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MASARYK UNIVERSITY BRNO FACULTY OF EDUCATION Department of English Language and Literature

The Beatles in the Context of the Movement

Bachelor Thesis Brno 2017

Supervisor: Mgr. Lucie Podroužková, Ph.D. Author: Zita Biberlová Declaration

I hereby declare that I worked on my thesis independently, using only the sources listed in the bibliography. I agree with storing of this work in the library of the Faculty of Education at the Masaryk University Brno and making it accessible for study purposes.

Prohlášení

Prohlašuji, že jsem závěrečnou bakalářskou práci vypracovala samostatně, s využitím pouze citovaných pramenů, dalších informací a zdrojů v souladu s Disciplinárním řádem pro studenty Pedagogické fakulty Masarykovy univerzity a se zákonem č. 121/2000 Sb., o právu autorském, o právechsouvisejících s právem autorským a o změně některých zákonů (autorský zákon), ve znění pozdějších předpisů.

V Brně dne 28.3. 2017 ______Zita Biberlová Acknowledgements

I would like to gratefully thank Mgr. Lucie Podroužková, Ph.D. for her kind help, patience and advice she provided throughout the whole process of my writing. I also want to thank the whole Department of English Language and Literature for creating a friendly atmosphere during my studies. Last but not least, I thank my family and friends for their sense of black humour in terms of finishing my thesis. Annotation

The bachelor thesis “ in the Context of the Hippie Movement” deals with the British music group The Beatles and the analysis of their lyrics that are related to the hippie movement. The aim of the work is to identify a possible connection and influence of The Beatles' on the hippie movement. In order to achieve the result, a variety of the primary and secondary sources, including The Beatles' lyrics and interviews, are investigated. With the exception of the first chapter, each chapter consists of a theoretical and a practical part. In the theoretical part, the background of the specific features of the hippie movement is provided while in the practical part, The Beatles' lyrics and interviews connected with the same specific features are analysed.

Key Words: The Beatles, Hippie Movement, Music Influence, Lyrics, 1960s , Drugs, Sexual Revolution

Anotace

Bakalářská práce “The Beatles v kontextu hnutí ” se zabývá britskou hudební skupinou The Beatles a analýzou jejich textů souvisejících s hnutím hippies. Cílem této práce je najít možné propojení The Beatles a jejich případný vliv na hnutí hippies. K dosažení výsledku je přezkoumána řada primárních a sekundárních zdrojů, které zahrnují jak texty písní tak rozhovory s The Beatles. S výjímkou první kapitoly se každá kapitola skládá z teoretické a praktické části. V teoretické části jsou nastíněny specifické znaky hnutí hippies, které jsou poté v praktické části spojeny s analýzou textů a rozhovorů The Beatles.

Klíčová slova: The Beatles, hnutí hippies, hudební vliv, texty písní, kultura v letech 1960, drogy, sexuální revoluce Table of Contents

Introduction...... 6 1 History of the Hippie Movement...... 8 1.1 The Beat Generation...... 8 1.2 Cultural Background of 1960s...... 9 1.3 The Year 1965...... 11 2 Community As a Way of Distancing from the ...... 12 2.1 Meditation...... 15 2.2 Nature Awareness...... 18 2.3 Live in the Presence...... 20 3 Change of the Concept of through the Sexual Revolution...... 22 3.1 Concept of Love in 1960s...... 22 3.2 Sexual Revolution...... 23 3.3 Hippie Love As a Power of the World...... 28 3.4 Development of the Concept of Love in the Beatles' Lyrics...... 31 4 Drugs in the Hippie Culture...... 32 4.1 The Beatles' Attitude to Drugs...... 36 4.2 References to Drugs in The Beatles' Lyrics...... 37 5 Anti-Establishment Attitudes...... 41 Conclusion...... 47 List of References...... 50 Introduction

Music is a fundamental part of every culture and it has always had an influence on the society. Music gathers people together, evokes emotions and can be used as a way of communication. With a connection of lyrics people are able to remember stories, sometimes even cultural morals and different moods. Lyrics can be used as an instrument of emotions whether we talk about a supportive military march, celebration themes, sentimental love or a funeral mourning. Therefore, it is crucial for the society to determine which music is popular and listened to the most as it can influence the opinions and attitudes of the society, especially of the youth who are the main target of the popular music. During the 1960s when the hippie movement emerged, the society started to be more open-minded towards the contemporary music. Consequently, several new music styles such as rock'n'roll and beat appeared and immediately became popular. Hippie movement itself was accompanied and influenced by several musicians. To provide examples, artists such as , Janis Joplin, or can be named. Furthermore, in 1969 one of the biggest and most influential music festivals, Woodstock Music Festival, was organized. Therefore, it can be claimed that music played an important role during the 1960s. The thesis aims to identify a connection of one of the most publicly admired and discussed music bands, The Beatles, and their possible influence on the hippie movement that was at the peak of its existence when The Beatles became famous. Indeed, it can be argued that The Beatles was a musical phenomenon with a huge cultural impact. However, they must have been influenced by the time and society of 1960s in turn. The theoretical part of the work focuses on the specific features of the hippie movement such as living in a community, meditation, nature awareness, living in the presence, free sex culture, drugs and anti-establishment attitudes. These features are identified in The Beatles' lyrics and interviews and a connection within the hippie context is discussed. In order to achieve the result, all The Beatles' lyrics were analysed and 34 of them were selected and divided into four parts which create four main chapters of this bachelor thesis. The possible connection and influence are supported by the primary and secondary literature, including the interviews .

6 The brief history of the hippie movement is given in the first chapter. To provide the context of the hippie culture, the cultural background of 1960s is emphasized together with the year 1965 that is considered to be the most influential year of the hippie culture. The following four chapters are oriented on the lyrics analysis. The second chapter is focused on the hippie community and its possible references in The Beatles' lyrics. The chapter does not only examine the community itself but also its aspects that were fundamental for the communal living. The third chapter deals with the change of the concept of love through the sexual revolution. Its change is discussed within the cultural background of the 1960s and The Beatles' lyrics and attitudes they provided. Drugs in the hippie culture and The Beatles' attitude towards its usage are provided in the fourth chapter. First, different effects of different drugs used within hippies are described and later The Beatles' attitude towards it is examined. At the end of the chapter, The Beatles' lyrics connected with a drug theme are discussed. The last chapter focuses on the anti-establishment attitudes within a hippie culture. This topic is analysed in The Beatles' lyrics and discussed with their opinions they provided in the interviews.

7 1 History of the Hippie Movement

To understand the way the hippies live ant think, it is important to know the history of their movement. This chapter deals with the roots of the hippie movement and its important turning points. To begin with, we need to characterize what the hippie culture is. Issitt (2009) specifies the hippie culture as a of the 1960s (11). The term counterculture is defined by The Oxford Dictionary as "[a] way of life and set of attitudes opposed to or at variance with the prevailing social norm". It also is popularly believed that the counterculture of the 1960s consists of a variety of significant groups, including the hippies, student activists, civil rights groups and anarchist groups (Issitt, 2009, 11). In addition to this, Thompson (2008) in his studies suggests that all the social developments since 1958 have the roots in "race riots, new technology, and pivotal political changes" (25). As another argument he provides the claim that "[ch]anges in the arts, and particularly , reflect the economic, political, and social divisions" (ibid). Needless to say, the hippie movement cannot be clearly defined as a unit as it is a part of a complex social culture of 1960s and created and influenced by many other social movements, historical events and a political background. Therefore, the rest of the chapter deals with the history and a social background of the hippie movement to provide their point of view.

1.1 The Beat Generation

According to Issitt (2009), the hippies developed from the earlier counterculture group called the Beat Generation. The development of a cultural group is caused by several influences of a wider social, political, cultural and economic environment. The main factors that helped The Beat Generation to be developed were events that happened in the period of the 1950s; Cold War, conservative and repressive environment, censorship of literature and speech, rise of consumerism (24). Agreeing with Issitt, Miles (2003) provides a list of artists such as Andy Warhol, , Jack Kerouac and as the Beats who "make an easy transition from the Beats to the Hippies" (68). Being a social movement, the Beat members distinguished themselves by several features. They are known for wearing non- fashion, listening to the non- mainstream music, making different lifestyle choices, including the opinions on politics,

8 relationships and employment. Both the Beat and hippie generations were rebellious youth movements. The connection between these two movements can also be found in the thoughts they agreed on such as Eastern religion, pacifism, ecological consciousness, homosexual rights and hedonistic lifestyle. While the Beat generation is considered to be expanded in the 1950s, the hippie generation spread in the 1960s (Issitt, 2009, 25-26). Issitt mentions Lawrence Ferlinghetti's book The Beat Generation in San Francisco where Lawrence describes the Beats as "Stone Age Hippies" (ibid, 26). Another characteristic feature that the Beats and the hippies have in common is music. Stanley (2013) suggests a theory that with rock'n'roll many of the social differences such as "the gulf between black and white, the gulf between child and grown-up, and the gulf between the US and the UK" (89) had temporarily vanished (ibid).

1.2 Cultural Background of 1960s

Clearly, a significant point in developing the hippie culture was the cultural background and events that happened during the period of the 1960s. Whether we talk about Civil Rights Movement, the , the Cold war or any other important event that resulted.

The political environment of 1960 America informed and inspired many teenaged Americans to join the hippie rebellion. The civil rights movement was gaining steam, America had officially sent thousands of troops to Vietnam, and the antinuclear movement was building in response to ongoing Cold War tensions. The cultural environment was also changing. Beat literature had found its way to colleges and universities and was influencing a new generation of students. Disc jockeys around the country were furthering the racial integration of popular culture by introducing white audiences to "race music", and the folk revival of the late 1950s was blending into to doo-wop rock of the early 1960s. (Issitt, 2009, 26)

At the same time, the hippies started to settle in the communities where the cheap housing was. Community became, then, one of the most important life values for the hippies. The most desired places because of its location, history and population were Haight-Ashbury in San Francisco, Greenwich Village in New York and the Sunset Strip in Los Angeles. Cheap housing also supported other ethnic and cultural groups to move in the communities and it became a cultural diversity in which African Americans, whites, Hispanics, gays and lesbians

9 were all living together. Considering all the aspects, building the community caused a socially progressive environment (Issitt, 2009, 26).

