a born and raised
Mission home boy

 Lipstick Traces
a search for the secret history of the 20th century by sifting through the powerful currents of thought and personalities in the life of
Jerry Garcia and the Grateful Dead

"Where there is no vision, the people perish. Proverbs 28:18.

Transcendentalists || Beat Writers & Jack Kerouc || Ken Kesey || Haight &Psychedelia || Janis Joplin || Mysticism, Myth & Psychology
This section is also part of Day of the Dead presentation by  &

Jerry Garcia the early years in the Outer Mission 


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Jerome Kern

Jerry's parents' favorite musician, whom they named Jerry after, remains very much alive in the present as well as the historic past.

Kern was born in 1885 in New York, to a first generation Jewish-German family. His life, devoted to musical theatre, also ended in New York City in 1945 while preparing to begin work on a new musical with Dorothy Fields. His career began in London and included many successful years in Hollywood. More than any other composer, Jerome Kern inspired the creation of the first truly American musical theatre.

'He stimulated everyone. He annoyed some. He never bored anyone at any time.'
 eulogy by Oscar Hammerstein

Kern's songs used a fresh, uncontrolled approach to melody which was to modernize the American musical theatre. Melody seemed to pour out of him and he was known to compose whole scores in a week's time. A Jerome Kern tune is generally lighthearted and characterized by a genius which made melodies sound natural and spontaneous. The creative beauty gives his songs an infectious quality that will allow them to live forever as part of our musical inheritance.
Among his best know tunes are Can't Help Lovin' dat Man of Mine and Ol' Man River from Showboat (1927);  Smoke Gets in your Eyes from Roberta (1933)

Songs which have become jazz standards: A Fine Romance, All The Things You Are, Dearly Beloved, The Last Time I Saw Paris
Jerome Kern at amazon
“Jerry put it the best, as he frequently did: ‘Let ‘em have it. When we play it, we’re done with it.’” -- Phil Lesh.

Beginning in 2003, as part of the relaunch of the band from the "the Other Ones" to "The Dead," fans can order a CD of the very show they’re attending. And the band believes the music industry should follow its example: to embrace new technology instead of running away from it.

Subverted Public Domain List -- includes works by Jerome Kern.

The "Subverted Public Domain" begins with the year 1923.  Works published in that year would already be in the public domain but were "saved" by the Sonny Bono Copyright Term Extension Act of 1998.

The Grateful Dead were famous for not policing the free flow of their music through live recordings. They even helped their fans steal their music - not only did the band let their fans tape their concerts, they even gave them their own section to stand in. Jerry thought the music should be free.

Our sister site,, tracks this growing global issue of copyright versus copyleft and the people's rights in our

Dr. Immanuel Velikovsky

Our existing consensus chronology of history before Christ grew out of 19th century beliefs, and remains so despite the current rejection of commonplace scientific dating techniques. While there is less credibility today for those who would challenge hard evidence through their trust in blind faith, religious beliefs continue to to be a driving force behind world events. Consider: the second American invasion of Iraq in 2003 may be understood as having had more to do with Biblical prophecy and the obsession of the Christian Right with Armageddon than any other factor. Velikovsky's chronology of the Old Testament history moves us towards a mature relationship with religion and spirituality (something the Grateful Dead represent as well).

Velikovsky's Works:
Best known for his best selling book, Ages in Chaos (1952), which hypothesized that a global cataclysm had overtaken the Earth at the time of the Israelites' Exodus from Egypt, as told in the Bible. After reaching the number 1 spot in the best-sellers list, Velikovsky's Worlds in Collision (1950) was banned from a number of academic institutions. His well-researched theory led to being ostracized from his academic community for over a decade and a threat of a boycott against any publisher who printed his books. For nearly a decade prior to the early Immanuel Velikosky, ca. 1942 Sixties, Velikovsky was persona non grata on college and university campuses. 

