Pandit Rajan Mishra: A ‘Sahaj’ From the Banaras Gharana

Over a career spanning more than five decades, Rajan and Sajan Mishra crafted a unique form of sahgayan, something which went beyond jugalbandi that truly represented a confluence.

Born on Hanuman Jayanti in 1951 into a family of musicians from Varanasi, Pandit Rajan Mishra inherited the rich tradition of the Banaras gharana of Hindustani music. Along with his younger brother Pandit Sajan Mishra, he debuted on the stage in 1967 at Sankatmochan Mandir. Over a career spanning more than five decades, they crafted a unique form of sahgayan, something which went beyond jugalbandi in the sense that it truly represented a confluence rather than just duet singing.

Rajan Mishra was initiated into ta’lim by his grandfather’s brother, Gayanacharya Bade Ramdas Mishra and was subsequently under the rigorous tutelage of his father Pandit Hanuman Prasad Mishra and uncle Pandit Gopal Mishra. With a tremendous resolve for riyaz combined with reflection, he was able to mould his voice into a rich and sonorous whole, capable of conveying command on his art along with an aesthetic sensibility reflective of bhava, that ever so fleeting notion in Indian art forms.

According to his own admission, “One of the best things about their teaching was that it helped broaden our perspective about music right from our childhood. They told us that we ought to listen to Ustads from different gharanas, and try to learn good things from them.”

Eminent music critic S. Kalidas reminisces, “I first met Rajan bhai in 1972 at Siddheshwari Deviji’s house and heard him and Sajan bhai on stage a little later. Rajan bhai was a formidable musician and had a wide repertoire. Over the decades, he imbibed elements from Ustad Bade Ghulam Ali Khan, Ustad Amir Khan and Pandit Bhimsen Joshi as well. In a way, one can say that the uniqueness of his repertoire was the uniqueness of Banaras itself in the sense that the city was a melting pot of influences and the sources of knowledge were also multifarious.”

Representatives of the sixth generation of musicians within a family that has been serving Hindustani music for over 300 years, Rajan Mishra and Sajan Mishra benefitted tremendously from the presence of stalwart musicians in Varanasi as well as through witnessing performances of and interacting with legendary Ustads who would visit the city to regale discerning audiences. The intense self-reflection and meditative approach that goes hand-in-hand with Khayal singing was indeed a part of Rajan Mishra who was a treasure-trove on ragas and compositions reflecting the entire gamut of the rasa theory of Indian music.

The beautiful relationship between the brothers always came across on stage as well as in interviews, personal interactions and light moments. Rajan Mishra said that “it is this affection which gets reflected in our singing…”, while expressing warmth towards his younger brother who, by his own admission, moved behind him as his elder brother’s shadow, complementing his thought process and adding an evocative echo, as well as a seamless expression of a synchronised thought process.

Spirituality occupied an important place in the life of Rajan Mishra, not merely by virtue of the fact that he was born and raised in the city of Lord Vishwanath. It was the Namdhari Satguru Jagjit Singh Maharaj who guided him to adopt music full-time and offered patronage during the nascent stages of the career of Mishra Bandhu. Their lifelong bond is on display in one of the finest renditions of Raga Chhayanat, followed by the rare Raga Kusum Kedar in the presence of Aftab-e-Sitar Ustad Vilayat Khan in this recording from 1999 at Sri Bhaini Sahib.

At the same time, it is noteworthy that Rajan Mishra studied Osho with rapt engagement and often meditated on aspects of his teachings. During an audience, Osho asked Rajan Mishra what he thinks is the counterpoint to “swara” (musical note) and it became a lifelong quest for reflection when he received the answer as being “silence”. This makes so much more sense to this author as he reminisces their concerts he attended since the late 1990s and used to get struck by the pauses between a seamless thought process flowing from Rajan Mishra to Sajan Mishra and vice versa.