Though the hippie scene spread among the UK and the USA at the same time, there were some differences as far as the social features are concerned. Miles (2003) clarifies that "the Americans were having a reaction to one of the richest consumer on earth, in Britain, the 60s were the first time that young people had any money in their pocket" (76). The underground scene came from the meetings of different young gatherings. From all of them we might mention "the rockers, Swinging London, the Campaign for Nuclear Disarmament activists, the radical left students and the latest generation of art school graduates, most of whom were rock musicians" (ibid). Mentioned activities and meetings were not publicly well-known as the media had no interest in it. In the USA, radio or television almost did not play (ibid).

Then came the Beatles, followed rapidly by the Stones and the whole explosion of beat groups that transformed rock'n'roll if not overnight, then in a year or so. Between the rock groups, Biba's clothes shop, Mary Quant, the widespread introduction of the pill, full employment, , satirical TV shows such as That Was The Week That Was, the growing availability of marijuana, LSD, books by the Beat Generation, American be-bop, Surrealism, French New Wave films, association with the West Indian community of West London and myriad other factors, and underground culture emerged. This consisted mostly of young people who had a radically new set of values, hopes and ambitions than society had intended for them to have. (Miles, 2003, 76)

The importance of the hippie counterculture Rorabaugh (2015) explains by several reasons. First, he emphasizes a growth of all the movements of the 1960s such as "civil rights, Black Power, feminism, and gay liberation" (2) that changed the culture of the and then he comments an appearance of the aspects such as "looser sexual mores, the end of censorship, street protests, political radicalism, and environmentalism" (ibid). The second reason is the number of people who joined the hippie movement. Hundreds of thousands of young Americans were hippies and millions acknowledged the hippie beliefs and practices (ibid).

10 The third reason provided by Rorabaugh is a "generation break with traditional middle-class culture. When hordes of people concentrated in a single youth generation simultaneously adopted new thoughts and behaviors, mainstream culture was forced to pay attention." (ibid, 3).

1.3 The Year 1965

The year 1965 became a significant year for spreading the hippie culture. Not even that hippie music became popular (e.g. the Doors, the , the Velvet Underground) but also San Francisco emerged as a new centre of the cultural phenomena (Issitt, 2009, 28). Several members of the hippie community started to have an idea of initiating the cultural revolution. In 1966, a political and social group and "the most recognizable symbol of hippie politics" (ibid) the Diggers was formed. Issitt suggests that "the Diggers' goal was to inspire the members of this 'new cultural community' to become true revolutionaries" (ibid, 30). The Diggers believed that if the community worked together, they could achieve a society free from consumerism. The idea was based on the theory that food and other goods are for free or can be exchanged for other goods and service. Having a difficulty with law because of stealing the goods they could not obtain legally, the Diggers never reached their revolutionary goals (ibid). Rorabaugh (2015) describes the growth of the hippie subculture in the year 1966:

[I]n 1966 there were hippies, thousands of them, then tens of thousands, and within a couple of years, hundreds of thousands, or even millions of long-haired youth of both sexes dressed in tight-fitting jeans or bright-colored pants accompanied by colorful tie-dyed T-shirts with or without printed slogans, or, in the case of a goodly number of women, wearing Victorian "granny dresses" either out of the attic or from a chic store. (1)

It is possible to assume that the hippie movement was at the peak of its existence. They lived under the influence of certain values and beliefs that are discussed in the following chapters.

11 2 Community As a Way of Distancing from the Society

This chapter focuses on the living in a community, which was one of the most important and stable values among the hippie subculture. As Rorabaugh says, "[t]he idea of community was perhaps a necessity for a counterculture in which the search for authenticity and individualism might tend toward both social and personal disintegration." (2015, 13). Living in a community brings several advantages:

In a communal setting deep friendships blossomed, and group discussions among those who shared values, experiences, and aspirations helped ease loneliness at a time when mainstream culture seemed outdated, frayed, misshaped, or grotesque. [...] Residents discussed common readings, such as the novels of Herman Hesse or J. R. R. Tolkien, and undertook meditation, yoga, breathing exercises, or encounter sessions. The sense of purpose was strong, but progress in these communes toward remaking the self was painfully slow. (Rorabaugh, 2015, 170)

For hippies, there were also practical reasons why to join a community as a hedonistic lifestyle was often "chaotic and self-destructive" (Rorabaugh, 2015, 169). They needed to set control and rules for themselves. Rorabaugh remarks that "[b]y living communally, a person depended upon others to enforce norms and prevent one from going off the deep end." (ibid). However, the original reason for creating a community was the idea of separation from the mainstream society. By the separation the hippies showed their distance from the mainstream and avoided possible problems caused by people who did not agree with the hippie lifestyle that included "drugs, easy sex, and rock music" (ibid, 167).

The theme of the separation from the mainstream society is visible in The Beatles' lyrics of the Yellow Submarine that was first released on the album Revolver in 1966. Later, the Beatles released the whole album called Yellow Submarine and the movie with the same name was shot in 1968 (MacDonald, 1994, 171). The first verse describes a man who tells them about the life "in the land of submarines". "Us" may represent a hippie community and "the land of submarines" can be interpreted as the life behind the consumer society.

12 In the town where I was born Lived a man who sailed to sea And he told us of his life In the land of submarines

The following verse is understood as a description of the way to the life behind a consumer society. They "lived beneath the waves" where the "waves" may represent the separation from a consumer society in the "yellow submarine". Yellow submarine can be interpreted as a metaphor for the community.

So we sailed up to the sun till we found the sea of green and we lived beneath the waves in our yellow submarine.

It is possible to assume that the first line of the refrain "We all live in a yellow submarine" proves the statement that everybody in the community is equal and thus everybody lives in the same yellow submarine. Another reference to the community that accepts everyone without any exception is found in the following verse where "friends are all on board many more of them live next door". The last part of the verse "and the band begins to play" might be a reference to The Beatles that joined the community and played for them. In the fourth verse, the lines "Full speed ahead, Mr. Boatswain, full speed ahead!" and "Cut the cable, drop the cable" may represent a desire of a fast separation or escape from a consumer society. In the last verse, we can find a summary and a result of the escape from a consumer society described as "a life of ease" where "everyone of us has all we need".

13 As we live a life of ease everyone of us has all we need sky of blue and sea of green in our yellow submarine.

Despite all the mentioned references, the Beatles never admitted the fact that the song would have been a metaphor. Paul McCartney comments the lyrics: "It's a happy place, that's all. You know, it was just... We were trying to write a children's song. That was the basic idea. And there's nothing more to be read into it than there is in the lyrics of any children's song." (In: "Yellow Submarine", 1966). However, on the press conference on August 20th 1966 Paul McCartney answered the question if they had meant all the lyrics as they had written them: "We mean them as lyrics. But I mean, if we write 'We all live in a Yellow Submarine,' we don't really mean that." (In: "About This Press Conference", 1966). By this statement Paul McCartney might have indicated the hidden meaning of the lyrics.

As another reason for hippies to create communities Rorabaugh states a fact that the generation of hippies emerged from "the suburban middle-class families" (2015, 168) where a little sense of community and unity was. 1960s were also years when "the prosperous white working class" (ibid) was moving from the cities in large numbers. Hippies started to rent and shared areas that were close to African American ghettos. Reasons were many – cheap rents, food, utilities, cost of living and there was also high level of tolerance among people. They wanted to show that without money and possession one can live a better life with a support of the community (ibid). The theme of a life without possession is discussed in the song that was released on 5th August 1966. The authors of the lyrics are and Paul McCartney (MacDonald, 1994, 165). In the lyrics, Lennon and McCartney address someone who claims that he has seen "Seven Wonders" that might represent the whole world and has everything he wants as it is written in the lines "You say you've seen Seven Wonders" and "Tell me that you've got everything you want". The line "When your bird is broken will it bring you down" indicates that even though the addressee has seen the whole world and has everything, he might not be happy. The following verse can be interpreted as a reference that

14 possession sometimes makes you unhappy and in that case there are The Beatles, or the community, that will help you to understand the real value and the reason of life: "When your prized possessions start to wear you down. Look in my direction, I'll be round, I'll be round.". The whole song can be understood as an explanation that possession does not mean happiness. It can also be interpreted as a guidance to the hippie lifestyle where money or a possession are not important because a person can rely on the community.

In the hippie communities, a sharing system was developed. They shared everything from food through bills to clothes (Rorabaugh, 2015, 174). However, hippie communities were not created only by people living according to the hippie values. Lots of college students, as well as young singles, also wanted to live in the cheap areas. Generally, hippies welcomed everyone who entered into their community (ibid, 168). The idea of everybody being welcomed in the community is indicated in The Beatles' song All Together Now that was released on 17th January 1969 (MacDonald, 1994, 211). The refrain is composed of a repetitive phrase "All together now". At the end of the music video of the song we can see several inscriptions "All together now" written in different languages. The message of the lyrics together with the music video can be understood as a statement that everybody is welcomed in the community because people are stronger when they are all together.

