Encounters and Transitions / Luminaries
Luminaries
I was named after the great Paul Robeson. His dazzling accomplishments—singer, actor, writer, polylinguist, All-American athlete, world citizen, justice crusader—were enough to fill a jaded adult with awe. For an eponymous naïf like me, the man was godlike. Until I was nine, Robeson was a mythical presence in my imagination, rather like Superman. That’s when he came to town to give a concert in a small venue in the San Fernando Valley.
Arriving early, I sat near the front flanked by my parents as the place filled and tension built. Looking up, way up—he really was bigger than life!—I saw my superhero walk to the mic and scan the audience (did he look at me?). Robeson nodded to his accompanist Lawrence Brown at the piano, and the magic began. His rich bass-baritone carried us to faraway times and places with spellbinding ballads, spirituals, lullabies, and blues. They were all good, but what got me were the thunderous songs about workers, slaves, and anti-fascists fighting the good fight. When he belted those out, my whole body resonated in sympathetic vibration. I was flooded with emotions I hadn’t known existed, which I would experience again in those rare moments when I felt part of a collective purpose larger than myself.
That night, Robeson’s encore was “Ol’ Man River,” a song from the musical Showboat that he had recorded and popularized in the 1930s. In the final verse of the original lyric, the character Joe is submissive and frightened: “I’m tired of livin’ and scared of dyin’.” Robeson changed the line to a proclamation of fearless defiance: “I must keep fightin’ until I’m dyin’.” So that’s what it would take to live up to my name!
Many years later, I wrote the song “Heroes,” inspired by that evening so long ago. The first verse channels my nine-year-old self:
A proud black man, upon the stage he loomed.
He sang us ‘round the world, his deep voice filled the room.
And bathing us in his dignity and grace
He sang for his people and the whole human race.
Of course, the courageous integrity and unbending idealism that made Robeson a hero to families like mine made him a dangerous anti-hero to the redbaiters of the day. His steadfast advocacy of rights and socialism was anathema to the hidebound bigots who persecuted him. The song continues:
The witch hunt jackals tried to silence his song
But his “old man river” just kept rolling along.
Louder than the hatred and lyin’
He sang: “I must keep fighting until I’m dying”
In the summer of 1952, my family drove to a stadium in Culver City to attend a big rally for Vincent Hallinan and Charlotta Bass, presidential and vice-presidential candidates of the Independent Progressive Party (IPP). After a few fiery speeches, Paul Robeson walked on the stage greeted by a cacophonous standing ovation. He sang a few songs (again that tingly feeling), closing with the inspiring “We Shall Not Be Moved.” The tune lingered in my ears as we dispersed into the night for the long ride home.
Not long after we arrived, the phone rang. My mother answered, and the voice on the other end told her to turn on the radio and then register a protest. The radio reporter, who had come directly from the IPP rally, was describing the crowd as a bunch of glassy-eyed zombies (my mom and dad!). The worst were the irresponsible parents who had the gall to bring their children, exposing them to anti-Americans like Paul Robeson. My indelible introduction to misinformation.
To a large degree, the reactionaries prevailed. As the radical impulse that gave rise to past heroes waned, icons like Robeson became scarce:
There was Eugene Debs, Mother Jones, and old Big Bill
Elizabeth Gurly Flynn and the martyr Joe Hill
Florence Reece in Kentucky asked “which side are you on?”
Martin Luther King dreamed that we could live as one.
There was Ghandi and Che, Rosa and Ho
All the keepers of the vision of a world made whole
You can take all the glitter from today’s celebrities
They wouldn’t hold a candle next to beacons like these.
As the chorus suggests, heroes didn’t fall from the sky; they were conjured by collective struggles and hopes:
Where are the heroes?
Of yesterday
On our dreams they rose
Now the heroes have gone away.
Still, the wheel of history remains in spin, and we may not have seen the last of the heroes:
Where are the heroes?
Of today
When we dream as we did long ago
New heroes will find their way.
