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Post by petrolino on Apr 3, 2020 23:50:08 GMT
Psychedelic Paradise
'The Changeling' - The Doors
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California Grove
{Psychic Sensations In An Astral Wonderland}
The Joshua Light Show (Fillmore Swerve - Coast To Coast) - Created by Joshua White (of New York)
“Mondrianesque checkerboards, strawberry fields, orchards of lime, antique jewels, galaxies of light over a pure black void and, often, abstract, erotic, totally absorbing shapes and colors for the joy of it — each a vision of an instant, wrapped in and around great waves of sound . . . first-nighters stagger out dazzled, muttering to themselves about amoebas in colored water.”
- Barbara Bell, The New York Times
'White Rabbit' - Jefferson Airplane
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Image Code : Poster Art In San Francisco
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Rick Griffin
Alton Kelly
Bonnie MacLean
Victor Moscoso
Stanley Mouse
Wes Wilson
'Mona' - Quicksilver Messenger Service
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Post by petrolino on Apr 5, 2020 0:49:26 GMT
California Chaos Theory
'Viola Lee Blues' - Grateful Dead
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San Francisco Mime Troupe
"The troupe was founded in 1959 and performed at standard indoor theaters at the 11 p.m. Sunday night slot, when “respectable” shows had already finished. Their performances were silent, experimental movement pieces. Founder RG Davis soon came to favor the Italian commedia dell’arte style, incorporating outlandish, stereotypical characters and lowbrow political comedy. Game Of Thrones fans will recognize this style from the theater group that Arya has recently mixed up with.
The troupe started performing outdoors in Washington Square Park with their 1962 production of The Dowry and took on the name San Francisco Mime Troupe. As part of the deal, SF Rec and Parks had to read and approve the scripts before approving the performances. Rec and Parks would typically request changes, which the mime troupe would routinely ignore. This arrangement continued without incident.
The summer 1965 production Candeliao made extensive use of phallic humor, and Rec and Parks was pissed. After three performances, the permit was canceled though shows were still scheduled in Pacific Heights’ Lafayette Park. With the certainty of being arrested, the players incorporated their arrest into the show by beginning it with the following dialogue:
'Ladieees and gentlemen...
Il Trupo di Mimo di San Francisco
Presents for your enjoyment
AN ARREST!'
And that is exactly what happened. The actor was promptly arrested and the production shut down. Lawrence Ferlinghetti and others grabbed microphones and read the rest of the play out loud, but the troupe had still had the legal problems to contend with.
In response, the group’s business manager, a plucky young fellow named Bill Graham, wrangled a three-month old band called Jefferson Airplane to play a benefit show to cover the legal fees. The event made a whopping $4,000 ($30,000 in today’s money) and Bill Graham quickly realized that he could not make that kind of money in the community theater racket.
Graham left, but the troupe acquired an actor named Peter Coyote, whom you’ll recognize from E.T. and the narration of Ken Burns documentaries."
- Joe Kukura, 'The Hellraising History Of The SF Mime Troupe'
* Founded by Ronald Davis, who fled Ohio looking for adventure on the west coast, and boy, did it find him.
'Combination Of The Two' - Janis Joplin & Big Brother And The Holding Company
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San Francisco Tape Music Center
'Once envisioned as a data storage device, or as a recording tool for spies, magnetic tape has had a long second life as a creative, multi-use medium. Outside of international record labels, magnetic tape and reel-to-reel machines turned out to be the unexpected technological media for early electronic music producers, whether they were musique concrete practitioners, the gearheads over at the BBC’s Radiophonic Workshop, or minimalist composers such as Terry Riley and Steve Reich.
One of the first organizations to recognize the vital potential of tape was the San Francisco Tape Music Center, one of the few places where electronic music creators had access to rather specialized equipment before Moog, Arp, and other synthesizer manufacturers came along to help standardize the industry with their instruments.
Founded as a “nonprofit cultural and educational corporation” in 1962 by composers Pauline Oliveros, Morton Subotnick and Ramon Sender, SFTMC’s purpose was to explore tape as a creative medium, and propagate the knowledge to those interested in working with it. SFTMC was also, by way of Don Buchla and his modular system, instrumental in the development of the modern synthesizer. Located at 321 Divisadero Street in San Francisco, SFTMC was situated in a building (the current location of the Arthur Murray Dance Center) that housed two auditoriums, which the group shared with the KPFA radio station and the Dancer’s Workshop. It grew out of Oliveros, Sender, and Subotnik’s interest in avant-garde composition that included reel-to-reel machines, tape loops, oscillators, and effects.
SFTMC quickly became a hive for experimental artists in an already highly experimentally artistic city. Given the expense of electronic gear, which made it difficult to obtain in the early 1960s, SFTMC’s collection of equipment was meager at first. Initially, the group’s founders only had six oscillators and a few magnetic tape recorders. This, however, forced the members to build some of their own equipment DiY style. Some machines were effects boxes which, when combined with tape machines playing loops, created avant-garde compositions the likes of which the world had never heard before. It was a place where the future of music was being made, oftentimes literally from scratch.'
- Moog Music
'Simplicity' - Ace Of Cups
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The Merry Pranksters
"Ken Kesey was already something of a literary sensation when, in the summer of 1962, Dean Moriarty stepped off the pages of On The Road and into the increasingly strange story of his life.
Tom Wolfe, in his seminal book on Kesey’s psychedelic adventures, The Electric Kool-Aid Acid Test, describes the author and his wife Faye returning home one evening to find ‘a funny figure in the front yard, smiling and rolling his shoulders this way and that and jerking his hands out to this side and the other side as if there’s a different drummer somewhere… corked out of his gourd, in fact’.
Neal Cassady, the real-life inspiration for Jack Kerouac’s road muse Moriarty, had come to pay his respects to the new star of the written word. Kesey had recently been made famous by the publication of One Flew Over The Cuckoo’s Nest, an experimental work that used the hierarchies of a mental hospital as a metaphor for modern American society.
A former high-school wrestling and football champion – a clean-cut family man, built like a classical hero, married to his childhood sweetheart – Kesey had undergone a seismic creative shift in his early adult life, passing on the opportunity to work the family farm in Oregon and instead enrolling on the creative writing program at Stanford.
It was there that he began jobbing night shifts as a janitor on the psychiatric ward of a local hospital, an experience that inspired Cuckoo’s Nest, and one that Kesey immersed himself in to the point of covertly having colleagues administer him with electric shock therapy so that he could describe the treatment more accurately.
Yet despite the success of Kesey’s literary debut – soon to be made into a Broadway play featuring Kirk Douglas and re-imagined by Hollywood as the 1975 film starring Jack Nicholson (which Kesey hated) – his greatest adventure was only just beginning in uncharted regions of the mind.
