The Emergence of a Counterculture – History Alive Lesson 49 Adapted from and History Alive!
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The Counterculture Listen Listen Listen Listen the Counterculture a Time of Change a Time of Change
1 The Counterculture TEKS 20(A), 20(B), 20(C), 20(E) 2 Listen During the 1960s and 1970s the values of many young Americans ran counter to those of traditional American culture. Those in this counterculture promoted freedom and individuality and challenged the authority of mainstream America. Their freer fashions and styles, like working- class clothing and long hair and beards, rejected the stiffness of the corporate world. Often they identified with the poor and downtrodden. 3 Listen The new generation also demanded freedom in personal relationships, leading to a “sexual revolution.” Young men and women experimented with different living arrangements, including living together outside of marriage. Part of this new freedom involved using psychedelic drugs. Drug use, especially marijuana, became more widespread. 4 Listen Music also contributed to the cultural changes of the 1960s, with popular youth rock groups such as the Beatles and the Rolling Stones. Symbolic of the new wave of music was the 1969 gathering of counterculture youth at the Woodstock festival in upstate New York. Some 400,000 people listened to major rock bands and enjoyed fellowship with each other. Some looked at it as a model for the new, more peaceful world. 5 Listen Many others, both young and old, deplored Woodstock, disturbed by what they saw as a rejection of traditional morals and important mainstream values. By the 1980s the young people of the counterculture had grown older, and most, who came from middle- class America, drifted back into the mainstream culture. 6 The Counterculture 1. What social changes were promoted by the counterculture? 2. -
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. -
The Big Bopper Died for Your Sins
Concordia Seminary - Saint Louis Scholarly Resources from Concordia Seminary Master of Divinity Thesis Concordia Seminary Scholarship 3-1-1970 The iB g Bopper Died For Your Sins: A Study of the Function of Rock as a Form of Religious Expression inn the World of Youth John Metzig Concordia Seminary, St. Louis, [email protected] Follow this and additional works at: https://scholar.csl.edu/mdiv Part of the Practical Theology Commons Recommended Citation Metzig, John, "The iB g Bopper Died For Your Sins: A Study of the Function of Rock as a Form of Religious Expression inn the World of Youth" (1970). Master of Divinity Thesis. 101. https://scholar.csl.edu/mdiv/101 This Thesis is brought to you for free and open access by the Concordia Seminary Scholarship at Scholarly Resources from Concordia Seminary. It has been accepted for inclusion in Master of Divinity Thesis by an authorized administrator of Scholarly Resources from Concordia Seminary. For more information, please contact [email protected]. TABLE OF CONTENTS Content Page I. THE• INTRODUCTION 1 II. THE PAPER . 3 III. THE FOOTNOTES BIBLIOGRAPHY 34 INTRODUCTION I'm not trying to cause a big sensation I'm just ttitkirtg 'bout my generation. -Peter Townshend (for The Who) 1 The problem with trying to write a paper on the subject of rock is that the field is so diverse and varied that it is all but impossible to describe everything in complete detail. Furthermore, the entire subject of the effects of rock on a listening audience varies considerably from listener to listener. The teen-ager just likes, the sound of the music and the feelings that the music brings out in him, while the adult still thinks of rock as a lot of noise no matter how many magazine articles they read or TV programs they see. -
The Counterculture of the 1960S in the United States: an ”Alternative Consciousness”? Mélisa Kidari