Passing my teenage years sequestered in Outer Vulgaria, aka suburban Los Angeles, I counted the days until I could make my escape to the sanctuary city of Berkeley. I served my time finding solace where I could, not least from a lanky banjo picker who brightened dreary days with music, stories, and a soaring spirit. Pete was a magician able to alchemize concert halls into communities of solidarity, determination, and joy. I came away from every concert and every new album resolved to sing, pick, care, and protest more. I wore out his records, devoured his writing, and cheered his courageous defiance of the red-baiters. Pete was my inspiration and model.
I spent a whole summer cloistered in our garage making a banjo neck just like his (and him), long and true. Then off I went to college, and miracle of miracles, I met Pete face-to-face and even played music with him! On a Saturday in May 1961, I awoke with nothing planned until evening, when I would drive across the Bay Bridge to Union Hall in San Francisco, where my high school savior was giving a concert. Out of the blue, I got an excited call from a usually phlegmatic friend: “Get your ass over to the First Unitarian Church on Bancroft Way. Pete’s there meeting with student folkies!” Incredible. I grabbed my banjo—the one with the homemade neck—and sprinted to the church, a rustic architectural gem, to witness the closest facsimile I’ll ever know of a divine visitation.
For the next three hours, Pete talked, picked, and sang for (and with) a handful of us supplicants. He took us on a wondrous, song-filled journey through American history, his own eventful life, and the singular comrades who influenced him, like Woody Guthrie, Leadbelly, and many others. His recurrent theme was the “power of song”—the link between folk music and social justice, a particularly poignant connection as Pete was then facing long prison time for taking the First Amendment (free speech) in refusing to cooperate with HUAC (not the safer Fifth protecting against self-incrimination). I floated away that afternoon with psychic doors pried opened and soul nudged in new directions—PTSD in reverse.
This story has an improbable sequel that I cherish to this day. In the spring of 1975, I was chairing an interdisciplinary college at SUNY Albany, where I offered a course on folk songs as a key to the history of ordinary people (wonder where I got that idea). Lo and behold, it came to my attention that Pete was coming to Albany to give a concert. Without hesitation, I sat down and composed a letter to him describing that session at the Berkeley Unitarian Church back in ‘61 and how meaningful the experience had been to an undergraduate like me. I also included the syllabus for the course I was teaching that was inspired by that day long ago. “Pete,” I wrote, “I’d be so grateful if my students could have the experience I once did.” A few days later, his wife Toshi called to say, “Pete was very moved by your note and would love to do it.”
So, on a Saturday afternoon in May 1975, before his evening concert, Pete spent several hours taking a roomful of my students on that wondrous journey (I have it all on cassette). Joining us were my Seeger-admiring parents, who happened to be visiting from LA (my dad shot the photo), and my wife Pamela and 5-year-old daughter Jenny. I like to think that more than one spellbound youngster was propelled that day, as I had been years before, toward lives of hope and engagement.
Just before it was time to go, I asked Pete: “When you were blacklisted in the 1950s, you were at the height of your fame following those hit records by your group, The Weavers. What if back then you had been given 10 minutes of prime time on network TV? What would you have sung?” With a faraway look in his eyes, he paused, then picked up his 12-string guitar and sang “The Internationale” in the original French.
When the Beats, pens blazing, rode into the cultural desert of the Fifties, alienated suburban teenagers like me took note. If a hip outlaw like Jack Kerouac could hit the open road, leaving the square mainstream in the dust, well, why not? If Allen Ginsberg could see “the best minds of my generation destroyed by madness…dragging themselves through the negro streets at dawn looking for an angry fix,” maybe there was more to life than my crowd dragging ourselves to the mall for another burger. Reading Ginsberg’s “Howl” in high school, little did I know that before long I would spend time with the ur-Beatnik on two memorable occasions.
The Prophet of Peace
My first Ginsberg encounter occurred at a 1967 demonstration in New York City against the Vietnam War. The theme of the demo was “The War is Over,” inspired by a line in his “Wichita Vortex Sutra” that proclaimed, “I here declare the end of the War!” and called on “all Powers of imagination…to make Prophecy.” Protest singer Phil Ochs, taken by the notion of ending the war simply by declaring it over, organized the event and wrote a song—”The War is Over”—to publicize it (later released on his Tape from California album).
