Hippies Research Articles

Hippies, Indians, and the fight for red power

Acknowledgments Introduction Ch 1. In the Pacific Northwest Ch 2. The California Scene Ch 3. Alcatraz Ch 4. Back to the Land Ch 5. From Coast to Coast Ch 6. On to Wounded Knee Epilogue Notes Bibliography Index

언더그라운드 만화와 히피문화 : >Zap Comix No.1<을 중심으로

Underground comics is a trend of comics started by reflecting hippie culture in the 1960`s. It reflects hippie culture proclaiming return to nature and denying war with no humanity and social systems of material civilization expresses anti-culture in a radical and humorous way. Robert Crumb adds the features of hippie culture to comics aggressively with issuing comic book, series. Especially received great response from hippie. It became the chance for underground comics to improve further. includes works like `Whiteman` expressing the hidden desire of conservative middle class or `Keep on truckin` describing youths in hippie culture as characters lording it over somebody, strutting confidently across various landscape. The Comic was published and distributed independently and character-driven comic that reflected the variety of hippie culture. The Comic represented the characteristics of the underground comics very well. Winding lines and points, a strong contrast, were used for excellent graphical effect. These comics escaped from heroic comics of the era and played great roles in opening an era of underground comics which express satires of social culture more freely.

An Odyssey for Korean Rock: From Subversive to Patriotic

This paper examines dramatic transformations of Korean Rock and its social implications, focusing on three crucial events: Taemach’o P’amun (the Marihuana Scandal) in the mid-1970s, Kukp’ung 81 (National Wind 81), and the 2002 FIFA World Cup Korea/ Japan. Associated with subversive hippie culture, rock in the 1970s experienced heavy censorship; newly promoted College Rock by the mass media became politicized during the dictatorship; rock, notwithstanding, played a key role in uniting fragmented Korean youth spirits and hearts during the World Cup. With its innate energy and determination to bind a community, Korean Rock has accomplished its diverse functions. 본 논문은 한국 록음악의 사회적 의미가 어떻게 변화되어왔는지 역사적인 세가지 사건과 연관 지어 살펴보고자 한다. 세 가지 사건은 1970 년대 중반 대마초 파문, 1981 년 국풍 81, 그리고 2002 월드컵이다. 한국 록음악은 히피 문화의 상징으로서 정부로부터 심한 견제를 받게 되는데 대마초 사건이 대표적이라 하겠으며, 이후 대중매체를 통하여 양성된 대학가의 그룹사운드는 1980 년대 민주화 운동이라는 시대적 과제를 겪고 있는 대학문화에서 정치적 수난을 겪기도 한다. 그러나 한국 록음악은 2002 년 월드컵의 응원가 ‘오! 필승 코리아’를 필두로명실상부 국민적 소통의 공간으로 태어난다. 한국 록음악은 내재된 에너지와 결속력으로 다양한 상황 속에서 그 기능을 발현하고 있다고 해석할 수 있겠다.

Droppers: America’s First Hippie Commune, Drop City by Mark Matthews (review)

Droppers: America’s First Hippie Commune, Drop City by Mark Matthews (review)

Apocalyptic Music: Reflections on Countercultural Christian Influence

During the late 1960s, thousands of young people in Southern California were swept up in a revival of conservative Christianity. Disenchanted with the existentialism found among various so-called “countercultural” groups, the “Jesus freaks” emerged. Though they proclaimed an ideology commonly associated with fundamentalist Christianity, hippie converts retained aesthetic practices emblematic of the hippie culture, in hopes of spreading the gospel using the cultural vernacular. The result was the birth of “Jesus music,” a folk rock style that would become contemporary Christian music (CCM), a genre that developed into a medium for articulating a particular interpretation of the End of Days.

Alan Moore's underground: The formation of a dissident cultural practice

This article addresses Alan Moore's earliest work for zines and underground papers from 1971 to 1980. It argues that the hippie counterculture was a formative influence not only on his anarchist politics but his approach to cultural production, and an awareness of its significance is therefore crucial to the critical understanding of his oeuvre as a whole. Equally Moore's experience of the underground augments historical understanding of the UK counterculture itself and the role of comics within it, and challenges dominant chronological narratives that insist on a definitive split between its political and cultural wings during this period. This article considers Moore's output in illustration, poetry and prose, but particularly focuses on his earliest comics, featured in Embryo, anon. and The Backstreet Bugle. It looks in detail at the Northampton Arts Lab and the underground press as counter-institutions, and spaces in which Moore developed highly politicized aesthetic and creative strategies that he would carry into his later professional work. These included a commitment to the realization of non-alienated and collaborative artistic production, a partisan engagement with key political issues, an insistence on formal experimentation and an emphasis on a demystified and enabling relationship with the reader.