In 1959, while working at the hospital, Kesey volunteered as a test subject for experimental drugs to make extra money, and in doing so found himself a guinea pig in the US government’s early research on LSD. This was barely fifteen years after the compound’s hallucinogenic properties were discovered following its accidental ingestion by Swiss scientist Albert Hofman, and long before its adoption by the hippies.
At this point, LSD meant nothing to an American public more concerned with Cold War politics, electrical appliances and the corruptive power of Elvis Presley’s hips. But for Kesey, the experience was beyond anything he’d imagined: a waking dream of visual and auditory hallucinations, a tidal wave of words and ideas and – in Tom Wolfe’s words – ‘the barrier between the subjective and the objective, the personal and the impersonal, theI and the not-I disappearing’.
Before long Kesey had stolen a quantity of LSD from the hospital and begun a series of experiments of his own at Perry Lane, Palo Alto – a bohemian community of Stanford academics that Kesey managed to divide with his antics, alienating the old guard as his quaint cabin became overrun with wild-eyed crazies, DayGlo warriors prancing through the streets in impossible combinations of ill-fitting clothes, rapping gibberish poetry, dancing to tuneless music, laughing hysterically at nothing at all.
To outsiders, they were lunatics straight from the ward of Cuckoo’s Nest; to the initiated, they were artists and explorers, scientists and spiritualists, collectively seeking a way to represent the LSD experience – something that was too vast for conventional forms of creativity or communication.
“There was an incredible newness to the psychedelic revolution,” says Ken Babbs, second in command to Kesey’s captain as well as a close friend.
“Taking acid led to an expansion of consciousness and a way of seeing things through new eyes, delighting in the world the way a child does. It was an experience that was bigger than music, bigger than poetry or plays or novels. So we were forced to break down the boundaries between those forms. And that’s what psychedelia is all about – breaking down boundaries and melting things together. It’s about everything happening outside of time, in the past, present and future all at once.”
Before long Kesey’s acid acolytes had a name – the Merry Pranksters – and had moved to an isolated cabin in rural La Honda, California, establishing a base that was part spiritual community, part experiential art project, and one into which Kesey began ploughing the profits from his fledgling literary career.
He had already completed his second novel – Sometimes A Great Notion, an allegory of American society so sprawling and dense that it madeCuckoo’s Nest seem like a work of pulp fiction – but had subsequently lost interest in writing.
Instead, he began filling the cabin and surrounding woodland with microphones and speakers, echo boxes and reverb units, tape recorders and reel-to-reel projectors and – most importantly – film cameras."
- Cyrus Shahrad, 'Keep On Keepin' Kool : On The Road With The Merry Pranksters’ Strange Acid Trip
'Section 43' - Country Joe And The Fish
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The Magic Theatre
'Magic Theatre is dedicated to the cultivation of bold new plays, playwrights, and audiences – and to producing explosive, entertaining, and ideologically robust plays that ask substantive questions about, and reflect the rich diversity of, the world in which we live. Magic believes that demonstrating faith in a writer’s vision by providing a safe yet rigorous artistic home, where a full body of work can be imagined, supported, and produced, allows writers to thrive.
Magic Theatre has supported hundreds of artists since the indefatigable John Lion founded it in 1967. Michael McClure served as the first playwright in residence beginning in 1969 with his early plays. Sam Shepard cut his playwright’s teeth at Magic, starting in 1975. His seminal plays were written and premiered during his decade-long residency, including "Buried Child" (Pulitzer Prize, 1979), "True West" (both directed by Robert Woodruff), and "Fool for Love." Martin Esslin, internationally renowned scholar and critic, joined the company as the first resident dramaturg in American theater in 1977, a position now integral to American new playhouses.'
- Magic Manifesto
'New Hard Times' - Stone Poneys
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The Love Pageant
"Today, October 6 2016, a half century ago, somewhere between 1,000 and 3,000 (estimates continue to vary!) young people swarmed into the Panhandle of Golden Gate Park two blocks North of Haight Street for the “Love Pageant Rally.” The crowds were encouraged to gather in the Panhandle that day by the leaders of the new San Francisco Oracle newspaper to mark the day that the State of California made LSD illegal. The event was a seminal moment for the hippie counterculture that was growing in the neighborhood and directly led to the massive and transformative Human Be-In that took place in Golden Gate Park three months later.The Summer of Love, known for the nearly 100,000 young people who converged on the Haight Ashbury neighborhood of San Francisco in the Spring and Summer of 1967 may have actually started 50 years ago today on October 6, 1966. As many of the original Haight-Ashbury hippies like to claim, the Summer of Love was the Summer and Fall of 1966. And the Love Pageant rally was a major reason why.
The date (10/6/66) was deliberately chosen as the “666” in the date was meant to conjure the number of the beast in the Book of Revelation. Instead of a standard protest, however, the editors of the Oracle, wanted a ‘celebration of innocence, beauty of the universe…beauty of being.”
The larger-than-expected crowd who attended that day listened to free music provided by the Grateful Dead and Big Brother and the Holding Company featuring Janis Joplin. Ken Kesey attended the event along with the Merry Pranksters and their famous colorful. “Furthur Bus.” The celebration, at the time, was almost certainly the largest free outdoor rock concert in history.
Towards the end of the event, one of the Love Pageant Rally organizers, Beat era poet Michael Bowen, made a chance remark about the power of human beings. That remark soon became a call for “The Human Be-In” that took place in Golden Gate Park a few months later on January 14, 1967. That event, which drew some 30,000 people to the park’s Polo Grounds, and the media’s coverage of it, is widely recognized with creating the nationwide interest in converging on San Francisco in the months to come, thus creating the Summer of Love during the Spring and Summer of 1967."
- Nicole Meldahl, 'Hungry For Communication : The Love Pageant Rally & Michael Bowen'
'Soapstone Mountain' - It's A Beautiful Day
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The Diggers
'The Diggers were one of the legendary groups in San Francisco's Haight-Ashbury, one of the world-wide epicenters of the Sixties Counterculture which fundamentally changed American and world culture. Shrouded in a mystique of anonymity, the Diggers took their name from the original English Diggers (1649-50) who had promulgated a vision of society free from private property, and all forms of buying and selling. The San Francisco Diggers evolved out of two Radical traditions that thrived in the SF Bay Area in the mid-1960s: the bohemian/underground art/theater scene, and the New Left/civil rights/peace movement.
The Diggers combined street theater, anarcho-direct action, and art happenings in their social agenda of creating a Free City. Their most famous activities revolved around distributing Free Food every day in the Park, and distributing "surplus energy" at a series of Free Stores (where everything was free for the taking.) The Diggers coined various slogans that worked their way into the counterculture and even into the larger society — "Do your own thing" and "Today is the first day of the rest of your life" being the most recognizable. The Diggers, at the nexus of the emerging underground, were the progenitors of many new (or newly discovered) ideas such as baking whole wheat bread (made famous through the popular Free Digger Bread that was baked in one- and two-pound coffee cans at the Free Bakery); the first Free Medical Clinic, which inspired the founding of the Haight-Ashbury Free Medical Clinic; tye-dyed clothing; and, communal celebrations of natural planetary events, such as the Solstices and Equinoxes.