Rajan Mishra had a charming personality and was renowned for his sense of humour. Along with his younger brother, he would have people in splits narrating instances from their childhood, Varanasi, and their shared passion for wrestling, cricket and films. Perhaps it was this joviality in Rajan Mishra’s nature that kept the tradition of joint family alive from his father’s and uncle’s generation to his own and to his sons and their children who continue to share the same roof and eat food cooked in the same kitchen. The brothers realised a lifelong dream with the establishment of “Viram – The Gurukul” outside of Dehradun and it is noteworthy that their home in Delhi’s Ramesh Nagar is named “Swarangan”. Two bodies, one soul – with the departure of one’s body, one just hopes that the merged soul continues to sing through the body of Sajan Mishra and the family legacy continues richly through their sons Ritesh, Rajnish and Swaransh Mishra.

Irfan Zuberi is a student of Hindustani music and an audiovisual archivist.

Review: ‘Bikram’ Is a Fine Blueprint to Examine Sexual Predators From Close

Though the documentary is not a deep dive into the yogi’s alleged sexual exploitation, it presents the disconnect between the persona and person.

Bikram Choudhury – a famed yoga guru for more than four decades who, in recent years, has been accused of multiple sexual assault and rape – seems like an unlikely blend of two celebrities: Harvey Weinstein and Osho. Like Weinstein, Choudhury headed an empire, wielded power over many young women and, under its vicious, heady sway, is said to have assaulted and raped them. Like Osho, Bikram was an Indian immigrant, had a hypnotic effect on people, and ultimately headed a cult – the yogic was like a jail warden, his followers inmates, and they were, for no fault of theirs, punished.

The allegations and lawsuits against Choudhury have been public for more than half-a-decade, but they’ve found a new form in Eva Orner’s documentary, recently released on Netflix, called Bikram: Yogi, Guru, Predator. Orner begins the documentary chronologically, in the early ’70s, when Bikram came to the US. His life sounds like a dream immigrant story, a stranger at first – “I came to America with nothing, zero,” he tells a journalist in archival footage – who later made the entire country fall in love with him; the stranger became not just a citizen but also a celebrity. His first student? Elvis Presley. More big names followed: George Harrison, Richard Nixon, who, according to Choudhury, “gifted” him a green card for fixing his broken knee.

Dressed in tiny black speedos, wearing a Rolex and also a headband, Choudhury (at times, literally) towered over his students, flinging instructions, accusations and slurs at them. To mimic the Calcutta heat, where he learnt yoga, the temperature in the room was amped up to around 45 degrees – the students melted in the heat, relinquishing their brains and bodies. Choudhury, on the other hand, sat on an elevated platform, as if it were a throne, with AC ducts cooling the back of his head.

He was a teacher, a bully, a mind reader, a performer, a showman — “Do you trust me? Do you have a choice? This is like an Indian marriage: no choice” — and sometimes, he sang. And his yoga worked like mysterious magic. The students admired his teaching; they loved their teacher. In subsequent decades, Choudhury acquired a fleet of Rolls Royce and Bentley, an 8,000-square feet mansion in Beverly Hills, more celebrity clients, and profiles and interviews in prestigious American media outlets.

Bikram’s cinematography sees this new money, and the guru’s god-like status, as a dreaded presence, shooting Beverly Hills and, indeed, Choudhury from different low-angle shots, amplifying their stature, mimicking how they must have appeared to many naïve students. Orner also tells us, often in Choudhury’s own words, his self-mythologising tales: him winning the National Yoga Championship, in India, thrice in the early ’60s; his plans of competing at the 1964 Tokyo Olympics as a weightlifter, which only got thwarted because of a last-minute injury; Choudhury claiming in several interviews that he slept less than “30 hours a month”, that his yoga had benefitted “half a billion people”, and how he was the “most spiritual — most pure — man ever”.

