26 – THE SUMMERS OF LOVE

Summers of LoveThe 1960's was a tumultuous decade, a time of social, sexual and musical revolution. America was caught up in one of its most controversial involvements - The Vietnam War. A chain of chaotic events beginning with the assassination of John F. Kennedy in 1963, the 1968 assassination of Dr. Martin Luther King and the Manson murders of 1969 typified the era. The year 1964 saw the passage of the Civil Rights Bill. Man walked on the moon in 1969. It seemed as though the world was on a crash course to oblivion and we all sat bleary eyed as it gained momentum.

The popular music of the late 1960's reflected the confusion of the times. By 1966, rock was becoming more complex, more experimental and above all, louder. Recording techniques had improved and many of the new groups began dabbling in special effects and elaborate orchestrations. Lyrics were incredibly creative, often drug oriented and sometimes bordering on the mystical. Artists on either side of the Atlantic were influencing each other. The Beatles and The Byrds exchanged tapes and ideas, both being enamoured of Bob Dylan. David Crosby inspired George Harrison to listen to Indian music, particularly the artistry of Ravi Shankar and the possibilities of adapting the sitar to rock music. Finally, modern electronic music was aspiring to greatness and legitimacy.

To set the scene for the late 1960's, one must cite June 1, 1967 as a major focal point. It was on this date that the world was set on its musical ear with the release of The Beatles' phenomenal "Sgt. Pepper's Lonely Hearts Club Band" album.

"SGT. PEPPER"

After playing their last live concert on Aug. 29, 1966, The Beatles had decided to discontinue touring. They had tired of playing to hordes of screaming teenagers who couldn't possibly hear their music. It had also reached the point where it was becoming technically impossible to reproduce their recordings live, much of their newer material being dependent on the use of orchestrations and studio effects. This new freedom from touring allowed them much more artistic scope than ever before. They spent a great deal of time experimenting with the latest in advanced studio technology, a luxury not afforded to many. The recording studio became their playground.

With the aid of EMI staff arranger/producer George Martin, The Beatles proceeded to record several pieces linked to a central theme based on a fictitious bandmaster named Sgt. Pepper. The songs seemed to be in sync with each other but in actuality, they were not. However, there was a rather strange spiritual unity to the collection. The music itself was a virtual conglomeration of rock, classical, English music hall, psychedelia, Indian raga and everything in between. Later, it was unanimously hailed as the ultimate concept album.

On March 30, 1967, The Beatles posed in colourful military costumes for the LP cover photo shoot at Michael Cooper's studio in Chelsea. Designed and organized by Peter Blake, it consisted of an elaborate set featuring the band posed with a lifesize collage made up of various celebrities, living and deceased. "Sgt. Pepper" was also the first major rock album to provide the lyrics printed on the back cover.

The recording process was completed on April 2, 1967 and on June 1, 1967, it was released. It was immediately heralded as a masterpiece and rock at its zenith. It had taken approximately seven hundred studio hours over a period of nine months to record and cost twenty five thousand pounds to produce. It was everywhere that summer. Its presence was inescapable. The record became an integral part of the scheme of things. It was "the" psychedelic album, symbolic of the drug culture and the late 1960's in general.

Musicologist Wilfred Mellers had been derided unmercifully by his contemporaries after he courageously cited "Sgt. Pepper" a modern masterpiece and The Beatles geniuses. Many so-called legitimate music critics refrained from comment until it became painfully obvious that Mellers was indeed correct.

Other notable musicians licked their wounds and went back to their drawing boards. No one could possibly top it. Brian Wilson of The Beach Boys lapsed into a state of severe depression and sustained paranoia after being blown away by its magnitude. The Rolling Stones tried to match it but failed miserably with "Their Satanic Majesties Request" album, later retreating to the safety of their formulaic rock and roll.

The BBC banned "A Day In The Life," "Lucy In The Sky With Diamonds" and "Fixing A Hole" because of apparent drug references. Actually, the lyrics were all quite vague yet an immediate imagery of psychedelia was present in the context of almost every track. The music projected swirling colours and fantastic designs in its mind expanding textures. It also tied in perfectly with the hippie lifestyle and the current migration to America's West Coast. More than any other element, it was symbolic of what is now called "The Summer Of Love."