Velikovsky wrote other revisionist histories based upon unconsidered evidence, including Earth in Upheaval (1955) which presented geological and paleontological evidence to buttress Worlds in Collision (and also offered a new understanding of evolution that conflicts with Darwinian theory).

After dramatic scientific confirmations of his historical reconstructions by many of the early space probes sent to Venus, Mars and Jupiter, he began to receive more requests to speak than he could honor. Albert Einstein, after engaging in long debates with Velikovsky, came to agree with his views.

Velikovsky papers contain an unpublished volume dealing with collective amnesia that hypothesized a Freudian mechanism of repression applied on a collective, cultural scale. He died in 1979 as a lead researcher at Princeton. Amazon's book resellers have you covered, as does a google search for a starting point.


Jerry's  artistic mother's was enthusiastic about the scientist who compared global events with Biblical history.
Immanuel Velikovsky at amazon  

Jerry Garcia's pre-Christian city connection with symbol of the skull more


Innovative and provocative theories which challenge beliefs and the status quo often meet intense opposition. For whatever reason the San Francisco Bay Area enjoys more than its share. Today, few authors are more provocative and original in examing humanity's shared inheritance than Dr. Leonard Shlain  of Marin County
How Women's Sexuality Shaped Human Evolution
links between the ascendancy of patriarchy and written language and the descent of matriarchal societies and goddess-based religions 
Parallel Visions in Space, Time, and Light


Why should not we have a
poetry and philosophy of insight
and not of tradition,
and a religion by revelation to us,
and not the history of theirs?

This is the philosophic treasure trail of the beat and hippie movements, hidden behind the sensationalism of a willingness to experiment with sex, drugs and wild music. These trails within never go cold.

Authors Jack Kerouc and Ken Kesey, the two fathers of San Francisco's beat and hippie movements, built their enthusiasms on the very sturdy foundation of the best of an American philosophy. 

Ralph Waldo Emerson distilled the wisdom of the ages and brought it forward as a philosophy for life in a post-Downloadreligious world. Living an authentic life in the present, using your innate intuition to follow the signs to your true destiny and divine potential by honoring truth, beauty and goodness or through a rapt mystical state originating in the Over-Soul are core fundamentals of Transcendentalism -- and something most deadheads would agree with.

Emerson perceived that spiritual knowledge could be directly received by Reason through human intuition. In time, the movement became known for a doctrine of self-reliance and individualism, the disregard of external authority, tradition, and logical demonstration, and its optimistic approach to the opportunity of living life to its potential.

Ralph Waldo Emerson (1803-1882) - Guide to Resources  at
Transcendentalism  excepts from essay by RW Emerson

Henry David Thoreau was essentially a philosopher of individualism. He placed nature above materialism in private life and ethics above conformity in politics.  ThoreauDownload clarified his position in his essay “Civil Disobedience” (1849), in which he also discussed passive resistance -- a method of protest that later was adopted by Indian leader Mohandas Gandhi as well as by civil rights activists in the United States. At the age of 44, the “self-appointed inspector of snowstorms” died of tuberculosis. In Walden, his most enduring and popular work, Thoreau explained his motives for living apart from society and devoting himself to a simple lifestyle including the observation of nature. This is the most familiar thinker to deadheads.
Henry David Thoreau by
google search

Emily Dickinson was too independent and reclusive to consider herself part of the transcendental movement.  That Dickinson,Download like the Grateful Dead, never tied herself to a specific school of thought or philosophy was transcendental in itself. Like Henry David Thoreau, she simplified her life so that doing without was a means of being within. For Dickinson, hopeful expectation were always more satisfying than achieving a golden moment. Her writing style is said to be elliptical, like the musical patttern of the celestial spheres we echo.
Google search Emily+Dickinson+transcendentalism