First and foremost, the Diggers were actors (in Trip Without A Ticket, the term "life actors" was used.) Their stage was the streets and parks of the Haight-Ashbury, and later the whole city of San Francisco.'
- The Digger Archives
'High Flyin' Bird' / 'Today' - Jefferson Airplane
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The Cockettes
"By 1969, the Haight-Asbury district of San Francisco was the epicentre of countercultural life – a community where hippies could tune in, drop out, and reinvent themselves to their heart’s delight. With psychedelics as their guiding force, they rejected societal conventions to pursue the possibility of utopia on earth.
“It was a real fluid scene,” says Fayette Hauser, author of The Cockettes: Acid Drag & Sexual Anarchy, 1969-1972 (Process Media). “When I got there it was dynamite and intense. Everyone was gorgeous. The body consciousness was in full bloom. Everyone was so sexy.”
Hauser moved into a house on Lyon Street inhabited by a panoply of artists who started going out as a pack. Dressed to the nines, the group quickly drew attention from like-minded people. This included ‘Hibiscus’ (born George Edgerly Harris III), a native New Yorker who studied avant-garde theatre.
“Hibiscus used to say ‘theatre is the blood in my veins,’” Hauser remembers. “He came to us in the fall of ’69 with a purpose. He said, ‘I want to do this new theatre and I want to do it with you,’ because we were a house full of artists and freaks. By New Year’s Eve, we did our first performance at the Palace Theatre in Borth Beach.”
Known as the Cockettes, the acid-fueled performance troupe combined their radical sex and gender politics with theatre. “By 1970, androgyny was a thing, and it was considered really cool if you had a mysterious aspect of your sexuality,” Hauser says, noting that the group’s aim was to get rid of the male and female ends of the “Gender Barometer” and explore the landscape between the poles.
“We were all about breaking boundaries with humour,” Hauser says. “Our drag was layered with different kinds of ideas. People resonated with different aspects of the Cockettes; it wasn’t just one thing – it was all over the place. It gave the queer community a modern language to develop themselves in a modern society. That was the magic that we created.”
On stage, anything could happen – and very often did. The troupe, which included underground legends like Divine, Sylvester, and Tomata du Plenty, were as fluid on stage as they were in their identities.
“We were not results-oriented,” adds Hauser. “It would be a surprise to everyone as to what happened on stage. You never know who was going to jump out, fling themselves across the stage or be naked. That was the energy that drew everyone to it from the moment we started.”
“People were not awake to this type of viewpoint and that was our contribution to modern culture. The Cockettes were extremely bisexual. If you loved someone you would have sex and then you would know if you would want to talk to them because that was more important – the exchange of ideas.”
- Miss Rosen, Huck
'Green River' - Creedence Clearwater Revival
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The Youth International Party
'Officially founded by Abbie Hoffman and Jerry Rubin in January 1968, the Youth International Party, or Yippies, were a countercultural group that briefly gained fame as a part of American activism. The group’s trademark was their theatrical style; the Yippies parlayed anti-authoritative dissent and subversion into surrealism, spontaneity, mischief, and performance. The very public and prank-based display of the Yippies’ political actions led them to become a media favorite—in fact, Yippie leaders often used their stunt-oriented protests to successfully attract press coverage—but the group was also criticized for focusing on large-scale public disobedience and ignoring traditional forms of community organizing and direct protest. The Yippies themselves, however, believed that culture and politics were inexorably intertwined.
Photo of a group of young people holding signs and flags and dressed in costumes, including a white sheet and a ballot box.
The group was borne out of the anti-war movement of the late 1960s, which in turn was rooted in the civil rights-oriented movement prevalent in the earlier half of the decade. Hoffman and Rubin, both long-time members of other New Left activist organizations, stressed Yippie-style politics in their anti-war and anti-capitalist work. The group’s high-profile members, who were mostly white radicals, also included writers like Allen Ginsberg and musicians like Country Joe and the Fish, further emphasizing its artistic connections.
“[Hoffman] said that politics had become theater and magic, basically, that it was the manipulation of imagery through the mass media that was confusing and hypnotizing the people in the United States, making them accept a war which they really didn't believe in.”
— Allen Ginsberg
“It's all conceived as a total theater with everyone becoming an actor.”
— Abbie Hoffman
Famed Yippie actions included an “exorcism” and attempted levitation of the Pentagon during the anti-war March on the Pentagon in October 1967, which Jerry Rubin later said was the linchpin for Yippie politics. That same year, Abbie Hoffman and other Yippies, in a form of guerilla theater, dropped hundreds of dollar bills into the New York Stock Exchange, effectively closing the floor as stockbrokers fought for the money.
The 1968 Chicago Democratic Convention served as a moment in the sun for the Yippies, who staged their own theatrical protest in the midst of numerous other activist groups’ planned demonstrations and increasing factionalism. Using media attention to spread rumors, such as the assertion that Chicago’s water was being laced with LSD, the Yippies enacted the carnivalesque Festival of Life in Lincoln Park, nominating a pig named Pigasus as their presidential nominee. Police forces were called in to break up the event, which spiraled into violence, riots and the eventual arrest and trial of Hoffman, Rubin, and members of other groups including the Black Panther Party, Students for a Democratic Society (SDS) and the National Mobilization Committee to End the War in Vietnam (known as the MOBE).'
- Public Broadcasting Service
The Charlatans (Medley)
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Post by cypher on Apr 7, 2020 1:22:47 GMT
Stud - Stud
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Post by petrolino on Apr 7, 2020 17:23:23 GMT
The Threat Of Contagion : Civil Unrest On A California Campus, Terror In South Carolina And Mississippi
"The University of California at Berkeley has spent the week entangled in controversy after it cancelled a speech by conservative provocateur Ann Coulter, then reversed course Thursday and announced it would allow her to talk on campus early next month.
The decision to prohibit a speaker at any public university would have triggered criticism, but at Berkeley — a symbol of campus free speech in America — it meant much more.
On a December evening in 1964, 1,000 students marched into the Berkley’s Sproul Hall and sat down. The protesters were inspired by the Free Speech Movement, a group demanding, among other things, that the university stop restricting political activity on campus.
The students slept, sang, studied and talked until after 3 a.m., when the chancellor showed up and demanded that they leave, according to news accounts. A few did, but most stayed. Then things turned violent.
“An Army of law officers broke up a massive sit-in occupation,” reported the Associated Press, which described “limply defiant” protesters being dragged down the stairs on their backs and shoved into police vans. “Cries of police brutality rose from demonstration supporters watching outside.”