2.1 Meditation

Some communities established religious groups such as Hare Krishna followers, Indian Vedanta Society, Zen Buddhism, , Orthodox Judaism and The Jesus People. Nonetheless, most of the hippie population was consisted of young people "who had a counterculture sensibility finding camaraderie by living with like-minded." (Rorabaugh, 2015, 172). All the community residents were vegetarians, which agrees with the practice of meditation. Indeed, there are several reasons for hippies being vegetarians. First, the meat was expensive and eating vegetables, rice and beans was the cheapest alternative. Second, the meat was considered as a "product of warrior-like hunting" (ibid), which was against their peace theory. Urban communes also often gained "honey, fresh fruit, or other items from rural communes" (ibid, 173). Rorabaugh explains that with the increasing number of urban

15 communes also increased the interest in organizing food-buying cooperatives that supported vegetarianism (ibid, 172 – 175). Meditation was one of the most practiced activities in the communes. Hippies were often inspired by Western religious such as Buddhism, Taoism, or Hinduism. Several communes settled in northern New Mexico to find the link to the Indians living in that area. Native shamans taught them how to find the spiritual truth. Psychedelic drugs, meditation and yoga were often practised during spiritual exercise (Rorabaugh, 2015, 11-12). The first Beatles' lyrics where the theme of meditation is visible are . The song was released on 22nd November 1968 and the lyrics were written during the Beatles' stay in India where they were learning how to meditate (MacDonald, 1994, 253). John Lennon said in the interview from the year 1980 that it was a song about Mia Farrow's sister who had been there with them and who had been meditating too long without communicating with other members. The song had been written to help her with the return to consciousness (In: "Dear Prudence", 1980). John Lennon commented the event as follows:

They selected me and George to try and bring her out because she would trust us. We got her out of the house. She'd been locked in for three weeks and was trying to reach God quicker than anybody else. That was the competition in Maharishi's camp – who was going to get cosmic first. (ibid)

Even though the song was originally written for a concrete person, the Beatles released it on the album. Therefore, some references to the enlightenment they experienced in India and peace thoughts they believed in can be found in the lyrics. In the following verse, we can observe how the lyrics lead Prudence to the return to her consciousness:

Dear Prudence, open up your eyes Dear Prudence, see the sunny skies The wind is low, the birds will sing That you are part of everything.

16 Another song supporting meditation and spiritual practices is called . The song was released on 12th December in 1969 on the album Let It Be (MacDonald, 1994, 225). John Lennon, the author of the lyrics, said in the interview that he thought it was one of his best songs (In: "Across the Universe", 1972). The repetitive phrase "Jai Guru Deva Om", that is included in the lyrics, is a mantra intended to lull the mind into the higher consciousness. Another phrase "Nothing's gonna change my world" can be interpreted as a comforting statement which claims that even though there is a mainstream oppression, nothing cannot take one's personal freedom during the meditation or spiritual practice. This interpretation is supported by Rorabaugh's claim that "hippies saw mainstream culture as hopelessly rotten, they had little use for Western civilization or the Judeo-Christian tradition, both of which were associated with mainstream cultural oppression." (2015, 11).

The last lyrics that deals with the theme of meditation are Octopus Garden and were written by . The song was released on 26th September 1969 (MacDonald, 1994, 284). In the interview Starr said that the song was "all about octopuses – how they go 'round the sea bed and pick up stones and shiny objects and build gardens" (In: "Octopus Garden", 1981) and that there was no other meaning (ibid). However, comments the lyrics as follows:

I think it's a really great song, because on the surface, it's just like a daft kids' song, but the lyrics are great. For me, you know, I find very deep meaning in the lyrics, which Ringo probably doesn't see, but all the thing like 'resting our head on the sea bed' and 'We'll be warm beneath the storm' which is really great, you know. Because it's like this level is a storm, and if you get sort of deep in your consciousness, it's very peaceful. So Ringo's writing his cosmic songs without noticing. (ibid)

Therefore, the meaning of the song can be interpreted in two ways. First, as Starr said, it can be a children's song including a simple story. Second, according to Harrison, it can be a very peaceful song that helps to get into one's consciousness, which is a fundamental part of meditation. The second interpretation can be analysed from the following verse:

17 We would be warm below the storm In our little hideaway beneath the waves Resting our head on the sea bed

The first line "We would be warm below the storm" may be understood as a claim that people who meditate are "warm", which can mean calm even though there is a "storm", which might be interpreted as an everyday busy life in a consumer society. "In our little hideaway beneath the waves" may be a metaphor for the hippie lifestyle in a community where they are hidden from the mainstream. The line "Resting our head on the sea bed" may simply mean the act of meditation.

2.2 Nature Awareness

For hippies, nature is one of the most important life values. They take care of it and try to live with its principle. Miller (2012) describes hippies' attitude towards nature:

Human beings were an integral part of nature, not its masters, and one was thus obligated to adapt oneself to the flow of things instead of interfering with it and trying to conquer it, which was perceived to be the traditional Western way of dealing with nature. A fairly typical sentiment came from the Beatle George Harrison: "The more you meditate and the more you harmonize with life in general the more nature supports you.". (123)

As Rorabaugh (2015) explains, most "communes were committed to environmentalism" (219). They contested for nature preserves, forests and idea of living in harmony with nature. Several environmental movements for protecting nature, such as Save the Whales, were developed (ibid).

Hippies organized protests and demonstrations against nuclear powers and built eco- villages. Ecofeminism was introduced as a movement where "hippie women stressed being close to the earth, where nature provided food" (Rorabaugh, 2015, 220). Women became a part of the agriculture that stressed organic farming. Rorabaugh provides an example, Wendy Johnson, who became a Buddhist and an organic gardener. She supplied a vegetarian restaurant Greens in San Francisco that was run by Zen Buddhists. Local organic food was

18 healthier and cut transportation costs. It is stressed that "[b]y 2002, 11 percent of all American farmers were women, and they were more likely to use sustainable agriculture." (ibid, 221).

Hippies tended to their "rural grandparents' values" (Rorabaugh, 2015, 12). They did not want to buy new things, they preferred recycling and they did everything in harmony with nature. They also rejected doctors because they believed that "mainstream society was too sick to be healed, they were determined to retreat to a more primitive past that lacked current ills" (ibid).

For hippies, escaping from industrial environment was something natural. They relied upon nature, which meant to live close to it and to return to the land. Technology was something one could not trust and that is why the hippies used old fashion ways such as "cider presses, flour grinders, hand looms, wood stoves, and wash boards" (Rorabaugh, 2015, 182). As they supported nature environment and ecological thinking, even a reduction of electricity became very important to them. Hippies tried to limit it to "freezers, pumps, and sometimes record players" (ibid).

The first lyrics where the theme of nature is visible are Mother Nature's Son. The song was released on 22nd November 1968 on the album The Beatles. The lyrics were written in India under the influence of Maharishi learning and it aims to the meditation, nature and inner peace (MacDonald, 1994, 248-249). The whole song can be understood as a tribute to nature. Indeed, the name Mother Nature's Son may refer to a statement that everybody is a son of "mother nature". A beauty of nature is emphasized in the following verse:

Sit beside a mountain stream, see her waters rise Listen to the pretty sound of music as she flies Find me in my field of grass, Mother Nature's son Swaying daises sing a lazy song beneath the sun

19 As another example of the lyrics focusing on nature is provided the song Yer that was released on 22nd November 1968 on The White Album. is said to be a satirical song and it was written in India (MacDonald, 1994, 250). The reference to the fusion with nature is seen in the first two lines "My mother was of the sky" and "My father was of the earth". The last line of the first verse "But I am of the universe" can be interpreted as a theory of life as a natural unit.

2.3 Live in the Presence

Another important life value for hippies was living in the presence for the particular moment. Rorabaugh (2015) suggests that they tried to reject any future concern and believed that all that mattered was present experience. There are several aspects among hippie lifestyle that focused on the present such as "the emphasis upon drugs and instant sex, as well as rock concerts and festivals, or theatrical displays that were brilliant but ephemeral" (ibid, 11). Another rule followed by hippies was "to do what you want right now" (ibid). Consequently, a happiness could be achieved by being present at the moment and be true to the self (ibid).

The first reference to the life in the presence in The Beatles' lyrics is visible in the song I'll Follow the Sun that was released on the album on 18th December 1964 (MacDonald, 1994, 113). It is possible to assume that the name I'll Follow the Sun indicates the hippie attitude towards time where one should not focus on the past or future but on the presence and simply "follow the Sun". It may also refer to the hippie theory that mankind should do the things that make them happy and they should do them now. The line "But tomorrow may rain, so I'll follow the sun" supports the claim that nobody knows what will happen tomorrow so today "I'll follow the sun" and by that "I" will do the things "I" want to do in the presence.

Another reference to the presence is seen in the song that was released on 5th August 1966 (MacDonald, 1994, 173). The lyrics deal with the theme of a peaceful life that was supported within the hippie community. The life in the presence without being afraid of the establishment, lack of money, power of government or any other civil responsibility in the future. This interpretation is supported by the following verse:

20 I need to laugh and when the sun is out I've got something I can laugh about I feel good in a special way I'm in love and it's a sunny day

The song was released on 5th August 1966 and the author of the lyrics is George Harrison. The song is the first result of Harrison's interest in Indian music and culture. This statement is supported by the fact that musicians from North-London Asian musical group were hired for the recording (MacDonald, 1994, 161). The first verse of the song is about life that goes too fast and it can also be interpreted as the statement that we might forget to enjoy the present moment: "Each day just goes so fast, I turn around, it's past". The second verse continues with the claim that life is too short and that money should not be important because we cannot buy a new life for it: "A lifetime is so short, a new one can't be bought". Then the song emphasizes love as a very important life value: "Make love all day long, make love singing song". The last reference to the hippie culture is visible in the line "I'll make love to you if you want me to" that can be interpreted as a reference to free sex culture that is discussed in the following chapter.

21 3 Change of the Concept of Love through the Sexual Revolution

This chapter deals with the concept of love in 1960s among a wider society, among hippies and how it changed. Moreover, the history of sexual revolution and the Beatles' lyrics that focus on the topic of love are discussed.

