Heart of a heartless world: “Lefty” Hooligan, “What’s Left?”, March 2023

To be sure, some of the language adopted by Marxists — e.g., heresies, dogma, sects, orthodoxy, schisms — is clearly borrowed from theological disputes. Furthermore, the recantations made by ex-communists at times seems to lend credence to this view.
Ross Laurence Wolfe, The Charnel-House: From Bauhaus to Beinhaus

For the life of me, I don’t know how we managed before the internet.

Of course there was the 1960s underground press scene with hundreds of local papers around the country. I regularly picked up copies of the Los Angeles Free Press, the Berkeley Barb, and the mother of all alternative newspapers, the Village Voice, from Anne Chicoine’s Books. Anne was an expatriate New Yorker who ran a literary bookshop in a shotgun storefront along Main Street when I lived in Ventura, California. She smoked a meerschaum pipe, spoke with a Manhattan accent, and gave me suggestions for books to read from her wall-to-wall floor-to-ceiling bookshelves. She kept the alternative papers with the underground comics in the revolving newspaper racks at the front of the store.

“So what’s this?” I asked, pointing to the Credentials of Ministry from the Universal Life Church with her name on it beside the cash register.

“I’m a fully ordained minister,” Anne smirked. “I got my minister’s license from a classified ad in the Freep for ten bucks. You need a wedding, baptism or funeral done I’m your gal. All perfectly legal apparently.”

I got my minister’s certificate soon thereafter. Kirby J. Hensley’s ULC and his pay-to-play ministry licenses were beginning to be tested legally in the early 1970s with a 1974 ruling in “Cramer v Commonwealth” granting the organization a religious tax exemption. By then Hensley had ordained over a million ministers. Whether the UCL’s license constitutes a fraudulent religious affiliation for tax avoidance purposes remains a contested issue. Whether or not a supposed religious organization is due a tax exemption is a matter of “church and state” in that America’s religion has always been the almighty dollar.

ULC’s airy-fairy motto is “Do that which is right,” a blanket ethics that covered Christians, Jews, Buddhists, Hindus, Sikhs, Wiccans, pagans, atheists and whoever else. It’s a vanilla version of Aleister Crowley’s rule for his Abbey of Thélème that “Do what thou wilt shall be the whole of The Law.” I bounced between atheism and agnosticism in those days so I got the minister’s license on a lark. I was just coming out of a six-month stint as an evangelical Christian after having been a Catholic through my sacramental Confirmation. I would go on to experiment with Unitarianism, Baháʼí-ism and Zen Buddhism, and I continue to have an ongoing interest in spirituality today.

That’s because throughout my life I’ve had what we called in the 1960s “spiritual experiences” produced by contemplative walking, religious conversion, meditative practices, and psychedelic drug usage. I never considered these experiences to be interventions from some spiritual being or realm outside myself. They were all the result of my individual biochemistry, but this isn’t a matter of crude materialist interaction. At base Aristotle’s expression that “the whole is greater than the sum of its parts” holds true in that, minimally, the accumulated parts need to be augmented by the relationships between those parts. Dialectics emerged in the nineteenth century while gestalt and synergy arose in the twentieth century all to describe the interaction or cooperation between elements of a totality to account for it being greater than the simple sum of those parts.

William James gave a series of lectures to categorize the different spiritual encounters humans have had across the world throughout time which were compiled into the book The Varieties of Religious Experience in 1902. Two common elements that seem to constitute universalities, are the mystical sensation of transcending the ego and of communion. Every hippie worth their salt in the 1960s had a bottle of Dr. Bronner’s Magic Soap with those text-heavy labels that read like schizophrenic word salad but which always started with the declaration “All-One!” The spiritual sense of communion, of belonging to some greater whole or that “I contain multitudes” as Walt Whitman announced in his poem Song of Myself, is paralleled by what those of us who took psychedelics in the 1960s called “ego death.” The drugs forced a temporary loss of a sense of self which we equated with Eastern religions that promoted negating the individual’s attachment to a separate sense of ego through various spiritual practices. James chose to limit his studies of mystical moments to direct, immediate religious experiences, explicitly excluding any examination of religious theology or institutions. Several of my mystical experiences occurred in the context of churches and other religious organizations that had extremely negative theologies and religious practices.

