WELCOME TO HIPPIE SCENE!
We have put together a montage of pictures, information, stories and facts on this page, just scroll down until something catches your eye, there is something for everyone who is interested in the events of the 60's and 70's - decades that defined a generation.
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PEACE.............Imagine a world where there is no hate, no war, only love for each other, that is the world we hope and pray our granddaughter, Journey - and all the children of the world will have someday.............please join us at the peace alliance and help to realize that dream........The Peace Alliance
WOODSTOCK INFORMATION:
Woodstock was a music festival, billed as An Aquarian Exposition, held at Max Yasgu's 600 acre (2.4 km²; 240 ha) dairy farm in the rural town of Bethel, New York from August 15 to August 18, 1969. Bethel (Sullivan County) is 43 miles (69 km) southwest of the village of Woodstock, New York, in adjoining Ulster County.
JEFFERSON AIRPLANE
The festival exemplified the counterculture of the late 1960s – early 1970s and the "hippie era". Thirty-two of the best-known musicians of the day appeared during the sometimes rainy weekend in front of nearly half a million concertgoers. Although attempts have been made over the years to emulate the festival, the original event has proven to be unique and legendary. It is widely regarded as one of the greatest moments in popular music history and was listed on Rolling Stone's 50 Moments That Changed the History of Rock and Roll.
The event was captured in a successful 1970 documentary movie, Woodstock; an accompanying soundtrack album; and Joni Mitchells song "Woodstock", which commemorated the event and became a major hit for Crosby, Stills, Nash & Young.
THE PEOPLE
Woodstock was initiated through the efforts of Michael Lang, John Roberts, Joel Rosenman, and Artie Kornfeld. It was Roberts and Rosenman who had the finances, and who placed the following advertisement in the New York Times and Wall Street Journal under the name of Challenge International, Ltd.: “Young men with unlimited capital looking for interesting, legitimate investment opportunities and business propositions.”
JOE COCKER
Lang and Kornfeld noticed the ad, and the four men got together originally to discuss a retreat-like recording studio in Woodstock, but the idea morphed into an outdoor music and arts festival. There were differences in approach among the four: Roberts was disciplined, and knew what was needed in order for the venture to succeed, while the laid-back Lang saw Woodstock as a new, relaxed way of bringing business people together. There were further doubts over the venture, as Roberts wondered whether to consolidate his losses and pull the plug, or to continue pumping his own finances into the project. His decision to continue with the project resulted in one of the most successful events in music history.
ROGER DALTRY -THE WHO
Woodstock was designed as a profit-making venture, aptly titled "Woodstock Ventures". It famously became a "free concert" only after it became obvious that the event was drawing hundreds of thousands more people than the organizers had prepared for. Around 186,000 tickets were sold beforehand and organizers anticipated approximately 200,000 festival-goers would turn up. The fence was purposely cut by the UAW/MF family in order to create a totally free event, prompting many more to show up. Tickets for the event cost US$18 in advance (approximately US$75 today adjusted for inflation and $24 at the gate for all three days. Ticket sales were limited to record stores in the greater New York City area, or by mail via a Post Office Box at the Radio City Station Post Office located in Midtown Manhattan.
CAMPING..
Woodstock Ventures made Warner Brothers an offer to make a movie about Woodstock. All Artie Kornfeld required was $100,000, on the basis that "it could have either sold millions or, if there were riots, be one of the best documentaries ever made," according to Kornfeld.
The influx of young people to the rural concert site in Bethel created a massive traffic jam and closed the New York State Thruway. The facilities were not equipped to provide sanitation or first aid for the number of people attending; hundreds of thousands found themselves in a struggle against bad weather, food shortages and poor sanitation.
The festival was held during a time of military conflict abroad and racial discord at home, and participants quickly became aware that the event had taken on a meaning beyond its original intent. The site of Woodstock became, for four days, a countercultural mini-nation. Minds were open, drugs were available and "love" was "free". Yippie activist Abbie Hoffman crystallized this view of the event in his book, Woodstock Nation, written shortly afterwards.
TUNIN' IN
Although the festival was remarkably peaceful given the number of people and the conditions involved, there were two recorded fatalities: one from what was believed to be a heroin overdose; another caused by an occupied sleeping bag accidentally being run over by a tractor in a nearby hayfield. There were also two births recorded at the event (one in a car caught in traffic and another in a helicopter) and four miscarriages. Oral testimony in the film supports the overdose and run-over deaths and at least one birth, along with many colossal logistical headaches.
Yet, in tune with the idealistic hopes of the 1960s, Woodstock satisfied most attendees. Especially memorable were the sense of social harmony, the quality of music, and the overwhelming mass of people, many sporting bohemian dress, behavior, and attitudes.
After the concert Max Yasgur, who owned the site of the event, saw it as a victory of peace and love. He spoke of how nearly half a million people filled with possibilities of disaster, riot, looting, and catastrophe spent the three days with music and peace on their minds. He states that “if we join them, we can turn those adversities that are the problems of America today into a hope for a brighter and more peaceful future...”
