Tripping with Stephen Gaskin: an Exploration of a Hippy Adult Educator
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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 corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Beil & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. -
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. -
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. -
Manhood in the Age of Aquarius | Chapter 5
Manhood in the Age of Aquarius Chapter 5 Tim Hodgdon Chapter 5 "We Here Work as Hard as We Can": The Farm's Sexual Division of Labor In the spring of 1975, Patricia Mitchell, her preschool son, and her lover, Don 1 Lapidus, arrived at the entrance to The Farm, hoping to join. They had read about the burgeoning commune in its book-length recruitment brochure, Hey, Beatnik, and after much discussion, had packed their possessions in their car. At the front gate, a man with a clipboard described the hippie village as a monastery of householder yogis where Stephen Gaskin's teachings guided daily labor and family life. Gaskin's students, he said, agreed to live together nonviolently, to consume a strictly vegan diet, and to hold all money and property in common. After some time at the gate, the three were admitted as "soakers," soaking up the new life that was The Farm.1 A member of the gate crew drove the new soakers to their host households. The 2 Mitchell-Lapidus trio were welcomed into a structure consisting of a large army tent (recall the frame–and–canvas structures in the television comedy M*A*S*H) flanked by two Caravan-vintage school buses, where twelve people made their home. For the duration of their time as soakers, the family slept on a couch in the tent.2 They arrived in time to help with preparations for dinner. Patricia joined women in the kitchen area of the tent, washing potatoes from the previous year's harvest.3 Over dinner, their hosts reminisced about The Farm's beginnings. -
Winning Hearts and Minds: One Man's Journey to Vietnam and Back
Winning Hearts and Minds: One Man’s Journey to Vietnam and Back Towards Peace Interviewer: Colin McDermott Interviewee: John Ketwig Date: May 30th, 2019 Instructor: Alex Haight Table of Contents Interviewer Release Form …..…………………………………………………………….……………... 3 Interviewee Release Form ………………………………………………………………………………. 4 Statement of Purpose ………………………………………………………………………………..…... 5 Biography ……………………………………………………………………………………………….. 6 Historical Contextualization: The Vietnam War:……...………………………….……………………... 7 Interview Transcription ………………………………………………………………………………..... 19 Interview Analysis ………………………………………………………………………………………. 65 Work Consulted …………………………………………………………………………………………. 71 Appendix ……………………………………………………………………………………………...… 73 Statement of Purpose The purpose of this project is to gain a strong understanding of the origins and history of the Vietnam war; including the Vietnam Veterans Against the War (VVAW) and its place in the anti-war movement. The Vietnam war is one of the most questionable and misconstrued wars in world history and deserves continuing study for lessons that can be applied going forward. My interview with Vietnam Veteran, John Ketwig offers the vital first-hand perspective of a person who was an American soldier in Vietnam and also an activist in the VVAW. Contained in this interview is the story of John Ketwig and the lessons he learned from his Vietnam experiences. Biography John Ketwig was born in 1948 and grew up in the Finger Lakes region of western New York. As a boy he was a fan of the Beatles, Rolling Stones, and Bob Dylan and had a special interest in automobiles. He graduated from high school and in anticipation that he would soon be drafted and assigned combat duty in Vietnam, instead enlisted in the United States Army with the hope of assignment elsewhere. In September of 1967, however, he was sent to Vietnam. -
Father Ed Dowling — Page 1
CHESNUT — FATHER ED DOWLING — PAGE 1 May 1, 2015 Father Ed Dowling CHESNUT — FATHER ED DOWLING — PAGE 2 Father Ed Dowling Bill Wilson’s Sponsor Glenn F. Chesnut CHESNUT — FATHER ED DOWLING — PAGE 3 QUOTES “The two greatest obstacles to democracy in the United States are, first, the widespread delusion among the poor that we have a de- mocracy, and second, the chronic terror among the rich, lest we get it.” Edward Dowling, Chicago Daily News, July 28, 1941. Father Ed rejoiced that in “moving therapy from the expensive clinical couch to the low-cost coffee bar, from the inexperienced professional to the informed amateur, AA has democratized sani- ty.”1 “At one Cana Conference he commented, ‘No man thinks he’s ug- ly. If he’s fat, he thinks he looks like Taft. If he’s lanky, he thinks he looks like Lincoln.’”2 Edward Dowling, S.J., of the Queen’s Work staff, says, “Alcohol- ics Anonymous is natural; it is natural at the point where nature comes closest to the supernatural, namely in humiliations and in consequent humility. There is something spiritual about an art mu- seum or a symphony, and the Catholic Church approves of our use of them. There is something spiritual about A.A. too, and Catholic participation in it almost invariably results in poor Catholics be- coming better Catholics.” Added as an appendix to the Big Book in 1955.3 CHESNUT — FATHER ED DOWLING — PAGE 4 “‘God resists the proud, assists the humble. The shortest cut to humility is humiliations, which AA has in abundance. -