I encountered plenty of heresy, dogma, sectarianism, orthodoxy and schism during my brief involvement in Campus Crusade for Christ at Ventura Community College in 1970. The friend who converted me, upon expressing frustration at the rabid leftwing bent to my born-again Christianity, dismissed my politics and my friendship by insisting that I forget about all worldly concerns and simply study my bible. When our campus was invaded by a Children of God “commune” whose “hippie” members denounced “The System,” predicted the rise of a totalitarian One World Government under the Anti-Christ’s brutal dictatorship, and preached its revolutionary overthrow by Jesus in the Second Coming, my orthodox Christian friends were understandably confused. They considered themselves frontline shock troops against evil, so when the Hare Krishnas periodically showed up to dance and chant at our school the Christians confronted the saffron-robed dolts as demon-possessed. During one debate when a Krishna pointed to the chest of that same Christian friend to indicate that some fanciful Hindu deity resided in his heart, my friend yelled vehemently back that “There’s no devil in me whatsoever, no sir!” That was the first time I experienced the evangelical tendency to profess a love for Israel and the Jewish people while simultaneously expressing vile anti-Semitic insults against Jews. Christian Zionists consider Jews as both “globalist devils” and an eschatological tripwire for the End Times in which the Second Coming of Jesus restores a fully resurrected Israel to its rightful place as a religious and cultural beacon in the community of nations. It’s the metaphor of “Christ’s long suffering bride,” both abused and redeemed.

After community college, I eventually started reading Karl Marx, who wrote that:

Religious suffering is, at one and the same time, the expression of real suffering and a protest against real suffering. Religion is the sigh of the oppressed creature, the heart of a heartless world, and the soul of soulless conditions. It is the opium of the people.

This tempered, dialectical understanding of human faith runs counter to the actual history of religion—the intolerance, oppression, sectarianism, mayhem, torture, slaughter, mass murder, and warfare that is SOP for religion. Doris Lessing made a similarly balanced evaluation of Marxism when she wrote:

I think it is possible that Marxism was the first attempt, for our time, outside the formal religions, at a world-mind, a world ethic. It went wrong, could not prevent itself from dividing and subdividing, like all the other religions, into smaller and smaller chapels, sects and creeds. But it was an attempt.

Religion is far and away the more destructive ideology when compared to Marxism. There are no “holy wars” between branches of socialism unlike the Catholic/Protestant or the Christian/Moslem bloodbaths that stain history and the present. I don’t accept the capitalist insult that socialism is an odious form of religion (Ludwig von Mises) or the bourgeois atheist’s claim that Christianity or Judaism are fundamentally socialistic in nature (Ayn Rand). Instead I’ll briefly touch on Marxism’s eschatological tendency per Raymond Aron to see the working class as humanity’s “collective savior… that is, the class elected through suffering for the redemption of humanity.” “One of the most common charges leveled at Marxists is that, for all their atheistic pretensions, they retain a quasi-religious faith in the revolutionary dispensation of working class dictatorship,” according to Ross Laurence Wolfe in his salient essay “Demonology of the working class”. “’It’s become an almost compulsory figure of speech to refer to Marxism as a Church,’ observed the French literary critic Roland Barthes in 1951. […] Socialism, however, is not about worshiping but rather abolishing the worker.”

The problems of Marxist “theology” aside, my time in various socialist organizations and movements acquainted me with a number of similar “spiritual” moments. There are analogous experiences of egolessness, communion, and community to be had on the Left compared with religion. Referring again to Wolfe’s brilliant essay, I reveled in the “mad rush” of direct action and the “demonic character” of revolution. Certainly the “Faustian dimension of Marxist thought”—his exaltation of the proletariat as “not just Promethean but Luciferian”—appealed to me viscerally. Wolfe’s lengthy discussion of Marxism’s deification of the proletariat versus the need to abolish the working class is well worth reading in full.

SOURCES:
Personal recollections
A Contribution to the Critique of Hegel’s Philosophy of Right, “Introduction” by Karl Marx (1844)
Song of Myself by Walt Whitman (1855)
The Varieties of Religious Experience by William James (1902)
The Golden Notebook, “Introduction” by Doris Lessing (1971)
“Demonology of the working class” by Ross Laurence Wolfe, The Charnel-House: From Bauhaus to Beinhaus (2016)

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Party of one: “Lefty” Hooligan, “What’s Left?”, April 2022

Four independent workers’ soviets operated concurrently in Moscow during the Russian 1905 Revolution. Proud Soviet historians were always quick to point out that the one aligned with the Bolsheviks operated a bomb-making operation out of Maxim Gorky’s apartment. Meanwhile, the more famous 1905 St. Petersburg workers’ and soldiers’ soviet, precursor to the 1917 Petrograd soviet, had puzzling gaps in its official Soviet history until the anarchist historian Voline published The Unknown Revolution, 1917-1921 in 1947. In it he revealed that the soviet met in his St. Petersburg apartment.

