Time in De-Tension: Some Northern California Experiments in Open Land Sarah A
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Making Peace with the Sixties: Reevaluating the Legacy of a Cultural Revolution
CHRISTIAN RESEARCH INSTITUTE P.O. Box 8500, Charlotte, NC 28271 Feature Article: JAS060 MAKING PEACE WITH THE SIXTIES: REEVALUATING THE LEGACY OF A CULTURAL REVOLUTION by Steve Rabey This article first appeared in the Christian Research Journal, volume 27, number 4 (2004). For further information or to subscribe to the Christian Research Journal go to: http://www.equip.org SYNOPSIS The 1960s may be long gone, but they certainly are not forgotten, and many of the core ideas and values of this turbulent period remain alive and well in present-day America. Some Christians dismiss the sixties as a period of silliness. Other Christians, however, blame the decade for many of the ills that trouble contemporary America, even though the seeds of many of the sixties upheavals were sown during the seemingly placid fifties. Throughout the sixties, spiritually hungry seekers influenced both alternative and institutional streams of spirituality. Sixties spiritual values such as individualism, the valuing of experience over doctrine, the preference for anything new over anything old, the sacralization of the secular, and the use of drugs as a spiritual tool continue to have a profound influence on modern life and contemporary religion. The Jesus movement was one major Christian response to the revolutionary changes of the sixties. This movement’s contemporary music and more relaxed approach toward church are its major contributions to today’s ecclesiology. Though it was a turbulent and troubling time, the sixties forced many Americans to confront long-simmering issues such as race, gender, sexuality, war, authority, and patriotism. Anyone emerging today from a decades-long, Rip Van Winkle–like slumber (or even a Timothy Leary– like trip to the far side of the space-time continuum) might be forgiven for thinking he or she was still living in the 1960s. -
Bohemian Space and Countercultural Place in San Francisco's Haight-Ashbury Neighborhood
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2017 Hippieland: Bohemian Space and Countercultural Place in San Francisco's Haight-Ashbury Neighborhood Kevin Mercer University of Central Florida Part of the History Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Mercer, Kevin, "Hippieland: Bohemian Space and Countercultural Place in San Francisco's Haight-Ashbury Neighborhood" (2017). Electronic Theses and Dissertations, 2004-2019. 5540. https://stars.library.ucf.edu/etd/5540 HIPPIELAND: BOHEMIAN SPACE AND COUNTERCULTURAL PLACE IN SAN FRANCISCO’S HAIGHT-ASHBURY NEIGHBORHOOD by KEVIN MITCHELL MERCER B.A. University of Central Florida, 2012 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of History in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Summer Term 2017 ABSTRACT This thesis examines the birth of the late 1960s counterculture in San Francisco’s Haight-Ashbury neighborhood. Surveying the area through a lens of geographic place and space, this research will look at the historical factors that led to the rise of a counterculture here. To contextualize this development, it is necessary to examine the development of a cosmopolitan neighborhood after World War II that was multicultural and bohemian into something culturally unique. -
It's Hip to Unzip Open Land Communes and Their Neighbours