Download Frederick Douglas
Born a slave in 1818, the son of a white father and Harriet Bailey, a slave who also had some Indian blood. In 1838 he escaped to New Bedford, Massachusetts. The publication in 1845 of Narrative of the Life of Frederick Douglass obliged him to leave the country for Britain, which supported his advocacy, including buying his freedom. As a reformer, he was a catalyst for a non-violent struggle for desegregation of schools, housing, employment and the right to vote. He campaigned vigorously on the need for all people to respect each other and themselves, and the need for education as a way to advance one's self and strengthen our society Frederick Douglass National Historic Site

DownloadWalt Whitman
A late bloomer. Inspired by Emerson, he turned to poetry at age 37 afetr a career as a journalist. He was certain that he was the poet that Emerson called for in "The Poet," a characterization that he makes clear in his preface to the 1855 Leaves of Grass.
Whitman & Transcendentalism by American Transcendentalism

"The heart at the center of the universe with every throb hurls the flood of happiness into every artery, vein and veinlet, so that the whole system is inundated with tides of joy. The plenty of the poorest place is too great; the harvest cannot be gathered. Every sound ends in music. The edge of every surface is tinged with prismatic rays."
       -- Ralph Waldo Emerson
Download“Why should not we also enjoy an original relation to the universe?"

Emerson’s life was devoted to showing how one may still attain an original, that is to say, an authentic, relation to the universe, and Geldard’s book aims to focus and distill the famously dispersed Emerson and put his central teachings into the modern reader’s hand.

"But for them who need an atmosphere for wings, who require the impulse of great motives, the lift of up bearing aspirations—for the imaginative, the passionate, the susceptible, who can achieve nothing unless they attempt the impossible—Emerson is the master."
Amos Bronson Alcott, 1799 - 1888 

Emerson’s first book, Essays: First Series (1841), contains some of his most profound statements of transcendentalism: “History,” “Self-Reliance,” “Compensation,” “Spiritual Laws,” “Love,” “Friendship,” “Prudence,” “Heroism,” “The Over-Soul,” “Circles,” “Intellect,” and “Art.”  The second set of Essays: Second Series (1844) contains “The Poet,” “Experience,” “Character,” “Manners,” “Gifts,” “Nature,” “Politics,” "Nominalist and Realist,” and “New England Reformers.” 

"Whatever may be tolerated in monarchical and despotic governments, no republic is safe that tolerates a privileged class, or denies to any of its citizens equal rights and equal means to maintain them."
-- Frederick Douglas

"The American poets are to enclose old and new for America is the race of races. Of them a bard is to be commensurate with a people. To him the other continents arrive as contribution."
-- Walt Whitman








The North Beach Beats & Jack Kerouac  

Jerry considered himself second generation Beat Generation through his friendship with Neal Cassidy, who straddled both the beatniks and the hippies, from the San Francisco Poetry Renaissance to the Koolaid Acid Tests.

The Beatniks
Folk lyrics of the Post-WWII period reflected the irony of the American condition -- the extremes of wealth and poverty in the prosperous, post-World War II age of beloved war hero and president Dwight D. Eisenhower. The so-called "Beat poets" of the '50s, who sprang from the counterculture crowd known as the beatniks, drank coffee as black as their turtlenecks and railed in verse against the one-house-two-kids-and-a-car life that defined the American Dream.

The novels of Jack Kerouac and the poetry of Alan Ginsberg were the core of the Beat Generation, but certain essays of Norman Mailer, notably "The White Negro", were central to its esthetic too. The literary ancestors of the Beats were Henry Miller, Walt Whitman, Mark Twain, Henry David Thoreau, William James and Ralph Waldo Emerson.

The Beats also used sex and drugs to experience extremes of pleasure and distress. But they did not consider their experimentation a game. College educated and compulsively literate, the Beats viewed such conduct as research and expressed their "findings" in their own poetry and fiction. Beat writers like Allen Ginsberg, Lawrence Ferlinghetti, and Michael McClure taunted "straight" Americans, daring them to live as they did. The work of fiction that best defines the Beat generation is writer-wanderer Jack Kerouac's novel On The Road, along with Ginsberg's ranting, sexually charged poem "The Howl."