3.1 Concept of Love in 1960s

According to Thompson (2008), the sexual topic during the 1960s was very conservative among the British society and it even affected the musical industry. As Thompson in his study says, "[t]he Sexual Offences Act would not decriminalize sexual acts between consenting adults in private until 28 July 1967, and even then gay and lesbian relationships remained hidden" (ibid, 31). Although some of the most famous figures in music industry were homosexual, they try to hide their sexual identity from the public (ibid). Cottrell (2015) describes the attitude towards sexuality in the US during 1960s as follows:

The nation as a whole possessed highly conflicted of the nuclear home, monogamous sexual relations of married couples, and clearly defined gender roles, as well as general disapproval of both premarital and extramarital encounters. At the same time, artists and entrepreneurs alike employed sex to sell paintings, movies, books, magazines, and a vast array of other goods that American manufacturers produced in abundance immediately following World War II, when the federal government had mandated rationing and savings accounts surged. (105)

The Beatles' albums that were released till the year 1965 [Please, please me (1963), With the Beatles (1963), A Hard Day's Night (1964), Beatles for Sale (1964) and Help (1965)] include lyrics that focus on monogamous love between two people without any sexual mentions. Lyrics also deal with the following topics: being in love with someone, the first love, the need of having somebody in their life, being desperate by a denial of loving person, etc. To provide examples, three lyrics written till the year 1965 are analysed. The first song Love Me Do was released on the Beatles' first album Please, Please Me in 1963 (MacDonald, 1994, 38). The most repetitive line "Love, love me do, you know I love you, I'll always be

22 true" might be interpreted as a desire of being loved by somebody or being in a relationship. In the third verse, the line "Someone to love, somebody new, someone to love, someone like you" is written and it can also be understood as a need of having somebody to love in their life. Clearly, the lyrics discuss the theme of monogamous relationship and there are no sexual indications. Another example is provided by the song that was released on the album With the Beatles in 1963 (MacDonald, 1994, 68). The first verse of the lyrics starts with the lines "Close your eyes and I'll kiss you, tomorrow I'll miss you" and it ends with "I'll write home every day, and I'll send all my loving to you". The next verse starts with the line "I'll pretend that I'm kissing the lips I'm missing". All the lines can be interpreted as a relationship between two people and the whole story of the lyrics describes two lovers who love and will miss each other, which is a typical feature of a monogamous relationship.

The last example from the earlier Beatles' work is the song Words of Love that was released on the album Beatles for Sale on 18th October 1964. It is not an original song written by the Beatles, they made it as a cover of an original Buddy Holly's song Words of Love. It is said that Buddy Holly was the Beatles' idol and they often listed to him as an inspiration (MacDonald, 1994, 115). Even though the Beatles did not write the lyrics, they took it as their own song by which they acknowledged the meaning of the lyrics. The first line "Hold me closer and tell me how you feel" and then the following line "tell me love is real" and the repetitive verse "darling I love you" are the main parts of the song. The mentioned parts indicate that the song is about love between two people in terms of a monogamous relationship.

3.2 Sexual Revolution

A significant change within sexuality and how the society reacted on it came with the Beats. They provoked American society by commenting sexual mores. The Beats criticized the sexual repressiveness and simultaneously were celebrating the natural man. During the 1960s, Timothy Leary together with Ken Kesey were trying to discard sexual barriers in terms of monogamy and homosexuality. Leary "helped to usher in the sexual revolution" (Cottrell, 2015, 110).

23 Timothy Leary comments the sexual revolution:

The key energy for our revolution is erotic. A free person is one whose erotic energy has been liberated and can be expressed in increasingly more beautiful, complex ways. The sexual revolution is not just part of the atmosphere of freedom that is generating within the kids. I think it is the center of it. The reason the psychedelic drugs, particularly marijuana, are so popular is because they turn on the body. I'll say flatly that the meaning and central issue of the is the erotic exhilaration. The increased freedom in sexual expression in art and mass media is symptom number one of your victory. (Timothy Leary as cited in Miles, 2003, 326)

The sexual revolution, that changed sexual morals and attitudes, had began earlier than in the 1960s. To set an example, William Reich, a student of Sigmund Freud, tried to merged psychoanalysis and Marxism with the claim that neurosis can be caused from the "patient's total condition, taking into holistic account physical and sexual manifestations but also his or her economic and social situation" (Cottrell, 2015, 110). During his studies, Reich determined "that sexuality is the center around which revolves the whole of social life as well as the inner life of the individual" (ibid). In 1927, he published the book The Function of the Orgasm where it is claimed that "full and repeated orgasms were required by healthy individuals and to prevent neuroses" (ibid, 111). Reich believed that "social and sexual liberation are inextricably intertwined" (ibid). One of his studies suggests that sexual abstinence can caused "juvenile delinquency, neuroses, perversions, and political apathy" (ibid). Clearly, his thoughts were not accepted by the society of that times and thus he was often called as "The Jewish Pornographer". However, Reich believed that sexual revolution "was required to emancipate individuals" (ibid, 110) and he argued that sexual revolution was occurring (ibid, 110 – 111). In 1947, a journalist Mildred Edie Brady wrote articles about Reich's work. The articles The New Cult of Sex and Anarchy and The Strange Case of William Reich were printed in the Harper's Magazine and The New Public. Later, Pacifica Views, an avant-garde weekly publication, printed an extended discussion about Reich's opinions on sexuality. As it is said in the book Sex, Drugs and Rock'n'Roll, The Rise of America's 1960s Counterculture, Reich's thoughts associated with the counterculture of the 1960s in terms of "the belief in natural

24 innocence, sexuality, spontaneity, and the mating of physically with spiritually" (Cottrell, 2015, 112).

Another significant figure of spreading sexual attitudes that helped to shape the 1960s counterculture was the German Jewish sociologist and philosopher Herbert Marcuse. In 1934, he emigrated to the USA where he worked on his academic career. He tried to merged Marx's and Freud's theories in a sophisticated manner. Marcuse wrote several books from which two of them became influential for the sexual revolution of the 1960s (Cottrell, 2015, 113 – 117).

The first book, Eros and Civilization, was published in 1955. In the book Marcuse questioned Freud's theory that is described in Cottrell studies (2015) as follows:

According to Freud, it was imperative to transform "the pleasure principle into the reality principle"; happiness itself, he said, "is not cultural value". Instead it needed to be subordinated to work discipline, "monogamous reproduction", and law and order. The libido had to be sacrificed, "rigidly" deflected "to socially useful activities and expressions." (117)

Marcuse combined Freud and Marx with the "performance principle" (Cottrell, 2015, 117). This principle is described as a place where individuals cannot work for themselves and they have to work for others. Consequently, it should improve working conditions and individuals should have more leisure time. With more leisure time come more possibilities and thus society has also interest in the new sexual practices that lead to the denial of monogamous relationships. Marcuse remarks that art is important for developing a freedom and imagination, work should be converted into play and society should avoid to monogamous sexual relationships. He also suggests that "freedom advances as a mere erase of sexuality" (ibid, 117 – 118). As Cottrell says, "Marcuse saw the need for the resexualization of the body, with mankind seeking a return to the state of polymorphous perversity, in which the entire body would once again become a source of sexual pleasure." (ibid, 118).

The sexual revolution of the 1960s was about to begin when the second book, One-Dimensional Man, was issued. This book became more popular among counterculture as its thoughts were more understandable for wider society. Marcuse argues that "the capabilities

25 (intellectual and material) of contemporary society are immeasurably greater than before – which means that the scope of society's domination over the individual is immeasurably greater than ever before." (Cottrell, 2015, 119). He also warned that media manipulate with people and force them to consume according to the advertisements (ibid).

According to Cottrell, both Reich and Marcuse influenced sexual revolution during 1960s and supported the human potential movement. Another influential figures were Aldous Huxley and Laura Perls. Cottrell comments their actions as follows: "Huxley lectured at the start of the 1960s on human potentialities, and Perls conducted sessions in which he urged participants to strip and discard inhibitions, particularly sexual ones." (ibid, 121).

From the previous study, it is possible to assume that society started to be more open about their sexuality and less conservative about monogamous relationships.

The counter culture questioned sexual morality and proposed many different models: extended sexual families, sex orgies, sex-therapy groups, acceptance of homosexuality and, most of all, a positive, joyful celebration of sexuality, as opposed to the uptight morality of the previous generation. (Miles, 2003, 13)

This all supported the sexual revolution held in 1960s. The concept of free sexual love had been developed together with the hippie community (ibid, 186). Issitt (2009) explains the hippie attitude towards sex as follows:

Hip sex had two basic factors: rebellion and love. Within the culture, sexuality was cast in a new light as the hippies aggressively rebelled against the "dirty" or "shameful" view of sex, while promoting sex as the ultimate expression of unity, compassion, and love. For the hippies, sex was something to be celebrated rather than hidden, encouraged rather than scorned. (19)

During the sexual revolution, The Beatles also changed their interpretation and understanding of love. They started to focus more on free love instead of monogamous love as it had been so in their previous lyrics. The first different interpretation is seen in the song

26 Norwegian Wood that was released on 3th December 1965 and according to MacDonald (1994), it is the first Beatles' song where the lyrics are more important than music (135-136). The lyrics can be interpreted as a story of a man who met a woman as it is written in the line "I once had a girl, or should I say, she once had me". The third line describes how they spent a night together "I sat on the rug, biding my time, drinking her wine. We talked until two and then she said, 'It's time for bed' ". And after the night the girl left as it is described in the line "And when I awoke I was alone, this bird had flown". The story can be understood as an allusion to the concept of free love where two people who barely know each other spend a night together without any commitments.

