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Post by cypher on May 2, 2020 2:51:06 GMT
Groundhogs - Split: Part Two
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Post by petrolino on May 7, 2020 20:31:41 GMT
Somewhere Over The Rainbow : California's Quest For Gay Rights
'Wave' - Roy Ayers
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'In the 1950s, Allen Ginsberg called the Black Cat “the best gay bar in America,” though at the time it drew a mixed crowd, heavy on the beatniks. (A section of Jack Kerouac’s On the Road is set there.) At the end of that decade, owner Sol Stoumen denounced police demands for payoffs, which drew attention to the bar. Stoumen eventually took the state to court, and in Stoumen v. Reilly the California Supreme Court held that patronage by gay customers was not sufficient reason to revoke a bar’s license.
One of the Black Cat’s singing waiters, Jose Sarria, was an early promoter of gay pride. At the end of his performances, he would urge the bar’s patrons to hold hands and sing "God Save Us Nelly Queens" to the tune of “God Save the Queen.” In the movie Word Is Out, George Mendenall recalls: “To be able to put your arms around other gay men and to be able to stand up and sing 'God Save Us Nelly Queens.' ... We were saying 'We have our rights, too.’ ” In 1961, Sarria ran for the San Francisco Board of Supervisors as an openly gay man and won 6,000 votes. The Black Cat closed in 1964.'
- Slate
'Oh, In The Sky' - The Mothers Of Invention
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"Los Angeles, May 1959 : Cooper Donuts, on a seedy stretch of Main Street in Los Angeles, was one of the few places that welcomed gay street hustlers, drag queens and transgender people. The local police, however, were not so kind. “They interrogate you, fingerprint you without booking you: an illegal L.A. cop-tactic to scare you from hanging around,” wrote the author John Rechy, a regular at the shop, in his 1963 novel “City of Night.”
In May 1959 two police officers conducted their latest roundup at the shop, which included Mr. Rechy, and the crowd revolted and pelted the officers with coffee, doughnuts, trash and utensils. They “fled into their car, called backups, and soon the street was bustling with disobedience. Gay people danced about the cars,” Mr. Rechy later said.
Historians consider Cooper Donuts to be the first L.G.B.T.Q. uprising in modern history, but Mr. Rechy said anyone who was openly gay back then was in rebellion, “many at the time risking years of imprisonment.” Both homosexuality and cross dressing were illegal.
“Each act of protest bolsters the next one pushing for equal rights — and respect,” Mr. Rechy said in an email."
- Scott James, The New York Times
"James "Robbie" Robinson vividly remembers the first time he walked into a gay bar in San Francisco. It was the 1950s, Robinson was in the Air Force, and when he asked where the "main drag" in town was, he was pointed to Market Street.
"This guy looks at me, and I wasn't used to that — cruising," Robinson, 84, said. "Then we get up to Eddy and Market and as he goes inside; as he goes inside he looks at me and smiles."
But as Robinson soon learned, the bar scene in the 1950s faced constant police harassment at a time when homosexuality was illegal in every state.
"They did everything they could to find out if it were a homosexual place, and with that then they could close it," Robinson said. "The cops would come in the bar and terrorize the customers."
In his self-published memoir, "My Story, One Gay's Fight: From Hate To Acceptance," which is available at the San Francisco Public Library, Robinson wrote that police tactics included demanding to see the identification of every patron of the bar, pretending real driving licenses and IDs were faked — and even standing with their genitalia exposed at toilets and arresting people based on their reactions.
Some businesses found to be gay bars were closed and their owners lost their liquor licenses. Others had envelopes of cash on hand to pay off police officers, the autobiography states.
In 1961, Robinson and his co-workers were discussing police harassment, among other problems gay bars faced at the time, during their shift at the Hideaway, a gay bar that was on Eddy at Leavenworth.
"We asked, 'Well, what can we do to make it better? This is ridiculous,'" Robinson said. "So we got some of our fellow bartenders and waiters at some other places and we sat one Monday afternoon and discussed it.
"And I said, 'Let's start with a telephone. If they come into my bar, I'll telephone you and then you telephone so everyone knows they're out there.' And that was the beginning," he added.
Robinson said the phone tree was the start of what became known as the Tavern Guild of San Francisco, an organization of bars and employees, which, by the summer of 1980 included 184 people and 86 different establishments, according to the Online Archive of California.
The Tavern Guild formally began in 1962. Its first president was Phil Doganiero, a bartender at Suzy-Q bar on Polk Street, according to the OAC. The guild linked the disparate and underground gay bars of the city into one community for the first time.
Robinson and Thomas Horn, the former publisher of the Bay Area Reporter, both said that the gay community of the 1960s and 1970s was very fragmented and the organizations that emerged in those decades, like the Tavern Guild, the B.A.R., the Society for Individual Rights, and the Committee on Religion and the Homosexual, brought LGBT people together who otherwise may not have interacted. The late founding B.A.R. publisher Bob Ross was also involved in the guild for many years. "Bars played a much more important role then. That's how we met and interacted. But it was pretty tribal and we all had a niche," Horn said, adding that even gays who didn't drink would go to the bars and order juice."
- John Ferrannini, The Bay Area Reporter
'The Taster' - Wild Man Fischer
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"International Transgender Awareness Day is held on August 15 every year to commemorate an event in 1966, at Gene Compton's Cafeteria in San Francisco, a popular hangout in the Tenderloin for members of the transgender community. After police raided the cafeteria and attempted to make several arrests, Compton's regulars and allies protested and rioted, leading to greater recognition of transgender rights and the transgender community in general.
The people who frequented Compton's did it for a number of reasons, as revealed in Screaming Queens, a 2005 documentary about the riot and the San Francisco scene in the 1960s. Compton's was also the scene of several police raids throughout the years. One night, as police officers entered the cafe, the patrons inside decided they'd had enough. Like a similar riot at the Stonewall in New York three years later, the Compton Cafeteria Riot was also a powder-keg moment: After a cafeteria worker called the police on some unruly customers, there was an attempt to arrest one trans woman, who threw her coffee in the officer's face. This led to a scuffle where windows were smashed and other property was damaged. The message was clear though: Enough was enough.
From Queerty: Trans people, hustlers and disenfranchised gay locals picketed the cafeteria the following night, when the restaurant’s windows were smashed again. Unlike the Stonewall riots, the situation at Compton’s was somewhat organized — many picketers were members of militant queer groups like the Street Orphans and Vanguard. That group, The Vanguard, had been founded the year before to protect gay youth, many of whom were on their own in San Francisco. It was one of the first groups of its kind in the country. The Compton Riot and the subsequent protest did not become quite the landmark event that Stonewall did – perhaps because the city reacted so positively.
