DOCSLIB.ORG

Abraham Mark J 2014 Phd.Pdf (1.460Mb)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Abraham Mark J 2014 Phd.Pdf (1.460Mb) “You Are Your Own Alternative”: Performance, Pleasure, and the American Counterculture, 1965-1975 Mark Joseph Abraham A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN HISTORY YORK UNIVERSITY TORONTO, ONTARIO 9 May 2014 © Mark Joseph Abraham, 2014 Abstract “You Are Your Own Alternative” examines influential countercultural groups in the 1960s and 1970s. In opposition to historians who dismiss the politics of the counterculture and blame the counterculture for contributing to the collapse of social movement activism in the late 1960s and early 1970s, this dissertation highlights the intensely political and productive aspects of the counterculture. With case studies that focus on the Los Angeles Freaks, the San Francisco Diggers, the New York Yippies, and the lesbian feminists of Olivia Records, “You Are Your Own Alternative” demonstrates that the counterculture offered powerful political and performative challenges in this period. Countercultural activists valorized free expressions of sexuality; outlandishly adorned bodies; complex music; theatrical celebrations of community; and free access to collective resources like food, clothing, and health care. They staged participatory performance-based protests intended to seduce passersby into experiencing new paradigms of human interaction and expression. In joining in to act out, countercultural activists argued, new converts would discover, through performance and pleasure, their authentic selves. But while “You are Your Own Alternative” emphatically argues that each of the four countercultural groups it examines was radical, progressive, political, and thoughtful about the way it conceptualized the dominant order and the performance-based methods of activism that could be used to resist that order, it also critiques these countercultural groups for the limitations of their vision; for their problematic politics of race, class, gender, and sexuality; and for their failure to move beyond narrowly advocating for what I call “alternative norms,” which countercultural leaders suggested were simultaneously authentic and universal. The result is a set of arguments that casts new light on the counterculture and the changing nature of political protest and cultural resistance in the post-1960s era. ii Acknowledgements In writing and researching this dissertation, I owe a great debt to many people and organizations. The Social Sciences and Humanities Research Council of Canada, the Ontario Graduate Scholarship Program, the Phil Zwickler Memorial Research Grant program, the Faculty of Graduate Studies at York University, and the Graduate Program in History at York University have all generously provided financial support for this dissertation. This funding allowed me to conduct research at universities and independent archives in cities across the United States, including New York, Ithaca, Ann Arbor, Chicago, San Francisco, and Los Angeles. I feel incredibly blessed to have benefitted from the support and wisdom of a superb supervisory team. My supervisor Marc Stein deserves thanks for his guidance, enthusiasm, and support for this project from the earliest stages of its writing; his insight, questions, and clinical attention to detail have strengthened the writing and analysis of this dissertation in innumerable ways. I want to thank Molly Ladd-Taylor for her incisive critiques and her reminders to remember the broader intellectual context my subjects operated within, as well as for those many times where a carefully worded question directed at the larger purpose of this dissertation helped me to reframe and better articulate my arguments. Finally, I want to thank Anne Rubenstein for her encyclopedic knowledge of progressive (and not-so-progressive) artists, musicians, and performers; this dissertation is a better cultural history for her guidance and ideas. I would also like to thank the members of my examination committee. My work has also benefitted from the assistance of many archivists and librarians. In particular, I’d like to thank Brenda J. Marston at the Human Sexuality Collection at Cornell University, Julie Herrada at the Labadie Collection at the University of Michigan, Karen Sendziak at the Gerber/Hart Library and Archives in Chicago, and Terence Kissack at the GLBT iii Historical Society in San Francisco, as well as the general staffs of each archive for making me feel welcome and directing me towards critical materials that I would not have found otherwise. I would also like to thank everybody in the Graduate Program in History at York University that I have had the good fortune to know and work with during my time there. Due to time spent in their classrooms, Marlene Shore, Kate