Another proof of The Beatles supporting the free love theory is visible in the song Why Don't We Do It In the Road? that was released on 22nd November 1968 (MacDonald, 1994, 264). The lyrics that only repeats two phrases "Why don't we do it in the road? No one will be watching us" may be interpreted as a theory of free sex.

The song with a controversial name was released on The White Album on 22nd November 1968. It is said to be a song with the darkest theme written by The Beatles. The song is composed of four independent fragments that are connected into one unit. Consequently, this connection causes the ambiguity of the lyrics and thus several mentions of sarcasm and seriousness are visible within the lyrics. Due to the connection of sarcasm and seriousness, Lennon considered it as one of his best lyrics (MacDonald, 1994, 259-260). Even the name of the song, Happiness Is a Warm Gun, can be interpreted in various ways such as a gratification of fulfilling a desire, want, need or addiction. It can, therefore, be understood as a symbol of sex, drugs, power, etc. The claim that song has a sexual context is supported by the fact that the BBC radio banned it for its sexual symbolism (In: "Happiness Is a Warm Gun"). When Paul McCartney was promoting The White Album in 1968 in the interview with Radio Luxembourg, he said that the idea of the name of the song had been taken from the advertisement in an American gun magazine. McCartney comments the advertisement as follows: "It was an advert in a gun magazine. And it was so sick, you know, the idea of 'Come and buy your killing weapons,' and 'Come and get it.' But it's just such a great line, 'Happiness

27 Is A Warm Gun' that John sort of took that and used that as a chorus." (In: "The White Album", 1968). The song can be interpreted in several ways. A pronoun "she" in the lines "She's not a girl who misses much" and "She's well acquainted with the touch of the velvet hand" might be a reference to love, sex, drugs or any other addiction. The reference to the addiction can be seen in the line "I need a fix 'cause I'm going down" and in the verse:

When I hold you in my arms (Oo-oo oh yeah) And I feel my finger on your trigger (Oo-oo oh yeah) I know nobody can do me no harm (Oo-oo oh yeah)

The Beatles admitted their openness about sex when John Lennon commented the concept of free sex and the reaction of the society on it in the interview in 1971 with and Robin Blackburn: "To begin with, working class people reacted against our openness about sex. They are frightened of nudity, they're repressed in that way as well as others" (In: "Red Mole", 1971).

3.3 Hippie Love As a Power of the World

The last concept of love that is discussed in the work deals with the hippie understanding of love as a power of the world. It is closely connected with their values that are discussed in the previous chapters: living in the present moment and being connected to the nature. In February 1967, the article Drop-outs with a Mission was published in Newsweek. The article says that the hippies considered themselves as "a new race" and "all-embracing love" (Cottrell, 2015, 200). The hippie community organized love-celebrating events that aim was to connect people together. On 14 January 1967 an event named "A Human Be-In" was held in the Golde Gate Park. The purpose of the event neither was to demonstrate nor to give a speech, but it was "a simple celebration of being together" (Miles, 2003, 186). About 30 000 people gathered in the park together to celebrate love with the figures such as Allen Ginsberg and Timothy Leary. Girls wore long dresses, mothers and fathers were with their babies, people wore masks, fancy dress, body paint. As Miles remarks, "there were people with tarot cards, astrologers, sufi dancers, Hare Krishna chanters, jugglers, stovepipe hats, porkpie hats,

28 soap bubbles, balloons, people carrying kittens, people high on marijuana, people high on acid" (ibid, 188). Allen Ginsberg commented it as "the last idealistic hippie event" (Allen Ginsberg as cited in Miles, 2003, 188). During the night police arrested 50 people and the police chief Thomas Cahill called them as a "Love generation" (Miles, 2003, 191).

Warren Hinckle wrote the article The Social History of the Hippies that was issued in March 1967. Photographs of the main hippie figures such as Timothy Leary and Allen Ginsberg were included. In the article, Hinckle described the Haight-Ashbury district as "a little psychedelic city-state edging Golden Gate Parks, where as many as 15,000 unbounded boys and girls were conducting a tribal, love-seeking, free-swinging, acid-based type of society" (Cottrell, 2015, 203).

Several references to the hippie love are visible in The Beatles lyrics. The first song with this theme is called The Word and was released on 3rd December 1965 (MacDonald, 1994, 148). The following verse is about the "word love" that makes you "free":

Say the word and you'll be free It's so fine, it's sunshine It's the word, love

The following lines can be interpreted as a progress of the change how The Beatles understood the concept of love. First, it was personal love and they "misunderstood" it as it is written in the lyrics. Then they changed their point of view on the mentioned "word" love:

In the beginning I misunderstood But now I've got it, the word is good

The following verse can be understood as an attempt to spread the hippie concept of love among The Beatles' fans, to encourage people to "give a chance" to love:

29 Give the word a chance to say That the word is just the way.

The lyrics of the song Dear Prudence were already mentioned in the chapter two in terms of meditation theme. However, it is possible to assume that the line "Limitless undying love which shines around me like a million suns" refers to the hippie theory of love where there is nothing more important than love and where you can find love everywhere. Therefore, the lyrics are also commented in this chapter.

Another song that deals with the theme of hippie love was released on the album which is technically the best-recorded Beatles' album. The song Because was released on 26th September 1969 (MacDonald, 1994, 296). The lyrics may be interpreted as the hippie theory of love that is understood as a power of the world. The references are seen in the first line "Ah, because the world is round, it turns me on" and in the third verse "Love is old, Love is new, Love is all, Love is you".

The last discussed lyrics with the theme of love are called . Even though the song was first released in 1967 on the album , The Beatles put it again on the album Yellow Submarine to emphasize its meaning. The Yellow Submarine album was released in 1969 (MacDonald, 1994, 213-215). All You Need Is Love was specially written for the live television broadcast Our World. The program was broadcast in 24 countries and the task for The Beatles was to create an easy message for the world that everybody could understand. The Beatles came with the song All You Need Is Love (MacDonald, 1994, 213-215). In 1967, Paul McCartney explained how they understood the song: "We had been told we'd be seen recording it by the whole world at the same time. So we had one message for the world – Love. We need more love in the world." (In: "All You Need Is Love"). In 1971, John Lennon explained what does "love" in All You Need Is Love means: "Love is appreciation of other people and allowing them to be. Love is allowing somebody to be themselves and that's what we do need." (ibid).

30 3.4 Development of the Concept of Love in the Beatles' Lyrics

The final point to stress in this chapter is the development of the concept of love in the Beatles' lyrics. From the previous study of the lyrics it is possible to assume that their lyrics were developed through three stages. First, love is seen as a feeling from one person to another in terms of a monogamous relationship. The Beatles write about their first love, first broken hearts and first experience with the feeling. This theme is found in the lyrics of the songs Love Me Do, All My Loving and Words of Love. Second, The Beatles' lyrics explain love as free sex for which people should not be ashamed. We can see the references in the songs Norwegian Wood, Why Don't We Do It In the Road? and Happiness Is a Warm Gun. Finally, love is explained as something universal that powers the world. Love can be seen in everything and everybody should be open to the feeling. Love is powerful and with it one can change the world. References of love as a power of the world are visible in the lyrics The Word, Dear Prudence, Because and All You Need Is Love. To sum it up, this development of understanding the concept of love within the Beatles' lyrics might have had an impact on their fans and society. Together with the sexual revolution, the fans might have reconsidered their attitude towards the concept of love and changed their values even though they did not consider themselves to be hippies.

31 4 Drugs in the Hippie Culture

According to Miller (2012), nothing was more characteristic to the hippie subculture than the dope was. The majority of the hippies used it, enjoyed it, and made it as a symbol of their counterculture (1). For hippies, it was very important to distinguish the differences in a terminology of the terms dope and drug. To emphasize the difference, there was also a different terminology for people who sold dope and for those who sold drugs. Dope sellers were called dealers meanwhile drug sellers were called pushers (Miller, 2012, 2). As Miller describes, "to the hippies, it served to draw a line between substances perceived to be good and those deemed bad. Dope was good; drugs, on the other hand, included both good and bad substances" (ibid). Substances such as "marijuana, hashish, LSD, psilocybin, mescaline, peyote, and morning seeds" (ibid, 1 – 2) were therefore considered as dope. In other words, substances that turn on your consciousness were considered to be good. Most of the above mentioned dope were substances that "change the way people see, hear, taste, smell or feel, and effect mood and thought" (In: "What Are Hallucinogens?", 2013). On the contrary, substances such as "amphetamines, methedrine, DMT, STP, barbiturates, the opiates, and sometimes cocaine" (Miller, 2012, 2) were considered as drugs (ibid). Providing more examples to understand the difference, Miller (2012) in his study explains that "[p]sychedelics were good; speed and downers were bad. Substances that were perceived as expanding consciousness were good; things which made the user dumb were bad" (2).

32 To understand the hippie way of perceiving the reality, it is important to know how the psychedelic drugs affect perception.

The effects of psychedelic drugs vary tremendously, and are difficult to categorize, since they provide access to vastly different states of consciousness. They affect different people, at different places, and at different times, with incredible variation. Psychedelics often evoke conscious awareness of subconscious thoughts and feelings, such as repressed memories, feelings about life circumstances, fantasies, or deep fears. Thus, if someone makes the decision to use a , it is important for that person to be prepared to deal with unusual – and perhaps even challenging – thoughts, images, and feelings in an open and thoughtful manner. (In: "Psychedelics Facts")

The spread of the dope culture during the 1960s differed in every country to some various degree. In the UK, the dope first became available in Oxford in 1963 when a student went for his summer vacation to Morocco and brought back "40 kilos of kif in shopping bags" (Miles, 2003, 76). He started selling an ounce for 4 GBP and students from other universities copied this procedure. Then dope spread out among other British universities (ibid). The beginning of the dope culture in the USA is connected with Timothy Leary. As Miles (2003) remarks, "in 1960 the well-respected, brilliant psychologist Dr Timothy Leary of Harvard University had become convinced that to alleviate psychic suffering, something more than behavioral analysis was needed" (68). Consequently, Leary began a research into hallucinogens. In 1961, he had acquired funding for a Harvard project called "A Study of Clinical reactions to Psilocybin Administered in Supportive Environments" (ibid).