Again, From Queerty: "The city’s response was quite different from the reaction in New York: A network of social, mental and medical support services was established, followed in 1968 by the creation of the National Transsexual Counseling Unit, overseen by a member of the SFPD."
That SFPD member was Elliott Blackstone, who since 1962 had served as the official San Francisco police liaison to the LGBTQ community (at the time, known as the "homophile community"). Blackstone was appointed to his position after the city found out that "gayola" — police extortion of LGBTQ people and business owners — was running rampant and needed to be curbed.
Blackstone passed away in 2006 at 81 and is regarded as a hero in the LGBTQ community. Just before he died, he attended an event where a plaque was installed and dedicated to the riots."
- David Matthews, Splinter
'It's Just The Way I Feel' - Mount Rushmore
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'On Dec. 31, 1966—18 months before the Stonewall riots—the police stormed into the Black Cat in Los Angeles’ Silver Lake neighborhood as the clock struck midnight. Six of the patrons were charged with lewd conduct when their New Year’s kisses lasted longer than 10 seconds, and all were found guilty. When police chased two men into New Faces, another gay bar nearby, they beat the female owner and three employees who defended her. One of the bartenders suffered a ruptured spleen; he was charged with assaulting an officer when he recovered several days later. Angry community members organized protests, but perhaps because of Los Angeles’ sprawling geography, the episode received little attention. Though no longer called the Black Cat, the site is now home to Le Barcito, which is also a gay bar.'
- Slate
'On The Last Ride' - Tripsichord Music Box
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"Reverend Troy Perry started the first LGBTQ+ ministry in his living room in 1968.
"I had taken out an ad in a gay newspaper called the Advocate, it read 'Hear Reverend Troy Perry,' said Perry, "A little, four-page newspaper and gave my home address in Huntington Park, California and that Sunday 12 people showed up."
Six Sundays later, the new congregation had outgrown Perry's living room. That's when he officially founded the Metropolitan Community Church (MCC). Today, the MCC is the largest LGBTQ+ ministry in the world, with more than 172 churches in 37 countries. This was just the start of Perry's lifelong advocacy for LGBTQ+ rights. He's credited as being one of the original founders of the first Pride Parade."
- Sophie Flay, ABC News
'Call Of The River' - Linda Perhacs
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'The Blue Max Motorcycle Club was founded on June 7, 1968 with an original membership of eleven, and became incorporated on June 23, 1968. In the Fall of 1968, we joined the Council of Southern California Motorcycle Clubs. The first chapter of "The Rose of No Man's Land" was presented at Badger Flats in 1968. Over the years, our membership has grown as high as twenty-three and dropped as low as seven.
Blue Max held monthly meetings, organized benefits for community groups, and organized annual motorcycle runs throughout California. The Blue Max was known for its reverence of Kaiser Wilhelm II of Prussia and the Red Baron with members' uniforms resembling Prussian military regalia. In 1969, Blue Max organized its first annual Red Baron Run. Hal Hegge, the donor of this collection, served as one of Blue Max's early presidents and Chancellors and was involved with the club from its founding through the late 1970s. Blue Max continued to operate into the 1990s.'
- Excerpt from 'Little Fairy On The Prairie' (published in 'The Red Baron' & housed at the Online Archive of California)
'Of A Lifetime' - Journey
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Post by petrolino on May 7, 2020 21:09:57 GMT
March For Freedom : The Civil Rights Movement In California
'Dancing Madly Backwards (On A Sea Of Air)' - Captain Beyond
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'By the early 1960s, the Civil Rights Movement had reached California and the San Francisco Bay Area. Led by students from the University of California, Berkeley's chapter of CORE (Congress On Racial Equality) and local black organizations in San Francisco and Oakland, the Ad Hoc Committee To End Racial Discrimination was formed. In the early 1960s, the Ad Hoc Committee carried out a series of protests throughout the Bay Area demanding an end to racism in hiring.
The demand for more minority employees in local businesses in the Bay Area was fueled by the huge increase in African Americans in California following World War II. In 1940, for example, there were only 124,000 blacks out of the state's total population of over 1.9 million. By 1950, that number had quadrupled to 462,000 out of California's total population of 10.8 million. The Bay Area received a large amount of this Second Great Migration of Southern blacks moving West, as the number of African Americans tripled in size to 75,000. By 1960, there were 83,104 blacks in the city of Oakland alone, out of a total population of 367,548. These new black migrants would be the backbone of the Bay Area civil rights movement, as they demanded equal rights and job opportunities after World War II.
In 1960, grass roots black organizations and students from U.C. Berkeley's CORE created the Ad Hoc Committee To End Racial Discrimination. Their first order of business was to pressure local Bay Area companies to hire more minority employees. At the time, few Bay Area businesses offered job opportunities to blacks. Merchants were afraid that black employees would attract black customers that would scare off whites. The Ad Hoc Committee's plan was to picket these businesses until they agreed to end their discriminatory practices.
The Ad Hoc Committee based their tactics on those of the Southern Civil Rights Movement. They planned well-coordinated non-violent protests that aimed at creating confrontation with local companies, but at the same time offered negotiations. The protests would create confrontations and bad publicity for businesses, and at the same time, the Ad Hoc Committee would offer to end their actions in return for negotiations over jobs.
Beginning in late 1963, the Committee conducted marches in Oakland, San Francisco, Berkeley, and Richmond. They picketed Mel's Drive In Dinners in Berkeley and San Francisco, San Francisco's Sheraton-Palace Hotel and automobile sellers, and Berkeley's Lucky's grocery stores successfully, gaining agreements that they would hire more blacks. In 1964, they also marched on Berkeley's downtown businesses and the Oakland Tribune newspaper building, pictured in the photo, with no results.
Despite their early success, these protests and agreements failed to solve the lack of job opportunities for Bay Area African Americans. In 1967, for example, 28 % of Berkeley's black population under 25 was unemployed. Having one or two businesses hire a few blacks was not going to meet the demand of the growing African American population. This growing frustration and continuing unemployment would later result in more explosive forms of black activism such as the Black Panther Party formed in Oakland, CA just a few years after the Ad Hoc Committee's demonstrations.'
- Picture This : California Perspectives On American History
'Sunday Morning People' - Honey Cone
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'The Black Panthers, also known as the Black Panther Party, was a political organization founded in 1966 by Huey Newton and Bobby Seale to challenge police brutality against the African American community. Dressed in black berets and black leather jackets, the Black Panthers organized armed citizen patrols of Oakland and other U.S. cities. At its peak in 1968, the Black Panther Party had roughly 2,000 members. The organization later declined as a result of internal tensions, deadly shootouts and FBI counterintelligence activities aimed at weakening the organization.