Bikram Choudhury. Photo: Wikimedia Commons/yanivnord CC BY 2.0

Perceptive interviews

Then come the accusations — and they follow a pattern. Orner is a perceptive interviewer and a patient listener, allowing us to glean important insights from the survivors’ accounts. For instance, two of them — one of sexual assault and the other of rape — who were also Choudhury’s students, wished him goodnight after the horrific incidents. Male trainers, who kept quiet even after hearing about Choudhury’s predatory ways, contemplate their complicity; one of them breaks down. Orner’s persistence helps her sketch a larger picture, whose framework is all too familiar: a powerful man, abusing his status, enabled by the system integral to his success. (Choudhury refused to be interviewed for the documentary, and he has denied all charges.)

In the past few years, numerous narratives like these have come to light and Bikram faithfully follows their trails. However, there’s a clever twist at the end of the documentary, where it cuts back to Kolkata and fact-checks all claims of Bikram: remember that Yoga Championship — did India even have one at the time? Or the Tokyo Olympics, or Nixon gifting him a green card. These revelations add an additional layer to Choudhury, of the vast disconnect between the persona and person, serving as a fine blueprint to examine sexual predators from close.

Bikram would have felt more powerful had this been the first piece on Choudhury — if it were, say, a conversation starter on the man, but it’s not. Choudhury’s story — of rise, fall, and indictment — has been covered in the form of a profilebookinvestigation, and podcast. As a result, apart from the visual form and some new revelations, Bikram feels more like skimming the water than a deep-dive. Orner concentrates solely on Choudhury’s transgressions and provocative personality, leaving some crucial parts of the puzzle — such as the involvement of his wife, the other troubling parts of his character (his racism, homophobia, anti-Semitism, among several others, which are cursorily mentioned) — incomplete, in effect giving the impression that we did see a story, but a part of one that has much more to reveal.

But it is still heartening that a documentary like Bikram exists. Just by being on a platform like Netflix, this story will reach different audiences, in many countries, who will watch it and become rightfully cautious. Remember, Choudhury is still conducting yoga sessions across the globe. Choudhury, as we find out from the documentary, continues to flourish, shows absolutely no remorse, and has, if anything, become more uncouth and combative. But there’s a difference this time: now, thousands, if not lakhs, will be able to see through his charade. The guru in black speedos is finally naked.

Sex, Lies and Osho: The Terror and Beauty of Netflix’s ‘Wild Wild Country’

The six-part series examines the clash of cultures – the fear of the ‘other’ – in fine detail.

The difference between a religion and a cult is a matter of scale. A religion is a marriage; a cult is an affair. A new Netflix documentary series, Wild Wild Country, is about a particularly tumultuous affair – one that lasted four years but aspired for permanence – between the spiritual leader Bhagwan Shree Rajneesh and his followers, in Oregon. Like most successful romances, this relationship too was built on Folie à deux, or the Folly of Two, a psychiatric condition where the delusion of one partner is transmitted to the other.

But there was one key difference – thousands shared that delusion in Rajneeshpuram, a commune established by Rajneesh’s followers in Oregon’s Wasco County in the early ’80s. And nothing was out of bounds for them – neither immigration fraud nor mass poisoning or attempted murders. 

The potential for drama here is immense, evoking a famous Leo Tolstoy line, “All great literature is one of the two stories; a man goes on a journey or a stranger comes to town.”

But there’s a third kind of story too, where a man embarking on a journey becomes a stranger in a town. In 1981, before the first batch of strangers arrived in red robes, buying a 64,000-acre ranch and spending $125 million to develop a utopian commune, Oregon’s Antelope wasn’t even a town — it was populated by 40 people anticipating a quiet retirement. If they were enjoying the sunset, then the Rajneeshees were blinded by the light, an unending beacon of Truth that kept them enchanted and addicted.

Directed by Maclain Way and Chapman Way, Wild West Country tells its story from three points of view: from the people of Antelope who were first intrigued and, later, baffled and scared by the Rajneeshees; and the two sets of Rajneeshees, the ones who remained loyal to Bhagwan (his attorney and Rajneeshpuram’s mayor, Swami Prem Niren (Philip Toelkes) and the ones who broke out (Rajneesh’s fiery personal secretary, Ma Anand Sheela, and her trusted aide, Ma Shanti B (Jane Stork). Each individual in this motley ensemble can stand on their own; their triumphs, loss, and realisations are personal. One also completes the other — they’re friends, foes, foils, each imbuing the documentary with a unique energy and poignancy, a bundle of swirling, scary contradictions.