Aside from the usual disputes over primary and secondary evidence or what constitutes historical fact, and before any arguments over what a particular history signifies, there are always the missing parts of history. What I mean is the things that happened and affected the course of history but that never got recorded in the historical record and thus were subsequently forgotten. The 1905 St. Petersburg workers’ and soldiers’ soviet met in Voline’s apartment and contributed to the development of soviet power whether or not that fact was entered into the historical record prior to 1947. So yes, if a tree falls in the forest, it makes a sound.

Fashion Statement or Counterculture: “What’s Left?” July 2016, MRR #398

I attended a “Faces of Death” party in San Diego between 1980 and 1982. I don’t remember the exact date as I was drinking heavily at the time, and some details are pretty much a blur from those days. “Faces of Death” was a film compilation of various explicit on-camera death scenes—half of them fake—which led to a movie series, and then a horror genre. I’d heard that Boyd Rice organized the party, not around a video showing but in honor of the suicide of Joy Division singer Ian Curtis. The living room had a shrine set up, with black and red altar cloths and lit tapered black candles featuring a framed picture of Ian alongside one of Adolf Hitler. Boyd hadn’t yet transitioned into full-on racist fascism, so this was him being transgressive and oh-so-naughty. The soundtrack for the evening, besides Joy Division, included Throbbing Gristle, Boyd’s band Non, Cabaret Voltaire, and others.

I found the whole party morose and boring, and left soon after arriving, no doubt in search of more alcohol. But all the future dark tribes, from Industrial to Goth, were present in embryo. I’ve told this story many times before. What’s brought it to mind now was Genesis P-Orridge posting on his FB page a slick conspiracy video-remastering of the hoax “Protocols of the Elders of Zion” using the Rothschild family. I’m FB friends with several anti-fascists, and the reaction was intense. One individual in particular, someone whom I’d been corresponding with back and forth since before FB when he was commenting on my political blog, stated that he was distressed over what Genesis had done because he really liked both Throbbing Gristle and Psychic TV. In the FB exchange, I realized I harbored prejudices born of that experience some 35 years prior, that a “certain kind of music” invariably leads to fascism.

I should have known better. In my Hit List review of Craig O’Hara’s book “The Philosophy of Punk” I’d argued against his idea that punk is inherently anarchist by contending that no type of politics is innate to punk as a genre of music. Aside from a visceral rebellion often characteristic of youth, it’s really all just about sex, drugs and rock’n’roll. I also didn’t learn from my about-face on country western music, when I came to appreciate Hank William’s Sr. and not to categorize the entire musical genre as “redneck.” And yet, country western music is consistently associated with conservative politics, punk rock with anarchism, and industrial/goth music with fascism. How can we account for these persistent connections without labeling them innate or inherent?

Which brings us to the relationship between music and politics. I’m sick and tired of writing about the elections anyway and besides, the Democratic and Republican National Conventions are playing out even as this issue is being sold on newsstands.

“If the right kind of beat makes you tap your foot,” Frank Zappa once said, provocatively. “[W]hat kind of beat makes you curl your fist and strike?” Zappa was ardently anti-censorship, so this bit of hyperbole was meant to highlight the complex relationship between music and other forms of human behavior, not to nail it down. However, I will attempt to do just that by mediating the links between music and politics through the lens of counterculture. Let’s begin with the mother of all countercultures, the hippie counterculture. Forgive me if what follows is painted in broad strokes. The making of that counterculture, to paraphrase Theodore Roszak, involved the merging of a genre of music influenced by folk, blues and rock with various unconventional lifestyles from the Romantics, Bohemians and the Beats, all in opposition to the prevailing Establishment culture of the day. Rock music and bohemian hipster lifestyles overlapped, and the counterculture was born from their interaction on this common ground.