McPherson, Craig Heron, and Stephen Brooke have all had some effect on the contours of this dissertation. Thanks must also go to so many of my peers who I took classes with, attended talks and conferences with, and went out for drinks with. In particular, I’d like to thank the members of my U.S./Gender/Sexualities reading group for their insightful criticisms of much of this dissertation at various points in the process of its writing: Katie Bausch, Ian McPhedran, Healy Thompson, Natalie Gravelle, Mathieu Brûlé, Merrick Pilling, Liane Cheshire, and Nathan Wilson. Finally, for their friendship, support, and humor, I’d like to thank Christine Grandy, Laura Godsoe, Sean Kheraj, and Liz O’Gorek. For their support over the years, I’d like to thank my parents, Sarah and Ed Abraham, and my brother Neil and sister Jacquelyn. Finally, I owe all the gratitude and thanks that can be mustered to my partner, Leah Wahl, for her support, encouragement, patience, and love. In direct and indirect ways, her insight and observations about pop culture, music, and theater have helped to inform and shape this dissertation. iv Table of Contents Abstract ii Acknowledgements iii Table of Contents v Introduction: “The Free Part of Each of Us” 1 Chapter 1: “The Fire in the Heart”: The West Hollywood Freaks, 1964-67 30 Chapter 2: “Theater Is Territory”: The Haight-Ashbury Diggers, 1965-1967 87 Chapter 3: “Politics Is How You Live”: The Lower East Side Yippies, 1968-1970 143 Chapter 4: “Each of Us An Actress”: The Lesbian Nation Olivia Collective, 1973-1975 200 Conclusion: “Because We Wanted to Change the World” 258 Works Cited 276 v Introduction: “The Free Part of Each of Us”1 On 15 February 1969, the New York countercultural group Women’s International Conspiracy from Hell (WITCH) staged its Bridal Un-Fair protest during a bridal fair held at Madison Square Garden.2 In a 1968 manifesto, this “coven,” which included Robin Morgan, Jo Freeman, Judith Duffett, Naomi Jaffe, Florika, and Peggy Dobbin, described WITCH as “an all-women Everything. It’s theater, revolution, magic, terror, joy.” The manifesto depicts witches as “nonconformist, explorative, curious, independent, sexually liberated, revolutionary”: Witches…bowed to no man, being the living remnants of the oldest culture of all ... before the … Imperialist Phallic Society took over and began to destroy nature and human society. WITCH summed up these ideas with a simple assertion: a witch was “the free part of each of us,” a revolutionary impulse that “lives and laughs in every woman.” In practice and language, WITCH played with classic witch iconography—hats, brooms, and hexes—but at heart the group asserted that a woman’s true identity was joyous, pleasurable, and sisterly.3 WITCH described the Bridal Un-Fair as a hex. Through cultural performance and creative expression, WITCH asked women attending the fair to consider the emphasis the dominant order placed on a subordinate role for women in marriage and on the notion that women were allowed an “identity only as an appendage to a man.” While not necessarily anti-marriage or anti-male, the Bridal Un-Fair celebrated the “unmarried girl” who was “considered a freak—a lesbian, or a castrating career girl, a fallen woman, a bitch, ‘unnatural,’ a frustrated old maid, sick.” 1 WITCH, “New York Covens,” reproduced in Sisterhood is Powerful: An Anthology of Writings from the Women’s Liberation Movement, ed. Robin Morgan (New York: Vintage Books, 1970), 539-540. 2 See Alice Echols, Daring to Be Bad: Radical Feminism in America, 1967–1975 (Minneapolis: University of Minnesota Press, 1989), 97-98; Eva S. Moscowitz, In Therapy We Trust: America’s Obsession with Self-Fulfillment (Baltimore: John Hopkins University Press, 2001), 211; Debra Michals, “From ‘Consciousness Expansion’ to ‘Consciousness Raising’: Feminism and the Countercultural Politics of the Self,” in Imagine Nation: The American Counterculture of the 1960s and ‘70s, ed. Peter Braunstein and Michael William Doyle (New York: Routledge, 2002), 55; Stephen Voyce, Poetic Community: Avant-Garde Activism and Cold War Culture (Toronto: University of Toronto Press, 2013), 178. 3 WITCH, “New York Covens,” 539-540. 1 According to WITCH, the reality was the opposite: “the bride is alone.” American middle-class culture encouraged “vulnerable young girls to be dutiful, uncomplaining … brand-conscious consumers.” Its imperatives, which WITCH labeled “empty Hollywood-Madison Avenue dreams,” suppressed women’s natural impulses for laughter and solidarity. What the dominant order labeled “unnatural” was, in fact, a natural, authentic identity for women.4 The protest was organized under the slogan “Confront the Whore-makers.” The women of WITCH entered the fair wearing
Load more

Recommended publications
  • Weather Underground Rises from the Ashes: They're Baack!
