The Manual of Psychedelic Support a Practical Guide to Establishing and Facilitating Care Services at Music Festivals and Other Events
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A Turf of Their Own
HAVERFORD COLLEGE HISTORY DEPARTMENT A Turf of Their Own The Experiments and Contradictions of 1960s Utopianism David Ivy-Taylor 4/22/2011 Submitted to James Krippner in partial fulfillment of History 400: Senior Thesis Seminar Table of Contents Abstract 3 Acknowledgements 4 INTRODUCTION 5 Historical Problem 5 Historical Background 7 Sources 14 AN AQUARIAN EXPOSITION 16 The Event 16 The Myth 21 Historical Significance 25 DISASTER AT ALTAMONT .31 The Event 31 Media Coverage 36 Historical Significance 38 PEOPLE'S PARK: "A TURF OF THEIR OWN" 40 The Event 40 Media Coverage 50 Historical Significance 51 THE SAN FRANCISCO DIGGERS, COMMUNES, AND THE HUMAN BE-IN 52 Communes 52 The Diggers 54 San Francisco 55 CONCLUSIONS 59 BIBLIOGRAPHY 61 2 ABSTRACT After WWII, the world had to adjust to new technologies, new scientific concepts, new political realities, and new social standards. While America was economically wealthy after the war, it still had to deal with extremely difficult social and cultural challenges. Due to these new aspects of life, there were increasing differences in both the interests and values of children and their parents, what we have learned to call the "generation gap". The "generational gap" between the youth culture and their parents meant a polarizing society, each hating and completely misunderstanding the other.. This eventually resulted in a highly political youth culture that was laterally opposed to the government. Through isolation, the counterculture began to develop new philosophies and new ways of thinking, and a huge part of that philosophy was the pursuit of a "Good Society", a utopian dream for world peace. -
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. -
Strange Dissertation Final Draft
Seeking Higher Ground: Contemporary Back-to-the-Land Movements in Eastern Kentucky by Jason George Strange A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Geography in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Michael Watts, Chair Professor Michael Johns Professor Michael Burawoy Fall 2013 Seeking Higher Ground: Contemporary Back-to-the-Land Movements in Eastern Kentucky © 2013 Jason George Strange Abstract Seeking Higher Ground: Contemporary Back-to-the-Land Movements in Eastern Kentucky By Jason George Strange Doctor of Philosophy in Geography University of California, Berkeley Professor Michael Watts, Chair When I was growing up in the beautiful Red Lick Valley in eastern Kentucky, I saw many families practicing intensive subsistence production. They grew large gardens, raised chickens for eggs and meat, built their own homes, and fixed their own cars and trucks. On the Yurok Reservation, I again saw a profound and ongoing engagement with hunting, gathering, and crafting activities – and then encountered contemporary subsistence yet again when I visited my wife’s childhood home in rural Ireland. When I began my graduate studies, however, I could find little reflection of these activities in either the scholarly record or popular media. When they were noticed at all, they were often targeted for stereotyped ridicule: contemporary homesteaders in the US were either remnant hippies from the ‘60s, or quaint mountain folks -
Neotrance and the Psychedelic Festival DC
Neotrance and the Psychedelic Festival GRAHAM ST JOHN UNIVERSITY OF REGINA, UNIVERSITY OF QUEENSLAND Abstract !is article explores the religio-spiritual characteristics of psytrance (psychedelic trance), attending speci"cally to the characteristics of what I call neotrance apparent within the contemporary trance event, the countercultural inheritance of the “tribal” psytrance festival, and the dramatizing of participants’ “ultimate concerns” within the festival framework. An exploration of the psychedelic festival offers insights on ecstatic (self- transcendent), performative (self-expressive) and re!exive (conscious alternative) trajectories within psytrance music culture. I address this dynamic with reference to Portugal’s Boom Festival. Keywords psytrance, neotrance, psychedelic festival, trance states, religion, new spirituality, liminality, neotribe Figure 1: Main Floor, Boom Festival 2008, Portugal – Photo by jakob kolar www.jacomedia.net As electronic dance music cultures (EDMCs) flourish in the global present, their relig- ious and/or spiritual character have become common subjects of exploration for scholars of religion, music and culture.1 This article addresses the religio-spiritual Dancecult: Journal of Electronic Dance Music Culture 1(1) 2009, 35-64 + Dancecult ISSN 1947-5403 ©2009 Dancecult http://www.dancecult.net/ DC Journal of Electronic Dance Music Culture – DOI 10.12801/1947-5403.2009.01.01.03 + D DC –C 36 Dancecult: Journal of Electronic Dance Music Culture • vol 1 no 1 characteristics of psytrance (psychedelic trance), attending specifically to the charac- teristics of the contemporary trance event which I call neotrance, the countercultural inheritance of the “tribal” psytrance festival, and the dramatizing of participants’ “ul- timate concerns” within the framework of the “visionary” music festival. -