“It’s Hip to Unzip”: Open Land Communes and Their Neighbours in Northern California, 1966-1979 by John Stuart Miller B.A., The University of British Columbia, 2013 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (History) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) December 2016 © John Stuart Miller, 2016 Abstract This essay considers the histories of two countercultural, back-to-the-land communes located in northern California: Siskiyou County’s Black Bear Ranch and Sonoma County’s Morning Star Ranch. Both of these communes were highly influenced by the concept of Open Land, according to which anyone may freely live in a given space, particularly those individuals rejected or alienated by urban modernity. I examine the ways in which these communes related to and were shaped by their rural neighbours, as well as the local state, asserting the importance of the surrounding community in effecting events at each commune. I argue that positive relations with neighbours determined the continued viability of these communes, and that these positive relations in turn required a compromise of original founding principles including Open Land. I further uncover the changing perceptions rural people held of hippie communards, and contextualize the back-to-the-land ideal within broader American traditions of frontier settlement and reinvention. !ii Preface This thesis is entirely the original, unpublished, and independent work of the author, John -
Interview J. Berman Commune (PDF)
Interview with Jonathan Berman, Director of COMMUNE How did you get the idea for the film and was there something specific that inspired you? I grew up on Long Island in the 1960’s around that environment. You know just being a kid growing up around the 60’s and 70’s; this environment of the counterculture was always in the air, even in suburbia – maybe especially in suburbia. As I became a teenager I started to get into the music of Jimmy Hendrix and all that, playing keyboards and in rock bands. So I always had that warm feeling towards that whole world as an alternative to us and the bland world of suburban Long Island life. I was always intrigued by that and then was a Deadhead and into various counterculture ideas. The politics attracted me, and so when I was searching for my next project, I met this eccentric producer and was telling him about my film I was planning about barbequing in the Carolinas and he, being a New York no-nonsense eccentric: “I just don’t like that idea” and I said, “Well, what do you like?” because when you find, a co- producer, it is a good thing, and he said, “Well I like things that are off the grid” which literally means off the electric grid, that is alternative culture on the fringe. So that idea of things very much resonated with me, the idea of things being “off the grid.” How did you come into contact with the people of Black Bear Ranch? Well after that night, I did some reading and came across a book on the 60’s communes literally called “The Sixties Communes” by Tim Miller, a professor and read a few pages on Black Bear Ranch and said to myself, “this is it.” I saw Black Bear as the epicenter of all the benevolent anarchy and theatricality and counter culture ideas that speak to me. -
Liner Notes, Visit Our Web Site
MUSIC FROM THE TUDORFEST: SAN FRANCISCO TAPE MUSIC CENTER, 1964 80762-2 (3 CDs) DISC 1 [TT: 72:37] 1. John Cage (1912–1992) 34'46.776" for two pianists (1954) 35:05 David Tudor, Dwight Peltzer, pianos 2. Pauline Oliveros (b. 1932) Duo for Accordion and Bandoneon with Possible Mynah Bird Obbligato (1963–64) 16:45 Pauline Oliveros, accordion; David Tudor, bandoneon; Ahmed (mynah bird loaned by Laurel Johnson) 3. Toshi Ichiyanagi (b. 1933) Music for Piano No. 4 (1960) 20:37 Pauline Oliveros and David Tudor, pianos Track 1 recorded March 30, 1964. Tracks 2 and 3 recorded April 6, 1964. 34'46.776" for two pianists © 1954 C.F. Peters Corp. Duo for Accordion and Bandoneon with Possible Mynah Bird Obbligato © 1963–64 Deep Listening, Inc. Music for Piano No. 4 © 1960 Toshi Ichiyanagi DISC 2 [TT: 46:16] 1. Toshi Ichiyanagi Music for Piano No. 4, Electronic Version (1960) 15:23 David Tudor, piano 2. John Cage Variations II (1961) 20:30 David Tudor, piano, live electronics 3. John Cage Music Walk (1958) 10:13 (for 1 or more pianists who also play radios and produce auxiliary sounds by singing or any other means) Michael Callahan, John Chowning, Stuart Dempster, Warner Jepson, Douglas Leedy, Robert Mackler, Pauline Oliveros, Dwight Peltzer, Ann Riley, Loren Rush, Ramon Sender, Stanley Shaff, Linn Subotnick, Morton Subotnick, David Tudor, Ian Underwood, Jack van der Wyck Tracks 1 and 2 recorded April 8, 1964. Track 3 recorded April 3, 1964. Music for Piano No. 4, Electronic Version © 1960 Toshi Ichiyanagi Variations II © 1961 C.F. -