Black Panther Party founders Huey Newton and Bobby Seale met in 1961 while students at Merritt College in Oakland, California. They both protested the college’s “Pioneer Day” celebration, which honored the pioneers who came to California in the 1800s, but omitted the role of African Americans in settling the American West. Seale and Newton formed the Negro History Fact Group, which called on the school to offer classes in black history.
They founded the Black Panthers in the wake of the assassination of black nationalist Malcolm X and after police in San Francisco shot and killed an unarmed black teen named Matthew Johnson. Originally dubbed the Black Panther Party for Self-Defense, the organization was founded in October 1966. The Black Panthers’ early activities primarily involved monitoring police activities in black communities in Oakland and other cities.
As they instituted a number of social programs and engaged in political activities, their popularity grew. The Black Panthers drew widespread support from urban centers with large minority communities, including Los Angeles, Chicago, New York and Philadelphia. By 1968, the Black Panthers had roughly 2,000 members across the country.
Newton and Seale drew on Marxist ideology for the party platform. They outlined the organization’s philosophical views and political objectives in a Ten-Point Program. The Ten-Point Program called for an immediate end to police brutality; employment for African Americans; and land, housing and justice for all. The Black Panthers were part of the larger Black Power movement, which emphasized black pride, community control and unification for civil rights.
While the Black Panthers were often portrayed as a gang, their leadership saw the organization as a political party whose goal was getting more African Americans elected to political office. They were unsuccessful on this front. By the early 1970s, FBI counterintelligence efforts, criminal activities and an internal rift between group members weakened the party as a political force.
The Black Panthers did, however, start a number of popular community social programs, including free breakfast programs for school children and free health clinics in 13 African American communities across the United States.'
- History
'Back On The Streets Again' - Tower Of Power
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"On November 20, 1969, a group of activists attempted to reclaim the location of the infamous prison, Alcatraz Federal Penitentiary, for the native people who had once occupied it. USC Dornsife faculty discuss the implications of the event, which kicked off nearly two years of protest that would shape Native American land rights activism for the next five decades."
- University Of Southern California
'An American National Anthem' - Geronimo Black
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Post by petrolino on May 7, 2020 22:39:18 GMT
* California's Dreaming : To Space And Beyond ...
'Tamalpais High (At About 3)' - David Crosby
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Human computing groups at the Jet Propulsion Laboratory, California Institute of Technology
Elite Californian computer pool
'Sea Of Consciousness' - Seals & Crofts
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Miss NASA
Miss Perfect Posture
'Downer' - Randy California
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Aeronautical missile testing at the Jet Propulsion Laboratory in Pasadena, California
Apollo Module construction and testing at the Rockwell Plant in Downey, California
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Post by cypher on May 12, 2020 18:04:03 GMT
The Heliocentrics - Winter Song
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Post by petrolino on May 13, 2020 21:44:20 GMT
Ancient Secrets Of The Wu Xing : The Road To Technological Innovation Runs Through California
'You Better Sit Down Kids' - Cher
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"Historically, California has been a pioneer in harnessing nuclear energy. However, recent trends in sustainable energy and push for cleaner, safer options have resulted in the decommissioning of all of California's nuclear power plants, the last of which will close in August 2025. Energy companies in California have chosen to move away from the Nuclear power of old and focus on developing more solar, wind and other clean power technologies. This transition to clean energy marks the end of an era of Nuclear power in California.
The Santa Susana Sodium Reactor Experimental (SRE) was the first Nuclear Power Plant in California. The plant was in operation from April 1957 to February 1964. The plant was located in near Moorpark in Ventura County and used sodium as a coolant rather than water. The plant produced a maximum of about 20 megawatts. It was considered the country's first civilian nuclear plant and the first "commercial" nuclear power plant to provide electricity to the public by powering the near-by city of Moorpark in 1957."
- Collin Riccitelli, 'Nuclear Energy In California : A Thing Of The Past'
'Flying High' - The Love Exchange
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"For millions of people around the globe, daily life is now dominated by the U.S. tech sector. Facebook is a primary communication tool for many, while iPhones or smartphones running Google's Android operating system are the go-to handsets in many parts of the world. The virtual reality buzz created by Oculus, meanwhile, is making waves as far away as China.
Silicon Valley, the heart of the U.S. tech industry, owes much of its impressive global reach to the Asians and Asian-Americans. Asians are already the largest ethnic group in the Valley, and are expected to make up 43.5% of the population in the region in 2040. With Asia's own tech sector on the rise, having an Asian background can open up vast opportunities for U.S. businesses."
- Shotaro Tani, 'Asian-Americans Drive Silicon Valley Innovation'
'Praise We The Lord' - The Crusaders
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"There is a lot of confused historical misrepresentation when it comes to the 1960s counterculture. Far from being just a populist barefoot romp in the hippie mud, the 1960s was one of the most transformational time periods we've ever experienced. Characterized by a continuation of 1950s beatnik and Buddhist sensibilities, bohemian experiments in alternative ways of life, psychedelic experiences and an anarchist anti-authority bent, the sixties had it all. It seems that even the roots of our computational world stems from this unruly and fascinating time.
There is much more to this era than the minimal fodder that is dolled out as counterculture history to the populace usually served in weak pop-song aphorisms and fading tie-dye shirts. One such point lost to many has been the undeniable relation between the counterculture and Silicon Valley or rather the computing age itself. This has been a central idea explored by a number of historians and authors.
'The Making of a Counter Culture' : Written in 1969, about the same time the reality of the flower child was transmigrated into a caricature on a suburban television set, scholar Theodore Roszak was explaining to the world just what the hell happened in the past decade or so. It was within this book that he coined the term "counterculture".
He also came across a startling connection later on in his years. In an essay written in 1985 titled 'From Satori to Silicon Valley', Roszak traced the interconnection between the computing era and the counterculture. In a revised edition on the topic in 2000, Roszak remarked that when he'd first written the essay he hadn't realized how much the times had changed since he first wrote 'The Making of a Counter Culture'."
- Mike Colagrossi, 'How The '60s Counterculture Created Silicon Valley'
'I'll See You' - The Comfortable Chair
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"On the national scene, the most visible of these efforts was The Whole Earth Catalog of 1968, a landmark publication of the period. The Catalog was an exuberant compendium of resourceful possibilities for laid back, but self-reliant living: wood-burning stoves, home remedies, mail-order moccasins, durable tools. I can recall a meeting I attended on the San Francisco peninsula where the first rather ratty looking edition of the Catalog (the print order was about 1000) was handed around the circle hot off the press. It was closely scrutinized with a mixture of wide-eyed wonder and honest glee. For, yes, here were the tools and skills of the alternative folk economy-to-come, tribal technology ready to be ordered and put to work. When the cities collapsed (as they were certain to do) and all the supply lines froze up (which might be any day now), these would be the means of cunning survival. Right there for all to see was a blueprint of the world's best tipi. There was even a book available for a modest price that showed how to deliver your own baby in a log cabin.