On a brisk November afternoon, we gathered in Washington Square Park to celebrate, with tongue firmly in cheek, the end of the war. Then we streamed uptown toward Times Square, Ochs in the lead pounding his guitar and singing his new song in an endless loop. Directly behind marched Allen Ginsberg alongside yours truly and several hundred joyous revelers sharing the news of peace with the masses of perplexed pedestrians along the route.
As we reached Herald Square, Ginsberg looked up at Macy’s department store looming on our left, festooned with holiday lights. Suddenly, he broke ranks, heading for the main entrance with me and a few others in tow. He flung open the big doors, cupped his hands to his mouth, and in his booming bass voice shouted, “Hey folks!” Across the main floor and down from the mezzanine, the eyes of a thousand startled Christmas shoppers turned our way. As the place grew still, the bearded prophet (or a renegade Store Santa?) bellowed ecstatically, “The war is over!” We cheered and exited the store singing Ochs’s chorus—I declare the war is over—leaving the assembled throngs with something to ponder, or at least a funny-thing-happened-at-Macy’s anecdote.
The Shape Changer
Now, flash forward to 1969. Pamela and I were living on the Upper West Side with our pet Puli, awaiting the imminent birth of Jenny. When I wasn’t teaching physics at City College, you might find me cruising the crowded streets in our Buick sedan, looking for a parking place able to accommodate a vehicle about the size of our living room. The car was a hand-me-down from my father, who every two years bought a new chrome-laden Buick, an indulgence he practiced even during my family’s frugal Communist Party years. But parking the thing had become so burdensome I was secretly relieved when one morning I found a gaping space on Riverside Drive where I had parked the night before. (“By now, it’s in a chop shop in Brooklyn,” the officer said when I reported the theft.)
Still, without those big wheels, my second encounter with Allen Ginsberg would not have happened. An old friend, Allen Tobias, who had served as Ginsberg’s secretary, called one day in November to ask if I could chauffeur the poet to SUNY-Stony Brook on Long Island, where he would be giving a concert. On the appointed Saturday, I drove down to the Lower East Side, picked up Tobias, and headed over a few blocks to Ginsberg’s place. We found him waiting at the curb with his partner, the poet Peter Orlovsky, warily eyeing the big bourgeois car pulling up to fetch him.
Orlovsky settled in for the long ride next to a fidgety Ginsberg. No doubt, Ginsberg’s public persona—cool Beat Buddhist—was authentic, but another facet of his personality—neurotic Jew from New Jersey—was stirring behind me. Such shpilkes! A two-hour monologue of kvetching and backseat driving began with an interrogation: How long had I been driving? When was the last time I used drugs? Do we need gas? Once on the road, he growled directions like a haywire GPS from the future continually recalibrating.
At long last, we arrived at the campus venue. Ginsberg and the others hurried off to the dressing room as I parked the Buick, then found a seat in the theater. The curtain opened to reveal a marvel of metamorphosis. The nervous chaleria had vanished in a puff of incense, and there stood the other Ginsberg resplendent in a lavender robe. As he rang his bell and chanted his dharma blues, the young audience around me gazed rapturously at the enlightened being before them.
One of the best minds of his generation, rather than destroyed by madness, had become an inspiration to a rising generation—and a consummate entertainer. After the show, the critic Alfred Kazin hosted a reception. Ginsberg charmed the assembled academics, while he admonished me in no uncertain terms to shun the booze. It would be a long ride home.
I am deeply indebted to Paul Feyerabend for wrecking my physics career. The demolition occurred during the spring semester of 1964 on a Berkeley campus crackling with political and cultural ferment. There at the epicenter of the churning Sixties, all things establishment—capitalism, the megaversity, Jim Crow, parental mores—seemed to be crumbling at their rotting foundations. At least physics, the bedrock of the edifice of knowledge, would stand firm against the winds of change.