Psychedelic Drugs, Hippie Counterculture, Speed and Phenobarbital Treatment of Sedative-Hypnotic Dependence: A Journey to the Haight Ashbury in the Sixties

The 1960s were a time of social upheaval, wars, vibrant creativity and missed opportunity. Mainstream culture and a psychedelic drug-using counterculture shared a belief in “better living through chemistry,” but they disagreed about the particular chemistry. The Vietnam war and the cold war with the Soviet Union, racial discrimination, and gender roles fueled political activism. “Yes we can” was not a slogan of the time but political activists clearly believed they could change the beliefs, attitudes and behavior of mainstream culture; and they did. Hippie counterculture on the other hand was largely alienated and strove primarily to develop a separate culture with its own mores, beliefs and lifestyles. Although there was some overlap between hippies and activists, hippies didn't generally have the same sense of political empowerment. Hippie enclaves developed in New York; Boston; Seattle; Austin, Texas and elsewhere; but the epicenter was arguably the Haight-Asbury District of San Francisco. Psychedelic drugs, marijuana and the Vietnam war were among many wedge issues. This paper conjures up a personal history related to the evolution of the hippie counterculture, changing drug use patterns in the Haight-Ashbury, and the origins of a technique of withdrawing patients from barbiturates and other sedative-hypnotics using phenobarbital variously known as the “Phenobarbital Withdrawal Protocol, or the “Smith and Wesson Protocol.”

Review of Kevin Holm-Hudson, Genesis and "The Lamb Lies Down On Broadway" (Ashgate, 2008)

[1] trajectory of music-theory community's acceptance of rock has been steadily climbing and has recently reached a new stage with arrival of Kevin Holm-Hudson's Genesis and The Lamb Lies Down On Broadway. Two early books on analysis of rock, Understanding Rock (1997) and Beatles as Musicians: Revolver through Anthology (1999), shed light on significance of this moment. Coming after a handful of analytical articles on rock sparsely placed in journals, collections, and on internet, Understanding Rock, a volume of analytical essays edited by John Covach and Graeme Boone (Oxford University Press), firmly established role of rock-music analysis within field of theory. Yet book's preface tells story of first-ever session on rock in either Society for Music Theory or American Musicological Society and ends with a presentation of editors' justification for analyzing rock music (Covach and Boone 1997). Among a handful of other books on topic over next few years was Walter Everett's impressive two-volume treatment of complete oeuvre of Beatles (Oxford University Press). In his preface to first volume, Everett defends idea of applying analytical tools learned in academia to output of musicians who could not read classical western musical notation (Everett 1999). Now Ashgate Press has published Kevin Holm-Hudson's Genesis and The Lamb Lies Down On which, long past days of explanations of and apologies for genre as subject matter, unashamedly offers a book-length treatment of a single album, thereby granting it status of a masterpiece of no less legitimacy and dignity than, say, Rite of Spring or Wozzeck.[2] Holm-Hudson's love for group Genesis, for their milestone album Lamb Lies Down on Broadway, and for performance history of this concept-album-as-song-cycle shines through on every page. After a brief description of a live performance of entire double album in Shrine Auditorium in 1975, Holm-Hudson tells us, chapter by chapter, about cultural and economic context of album, its recording history, its musical and narrative structure (with an analysis of each song), album tour and its reception in press, possibilities for its interpretation, and post-album history of both work and band.[3] In presenting historical and social context of album, first chapter runs into a problem as it enters thorny realm of cultural semiotics. That field (especially in relation with rock music) veers between saying one moment that world of meaning is a horizonless plane of personal, situational readings and endless deferral of reference, while claiming in next moment that any given cultural artifact means something quite definite; Edward Macan's claim that improvised solos are universally connected to acid trips comes to mind (Macan 1997).(1) Tellingly, musical semioticians generally disagree with each other concerning these identified meanings. Holm-Hudson cites and quotes Macan along with Allan Moore, Simon Frith, Paul Stump, and others, but does so uncritically for most part, as if what they say about progressive rock is simply true. As a result, first chapter includes a confusing array of assessments that seem at times to contradict each other. On page 13, for instance, money fueled experiments of progressive rock, while on page 15 progressive rock is definitely not a commercial enterprise. On pages 8 and 21 has no roots in or connection with African-American music, yet on page 14 (quoting Macan), Progressive rock is thoroughly grounded in African-American musical concepts. On page 11, progressive rock's multimovement forms, shifting meters, and complex arrangements attempt to bar Establishment conformists from accessing this expression of hippie subculture, although on pages 16 and 17, same intricacies represent (quoting Macan again) the hippies' ultimate accommodation to conventions of industrial society. …