How many who read the Catalog ever ordered its goods or used its advice? I suspect that, for many, it was more the banner of a cause than the real tool it was meant to be. But even if one discounts most of these gestures as impractical whimsy, they stand as a provocative assertion of justified discontent which reached out, however unsteadily, toward organic values that our industrial culture has left far behind. That assertion, so I believe, represented much that was best in America's abbreviated countercultural episode. Somewhere in that longing for an earthier texture of life, there lay the saving sensibility that might have disciplined our runaway industrialism and given it a human face. Certainly we have had no stronger an appetite for social and economic alternatives, no livelier a discussion of major issues facing our high industrial system than we experienced during this brief, superheated interval. What is a sane standard of production and consumption? What is the true wealth of nations? What is the meaning of work, of leisure, of community, of masculinity and femininity, of freedom and fulfillment? What is the relationship of economy to environment? How do we create an economics of permanence? What are the values of a planetary culture? I cannot recall the last time I heard a discussion of such great questions that was animated with the energies of possibility.
If the wishful paradigm that sparked discussion of issues like these was a somewhat romanticized neo-primitivism, that may be of less intellectual importance than the quality of the ideas that soon found currency within this unlikely public of dissenting and dropped-out middle class youth. For these included the humanly-scaled economics (sometimes quaintly called the "Buddhist economics") of E. F Schumacher, the communitarian philosophy of Paul Goodman and Murray Bookchin, the feminist insurgency of the women's movement, the convivial social theories of Ivan Illych, the ecological poetics of Gary Snyder, the manifold insights of the humanistic and human potential psychologies. Like so many tributaries, these currents of thought at last flowed into the environmental movement of the early seventies, which survives as the most durable offshoot of countercultural protest.
Permeating all these issues was a peculiarly west coast American reading of Zen-Taoist nature mysticism, a reborn sense of allegiance to the Earth and its rhythms which centered especially in the postwar Bay Area. The positive side of youthful disaffiliation during the sixties was the discovery of a new postindustrial standard of wealth and well-being that borrowed heavily upon oriental philosophy. I have met academic specialists who insist that Alan Watts, who did so much to popularize Zen, did not grasp the authentic meaning of satori. So it would be hazardous to say how many members of the untutored counter culture achieved a studied knowledge of this elusive tradition. But many had at least acquired from these exotic sources an awareness of values that commanded no respect in the mainstream of our frenzied industrial economy: a trust in the organism and the spontaneous patterns of nature, a sense of right livelihood, a taste for pleasures of the senses and splendors of the mind that money cannot buy nor machines produce. Learnedness may not always have been there, but longing was. And sometimes timely intuition supplies what scholarship cannot provide. If the raggle-taggle youth of the sixties had any guiding star before them, I think it was the hobo Taoist saints and shabby Zen masters, civilization's original anarchist philosophers, wise fools who taught the art of living lightly on the Earth. Young and raw as the counter culture may have been, there were those in its ranks who recognized the relevance of that tradition to the needs of a society sunk over its eyes in an obsessive struggle to conquer nature, to obliterate all traditional wisdom in the name of "progress," to transform the entire planet into an industrial artifact. They perceived the nuclear death-wish that lies at the core of that Promethean obsession and, accordingly, they proposed a more becoming human alternative."
- Theodore Roszak, 'From Satori To Silicon Valley'
'Light Without Heat' - Creation Of Sunlight
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"Hand-in-hand with the sharing economy is the crowdsourcing of knowledge that was once the domain of experts. Fried, a columnist for AllThingsD, noted that “emblematic of how knowledge and learning have shifted” is today’s acceptance of Wikipedia as a better resource than the Encyclopedia Britannica.
“What made the encyclopedia great is that you had an article written by one person who really knew what the hell they were talking about,” she said. “Wikipedia is written by a whole bunch of people who don’t know what they’re talking about. But it turns out that collectively, a bunch of people who don’t know what they’re talking about know more than one person who spent their lifetime researching it.”
The question follows: if Wikipedia can be better than an encyclopedia, can crowdsourced healthcare be better than a well-trained doctor? De Brouwer predicted that as the quantified self-movement and personalized medicine unfold and put the technology for medical assessment into individuals’ hands, medicine will be the next frontier to be revolutionized by acts of insubordination.
“The map of medicine is made by doctors. The map will be rewritten by the people,” De Brouwer said. The changes wrought in society by such innovation, he said, “might be even bigger than” those brought about by the Internet and PCs."
- Adrienne Burke, Forbes
A 1971 concert by Little Feat
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Post by bravomailer on May 14, 2020 4:54:22 GMT
I've always liked this record. Two things amuse me. First, Nugent, a conservative stalwart now, claims he didn't know the song was about psychoactive drugs. Second, though obviously lip-synched, he fiddles with the volume control a few times.
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Post by petrolino on May 15, 2020 21:48:37 GMT
Californian Campus Life & The Body Politic : The New Left And The Free Speech Movement Invigorated The Women's Liberation Movement
'Love At Psychedelic Velocity' - The Human Expression
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"Between 1965 and 1966, students fighting tooth and nail for their democratic rights began splintering into different human rights groups and political factions, while retaining a unified front. Among the first cities to establish militant groups situated at the frontline of the Women's Liberation movement were Berkeley, Boston, Chicago, New Orleans and New York City."
- Marie Dufois, '_ She Walks Softly Now'
'Susie's Gone' - Afterglow
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"In 1968, as women's liberation groups were springing up across the country, Mimi Feingold founded San Francisco's first small group by gathering some women with connections to the antiwar organization the Resistance. In the Bay Area, as in the rest of the country, the founders of women's liberation were veteran activists from the civil rights movement and the New Left of the early 1960s. Feingold herself had participated in the Freedom Rides, the Congress for Racial Equality, and Students for a Democratic Society (SDS), as well as the draft resistance movement.
Pam Allen, who became nationally known as the author of a pamphlet on consciousness-raising, joined this original group at its second meeting in September of 1968 she had just moved to San Francisco from New York, where she had been a founder and active member of the group New York Radical Women. She too had a history of involvement in the civil rights movement, with the Student Nonviolent Coordinating Committee (SNCC). She "brought to the group a political commitment to building a mass women's movement." In total, five of the original members of this first San Francisco group had been involved in the civil rights movement in the South. This group named itself Sudsofloppen.