Take, for instance, easily the most fascinating character in the piece, Sheela, who, now in her 60s, speaks in an almost hypnotic, musical tone. A leader with a petty dictatorial streak, who was known for being haughty and remorseless, Sheela is an arresting presence. So is Niren, a headstrong lawyer from Seattle who left his world to join Rajneesh’s, first in Pune and later in Oregon. Even years later, he retains his persuasive skills as a lawyer, defending Rajneesh, commune, and their decisions at every step. Then there are the people of Antelope (the documentary focuses on three residents) — relatively calm and quiet, as compared to Sheela and Niren, who recall the days of Rajneeshees with horror and (latent) anger, a time when their pastoral middle-class propriety was severely challenged.

The Way brothers structure this six-part series first as an unlikely love story – between Rajneesh and his devotees – and later, when things take a darker, sinister turn, as a thriller. At each step they’re helped by their eloquent subjects who cast moments of unexpected beauty and terror.

When Rajneesh first arrived at the commune, built over several months with care and ingenuity, replete with dams and meditation centres and townhouses, he was given a grand welcome. He was received in a Rolls Royce; 4,000 square feet of green lawn carpets were rolled out around his house; some devotees played sitar. We see the old footage of the reception, but it is Sheela’s words that stay with us, “It was like a beautiful Fellini movie.” Or when Niren, who otherwise seems rational and clear-headed, dismisses the critique of commune with a loud laugh preceded by, “There’s a darkness in everyone — doesn’t make you a bad person”. 

Even though Wild Wild Country is a documentary, made possible by its protagonists’ recollections, the filmmakers use the finest techniques of a fictional feature — an immersive sound design, a clever juxtaposition of images (splicing current interviews with old footage), apposite lighting that reflects the subjects’ current mindscapes (Niren, for instance, is shot in soft, warm light, foreshadowing his vulnerability, while the residents of Antelope are filmed in bright, white light, indicating their status of eventual victors) — that lends this piece a textured, atmospheric quality.

At times, the cinematic embellishments are needlessly ramped up, both in terms of sound design (for example, when Sheela says “pin drop silence” in a scene you can literally hear the sound of a pin drop) or dramatic reconstruction (when we find that John Silvertooth, one of the Antelope residents, was spying on the Rajneeshees, the camera films his walk in slow-motion from behind). But these silly bursts of ambition are so minor that they don’t impinge on the overall experience.   

Besides, the film isn’t interested in finding new narrative trails. It is a faithful retelling of Rajneeshees in Oregon, nothing that can’t be gleaned from a series of newspaper articles or books. But Wild Wild Country is interested in bigger — and better — truths. It not just shows how the Rajneeshees tried taking over the Wasco County (by exploiting the loopholes in the law and using coercive means), but also poses a more difficult and unanticipated question, burning with relevance in Trump’s America, that demands our attention: Were the Antelope residents naturally opposed to assimilation? Were they, to put it in harsher terms, xenophobes? There are obviously no clear answers but some stray hints.

Rajneeshees turned out to be dangerous, but what if they weren’t – what if they had just kept to themselves? Wild Wild Country examines the clash of cultures – the fear of the ‘other’ – in fine detail. At one point, we learn that Sheela, in a bid to influence the outcome of Wasco elections, promised food and shelter to homeless Americas in different states who moved to Oregon in large numbers. Silvertooth remembers that incident, smiles, and says, “It was a magnet for crazy people”. But is being homeless the same as being “crazy”?

By incorporating different points of view, Wild Wild Country also asks us another fundamental question: Do human beings secretly crave subservience? When Sheela becomes increasingly autocratic — breaking laws, imposing rules — even the powerful Rajneeshees keep quiet. There are moments in the documentary that remind you of the German Drama Das Experiment, based on the infamous 1971 Stanford Prison Experiment, which showed the effects of perceived power and how it can quash individual agency. The fascist and communist regimes provide another parallel in the real world; so do the collective indifference of the Indian middle-class to Indira Gandhi’s Emergency rule.