Jack Kerouac and On the Road
The book traces the physical and spiritual adventures of fast-talking Dean Moriarty as he travels across America. Dean Moriarty is a marauding loner with a last-chance view of life that threatened the way in which Americans during the 1950s viewed the world. Moriarty savors the essence of experience, of living moment to moment and daring anything, despite hunger, solitude, and poverty. All you need, Kerouac says, is the right attitude. And maybe a car.

The Catholic boy who set out to find the divine spirit of a country along Route 66 in his seminal work, "On the Road," will forever be part myth, part man. A stream of his work has been published posthumously over the years and many books and scholarly reviews have been written to try to explain how a lower-middle-class footballer from Lowell, Massachusetts, helped change postwar America. Looked down on by some in the New York literary establishment for his "white trash" leanings, Kerouac never stopped being fascinated with the average Joe, the doughnut maker, the train conductor or the mailman.

For Kerouac, "Beat" was shorthand for "beatitude" and the idea that the downtrodden are saintly. He said the idea should be about art and spirituality, not politics.

His affinity with the working class was also tied to the fact that he never earned much money from his work, Brinkley said. "He was always broke. He lived check-to-check and constantly struggled in poverty, to be a provider for a lower middle class life."

Kerouac at

Jack Kerouac often said his spontaneous prose was modeled on Neal Cassady's letter writing style, and it's easy to make the connection here.

rotten > Library > Biographies > Authors > Beats > Neal Cassady

"Liberated from the restrictive disreputable as it might be, this mystical libidinal anarchism
was as American as Mom and Apple Pie, as old as the myth of the West, as the American transcendentalists of the 19th century, indeed arguably as old as America itself, which, after all, was colonized by European reprobates and remittance men, and led into revolution
against the crown by scandalous Deists and Freethinkers like Paine, Franklin and Jefferson. Early literature in this tradition cultivated the notion of the
the Noble Redman and in a later more urban mode, the Negro, as paragons, and finally the hipster himself as the self-made White Negro, Third World boddhisattvas liberated from uptight white society, from official culture and official reality, spontaneously in tune with the music of the spheres and living the life of the natural man. Whitman sang the song of himself, Miller proclaimed himself Mr. Sexus, Ginsberg howled, and Kerouac took it all on the the road. The literary ultima thule was to make the reading of the poetry or
the prose the existential equivalent of real world satori, the reproduction of the peak mystical experience to be found in sexual ecstasy, zen meditation, psychoactive drugs, the contemplation of certain magic landscapes, the right music, or ideally all of the
above at once."

American Literary Transcendentalism

by NORMAN SPINRAD who suggests science fiction is where the literary tradition of transcendentalism and beats has moved in recent decades

Wild on the Peninsula  
Ken Kesey
Kesey at

With The Electric Kool-Aid Acid Test - in many ways the definitive book on West Coast psychedelia - Tom Wolfe tried to capture the mojo, the groupmind gestalt, shared between the Merry Pranksters, and, by extension, the people who attended the Acid Tests by describing it in terms of sacred geometry. The phenomena was The Unspoken Thing, which occasionally gave way to kairos -- the supreme moment -- a time when temporal time intersected with universal time to bring about -- COSMO! -- a lightning flash of illumination. Zen master satori!

Two books released by Penguin USA celebrate Kesey's writing life: the first publication of Kesey's Jail Journal, which he resuscitated in the years prior to his 2001 death, and Spit in the Spit in the Ocean: All About Kesey, the completion of a literary journal cycle the author began in 1973.

Kesey had great respect for those who had gone before, and lamented their neglect by the modern generation. "High-school kids are not getting Faulkner, they're not getting Hemingway, they're not getting Melville; they're getting me," wrote Kesey. "I'm not a classic; I'm not a wart on a classic's butt yet."