But university President Clark Kerr had lost his patience with the activists, declaring in a statement that the Free Speech Movement had “become an instrument of anarchy.”
By morning, police had arrested 796 students.
The school would later relent to the pressure, loosening its rules against political activity on campus and making Sproul Hall a place for open discussion.
The sit-in was one demonstration among several between 1964 and 1965 — including a Vietnam War protest that drew thousands of people — that forever altered activism at U.S. colleges.
“It was the beginning of a seismic shift in American culture,” the San Francisco Chronicle wrote on the 50-year anniversary in 2014, noting that the “energy the FSM unleashed spread through campuses across the country, with protests and ‘takeovers’ everywhere from San Francisco State to the University of Michigan to Columbia and abroad.”
Modern conservatives, including Coulter, are aware of Berkeley’s history — and have seized upon it. Even before the school decided to let her speak on campus in early May, Coulter had promised to go ahead with her speech.
“What are they going to do? Arrest me?” she said Wednesday on the Fox News show “Tucker Carlson Tonight.”
The fear among Berkeley officials stemmed from the upheaval that exploded on campus in February, when violent protests forced university police to cancel a speech by another right-wing firebrand, Milo Yiannopoulos. People set fires, chucked rocks and tossed Molotov cocktails.
On Tuesday night, white nationalist Richard Spencer spoke at Auburn University in Alabama, and protests turned violent there, too, leading to three arrests. Convinced that his racist message would appeal to students weary of politically correct campus culture, Spencer had promised last year to begin giving speeches at universities around the country.
Auburn had attempted to bar his appearance, but U.S. District Judge W. Keith Watkins wouldn’t allow it, writing: “Discrimination on the basis of message content cannot be tolerated under the First Amendment.”
Amid the Berkeley tumult Thursday, Spencer was asked whether he intended to visit that campus, too.
“No immediate plans,” he wrote in a text. “But I feel like I have to now.”
- John Woodrow Cox, The Washington Post
Mario Savio, leader of the Berkeley Free Speech Movement, speaks to assembled students on the campus at the University Of California, Berkeley, on December 7, 1964
'For What It's Worth' - Buffalo Springfield
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"It started with a bowling alley.
In February 1968, students from historically black South Carolina State were protesting segregation at All Star Bowling lanes, the only bowling alley in Orangeburg.
On February 6, the first night of protest, students entered the bowling alley and were denied service, as one student participant recalled to USA Today. They went back a second night, and the tension began to reach a boiling point.
By the third night, on February 8, the student protest against segregation had moved back to campus, where it was later met with violence, as Jack Bass and Jack Nelson chronicle in their book on the incident, "The Orangeburg Massacre."
According to Bass's account, firemen arrived on campus to put out a bonfire erected by students, and state troopers were present to protect the firefighters.
After a tossed banister rail struck one state trooper in the face, 66 armed members of law enforcement lined up around the edge of campus and opened fire.
"Students fled in panic or dived for cover," Bass writes, "many getting shot in their backs and sides and even the soles of their feet."
Eight of the nearly 70 state troopers present that night later told the FBI that they fired their weapons after hearing shots.
By the end, after roughly 10 seconds of gunfire, nearly 30 students were injured and three were dead: Henry Smith, a South Carolina State sophomore; Samuel Hammond, a freshman; and Delano Middleton, a high school student whose mother worked at the school.
"South Carolina State was the first time ever in the history of America that a college student had been killed on their campus for doing absolutely nothing," remarked Cleveland Sellers, a civil rights activist who attended South Carolina State and was involved in the February protests, at a conference on the incident in 2012.
But "unlike Kent State," notes journalist Bass, "the students killed at Orangeburg were black, and the shooting occurred at night, leaving no compelling TV images.
"What happened barely penetrated the nation's consciousness."
- Breeanna Hare, 'Orangeburg Massacre At South Carolina State'
National Guard troops in Orangeburg, South Carolina in February 1968
'Sin City' - The Flying Burrito Brothers
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"A group of angry students. A burst of gunfire from authorities. Young lives cut short.
It sounds a lot like the Kent State shootings on May 4, 1970, but it happened 10 days later at a predominantly black college in the South.
Police fired for about 30 seconds on a group of students at Jackson State in Mississippi, killing two and wounding 12 others.
The tragedy was the culmination of increasing friction among students, local youths and law enforcement. On the evening of May 14, African-American youths were reportedly pelting rocks at white motorists driving down the main road through campus -- frequently the site of confrontations between white and black Jackson residents.
Tensions rose higher when a rumor spread around campus that Charles Evers -- a local politician, civil rights leader and the brother of slain activist Medgar Evers -- and his wife had been killed, according to Lynch Street: The May 1970 Slayings at Jackson State College. The situation escalated when a non-Jackson State student set a dump truck on fire.
Police responded to the call. A group of students and non-students threw rocks and bricks at the officers. Police advanced to Alexander Hall, a large dorm for women.
According to a 1970 report from the President's Commission on Campus Unrest, police fired more than 150 rounds. And an FBI investigation revealed that about 400 bullets or pieces of buckshot had been fired into Alexander Hall. The shooters claimed that there was a sniper in the dorm, but investigators found "insufficient evidence" of that claim.
The two young men who were gunned down in the melee were Phillip L. Gibbs, a junior at Jackson State and the father of an 18-month-old; and James Earl Green, a high school senior.
The event continues to leave a mark on the university. Even today, passers-by can see the bullet holes in the women's dorm. A plaza on campus commemorates the victims of the shooting."
- Whitney Blair Wycoff, 'Jackson State : A Tragedy Widely Forgotten'
Investigators attend the scene of a crime at Jackson State College, Mississippi in May 1970
'Hurry Up (Now Tell Me)' - Poco
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A National Call For Student Solidarity
"Though not traditional horror, Wes Craven produced the 1981 TV docudrama, "Kent State," about the deadly clash between National Guardsmen and college students protesting the Vietnam War. The film won an Emmy Award for director James Goldstone."
- David Morgan, 'The Films Of Horror Maestro Wes Craven'
'Tribal Gathering' - The Byrds
“The grassy, rolling common was teeming with students, I’d never seen it so packed… Then I heard the ‘tatatatatatatatatat’ sound. I thought it was fireworks. An eerie silence fell over the common. Then a young man’s voice: ‘They fucking killed somebody.’”
- Chrissie Hynde, Far Out
'Jackson-Kent Blues' - The Steve Miller Band
"All I can tell you is that it completely and utterly changed my life. I was a white hippie boy and then I saw exit wounds from M1 rifles out of the backs of two people I knew. I would not have started the idea of DEVO unless this had happened.”
- Gerald Casale, Devolution
'Ohio' - Crosby, Stills, Nash & Young
'And the gun they gave me is heavy, hun,
And the helmet hurts my head,
And the jokes they tell ain't funny, honey,
Sometimes I feel I'm dead,
And the gas makes it hard to breathe, baby,
And the General never smiles,
And the beds aren't big enough for me, baby,
And it's raining all the time ...'