THE SUMMER OF LOVE

Although 1967 has been officially dubbed "The Summer Of Love," there seems to exist a unified aura and style apparent in the last three years of the sixties. The flower power attitude did not disappear until the close of the decade despite the celebrated "death of the hippie" in October of 1967, a rather scathing attempt by the hippies to beat commercialism at its own game.

From the very beginning of the 1960's, California's lure was like that of a giant magnet, causing a mass migration of young people to the west, and during the late 1960's in particular, the Haight Ashbury district of San Francisco. Several factors had contributed to the hypnotic pull of the West Coast. For years, pop music had extolled the glories of California living, especially in the music of The Beach Boys and Jan & Dean. Lyrics conjured up romantic visions of sun, sand, surfing and of course the beautiful bikini clad women (e.g. "two girls for every boy" - Jan & Dean). The Mamas And The Papas' gigantic hit, "California Dreamin'" said it all. And when Scott McKenzie's recording of "San Francisco (Wear Flowers In Your Hair)," written by John Phillips began climbing the charts, the attraction to the West Coast was at its peak - such was the power of the music.

The baby boom generation was in full control. Rebellion and the questioning of authority was common. Conformity was stripped away and freedom became the main objective. Outrage over the Vietnam War manifested itself in protest rallies, sit-ins, draft card burnings and be-ins. The sexual revolution, the civil rights movement, black power and the American Indian movement (AIM) were all in full flower. Everyone had a cause. Drug laws were openly defied. Everything seemed to come together during the summer of 1967. Messengers like Chet Helms spread the word - "We are the young, we are strong, we can change the world."

INFLUENTIAL HEROES & CHARACTERS

ABBIE HOFFMAN

ALLEN GINSBERG

CHET HELMS

DR. TIMOTHY LEARY

KEN KESEY

ALLEN COHEN

BILL GRAHAM

TOM McGRATH

RON & JAY THELIN

AUGUSTUS STANLEY OWSLEY III

RALPH J. GLEASON

R. CRUMB

THE HIPPIES

DEFINITION - A term used especially since the latter half of the 1960's to denote young people who reject authority, existing institutions and morality. They dress unconventionally, favour communal living, advocate non violent ethics and often indulge in the use of psychedelic drugs.

That particular stereotypical description is undeniably true yet there are several factors amiss. The hippie phenomenon was an unplanned global movement. Although there were no leaders to speak of, messengers brought news of events and happenings in other areas. One creative San Francisco faction determined that "hippie" stood for "helping in preserving peaceful individual existence."

Appearance was important in that you were either a long hair or you were establishment. It was exactly that cut and dried. The hippie look consisted of a colourful, casual eclectic wardrobe made up of bell bottom jeans, tie dyed T-shirts, sandals or boots and any other decorative items such as macramé sashes, love beads and headbands. Anything fluorescent or hand painted was "groovy" and "far out." Edwardian jackets, Indian kaftans and any type of thrift shop apparel was acceptable. The more original the look, the cooler the wearer. Of course the crowning glory was long hair - the longer and wilder the better. And after The Beatles began sporting facial hair, it caught on like wildfire. The catch-phrase of the day was "do your own thing."

Small communities emerged, dotted with unique shops which catered to a youth clientele. Health food stores, poster shops, Indian boutiques, thrift shops and establishments dealing in psychedelic paraphernalia called head shops sprung up all over the country. The head shops also sold beads, posters, prints, jewelry, god's eyes (coloured yarn wrapped around crossed sticks symbolizing the third eye of spiritual understanding), incense and underground periodicals and newspapers. They also dealt in items associated with the drug culture.

LSD (Lysergic Acid Diethylamide), which had been legal previous to October, 1966 caught on with the college crowd. It was prescribed by LSD guru Dr. Timothy Leary, a radical psychologist who had been fired from Harvard. Leary, convinced that the young had the power, urged them to "turn on, tune in, drop out." Getting stoned became a national pastime.

