I have come to realize the value of a post title in finding readers, but I try to avoid bait and switch. To provide a balancing bit of honesty, this isn’t about the effect Stranger in a Strange Land had on the Free Love generation, but on the relationship between Heinlein and one particular group of hippies, the Jefferson Airplane, aka the Jefferson Starship.
For the relationship of hippies to Stranger, see 160. Stranger in a Strange Land. That way I don’t have to tell you again that I read it early and found it to be a dud.
As for me, I was a half-way hippie. I opposed the war, grew a beard, let my hair go long, and dressed in rumpled casual. The wild, multi-colored garb of TV hippies was largely a media invention. Real hippies wore Army surplus because it was cheap, which was also one of my sartorial motivations.
However, I didn’t do drugs and I was in the wrong place in the wrong time. My college roommate spent the Summer of Love in California; I spent it looking for archaeological sites in the backwoods of Michigan. He told me all about it when he came back in the fall; I had been out of touch and didn’t even know it had happened.
The only thing I understood as it happened in 1967 was the music, blaring out of the car radio as our survey crew drove around looking for archeology sites. I particularly liked that new group the Jefferson Airplane.
Which brings me to the heart of the post. In 1969, Paul Kantner wrote Heinlein a letter asking permission to quote from his work. I knew this, after a fashion, from contemporary gossip, and it was evident in the lyrics soon after, but I didn’t get confirmation until the second volume of Heinlein’s biography came out (see below). I’ll quote some of Heinlein’s reply:
I am pleased by your courtesy . . . Bits and pieces from my stories have been used by many people . . . and it is rare indeed for anyone to bother to ask my permission.
Heinlein gave permission and went on to ask for some autographed albums in return, since he was a fan of their work. Who knew?
The album Blows Against the Empire came out about a year later, by Paul Kantner and the Jefferson Starship. Despite the title. it was actually a compendium band filling in the time between the breakup of Jefferson Airplane and its later rebirth as Jefferson Starship.
It would be impossible to overstate how much music from this era was fueled by LSD. If you seek out the full lyrics, you’ll see how many drug references I have left out of what follows:
from the cut Hijack
You know – a starship circling in the sky – it ought to be ready by 1990
They’ll be building it up in the air ever since 1980
People with a clever plan can assume the role of the mighty
And hijack the starship
Carry 7000 people past the sun
And our babes’ll wander naked thru the cities of the universe
7000 Gypsies swirling together
Offering to the sun in the name of the weather
Gonna hijack – hijack the starship
from the cut Starship
Out – the one remaining way to go
Free – the only way to fall
The light in the night is the sun
And it can carry you around the planetary ground
And the planetary whip of the sun
Mankind gone from the cage
All the years gone from your age
If you are at all familiar with Heinlein, you will recognize that this imagery is from the novel Methuselah’s Children, originally serialized in 1941, which was also the first appearance of Lazarus Long. Of course Kantner reworked it. The hijackers are not Howards fleeing for their lives, but drug-fired hippies whose faith in everything turning out well is a bit laughable in hindsight.
Like all the first half dozen Jefferson Airplane or Starship albums, I loved it. If you are younger than old, there is an excellent change that you’ve never heard music that shows the spirit of innovation and experimentation that was the hallmark of the 60’s. The music that appears on TV flashback programming is fine stuff, but it is also the tame stuff. The raw stuff doesn’t get replayed.
If you are curious, give this album an online listen, although you may not care for it.
Robert A. Heinlein, vol. 2, The Man Who Learned Better by William H. Patterson, Jr, p. 312. FYI, the subtitle does not refer to a change of heart by Heinlein, but is RAH’s idea of one of the three or four basic plots in fiction, and one he often used.