He [Leary] handed out 3,500 doses to over 400 people, ranging from jazz musicians and writers to prison inmates and Harvard grad students. A huge 90% said they would like to repeat the experience, 83% said they had "learned something or had insight" and a massive 62% said that it had changed their life for the better. Leary was more than even convinced that he had found the answer to society's ills. (ibid, 68)

Leary knew that legalizing such a powerful drug was almost impossible. Therefore, he tried to influence well-known people to take the drug so that the public would trust its power.

33 He gave it to poets Robert Lowell, Charles Olson and Allen Ginsberg. He also gave it to the jazz musicians, publishers and educators. The trouble came when Leary and all his flatmates and friends were taking the drugs constantly and became addicted to it. Since April 1962, Timothy Leary was banned to provide psychedelics without a certified physician (Miles, 2003, 68 – 70). In summer 1962, Leary with his friends rent the whole hotel for their psychedelic experiments in Zihuatanejo, Mexico. They "saw themselves as visionaries who were together founding a new universal society based on psychedelics and a synthesis of Eastern religions" (ibid, 70).

Another important point in spreading the psychedelic culture in the USA came with the opening of a store at Haight and Ashbury that was also known as a Psychedelic Shop. It offered following range of goods such as "books on drugs and oriental , rolling papers, roach clips, bells and beads, flutes, posters and a full range of hippie paraphernalia" (Miles, 2003, 96).

As dope became very popular, a huge amount of hippies started selling pot. Drug dealing was one of the most popular sources of income as the unemployment became a serious problem among the hippie community (Rorabaugh, 2015, 174-175). In 1966, an ounce of pot usually cost from 8 to 10 USD. A kilogram of pot then cost from 50 to 75 USD. The dealers were able to cover their rent and living by selling pot and that is why the number of professional dealers grew fast. Most customers were students who were afraid of having bigger amount of the drug at home. The dealers usually went for their supplies to Los Angeles where a kilogram of pot cost from 35 to 50 USD. Only did they take a large amount of pot, they could get this low price (Miles, 2003, 102).

Even tough LSD became illegal in California on 6 October 1966, hippies still used it and organized public meetings and events under its influence (Miles, 2003, 121). On 16 December 1966, the Mime Troupe organized an event to "celebrate the death and rebirth of the Haight-Ashbury and the death of money" (ibid, 106). The Mime Troupe was a theatre group that performed free shows mostly in the parks in the areas of San Francisco and California. People gathered two hundred car mirrors, a thousand whistles,

34 hundreds of lilies and posters with an inscription "NOW". Two groups walked up and down Haight Street, whistling and carrying the posters. Women wore white sheets, carried flowers and used the car mirrors as a reflection of the sun from "the sunny side of the street to the shaded side" (ibid, 106 – 108). Miles describes the event as follows:

People quickly moved out into the street, blocking the traffic. A bus driver stopped his bus and got out and danced a while, to the sudden anxiety of the crowd, the San Francisco Hell's Angels drove down the central white line of the street, flying "NOW" flags from their sissy bars. Between 3 000 and 4 000 people eventually took up the chant: "The streets belong to the people." (ibid, 108)

The police gathered, arrested few people but the rest of the people marched to the police station and protested for their (ibid, 108).

Another example of the hippie event is The Death of Hippie that was held on 6 October 1967. An alliance of Haight organizations organized The Death of Hippie to remember the first anniversary of making LSD illegal (ibid, 211).

About 80 candle-carrying people gathered at the top of Buena Vista Hill and ceremonially burned hippie artefacts, including bells and beads, marijuana and copies of underground newspapers, as well as the daily newspapers to get the fire going. [...] The destination of the procession was the Psychedelic Shop that had filled its windows with signs reading: "Nebraska Needs You More", "Be Free", "Don't Mourn For Me, Organise". [...] That afternoon the police swept down Haight in the first of their regular searches for runaways. The hippie era was over. It had lasted little more than two years. (ibid)

It is possible to assume that dope culture became a significant feature in the hippie subculture. Hippies believed that dope changed the view of individual's consciousness in fun and that this is a significant force in founding the new culture. Therefore, they organized protests, events and gathered to celebrate the cult of dope together (ibid, 3).

35 4.1 The Beatles' Attitude to Drugs

In 1965, The Beatles often attended underground parties. Even though there was no public use of marijuana in UK until 1965, it was quite common that people smoked pot at underground events. At the same year the Beatles also recorded their second movie Help (Miles, 2003, 80). Paul McCartney comments the procedure of making the movie:

By this time we were beginning to smoke a bit of pot and we were getting a little bit more laissez-faire about the whole thing. We would occasionally get stoned on the way to the film set, which was pretty fatal. My main memory is of being in hysterics, because for all of us, one of the great things about early pot was the sheer hysteria, the laughs. Things could appear very, very funny, hilariously so. And nobody quite knew why we were laughing, and of course this made it even funnier. It was like kids giggling at the dinner table, it really was. (Paul McCartney as cited in Miles, 2003, 80)

According to Miles, the Beatles' first experience with LSD was in 1965. John Lennon and George Harrison went to a party that held a cosmetic dentist who later admitted that he had put LSD into their coffee (ibid, 84). Consequently, The Beatles never tried to hide their experience with LSD. Paul McCartney, who was at that time 25 years old, was the first British musician who admitted using LSD. In the interview the reporter asked Paul how often he had taken LSD and Paul answered that at that time it had been about four times. When the reporter asked him if Paul thought that he had encouraged his fans to take drugs, Paul denied his assumption:

I don't think it'll make any difference. I don't think my fans are going to take drugs just because I did, you know. But the thing is – that's not the point anyway. I was asked whether I had or not. And from then on, the whole bit about how far it's gonna go and how many people it's going to encourage is up to the newspapers, and up to you on television. I mean, you're spreading this now, at this moment. This is going into all the homes in Britain. And I'd rather it didn't. But you're asking me the question – You want me to be honest – I'll be honest. (In: "LSD and Journalism", 1967)

36 However, McCartney was not the only member of The Beatles who mentioned his experience with taking psychedelic drugs. In the same year 1967, George describes his attitude to LSD:

In the physical world we live in there is always duality. Good and bad, black and white, yes and no. There's always something equal and opposite to everything. That is why you can't say LSD is good or bad, because it's both good and bad. I don't mind telling people I've had it. I'm not embarrassed about it. But we don't want to tell anyone else to have it. That's something that is up to the person himself. (In: "George 1967 on Psychedelic Drugs", 1967)

From both extracts of the interviews it can be assumed that The Beatles did not deny taking psychedelic drugs but they also tried not to encourage anyone else to take it. Taking into consideration facts that by the year 1967 The Beatles had already sold more than five million copies of albums just in the US (In: "Net U.S. Sales of Beatles Albums 1964 – 1985") and had a live performance on 25 March 1967 in BBC radio in the programme Our World where approximately four hundred million of people were listening to them (MacDonald, 1994, 353), their denial of having the influence on the society is questionable. Knowing the fact of how many people listened to The Beatles at the time the interviews were released, Paul's confession of taking LSD and George's opinion on psychedelic drugs might have had some consequences on the society, especially on the youth.

4.2 References to Drugs in The Beatles' Lyrics

The following part of the work focuses on the analysis of The Beatles' lyrics with the drug references. Stanley (2013) suggests that "[e]very stage of the Beatles career had a complementary drug" (124). Speed for their period spent in Hamburg and Merseybeat, cannabis for the album , acid for the albums Revolver and Sgt Pepper, and heroin for The White Album (ibid). The first three songs this chapter deals with are from the album Revolver that was released in 1966 (MacDonald, 1994). Songs are discussed in the following order: , Got to Get you into My Life, . The first mention of psychedelic drugs and their effects is visible in the song Doctor Robert that was released on 5th August 1966 (MacDonald, 1994, 164). MacDonald suggests a

37 theory that Doctor Robert is a song about a real doctor from New York who mixed vitamins with methedrine and caused the addiction to his patients (ibid). The following extracts from the Doctor Robert lyrics show a possible indication of The Beatles being inspired by the psychedelic drug theme. The line "If you're down he'll pick you up, Doctor Robert" could be explained as an effect of taking psychedelic drugs. The effect is described as an experience after which some of the psychedelic drug users "experience sensations that are enjoyable and mentally stimulating and that produce a sense of heightened understanding" (In: "Hallucinogens and Dissociative Drugs", 2015). Another reference to the psychedelic drug effect is found in the line "He helps you to understand" as the article Hallucinogens and Dissociative Drugs says that "ingesting hallucinogenic drugs can cause users to see images, hear sounds, and feel sensations that seem real but do not exist" (ibid). The line "Take a drink from his special cup, Doctor Robert" can be a reference to an assumption that Doctor Robert offers psychedelic drugs to his patients. This is proven by the MacDonald's theory that Doctor Robert is a real man who gave to his patients some psychedelic substances that caused the addiction (MacDonald, 1994, 164). Two lines that begins the third verse "My friend works for the national health, Doctor Robert. Don't pay money just to see yourself with Doctor Robert " may be an allusion to the pharmaceutical industry and the money in it. Instead of paying money for medicament, The Beatles suggest going to the doctor Robert, which is understood as a metaphor for taking psychedelic drugs. In the interview from the year 1980, one of the authors of the lyrics John Lennon admitted that Doctor Robert was a song "mainly about drugs and pills" (In: "Doctor Robert", 1980).