All WAYS FREE
May you Always be... All WAYS FREE Caption describing picture or graphic. Summer 2015 ALL WAYS FREE 2015 2 Statement of Intent All Ways Free is an actualization of a need to expand communication among the people of the planet. We offer a forum for: sharing heartsongs, dreams, visions, and the realization of peace updates on the events of the world and those in our own backyards expressing creativity in po- etry, cartoons, short stories, drawings bringing increased awareness to the difficulties and problems facing us, as well as potential solutions, our progress and accomplishments most im- portantly, sharing of love for one another and our planet home All Ways Free is an inclusive experience, with input from any and all. A volunteer staff meets before each edition to combine the collective effort into a polished product. We have chosen not to sell All Ways Free, or any space within it. Instead, it flies on love, energy, money, and materials freely given. With this process we hope to bring about a shared vision of love, peace, justice, and freedom, through a strong, broad, common unity. All Ways Free is completely noncommercial, meaning it relies on YOU to keep it afloat with your donations. Likewise, it is a collaborative effort which needs creative family like YOU to help by writing articles and other original content for next summer's edition! To contact us for information on submissions or donations, email the current crew at [email protected] Rainbow Connection New York Albany Lightline: (518) 377-6662 Arcata Lighline:(707) -
Introduction in Their Thirty Years Together, the Grateful Dead Forever
Introduction In their thirty years together, the Grateful Dead forever altered the way in which popular music is performed, recorded, heard, marketed, and shared. Founding members Jerry Garcia, Bill Kreutzmann, Phil Lesh, Ron “Pigpen” McKernan, and Bob Weir took the name Grateful Dead in 1965, after incarnations as Mother McCree’s Uptown Jug Champions and The Warlocks. Despite significant changes in the band’s lineup, including the addition of Mickey Hart and the death of Ron McKernan, the band played together until Jerry Garcia’s death in 1995. From the beginning, the Grateful Dead distinguished themselves by their preference for live performance, musical and business creativity, and an unprecedented dedication to their fans. Working musicians rather than rock stars, the Dead developed a distinctive sound while performing as latter-day American troubadours, bringing audio precision to their live performances and the spontaneity of live performances to their studio work. Side-stepping the established rules of the recording industry, the Dead took control of the production and distribution of their music. With a similar business savvy, they introduced strategic marketing innovations that strengthened the bond with their fans. This exhibition, the first extensive presentation of materials from the Grateful Dead Archive housed at the University of California, Santa Cruz, testifies to the enduring impact of the Grateful Dead and provides a glimpse into the social upheavals and awakenings of the late twentieth century—a transformative period that profoundly shaped our present cultural landscape. Amalie R. Rothschild, Fillmore East Marquee, December 1969. Courtesy Amalie R. Rothschild Beginnings The Grateful Dead began their musical journey in the San Francisco Bay Area at a pivotal time in American history, when the sensibilities of the Beat generation coincided with the spirit of the burgeoning hippie movement. -
Rainbow Family of Living Light Three Articles by A