Sudsofloppen members possessed a radical left perspective on society. At the same time, however, their experiences in the male-dominated movements of the left had also given them a distrust of traditional forms of organizing. Allen wrote that, "Because many of us were ex-'movement' people we had tremendous hostility toward the concept of organizing women. . . . We were all well schooled in the inhumanity of the left movements, in their disregard for the needs of individuals."
Such contradictions were felt by radical women across the country. Although women had been involved in the political movements of the 1960s from the beginning, their experiences had not been entirely positive. Young women had gained increased independence, organizing skills, and a radical understanding of society. But their treatment by radical men -- both in movement groups and in personal relationships -- contradicted their expectations of community and democracy in the movement and provided the impetus for women to begin to organize their own movement. The skills and networks with which they built the women's liberation movement were grounded in their political history on the left. Women's styles of organizing also responded to the oppression they had experienced in male-dominated movements by emphasizing egalitarian relationships and personal development.
The women of Sudsofloppen's "driving need to extend our contact to other women who were thinking as we were" led them to call for a conference of women involved in women's liberation in the Bay Area, which took place in January, 1969. A second conference occurred in March, and these gatherings continued on a semi-regular basis throughout the year. The year 1969 also saw a wide range of women's liberation actions and activities in San Francisco. For example, on February 14, women in San Francisco staged a demonstration at the Bridal Fair exposition there, in conjunction with a similar protest in New York. They used tactics ranging from picketing and guerrilla theater to leafleting. In December, activists staged a teach-in on the oppression of women at San Francisco State.
At the end of 1969, the participants in women's liberation in San Francisco defined their movement as: A women's organization which grew out of the radical student movement. . . . One year old in San Francisco. Predominantly young, white and middle class. An organization of the isolated and alienated women of the movement who rebelled against the stereotyped role they were expected to play. Many women's liberation groups throughout the area. Concentrate on small group involvement of women. . . .
Women's liberation was identified as an "organization" rather than a movement, but this "organization" consisted of many small groups instead of a single unified structure, although the choice of terminology may also have reflected the beginnings of the city-wide umbrella organization known as San Francisco Women's Liberation (SFWL). By 1970, there were an estimated sixty-four small groups in the Bay Area."
- Joanna Dyl, 'Women's Liberation Origins And Development Of The Movement'
Hugh Hefner with one of the original Playboy Bunnies in 1961 
Gloria Steinem working undercover as a Playboy Bunny in New York in 1963
Deborah Harry working as a Playboy Bunny in New York circa 1968
'Love Machine' - The Zoo
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"On August 26, 1970, a full 50 years after the passage of the 19th Amendment granted women the right to vote, 50,000 feminists paraded down New York City’s Fifth Avenue with linked arms, blocking the major thoroughfare during rush hour. Now, 45 years later, the legacy of that day continues to evolve.
Officially sponsored by the National Organization for Women (NOW), the Women’s Strike for Equality March was the brainchild of Betty Friedan, who wanted an “action” that would show the American media the scope and power of second-wave feminism.
As TIME observed just days before the march, the new feminist movement emerged out of a moment in which “virtually all of the nation’s systems — industry, unions, the professions, the military, the universities, even the organizations of the New Left — [were] quintessentially masculine establishments.” The notion of women’s liberation was extremely controversial, and the movement was in its infancy.
Friedan’s original idea for Aug. 26 was a national work stoppage, in which women would cease cooking and cleaning in order to draw attention to the unequal distribution of domestic labor, an issue she discussed in her 1963 bestseller The Feminine Mystique. It isn’t clear how many women truly went on “strike” that day, but the march served as a powerful symbolic gesture. Participants held signs with slogans like “Don’t Iron While the Strike is Hot” and “Don’t Cook Dinner – Starve a Rat Today.”
The number of marchers exceeded Friedan’s “wildest dreams.” TIME described the event as “easily the largest women’s rights rally since the suffrage protests.” It brought together older, liberal feminists like Friedan and Bella Abzug with a younger, more radical contingent of women. As Joyce Antler, a historian who participated in the demonstration, told me, many of these women “were veterans of civil rights marches and anti-war protests of the 1960s. We marched throughout the ‘60s and we had faith that this mattered.”
The day of activism reached beyond New York City, as thousands of feminists across the country coordinated sister demonstrations. A full range of creative, confrontational tactics was on display, as activists infiltrated “all male” bars and restaurants, held teach-ins and sit-ins, picketed and rallied, in Detroit, Indianapolis, Boston, Berkeley and New Orleans. One thousand women marched on the nation’s capital, holding a banner that read “We Demand Equality.” In Los Angeles, feminists wearing Richard Nixon masks enacted guerrilla street theater. “The solidarity was completely exhilarating,” Antler recalls.
The organizers of the day’s events agreed on a set of three specific goals, which reflected the overall spirit of second-wave feminism: free abortion on demand, equal opportunity in employment and education, and the establishment of 24/7 childcare centers. Over the next several years, activists would use multiple techniques — from public protest to legislative lobbying — in an attempt to turn these goals into realities."
- Sacha Cohen, TIME
The Women’s Strike for Equality in 1970 took various forms in more than ninety cities across the United States. Here are a few examples ...
* New York, home to radical feminist groups such as New York Radical Women and Redstockings, had the largest protest. Tens of thousands marched down Fifth Avenue; others demonstrated at the Statue of Liberty and stopped the stock ticker on Wall Street. New York City issued a proclamation declaring Equality Day.
* Los Angeles had a smaller protest, numbering in the hundreds, including women who stood holding a vigil for women’s rights.
* In Washington D.C., women marched on Connecticut Avenue with a banner that read “We Demand Equality” and lobbied for the Equal Rights Amendment. Petitions with more than 1,500 names were presented to the Senate majority leader and minority floor leader.
* Detroit women who worked at the Detroit Free Press kicked men out of one of their restrooms, protesting the fact that men had two bathrooms while women had one.
* Women who worked for a New Orleans newspaper ran pictures of the grooms instead of the brides in engagement announcements.
* International Solidarity: French women marched in Paris, and Dutch women marched at the U.S. embassy in Amsterdam.
- Linda Napikoski, 'Women's Strike For Equality'
Washington D.C.