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. -
Information to Users
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 o f computer printer. The quality of this reproduction is dependent upon the quality of the copy subm itted. 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. Each original is also photographed in one exposure and is included in reduced form at the back o f the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced withwith permissionpermission ofof the the copyrightcopyright owner. owner. Further Further reproduction reproduction prohibited prohibited without without permission. -
By Katherine San Fratello and the Chicago History Museum
Peace By Katherine San Fratello and the Chicago History Museum Peace Julia admired herself in the mirror. She and colors on this poster were psychedelic; the her little sister Lydia had made new purple and oranges, yellows, greens, and purples vibrated, pink tie-dyed shirts. They had just pulled them pulsed, and jumped off the paper. There were out of the dryer and were modeling them for each also some buttons that Julia would let her borrow other. Julia had graduated from high school and and wear on occasion. One was a black button would soon be leaving home to go to college. with a peace sign emblazoned on it. Another She was trying to spend a lot of time with Lydia showed a rifle with a soldier’s helmet on top, in an attempt to make the coming separation which read “Out Now.” Interspersed among the easier. Lydia, who was only 11, lost interest in posters were newspapers. Not newspapers like their shirts as they entered Julia’s room. the Chicago Tribune, but the kind you couldn’t The posters on Julia’s walls distracted buy on a newsstand. Julia told Lydia these Lydia from further preening. The posters of rock papers came from the underground press. Lydia groups mesmerized her: the Beatles, The Doors, was curious about them but had trouble reading Neil Young, Bob Dylan, Jimi Hendrix. One poster the prose. She often asked Julia to read them to declared, “Make Love, Not War.” Then there her. were sort of cartoon-like posters. One poster had Today Lydia noticed a new underground a drawing of a hippie wearing striped bell- newspaper taped up which had a button stuck in bottoms and love beads. -
Generation X and the Invention of a Third Feminist Wave
GENERATION X AND THE INVENTION OF A THIRD FEMINIST WAVE by ELIZABETH ANN BLY Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. Renée Sentilles Department of History CASE WESTERN RESERVE UNIVERSITY January, 2010 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of _____________________________________________________ candidate for the ______________________degree *. (signed)_______________________________________________ (chair of the committee) ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. Copyright © 2009 by Elizabeth Ann Bly All rights reserved iii For Gabe, Kristin, and Xoe And in memory of Judith Northwood (1964-2009) iv TABLE OF CONTENTS LIST OF ILLUSTRATIONS viii ACKNOWLEDGEMENTS ix ABSTRACT xiii INTRODUCTION 1 White Grrrls 7 ―We Don‘t Need Another Wave‖ 11 Generation X, Feminism, and Contemporary History 19 ―The Order of Things‖ 25 CHAPTER ONE: “Generation X and the 1970s Pop Cultural Discourse on „Women‟s Lib‟” 32 ―Women‘s Lib‖: The Media‘s ―Charred Bra‖ Revolution 35 A Day in the Life: ―Women‘s Lib‖ as Spectacle 38 ―And Then There‘s Maude‖: ―Women‘s Lib‖ and Adult TV 46 Women‘s Lib -
Director's Book
Director’s Book Props and costuming are more important than the set in this show. The protest posters, the flower garlands, and the wild clothes of the sixties fit in well with a psychedelic backdrop (even tie-dyed fabric). Set pieces, with the exception of the schoolhouse pillars, can be painted in bright colors textured with psychedelic designs or tie-dyed patterns. Max King’s office need only be suggested by a desk with phones and a few chairs. COSTUMES The Flower Power girls and the boys who join in their “protest” movement should wear regular school clothes initially, but as they move into their Cornstalk Festival, they may begin to wear more bizarre outfits. The girls might wear garlands around their necks and the boys tie-dyed shirts. Only the real hippies and the bikers wear the classic garb associated with their character station. The teachers, the law officers, and the bureaucrats should wear their traditional outfits, as Book by Craig Sodaro should Grandpa and Grandma McDonald “down on the farm.” Music and Lyrics by Bill Francoeur Classic “hippie” dress is tie-dyed shirts, beat-up jeans, a vest, lots of love beads, and sandals. Scruffy long hair will help, along with sunglasses and a tambourine. The classic “biker” look is leather © Copyright 2014, Pioneer Drama Service, Inc. pants, a leather vest, tattooed arms, and a bandanna in place of a hat. SHREDDY FREDDY wears beads, long hair, sandals, etc. Professionals and amateurs are hereby warned that a royalty must be paid for every performance, whether or not admission is charged.