Semitism globally. It was also alleged that I deny the history of Islamic Judeophobia historically and at present. These charges stem from the fact that I sought to consider the two forms of hatred in tandem. While it is demoralizing to suffer through this kind of defamation, the real harm is the way anti-anti-Semitic hit men like Caschetta feed hate speech.
I had a sense something had happened in the blogosphere when I began to receive anti-Islamic hate mail in my inbox, and requests for the lecture from as far away as Sydney, Australia. This happened because Campus Watch flies its flag under the auspices of the Middle East Forum, a well-financed initiative under the leadership of Daniel Pipes that monitors Middle East studies in the academy.
Campus Watch is part of a network of networks, including StandWithUs, AMCHAInitiative, the David Horowitz Freedom Center and most recently Canary Mission, linked to groups like Jihad Watch. Jihad Watch and these other fora send daily blasts to all those who sign up to receive them on their websites and use email and social media to share their message. Within this self-referential set of bubbles, each consumes the propaganda of their fellow warriors in what they describe as a war for hearts and minds. College campuses are thus key strategic territory in the battle since this is where young minds are shaped.
In her final chapter of The Origins of Totalitarianism, “Ideology and Terror: A Novel Form of Government,” Hannah Arendt suggested that what linked Stalinism and Nazism was the reduction of history to ironclad laws, whether race or class. What they shared in common was the truth about the movement of history. Today the “clash of civilizations” has cemented as this new truth.
What I sought to accomplish in my lecture was a form of ideology critique. I did so by reflecting on a series of narratives that have emerged in the wake of the Charlie Hebdo and Hyper Cacher murders that have split off the ideology of the Koachi brothers and Coulibaly from the sociology of their marginalized experience as Muslims in France.
I insisted that such a split, whether by the right or the left, is untenable if we seek to understand such events. My example was Lassana Bathily, the Hyper Cacher worker of Malian Muslim background who saved Jews by hiding them in the freezer of the kosher market. His story short-circuits the narratives about an essentially radical Islam, as well as the story about how oppression leads people to terrorism as the weapon of the weak.
I went on to discuss the history of the concepts of anti-Semitism (which was coined in the 1870s, racializing the much longer history of anti-Jewish prejudice) and Islamophobia (which was birthed as a term only in this generation but whose history goes back to the Middle Ages).
Then I addressed the vexing question of whether anti-Semitism should be hyphenated. The minutia of the hyphen actually has major consequences in how we think about the relationship between Muslims and Jews over time, and how this has changed in the last century. Those scholars who refuse to hyphenate anti-Semitism insist that “antisemitism” only applies to Jews and has always only applied to Jews. They also tend to insist that antisemitism is a unique form of racism, wholly different from anti-black or anti-Muslim discrimination.
But in the 19th century, when the term “Semite” was defined in opposition to “Aryan,” this was carried out in scientific, literary and artistic works that not only racialized much earlier tropes of Jews, but also images of Arabs, Saracens, Turks and Muslims. The two groups were unified by their shared Semitic language family.
I referenced a set of historical examples of this long history: the Crusades, which gave rise to the first mass killings of Jews en route to liberating holy sites in Jerusalem held by Saracens; the Fourth Lateran Council (1225), which mandated marking not only Jewish but also Muslim clothing; the Spanish Inquisition, which targeted not only Jews but Moors; post-expulsion Europe, when 90 percent of Jews lived under the crescent of Islam; the depiction of Jews as Turks in Renaissance art, as in many paintings by Rembrandt; and I cited authors like writer Johann Gottfried von Herder, who called Jews the “Asiatics of Europe,” and Benjamin Disraeli, who said the Jews were an “Arabian tribe” and the Arabs “only Jews upon horseback.”
I then explained that the sometimes overlapping images of Jews and Muslims were definitively decoupled around the time that the construct “Judeo-Christian” made its historical appearance in the 1930s. “Judeo-Christian” was originally a formula used to appeal to Christians to aid Jews who were targeted for annihilation in Europe by the Nazis. It was effective because it stressed a shared lineage.