New York City
'Superfluous Daisy' - The Daisy Chain
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Post by bravomailer on May 15, 2020 22:08:42 GMT
Motown put out a few at least semi-psychedelic records. Psychedelic Shack and Cloud Nine - both written by Norman Whitfield and Barrett Strong
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Post by petrolino on May 15, 2020 23:26:08 GMT
California, August 1969 : End Of The Line
'My Mind' - The Misunderstood
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'Charles Milles Manson (né Maddox, November 12, 1934 – November 19, 2017) was an American criminal and cult leader. In mid-1967, he formed what became known as the "Manson Family", a quasi-commune based in California. His followers committed a series of nine murders at four locations in July and August 1969. According to the Los Angeles County district attorney, Manson plotted to start a race war, though he and others disputed this motive. In 1971, he was convicted of first-degree murder and conspiracy to commit murder for the deaths of seven people, including the film actress Sharon Tate. The prosecution conceded that Manson never literally ordered the murders, but they contended that his ideology constituted an overt act of conspiracy. Manson was also convicted of first-degree murder for the deaths of Gary Hinman and Donald Shea.
Manson was an unemployed ex-convict who had spent more than half of his life in correctional institutions at the time when he began gathering his cult following. Before the murders, he was a singer-songwriter on the fringe of the Los Angeles music industry, chiefly through a chance association with Dennis Wilson of the Beach Boys. In 1968, the Beach Boys recorded Manson's song "Cease to Exist", retitled "Never Learn Not to Love" as the B-side on one of their singles, but without a credit to Manson.
The Los Angeles district attorney said that Manson was obsessed with the Beatles, particularly their 1968 self-titled album. He claimed to be guided by his interpretation of the Beatles' lyrics and adopted the term "Helter Skelter" to describe an impending apocalyptic race war. At trial, the prosecution claimed that Manson and his followers believed that the murders would help precipitate that war. Other contemporary interviews and those who testified during the penalty phase of Manson's trial insisted that the Tate–LaBianca murders were copycat crimes designed to exonerate Manson's friend Bobby Beausoleil.
From the beginning of Manson's notoriety, a pop culture arose around him and he became an emblem of insanity, violence, and the macabre. Recordings were released commercially of songs written and performed by Manson, starting with Lie: The Love and Terror Cult (1970). Various musicians have covered some of his songs. Manson was originally sentenced to death, but his sentence was commuted to life with the possibility of parole after the California Supreme Court invalidated the state's death penalty statute in 1972. He served his life sentence at California State Prison, Corcoran and died at age 83 in late 2017.'
- Wikipedia
'Mulholland' - Jan And Dean
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'Manson' (1973, Documentary - Robert Hendrickson & Laurence Merrick)
'She's Got The Time' - The Poor
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'Helter Skelter' (1976, TV Miniseries - Tom Gries)
'Knock Knock' - The Humane Society
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'The Manson Family' (1997 - Jim Van Bebber)
'Canyon Women' - St. John Green
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'Leslie, My Name Is Evil' (2009 - Reginald Harkema)
'Talking To You' - Savage Resurrection
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'House Of Manson' (2014 - Brandon Slagle)
'Sleazy Street' - Sopwith Camel
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'Inside The Manson Cult : The Lost Tapes' (2018, Documentary - Hugh Ballantyne)
'That Time Of The Year' - Rhinocerous
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'Once Upon A Time... In Hollywood' (2019 - Quentin Tarantino)
'We Got A Long Way To Go' - Stained Glass
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'Manson : Music From An Unsound Mind' (2019, Documentary - Tom O'Dell)
'Help Me' - The Loading Zone
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Post by petrolino on May 15, 2020 23:44:50 GMT
* Coda : Seduced, Bewitched & Entranced ~ The Eternal Spell Cast By Sunny California
'Endless Pathway' - Wendy & Bonnie | 'It's Taking So Long' - Kathy Smith
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Post by petrolino on May 15, 2020 23:57:18 GMT
Motown put out a few at least semi-psychedelic records. Psychedelic Shack and Cloud Nine - both written by Norman Whitfield and Barrett Strong
I like 'Cloud Nine' (1969) and 'Psychedelic Shack' (1970) by The Temptations. I also like 'Love Child' (1968) and 'Reflections' (1968) by The Supremes.
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Post by petrolino on May 22, 2020 14:00:09 GMT
English Country Garden : Psychedelic Ferment in the Age of Flower Power
Some British music fans like to say psychedelia originated on these shores but my previous postings on this thread indicate my own feelings on the topic. I believe the truth is always more complicated, and artistic movements tend to inspire the creation of works that bleed into each other. In 1966, a number of essential records planted the seeds of psychedelic pop and rock, and these materialised on both sides of the Atlantic. Common widsom tends to afford the honours in England to the Yardbirds, the Beatles and Pink Floyd, but again, the picture is far more complex than that. Musicians were still falling in and out of bands on a regular basis in the mid-1960s, something that furthered the probability of cross-pollination, while established rock 'n' roll units were only now beginning to think in terms of conceptualised albums that would be completely self-penned. Studio technology was also pushing forward at a rapid rate and this typically favoured the more successful bands (others could fall back on old-fashioned forms of musical innovation).
'Tomorrow Never Knows' - The Beatles
Lots of songs performed, released or recorded in 1966 flirted with what would come to be known as psychedelic musical motifs, laying the groundwork for the creative explosion of 1967 which saw scores of pop groups ascending the psychedelic staircase. In England, where I live, the north-south divide remained in stark contrast, in terms of socio-economics, religion, football trophies (only league title winners Portsmouth and F.A. Cup winners Southampton found major success among southern clubs based outside of Greater London in the 20th century, unlike teams in the Midlands, the North-East, and especially the North-West football powerhouse), and a whole lot more. The Beatles never left anybody in any doubt they were from Liverpool, while space rockers Pink Floyd asserted complete control over the emerging London underground, ushering in a tidal wave of lunar tales that would morph into heavy metal and progressive rock before the end of the decade; in its embryonic stage, space rock still had one foot planted firmly inside the sonic garage - it was raw, aggressive and determined to defile your headspace.
The Yardbirds perform 'Shapes Of Things' in France in 1966
'You're A Better Man Than I' - The Yardbirds
Pink Floyd perform 'Interstellar Overdrive' in England in 1966
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Post by petrolino on May 22, 2020 23:33:45 GMT
Beatlemania
The four core members of The Beatles all took LSD within a year of each other, according to most journalists' accounts I've read. It was just one component of the shift in their art though, so I really feel it shouldn't be given too much weight. After all, a lot of creative people experiment with a wide range of substances, some lean heavily on alcohol, some get hooked into prescription drugs, it's how things have always been. A lot of artists seek an escape from the confines of the claustrophobic mind, especially when they feel it's turned against them.