Characterizing the hippie counterculture as all about “peace and love” is simplistic but fair, even as it misses the communalism underlying that social movement. Plenty of hippies like Stewart Brand had a philosophical hankering for capitalist libertarianism, and many others went on to become successful entrepreneurs. But the 60s were all about communalism—about crash pads, coops and communes—and as such the counterculture countered competitive American individualism. Hippie communalism was central to a naïve back-to-the-land movement, which laid the basis for today’s concerns with vegetarianism and organic agriculture. This conscious collectivism accounts for the incipient anarcho-leftism of much of the hippie counterculture, and it also explains the New Age fascism evident in other aspects. And to call the politics of the hippies collectivist is vague at best.

The 60s counterculture encompassed millions of young people around the world and by the Death of Hippie (dated 1967, 1968 or 1969, depending) there were already inklings of a smaller counter-counterculture in the making. Proto-punk music was emerging, and there was a growing disdain for the hippie “peace and love” mentality as too idealistic and impractical. Anger and aggression replaced those hippie sentiments—expressed in sayings like “search and destroy” and “fuck shit up”—and hippie communalism mutated into punk collectivism (squats, punk houses, venue collectives, etc.). DIY became the byword of punk action and the whole package, while not explicitly anarchist, tended toward the politically anarchic.

Also in reaction to the hippie counterculture, but somewhat later in time and still smaller in numbers, the industrial/goth/dark counter-counterculture took shape. There were distinct types of music and kinds of collectivism (Throbbing Gristle came out of the COUM Transmissions art collective and Laibach is part of the NSK art collective), but the doom and gloom of this scene was augmented by an intense obsession with all that is transgressive. And my argument paralleling punk rock is that while there was nothing in the industrial/goth/dark music scene that was inherently fascist, the fascination with being “oh so naughty” and transgressive also accounts for the tendency toward fascist imagery and even politics in the music.

This oversimplified history is not prescriptive, but descriptive. I’m trying to explain political trends without arguing that certain politics are innate to certain musical genres. Hippie peace and love was far different from punk anger and aggression or industrial/goth doom and gloom. But, apart from youthful rebellion and a desire to épater la bourgeoisie, these countercultures and counter-countercultures had at least three things in common: communal structures, DIY motivations, and transgressive impulses. Hippie communalism was intensely DIY, with the Whole Earth Catalog epitomizing the era. But hippie transgression was unashamedly hedonistic. I would contend that this counterculture went the furthest toward parrying the prevailing culture and creating a viable, wholistic alternative society that escaped simple left-or-right politics. In reacting against bourgeois society and the hippie counterculture, punk and industrial/goth further narrowed their respective cultural arenas, and further fragmented the wider society into numerous contending, jostling subcultures. Punk was violently transgressive, but its DIY emphasis was central, implying anarchistic politics. And industrial/goth was as DIY as punk, but it was the fascination with transgressive naughtiness that accounts for that counter-counterculture’s infatuation with fascist symbolism, which often spilled over into actual fascism.

Of course, it can be argued that whether it’s culture, counterculture, or counter-counterculture, the Western context for all of this is bourgeois individualism. From the libertinism and “do your own thing” of the 60s, the emphasis has been on the individual through punk and industrial/goth, various forms of communalism notwithstanding. Even to say that “it’s only rock and roll” is to acknowledge the primacy of this socio-political context for the cultural rebellions from the 60s onward.

I published an anarcho-punk zine called San Diego’s Daily Impulse from 1985 through 1989, which I distributed free at shows and to record stores. As part of that zine, I and a small group of friends put on an Anarchy Picnic in May, 1985. Several hundred people gathered to share food and beverage, acoustic music, and activities like frisbee and hacky-sack around literature tables, chalk, and sheets of butcher paper sprinkled with crayons and paint in Balboa Park. It was clear at the Anarchy Picnic that divisions like hippie, punk and goth were ephemeral, that tastes in music and fashion were not rigid, and that people mixed-and-matched scenes and countercultures as they desired. In the midst of this sunny picnic, with all the fun and frivolity, a couple strolled into the park wearing full Nazi Sturmabteilung uniforms, complete with prominent swastika armbands. The man was an SA-Gruppenführer, the woman his she-wolf of the SA, and together they walked a pair of Dobermans. They feigned being haughty and aloof, but it was clear that they pranced and preened over being so naughty and transgressive in their Nazi regalia.

No surprise, the Anarchy Picnickers ignored them.