The Counterculture of the 1960s in the United States: An ”Alternative Consciousness”? Mélisa Kidari To cite this version: Mélisa Kidari. The Counterculture of the 1960s in the United States: An ”Alternative Conscious- ness”?. Literature. 2012. dumas-00930240 HAL Id: dumas-00930240 https://dumas.ccsd.cnrs.fr/dumas-00930240 Submitted on 14 Jan 2014 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. The Counterculture of the 1960s in the United States: An "Alternative Consciousness"? Nom : KIDARI Prénom : Mélisa UFR ETUDES ANGLOPHONES Mémoire de master 1 professionnel - 12 crédits Spécialité ou Parcours : parcours PLC Sous la direction de Andrew CORNELL Année universitaire 2011-2012 The Counterculture of the 1960s in the United States: An "Alternative Consciousness"? Nom : KIDARI Prénom : Mélisa UFR ETUDES ANGLOPHONES Mémoire de master 1 professionnel - 12 crédits Spécialité ou Parcours : parcours PLC Sous la direction de Andrew CORNELL Année universitaire 2011-2012 Acknowledgements I would like to thank Mr. Andrew Cornell for his precious advice and his -
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. -
Tripping with Stephen Gaskin: an Exploration of a Hippy Adult Educator
The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2012 Tripping With Stephen Gaskin: An Exploration of a Hippy Adult Educator Gabriel Patrick Morley University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Adult and Continuing Education Administration Commons, Civic and Community Engagement Commons, Critical and Cultural Studies Commons, Curriculum and Social Inquiry Commons, Educational Methods Commons, and the Educational Sociology Commons Recommended Citation Morley, Gabriel Patrick, "Tripping With Stephen Gaskin: An Exploration of a Hippy Adult Educator" (2012). Dissertations. 808. https://aquila.usm.edu/dissertations/808 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi TRIPPING WITH STEPHEN GASKIN: AN EXPLORATION OF A HIPPY ADULT EDUCATOR by Gabriel Patrick Morley Abstract of a Dissertation Submitted to the Graduate School of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Education May 2012 ABSTRACT TRIPPING WITH STEPHEN GASKIN: AN EXPLORATION OF A HIPPY ADULT EDUCATOR by Gabriel Patrick Morley May 2012 For the last 40 years, Stephen Gaskin has been an adult educator on the fringe, working with tens of thousands of adults in the counterculture movement in pursuit of social change regarding marijuana legalization, women’s rights, environmental justice issues and beyond. Gaskin has written 11 books about his experiences teaching and learning with adults outside the mainstream, yet, he is virtually unknown in the field of adult education. -
The Commune Movement During the 1960S and the 1970S in Britain, Denmark and The
The Commune Movement during the 1960s and the 1970s in Britain, Denmark and the United States Sangdon Lee Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of History September 2016 i The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement ⓒ 2016 The University of Leeds and Sangdon Lee The right of Sangdon Lee to be identified as Author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988 ii Abstract The communal revival that began in the mid-1960s developed into a new mode of activism, ‘communal activism’ or the ‘commune movement’, forming its own politics, lifestyle and ideology. Communal activism spread and flourished until the mid-1970s in many parts of the world. To analyse this global phenomenon, this thesis explores the similarities and differences between the commune movements of Denmark, UK and the US. By examining the motivations for the communal revival, links with 1960s radicalism, communes’ praxis and outward-facing activities, and the crisis within the commune movement and responses to it, this thesis places communal activism within the context of wider social movements for social change. Challenging existing interpretations which have understood the communal revival as an alternative living experiment to the nuclear family, or as a smaller part of the counter-culture, this thesis argues that the commune participants created varied and new experiments for a total revolution against the prevailing social order and its dominant values and institutions, including the patriarchal family and capitalism. -
The Social and (Counter)Cultural 1960S in the USA, Transatlantically Mckay, GA