Hippies of the Religious Right – By Preston Shires

Hippies of the Religious Right – By Preston Shires

Tuning in and Dropping Out: The Disturbance of the Dutch Premiere of Stockhausen's Stimmung

The disruption of the Dutch premiere of Stockhausen's Stimmung in June 1969 has become an often-told aspect of the piece's early history, but existing accounts—including Stockhausen's own—significantly misrepresent the event. The performance was interrupted, not (as Stockhausen later claimed) by young, politically engaged composers such as Peter Schat and Louis Andriessen, but by a group of composition students who wished to ‘participate’ in the piece. In an impromptu debate following the aborted performance, Schat and Andriessen defended Stockhausen's right to have his music heard in silence. I interpret this clash of young Dutch musicians in terms of the sharp schism that emerged in 1969 between Amsterdam's thriving hippie counterculture, whose communal ‘happenings’ encouraged the dismantling of the performer–audience distinction, and the city's student movement, whose emphasis on political action found reflection in Schat's and Andriessen's growing interest in communism. It is clear, however, that Schat's and Andriessen's stance was also motivated by commitments to musical professionalism and to the ideology of musical progress, commitments that sat as uneasily with the musical preferences of the student movement as they did with the hippie counterculture

“Green Is the New Black”: Celebrity Chic and the “Green” Commodity Fetish

In the April 2006 “Green” issue of Vanity Fair, the editor, Graydon Carter, declared “Green Is the New Black.” Fashion designers, such as Giorgio Armani, Oscar de la Renta, Stella McCartney, Betsey Johnson, and Todd Oldman are creating ecofashions for the runways, boutiques, mass markets, and especially for celebrities. Current eco-conscious designers create ecofashions far different than the stereotypical images of “eco-dress,” such as rope sandals, tie-dye T-shirt, and hemp cargo pants established in the 1960s and often associated with the Hippie subculture that represented anti-fashion and empowered the wearer visual cues of his/her sociopolitical ideals and values associated with animal and human rights, and environmental issues. As a result, stereotypical eco-dress functioned as a “green” commodity fetish imbued with “magical” value that reflected the eco-conscious lifestyle.The introduction of current ecofashions challenges these understood stereotypical images and identities, especially among celebrities. Eco-conscious celebrities actively seek out ecofashions that are consistent with their “green” lifestyles while non-verbally communicating their cultivated tastes and styles. Although sharing many of the same eco-conscious ideals, these new ecofashions do not share the same non-verbal communications as those garments worn in previous decades. By donning these “green” or ecofashions celebrities have depoliticized highly charged sociopolitical issues, and as a result, ecofashion communicates only the aesthetic of the wearer. This article unpacks past eco-dress choices by deconstructing how the stereotypical eco-dress functioned as a commodity fetish within Western industrial capitalist society. It also analyzes the changing “magical” meanings and values of the commodity fetishism associated with current ecofashions, giving particular attention to the new non-verbal communications and identities associated with ecofashions.