Rainbow Family of Living Light Three articles by A. Allen Butcher: • Rainbow 2002 - Annual Multi-Faith Gathering in the Wilderness • Review of People of the Rainbow: A Nomadic Utopia • Benefits of Rainbow Gatherings Lodge Circle, Wyoming, 1994 All photos except those of the Jerusalem Camp are by Allen Butcher Rainbow 2002 - Annual Multi-Faith Gathering in the Wilderness A. Allen Butcher, Denver, Colorado, July 2002 July 2nd, Watersmeet, Ottawa National Forest, Outside I asked around about conditions at the Upper Peninsula, Michigan. Gathering site. As usual the Forest Service was running interference while the Family was asserting It was overcast when we pulled into town and it had its First Amendment right to peaceably assemble on already been raining, yet it was warm and the rain Federal land without signing a Forest Service permit. was welcome as it meant that there’d no longer be I heard that earlier the Forest Service had torn down concern for forest fire in this region of pine, birch some collective kitchen shelters, confiscated personal and other mixed woodland. tents and belongings, given out tickets and fines, and made several arrests. On the Internet I’d read that When arriving in the locality of a Rainbow Gathering since the topsoil in the area was shallow with a clay site I always check out the scene in town as a way to subsoil, the water table was near the surface and there learn a little about how the Gathering is developing. were no springs to tap for the usual Rainbow water At the store there was a constant line of Rainbow system piping potable water to the major kitchens. -
Is Rock Music in Decline? a Business Perspective
Jose Dailos Cabrera Laasanen Is Rock Music in Decline? A Business Perspective Helsinki Metropolia University of Applied Sciences Bachelor of Business Administration International Business and Logistics 1405484 22nd March 2018 Abstract Author(s) Jose Dailos Cabrera Laasanen Title Is Rock Music in Decline? A Business Perspective Number of Pages 45 Date 22.03.2018 Degree Bachelor of Business Administration Degree Programme International Business and Logistics Instructor(s) Michael Keaney, Senior Lecturer Rock music has great importance in the recent history of human kind, and it is interesting to understand the reasons of its de- cline, if it actually exists. Its legacy will never disappear, and it will always be a great influence for new artists but is important to find out the reasons why it has become what it is in now, and what is the expected future for the genre. This project is going to be focused on the analysis of some im- portant business aspects related with rock music and its de- cline, if exists. The collapse of Gibson guitars will be analyzed, because if rock music is in decline, then the collapse of Gibson is a good evidence of this. Also, the performance of independ- ent and major record labels through history will be analyzed to understand better the health state of the genre. The same with music festivals that today seem to be increasing their popularity at the expense of smaller types of live-music events. Keywords Rock, music, legacy, influence, artists, reasons, expected, fu- ture, genre, analysis, business, collapse, -
Project Kosmicare – Boom Festival
Project Kosmicare – Boom Festival Nights Conference 2016 Maria Carmo Carvalho • 2002: for the first time at Boom, Liminal Village hosted an information stand about drugs and harm reduction • 2004: Kosmikiva (with the collaboration of MAPS). First time offered “psychedelic emergency services” at Boom. • 2006 - 2008: Kosmicare (with the collaboration of MAPS) • 2010 - …: Kosmicare Project Partnership (Boom Festival, Catholic University of Portugal, SICAD – Portuguese Government) • 2016: Kosmicare Association The Context: Boom Festival Since 1997 Over 35 000 people from over 150 countries (2014); 33 000/170 countries (2016) Biannual large-scale electronic dance music festival Independent culture and multidisciplinary artistic expression Strong values (humanism, sustainability, equality) “No logo” policy High investment in care of partygoers Several international awards in the field of sustainability But also Utopia (2014), Be-In (2015) – up to present only Good Mood, Lda Events. Kosmicare Activity 2010-2016 (N=1141) 40000 35000 30000 25000 20000 Total Festival Total Festival Participants 15000 10000 5000 0 Boom 2010 Boom 2012 Boom 2014 Utopia2014 Be-In2015 Boom 2016 Kosmicare Activity total people 22500 25000 37000 3000 2700 33000 Kosmicare Activity total KC 122 197 394 6 23 399 Kosmicare Visitors - Gender 160 140 120 100 80 60 40 20 0 Boom 2010 (N=122) Boom 2012 (N=197) Boom 2014 (n=119) Be-In 2015 (n=19) Boom 2016 (n=198) Kosmicare Visitors/Sex Male 82 135 76 15 114 Kosmicare Visitors/Sex Female 40 62 37 4 76 • 63,1% aged 19-29 yoa (2010) • 90,2% from European countries (2010); 40 nationalities in total (2016) Kosmicare Visitors - PAS 120 100 80 60 40 20 0 LSD MDMA Amph Cann Coc Ket 2CB Mush Alc Dox GHB Other Boom 2010 (N=122) 68 24 17 16 7 7 5 3 24 1 7 Boom 2012 (N=155) 90 41 9 38 7 12 6 5 32 7 15 Boom 2016 (n=197) 111 35 10 36 6 21 5 6 27 1 3 15 “Other” includes prescription pharms, NPS, opium derivatives, DMT/changa, etc. -
For Immediate Release