Summer of Love Program Guide
S an F e ran ov cisco ary f L Public Libr er o mm celebrates the Su sfpl.org/summeroflove EXHIBITIONS Summer of Love and Haight uring the summer of 1967, young people from throughout the country flocked to San Francisco for the promise of a cultural, political and social revolution. The epicenter Dfor this experience was the previously unnoticed, suddenly notorious, Haight-Ashbury neighborhood. This exhibit showcases period photographs and films, rock posters, grass roots newspapers and flyers, record albums and manuscript materials from community groups and local government collections, all document- ing the upheaval of the Summer of Love of 1967. July 15–Oct. 29, 2017, Main Library, Jewett Gallery Opening Event: Revolution – Film and discussion. The Oracle, cover by Rick Griffin. Golden Gate Park, 1967, photo: Patrick Lofthouse July 16, 1 p.m., Main Library, Koret Auditorium Courtesy of SF History Center Sex, Drugs and Runaways Haight-Ashbury’s Summer of Love: Few observers will deny the impact, for National and Local Media Coverage better or worse, that the summer of 1967 This small display shows the national coverage of the had on the Haight-Ashbury district of “Hashbury” through magazine and newspaper articles that San Francisco. On January 14, the focused on the Summer of Love. Many stories from the Human Be-In at the Polo Fields in San Francisco Chronicle will be featured. See what people Golden Gate Park drew between thought about the Summer of Love 40 years ago. 15,000–50,000 people to the area. Some Be-In participants remained June 15–Sept. -
Drop City and the Utopian Communes
University of Pennsylvania Carey Law School Penn Law: Legal Scholarship Repository Faculty Scholarship at Penn Law 2015 Punishment: Drop City and the Utopian Communes Paul H. Robinson University of Pennsylvania Carey Law School Sarah M. Robinson Independent Follow this and additional works at: https://scholarship.law.upenn.edu/faculty_scholarship Part of the Criminal Law Commons, Criminology Commons, Criminology and Criminal Justice Commons, Law Enforcement and Corrections Commons, Peace and Conflict Studies Commons, Public Law and Legal Theory Commons, Public Policy Commons, Social Control, Law, Crime, and Deviance Commons, and the Social Policy Commons Repository Citation Robinson, Paul H. and Robinson, Sarah M., "Punishment: Drop City and the Utopian Communes" (2015). Faculty Scholarship at Penn Law. 1148. https://scholarship.law.upenn.edu/faculty_scholarship/1148 This Article is brought to you for free and open access by Penn Law: Legal Scholarship Repository. It has been accepted for inclusion in Faculty Scholarship at Penn Law by an authorized administrator of Penn Law: Legal Scholarship Repository. For more information, please contact [email protected]. PIRATES, PRISONERS, AND LEPERS LESSONS FROM LIFE OUTSIDE THE LAW Paul H. Robinson and Sarah M. Robinson Potomac Books An imprint of the University of Nebraska Press CONTENTS List of Illustrations ix Acknowledgments x~ PART 1. HUMAN RULES 1. What Is Our Nature? What Does Government Do for Us and to Us? 3 2. Cooperation: Lepers and Pirates 11 3· Punishment: Drop City and the Utopian Communes 32 4· Justice: 1850s San Francisco and the California Gold Rush 51 5· Injustice: The Batavia Shipwreck and the Attica Uprising 81 6. -
From Silver Apples of the Moon to a Sky of Cloudless Sulphur: V Morton Subotnick & Lillevan 2015 US, Europe & JAPAN