Following the Holocaust and with the creation of the state of Israel, Jews stressed their Judeo-Christian commonality, which over time was interpreted as the foundation of Western civilization, and later of American democracy and human rights. What made the decoupling definitive was that this was precisely the period when large swaths of the Islamic world began to demonize Jews in unprecedented ways, drawing upon the iconography of the European anti-Semitic arsenal, spurred by the Arab-Israeli conflict.
This quick history is certainly not the whole story of either Judeophobia or Islamophobia -- their linkages and disconnects -- and only the briefest outline of what I addressed in my public lecture. But in talking about rising Judeophobia globally since 2000, I ended by explicitly critiquing the position that was then used as the title of Caschetta’s article: “Are Muslims the new Jews?” The entire point of what I discussed was to problematize such one-sided views.
The ear attuned only to ideology, as Arendt defined it, is tone-deaf to such deconstruction. The real jihadists don’t want to think critically and contextually. The narrative of the “clash of civilizations” explains everything to them. This is true of those warriors of the faith who seek who oppose the “Zionist-Crusader conspiracy” and restore the Caliphate just as much as for those crusaders who pull Judeophobic passages from the Quran and insist they meant the same thing in the eighth century as they have come to mean in the new millennium, as Caschetta did during the Q&A session.
Ideology, as Arendt suggested, is underpinned by an ahistorical belief in the truth of your understanding of the motor of history. Ideology critique is what some corners of the academy offer at its best. This is precisely why the new McCarthyism monitors its lecture halls with watchdogs. The Campus Watchers don’t want students to reevaluate and reframe the latest well-worn clichés. But not doing so stokes hate speech, and this can feed violence.
So what do I tell the members of my synagogue, fellow parents at the Jewish day school my kids attend, my colleagues in Jewish studies associations in America and Europe about why I ended up on Jihad Watch? I tell them the new McCarthyism has arrived.
Jonathan Judaken is the Spence L. Wilson Chair in the Humanities and professor of history at Rhodes College.
Eastern Washington University has removed the biography of Rachel Dolezal, a white woman who represented herself as a black woman in leading her local NAACP chapter and teaching African-American studies at the institution. She had been listed here, with her biography, until Monday. The university told KREM2 News that Dolezal had been an adjunct and that her contract expired on Friday, the day she became a national news story. The university said that she has no contract to teach at the university in the upcoming academic year.
Another development in the story: Dolezal once sued Howard University for discrimination against her as a white woman, The Smoking Gun reported. The Smoking Gun's articles are based on documents, and in this case the website obtained decisions that rejected Dolezal's suit. Dolezal earned an M.F.A. from Howard in 2002 and sued for discrimination, charging that she was denied a teaching assistant position and experienced various other forms of discrimination because she is white. Courts rejected those claims.
A Howard spokeswoman said that the university considered the matter "closed" and would not have any further comment.
A student at California's Crafton Hills College and her parents are urging the institution to ban the teaching of several graphic novels, Redlands Daily Facts reported. The student says that the novels, including Fun Home, The Sandman, Vol. 2: The Doll’s House and Persepolis are violent, pornographic or both. (The novels have all been widely praised by critics, winning awards.) Ryan Bartlett, associate professor of English, said that this is the third time he has taught a course on graphic novels, and the first time there has been a complaint.
“I chose several highly acclaimed, award-winning graphic novels in my English 250 course not because they are purportedly racy but because each speaks to the struggles of the human condition,” Bartlett said in an email to the Daily Facts. “As Faulkner states, ‘The only thing worth writing about is the human heart in conflict with itself.’ The same may be said about reading literature. The characters in the chosen graphic novels are all struggling with issues of morality, self discovery, heart break, etc. The course in question has also been supported by the faculty, administration and approved by the board.”