He was also harsh in is assessment of the counterculture he helped to spawn. "We were just floating ... and we couldn't steer the boat. When you're lost in superstition and dope, you're lost. A lot of people were."

Wavy Gravy sums up the collective feeling in "Haiku for Kesey:" They say Kesey's dead --/but never trust a Prankster/even under ground.

Kesey's Jail Journal
by Ken Kesey and Ed McClanahan
Order/More Info

Spit in the Ocan: All About Kesey
by Ed McClanahan and Gus Van Sant
Order/More Info


Haight Ashbury & Psychedelia
Psychedelia : The Long Strange Trip (The Life, Times, & Music Series)
by Martin Huxley (1995 Audio cassette+book)
CD-version out of print
Order/More information
Beneath the Diamond Sky : Haight-Ashbury 1965-1970
by Barney Hoskyns (1997)
Order/More information

Grace Slick Somebody to Love? - A Rock-n-Roll Memoir (1998)
by Grace Slick, Andrea Cagan
Audio cassette
Book, Hardcover


The hippies living in San Francisco's Haight Ashbury District rejected the middle-class lifestyles of their parents in search of primitive societies and a communal spirit - the "Gathering of the Tribes." For spiritual guides and inspiration, they turned to the the beat writers - Allen Ginsberg, Neal Cassady, Ken Kesey and others.

The hippies took the philosopy of the beat poets - freedom from moral restraint (free love), the quest for altered states of consciousness (getting high) and the withdrawal from society (goin' on the road) and turned it into a movement. Timothy Leary summed up the philosophy with the phrase... "Tune in, turn on and drop out."

  Want to Take You Higher : The Psychedelic Era 1965-1969
by Charles Perry (Contributor), Parke Puterbaugh (Editor), James Henke (Editor), Barry Miles (Contributor) (1997)
Order/More information

Terence McKenna is among the foremost thinkers of psychedelic and hippie culture, and best-known for his book Food of the Gods. In Food, he claims that human religion, language and culture are the by-product of our distant primate ancestors gorging themselves on hallucinogenic "magic" mushrooms.

"the widespread use of psychedelic drugs in modern society was somehow rooted to the intuition that exploration and reassimilation of so-called magical dimensions was the next valid step in humanity's collective search for liberation.

... Indeed, in the institution of shamanism we felt that the normal and the paranormal were somehow merged."

Janis Joplin
Big Brother || || Sony's Janis Joplin site

When old Austin friend, Chet Helms, then in San Francisco, called to offer her a singing audition with an up-and-coming local group, Janis was tempted. She found a vital San Francisco community, turned upside down by the flower children of 1966, and was offered the singing position in a relatively obscure group called "Big Brother and the Holding Company." While recording her album "Pearl," she chanced into using heroin again. On October 4, 1970, just hours before she was to record a scorcher called “Buried Alive In The Blues,” she died alone in her room at L.A.’s Landmark Hotel of a heroin overdose at the age of 27. Her third album was released posthumously to wide acclaim, launching the popular songs "Me and Bobby McGee" and "Mercedes Benz."

“Perhaps her most astonishing quality [is] her utter possession of lyrics, as if nobody really wrote them but that they got forced out of her by immediate, emotional pressure,” wrote a Rolling Stone reviewer of Pearl. Her country-soul reading of Kris Kristofferson’s “Me & Bobby McGee” became a Number One hit after her death. Until then, the only other single to hold that distinction was “(Sittin’ On) The Dock of the Bay” by Joplin’s idol, Otis Redding.

3 x 3 x 3: Joplin, Morrison and Hendrix
Janis Joplin, Jimi Hendrix and Jim Morrison all died within one year of each other.

"And then they were dead, like the summer of love. All twenty seven years old
All within a year of each other"

Love, Janis : A Revealing Biography of Janis Joplin
by Laura Joplin (1999)
Order/More information



Scars of Sweet Paradise : The Life and Times of Janis Joplin
by Alice Echols (1999)
Order/More information


Mysticism, Myth & Psycholgogy

"Every once in a while you get shown the light
In the strangest of places if you look at it right."