    Weather Underground Rises from the Ashes: They're Baack! I attended part of a January 20, 2006, "day workshop of interventions" — aka "a day of dialogic interventions" — at Columbia University on "Radical Politics and the Ethics of Life."[1] The event aimed "to stage a series of encounters . to bring to light . the political aporias [sic] erected by the praxis of urban guerrilla groups" in Europe and the United States from the 1960s to the 80s.[2] Hosted by Columbia's Anthropology Department, workshop speakers included veterans and leaders of the Weather Underground Bernardine Dohrn and Bill Ayers, historian Jeremy Varon, poststructuralist theorist Gayatri Chakravorty Spivak and a dozen others. The panel I sat through was just awful.[3] Veterans of Weather (as well as some fans) seem to be on a drive to rehabilitate, cleanse, and perhaps revive it — not necessarily as a new organization, but rather as an ideological component of present and future movements. There have been signs of such a sanitization and romanticization for some time. A landmark in this rehabilitation is Bill Ayers, Fugitive Days: A Memoir (Beacon Press 2001; Penguin Books 2003). This is a dubious account, full of anachronisms, inaccuracies, unacknowledged borrowings from unnamed sources (such as the documentary, Atomic Cafe, 17-19), adding up to an attempt to cover over the fact that Ayers was there only for a part of the things he describes in a volume that nonetheless presents itself as a memoir. It's also faux literary and soft core ("warm and wet and welcoming"(68)), "ruby mouth"(38), "she felt warm and moist"(81)), full of archaic sexism, littered with boasts of Ayers's sexual achievements, utterly untouched by feminism.
    [Show full text]
  • The Politics of Revolutionary Anti-Imperialism
    FIRE THE POLITICS OF REVOLUTIONARY ANTI-IMPERIALISM ---- - ... POLITICAL STATEMENT OF THE UND£ $1.50 Prairie Fire Distributing Lo,rnrrntte:e This edition ofPrairie Fire is published and copyrighted by Communications Co. in response to a written request from the authors of the contents. 'rVe have attempted to produce a readable pocket size book at a re'ls(m,tbl.e cost. Weare printing as many as fast as limited resources allow. We hope that people interested in Revolutionary ideas and events will morc and better editions possible in the future. (And that this edition at least some extent the request made by its authors.) PO Box 411 Communications Co. Times Plaza Sta. PO Box 40614, Sta. C Brooklyn, New York San FrancisQ:O, Ca. 11217 94110 Quantity rates upon request to Peoples' Bookstores and Community organiza- tlOBS. PRAIRIE FIRE THE POLITICS OF REVOLUTIONARY ANTI-IMPERIALISM POLITICAL STATEMENT , OF THE WEATHER Copyright © 1974 by Communications Co. UNDERGROUND All rights reserved The pUblisher's copyright is not intended to discourage the use ofmaterial from this book for political debate and study. It is intended to prevent false and distorted reproduction and profiteering. Aside from those limits, people are free to utilize the material. This edition is a copy of the original which was Printed Underground In the US For The People Published by Communications Co. 1974 +h(~ of OlJr(1)mYl\Q~S tJ,o ~Q.Ve., ~·Ir tllJ€~ it) #i s\-~~\~ 'Yt)l1(ch ~, \~ 10 ~~\ d~~~ee.' l1~rJ 1I'bw~· reU'w) ~it· e\rrp- f'0nit'l)o yralt· ~YZlpmu>I')' ca~-\e.v"C2lmp· ~~ ~[\.ll10' ~li~ ~n.
    [Show full text]
  • Fall 2008 Mackinaw City!