- Bruce Springsteen ('Where Was Jesus In Ohio?')
'Broken Arrow' - Buffalo Springfield
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Post by petrolino on Apr 9, 2020 22:37:14 GMT
Californian Cloudland
'Lemmon Princess' - The Leaves
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The Celestial Beings Of Elysian Park
“San Francisco in the mid-‘60s was very chauvinistic and ethnocentric. To the Friscoid’s way of thinking, everything that came from their town was really important Art, and anything from anyplace else (especially L.A.) was dogsh–.”
- Frank Zappa
'Too Young To Be One' - The Turtles
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The Anthropoidal Gizmos Of Griffith Park
“San Francisco always looked down on L.A. as this ugly suburb to the south — people considered themselves to be more culturally advanced. San Francisco didn’t have the recording industry, the history of people associated with that who had the experience. It couldn’t really hold a match to L.A. when it came to making records.””
- Jimmie Fadden
'A Faded Picture' - The Seeds
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L.A. Love-In
"Despite the intercity rivalry and opposing musical aesthetics, L.A. and San Francisco shared much during the Summer of Love, with accommodation made for geography. Love-Ins at L.A.’s Griffith Park were analogous to those in Golden Gate Park and were just as spontaneous and peaceful.
“A Love-In was just a Sunday afternoon when the word of mouth was, ‘Everyone’s going to meet there around noon,’” recalls the L.A. musician and veteran photographer Henry Diltz. “Most of the people were on psychedelics. It was all totally lovely, never an ugly moment.”
- Michael Walker, Variety
'Children Of Rain' - The Electric Prunes
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Post by cypher on Apr 10, 2020 19:54:32 GMT
It's A Beautiful Day - Live at the Fillmore '68
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Post by petrolino on Apr 11, 2020 0:47:30 GMT
California Chorale
San Francisco Bay is a shallow estuary in California that's separated from the Pacific Ocean by the San Francisco Peninsula. Major cities in this area include San Francisco, San Jose and Oakland. The region known colloquially as "the Bay Area" became a hive of activity during the counterculture era.
'... If you're going to San Francisco
Be sure to wear some flowers in your hair
If you're going to San Francisco
You're gonna meet some gentle people there ...'
'Soul Sacrifice' - Santana
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Legendary impresario Bill Graham marshalled the psychedelic underground every step of the way in the 1960s, bringing the counterculture to both coasts and fashioning an intensely hedonistic period of artistic experimentation and cultural enlightenment. He was born Wulf Wolodia Grajonca in Berlin, Germany on January 8, 1931. He was drafted into the United States Army in 1951 and served in the Korean War. He was awarded a Bronze Star and Purple Heart for his military service.
The Bill Graham Civic Auditorium
During the 1960s, Graham managed the the San Francisco Mime Troupe and Jefferson Airplane, held a series of free concerts working in conjunction with Haight Ashbury promoter Chet Helms and the Family Dog set-up, masterminded the sonic reinvention of the Fillmore, established the Fillmore West and Fillmore East in California and New York respectively, launched the music labels Fillmore Records and San Francisco Records, funded underground comix artists and regularly commissioned psychedelic poster artists, in addition to promoting numerous art collectives through his volunteer army's relentless distribution of hand leaflets and street publications.
Bill Graham moves East
After a short break in the early 1970s, Graham returned to work. He promoted some massive concerts during this time, catering to the wider public's enthusiastic embrace of major stadium gigs and taking rock 'n' roll music back overground in the process. Tellingly, he worked on Frank Pierson's musical 'A Star Is Born' (1976) which was groundbreaking in its use of studio recording techniques.
Bill Graham in Francis Coppola's Vietnam war film 'Apocalypse Now' (1979)
Bill Graham was inducted into the Rock and Roll Hall of Fame in 1992 and the Rock Radio Hall of Fame in 2014. He has a cameo as a music promoter in Oliver Stone's musical biopic of the Doors entitled 'The Doors' (1991).
'Fall On You' ~ Moby Grape ~ 'Changes'
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Frisco Fever
'I Still Love You' - The Vejtables
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The Fillmore Auditorium
'She's My Baby' - The Mojo Men
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The Fillmore West
'Doctor Please' - Blue Cheer
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The Family Dog Hall
'The Wolf Of Velvet Fortune' - The Beau Brummels
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Winterland Ballroom
'Rose' - Fifty Foot Hose
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Avalon Ballroom
'Death Don't Have No Mercy' - Hot Tuna
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The Matrix
'Lord Have Mercy' - Flamin' Groovies
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Post by petrolino on Apr 11, 2020 2:35:42 GMT
California Cruising ~ Midnight-Til-Dawn : Lost Episodes Of The Original Vice Squad
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L.A. Confidential
'Smell Of Incense' - The West Coast Pop Art Experimental Band
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Whisky A Go Go
'The Day Today' - The Music Machine
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The Cheetah Club
'How Many Days Have Passed' - Clear Light
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The Troubadour
'Curse Of The Witches' - Strawberry Alarm Clock
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Valley Music Theatre
'My Crime' - Canned Heat
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Topanga Canyon & Topanga Beach
'Mean It' - The Clingers
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Laurel Canyon (& Surrounding Area)
'Twelve Thirty (Young Girls Are Coming To The Canyon)' - The Mamas & The Papas
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Post by cypher on Apr 11, 2020 14:39:12 GMT
Santana - Soul Sacrifice - 7/6/1968 - Fillmore East - New York, NY
Boy, did that confuse me! I was like, hang on, that's Shrieve, and no Malone. So, yeah, that's not 1968, or the Fillmore East. The live recording of them at the Fillmore West in '68 pre-Shrieve, is excellent, though. Here they are with Malone on Congas, and Doc Livingstone on drums. Conquistadore Rides Again Soul Sacrifice
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Post by petrolino on Apr 11, 2020 22:50:50 GMT
Santana - Soul Sacrifice - 7/6/1968 - Fillmore East - New York, NY
Boy, did that confuse me! I was like, hang on, that's Shrieve, and no Malone. So, yeah, that's not 1968, or the Fillmore East. The live recording of them at the Fillmore West in '68 pre-Shrieve, is excellent, though. Here they are with Malone on Congas, and Doc Livingstone on drums. Good detective work. Thanks!