Another psychedelic drugs theme might be found in the lyrics of the song Got to Get You into My Life that was released on 5th August 1966 (MacDonald, 1994, 160). The line "Another road where maybe I could see another kind of mind there" fully supports the theory that taking psychedelic drugs "can cause users to see images, hear sounds, and feel sensations that seem real but do not exist" (In: "Hallucinogens and Dissociative Drugs", 2015).

38 In 1997, Paul McCartney in his autobiographical book Many Years from Now talks about the lyrics as of the reference to marijuana:

"Got to Get You into My Life" was one I wrote when I had first been introduced to pot. I'd been a rather straight working-class lad but when we started to get into pot it seemed to me to be quite uplifting. It didn't seem to have too many side effects like alcohol or some of the other stuff, like pills, which I pretty much kept off. I kind of liked marijuana. "Got to Get You into My Life" is really a song about that, it's not to a person, it's actually about pot. (127)

The most controversial song from the album Revolver is called Tomorrow Never Knows. MacDonald (1994) in his study suggests that at the time the song was being created, Lennon started with a research into his inner space with the help of LSD. Lennon followed a manual written by Timothy Leary and Richard Alpert called The Psychedelic Experience that should help him to extend his consciousness. Leary and Alpert believed that LSD is a mystical chemical that provides mystical experience that leads to the enlightenment. In January 1966, Lennon took LSD and after his experience the first part of Tomorrow Never Knows was created. After Tomorrow Never Knows was released, it started a psychedelic revolution in Western world and the song became one of the most influential songs of The Beatles' career (154 – 157). According to the lyrics, the song Tomorrow Never Knows might seem as a guide to the inner consciousness. The following extract is the first part of the lyrics:

Turn off your mind, relax and float down stream It is not dying, it is not dying Lay down all thoughts, surrender to the void It is shining, it is shining Yet you may see the meaning of within It is being, it is being

Next album where the psychedelic drug references are found is Sgt. Pepper's Lonely Hearts Club Band. The album was released in June 1967 (MacDonald, 1994, 353). The

39 second song of the album is called With a Little Help From My Friends and its sixth line "I get high with a little help from my friends" might refer to the use of marijuana.

Another lyrics that might refer to the psychedelic drugs use are Getting Better. The name of the song can be interpreted as a claim which suggests that after taking psychedelic drugs everything is "getting better". The first line "I used to get mad at my school (No I can't complain)" and the lines "I used to be cruel to my woman" and "Man I was mean but I'm changing my scene" show us a change in someone's behavior that is "Getting better" as it is sung in the refrain. This improvement of someone's behavior could be interpreted as a result of the drug use.

The fifth song of the album is called Fixing a Hole and it is another song with the psychedelic drug reference. Three lines "I'm painting my room in the colourful way, And when my mind is wandering, There go" might refer to the effect of the use of psychedelic drugs that "can cause users to see images, hear sounds, and feel sensations" (In: "Hallucinogens and Dissociative Drugs", 2015).

John Lennon in one of his interview from the year 1971 answered the question if the fact that album Sergeant Pepper had inspired so many people to try LSD surprised him:

The acid thing in America was going on long before Pepper. Leary was going around saying, 'Take it, take it, take it.' We followed his instruction. I did it just like he said in the Book Of The Dead, and then I wrote Tomorrow Never Knows,' which is on Revolver, and which was almost the first acid song. (In: "John Lennon Interview", 1971)

The last lyrics this chapter deals with are Sun King. The song was released on 26th September 1969 (MacDonald, 1994, 293). The verse: "Here comes the sun king, everybody's laughing, everybody's happy" can be a reference to the result of taking drugs, especially marijuana.

40 5 Anti-Establishment Attitudes

The following chapter deals with the anti-establishment thoughts inside the hippie culture and their possible connection with The Beatles. Rorabaugh claims that the most common topics hippies rebelled against were "government bureaucracies, large corporations, stodgy mainstream culture, and prudish practices, including widespread censorship." (2015, 223). In his study, he also suggests that the hippies rejected mainstream culture and society:

Hostile to the norms that the establishment tried to impose through public opinion and legal sanctions, hippies particularly resented pressure to conform concerning hair, dress, sex, drugs, and work. [...] Mainstream authority was perceived to be the source of virtually all social, political, and economic ills, ranging from racism to the Vietnam War, corporate power, and oppression of hippies and their lifestyle. Hippies looked askance at the nation-state, its gargantuan size, its use of brutal force, and its enthusiastic militarism, as evidenced by Vietnam. This was no way, hippies concluded, to run any society. (3)

The topic of racism that is connected with Civil Rights Movement is discussed in the lyrics of the Beatles' song Black Bird. The song was released on 22nd November 1968 on The White Album. The lyrics were written in India and the author is Paul McCartney. While writing the lyrics, Paul was inspired by a singing blackbird who woke him up at sunrise (MacDonald, 1994, 141). In the interview from the year 1994, Paul McCartney admits that the song is about Civil Rights Movement: "This was really a song from me to a black woman, experiencing racist problems in the states. Let me encourage you to keep trying, to keep your faith, there is hope." (In "Black Bird", 1994). Several references to the Civil Rights Movement are found in the lyrics. The line "Blackbird singing in the dead of night" may be understood as a reference to the singing slaves for who was the singing sometimes the only way to communicate. The line "Take these broken wings and learn to fly" can be interpreted as a description of the desire for freedom and for the belief during the hard times of . In the line "You were only waiting for this moment to arise" this moment may refer to the moment when the Civil Rights Movement started to fight for their freedom. In the line "Take these sunken eyes and learn to see" sunken

41 eyes can be seen as a metaphor for a hard condition of slave's life and learn to see may be interpreted as a thought that now they can try to live in a freedom. "You were only waiting for this moment to be free" can be understood as a claim that the slaves always wanted to be free. Refrain "Black bird, fly black bird" can be seen as a metaphor for the exclamation: "be free".

Another common topic for the hippie rebellion was a theory that money itself is meaningless and that society should not focus on it. Hippies tried to create society free from money with a support of the claim that one does not need money to live. Miller (2012) suggests that "counterculturists examined the money-based economic systems of the world and found them wanting." (125)

The first song that deals with this theme is called Money (That's What I Want) and was released on the album With The Beatles on 22nd November 1963. The song was originally written by Berry Gordy in 1959 (MacDonald, 1994, 71). By putting the song on their album, the Beatles acknowledged the meaning of the lyrics. The lines "The best things in life are free" and "Money don't get everything it's true" support hippie theory that money is not important for living.

On the other hand, refrain of the song is composed of a repetitive line "Well, now give me money (that's what I want)", which might seem contrasting.

The song Can't Buy Me Love also discusses the topic of insignificance of money in the life. It was released on 20th March 1964 (MacDonald, 1994, 85). The lyrics can be understood as a reference to a disagreement with any society that is powered by money. In the first verse, we can find a statement that money is not as important as love is:

I'll buy you a diamond ring my friend if it makes you feel all right I'll get you anything my friend if it makes you feel all right for I don't care too much for money money can't buy me love.

42 It is suggested that the hippie attitude towards politics during 1960s was complicated and ambiguous. Hippies believed that current political system was not working for people but for itself. There were two groups of hippies in terms of politics. First group did not pay attention to politics as they did not think that it was important. Rorabaugh (2015) suggests a theory that "many were simple hedonists, most had no coherent ideology, others rejected politics as hopeless, and some had burned out after participating in protests" (132). Miles (2003) provides an example of an anti-war protest that was held in Oakland. It was a massive march that started at the Berkeley campus and ended at Oakland Army Terminal. Protesters were stopped by police that was "equipped with full riot gears, gas marks and gun" (50). Few speeches were made in the street before police "cut the wires to the sound truck so that no more speeches could be made" (ibid).

Second group was interested in politics and they organized and participated in the protests regularly. Hippies mostly protested against corrupted system, racism, the Cold war, the American war in Vietnam and consumer society. They were against "oppressive bureaucracies, drug laws, and police harassment" (ibid, 133 – 136).

Several disagreements with the establishment are visible in the Beatles' lyrics. The song that was released on the 5th August 1966 on the album Revolver might be interpreted as a criticism on the tax policy of . (MacDonald, 1994, 166 – 167). The reference to Harold Wilson is seen in the line "Don't ask me what I want it for (Aahh Mr. Wilson) ". Additionally, the line: "There's one for you, nineteen for me" may be an allusion to the injustice of paying too high taxes. The following verse can be interpreted as a ridicule of the whole tax system:

If you drive a car, I'll tax the street If you try to sit, I'll tax your seat If you get too cold, I'll tax the heat If you take a walk, I'll tax your feet

43 In the interview from the year 1980, George Harrison comments the lyrics: " 'Taxman' was when I first realized that even though we had started earning money, we were actually giving most of it away in taxes. It was and still is typical." (In: "Taxman", 1980).

As another anti-establishment, anti-elite and anti-police lyrics can be interpreted . The song was released on the White Album in 1968. George Harrison is the author of the lyrics that can be understood as a satire on the starched society. The song was written in the year 1966 when American hippies symbolized the police as a symbol of consumer society (MacDonald, 1994, 258). In the song, the "little piggies" and the "bigger piggies" are mentioned and compared. For little piggies "life is getting worse" and "always having dirt to play around in" while bigger piggies "always have clean shirts to play around in". This could be explained as a comparison of poor "little" and rich "bigger" society and their differences. The proof that the song is a satire is shown in the last verse:

Everywhere there's lots of piggies Living piggy lives You can see them out for dinner With their piggy wives Clutching forks and knives to eat their bacon.