From Silver Apples of the Moon to A Sky of Cloudless Sulphur: V Morton Subotnick & Lillevan 2015 US, Europe & JAPAN February 3 – 7 Oakland, California Jean Macduff Vaux ComposerinResidence at Mills College February 7 Oakland, California Mills College, Littlefield Concert Hall March 7 Moscow Save Festival at Arma March 4 New York the Kitchen: SYNTH Nights May Tel-Aviv, Israel Vertigo Dance Company June 7 London Cafe Oto June 16 Tel-Aviv, Israel Israel Museum June 20 Toronto Luminato Festival/Unsound Toronto July 28 Berlin Babylon Mitte (theatre) September 11 Tokyo TodaysArt.JP Tokyo September 12 Yamaguchi YCAM September 20 Kobe TodaysArt.JP Kobe November 22 Washington, DC National Gallery of Art 1 Morton Subotnick 2015 Other Events photo credit: Adam Kissick for RECORDINGS WERGO released in June 2015 After the Butterfly The Wild Beasts http://www.schott-music.com/news/archive/show,11777.html?newsCategoryId=19 Upcoming re-releases from vinyl on WERGO Fall 2015: Axolotl, Joel Krosnick, cello A Fluttering of Wings with the Juilliard Sting Quartet Ascent into Air from Double life of Amphibians The Last Dream of the Beat for soprano, Two Celli and Ghost electronics; Featuring Joan La Barbara, soprano Upcoming Mode Records: Complete Piano Music of Morton Subotnick The Other Piano, Liquid Strata, Falling Leaves and Three Piano Preludes. Featuring SooJin Anjou, pianist Release of a K-6 online music curriculum: Morton Subotnicks Music Academy https://musicfirst.com/msma 2 TABLE OF CONTENTS PROGRAM INFO Pg 4 CONCERT LISTING AND BIOS Pg 5 CAREER HIGHLIGHTS Pg 6 PRESS PHOTOS Pg 8 AUDIO AND VIDEO LINKS Pg 13 PRESS QUOTES Pg 15 TECH RIDER Pg 19 3 PROGRAM INFO TITLE OF WORK TO BE PRESENTED From Silver Apples of the Moon to A Sky of Cloudless Sulphur Revisited :VI PROGRAM DESCRIPTION A light and sound duet utilizing musical resources from my analog recordings combined with my most recent electronic patches and techniques performed spontaneously on my hybrid Buchla 2003/Ableton Live ’instrument’, with video animation by Lillevan. -
Newsletter 15/07 DIGITAL EDITION Nr
ISSN 1610-2606 ISSN 1610-2606 newsletter 15/07 DIGITAL EDITION Nr. 212 - September 2007 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 3 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 15/07 (Nr. 212) September 2007 editorial Hallo Laserdisc- und DVD-Fans, schen und japanischen DVDs Aus- Nach den in diesem Jahr bereits liebe Filmfreunde! schau halten, dann dürfen Sie sich absolvierten Filmfestivals Es gibt Tage, da wünscht man sich, schon auf die Ausgaben 213 und ”Widescreen Weekend” (Bradford), mit mindestens fünf Armen und 214 freuen. Diese werden wir so ”Bollywood and Beyond” (Stutt- mehr als nur zwei Hirnhälften ge- bald wie möglich publizieren. Lei- gart) und ”Fantasy Filmfest” (Stutt- boren zu sein. Denn das würde die der erfordert das Einpflegen neuer gart) steht am ersten Oktober- tägliche Arbeit sicherlich wesent- Titel in unsere Datenbank gerade wochenende das vierte Highlight lich einfacher machen. Als enthu- bei deutschen DVDs sehr viel mehr am Festivalhimmel an. Nunmehr siastischer Filmfanatiker vermutet Zeit als bei Übersee-Releases. Und bereits zum dritten Mal lädt die man natürlich schon lange, dass Sie können sich kaum vorstellen, Schauburg in Karlsruhe zum irgendwo auf der Welt in einem was sich seit Beginn unserer Som- ”Todd-AO Filmfestival” in die ba- kleinen, total unauffälligen Labor merpause alles angesammelt hat! dische Hauptstadt ein. Das diesjäh- inmitten einer Wüstenlandschaft Man merkt deutlich, dass wir uns rige Programm wurde gerade eben bereits mit genmanipulierten Men- bereits auf das Herbst- und Winter- offiziell verkündet und das wollen schen experimentiert wird, die ge- geschäft zubewegen. -
Hippieland: Bohemian Space and Countercultural Place in San Francisco’S Haight-Ashbury Neighborhood
HIPPIELAND: BOHEMIAN SPACE AND COUNTERCULTURAL PLACE IN SAN FRANCISCO’S HAIGHT-ASHBURY NEIGHBORHOOD by KEVIN MITCHELL MERCER B.A. University of Central Florida, 2012 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of History in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Summer Term 2017 ABSTRACT This thesis examines the birth of the late 1960s counterculture in San Francisco’s Haight-Ashbury neighborhood. Surveying the area through a lens of geographic place and space, this research will look at the historical factors that led to the rise of a counterculture here. To contextualize this development, it is necessary to examine the development of a cosmopolitan neighborhood after World War II that was multicultural and bohemian into