Hippies of the Religious Right – By Preston Shires

Hippies of the Religious Right – By Preston Shires

With amusement for all: a history of American popular culture since 1830

Popular culture is a central part of everyday life to many Americans. Personalities such as Elvis Presley, Oprah Winfrey, and Michael Jordan are more recognizable to many people than are most elected officials. With Amusement for All is the first comprehensive history of two centuries of mass entertainment in the United States, covering everything from the penny press to Playboy, the NBA to NASCAR, big band to hip hop, and other topics including film, comics, television, sports, dance, and music. Paying careful attention to matters of race, gender, class, technology, economics, and politics, LeRoy Ashby emphasizes the complex ways in which popular culture simultaneously reflects and transforms culture, revealing that the world of entertainment constantly evolves as it tries to meet the demands of a diverse audience. Trends in popular entertainment often reveal the tensions between competing ideologies, appetites, and values in society. For example, in the late nineteenth century, Americans embraced self-made men such as John D. Rockefeller and Andrew Carnegie: the celebrities of the day were circus tycoons P.T. Barnum and James A. Bailey, Wild West star Buffalo Bill Cody, professional baseball organizer Albert Spalding, and prizefighter John L. Sullivan. At the same time, however, several female performers challenged traditional notions of weak, frail Victorian women. Adah Isaacs Menken astonished crowds by wearing tights that made her appear nude while performing dangerous stunts on horseback, and the shows of the voluptuous burlesque group British Blondes often centered on provocative images of female sexual power and dominance. Ashby describes how history and politics frequently influence mainstream entertainment. When Native Americans, blacks, and other non-whites appeared in the nineteenth-century circuses and Wild West shows, it was often to perpetuate demeaning racial stereotypes-crowds jeered Sitting Bull at Cody's shows. By the early twentieth century, however, black minstrel acts reveled in racial tensions, reinforcing stereotypes while at the same time satirizing them and mocking racist attitudes before a predominantly white audience. Decades later, Red Foxx and Richard Pryor's profane comedy routines changed entertainment. The raw ethnic material of Pryor's short-lived television show led to a series of African-American sitcoms in the 1980s that presented common experiences-from family life to college life-with black casts. Mainstream entertainment has often co-opted and sanitized fringe amusements in an ongoing process of redefining the cultural center and its boundaries. Social control and respectability vied with the bold, erotic, sensational, and surprising, as entrepreneurs sought to manipulate the vagaries of the market, control shifting public appetites, and capitalize on campaigns to protect public morals. Rock 'n Roll was one such fringe culture; in the 1950s, Elvis blurred gender norms with his androgynous style and challenged conventions of public decency with his sexually-charged performances. By the end of the 1960s, Bob Dylan introduced the social consciousness of folk music into the rock scene, and The Beatles embraced hippie counter-culture. Don McLean's 1971 anthem American Pie served as an epitaph for rock's political core, which had been replaced by the spectacle of hard rock acts such as Kiss and Alice Cooper. While Rock 'n Roll did not lose its ability to shock, in less than three decades it became part of the established order that it had originally sought to challenge. With Amusement for All provides the context to what Americans have done for fun since 1830, showing the reciprocal nature of the relationships between social, political, economic, and cultural forces and the way in which the entertainment world has reflected, refracted, or reinforced the values those forces represent in America.

Can Adam and Eve Reconcile?: Gender and Sexuality in a New Jewish Religious Movement

In the late 1960s a new Jewish religious movement challenged the current conventional assumptions on the relationship between Judaism and the sexual revolution, as well as the women's movement. The neo-hasids were members of the counterculture who became observant Jews and sought inspiration in Hasidic forms of Jewish spirituality. While to many the hippie culture seemed far removed from an observant form of Judaism, to the neo-hasids such a hybrid seemed possible and even desirable. Calling their center the House of Love and Prayer, the group negotiated between Jewish tradition and hippie culture in an attempt to create a new Jewish environment. A major challenge for the group was accommodating hippie modes of sexuality with Jewish laws governing personal and matrimonial behavior. The group interpreted Jewish laws dictating gender roles and sexual behavior in light of the new expectations of female members, as well as the new norms in sexual conduct promoted by the counterculture and the emerging women's movement. Likewise, the neo-hasids gave new meanings and forms to Jewish rites, reinterpreting them in light of their new understanding of the relationship between the sexes. The compromise the group cut in the realm of sexuality and gender has become the de facto attitude of turnof-the-twenty-first-century traditionalist Jews and has permitted thousands of young women and men to become "returnees to tradition" and join the ranks of observant Jewish communities.

Assembling My Father: A Daughter's Detective Storyby Anna Cypra Oliver; New York, Houghton Mifflin, 2004, 355 pages, $25