THE DIGGERS

The Diggers were the core of the counter culture, a sort of new age Robin Hoods. Named for Cromwell's Planters And Diggers and patterned after the zealots of The English Civil War, they firmly believed that everything should be free. Food, clothing and lodging was free but donations were accepted. Hippies travelling 'cross country could count on the local Diggers to feed them and put them up for the night. Digger houses became havens specifically for "refugees of American culture and The Vietnam War." Once again there were no leaders but the basic idea had been promoted by David Simpson, writer Peter Berg and actor/playwright Peter Coyote (Peter Cohon) (Oct. 10, 1942 – ). On Dec. 16, 1966, the Diggers organized their first parade with the theme, "Death And Rebirth Of The Haight-Ashbury And The Death Of Money." It was led by ex-San Francisco mime troupe member Emmet Grogan.

RIOTS ON SUNSET STRIP

Young people began turning out in droves to protest a ten o'clock curfew on Los Angeles' famous Sunset Strip. The police also showed up in full force, clubbing protesters and arresting over three hundred people. The whole unfortunate incident was later chronicled in a defiant little song titled "For What It's Worth," written by Stephen Stills and recorded by his band, The Buffalo Springfield.

ROCK FESTIVALS

On June 16-18, 1967, The Monterey Pop Festival, a 3 day celebration of music, love and flowers, organized by John Phillips of The Mamas & The Papas became the first ever major rock festival.

Artists taking part were Jimi Hendrix, The Who, Jefferson Airplane, Big Brother & The Holding Company (with Janis Joplin), Eric Burdon & The Animals, Otis Redding, The Mamas & The Papas, Simon & Garfunkel, Country Joe & The Fish and Ravi Shankar. Music personalities wandered the grounds fraternizing with the fans without fear. Attendance was estimated at 72,000. Two new phrases were added to our vocabulary - "make love not war" and "save water - bathe with a friend." It was a peaceful 3 days, later released as a film, "Monterey Pop." Although Woodstock is the most remembered of all the festivals, Monterey was surely the greatest.

The Woodstock Music And Art Fair was held on Aug. 15-17, 1969 at Max Yasgur's farm in Bethel, New York. It had began as a ticketed concert, later becoming free when over 400,000 music fans descended on the premises. It was the largest peaceful gathering to date. Artists taking part included Jimi Hendrix, Ten Years After, The Who, Canned Heat, Jefferson Airplane, Santana, Sly & The Family Stone, Sha Na Na, Joe Cocker, Joan Baez, Mountain, Arlo Guthrie and Janis Joplin.

The great rock festivals of the 1960's came to an abrupt end when a concert featuring The Rolling Stones and Jefferson Airplane, held at The Altamont Speedway in Santa Clara, California became a fiasco. A member of The Hells Angels who were supposedly policing the event murdered 18 year old Meredith Hunter directly in front of the stage. The catastrophic concert was later released as a film titled "Gimme Shelter"(1970).

THE MUSICAL SHIFT

By the late 1960's, the hit single was beginning to lose ground to the LP. A great deal of the new rock music had become too radical for AM radio. FM stations playing mostly album tracks gained in popularity. The new music was urgent, lyrically complex and often politically motivated. Often, the tracks had become too long for the 45 RPM single. Basically, music styles were much too improvisational and unconventional for mainstream airplay. Both American and British artists were dabbling in areas considered too heavy for the pop charts. For example, The Moody Blues had initiated their revolutionary concept album formula, sending their record company into shock after it was discovered that there were few hit singles in the material.

THE GATHERING OF THE TRIBES

On Jan. 14, 1967, a unique happening took place at The Polo Field, Golden Gate Park in San Francisco. Promoted as "The Human Be-In," it attracted young people from all over the country. Several rock bands entertained but the overall attraction was the mystical overwhelming feeling of love and unity. Just to be there was magic. It was a celebration. This "pow wow" type of event was held simultaneously in London, New York, Amsterdam, Los Angeles, Paris and Stockholm heralding what later would be called "The Summer Of Love." The San Francisco happening was romanticized in Jefferson Airplane's "Won't You Try/Saturday Afternoon" from their 1967 LP, "After Bathing At Baxters." They also recorded a nostalgic song called "Summer Of Love" on their 1989 reunion LP, "Jefferson Airplane."