Intricately tied to that is the inadequacy and routineness and absurdity of everyday life, a malaise that makes people over compensate in strange ways. Some find solace in drugs, some become travellers, some create art, some surrender their bank accounts and lives to godmen or gods. Out of the several exit options, excessive devotion is the most acceptable. And it is so because it is laced with the most obvious and recognisable form of love, legitimising the latent insanity of the masses. (Surely most of us remember that September afternoon, in 1995, when an entire nation was convinced that Lord Ganesh had begun drinking milk?)   

But the most spellbinding aspect of Wild Wild Country is not its ideas but its people. The followers of Rajneesh weren’t outcasts of society. They were educated, aware, and rich — they chose to stay. And even decades later, when the rush and intoxication of love have faded, they’re still held in its sway. When Niren talks about how Bhagwan was treated by the U.S. police officials, paraded from one prison to another, his voice cracks and the tears follow involuntarily. Out of all the people in this world, there’s one kind who cannot be broken or persuaded or reasoned with: the ones who believe in their lies.

Similarly, Rajneesh discredited Sheela, tried everything to destroy her, and yet, when she talks about Bhagwan, her eyes light up. Her house still contains framed portraits of Rajneesh. Sheela exhibits no empathy, no remorse for her past actions, but when she talks about Bhagwan and their fallout, her cold façade crumbles — a cellar inaccessible to everyone else, a core that retains the innocence of a girl.

History doesn’t remember the Rajneeshees kindly — and for a good reason. Yet while watching Wild Wild Country, especially in parts where they’re enjoying moments of bliss while building a world from scratch, hoping that their otherwise mundane lives can have meanings, it’s difficult to not feel envious of them. That no matter what their eventual fates came to be, they at least experienced — in whatever bizarre and twisted ways — something most long an entire lifetime for: acceptance and love. 

Rajneesh, the Guru Who Loved His Rolls Royces

A new book recounts the hostility Rajneesh faced from the people of Oregon when the Guru and his followers set up camp in a small community.

Rajneesh. Credit: Youtube

Rajneesh. Credit: Youtube

In a remarkably short time, a great deal of money began to flow into and through the Oregon commune. Some of this came from sannyasins, including many who were willing to sell their possessions to support the ranch (such as one who recalls selling his Porsche for $20,000 to donate to the cause). A great deal of revenue also came from the many courses offered at the ranch, which ranged from the “Rajneesh Fresh Beginning Course” ($2,500) and “Rajneesh Movement Therapy” ($2,100) to the “Rajneesh DeHypnotherapy Basic Course” ($5,500) and “Rajneesh Rebalancing Course” ($7,500). And finally, a huge amount of money flowed in during the annual World Festival, which began in the summer of 1982. Admission for the seven-day festival was $509 for a place in a four-person tent or $1,804 for a room in the hotel, while the cost of the therapy groups, food and drink in the restaurant, and souvenirs, was extra. During the 1984 festival, the 15,000 people attending spent over $10 million. Overall, between 1981 and 1985, an estimated $130 million poured into the ranch. As Hugh Milne recalls, “Bhagwan said that in the new commune we would grow money on trees… Bhagwan was quite open about the fact that the primary object was to make money.”

Yet as a charismatic multinational corporation, the operations of the Rajneesh movement were by no means limited to the United States. On the contrary, the Oregon community was very much interrelated with and dependent upon a vast global network of Rajneesh centers. These included not only meditation centers and spiritual institutions but also seemingly “secular” enterprises, such as discotheques and restaurants. In all, some twenty corporations were created worldwide with twenty-eight bank accounts, including twelve in Switzerland.