The social and (counter)cultural 1960s in the USA, transatlantically McKay, GA Title The social and (counter)cultural 1960s in the USA, transatlantically Authors McKay, GA Type Book Section URL This version is available at: http://usir.salford.ac.uk/id/eprint/2288/ Published Date 2005 USIR is a digital collection of the research output of the University of Salford. Where copyright permits, full text material held in the repository is made freely available online and can be read, downloaded and copied for non-commercial private study or research purposes. Please check the manuscript for any further copyright restrictions. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. The social and (counter)cultural 1960s in the USA, transatlantically George McKay The movement was a loose coalition, and alliances often defined it. Students, clergy, intellectuals often marched first, and later they were joined by many others, from ecologists to hippies to women’s liberationists.… [W]hen cultural activists in Ann Arbor, Michigan, met [in 1969] to discuss drugs in the city representatives appeared from the White Panthers, Black Berets, God’s Children Motorcycle Club, the Sunnygoode Street Commune, and Congolian Maulers, a ‘commune of art, music, and general freaks’. Terry H. Anderson, The Movement and the Sixties (1995, xi) Hippies … constituted themselves as walking critiques of bureaucratic rationality.… By the late 1960s ‘freakified’ youth were exploring new aspects of self-hood which they had never previously thought existed. Indulgence in drug experiences, sex, communal activities, be-ins, sit-ins, demonstrations, riots, busts, trips with no destination in particular, not only gave subculture members a set of common experiences, but also opened up vast new capacities of self-hood for exploration. -
Dewdrop Beaded Bead. Beadwork: ON12, 24-26 Bead Four: Treasure Trove Beaded Bead
Beadwork Index through December 2017/January 2018 Issue abbreviations: D/J =December/January FM = February/March AM = April/May JJ = June/July AS=August/September ON=October/November This index covers Beadwork magazine, and special issues of Super Beadwork. To find an article, translate the issue/year/page abbreviations (for example, “Royal duchess cuff. D10/J11, 56-58” as Beadwork, December 2011/January 2012 issue, pages 56-58.) Website = www.interweave.com or beadingdaily.com Names: the index is being corrected over time to include first names instead of initials. These corrections will happen gradually as more records are corrected. Corrections often appear in later issues of Beadwork magazine, and the index indicates these. Many corrections, including the most up-to-date ones, are also found on the website. 15th Anniversary Beaded Bead Contest Bead five: dewdrop beaded bead. Beadwork: ON12, 24-26 Bead four: treasure trove beaded bead. Beadwork: AS12, 22-24 Bead one: seeing stars. Beadwork: FM12, 18-19 Bead three: stargazer beaded bead. Beadwork: JJ12, 20-22 Bead two: cluster beaded bead. Beadwork: AM12, 20-23 Beaded bead contest winners. Beadwork: FM13, 23-25 1800s-era jewelry Georgian jewels necklace. Beadwork: D14/J15, 80-81 1900s-era jewelry Bramble necklace. Beadwork: AS13, 24-27 Royal duchess cuff. Beadwork: D10/J11, 56-58 1920s-era jewelry Art Deco bracelet. Beadwork: D13/J14, 34-37 Modern flapper necklace. Beadwork: AS16, 70-72 1950s-era jewelry Aurelia necklace. Beadwork: D10/J11, 44-47 2-hole beads. See two-hole beads 20th anniversary of Beadwork Beadwork celebrates 20 years of publication. -
Shawyer Dissertation May 2008 Final Version
Copyright by Susanne Elizabeth Shawyer 2008 The Dissertation Committee for Susanne Elizabeth Shawyer certifies that this is the approved version of the following dissertation: Radical Street Theatre and the Yippie Legacy: A Performance History of the Youth International Party, 1967-1968 Committee: Jill Dolan, Supervisor Paul Bonin-Rodriguez Charlotte Canning Janet Davis Stacy Wolf Radical Street Theatre and the Yippie Legacy: A Performance History of the Youth International Party, 1967-1968 by Susanne Elizabeth Shawyer, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May, 2008 Acknowledgements There are many people I want to thank for their assistance throughout the process of this dissertation project. First, I would like to acknowledge the generous support and helpful advice of my committee members. My supervisor, Dr. Jill Dolan, was present in every stage of the process with thought-provoking questions, incredible patience, and unfailing encouragement. During my years at the University of Texas at Austin Dr. Charlotte Canning has continually provided exceptional mentorship and modeled a high standard of scholarly rigor and pedagogical generosity. Dr. Janet Davis and Dr. Stacy Wolf guided me through my earliest explorations of the Yippies and pushed me to consider the complex historical and theoretical intersections of my performance scholarship. I am grateful for the warm collegiality and insightful questions of Dr. Paul Bonin-Rodriguez. My committee’s wise guidance has pushed me to be a better scholar. -