SAN FRANCISCO

Hailed as the new Liverpool, San Francisco developed a reputation as the creative centre of the counter culture. The number of rock bands based in the Bay Area alone was phenomenal. Everyone was either in a group or knew someone who was. Several innovative art forms blossomed as a direct result of the burgeoning music scene. The first and most important was the birth of creative promotional posters for local rock concerts. Later considered an important art form, they became almost as popular as the events they advertised. Some of the earliest ideas were developed by Wes Wilson (who set the tone for psychedelic art with his initial 1966 poster for a Fillmore concert), Marty Balin of Jefferson Airplane, George Hunter, Alton Kelley and Victor Moscoso. But the greatest achievements in poster art were the remarkable works of Stanley "Mouse" Miller. Between 1966 and 1971, over 550 classic rock posters were designed.

Along with posters another fad was born. Buttons bearing slogans, symbols, names of current rock bands and creative designs became the rage as early as 1966. The most widespread item was an inverted ban the bomb logo, later called the peace symbol. Buttons and graffiti often displayed phrases such "Clapton is God," "save water - bathe with a friend" or "may the baby Jesus shut your mouth and open your mind." During late 1966, the entire West Coast was flooded with posters, buttons and stickers proclaiming "Jefferson Airplane Loves You."

Like Greenwich Village in New York City and Yorkville in Toronto, the Haight Ashbury (sometimes dubbed "The Hashbury") district of San Francisco became a magnet for runaways, fugitives from the draft, artists, musicians, poets, rebels and generally anyone disenchanted with mainstream living. With its colourful head shops, music clubs, health food shops and bakeries (some featuring multi-coloured psychedelic bread), the area also attracted the tourist trade. Little old ladies from the Midwest would take bus tours just to ogle the colourful hippie freaks. Later, as rip-off artists and big business moved in, the utopian hippie dream came to an end. In protest of the stereotypical label, the locals staged a mock "death of the hippie" rally on Oct. 21, 1967. However, as far as the public was concerned, the term "hippie" stuck.

SAN FRANCISCO ROCK VENUES

THE MATRIX - (3138 Fillmore) Opening in August of 1965, it was the first club to achieve notoriety. It was a rather small venue owned and operated by Marty Balin of Jefferson Airplane.

THE FILLMORE - (1805 Geary St.) Owned and operated by rock impresario Bill Graham (see Influential Heroes & Characters) who also managed several rock acts including Jefferson Airplane. It had originally been an old skating rink situated in the Fillmore ghetto. Opening on Nov. 6, 1965, it became the premier rock venue in North America until its demise in 1971. The two weekend shows often featured non stop impromptu jams until five in the morning. Later in March 8, 1968, Graham opened his Fillmore East in New York City, which also closed in 1971. Both halls offered a new visual experience called liquid lighting. They were the premier rock concert halls of their time.

THE AVALON BALLROOM - Owned by Texas entrepreneur Chet Helms (see Influential Heroes & Characters). The Avalon had been designed as a dance palace and Helms was a firm believer in the power of the dance.

WINTERLAND - Opened in 1968, this gigantic venue was three times larger than the Fillmore.

CREATIVE LIGHTING

The light show as an art form was perfected in San Francisco. Liquid lighting (achieved by mixing oil, water and food colouring on glass plates and projecting the results with the use of overhead projectors on massive screens situated behind the bands) became an essential element of rock concerts. Colours swirled, bubbled, pulsed and burst into amoeba-like patterns which created a fantastic backdrop for the trippy music (The idea for the style evolved from the light exhibits at The Brussels World's Fair). Other lighting techniques included carousels, slides, film and the hypnotizing effect of strobe lights.

Lighting was crucial to the West Coast scene. It embellished the music, creating a total environment and setting specific moods for each song. Several creative lighting companies enjoyed almost as much popularity as the groups. The most famous units were Glenn McKay's Headlights, Garden Of Delights, Joe's Lights and The Joshua Light Show. Many groups travelled with their own light companies. Glenn McKay's Headlights gained so much notoriety that Jefferson Airplane performed a special concert at The New York Museum Of Art, providing music as a backdrop for the new experimental lighting techniques.