As the academic Lewis Carter suggests, this global network had a markedly fluid and flexible structure; rather than a fixed corporate organisation with permanent structures, the Rajneesh movement adapted quickly to the needs of different contexts. The individual businesses within the Rajneesh Foundation served, in effect, as “empty forms” or fluid structures that might be a discotheque one week, a yoga center the next, or a health-food store the next, depending on the shifting needs of the market. “Corporate identities are used as disposable devices… created as a need of the moment arises and discarded… Specialised corporations of limited life spans can be created to provide vehicles for new activities or transfers of assets.”

Ironically, while Rajneesh presented a radically iconoclastic and rebellious message, and the surrounding American society saw the commune as a dangerous and deviant cult, Rajneeshpuram was also in some ways a striking embodiment of the global dynamics of late capitalism. The early Rajneesh movement in Pune was a kind of spiritual reflection of the increasingly decentralised and shifting dynamics of “disorganised capitalism.” Yet by the 1980s, the movement had evolved into a fluid multinational network of protean corporate structures that were perhaps uniquely suited to the dynamics of what David Harvey calls “flexible accumulation.” In the global marketplace of postmodernity, as Harvey suggests, funds can be transferred and exchanged instantaneously from any point on the planet, through a network of constantly shifting, increasingly flexible corporate structures, labor markets, and patterns of consumption:

Flexible accumulation . . . rests on flexibility with respect to labour processes, labour markets, products and patterns of consumption. It is characterized by the emergence of entirely new sectors of production, new ways of providing financial services, new markets and, above all, greatly intensified rates of commercial, technological and organizational innovation.

As a kind of “charismatic” multinational corporation with a wide array of fluid, protean forms, the Rajneesh movement was in many ways not just a reflection but the epitome of flexible accumulation, which Harvey sees as the condition of postmodernity.

Sannyasins wait to catch a sight of Rajneesh on one of his drive-bys. Credit: Wikipedia

Sannyasins wait to catch a sight of Rajneesh on one of his drive-bys. Credit: Wikipedia

“Guru of the rich”

Although he had entered into a vow of silence in 1981, Rajneesh was in many ways the fluid, protean center of this complex multinational corporation. Today, most Americans probably remember Rajneesh primarily as the “Rolls-Royce Guru,” who made national headlines because of his massive fleet of expensive cars and his daily “drive-bys” in which he drove his Rolls slowly along a road of cheering red-clad sannyasins at the ranch. Rajneesh had never made any secret of his procapitalist sentiments and his fondness for expensive objects of conspicuous consumption.

As he explained in a 1982 interview with an INS officer who asked him about the importance of wealth, “All the religions have commanded and praised poverty, and I condemn all those religions. Because of their praise of poverty, poverty has persisted in the world. I don’t condemn wealth. Wealth is a perfect means which can enhance people in every way… So I am a materialist spiritualist.”

With the move from India to Oregon, however, Rajneesh’s tastes had evolved from gold cuff links and jeweled watches to high-end automo- biles. His first two Rolls-Royces were a Corniche and Silver Shadow, which were shipped from the Pune ashram to the Oregon ranch; and these were soon joined by an expanding fleet of cars that would eventually number ninety-three. The cars became part of an almost surreal form of “drive-by darshan” or viewing of the guru, in which Rajneesh would slowly drive down the city’s central avenue while thousands of red-clad sannyasins waved, cheered, and played instruments in throes of joy:

Each day at 2 o’clock Bhagwan drove at walking pace along the Ranch’s central street. Along each side of the length of the road, standing sometimes twenty deep, sannyasins gathered to sing and wave their arms… People played trombones, banged drums, waved their arms, craning their necks to get a better look… One by one sannyasins stepped forward to place long- stemmed pink and red roses, stripped of thorns, on the bonnet of his car. Occasionally Bhagwan took his hands off the wheel to press them together in reply. (Tim Guest, My Life in Orange.)

 Bhagwan’s fondness for Rolls-Royces and daily drive-bys even made its way into popular newspaper comic strips of the 1980s. In the comic strip Bloom County, the character Opus asks a sannyasin, “Say, brother… uh, how about refreshing me on this Rajneesh business?” The sannyasin replies: “Well, Rajneesh is the truth, and the truth is the light, which is life. Life’s truth, light, and happiness. Which is wearing red pajamas and blowing kisses toward the Bhagwan’s 72 Gold Rolls Royces.”