    O P E N E N T R Y Volume 36 Newsletter of the Michigan Archival Association No. 2 http://www.maasn.org Fall 2008 Mackinaw City! Wayne State staffers know how to party at MAA’s 50th Anniversary Reception, June 12, 2008! Left to right: Elizabeth Clemens, Mary Wallace, Kristen Chinery (all from the Walter P. Reuther Library) and Suzan Altieri (Purdy/ Kresge Library). The reception at the Annual Meeting was generously sponsored by Graphic Sciences and University Products. HIGHLIGHTS 3 President’s Corner 4 Philip P. Mason AASLH Award Winner 8 Michigan Collections 12 Annual Meeting Retrospective Mackinaw City 22 Marshall: Looking Forward to 2009 26 MAA Pride - CafePress Online Store Open Entry Fall 2008 1 Table of Contents http://www.maasn.org Board Members 2 President’s Corner 3 Philip P. Mason AASLH Award Winner 4 Connections and Collaborations: Undergraduates as Interns 5 New Board Members 6 MAA Scholarship Award Winner 7 Michigan Collections 8 Archive Media Partners Advertisement 8 Annual Meeting Retrospective Mackinaw City 2008 12 Grant Program Guidelines 21 Marshall: Looking Forward to MAA 2009 22 Donate to Annual Raffle 23 Archives and Paper Conservation Information 24 Michigan Oral History Association 25 Cultural Emergency Response Team 25 MAA Election Results 25 Open Entry is a biannual publication of the MAA Pride - CafePress Online Store 26 Michigan Archival Association New Dues Structure for 2009 26 Editor, Robert Garrett Production Editor, Cynthia Read Miller Dues Renewal Form for 2009 27 All submissions should be directed to: Calendar of Events: 2008-2009 28 Robert Garrett at [email protected] Photograph Sources 28 Archives of Michigan 702 W.
    [Show full text]
  • (DE)SUBJUGATED KNOWLEDGES.Pdf
    (De)Subjugated Knowledges An Introduction to Transgender Studies Susan Stryker In , I found myself standing in line for my turn at the microphone in the Proshansky Auditorium of the Graduate Center of the City University of New York. I was attending a conference called “Lesbian and Gay History,” organized by the Center for Lesbian and Gay Studies (CLAGS). I had just attended a panel discussion on “Gender and the Homosexual Role,” moderated by Randolph Trumbach, whose speakers consisted of Will Roscoe, Martha Vicinus, George Chauncey, Ramon Gutierrez, Elizabeth Kennedy, and Martin Manalansan. I had heard a great many interesting things about fairies and berdaches (as two-spirit Native Americans were still being called), Corn Mothers and molly-houses, passionate female friendships, butch-femme dyads, and the Southeast Asian gay diaspora, but I was nevertheless standing in line to register a protest. Each of the panelists was an intellectual star in his or her own right, but they were not, I thought, taken collectively, a very gender- diverse lot. From my perspective, with a recently claimed transsexual identity, they all looked pretty much the same: like nontransgender people. A new wave of transgender scholarship, part of a broader queer intellectual movement was, by that point in time, already a few years old. Why were there no transgender speakers on the panel? Why was the entire discussion of “gender diversity” subsumed within a discussion of sexual desire—as if the only reason to express gender was to signal the mode of one’s attractions and availabilities to potential sex partners? As I stood in line, trying to marshal my thoughts and feelings into what I hoped would come across as an articulate and eloquent critique of gay historiography rather than a petulant complaint that no- body had asked me to be on that panel, a middle-aged white man on the other side of the auditorium reached the front of the other queue for the other microphone and began to speak.
    [Show full text]
  • 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.
    [Show full text]
  • Archiving Possibilities with the Victorian Freak Show a Dissertat
    UNIVERSITY OF CALIFORNIA RIVERSIDE “Freaking” the Archive: Archiving Possibilities With the Victorian Freak Show A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Ann McKenzie Garascia September 2017 Dissertation Committee: Dr. Joseph Childers, Co-Chairperson Dr. Susan Zieger, Co-Chairperson Dr. Robb Hernández Copyright by Ann McKenzie Garascia 2017 The Dissertation of Ann McKenzie Garascia is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS This dissertation has received funding through University of California Riverside’s Dissertation Year Fellowship and the University of California’s Humanities Research Institute’s Dissertation Support Grant. Thank you to the following collections for use of their materials: the Wellcome Library (University College London), Special Collections and University Archives (University of California, Riverside), James C. Hormel LGBTQIA Center (San Francisco Public Library), National Portrait Gallery (London), Houghton Library (Harvard College Library), Montana Historical Society, and Evanion Collection (the British Library.) Thank you to all the members of my dissertation committee for your willingness to work on a project that initially described itself “freakish.” Dr. Hernández, thanks for your energy and sharp critical eye—and for working with a Victorianist! Dr. Zieger, thanks for your keen intellect, unflappable demeanor, and ready support every step of the process. Not least, thanks to my chair, Dr. Childers, for always pushing me to think and write creatively; if it weren’t for you and your Dickens seminar, this dissertation probably wouldn’t exist. Lastly, thank you to Bartola and Maximo, Flora and Martinus, Lalloo and Lala, and Eugen for being demanding and lively subjects.
