Bart Rathbone is at it again. He has the whole town whipped up in a frenzy over a ‘Remember the Sixties’ movement. Everyone is walking down the street in sandals, bell-bottomed jeans, paisley shirts, Nehru jackets, turtlenecks, and psychedelic headbands. Connie thinks it's interesting. Whit thinks it looks as silly now as it did in the ‘60s.
Bart tries to get Whit to join in the fun, but Whit flatly refuses. Connie, however, wants to know more. She goes to the library and checks out a volume of poetry and essays about the ‘60s written by a man named Josh Guthrie. Connie is very taken with Guthrie’s musings about peace, love, and freedom. She searches him out.
Connie finds him directing the New Start House under an assumed name. Asking Guthrie about his beautiful writing, Connie finds out that he has completely disassociated himself from the ‘60s. That turbulent decade left him and thousands like him as strung-out “junkies.” They wanted freedom without responsibility. Guthrie tells Connie that they ended up with a drug epidemic, AIDS, and self-absorbed people. While everyone else is grooving to the tunes, he wants Connie to remember both sides of the story. Connie promises that she will. She tells Whit that she wants to introduce Josh to the true source of peace, freedom, and love: Jesus Christ.
- This plot section is too short and should be expanded. »
- Why didn’t Josh Guthrie want Connie to know who he was?
- Why do some people take drugs? What would you do if a friend was trying drugs?
- Is it wrong to chase after peace, freedom, and love?
- Why or why not?
- What does Jesus say about doing that?
|Bart Rathbone||Walker Edmiston|
|Connie Kendall||Katie Leigh|
|Hotel Manager||Will Ryan|
|Hotel worker||Bob Luttrell|
|Jim Reeves||Bill Maier|
|John Whittaker||Hal Smith|
- Several references are made to the Beatles in this episode. Bart Rathbone describes the sixties thusly: "...they played that Sergeant Packard's Lovely Hats Club Band" (a reference to Sergeant Pepper's Lonely Hearts Club Band, which was an album of the Beatles). When leaving Whit's End, Bart's parting words include "Twist and Shout," a well-known Beatles song.
- Bart also says that "everybody tuned in and dropped out" in the sixties, a reference to the counterculture phrase "Turn on, tune in, drop out," which was part of a speech (and the title of a spoken word album) by Timothy Leary that advocated for drug experimentation.
Chris Anthony: Would you look at that guy's hair? It looks like his head exploded!
Connie Kendall: It's just a parade.
John Whittaker: A parade that is all a part of Bart Rathbone's scheme to make money. What's he calling his shop this week? Rathbone's Electric Castle and Rock and Roll instruments of destruction?
Connie Kendall: Yeah.
Bart Rathbone: Great get-up, huh? Aw, they don’t make ‘em like this anymore.
John Whittaker: Small wonder.
Bart Rathbone: Imagine finding a pair of old bell-bottoms, paisley shirt, turtleneck, and a chic-a-dill-ick headband all in the same place!
John Whittaker: The dump?
Jim Reeves: I spent five years so strung out on drugs I didn't know which end was up.
Connie Kendall: Really?
Jim Reeves: Sure. That's one of the things everybody talked about in the sixties. "Get high, expand your mind!" But nobody said it would ruin my life.
Jim Reeves: The leaders, the music—everybody wanted to "turn on". Free drugs, free love, free everything! They...we invited the world to join along. But nothing's free, Connie. Nobody said anything about the cost.
Connie Kendall: Okay, so I'm getting the idea. The sixties weren't so good.
Jim Reeves: Not so good? Connie, not only weren't they good, they were dangerous. Yeah, some parts of it were alright, but the upheaval of the sixties has everything to do with the problems we're dealing with now. You see Michael over there?
Connie Kendall: You mean that guy in the corner?
Jim Reeves: He's your age, Connie—your age! And he's battling cocaine addiction. He didn't have anything to do with the sixties; he wasn't born then. So why the addiction? Because we said, "If it feels good, do it!" in the sixties and the seventies and the eighties. Your generation and the generation to come is suffering the effects of that!
Jim Reeves: My ideas? They were wrong, okay? They sounded good—made for nice poetry. But they didn't work. Not in this world, not with the people the way they are. We failed, Connie. We didn't help the world. We didn't change anything! In fact, we made it worse. We wanted freedom without responsibility, and now the consequences are two decades of a drug epidemic, abortion, AIDS, and people who think only about themselves!
Connie Kendall: But how can you blame the sixties—an entire decade—for our problems?
Jim Reeves: I don't blame the sixties. I blame myself.
Connie Kendall: What?
Jim Reeves: Because this thing we call the sixties was made up of people like me who got everything wrong. And I guess running this clinic is the only way I know to say I'm sorry.
Bart Rathbone: Oh, yeah? Yeah?! Well, I never liked your music, anyway! You guys ever hear of Lawrence Welk? He could run circles around you guys... without destroying a hotel! Ugh...so much for the sixties.
Bart Rathbone: Uh... what are all these numbers here? The number for the police station?
Hotel Manager: No. The bill for the damage. The decimal point is on the far right.
Bart Rathbone: Oh, no...!
Hotel Manager: We take cash or credit card.