Do You Believe in Magic?

The word “magic,” in its adjectival form—the form used in most popular music—means to make or produce “as if by magic,” that is, to have the conjuring power of a magus, that is, a magician. For instance, you know of Madame Rue, that gypsy with the gold-capped tooth, the one who’s got the pad down on Thirty-Fourth and Vine—she uses magic, and she is a (female) magus. In “Love Potion No. 9,” for instance, the singer tells us, “She [Madame Rue] looked at my palm and she made a magic sign/She said, ‘What you need is Love Potion No. 9’.” Too bad: the singer ended up kissing a cop down on Thirty-Fourth and Vine. Such is the power of magic.

The word magic is derived from the Middle English magik, from Old French magique, from Late Latin magica, from Latin magicē, from Greek magikē, from feminine of magikos, of the Magi, magical, from magos, magician, magus. And magus, of course, is the root of the word “magician.” In popular music, magic is mystery (and fear), magic is enchantment, magic is power, magic is a drug-induced hallucination (and the accompanying trip), magic is the ecstasis of erotic fulfillment. Aleister Crowley referred to the orgasm as “sex magick,” perhaps an intentional conflation of the categories of erotic and spiritual love. Popular musicians frequently confuse the erotic and the spiritual, revealing that as a culture we seek in profane love what we can only get from religious belief. To confirm these various uses, seek out and listen to the following songs:

America, “You Can Do Magic” The Complete Greatest Hits
Badfinger, Magic Christian Music (album, 1970)
The Beatles, “Magical Mystery Tour” Magical Mystery Tour (album, 1967)
The Cars, “Magic” Heartbeat City
Nick Drake, “Magic” Made to Love Magic
The Drifters, “This Magic Moment” All-Time Greatest Hits
Electric Light Orchestra, “Strange Magic” Face the Music
Fleetwood Mac, “Black Magic Woman” English Rose
Heart, “Magic Man” Dreamboat Annie
The Lovin’ Spoonful, “Do You Believe in Magic” Do You Believe in Magic
Ennio Morricone, “Magic and Ecstasy” Exorcist II: The Heretic (soundtrack)
Van Morrison, “Magic Time” Magic Time
Pilot, “Magic” Anthology
The Police, “Every Little Thing She Does Is Magic” Ghost in the Machine
Frank Sinatra, “That Old Black Magic” Come Swing With Me!
Snakefinger, “Magic and Ecstasy” (Morricone cover) Chewing Hides the Sound
Steppenwolf, “Magic Carpet Ride” Steppenwolf the Second
Tyrannosaurus Rex, “By the Light of the Magical Moon” Beard of Stars
The Who, “Magic Bus” Magic Bus

World's First Acid Road Trip

A couple of blog entries ago, I wrote on the waning of the Populuxe era and the early days of the psychedelic era, discovering the transitional linkage between the two eras in the image of the New York World's Fair that opened in April 1964. The New York World's Fair, the mediocre reception of which marked the end of the Populuxe era (1954-1964), was also the final destination of Ken Kesey and the Merry Pranksters, who started out on the world's first acid road trip headed for New York on 14 June 1964. The linkage between these two events was unexpected but revealing, providing us a convenient means to date the beginning of "a new era."

As Katie Mills has observed in her fine book, The Road Story and the Rebel (2006), it was a consequence of the Merry Pranksters' cross-country excursion that the word trip "took on a double meaning that was part of the era's playfulness with language--to travel as well as to take LSD or blow one's mind. In the Prankster's league, the two became one" (86). For novelist Ken Kesey--by 1964 famous as a result of the publication of One Flew Over the Cuckoo's Nest (1962) and the about-to-be published Sometimes a Great Notion (1964)--part of the explicit purpose of the bus (to be entirely accurate, a 1939 school bus) trip was to make the record of a transformative journey, which is why the Pranksters took along with them film cameras and tape recorders. As Mills observes, "One goal of the Pranksters' road trip was to expand their expressive possibilities by making a film while on the road, to push further than the novel in order to break through to new expressive and artistic forms" (85). Of course, this film, which Tom Wolfe refers to as The Merry Pranksters Search for the Kool Place, was never completed, despite Ken Kesey spending years (and many thousands of dollars) trying to finish it. Hence, the only record we have of the Pranksters' journey is in the form of Tom Wolfe's New Journalistic account, The Electric Kool-Aid Acid Test (1968). But... fortunately for both scholars and for posterity, footage of the Pranksters' trip has been released on video through Zane Kesey's (Ken Kesey's son's) website, key-z.com. What this footage reveals is the remarkably accurate account of the journey Tom Wolfe made in his book.

In my previous blog on the subject, I made mention of the possible influence the Merry Pranksters' bus trip had on the Beatles' Magical Mystery Tour, first aired (in black & white, for some strange reason) on British television in December 1967. As Tom Wolfe observed in The Electric Kool-Aid Acid Test, the Pranksters had serious artistic ambitions in mind with their film. The Merry Pranksters, according to Wolfe, wished to make

the world's first acid film, taken under conditions of total spontaneity barreling through the heartlands of America, recording all now, in the moment. The current fantasy was . . . a total breakthrough in terms of expression . . . but also something that would amaze and delight many multitudes, a movie that could be shown commercially as well as in the esoteric world of the heads. (The Electric Kool-Aid Acid Test, Bantam, 1981, p. 122)

But Wolfe also notes, sixty-seven pages later in the same book:

Early in 1967, the Beatles got a fabulous idea. They got hold of a huge school bus and piled into it with thirty-nine friends and drove and wove across the British countryside, zonked out of their gourds. They were going to . . . make a movie. Not an ordinary movie, but a totally spontaneous movie, using hand-held cameras, shooting the experience as it happened--off the top of the head!--cavorting, rapping on, soaring in the moment, visionary chaos--a daydream! A black art! A chaos! They finished up with miles and miles of film . . . which they saw as a total breakthrough in terms of expression but also as a commercial display. . . . (Wolfe, Acid Test, p. 189)

As Katie Mills observes, by means of the deliberate redundancy in the diction between these two passages, Wolfe explicitly links The Merry Pranksters Search for the Kool Place with the Beatles' Magical Mystery Tour. Although no indubitable connection between the two films has been definitively established, Bob Neaverson, in The Beatles Movies (first published 1997), suggests that Paul McCartney, flying home from America in April 1967, very easily could have read Tom Wolfe's first articles on the Merry Pranksters' bus trip, published in the World Journal Tribune in January and February 1967 (not to be confused with the book publication of Wolfe's account, which was August 1968). Magical Mystery Tour was filmed in September 1967. There are no hard feelings, apparently: according to Mills, the Pranksters "like to claim credit for this inspiration--they seem genuinely happy for the Beatles' success with what may well have been their idea" (103).

The idea? The world's first acid road trip. That Magical Mystery Tour was widely panned by the critics when it first aired on December 26, 1967, reaffirms an insight I made a few blogs ago on why early psychedelic albums failed--the audience didn't yet exist. The psychedelic aesthetic, largely non-narrative, more lyrical and abstract, and prone to making startling, sometimes surreal juxtapositions, had to be learned. Taste is not innate; it has to be developed.