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How Margaret Mead's research into utopias helped usher in the psychedelic era

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How Margaret Mead's research into utopias helped usher in the psychedelic era

American cultural anthropologist Margaret Mead sits for an interview in 1952.

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American cultural anthropologist Margaret Mead sits for an interview in 1952.

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Pioneering anthropologist Margaret Mead came of age in a time of enormous change and uncertainty. In the aftermath of World War I, as technologies like the radio and automobile began to take hold, Mead and her husband Gregory Bateson began to formulate a vision for utopia that relied upon plant-based psychedelics.

“They saw science as something which was responsible for some of the bad things in the world,” historian Benjamin Breen says, “but also [as] something which could be a tool for fixing the world or healing a sick society.”

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Breen is an associate professor of history at the University of California Santa Cruz. He says Mead’s research began as an effort to understand the science of expanded consciousness and hypnosis. Her specific interest in psychedelics took hold in 1930 when, while doing fieldwork on the Omaha Reservation in Nebraska, she noticed that people of the reservation were using peyote.

“Rather than seeing peyote use among the Omaha as something which predates the modern era and goes back to this ancient tradition, she came to see it as something which was modern,” Breen says. “And it allowed people — and not just the Omaha — but potentially people in the rest of the world, to cope with the rapid technological changes they were going through.”

During World War II, Mead and Bateson worked on a team that sought to use hypnosis and mind altering drugs in the fight against fascism. Later experiments went even further afield, with an effort to use LSD to teach dolphins how to talk.

In his new book, Tripping on Utopia, Breen writes about Mead and Bateson’s early scientific research into psychedelic substances — and how their research led to secret CIA experiments using psychedelics for interrogation.

Interview highlights

Tripping on Utopia, by Benjamin Breen
Tripping on Utopia, by Benjamin Breen

On the Cold War’s emphasis on altered states of consciousness and psychological warfare

Gregory Bateson, actually, after the atomic bombing of Hiroshima, writes a memo to the head of the OSS [the Office of Strategic Services] saying that unconventional means of warfare will predominate in the years to come. And so this idea of psychological warfare being more important than the warfare of conventional arms, that becomes really important in the Cold War. … The specter of LSD being released as a gas in a subway system, for instance, that, of course, never comes to pass. But the idea that there’s a war that can be expressed as a form of psychology, that we can fight battles through mass manipulation and through the media and through psychological techniques, I think that’s very, very important in the history of the Cold War — and even in the present. We’re living through it.

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On Mead’s involvement with the “Macy Circle,” a group that conducted psychedelic research related to World War II

[The Macy Circle] grows out of this belief that scientists needed to directly intervene in the [World War II] effort, and specifically scientists who are studying consciousness, like anthropologists like Bateson and Mead, but also psychiatrists and psychologists. They tried to find ways that they could contribute. What this really looked like in practice was what came to be known as “psychological warfare.” Forms of propaganda, ways of understanding how altered states of consciousness could be used in the war. And this led to an interest in hypnosis. It led to an interest in what was called “truth drugs,” and it led to the very early psychedelic research in the United States.

Mead and Bateson are not conducting that research, but they’re crucial for bringing together this group of people from different fields and framing it in a way that allowed psychedelic science to flourish as a potential pathway toward benevolent treatments, treatments that were healing for society. But also — and this is the really fascinating thing about the Macy Circle — it also got the attention of intelligence organizations and the military. So by the early Cold War, by about 1952, the Macy Circle is being co-opted by the CIA — and that’s the beginning of what I see as this really important split in the history of psychedelics between the public branch and the secret branch.

On NASA-funded programs in the ’60s to teach dolphins to speak using LSD

The person at the center of this story is a guy named John C. Lilly, who Bateson, in about 1961, ends up writing to and they become friends. Lilly invites Gregory Bateson to join him at this dolphin research lab he’s set up with NASA funding and U.S. Navy funding in the U.S. Virgin Islands, and John C. Lilly is a physiologist, is a kind of early neuroscientist who’s really deeply committed to this idea that using things like computers and emerging scientific techniques, it should be possible to communicate not just with dolphins, but with whales as well, with cetaceans. …

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And meanwhile, Lilly is injecting the dolphins with LSD and himself with LSD, and spending literally hours at a time trying to talk to them. And again, you can listen to these recordings. If you search online for the words John C. Lilly, dolphin, LSD, Stanford, you will find many, many tape recordings of this – and he doesn’t make much progress, suffice to say.