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Post by petrolino on Apr 12, 2020 4:07:44 GMT
California Sundown : Surf's Up
The Chocolate Watchband - 'I Don't Need No Doctor' - New Riders Of The Purple Sage
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'Ecstasy' - The Peanut Butter Conspiracy
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Post by petrolino on Apr 13, 2020 2:03:31 GMT
Wild Women Of California
'American Metaphysical Circus' - The United States Of America
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Misadventures In Groupieland
The GTO's
'The Ghost Chained To The Past, Present And Future' - The GTO's | 'Dog Breath, In The Year Of The Plague' - The Mothers Of Invention
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Hollywood Dolls
For the most part, the real-life teenagers of America's counterculture movement creatively came of age in the 1970's. If Katharine Ross became California's home-grown cinematic face of the late 1960s, the contributions of contemporary Californian performers like Yvette Mimieux and Stefanie Powers in the following decade weren't to be overlooked, but these were reluctant stars in the sense that they were pocketing the final throes of the Golden Age. Then a new breed came along and many established art critics hated them, cast them down as nasty, all-natural sub-beings that needed bathing and educating. Before long, said critics were largely dead, institutionalised or in nursing homes, while these formidable women were only just getting started ...
'My Lady Woman' - Cold Blood
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Jennifer Salt (Born September 4, 1944, Los Angeles, California, U.S.)
Roberta Collins (Born November 17, 1944, Alhambra, California, U.S.)
Vonetta McGee (Born January 14, 1945, San Francisco, California, U.S.)
Mia Farrow (Born February 9, 1945, Los Angeles, California, U.S.)
'Hotel Indiscreet' - Sagittarius
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Terri Messina (Born December 17, 1945 in Los Angeles, California, U.S.)
Diane Keaton (Born January 5, 1946, Los Angeles, California, U.S.)
Cher (Born May 20, 1946, El Centro, California, U.S.)
Sally Field (Born November 6, 1946, Pasadena, California, U.S.)
'Keep Your Mind Open' - Kaleidoscope
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Tiffany Bolling (Born February 6, 1947, Santa Monica, California, U.S.)
Kim Darby (Born July 8, 1947, Los Angeles, California, U.S.)
Alexandra Hay (Born July 24, 1947, Los Angeles, California, U.S.)
Cindy Williams (Born August 22, 1947, Los Angeles, California, U.S.)
'Out Of This World' - The Grass Roots
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Anne Archer (Born August 24, 1947, Los Angeles, California, U.S.)
Belinda Belaski (Born December 8, 1947, Inglewood, California, U.S.)
Barbara Hershey (Born February 5, 1948, Hollywood, California, U.S.)
Margaret Markov (Born November 22, 1948, Stockton, California, U.S.)
'Why Not Your Baby' - Dillard & Clark
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Melody Patterson (Born April 16, 1949, Inglewood, California, U.S.)
Susan Sennett (Born February 29, 1952 in Los Angeles, California, U.S.)
Kay Lenz (Born March 4, 1953, Los Angeles, California, U.S.)
Robbie Lee (Born September 1, 1954 in Los Angeles, California, U.S.)
Cheryl Smith (Born June 6, 1955, Los Angeles, California, U.S.)
Robin Mattson (Born June 1, 1956 in Los Angeles, California, U.S.)
'Family Doctor' - Bread
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Post by petrolino on Apr 17, 2020 22:20:04 GMT
Clouds Of Conspiracy : The UNITED States Of America & The Military-Industrial Complex
'By The People' - Van Dyke Parks
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"As American scientists raced to develop new missile systems in the 1960s, vying to outpace the Soviet Union in battlefield advances, Dr. James S. Ketchum stood on the front lines of a parallel effort to modernize — some said civilize — human warfare.
“I was working on a noble cause,” he once said, according to a 2012 profile by New Yorker journalist Raffi Khatchadourian. “The purpose of this research was to find something that would be an alternative to bombs and bullets.”
In search of a “war without death,” he and other Army researchers explored the use of mind-altering, nonlethal drugs, envisioning a day in which enemy combatants could be incapacitated by a breeze bearing psychedelics or a water supply tainted with LSD. Conducted from 1955 to 1975 at Edgewood Arsenal in Maryland, the experiments echoed studies conducted through Project MKUltra, a CIA program that focused on the mind-control potential of drugs such as LSD."
- Harrison Smith, article published on June 5, 2019, The Washington Post
"Colonel James S. Ketchum dreamed of war without killing. He joined the Army in 1956 and left it in 1976, and in that time he did not fight in Vietnam; he did not invade the Bay of Pigs; he did not guard Western Europe with tanks, or help build nuclear launch sites beneath the Arctic ice. Instead, he became the military’s leading expert in a secret Cold War experiment: to fight enemies with clouds of psychochemicals that temporarily incapacitate the mind—causing, in the words of one ranking officer, a “selective malfunctioning of the human machine.” For nearly a decade, Ketchum, a psychiatrist, went about his work in the belief that chemicals are more humane instruments of warfare than bullets and shrapnel—or, at least, he told himself such things. To achieve his dream, he worked tirelessly at a secluded Army research facility, testing chemical weapons on hundreds of healthy soldiers, and thinking all along that he was doing good.
Today, Ketchum is eighty-one years old, and the facility where he worked, Edgewood Arsenal, is a crumbling assemblage of buildings attached to a military proving ground on the Chesapeake Bay. The arsenal’s records are boxed and dusting over in the National Archives. Military doctors who helped conduct the experiments have long since moved on, or passed away, and the soldiers who served as their test subjects—in all, nearly five thousand of them—are scattered throughout the country, if they are still alive. Within the Army, and in the world of medical research, the secret clinical trials are a faint memory. But for some of the surviving test subjects, and for the doctors who tested them, what happened at Edgewood remains deeply unresolved. Were the human experiments there a Dachau-like horror, or were they sound and necessary science? As veterans of the tests have come forward, their unanswered questions have slowly gathered into a kind of historical undertow, and Ketchum, more than anyone else, has been caught in its pull. In 2006, he self-published a memoir, “Chemical Warfare: Secrets Almost Forgotten,” which defended the research. Next year, a class-action lawsuit brought against the federal government by former test subjects will go to trial, and Ketchum is expected to be the star witness.
The lawsuit’s argument is in line with broader criticisms of Edgewood: that, whether out of military urgency or scientific dabbling, the Army recklessly endangered the lives of its soldiers—naïve men, mostly, who were deceived or pressured into submitting to the risky experiments. The drugs under review ranged from tear gas and LSD to highly lethal nerve agents, like VX, a substance developed at Edgewood and, later, sought by Saddam Hussein. Ketchum’s specialty was a family of molecules that block a key neurotransmitter, causing delirium. The drugs were known mainly by Army codes, with their true formulas classified. The soldiers were never told what they were given, or what the specific effects might be, and the Army made no effort to track how they did afterward. Edgewood’s most extreme critics raise the spectre of mass injury—a hidden American tragedy.