The song was released on 22nd November 1968 on the White Album (MacDonald, 1994, 243). The lyrics can be interpreted as another example of a satire on the ironic powers of society. The high society – the queen, the king, the duchess and the duke – are mentioned in the verses with their daily problems or routine such as "playing piano for the children of the king", "picking flowers for a friend who came to play", "painting pictures for the children's holiday" or "arriving late for tea". The Beatles might have wanted to emphasize the irrelevance of the high society problems and inappropriateness of their power.

In 1969, The Beatles released their last studio album Abbey Road. First song is called and the author of the lyrics is John Lennon. The lyrics can be interpreted as a claim that if people "come together" as a crowd, they can change something. The original

44 phrase "Come together, join the party" was a slogan of Timothy Leary and his political campaign against Ronald Reagan in 1969. Leary asked Lennon if he could write a song for his campaign and Lennon agreed (MacDonald, 1994, 290). In the interview from 1980 John Lennon commented the origin of the song:

'Come Together' was an expression that Tim Leary had come up with for his attempt at being president or whatever he wanted to be, and he asked me to write a campaign song. I tried and I tried, but I couldn't come up with one. But I came up with this, 'Come Together,' which would've been no good to him – you couldn't have a campaign song like that, right? Leary attacked me years later, saying I ripped him off. I didn't rip him off. It's just that it turned into 'Come Together.' What am I going to do, give it to him? (In "Come Together", 1980)

From Lennon's statement it can be assumed that he did not fully support Timothy Leary's campaign. However, Lennon's agreement of writing a campaign song for Leary might have politically influenced Lennon's or The Beatles' fans. It is important to mention that artistic figures, especially musicians, were often icons for anti-establishment movements. Eyerman and Jamison (1998) argue:

In the 1960s, songs contributed to the making of a new political consciousness, and were often performed at political demonstrations and collective festivals. Singers and songs were central to the cognitive praxis of the 1960s social movements, but it is important to realize that the relations between movements and music shifted dramatically in the course of the 1960s. (106)

Therefore, The Beatles' attitudes and opinions on the establishment might have been important and influential on a wider society, especially on the hippie movement as their thoughts and values were connected in a certain way.

45 Conclusion

The bachelor thesis deals with The Beatles and the analysis of their lyrics in relation to the hippie movement. The specific features of the hippie movement are identified in The Beatles' lyrics and interviews and a possible connection and influence on the hippie movement are discussed. All The Beatles' lyrics were analysed and 34 of them were selected and divided into four parts which create four main chapters of the bachelor thesis. After examining and studying the found references in The Beatles' lyrics to the hippie movement, it has been discovered that there is a connection within specific themes. The features of the hippie movement such as living in a community, meditation, nature awareness, living in the presence, free sex culture, drugs and anti-establishment attitudes are reflected in The Beatles' lyrics. Firstly, the theme of a community as a way of distancing from the consumer society is found in the lyrics of the songs Yellow Submarine, And Your Bird Can Sing and All Together Now while another communal aspects such as meditation practice, nature awareness and living in the presence are identified in the songs Dear Prudence, Across the Universe, Octopus Garden, Mother Nature's Son, Yer Blues, I'll Follow the Sun, Good Day Sunshine and Love You To. Secondly, a change of the concept of love in The Beatles' lyrics throughout the sexual revolution is examined. In the first part of their work, they focused more on a monogamous relationship theme that was more typical for a wider society than for the hippies. Topics such as first love, first broken hearts and first experience with the feeling are discussed in the lyrics Love Me Do, All My Loving and Words of Love. Later, The Beatles' lyrics started to focus on love as on the concept of free sex that is proved to be one of the main hippie features. The references can be seen in the songs Norwegian Wood, Why Don't We Do It In the Road? and Happiness Is a Warm Gun. In the end, The Beatles' described love as something universal that powers the world. Love can be seen in everything and everybody should be open to the feeling. This description of universal love agrees with the hippie theory of love and this theory is reflected in the lyrics The Word, Dear Prudence, Because and All You Need Is Love. It has also been discovered that The Beatles did not conceal their drug experiments and they admitted its usage. Furthermore, they admitted that several lyrics are metaphors for specific drugs, which is demonstrated in the interviews with the members of the group. John

46 Lennon claimed that the song Doctor Robert is about drugs and pills. Another statement is provided by Paul McCartney who said that lyrics of the song Got to Get you into My Life are references to marijuana. The lyrics where a drug theme is reflected are Doctor Robert, Got to Get You into My Life, Tomorrow Never Knows, With a Little Help from My Friend, Getting Better, Fixing a Hole and Sun King. Another topic that connects The Beatles and the hippies is an anti-establishment attitude. Members of the hippie movement organized anti-war protests and did not agree with the government's statements and the way they wanted to lead the society. The Beatles' lyrics of the songs Black Bird, Money (That's What I Want), Can't Buy Me Love, Taxman, Piggies, Cry Baby Cry and Come Together reflect the anti-establishment attitudes. The Beatles' attitude is also represented by the fact that they agreed on writing a campaign song for Timothy Leary who was considered as one of the main hippie figure who protested against the Vietnam War. To conclude, several connections within The Beatles and the hippie movement were identified. Furthermore, it can be argued that The Beatles, with their immense popularity and influence, may have impacted the hippie cult. However, a direct influence has not been found as it is difficult to identify in which aspects The Beatles influenced the hippies and vice versa and a further study is needed to determine this. The thesis proves that it is possible to show the contemporary culture and history through the popular music.

47 List of References

"About This Press Conference". 20 Aug. 1966. Web. 30 Jan. 2017. Retrieved from http://www.beatlesinterviews.org/db1966.beatles.junior.html "Across the Universe". 1972. Web. 31 Jan. 2017. Retrieved from http://www.beatlesinterviews.org/dba12let.html "All You Need Is Love". 1967. Web. 5 Feb. 2017. Retrieved from http://www.beatlesinterviews.org/dba13tour.html "Black Bird". 1994. Web. 11 Feb. 2017. Retrieved from http://www.beatlesinterviews.org/dba09white.html "Come Together". 1980. Web. 14 Feb. 2017. Retrieved from http://www.beatlesinterviews.org/dba11road.html Cottrell, Robert. Sex, Drugs, and Rock'n'Roll: The Rise of America's 1960s Counterculture. London: Rowman & Littlefield Publishers, 2015. Print. "Counterculture". In Oxford Dictionaries Online. Web. 26 Nov. 2016. Retrieved from http://www.oxforddictionaries.com/definition/english/counterculture "Dear Prudence". 1980. Web. 31 Jan. 2017. Retrieved from http://www.beatlesinterviews.org/dba09white.html "Doctor Robert". 1980. Web. 6 Feb. 2017. Retrieved from http://www.beatlesinterviews.org/dba07revol.html Eyerman, Ron and Andrew Jamison. Music and Social Movements: Mobilizing Traditions in the Twentieth Century. Cambridge: Cambridge University Press, 1998. Print. "George 1967 on Psychedelic Drugs". 1967. Web. 6 Feb. 2017. Retrieved from http://www.beatlesinterviews.org/db67.html "Hallucinogens and Dissociative Drugs". Nida, 2015. Web. 6 Feb. 2017. Retrieved from https://www.drugabuse.gov/publications/research-reports/hallucinogens-dissociative- drugs "Happiness Is a Warm Gun". Web. 2 Feb. 2017. Retrieved from http://www.songfacts.com/detail.php?id=154 Issitt, Micah. Hippies: A Guide to an American Subculture. Connecticut: Greenwood Publishing Group, 2009. Print.

48 "John Lennon Interview". 9 May 1971. Web. 19 Jan. 2017. Retrieved from http://www.beatlesinterviews.org/db1971.0905.beatles.html "LSD and Journalism". 19 Jun. 1967. Web. 5 Feb. 2017. Retrieved from http://www.beatlesinterviews.org/db1967.0619.beatles.html MacDonald, Ian. Revoluce v hlavě: Beatles, jejich písně a 60. léta. Praha: Volvox Globator, 1994. Print. McCartney, Paul. Many Years From Now. Toronto: Random House of Canada, 1997. Print. Miles, Barry. Hippie. London: Cassell Illustrated, 2003. Print. Miller, Timothy. The Hippie and American Values. Knoxville: University of Tennessee Press, 2012. Print. "Net U.S. Sales of Beatles Albums 1964 – 1985". Web. 6 Feb. 2017. Retrieved from http://www.kronemyer.com/Beatles/Beatles%20Sales%201964-1985.pdf "Octopus Garden". 1981. Web. 31 Jan. 2017. Retrieved from http://www.beatlesinterviews.org/dba11road.html "Psychedelics Facts". Drug Policy. Web. 6 Feb. 2017. Retrieved from http://www.drugpolicy.org/drug-facts/psychedelics-facts "Red Mole". 1971. Web. 5 Feb. 2017. Retrieved from http://www.beatlesinterviews.org/db1971.0121.beatles.html Rorabaugh, William. American Hippies. New York: Cambridge University Press, 2015. Print. Stanley, Bob. Yeah Yeah Yeah: The Story of Modern Pop. London: Faber and Faber, 2013. Print. "Taxman". 1980. Web. 14 Feb. 2017. Retrieved from http://www.beatlesinterviews.org/dba07revol.html "The White Album". 1968. Web. 5 Feb. 2017. Retrieved from http://www.beatlesinterviews.org/db1968.1120.beatles.html Thompson, Gordon. : Sixties British Pop, Inside Out. New York: Oxford University Press, 2008. Print. "What Are Hallucinogens?". Centre For Addiction and Mental Health, Feb. 2013. Web. 23 Nov. 2016. Retrieved from https://www.camh.ca/en/education/about/camh_publications/Documents/Flat_PDFs/dyk_ hallucinogens.pdf

49 "Yellow Submarine". 1966. Web. 30 Jan. 2017. Retrieved from http://www.beatlesinterviews.org/dba10sub.html

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