"‘Day Tripper’ -- which is up there with ‘I Feel Fine’ in terms of all-time great Beatles guitar riffs -- could be read as a song about a jock-blocking tease. Or it could be about recreational drug use, as both John Lennon and Paul McCartney suggested. Talk about songwriting geniuses -- they wrote a pop song about girls and drugs that, it might be argued, syllogistically says girls are drugs. Mind: blown."
- Will Levith, Diffuser
"Musically, the Beatles were already changing, taking increasingly daring risks. They had inspired countless British and American bands – the Rolling Stones, the Byrds, the Beach Boys – with their uncommon chord changes, their curving, often sharp-cornered melodies and their commitment to writing their own songs. John Lennon, for his part, envied the Stones’ permission to make dirtier and angrier music than the Beatles. But it was Bob Dylan whom the Beatles heeded most. Dylan’s new electric music was majestic, in particular “Like a Rolling Stone,” and some wondered if hallucinogens had helped stimulate his surreal, stream-of-consciousness imagery. In December 1965, the Beatles upped the ante with Rubber Soul, seen as a major step in their artistic growth. Paul McCartney leaned into his songs more: “Drive My Car” was feisty and witty; “You Won’t See Me” and “I’m Looking Through You” were surprisingly angry, like some of Dylan’s more acerbic songs. Lennon’s songs, though, were a whole new thing: “Nowhere Man” and “Girl” showed vulnerability; “Norwegian Wood (This Bird Has Flown)” was vengeful and musically unusual, featuring the first use of sitar on a pop record.
McCartney was aware of the growing competition and intended to keep the Beatles at a creative edge. Despite his reluctance about psychedelics, he was in some ways the most progressive Beatle. “All the other guys were married in the suburbs,” he said. “They were very square in my mind.” Remaining in London, he kept his tastes open, not just to cutting-edge popular music, but also to unorthodox ideas in the arts, politics and philosophy (Bertrand Russell turned him against the Vietnam War; McCartney, in turn, says he educated Lennon on the subject).
McCartney took an interest in the groundbreaking electronic music of classical composers and experimentalists Karlheinz Stockhausen, Luciano Berio and Edgard Varèse, and in the free jazz of saxophonist Albert Ayler. “I’m trying to cram everything in,” McCartney said, “all the things I’ve missed. People are saying things and painting things and writing things and composing things that are great, and I must know what people are doing.” In early 1966, McCartney and his girlfriend, Jane Asher, helped her brother, Peter, and his partners John Dunbar and Barry Miles prepare the opening of Indica Books and Gallery, a site for counter-cultural interests. McCartney was also the shop’s first customer: He would pore over new books at night and had the shop send on copies of what intrigued him to the other Beatles.
In April, McCartney took Lennon to Indica, where he came across The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead, by Timothy Leary, Ralph Metzner and Richard Alpert. The authors – who had researched psychedelics for both therapeutic and mystical potential – intended their adaptation of an eighth-century Buddhist text as a guide through the psychedelic experience of “ego-death” and personality reintegration as the drug wore off. One passage read, “Do not cling in fondness and weakness to your old self. Even though you cling to your old mind, you have lost the power to keep it. . . Trust your divinity, trust your brain, and trust your companions. Whenever in doubt, turn off your mind, relax, float downstream.” Lennon now had a frame of reference to make sense of what the drug did to him. He read the entire book in the shop.
Within days, Lennon presented a new song to the Beatles and producer George Martin. At first referred to as “Mark 1,” and later retitled “Tomorrow Never Knows,” the song began, “Turn off your mind, relax and float downstream/It is not dying, it is not dying/Lay down all thoughts, surrender to the void/It is shining, it is shining.” The composition “was all on the chord of C,” said McCartney. “I can hear a whole song in one chord,” he told author Hunter Davies. “I think you can hear a whole song in one note, if you listen hard enough. But nobody ever listens hard enough.”
Lennon told Martin he wanted “thousands of monks chanting” on the song. Instead, the Beatles’ new engineer, Geoff Emerick, amplified Lennon’s vocals through a rotating Leslie speaker to achieve an echoic, spine-chilling effect. Lennon was ecstatic, but then wondered if they could achieve something better by suspending him from a ceiling rope and spinning him as he sang. (They could not.) George Harrison, who was now studying Indian music, added a tamboura – a drone instrument that makes for an ethereal swirling harmonic undertow. It was McCartney, though, who came up with the sound of what happens when the spirit meets the void. Inspired by the music of Stockhausen, he came into the studio one day with a handful of tape loops that he’d made the night before: sounds of guitar-tuning and what seemed like odd shrieks, among others. Martin listened to them, played them forward and backward. Finally, he ran the results through several interconnected tape machines simultaneously at the Abbey Road studio, each helmed by an EMI employee who varied the speed just enough to make for a collective unearthly mixture. The tape collage ran as Lennon sang, “Listen to the color of your dreams/It is not living, it is not living.”
- Mikal Gilmore, Rolling Stone
'Norwegian Wood' - The Beatles
"It's easy to forget 46 (now 53) years later, but the entire 'Sgt. Pepper's Lonely Hearts Club Band' album was truly groundbreaking stuff on all levels, songwriting, production, presentation and spirit. The finale of the LP, 'A Day In The Life,' is a piece of day-glo pop art in 4/4 time and still remains a breathtaking adventure. From the unassuming intro of acoustic guitar, piano and vocal, the song twists and turns as it adds color and flavor along the way, until its mid song chaotic climax explodes and suddenly becomes a totally different song. The perfect example of one of Lennon's ideas and one of Paul McCartney's woven together seamlessly into a totally unique creature. We return to the Lennon theme and once again crescendo out-of-bounds at songs end. Recorded on a four-track machine under the impossible-to-understate guidance of Sir George Martin. No Pro Tools were harmed in the making of this record."
- Dave Swanson, Ultimate Classic Rock 'A Day In The Life'
"Psychedelia is in the ear of the beholder, but telltale signs of psychedelic rock usually include unusual sounds and timbres (e.g., sitars, fuzz tone, mellotron, electronically distorted sounds), upwardly moving melodies that give the sensation of "flight," oscillating or lurching rhythms, slowed-down rhythms, speeded-up rhythms, abrupt changes in rhythm to signify disorientation, use of musical modes that sound "Oriental" or "Indian," lyrical references to bright colors, and an inward lyrical focus on the singer's interior life. Psychedelic influences start to creep into the Beatles' work in 1965, but they haven't necessarily produced any full-fledged psychedelic songs by then.