    [Show full text]
  • Pandoras Box CD-List 06-2006 Short
    Pandoras Box CD-list 06-2006 short.xls Form ARTIST TITLE year No Label price CD 2066 & THEN Reflections !! 1971 SB 025 Second Battle 15,00 € CD 3 HUEREL 3 HUEREL 1970-75 WPC6 8462 World Psychedelic 17,00 € CD 3 HUEREL Huerel Arisivi 1970-75 WPC6 8463 World Psychedelic 17,00 € CD 3SPEED AUTOMATIC no man's land 2004 SA 333 Nasoni 15,00 € CD 49 th PARALLELL 49 th PARALLELL 1969 Flashback 008 Flashback 11,90 € CD 49TH PARALLEL 49TH PARALLEL 1969 PACELN 48 Lion / Pacemaker 17,90 € CD 50 FOOT HOSE Cauldron 1968 RRCD 141 Radioactive 14,90 € CD 7 th TEMPLE Under the burning sun 1978 RRCD 084 Radioactive 14,90 € CD A - AUSTR Music from holy Ground 1970 KSG 014 Kissing Spell 19,95 € CD A BREATH OF FRESH AIR A BREATH OF FRESH AIR 196 RRCD 076 Radioactive 14,90 € CD A CID SYMPHONY FISCHBACH AND EWING - (21966CD) -67 GF-135 Gear Fab 14,90 € CD A FOOT IN COLDWATER A Foot in coldwater 1972 AGEK-2158 Unidisc 15,00 € CD A FOOT IN COLDWATER All around us 1973 AGEK-2160 Unidisc 15,00 € CD A FOOT IN COLDWATER best of - Vol. 1 1973 BEBBD 25 Bei 9,95 € CD A FOOT IN COLDWATER best of - Vol. 2 1973 BEBBD 26 Bei 9,95 € CD A FOOT IN COLDWATER The second foot in coldwater 1973 AGEK-2159 Unidisc 15,00 € CD A FOOT IN COLDWATER best of - (2CD) 1972-73 AGEK2-2161 Unidisc 17,90 € CD A JOINT EFFORT FINAL EFFORT 1968 RRCD 153 Radioactive 14,90 € CD A PASSING FANCY A Passing Fancy 1968 FB 11 Flashback 15,00 € CD A PASSING FANCY A Passing Fancy - (Digip.) 1968 PACE-034 Pacemaker 15,90 € CD AARDVARK Aardvark 1970 SRMC 0056 Si-Wan 19,95 € CD AARDVARK AARDVARK - (lim.
    [Show full text]
  • 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.
    [Show full text]
  • The Sixties Counterculture and Public Space, 1964--1967
    University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Spring 2003 "Everybody get together": The sixties counterculture and public space, 1964--1967 Jill Katherine Silos University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation Silos, Jill Katherine, ""Everybody get together": The sixties counterculture and public space, 1964--1967" (2003). Doctoral Dissertations. 170. https://scholars.unh.edu/dissertation/170 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • Exhibition Catalogue
    Work for the People (or Forget about Fred Hampton) "If you ever think about me, & if you ain’t gonna do no revolutionary act, forget about me. I don’t want myself on your mind if you’re not gonna work for the people." — Fred Hampton Work/Play, More Power to the People ​ Introduction On August 23rd, 1968, the eve of the Democratic National Convention in Chicago, members of the Youth International Party nominated a pig for president of the United States. The ring leaders of this gesture, the Chicago Seven, were put on trial for disorderly conduct in what has since become one of the most iconic farces of criminal justice in United States history. On August 23rd, 2018, the trial was restaged at Maria’s Packaged Goods & Community Bar in Bridgeport. 50 years after her nomination, Pigasus flew again. So too would the memories, lessons, riots, murders, celebrations, & mournings of her age. A few blocks down Morgan Street, a small group of gallerists were planning their own tribute to the year nineteen hundred & sixty-eight. Local & national artists & revolutionaries occupied the Co-Prosperity Sphere via body & object from August 31st to September 30th - a month of unearthing pasts, undermining presents, & conjuring futures. This document hopes to bring these objects & happenings into one of these futures: one where they are unnecessary - redundant - dated; a future which learns from futures past & present; a prescient future; & a future which allows anniversaries to become celebrations. - Luke Cimarusti Participating Artists: Brandon Alvendia, Sofia Córdova, Jim ​ DeRogatis, Jim Duignan, Chris Duncan, Lise Haller Baggesen, Robby Herbst, the Justseeds Artists’ Cooperative, Jason Lazarus, Jesse Malmed, Nicole Marroquin, Jennifer Moon, Josh Rios + Anthony Romero + ​ Matthew Joynt, Emilio Rojas, Dan S.