Finally, Opus concludes, “Whoa! By golly… that does make a lot of sense.” (Guest)

Rajneesh himself later described his own conspicuous display of wealth as a kind of joke. While many spiritual leaders of 1980s America were making vast amounts of money (we need only think of Christian preachers such as Jimmy Swaggart or new religions such as the Church of Scientology), Rajneesh was perhaps the only one to not only embrace and display his tremendous wealth but also make fun of it in the very same breath. This unapologetically commercial attitude was embodied in a famous bumper sticker sold at the Rajneeshpuram annual festival: “Jesus Saves, Moses Invests, Bhagwan Spends!” In a way, this is pure Rajneesh: shrewd humor, self-parody, and outrageous embrace of consumerism all in one. Indeed, even his own habit of collecting Rolls- Royces could be an object of self-parody and an opportunity for a funny but oddly telling bit of satire:

People are sad, jealous, and thinking that Rolls Royces don’t fit with spirituality. I don’t see that there is any contradiction… In fact, sitting in a bullock cart it is very difficult to be meditative; a Rolls Royce is the best for spiritual growth.

Beyond its function as a display of conspicuous consumption or parody, however, Rajneesh’s fleet of cars appears to have served a more practical and serious purpose. As The Oregonian reported, the ownership of the cars was transferred from the Rajneesh Foundation International to the tax-exempt Rajneesh Modern Car Collection Trust in 1982. The trust served as a tax-exempt conduit for donations from wealthy sannyasins who “leased” the cars for as much as $6,000 a month; in 1982 alone, $498,784 flowed into the Rajneesh Investment Corporation through this convenient conduit.

Rajneesh with his disciples in 1977. Credit: Wikipedia

Rajneesh with his disciples in 1977. Credit: Wikipedia

Trouble in paradise: early tensions with the local community

From the very outset, the ranch ran into serious problems in its negotiations with the local community and government. While Rajneesh had imagined building a utopian community or “Buddhafield” of thousands of sannyasins, it turned out that the ranch was zoned for agricultural purposes with a maximum of just six residents allowed to live there. Thus when a government inspector arrived for a visit, the group had to use the cover story that it was a farming cooperative, and the numerous other sannyasins hanging around were mere visiting farmworkers and not permanent residents. Yet within two months of its establishment, over 200 sannyasins were living on the ranch, which started arousing complaints from the locals.

A watchdog group called the 1000 Friends of Oregon, dedicated to land-use laws, advised the Rajneeshees that the non-farm-related uses of the land should be located in an already existing urban area with a designated urban growth boundary. In response, the Rajneeshees turned to the nearest city, the small retirement town of Antelope, and started buying up as much property as they could—which was quite a lot, since as much as 50% of the property was for sale. “They bought up everything available, even the store,” recalls Ritter. Their rapid push into Antelope, however, quickly alarmed the local residents, who were mostly either longtime residents or retirees and saw the Rajneeshees as bizarre, un-Christian hippies with a strange-looking guru who was launching an “invasion” of their town. On April 15, 1982, the city council held an election to “disincorporate” the city of Antelope, with the aim of stopping the Rajneeshees from taking over and using the city to further their plans.

Screen Shot 2016-05-09 at 1.45.58 PMHowever, with the new population of sannyasins, the vote failed. And not long after, sannyasins were elected to three of the six seats on the city council and also won the mayor’s seat, with the write-in candidate Karuna. By 1984, now completely in charge of the city, the Rajneeshees voted to change its name from Antelope to Rajneesh, and even to change street names to those of famous philosophers and religious teachers, such as Gurdjieff Road, Ouspensky Road, Ramakrishna Street, and so on. They also took over the local school system—renamed the Rajneesh International Meditation University—as the Antelope schools became increasingly dominated by children of sannyasins.