On Mead’s bisexuality

One of the really fascinating things about Margaret Mead that drew me into this whole book project was that she was also deeply secretive. It’s hard to convey just how secretive and private she really was. Her archive is enormous, and it seems like she’s an open book. But then when you dig into that archive, there’s all these little clues and hints that there’s other parts of her life that she’s concealing from virtually everyone. In fact, at one point she says, [anthropologist and lover] Ruth Benedict is the only person who really knew her.

[After Benedict’s death in 1948], from that point onwards, by Mead’s own account, she’s kind of a closed off person. She was open about her bisexuality with people close to her, but in the world of the ’40s and ’50s, to go public with that would have been not just career-ending, but potentially life-ruining. And she knew people this had happened to. It’s hard not to know people like that if you’re moving government circles, especially in the aftermath of World War II with the McCarthy era.

On Mead’s distinction between sexuality and gender, and seeing both in a spectrum

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Early on, she’s truly radical and I think really deserves to be remembered as a pioneer in understanding specifically the division between gender and sexuality, which is now a widespread distinction that we make, but in the 30s, that was a very new idea that she helped develop.

On how the therapeutic use of psychedelics now is similar to the ’50s

To a striking extent, what we’re coming back to now in the 2020s looks a lot like what people like Gregory Bateson and the people he was working with in the 1950s were developing. So the idea is that you are in a comfortable environment, you’re listening to music you like … you’re with people you feel good around. It’s not like someone in a lab coat observing you, and you have a goal in mind. There’s an intentionality to the way psychedelic therapy is conducted today. You’re trying to solve some problem in your life or think through an issue. Those are all things that were developed in the 1950s. To an extent, they were things that got erased or largely forgotten by the more radical counter-cultural approach to LSD in the ’60s, where it becomes more of a recreational drug or imbued with mystical significance. I think a lot of what we’re seeing now with psychedelic therapy is actually a return to the older model.

Sam Briger and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the web.

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Sunday Puzzle: ‘Fair’ Game

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Sunday Puzzle: ‘Fair’ Game

On-air challenge

Every answer is a word, name, or a familiar phrase in which the first syllable is pronounced “fair” — in any spelling. (Ex. Locale for an exhibition –> FAIRGROUND)

1. Long stretch on a golf course
2. Alternative to Celsius in temperatures
3. Alaska city just south of the Arctic Circle
4. Boat that transports passengers across a river or body of water
5. Monarch in ancient Egypt
6. Medical term for the throat
7. Revolving ride at an amusement park
8. “Cinderella” or “Hansel and Gretel”
9. Small, domesticated animal related to the European polecat
10. Historical Jewish sect in the Gospels and Acts of the Apostles
11. County of northern Virginia that’s adjacent to Washington, D.C.
12. Actress Morgan
13. Louis who leads the Nation of Islam
14. Chemical secreted by the body that’s a stumulant to others
15. Fond goodbye

Last week’s challenge

This week’s challenge comes from Jim Francis, of Kirkland, Wash. Think of a famous female singer (8,4). The first syllable of her first name, the second syllable of her first name backward, and last name forward again are all verbs associated with human desire. Who is this singer?

Challenge answer

Courtney Love

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Winner

Larry Birkenmeyer of Glenview, Illinois

This week’s challenge

This week’s challenge comes from Mike Reiss, a longtime writer and showrunner for “The Simpsons.” Name a classic song with a two-word title. Drop the first letter. Add an R after the new first letter. The result will be the names of two countries one after the other. What song is this?

If you know the answer to the challenge, submit it below by Thursday, June 4 at 3 p.m. ET. Listeners whose answers are selected win a chance to play the on-air puzzle.

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The ‘Hacks’ finale ties a melodramatic bow onto a beloved series

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The ‘Hacks’ finale ties a melodramatic bow onto a beloved series

Jean Smart.

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This review of the Hacks series finale includes spoilers for the episode. 

It also discusses suicide.

The truth — my truth — about the fifth and final season of HBO Max’s Hacks is that I would have left it at the end of the penultimate episode last week. Deborah’s show in Central Park, improvised after she was thwarted in her efforts to play Madison Square Garden, was a triumph. The story has always been, after all, about Deborah and Ava together, outdoing the expectations other people have for them and outfoxing the people who try to thwart them. So being embraced by a huge outdoor crowd, surrounded by people who love them, was just the right ending. Not too heavy for a comedy, not too idealized and neat.