Ketchum, an unreconstructed advocate of chemical warfare, believes that people who fear gaseous weapons more than guns and mortars are irrational. He cites approvingly the Russian government’s decision, in 2002, to flood a theatre in Moscow with a potent incapacitating drug when Chechen guerrillas seized the building and took eight hundred theatregoers hostage. The gas debilitated the hostage takers, allowing special forces to sweep in and kill them. But many innocent people died, too. “It’s been looked at by some skeptics as a kind of tragedy,” Ketchum has said. “They say, ‘Look, a hundred and thirty people died.’ Well, I think that a hundred and thirty is better than eight hundred, and it’s also better, as a secondary consideration, not to have to blow up a beautiful theatre.”
- Raffi Khatchadourian, articled published on December 10, 2012, The New Yorker
Military Testing At The Edgewood Arsenal Facility In Maryland (photograph dated September 10, 1957)
'War Of The Mind : The Films Of Edgewood Arsenal's Psychochemical Experiments' (2014) by Raffi Khatchadourian
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"Miroslav Sajda may be frail and nearly immobile at 80 years old, but his eyes light up and his voice becomes animated when he recalls the first time he dropped acid. "It was an incredible experience," says the retired chemist and former Army toxicologist. "I saw colors and heard sounds I never thought could exist. And I saw the gates of the most marvelous temple. It was unforgettable."
Sajda wasn't looking for inspiration or for new spiritual experiences when he tried lysergic acid diethylamide or LSD, as it's commonly known nearly 40 years ago. He was doing Cold War defense research.
As a chemist working at the Military Research Institute in Hradec Krlov, east Bohemia, Sajda helped prepare an LSD test on Czechoslovak soldiers in 1967 to see how well they would perform while under the influence of the drug. According to Sajda, Czechoslovak military officials at the time got information that the U.S. Army was considering using LSD as a chemical weapon to help disable enemy troops. Trying the substance on himself first was part of the protocol.
The results of the test weren't that shocking: Soldiers on acid make very poor combatants, it turns out.
Sajda and filmmaker Vclav Hapl documented the experiment and were inspired to create the 1970 film essay Man Isn't Dying of Thirst, which was banned by the authorities until after the 1989 revolution.
Miroslav Sajda stands behind the LSD research he did for the state during the Cold War, but he says the potent drug should remain forbidden. But the military experiment was just the tip of the iceberg. From 1954 until 1974, before the substance was banned here, LSD experiments in Czechoslovakia were all the rage. At least 400 people underwent testing, say doctors involved, and probably more.
"LSD was a hit here," says Sajda. "But, of course, in those early days, scientists didn't really know how it could be used."
Although not nearly as massive as the LSD experiments done in the United States, the experiments done in Czechoslovakia were very likely the most extensive done in Eastern Europe, according to Ross Crockford, a Canadian journalist who is currently gathering material about LSD testing in communist Czechoslovakia.
Crockford was commissioned to do the project by a California-based association called MAPS (Multidisciplinary Association for Psychedelic Studies), whose goal is to promote the legalization of psychedelic substances such as LSD, MDMA (or Ecstasy) and Psilocybin for therapeutic purposes.
MAPS works together with scientists seeking government approval for research projects involving psychedelic substances. According to Crockford, MAPS hopes to eventually collaborate with Czech scientists.
Any takers? "Some have expressed an interest, yes," Crockford says."
- Kristina Alda (writer for The Prague Post), Multidisciplinary Association For Psychedelic Studies (MAPS)
'I Walk On Guilded Splinters' - Dr. John
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Chemical Warfare
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"I worked at Edgewood Arsenal in the late 1960s where I met my husband. Med Vols were primarily from Co. A and many were African American. They became Med Vols to get out of drudge Army duties. I've kinda worried about them all this time. They really had no idea what was done to them."
- Beatrice Hulsberg, The Baltimore Sun
Chemical Weapons Testing At The Edgewood Arsenal Facility
'You Must Be A Witch' - The Lollipop Shoppe
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High-Powered Weapons Testing At The Edgewood Arsenal Facility
'Cross The River' - Zephyr
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"I worked at Edgewood Arsenal at the radiologogical, biological, chemistry division. It was a building with no windows. They were experimenting on animals, as well. I quit because of this. This was in 1972."
- Kathy Howett, The Baltimore Sun
Workers On The Assembly Line At The Edgewood Arsenal Facility
'Indian Lake' - The Cowsills
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A Peaceful Demonstration Near The Grounds Of The Edgewood Arsenal Facility In 1970
'Philosophy Of The World' - The Shaggs
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Post by petrolino on Apr 19, 2020 1:23:11 GMT
Prohibition Of Entheogens & Governmental Deterrence Of Self-Medication {: The Role Of Psychoactive Substances Within Psychoanalysis And Suppression Of The Medical Revolution}
'5 A.M.' - The Millenium
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"Listening to some of the opponents of medical marijuana over the last few years, one could be forgiven for thinking that they have never heard of a psychoactive substance being used in medicine before. These people might be surprised to learn that in England the doctor can send you home with a prescription for pain called diamorphine, a fancy word for heroin. They might be equally surprised to learn that the anti-obesity prescription Desoxyn is nothing more than methamphetamine in a pill, or that the popular ADHD medication Adderall is very similar to methamphetamine chemically and physiologically. If you’ve had throat, dental or nose surgery there’s a chance the anesthetist used cocaine to numb your senses as it restricts the flow of blood more than any other local anesthetic (the cocaine alkaloid is extracted from coca leaves for medical use and the leftover de-cocainized extract sent to Coca Cola for flavoring). You won’t hear it put this way. No doctor says to the cancer patient, “I suggest you use smack from here on out,” and no weight loss specialist asks whether you’ve tried meth yet. Imagine a dentist telling their patient to open wide so they can inject some blow into their gum line. Of course, medical vernacular replaces street names for drugs to provide a line of demarcation between highly stigmatized illicit activities and their pharmacological corollary under medical settings. In its online guide for safe diamorphine use for cancer sufferers, Cancer Research UK chooses to omit the word heroin completely, to obfuscate any connection with its recreational use.
Unfortunately, a consequence of hiding normally illegal drugs in plain sight in the medical world is to make them seem especially fringe and troubling when used in other contexts. It should come as no surprise then that a recent Vox poll found that most people are overwhelmingly opposed to legalizing psychedelic drugs like magic mushrooms for both recreational and medical use, despite a majority in the poll supporting marijuana legalization. This is unsurprising given that the same poll finds most people do not want cocaine, heroin, or meth to be used medically either. Presumably, most people polled had no idea that these drugs have already been in medical use for decades and therefore can’t be expected to look favorably at the medical use of other drugs. But as the marijuana legalization debate is slowly being fought and won, in its footprints will emerge the great new legalization debate about psychedelics. Already in Oregon and Denver, where marijuana has been legalized for recreational use, measures are being put on the ballot to decriminalize magic mushrooms, two hundred species of fungi containing the hallucinogenic alkaloids psilocin and psilocybin.