Revolutionary Theatricality: Dramatized American Protest, 1967-1968
Revolutionary Theatricality: Dramatized American Protest, 1967-1968 Angela Rothman University of Oregon Rothman 1 American protest against the political and social establishment grew between the years 1967 and 1968 because dramatic aspects of rebellion manifested in theatrical methods. Prominent examples of these protests include the San Francisco Mime Troupe, the production of Paradise Now by the Living Theatre, the Broadway cast production of the musical Hair, and the Festival of Life by the Yippie Movement1 at the Chicago Democratic National Convention. During this intense period of domestic conflict, these activists embraced the revolutions of radical theater as visible forms of protest. Theatrical performance is a major presentation performed by actors and interpreted by audiences, both politically and socially. In an America embroiled in war and cultural conflict, the actors in social groups used revolutionary strategies to express the need for changes in society. Naomi Feigelson’s The Underground Revolution: Hippies, Yippies, and Others argues that politics meshed with theater in “the insistence on involvement, the need for each person to feel part of life.” 2 Doing so made “the spectator part of the action, [in] a drive for liberation and personal expression.” 3 Both Broadway and off-Broadway theater companies, as well as activists like the Yippies, created a platform for their messages and invited spectators to join the drama. While political theater was not a new art form, experimental theater methods decisively influenced performative protests in the late 1960s. They demonstrated their theatrical protest in the call to, and act of, revolution. Stephan Mark Halpern writes that as “the war in Vietnam dragged on and on it seemed to expose the unresponsiveness of government and the weaknesses in American society;” this instability coupled with social repression made a volatile mixture. -
Music, Culture, and the Rise and Fall of the Haight Ashbury Counterculture
Zaroff 1 A Moment in the Sun: Music, Culture, and the Rise and Fall of the Haight Ashbury Counterculture Samuel Zaroff Honors Thesis Submitted to the Department of History, Georgetown University Advisor: Professor Maurice Jackson Honors Program Chairs: Professor Katherine Benton-Cohen and Professor Alison Games 6 May 2019 Zaroff 2 Table of Contents Introduction 4 Historiography 8 Chapter I: Defining the Counterculture 15 Protesting Without Protest 20 Cultural Exoticism in the Haight 24 Chapter II: The Music of the Haight Ashbury 43 Musical Exoticism: Jefferson Airplane’s “White Rabbit” 44 Assimilating African American Musical Culture: Big Brother and the Holding Company’s “Summertime” 48 Music, Drugs, and Hendrix: “Purple Haze” 52 Protesting Vietnam: Country Joe and the Fish’s “I-Feel-Like-I’m Fixin’-to-Die-Rag” 59 Folk, Nature, and the Grateful Dead: “Morning Dew” and the Irony of Technology 62 Chapter III: The End of the Counterculture 67 Overpopulation 67 Commercialization 72 Hard Drugs 74 Death of the Hippie Ceremony 76 “I Know You Rider”: Music of the End of the Counterculture 80 Violence: The Altamont Speedway Free Festival 85 Conclusion 90 Appendix 92 Bibliography 94 Zaroff 3 Acknowledgements Thank you, Professor Benton-Cohen and Professor Jackson, for your guidance on this thesis. Thank you, Mom, Dad, Leo, Eliza, Roxanne, Daniela, Ruby, and Boo for supporting me throughout. Lastly, thank you Antine and Uncle Rich for your wisdom and music. I give permission to Lauinger Library to make this thesis available to the public. Zaroff 4 Introduction From 1964 to 1967, the Haight Ashbury district of San Francisco experienced one of the most significant and short-lived cultural moments of twentieth century America.