something culturally unique. It was within this space that a wellspring of drop-out culture evolved from a combination of psychedelic drugs, experimental lifestyles, and anarchistic thought. The contention of countercultural place was fully realized in the lead up to and during the “Summer of Love” in 1967. This pinnacle moment was also its demise as the massive influx of young people into the area stressed the area and the idea of a local hippie movement to a breaking point. The final part of this thesis looks at how this experience changed the area, and how the countercultural moved on to become a national movement, while its key practitioners moved their countercultural place making to smaller rural communes, where the lessons of the Haight-Ashbury could be applied. -
Oral History Interview with Clark Richert, 2013 August 20-21
Oral history interview with Clark Richert, 2013 August 20-21 Funding for this interview was provided by the Stoddard-Fleischman Fund for the History of Rocky Mountain Area Artists. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Clark Richert on August 20-21, 2013. The interview took place in Denver, Colo., and was conducted by Elissa Auther for the Archives of American Art, Smithsonian Institution. This interview is part of the Stoddard-Fleischman History of Rocky Mountain Area Artists project. [Narrator] and the [Interviewer] have reviewed the transcript. Their corrections and emendations appear below in brackets appended by initials. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ELISSA AUTHER: This is Elissa Auther interviewing Clark Richert at the Museum of Contemporary Art, Denver, on August 20th, for the Smithsonian Institution, Archives of American Art, card one. Clark, when did you decide to become an artist and what led up to that decision? CLARK RICHERT: I think I know almost the exact moment when I decided to become an artist. I was living in Wichita, Kansas, going to high school, Wichita East High, and was at a local bookstore perusing the books and I saw this book on the shelf that really puzzled me. The name of it was the Dictionary of Abstract Art. And I opened up the book and flipped through the pages, and I came to this painting by Rothko which really puzzled me. -
Summer of Love: San Francisco,1967
Nonprofit Org. U.S. Postage PO Box 546 PAID San Francisco San Francisco, CA Permit No. 11882 2016–2017 SEASO N California 94104 AUniqueLecture & Performance Series SummerofLove: San Francisco,1967 JUNE 10, 2017 t e e r t S t Marines’ Memorial Theatre h g i a 609 Sutter Street, San Francisco H n o l Tickets: 415.392.4400 a r u or Cityboxoffice.com M For more information, visit humanitieswest.org SummerofLove: San Francisco,1967 Exploring History. Celebrating the Arts. SATURDAY, JUNE10, 2017 6:30–10:00 PM Tickets for Summer of Love at Marines’ Memorial Theatre: cityboxoffice.com Humanities West commemorates the 50th anniversary of the transformational Summer of or 415.392.4400. Tickets also available on April 15 for our 2017–2018 Season: Love.We explore San Francisco’s Haight-Ashbury neighborhood as it blossomed into the Norman Sicily, Nov 3–4, 2017; Ancient Greece’s Age of Expansion, Feb 23–24, nexus of 1960s counterculture. Learn about the vibrant forms of cultural expression that 2018; The Borgias, May 4–5, 2018; and an evening with Robert Greenberg and the Erik Jekabson Quartet, Blues, Jazz, & Rock ’n’ Roll, Feb 1, 2018. defied the status quo of the time, and continue to be relevant today.We celebrate the iconic music of the Grateful Dead with a live performance by the tribute band, China Cats. Are you 25 or younger? Attend programs FREE! [email protected] ■ Hippies in the Hood: Haight-Ashbury in the Summer of Love / Mitchell Schwarzer Donate online at humanitieswest.org (Urban and Architectural History,California College of the Arts) ■ MITCHELL Situating the Summer of Love / Peter Richardson (American Studies, SFSU) SCHWARZER ■ The Soundtrack of the Summer of Love / Nicholas Meriwether (Director, Center for Counterculture Studies) ■ m Performance: The China Cats / Scott Cooper.