    [Show full text]
  • Lord Jim Mythos of a Rock Icon Table of Contents
    Lord Jim Mythos of a Rock Icon Table of Contents Prologue: So What? pp. 4-6 1) Lord Jim: Prelude pp. 7-8 2) Some Preliminary Definitions pp. 9-10 3) Lord Jim/The Beginning of the Morrison Myth pp. 11-16 4) Morrison as Media Manipulator/Mythmaker pp. 17-21 5) The Morrison Story pp. 18-24 6) The Morrison Mythos pp. 25-26 7) The Mythic Concert pp. 27-29 8) Jim Morrison’s Oedipal Complex pp. 30-36 9) The Rock Star as World Savior pp. 37-39 10) Morrison and Elvis: Rock ‘n’ Roll Mythology pp. 40-44 11) Trickster, Clown (Bozo), and Holy Fool pp. 45-50 12) The Lords of Rock and Euhemerism pp. 51-53 13) The Function of Myth in a Desacralized World: Eliade and Campbell pp. 54- 55 14) This is the End, Beautiful Friend pp. 56-60 15) Appendix A: The Gospel According to James D. Morrison pp. 61-64 15) Appendix B: Remember When We Were in Africa?/ pp. 65-71 The L.A. Woman Phenomenon 16) Appendix C: Paper Proposal pp. 72-73 Prologue: So What? Unfortunately, though I knew this would happen, it seems to me necessary to begin with a few words on why you should take the following seriously at all. An academic paper on rock and roll mythology? Aren’t rock stars all young delinquents, little more evolved than cavemen, who damage many an ear drum as they get paid buckets of money, dying after a few years of this from drug overdoses? What could a serious scholar ever possibly find useful or interesting here? Well, to some extent the stereotype holds true, just as most if not all stereotypes have a grain of truth to them; yet it is my studied belief that usually the rock artists who make the big time are sincere, intelligent, talented, and have a social conscience.
    [Show full text]
  • STONEWALL INN, 51-53 Christopher Street, Manhattan Built: 1843 (51), 1846 (53); Combined with New Façade, 1930; Architect, William Bayard Willis
    Landmarks Preservation Commission June 23, 2015, Designation List 483 LP-2574 STONEWALL INN, 51-53 Christopher Street, Manhattan Built: 1843 (51), 1846 (53); Combined with New Façade, 1930; architect, William Bayard Willis Landmark Site: Borough of Manhattan, Tax Map Block 610, Lot 1 in part consisting of the land on which the buildings at 51-53 Christopher Street are situated On June 23, 2015 the Landmarks Preservation Commission held a public hearing on the proposed designation of the Stonewall Inn as a New York City Landmark and the proposed designation of the related Landmark Site (Item No.1). The hearing had been duly advertised in accordance with the provisions of the law. Twenty-seven people testified in favor of the designation including Public Advocate Letitia James, Council Member Corey Johnson, Council Member Rosie Mendez, representatives of Comptroller Scott Stringer, Congressman Jerrold Nadler, Assembly Member Deborah Glick, State Senator Brad Hoylman, Manhattan Borough President Gale A. Brewer, Assembly Member Richard N. Gottfried, the Greenwich Village Society for Historic Preservation, the Real Estate Board of New York, the Historic Districts Council, the New York Landmarks Conservancy, the Family Equality Council, the National Trust for Historic Preservation, the National Parks Conservation Association, SaveStonewall.org, the Society for the Architecture of the City, and Parents and Friends of Lesbians and Gays, New York City, as well as three participants in the Stonewall Rebellion—Martin Boyce, Jim Fouratt, and Dr. Gil Horowitz (Dr. Horowitz represented the Stonewall Veterans Association)—and historians David Carter, Andrew Dolkart, and Ken Lustbader. In an email to the Commission on May 21, 2015 Benjamin Duell, of Duell LLC the owner of 51-53 Christopher Street, expressed his support for the designation.
    [Show full text]