Back to table of contents Previous article Next article Book ReviewsFull AccessAssembling My Father: A Daughter's Detective StoryMaxine Harris Ph.D.Maxine Harris Ph.D.Search for more papers by this authorPublished Online:1 Apr 2006https://doi.org/10.1176/ps.2006.57.4.583AboutSectionsPDF/EPUB ToolsAdd to favoritesDownload CitationsTrack Citations ShareShare onFacebookTwitterLinked InEmail In her wonderful and courageous reconstruction of her father's life, Assembling My Father: A Daughter's Detective Story , Anna Cypra Oliver does what so many people who lose a parent in childhood never have a chance to do: she moves beyond the frozen and superficial image of a man who committed suicide when he was only 35 and his young daughter was only five years old. For many, the early death of a parent has the effect of freezing the image of that parent forever. The young energetic mother never ages; the athletic hopeful father never experiences the disappointments of middle age. The parent remains as he or she was on the day that tragic and unwelcome death took him or her away ( 1 ). By her process of psychological and literal sleuthing, the author of this moving and beautifully written chronicle comes to know her father just as a daughter might face the reality of a living father, "in excruciating little bursts." As a child, Ms. Oliver knew very little of her father. Death took him away, but before that, her mother, part of the nomadic hippie culture of the late sixties and early seventies, left him when the author was quite young. Consequently, Ms. Oliver's recovery of her father's life unfolds as an organic process. Slowly, by interviewing people who knew him, reading his journal, and visiting places where he lived, an image of the man evolves. Evolves is the critical word because each new piece of information gives the author and the reader a changing and increasingly more complex idea of who her father was. At one point she comments, "I'm building my father one anecdote, one image, one scrap of evidence at a time." Her slow process of gathering information allows for the constant transformation of her father. He is not static like so many parents who die young. Instead he changes, he develops, and, in a paradoxical way, he lives. Because the author is a gifted writer, the chronicle develops like a good detective story. There are clues and a cast of fascinating characters along the way that enliven the story. But at its heart, this is not a piece of clever fiction. Assembling My Father is a daughter's attempt to know her father and in so doing to construct her own authentic identity. The book tackles the always elusive question of how we become the people we are. As the image of her father "shifts, moves and feints" so too does the identity of the author. Ms. Oliver goes through several profound changes until she comes to rest in a place that not only ties her to her father but seems right for who she has become as a result of her odyssey. The book is its most poignant when the author writes to her father about what his loss has meant to her and to other people who loved him. How does anyone understand a suicide? How does anyone forgive the willful abandonment of a young family? Ms. Oliver has struggled to know her father and has found a way to grant him the peace of forgiveness. He would have been fortunate to know such a remarkable daughter.Dr. Harris is chief executive officer for clinical affairs of Community Connections in Washington, D.C. and director of the National Capital Center for Trauma Recovery and Empowerment.Reference1. Harris M: The Loss That is Forever: The Lifelong Impact of the Early Death of a Mother or Father. New York, Dutton, 1995Google Scholar FiguresReferencesCited byDetailsCited ByNone Volume 57Issue 4 April, 2006Pages 583-583PSYCHIATRIC SERVICES April 2006 Volume 57 Number 4 Metrics PDF download History Published online 1 April 2006 Published in print 1 April 2006

"I Just Want to Be a Cosmic Cowboy": Hippies, Cowboy Code, and the Culture of a Counterculture

“Cowboys” and “Hippies” are not as different as one might think. This article explores the connections between cowboys and hippies portrayed by 1960s and 1970s countercultural musicians, moviemakers, and novelists who stressed themes of the Myth of the West and the Cowboy Code. These portrayals of “Cosmic Cowboys” show that many scholars generalizations about the “radical” and “leftist” nature of the 1960s “counterculture” break down under close inspection.

Hippies of Elmina

Hippies of Elmina

Grateful for Ted Hippie and "EJ"

Grateful for Ted Hippie and "EJ"

Hasidism in the Age of Aquarius: The House of Love and Prayer in San Francisco, 1967–1977

In the late 1960s and early 1970s, Americans encountered an unexpected group of people who, at first sight, seemed unreal: Hasidic hippies. Conceiving of Hasidic Judaism as being incompatible with the spirit of the era and of hippie culture as being far removed from the Jewish tradition, most Jews could not comprehend how anyone could try to amalgamate two such opposing cultures.Many of the young Hasidic hippies were affiliated with or influenced by the House of Love and Prayer (HLP), a Jewish outreach center that operated in San Francisco between 1967 and 1977 and promoted the mixture of traditional Hasidic Judaism with the counter-culture. It represented a new generation in American religious life: the baby boomers, with their spiritual journeys and cultural preferences, which included attempts to unite religious traditions and cultural trends that just a few years earlier had seemed too different to bridge. The HLP promoted the return to tradition and the embracing of the mystical and supernatural elements of Judaism. Together with other groups that emerged in the late 1960s and 1970s, the HLP helped bring about a revolution in the practicing of the Jewish tradition, one that gave expression to the style and values of the Jewish members of the counterculture.

‘Streaming Physical Love’

‘Streaming Physical Love’