Nevertheless, there was no way to force the mojo. The supreme moment could be coaxed along by band and audience, but there were never any guarantees:

"We can raise the sail, but we can't make the wind come. 'Raising the sail' is preparing to be moved. Spirit is the wind, the sense of musical well-being, of being together. This is a unanimous process."  -- Mickey Hart
Grateful Dead Family Album, p. 227 Deadisticism: The Magic and Mysticism of the Grateful Dead by Matthew Rick

When asked how he felt about the Jerry is God phenomena, Garcia responded with characteristic humor, "Anybody who thinks I'm God should talk to my kids." Did he mind being the focal point of a religious group? "Well, I'll put up with it until they come for me with the cross and the nails."
From the magazine
Magical Blend cited in Deadisticism: The Magic and Mysticism of the Grateful Dead by Matthew Ric

"[Deadheads] have what I consider to be one of the most positive developments in the history of spirituality: a religion without beliefs." John Barlow, Skeleton Key

Caroline Rago, formerly a core member of the Family of Unlimited Devotion, said that the idea that they believed Jerry was God was a misconception. In the Spinner cosmology, she likened him more to an avatar -- describing a role similar in many respects to the one attributed to Bob Marley by Rastafarians. "He was the cosmic minstrel who provided the channel," she said.  
From Light the Song: A Contemplative Retreat for Deadheads, Northfield Mount Herman
Cited in Deadisticism: The Magic and Mysticism of the Grateful Dead by Matthew Rick

Download The Greening of America
Ground breaking classic republished in 1995, 25 years after its first run in 1970.
"This new consciousness which is essentially the hippie lifestyle is a new extension of man that has grown from a technological and corporate society run amuck and two prior forms of consciousness that failed to properly allow man to run a high-tech world. This first consciousness was what our founding fathers had: a sense of individuality and hard work. With the advent of industrialism this consciousness gave way to the second form. This is the one most of us are familiar with today. It a way of strict conformity to hierarchy a rigid adherence to rules and regulations as well as heavily materialistic and goal-oriented. Reich argues that this way of being was too stilted and crushed individuality and free expression. The result was the third phase of consciousness: the hippie."

The mysteries of the Great Pyramid. 

Joseph Campbell
Campbell on
On November 1, 1986 — the day after the Garcia Band played a Halloween concert, with Kingfish, at Kaiser Convention Center — Garcia took part in an extraordinary all-day symposium/performance at San Francisco's Palace of Fine Arts Theater entitled
 "Ritual and Rapture, from Dionysus to the Grateful Dead,"
which had grown out of the Dead's unusual association with the noted mythologist Joseph Campbell. Campbell, whose PBS series with Bill Moyers, The Power of Myth, made him a national celebrity in 1987, had never seen a rock 'n' roll concert before a friend took him to a Grateful Dead show at Kaiser in February '86. He came away from the experience transformed.
As he noted in a lecture two days after that Dead show:

"This is powerful stuff! And what is it? The first thing I thought of was Dionysian festivals, of course. This energy and these terrific instruments ... This is more than music. It turns on something here [the heart]. And what it turns on is life energy. This is Dionysus talking through these kids. Now I've seen similar manifestations, but nothing as innocent as what I saw with this bunch. This was sheer innocence. And when the great beam of light would go over the crowd, you'd see these marvelous young faces in utter rapture — for five hours! Packed together like sardines! Eight thousand of them! Then there was an opening in the back [of the auditorium] with a series of panel windows, and you look out and there's a whole bunch in another hall, dancing like crazy. This is a wonderful, fervent loss of self in the larger self of homogenous community. This is what it's all about!"