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In this week’s series finale, you get a much more melodramatic story. The earlier hints about Deborah’s health problems mature into the news that she has cancer, but she has decided to forgo treatment and travel to Switzerland to undergo an assisted suicide. She also wants Ava to go with her. Ava is furious and panicked, wanting Deborah to choose differently, but Deborah’s mind is made up. In the end, encouraged by Jimmy to respect Deborah’s decision, Ava appears at the airport, and the two go to Paris for a final vacation before they travel on to Zurich. They laugh and walk, and Deborah gives Ava her first taste of Parisian bread. They shop for skin care, they go to the Louvre (which Deborah buys out just for them), and they debate Van Gogh. They even go dancing.

Perhaps I was naive to never believe the show was going to end with Deborah’s suicide. Perhaps it might have ended that way. But it doesn’t. (Here, I am tempted to say, “Of course it doesn’t.”) After Ava fights Deborah, concedes, fights her again, and concedes again, Deborah suddenly (very suddenly) realizes she still likes writing jokes, and she decides to write a new hour with Ava and begin cancer treatment instead of going to Zurich and ending her life. “Happy Days Are Here Again” plays as they walk together in Paris, and then later in Vegas. The end.

I’ve always been of two minds about Hacks: the scene-level writing is impeccable, the jokes have a high hit rate, and the performances are utterly singular, but I’ve always found the plot choices frustrating. By Season 4, the basic story was repeating over and over (they feud; they make up; they feud; they make up). But even then, the jokes were still working, and the performances were exceptional.

Similarly, in this finale, the scenes in Paris are not only great to look at; they are very funny and wildly charming. Even in a short, slapstick bit where Deborah cracks herself up by making Ava try to learn stick shift driving a boxy little rental car through a roundabout, the kicker line from Ava, “Why am I in the rough draft of a car?” is just a straight-up great line. These are gorgeous scenes between the actresses (who are co-leads and always have been; do not let the Emmys deceive you), and they are a great gift to the many people who have loved Hacks over its very successful run. These characters are soul mates, and it is delightful seeing them, once and for all, on the same side.

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But the flip side is this: When you incorporate a story about illness and death, especially very late in a show’s run, and especially if it resolves abruptly, it can seem maudlin or manipulative. Death is just a big bat to swing in a comedy series, and there’s a good argument that Hacks just didn’t need it. There is plenty of emotional heft in the history of Deborah and Ava, and in the stories of their careers, without a death scare. And because it was a death scare, some things got awkward, like … Why did D.J., Deborah’s daughter, play no role in any of this? Certainly, Deborah might not want to tell her, but when begging Deborah not to die and pulling out all the stops, would Ava not have talked about her family? Might “please don’t leave me,” touching as it was, have been accompanied by “or your daughter”?

It’s not that the Hacks finale was bad, not by a longshot. (Though the Jimmy/Kayla triumph where they re-enter Latitude to literal applause was perhaps a bit pat.) It’s the capper to a very successful and very good show, which has been richly rewarded with awards and seems highly likely to rack up a few more this fall. But it did, in the end, feel a bit like a hat on a hat, like they didn’t quite trust what’s been built between those two characters enough to pack a wallop without the Grim Reaper stalking the episode. But perhaps it would not have been a Deborah Vance production if it weren’t just a bit over the top.

If you or someone you know may be considering suicide or is in crisis, call or text 9 8 8 to reach the Suicide & Crisis Lifeline.

This piece also appears in NPR’s Pop Culture Happy Hour newsletter. Sign up for the newsletter so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.

Listen to Pop Culture Happy Hour on Apple Podcasts and Spotify.

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‘Wait Wait’ for May 30, 2026: Our Endless Summer with Tiffany Haddish, Lucy Dacus, and more!

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‘Wait Wait’ for May 30, 2026: Our Endless Summer with Tiffany Haddish, Lucy Dacus, and more!

Lucy Dacus of Boygenius performs at the Outdoor Theatre during the 2023 Coachella Valley Music and Arts Festival on April 15, 2023 in Indio, California. (Photo by Emma McIntyre/Getty Images for Coachella)

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This week, we celebrate an early start to summer by revisiting our interviews with Tiffany Haddish, Taimane, Becca Mann, and Lucy Dacus!

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