Or so I thought until the philosopher-provocateur opened my eyes and torqued my lifeline. At the time of my Feyerabend encounter, I was in the final term of my senior year, an ardent activist and devoted student as likely to be found in the stacks as the street. Indeed, I harbored the ambition of decamping to graduate school in the fall and then moving on to a life in theoretical physics at some ivied sanctum.
But first I had to complete my undergraduate studies with a double major in physics and philosophy. To a callow young man in search of truth, this simultaneous dive into the respective mysteries of material and ideational spheres seemed the right path (and so cool!). But my understanding of the division of epistemological labor—physics would ground objective reality, and philosophy would illuminate the subjective realm—was proving to be simplistic, even inverted.
In philosophy, I could not get enough of another Berkeley professor, the enthralling John Searle, who persuasively made the case for “naïve realism.” With relentless logic, he argued that a knowable world existed independent of what we humans think or say about it. Alternative schools of thought fell by the wayside under assault from his lacerating wit. Like all aspiring scientists, I was a naïve realist without knowing it. The existence of an objective, fathomable world was self-evident. Who knew it needed a name?
Astonishingly, the splendid defense of realism emanating from the philosophy department was subverted in, of all places, the physics department. The professors there preached with Searle-like certitude an antithetical ontology—or more precisely, no ontology at all. According to the canonical “Copenhagen interpretation” of quantum mechanics, conjectures about a mind-independent world were utterly meaningless. Modern physics consigned realism, naïve or otherwise, to the dustbin of intellectual history (although apparently the memo had not reached the philosophy department).
In the quantum world, human consciousness was inextricably entangled in observations. The act of observing a phenomenon collapses an admixture of its pre-observational potentialities to a single ping on a measuring instrument. This is the notorious “collapse of the wave function” famously illustrated by Schrödinger’s cat that is both dead and alive until we look and render the poor thing one or the other.
If according to quantum orthodoxy, speculation about a real world was metaphysical claptrap, what were philosophically inclined physicists to do? Some were drawn to positivism; others, taking the primacy of consciousness (aka “the soul”) literally, turned to shades of idealism. But almost all practicing scientists just hunkered down, applying the powerful quantum machinery in studied obliviousness to inconsistencies and paradoxes riddling the theory’s creaky foundations. Indeed, indoctrinating acolytes into unquestioning adherence to the Church of Copenhagen was (and is) central to the professionalization process. The message has been aptly captured by the dictum “shut-up-and-calculate.”
My own shut-up-and-calculate moment had come in my first quantum electrodynamics class. The eminent professor was describing the strange properties of electron spin. At the chalkboard, he drew a magnetic field pointing along the z-axis and a beam of incoming electrons along the x-axis. According to quantum theory, the incoming electron spin is in an indeterminate state until it reaches the magnetic field and is observed. Then, the spin instantaneously jumps into a specific state, randomly pointing either up or down with nothing in between. The role of physics is reduced to accounting for measurements (the probabilities of spin up or spin down), which abandons hope of understanding reality-in-itself (the condition of the incoming electron).
We students were expected to make peace with the microscopic weirdness that reduced physics to predicting outcomes. I could almost buy it, but prodded by a Searlean homunculus stirring within me, I raised a tremulous hand. “How should we picture the electron,” I asked, “when we turn off the magnetic field and the electron has no preferred direction for aligning its spin?” The professor walked portentously toward me and sneered, “That’s a naïve question,” and proceeded to recite the gospel according to Copenhagen. The experience left me chastened, embarrassed, and confused—but unconvinced.
At that time, graduating physics majors were expected to write a “senior thesis” under the supervision of a physics professor. Normally, these exercises focused on some standard topic, but I was not ready to shut up or calculate. So, in seeking a supervisor, I was drawn to the epistemological radical Paul Feyerabend, a renowned philosopher of science with the bona fides of a background in physics. Feyerabend was a mythic figure on campus. Rumors swirled of his colorful and paradoxical background: he was Karl Popper’s protégé, heir apparent, and then chief heretic; he was a friend of the student movement who was once a Nazi with a war wound that left him hobbling and impotent (yet an inveterate womanizer); he was an opera singer, a bon vivant, and thrower of philosophical bombs. (Years later, his memoir, Killing Time, revealed these rumors to be essentially true.)
