I know, I know. May was the month for the round table. But I guess I’m just not willing to live by your rules, old man! Stop oppressing me with your deadlines. I’m a child of the revolution and I’ve got hate in my eyes. Ask for me tomorrow and I’ll be gone, ’cause I got a one way ticket to oblivion, and I’m gonna raise hell getting there!

Also, I eviewed an Indian movie about how much hippies suck:

So when I discovered that Hare Rama Hare Krishna was less about the Krishnas themselves and more about the hippies who fluttered around the periphery of the religion, I wasn’t wholly surprised. It’s just that, for this round table, I really didn’t want to write about hippies. They’re the most obvious topic for a counter-culture round table. I’m not and have never been a hippie. I have very little I could add to the popular discourse on their counter-culture, what it was, and what it has become. I might have, at one time, found some satisfaction in making fun of hippies, but for reasons that may or may not be more clearly expressed later in this review, the fight has gone out of me in that regard.

Luckily, Hare Rama Hare Krishna affords me an opportunity to freshen things up a bit by looking at a movie that looks at the hippie movement through the lens of a culture hippies were fond of co-opting, lending a slightly different angle on the typical American approach to hippie films. Unluckily, the movie often adopts an air of smug, paternal condescension, alarmism, and xenophobia that ends up making me do something I don’t normally do: side with the hippies.