FOR IMMEDIATE RELEASE presents A TESTAMENT TO THE SHEER JOY OF LIVING A LIFE OF SERVICE TO HUMANKIND AND OUR PLANET THE WAVY GRAVY MOVIE: SAINT MISBEHAVIN' RELEASES NOVEMBER 15 ON DIGITAL AND DVD An unforgettable trip through the extraordinary life of a poet, clown, activist and FUNdraiser “’Saint Misbehavin’’ is an unabashed love letter to the world that defies the cynicism of our age.” – The New York Times September 19, 2011 – “Some people tell me I’m a saint, I tell them I’m Saint Misbehavin’.” Poet, activist, entertainer, clown. These are a few ways to describe Wavy Gravy, an activist and prominent figure during the Woodstock era who continues to spread a message that we can make a difference in the world and have fun doing it! THE WAVY GRAVY MOVIE paints a moving and surprising portrait of his lifelong passion for peace, justice and understanding. The film features extensive verité footage and interviews with Wavy telling his own stories: from communal life with The Hog Farm, to his circus and performing arts camp, Camp Winnarainbow, to the epic cross-continent bus trip through Europe and South Asia that led to the founding of the Seva Foundation. Award-winning director Michelle Esrick weaves together this compelling film with rare footage from key events: Greenwich Village beat poets and folk music, Woodstock, non- violent protests, and many seminal moments of the ‘60s and ‘70s, and Wavy’s present day life. The Gaslight Café The year was 1958. The Vietnam War had just begun. Born as Hugh Romney, Wavy commanded the stage as a poet, comedian “tongue dancer,” and MC at The Gaslight Café in New York City’s Greenwich Village. -
Boom Festival | Rehearsing the Future
Boom festival | Rehearsing the Future Music and the Prefiguration of Change by Saul Roosendaal 5930057 Master’s thesis Musicology August 2016 supervised by dr. Barbara Titus University of Amsterdam Boom festival | Rehearsing the future Contents Foreword .................................................................................................................................... 3 Introduction ................................................................................................................................ 4 1. A Transformational Festival ................................................................................................. 9 1.1 Psytrance and Celebration ........................................................................................... 9 1.2 Music and Culture ..................................................................................................... 12 1.3 Dance and Musical Embodiment .............................................................................. 15 1.4 Art, Aesthetics and Spirituality ................................................................................. 18 1.5 Summary ................................................................................................................... 21 2. Music and Power: Prefigurating Change ........................................................................... 23 2.1 Education: The Liminal Village as Forum ................................................................ 25 2.1.1 Drugs and Policies ......................................................................................... -
The 6Os Communes Messianic Communities) Bus at Bellows Falls) Vermont
The 6os Communes Messianic Communities) bus at Bellows Falls) Vermont. Photograph by Timothy Miller. TIMOTHY MILLER The 60s Communes Hippies and Beyond Syracuse UniversityPress Copyright © 1999 by Syracuse UniversityPress, Syracuse, New York 13244-5160 AllRights Reserved First Edition 1999 02 03 04 05 06 6 5 4 3 2 The paper used in this publication meets the minimum requirements of American National Standard forInformation Sciences-Permanence of Paper for Printed Library Materials, ANS I z39.48-1984.@ LIBRARY OF CONGRESS CATALOG ING -IN-PUBLICATI ON DATA Miller, Timothy, 1944- The 6os communes : hippies and beyond/ Timothy Miller. p. cm. Includes bibliographical references and index. ISBN 0-8156-2811-0 (cloth: alk. paper) ISBN 0-8156-0601-x (pbk.: alk. paper) I. Communal living-United States. 2. United States-Social conditions- 1960-1980. I. Title. II. Title: Sixties communes. III. Title: Hippies and beyond. HQ97I.M55 1999 307.77'4'0973-dc21 99-37768 Manufactured in the United States of America For Michael) Gretchen) andJeffre y TIMOTHY MILLER is professor of religious studies at the University of Kansas. Among his previous publica tions is The Quest forUt opia in Twentieth-CenturyAm erica: 1900-1960) the first of three volumes on communal life to be published by Syracuse UniversityPress. Contents Acknowledgments IX Introduction xm I. Set and Setting: The Roots of the 196os-Era Communes I 2. The New Communes Emerge: 1960-1965 17 3. Communes Begin to Spread: 1965-1967 41 4. Out of the Haight and Back to the Land: Countercultural Communes after the Summer of Love 67 5. Searching for a Common Center: Religious and Spiritual Communes 92 6.