Feyerabend agreed to meet with me to explore possibilities for my senior thesis, exuding informal warmth from the get-go that dissolved my initial intimidation. His playful intelligence, iconoclastic insights, and meandering anecdotes mesmerized me. At the same time, he elicited my story with empathetic attentiveness, signaling that this would be a collaborative journey through epistemological mists to the shaky foundations of modern physics. Regarding the standard interpretation of quantum mechanics, his bemused incredulity was comforting and infectious. I could almost feel the gravitational pull of mainstream physics loosening.
The first session ended on just the right note. After hearing about my withering shut-up-and-calculate episode, he said, head shaking and eyes twinkling, “You are in excellent company.” Schrödinger himself, along with other founders—Einstein, no less—had the same “naïve question.” Einstein and the others had acknowledged quantum theory’s astonishing success as a computational recipe accounting for experimental results. Still, they believed the standard interpretation to be inconsistent, incoherent, and incomplete. Not least, the “collapse of the wave function” is an exogenous rule tacked on to the framework, not part of the theory itself, and the source of the standard interpretation’s nagging “measurement problem” in which consciousness assumes an inextricable role in all phenomena. Deep enigmas and paradoxes ensue, embodied by that strange cat of Schrödinger.
In the months to come, Feyerabend guided my research on the never resolved early debates about the meaning of the Schrödinger equation, on von Neumann’s fallacious “proof” of the impossibility of alternative “hidden variable” theories, and on Bohm’s discovery of just such a theory in the 1950s. Bohm’s contribution, which replicated all the successes of quantum theory, could have opened a new front for theoretical elaboration and experimental design. But with Copenhagen hegemonic in “normal” physics, it gained little traction. Naturally, Feyerabend’s epistemological anarchism drew him to Bohmian physics—what richness might lie along all the paths not taken?
I treasured my weekly discussions with Feyerabend as my thesis on all these heady questions took shape, was submitted, and accepted by my dubious physics advisor. The last time I saw Feyerabend, I was engaged in a heated discussion with a fellow student about Feyerabend’s “epistemological anarchism.” As we walked under Sather Gate, my friend bellowed, “Feyerabend is full of it!” (in more colorful language). Just at that moment, the man himself appeared before us, paused, looked at me with a satisfied smile, and hobbled on his merry way.
I went on to Columbia University, where I shut-up-and-calculated my way to a doctorate in theoretical physics. In parallel, I discreetly worked on alternative versions of quantum mechanics, eventually publishing a testable version of hidden variable theory (“the stochastic electron”), which I continue to refine. The theory yields Schrödinger’s Equation through a minimal tweak of classical physics, all within a realist picture that, contra my condescending old professor, describes the electron when no one is looking. Soon after, leaving “normal physics” behind, I began offering courses in the history and philosophy of science, and became chair of an interdisciplinary undergraduate program.
I occasionally corresponded with the ever supportive and provocative Feyerabend until 1976, when I left academia to found the Tellus Institute. That burgeoning organization went on to conduct thousands of projects around the world, all in the service of a just and ecological social transition, and continues to develop the scientific and political bases for a “great transition.” For this, I remain grateful to the radical spirit who long ago sabotaged normalcy and inspired reinvention.
The King’s Forbearance
The 2002 publication of Great Transition: The Promise and Lure of the Times Ahead made a bit of an international splash. Invitations to present the essay’s perspective on the global problématique began arriving and never stopped. The most notable of my lectures was the very first one. The Swedish Government was to host a major international conference, “Stockholm Thirty Years On,” on the occasion of the thirtieth anniversary of the seminal 1972 UN Conference on the Human Environment.
I had the honor of delivering the keynote address at the opening session to be held at the majestic Old Parliament Building in Stockholm. I was given precisely twenty minutes for my presentation, which would begin at 11:40 am sharp. At the strike of noon, King Carl XVI Gustaf would rise from his front row seat, turn, and leave the building. So I honed my talk to exactly twenty minutes, created an animated PowerPoint show to move things along, bought a laptop, and headed to Stockholm.