There’s no clear line separating drugs that make it into club psychedelic from those that do not—marijuana, ketamine, ecstasy and all sorts of substances can at times produce the hallucinogenic effects commensurate with a psychedelic experience. But normally when we talk about the classical psychedelics we refer to a narrow class of fungi and plants—or the substances derived from them in a laboratory—that change levels of serotonin in the brain and produce vivid hallucinations and shifts in consciousness. Not all of these substances are illegal. The mint plant salvia divinorum exhibits powerful and unusual psychedelic effects and remains legal in most countries outside the British Commonwealth, while magic mushrooms can be legally bought in some countries like Jamaica and Brazil. A special exemption even exists in the United States to allow members of the Native American Church to consume the hallucinogenic cacti known as peyote after the Drug Enforcement Administration was sued by the church for trying to prohibit a plant that had been used for four thousand years by Native Americans."
- Matthew Blackwell, 'On The Eve Of The Great Psychedelic Debate'
'A Flower For All Seasons' - Pisces
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"The years immediately following Hofmann’s accidental discovery, are often referred to as the “golden age” of psychedelic research. More than 40,000 patients were administered LSD alongside therapy between 1950 and 1965, and more than a thousand scientific papers were published.
Though many of the early psychiatric studies of LSD wouldn’t meet modern standards of methodology, they nonetheless produced promising results. In study after study treating depression, addiction, emotional and physical trauma and terminal illness, researchers found that LSD proved effective in cases where other drugs and therapy alone were not.
Humans have consumed mind-altering substances throughout history. Many produce an altered state of consciousness that is often termed the “psychedelic experience.” It can include heightened senses and emotions; awe or terror; the feeling of experiencing birth, death or repressed memories; or a sense of profound insight into the nature of existence.
Many researchers feel the therapeutic benefits of psychedelics are undeniable. But the unpredictable nature of the psychedelic experience and the stigma of recreational drug use have made incorporating them into Western medicine problematic.
Dr. Richard Alpert, Timothy Leary’s right hand man at Harvard, discussing the effects of LSD on the psyche. Alpert was fired along with Leary in 1963 for giving psychedelics to undergraduates.
In 1960, Dr. Timothy Leary started the Harvard Psilocybin Project to study the effects of psilocybin, a psychedelic found in magic mushrooms. He was fired in 1962 after it was discovered he’d been giving psychedelics to his students.
Leary began urging young Americans to use LSD. At a time of great social unrest, “acid” escaped from the lab and found its way into unpredictable environments like college campuses and rock concerts. Horror stories emerged of psychosis and murder brought on by “bad trips.” Young people told their parents they no longer believed in the central institutions undergirding American society, and certainly did not want to fight in Vietnam.
LSD was made illegal in the US in 1966. The Food and Drug Administration shut down all research, Sandoz stopped distributing it and psychedelic therapy was forced underground.
Some psychedelic therapists still provided LSD to their patients, maintaining illegal practices. Others, like Stanislav Grof, sought alternative methods that could bring about the psychedelic experience, like holotropic breathwork."
- Ahmed Kabil, 'The History Of Psychedelics And Psychotherapy'
'Sun And Shadow' - Euphoria
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Post by petrolino on Apr 19, 2020 2:01:42 GMT
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Post by cypher on Apr 19, 2020 13:03:09 GMT
Tomorrow - Hallucinations  |
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Post by petrolino on Apr 21, 2020 22:57:11 GMT
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Post by cypher on Apr 22, 2020 12:51:47 GMT
Nirvana - Rainbow Chaser  |
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Post by petrolino on Apr 23, 2020 1:26:13 GMT
^ April 22nd : Earth Day
> Frazzled Folks Lost Amidst The Frenzy Of Frisco Bay Stop To Take In The Natural Beauty Of Open Expanses Across The American Midwest & Elevate The Founding Fathers Of "Environmental Awareness" & The Modern Ecological Revolution
'Living In The U.S.A.' - The Steve Miller Band
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Peaceseekers
'Earth Day was first proposed by John McConnell in early October 1969 to a few members of the San Francisco Board of Supervisors and other community leaders especially interested in caring for and improving our natural environment.
On November 25, 1969, the final day of the UNESCO National Conference, "Man, and His Environment," Cynthia Wayburn, one of the youth leaders on Mr. McConnell's Earth Day Committee, presented the idea and showed the Earth Flag during this presentation at the luncheon.
On March 21, 1970. The first Proclamation of Earth Day was by San Francisco, the City of Saint Francis, patron saint of ecology.'
-- Earth Issues
Activist John McConnell (born March 22, 1915 in Davis City, Iowa)
'Downright Women' - Boz Scaggs
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Norman Borlaug, Father of the Green Revolution (born March 25, 1914 in Cresco, Iowa)
'I'll Be Long Gone' - Mother Earth
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"On the morning of January 29th, 1969, Santa Barbara News-Press reporter Bob Sollen received a call from an anonymous source. When he answered, the voice at the other end of the line rang out clear and urgent: “The ocean is boiling.”
For nearly 24 hours, gas and thick black oil had been bubbling to the water’s surface, and, with each lapping wave, the sludge inched closer to the California coastline. The day before, the workers on an offshore oil rig called Platform A were removing the drill pipe from a freshly bored well when gas and drilling mud erupted onto the platform. Though the crew managed to stopper the top of the well, the highly pressurized gas and oil continued leaking into the water through faults and fractures in the upper layer of the ocean floor.
Platform A was owned and operated by Union Oil, a petroleum company headquartered in nearby El Segundo, California. With no contingency plan and no federal regulations in place, it took Union months to contain the blowout. In all, three million gallons of crude oil spilled out into the Pacific, unfurling across more than 800 square miles of ocean, coating 35 miles of beach, and killing more than 3,600 seabirds and countless marine mammals and fish in the process.
Santa Barbarans of all ages mobilized against the profound degradation of their otherwise-pristine seaside city, long known as “The American Riviera.” Demonstrations took many forms: There were the dozens of local protests against Union, which saw residents lashing out at ecological injustice; there were grassroots factions like Get Oil Out!, which distributed pamphlets and bumper stickers and once famously dumped a bucket of oil onto the desk of a Union Oil executive; and there was the lawsuit against Union, filed jointly by the city, county, and state.
The blowout — then the largest in United States history — drew global attention, too, as images of oil-coated marine life circulated in news reports around the world. That reporting got people thinking about how to balance their desires for economic progress (and cheap energy) with the emerging idea that humans have a moral obligation to protect the environment."
- Max Ufberg & Kate Wheeling, '‘The Ocean Is Boiling’ : The Complete Oral History Of The 1969 Santa Barbara Oil Spill'
Senator Gaylord Nelson (born on June 4, 1916 in Clear Lake, Wisconsin)
'I Never Asked To Be Your Mountain' - Tim Buckley
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Post by cypher on Apr 24, 2020 16:45:07 GMT
Rikki Ililonga & Musi-O-Tunya - Dark Sunrise
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