DANCING

In the beginning, dancing had been the main focus of the music. However, after 1967, hardly anyone danced. Audiences often preferred to seat themselves in concert fashion in order to appreciate both the music and the spectacular lighting effects. Of course, much of the new experimental music was highly undanceable.

One unique dance form which did emerge during the hippie era was the acid dance. As a style, it was free form, fluid and graceful rather than rhythmic. It was symbolic of the trip experience, often dominated by slow motion movements.

THE SAN FRANCISCO SOUND

In actuality, there really was no unified San Francisco sound anymore than there was a distinct London or New York sound. The variety of styles was endless. The groups themselves were united socially rather than in musical style. There was an incredible support system among the bands and the musicians achieved a new intimacy with their followers who proudly called them "our bands." The wall between the performer and the audience disintegrated. Music was tied to the community, often becoming a main source of income.

Although there were so many varied Bay area music styles, several basic elements were evident in the West Coast approach to rock. There was a sort of lazy, hypnotic essence to the music. Long jam sessions were common and improvisation was taken to the limit.

Singing was also improvisational. The vocal acrobatics of Grace Slick and Marty Balin of Jefferson Airplane were legendary. Their innovative onstage duals became the definitive example of free form San Francisco vocals.

MAJOR SAN FRANCISCO ARTISTS

THE CHARLATANS

THE BEAU BRUMMELS

JEFFERSON AIRPLANE

THE GREAT SOCIETY

THE GRATEFUL DEAD

THE YOUNGBLOODS

SANTANA

COUNTRY JOE & THE FISH

JANIS JOPLIN/BIG BROTHER & THE HOLDING COMPANY

MOBY GRAPE

BLUE CHEER

THE STEVE MILLER BAND

SLY & THE FAMILY STONE

QUICKSILVER MESSENGER SERVICE

THE GRASS ROOTS

CREEDENCE CLEARWATER REVIVAL

THE MOJO MEN

A SELECTED LISTING OF RECORDINGS BY OTHER SAN FRANCISCO ARTISTS

LOS ANGELES

Long before Haight Ashbury and San Francisco had become the main focus of the West Coast scene, Los Angeles had already achieved considerable status as a rock centre. Most of the early surf music and folk rock styles had originated in L.A. There emerged a certain rivalry between the Los Angeles and San Francisco bands, however the L.A. groups on the whole were much more commercially accessible. Los Angeles played host to a thriving club scene including the famous Sunset Strip club, The Whiskey A Go-Go which in mid '65 started booking emerging hard rock bands. The venue became L.A.'s hottest mecca launching groups such as The Byrds, The Doors, The Buffalo Springfield and The Mothers Of Invention.

MAJOR LOS ANGELES ARTISTS

THE BYRDS

THE TURTLES

LOVE

THE LEAVES

THE ASSOCIATION

THE DOORS

THE MOTHERS OF INVENTION/FRANK ZAPPA

CLEAR LIGHT

CANNED HEAT

THE BUFFALO SPRINGFIELD

STEPPENWOLF

LINDA RONSTADT

SPIRIT

THREE DOG NIGHT

OTHER WEST COAST GROUPS

THE STRAWBERRY ALARM CLOCK

H.P. LOVECRAFT

THE PEANUT BUTTER CONSPIRACY

THE IRON BUTTERFLY

CROSBY, STILLS, NASH & YOUNG

COLD BLOOD

MAJOR AMERICAN ROCK GROUPS 1967-1969

THE BAND

VANILLA FUDGE

BLOOD SWEAT AND TEARS

INTERNATIONAL ACTS 1967-1969

CREAM

JIMI HENDRIX

ERIC BURDON & THE ANIMALS

THE EASYBEATS

PINK FLOYD

PROCOL HARUM

THE MOVE

STATUS QUO

JULIE DRISCOLL, BRIAN AUGER & THE TRINITY

TRAFFIC

TEN YEARS AFTER

ALSO SEE

BIBLIOGRAPHY