Initially, the Rajneeshees approached their new control of Antelope with a sense of humor and playfulness—for example, by passing a resolution that every city council meeting must include the telling of at least one joke. And sometimes this playfulness had a certain bite to it—for example, when they placed their garbage dump, called the Adolf Hitler Dump, next to Antelope’s community church.

However, few of the locals found any of this very funny. On the contrary, all of it was met with growing fear, hostility, and often quite aggressive rhetoric from the town residents. When the Rajneeshees arrived in 1981, the town of Antelope had a population of just thirty- nine people, most of whom were retirees and Christians. The sudden presence of hundreds of red-clad, long-haired young people from all over the world with a strange guru and seeking to buy up local property— perhaps not surprisingly—made the residents extremely nervous and generated widespread fears of a “takeover” or worse. This was, after all, just a few years after the mass murder/suicide of Peoples Temple— another new religious movement with a utopian communal ideal—in Guyana in 1978, which created widespread fear that this could be yet another “cult crisis” in the making. According to ranch foreman Robert Harvey, already in January 1982 rumors circulated in the area that “the Rajneeshees sacrifice children and that’s why there are no kids down on the ranch… The Rajneeshees have to steal kids from other people so that they can sacrifice them.” According to an open letter from a local resident addressed to “senators, congressmen, judges and the president,” many in the community were deeply concerned about “the godlessness that goes on down there” at the ranch:

That cult, with their ways of coming in and buying up the land, have destroyed the old ways of life here in Oregon… and who knows what next? They could multiply like rabbits and take over the whole state. And they are not even Christian. They have these strange ideas and beliefs that are not pure and native Oregonian.

At least one Oregon senator did in fact respond to local residents’ pleas for an investigation into the Rajneesh community. In June 1982, Senator Hatfield began to express his fears about the “cult,” which was rumored to have to engaged in all manner of disturbing transgressions, including “group sex involving sadomasochistic elements” and perhaps even “violence and loss of life.”

Anti-Rajneesh T-shirt, from the Rajneesh Artifacts and Ephemera Collection, University of Oregon. Photo by Author

Anti-Rajneesh T-shirt, from the Rajneesh Artifacts and Ephemera Collection, University of Oregon. Photo by Author

Growing number of local critics

Just as the ranch was beginning to mass-produce T-shirts, bumper stickers, malas, and other merchandise to promote the commune, so too the growing number of local critics of the movement began to produce anti-Rajneesh merchandise. The University of Oregon Library’s Special Collections has preserved a number of fascinating artifacts from this period, including “Nuke the Guru” T-shirts, featuring Rajneesh’s face superimposed on a mushroom cloud, anti-Rajneesh silver coins with the slogan “Bye Bye Bhagwan,” and even a mala made of bullets and beads, designed to mock the necklaces worn by sannyasins. The anti-Communist motto “Better dead than red” started to reappear on bumper stickers, and one could even buy customised versions of Rajneesh caps showing a picture of Bhagwan branded with rifle crosshairs on his forehead. Flyers circulated during this period encouraging hunters to “bag a Red Rat” (i.e., a Rajneeshee), and warned that the Rajneeshees are

“known carriers of many known and unknown diseases. The [Department of Environmental Quality] has ruled that the carcass can not be left where the animal has been bagged, as it is a proven fact that the coyotes, vultures and carrion eaters will not touch the filthy carcass. If not disposed of the stench would be an intolerable pollutant… These Red Rats are loaded with crotch crickets and are very troublesome to remove from the carcass.”

Other flyers enthusiastically urged local hunters to “get your Guru tags now” with the motto “Let’s Bhang Wan Today!” Meanwhile, gun sales in Oregon reportedly doubled. Not surprisingly, this helped fuel the Rajneeshees’ own growing paranoia and contributed to a kind of escalating, feedback loop of fear, suspicion, and aggressive rhetoric between Rajneeshpuram and the local community throughout the next few years.

Excerpted from Zorba The Buddha, by Hugh Urban, Professor of Comparative Studies, Ohio State University. Published by University of California Press.