The songs from 1965 most likely believed to have some psychedelic influence, but probably can't be classified as fully psychedelic, include:
* Help! (recorded April 13, 1965; one theory has it that it was inspired by the soul searching that John Lennon did after his coffee was dosed with LSD by George's dentist in March 1965; not too psychedelic, but supposedly written as a Roy Orbison-style ballad that later became more uptempo)
* Norwegian Wood (recorded October 12, 21, 1965; except for George's sitar, it was more inspired by American folk rock than psychedelic drugs per se)
* Day Tripper (recorded October 16, 1965; uses "trip" as a drug double entendre, but otherwise more influenced by R&B than psychedelia)
The Beatles' purest psychedelic period doesn't begin until the band takes three months off after finishing Rubber Soul:
* Tomorrow Never Knows (recorded April 6-7, 1966; includes Indian tamboura, a melody similar to an Indian raga drone that barely moves out of the key of C, lyrics borrowed from Timothy Leary, swirly vocals modified using a Leslie speaker cabinet, tape loops with unusual sounds at random intervals, drumming from Ringo that sounds like a tape loop but isn't)
* Love You To (recorded April 11, 1966; George's first song written in Indian raga style)
* Rain (recorded April 14, 16, 1966; included multiple overdubs recorded at slow speed and high speed to fatten up the sound and make the tempo slightly more draggy, includes drone-like textures)
* I'm Only Sleeping (recorded April 27-May 6, 1966; inspired by how John's LSD use encouraged his desire to be lazy, use of dreamlike imagery, backward guitar sounds)
* I Want to Tell You (recorded June 2-3, 1966; lurching and oscillating harmonies, lyrics focusing on internal confusion, sounds of a piano that sounds out of tune)
* She Said She Said (recorded June 21, 1966; "fattened" vocals similar to "Rain," lyrics inspired by an encounter John Lennon had with Peter Fonda while taking an LSD trip, tapes of Ringo's drums may have been manipulated to sound choppier)
* Strawberry Fields Forever (recorded November 24 thru December 22, 1966; mellotron, George playing an Indian instrument called a svarmandal, two melodies in different keys combined into one song by playing them at slightly different speeds, introspective lyrics focused on self-doubt, insistence that "nothing is real")
* Penny Lane (recorded December 29, 1966 thru January 17, 1967; may have been Paul's first song reacting to LSD, lyrics mention poppies on a tray, use of harmonium and piccolo trumpet, focus on returning to childhood experience)
* Carnival of Light (recorded January 5, 1967; avant-garde free form piece still not yet released, possibly could be viewed as Paul's version of Revolution #9)
* A Day in the Life (recorded January 19, 1967 thru February 22, 1967; disorienting time-shifts between verses written by John and Paul, symphony orchestra crescendos chaotically until ended in a long, droning chord)
* Only A Northern Song (recorded February 13-20, 1967; ethereal organ, musical instruments speeded up, in-studio chatter)
* Being for the Benefit of Mr. Kite (recorded February 17, 1967; features tape manipulation and swirly organ sounds to approximate the sound of being in the middle of a circus)
* Lucy in the Sky with Diamonds (recorded February 28, 1967 thru March 2, 1967; lyrics feature considerable color imagery, atmposhere shifts from slow and dreamy tempo on the verses to more uptempo on the chorus, ethereal vocals)
* Within You Without You (recorded March 15, 1967 thru April 4, 1967; inspired by both Indian music and philosophy, song rarely moves out of the key of C)
* Magical Mystery Tour (recorded April 25, 1967 thru May 3, 1967; partially inspired by the LSD-soaked tours of Ken Kesey and his "magic bus" in the mid-1960s, uses "trip" as a double entendre)
* Baby, You're A Rich Man (recorded May 11, 1967; not very psychedelic lyrically, but the clavioline keyboard gives the songs a very unusual texture)
* It's All Too Much (recorded May 25, 1967-June 2, 1967; distorted guitar, Hammond organ with lots of sustained drones, main melody rarely moves out of key of G)
* I Am the Walrus (recorded September 5 thru September 29, 1967; surrealistic lyrics, disorienting tempo changes between verses, nonsense chants, random radio noise from a BBC broadcast of King Lear)
* Blue Jay Way (recorded September 6 thru October 6, 1967; lyrics inspired by the disorientation of being lost in L.A., includes phasing and backward tapes, oscillates between C major and C diminished)
* The Inner Light (recorded January 12 thru February 8, 1968; Indian influence on melody, lyrics focus on how you can "travel" without leaving your house)
* Across the Universe (recorded February 4-8, 1968; the original version before it was modified by Phil Spector features floating Lennon vocals with droning noises and unusual wildlife sounds, a child's voice matching John's voice also appears in the mix)
Listing the recording dates is instructive here, because some of these songs would not get released until the Yellow Submarine LP (It's Only A Northern Song, It's All Too Much) or the Let It Be LP (Across the Universe in its Phil Spector version), but were definitely made during the period when psychedelic drugs had the biggest effect on the Beatles creative output. After February 1968, the Beatles went to Rishikesh to commune with the Maharishi, where they were told not to bring any drugs along, because Trascendental Meditation was a more natural high. Although the Beatles probably did take some marijuana along to Rishikesh, their use of strong hallucinogens ended at that point, except for John, who used LSD a few more times after Rishikesh."
- Joe Pennington, 'Emotional Groom' 'Lovely Rita'
'The Continuing Story Of Bungalow Bill'
'Here Comes The Sun'
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Post by bravomailer on May 23, 2020 0:39:16 GMT
Anyone mention Time Has Come Today by the Chambers Brothers? Heard it recently in the trailer to Spike Lee's new film.
The squawking sounds on the Beatles' is a tape of McCartney played backwards.
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Post by bravomailer on May 23, 2020 0:40:22 GMT
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Post by petrolino on May 23, 2020 0:41:27 GMT
Anyone mention Time Has Come Today by the Chambers Brothers? Heard it recently in the trailer to Spike Lee's new film. Yes, I posted a video of it with some psychedelic funk from Sly And The Family Stone & Parliament / Funkadelic (on the 20 posts a page format, it's currently on page 3 of this thread).
I like Spike Lee's soundtracks, the range of songs, music of his father Bill Lee, regular composer Terence Blanchard. His recent film 'BlacKkKlansman' (2018) introduced me to this song which is now a personal favourite that's a fixture on my playlist ...
'Lucky Man' - Emerson, Lake & Palmer
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Post by cypher on May 25, 2020 13:18:55 GMT
Shanti - Good Inside
I've had this album for years, but only just discovered that Seasick Steve played bass with these guys!
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Post by cypher on May 29, 2020 2:20:36 GMT
Captain Beefheart - Electricity
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Post by cypher on May 29, 2020 2:21:55 GMT
The Paul Butterfield Blues Band - East-West
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