As I stood at the podium, a technician connected my new computer to a huge overhead screen. At exactly 11:40 am, it displayed the horrifying message: “Did you forget your password?” The king and assembled dignitaries roared with laughter. After a few panicky moments and false starts, I was able to fire up the presentation, but precious minutes were lost. It was 12:05 pm before I reached my final slide: Which world do we want? Fortunately, the King kindly waited me out and then rose to applaud, before ceremoniously walking down the central aisle as all rose. Phew!
My Nobel
My youthful dream was to win a Nobel Prize in theoretical physics, but I’m starting to wonder if it’s going to happen. I may have to make do with my small piece of a Nobel Peace Prize awarded for my work as a lead author for the Intergovernmental Panel on Climate Change (IPCC). The IPCC is an international body of scientists charged with periodically updating decision-makers on what’s known about climate change: the anthropogenic transformation of the climate system, the impacts on people and ecologies, and, my area, greenhouse gas emissions and mitigation options.
In 2007, the IPCC and Al Gore shared the Nobel Peace Prize “for their efforts to build up and disseminate greater knowledge about man-made climate change, and to lay the foundations for the measures that are needed to counteract such change.” Along with hundreds of IPCC colleagues, I was named an individual recipient. I’m not the laureate I had in mind, but the award adorns my study wall nicely, a reminder of the important collective work that won us the prize.
Number One Quark
Murray Gell-Mann earned his Nobel Prize in theoretical physics fair and square. Although he was best known for his pathbreaking discovery of quarks, several other of his contributions to elementary particle theory would have warranted the prize. Back when I was an aspiring physicist, Gell-Mann was already a superstar. I heard him lecture only once, when I was a graduate student at Columbia University. His performance lived up to his reputation for brilliance and erudition, but also for pomposity and arrogance. He oozed “I’m the smartest guy in the room.”
Thirty years later, I got to work with him in a very different context. In the mid-1990s, Tellus Institute and the Santa Fe Institute (which Gell-Mann cofounded) collaborated with World Resources Institute on a major undertaking called The 2050 Project. The project, mismanaged by WRI, fell well short of its grandiose ambition to create a virtual spaceship that users could steer into the future. But the lasting compensation for me was establishing a personal relationship with the renowned Murray Gell-Mann.
As a conversationalist, Murray was a sizzling force field of ideas, anxiously displaying his copious intellect, acuity, and wit. To be fair, he listened keenly when he had something to learn from me, such as how to think holistically about the global future, the theme of our collaboration. But Murray the Arrogant always lurked. When I asked him to inscribe my copy of his The Quark and the Jaguar, he eagerly signed it “the top quark.” Lest there be any doubt.
The Mother of Improv
Viola Spolin is a household name in households where aficionados of theatrical and comedic arts reside. Known as the Mother of Improvisational Theater, Viola developed a highly influential set of techniques and exercises, called Theater Games, designed to unleash a student’s capacity for spontaneous creativity and self-expression. Codified in her Improvisation for the Theater, the approach had a far-reaching influence on the doing and teaching of comedy and acting. Without Viola, no Second City in Chicago, no Committee in San Francisco, no Mike Nichols, Elaine May, and Shelly Berman, and no SNL.
Countless of her students went on to illustrious careers in theater, comedy, and film. Then there was me. For several summers, I was a young attendee of The Young Actors Company, an acting school and repertory theater she founded in 1948. Nestled in the Hollywood Hills, the place was in equal measures intoxicating—the grease paint, flamboyant personalities, high drama—and intimidating. In my first class, glamorous Viola swept into the room, exhorting us to “be a tree”; I became the Petrified Forest.
My older sister blossomed as a summer repertory star, while I was given a role banging a large gong with a mallet in a production of The Emperor Has No Clothes. Although not my brightest moment, I’m grateful for my time in Viola’s world for two reasons. First, my exposure to the theatrical arts reinforced my interest in the theoretical arts. Second, when many years later I served as an expert witness in regulatory hearings, I played the courtroom drama as an improv exercise. Having learned from the best, I played it well.