Campbell and the Dead hit it off personally, too, so when the symposium idea was suggested, Garcia and Mickey Hart eagerly agreed to participate. The morning session opened with a lecture by Campbell about the role of the ecstatic experience in rituals, from ancient times to the present. He concluded his talk by discussing his experience at the February Dead show and by noting that Deadheads are doing
"the dance of life" at Dead shows and "this, I would say, is the answer to the atom bomb."

Following a presentation on madness and creativity by Jungian analyst John Perry came the performance part of the program: the premiere of a 90-minute composition by Mickey Hart and Rand Wetherwax called "The African Queen Meets the Holy Ghost."

The final portion of the symposium was a question-and-answer session with Campbell, Garcia, Hart and Perry discussing the issues brought up by the lectures and performance, and whatever else people wanted to know. Not surprisingly there were quite a few questions about Garcia's health and his plans. Garcia was in fine form, unleashing one-liners at every turn, and gladly deferring most of the heavy philosophical questions to Campbell who, despite Garcia's celebrity, was the real star of the event. All in all, though, the day was further proof that Garcia's mental acuity was very much intact.

" I had a marvelous experience two nights ago. I was invited to a rock concert. ( laughter in the audience) I'd never seen one. This was a big hall in Berkeley and the rock group were the Grateful Dead, whose name, by the way, is from the Egyptian Book of the Dead. And these are very sophisticated boys. This was news to me.

Rock Music has never seemed that interesting to me. It's very simple and the beat is the same old thing. But when you see a room with 8000 young people for five hours going through it to the beat of these boys ... The genius of these musicians- these three guitars and two wild drummers in the back... The central guitar, Bob Weir, just controls this crowd and when you see 8000 kids all going up in the air together... Listen, this is powerful stuff ! And what is it? The first thing I thought of was the Dionysian festivals, of course. This energy and these terrific instruments with electric things that zoom in... This is more than music. It turns something on in here (the heart?). And what it turns on is life energy. This is Dionysus talking through these kids. Now I've seen similar manifestations, but nothing as innocent as what I saw with this bunch. This was sheer innocence. And when the great beam of light would go over the crowd you' d see these marvelous young faces in sheer rapture- for five hours ! Packed together like sardines! Eight thousand of them ! Then there was an opening in the back with a series of panel windows and you look out and there's a whole bunch in another hall, dancing crazy. This is a wonderful fervent loss of self in the larger self of a homogeneous community. This is what it is all about !

It reminded me of Russian Easter. Down in New York we have a big Russian Cathedral. You go there on Russian Easter at midnight and you hear Kristos anesti ! Christ is Risen ! Christ is Risen ! It's almost as good as a rock concert. (laughter) It has the same kind of life feel. When I was in Mexico City at the Cathedral of the Virgin of Guadeloupe, there it was again. In India, in Puri, at the temple of the Jagannath- that means the lord of the Moving World- the same damn thing again. It doesn't matter what the name of the God is, or whether its a rock group or a clergy. It's somehow hitting that chord of realization of the unity of God in you all, that's a terrific thing and it just blows the rest away."

Carl Jung and Simund Freud || on
While Freud saw myth and religion as childish illusions to be outgrown, it was Jung's belief that humanity, in all times and cultures, had engaged in the spiritual quest to be at one with the Divine Self.

As for astrology, Jung believed that archetypal reality interacts with our daily lives through synchronicity. Synchronicity is the process which unites two factors, archetypal forces and external events. The unconscious is the agent of this union of archetypal and material reality.

Through his research, Jung came to believe that the unconscious was receptive and intuitive. He also believed that disturbances of a psychological nature had a purpose and that these disturbances actually could reveal the way to heal the trauma.

The collective unconscious is the realm of the archetypes. The word archetype is a combination of the greek words meaning "original imprint". The archetypes are patterns of consciousness, universal principles which are the central focus around which gather emotionally charged ideas, memories, dreams, feelings, and experiences. They act as a blueprint for human experience, and influence our spiritual and psychological evolution. It is through the workings of the archetypes that spiritual transformation is brought about.