THE CROWD
Sound for the concert was engineered by Bill Hanley whose innovations in the sound industry have earned him the prestigious Parnelli Award."It worked very well," he says of the event. "I built special speaker columns on the hills and had 16 loudspeaker arrays in a square platform going up to the hill on 70-foot [21 meter] towers. We set it up for 150,000 to 200,000 people. Of course, 500,000 showed up. ALTEC designed 4 – 15 marine ply cabinets that weighed in at half a ton a piece, stood 6 feet straight up, almost 4 feet deep & 3 feet wide. Each of these woofers carried four 15-inch JBL LANSING D140 loudspeakers. The tweeters consisted of 4x2-Cell & 2x10-Cell Altec Horns. Behind the stage were three transformers providing 2,000 amps of power. For many years this system was collectively referred to as the Woodstock Bins.
JANICE JOPLIN
COUNTRY JOE
CROSBY, STILLS & NASH
THE WHO
JOE COCKER
WOODSTOCK SCHEDULE:
Friday, August 15
The first day officially began at 5:07 p.m. with Richie Havens, and featured folk artists.
- Richie Havens
- High Flyin' Bird
- I Can't Make It Any More
- With a Little Help from My Friends
- Strawberry Fields Forever
- Hey Jude
- I Had A Woman
- Handsome Johnny
- Freedom/Sometimes I Feel Like a Motherless Child
- Swami Satchidananda - gave the invocation for the festival
- Sweetwater
- What's Wrong
- Motherless Child
- Look Out
- For Pete's Sake
- Day Song
- Crystal Spider
- Two Worlds
- Why Oh Why
- The Incredible String Band
- Invocation
- The Letter
- This Moment
- When You Find Out Who You Are
- Bert Sommer Jennifer
- The Road To Travel
- I Wondered Where You Be
- She's Gone
- Things Are Going my Way
- And When It's Over
- Jeanette
- America
- A Note That Read
- Smile
- Tim Hardin, an hour-long set
- If I Were A Carpenter
- Misty Roses
- Ravi Shankar, with a 5-song set, played through the rain
- Raga Puriya-Dhanashri/Gat In Sawarital
- Tabla Solo In Jhaptal
- Raga Manj Kmahaj
- Iap Jor
- Dhun In Kaharwa Tal
- Melanie
- Tuning My Guitar
- Johnny Boy
- Beautiful People
- ARLO GUTHRIE
- Arlo Guthrie--order of set list unknown
- Coming Into Los Angeles
- Walking Down the Line
- Story about Moses and the Brownies
- Amazing Grace
- Joan Baez-she was 6 months pregnant at the time
- Story about how the Federal Marshals came to take David Harris into custody.
- Joe Hill
- Sweet Sir Galahad
- Drugstore Truck Driving Man
- Sweet Sunny South
- Warm and Tender Love
- Swing Low, Sweet Chariot
- We Shall Overcome
Saturday, August 16
The day opened at 12:15 pm, and featured some of the event's biggest psychedelic and guitar rock headliners.
- Grateful Dead's performance was plagued by technical problems, including a faulty electrical ground. Members Jerry Garcia and Bob Weir reported getting shocked every time they touched their guitars.
- Creedence Clearwater Revival
- Born on the Bayou
- Green River
- Ninety-Nine and a Half (Won't Do)
- Commotion
- Bootleg
- Bad Moon Rising
- Proud Mary
- I Put A Spell On You
- Night Time is the Right Time
- Keep On Chooglin'
- Suzy Q
- Sly & the Family Stone
- M’Lady
- Sing A Simple Song
- You Can Make It If You Try
- Everyday People
- Dance To The Music
- I Want To Take You Higher
- Love City
- Stand!
- The Who began at 4 AM, kicking off a 25-song set including Tommy
- Heaven and Hell
- I Can't Explain
- It's a Boy
- 1921
- Amazing Journey
- Sparks
- Eyesight to the Blind
- Christmas
- Tommy Can You Hear Me?
- Acid Queen
- Pinball Wizard
- Abbie Hoffman incident (see section below)
- Do You Think It's Alright?
- Fiddle About
- There's a Doctor
- Go to the Mirror
- Smash the Mirror
- I'm Free
- Tommy's Holiday Camp
- We're Not Gonna Take It
- See Me, Feel Me
- Summertime Blues
- Shakin' All Over
- My Generation
- Naked Eye
- Jefferson Airplane
- Volunteers
- Somebody To Love
- The Other Side of This Life
- Plastic Fantastic Lover
- Won't You Try/Saturday Afternoon
- Eskimo Blue Day
- Uncle Sam's Blues
- White Rabbit
Sunday, August 17 to Monday, August 18
Joe Cocker was the first act on the last officially booked day (Sunday); he opened up the day's events at 2 PM. His set was preceded by at least two instrumentals by The Grease Band.
- Joe Cocker
- Dear Landlord
- Something Comin' On
- Do I Still Figure In Your Life
- Feelin' Alright
- Just Like A Woman
- Let's Go Get Stoned
- I Don't Need A Doctor
- I Shall Be Released
- With a Little Help from My Friends
- After Joe Cocker's set, a storm disrupted the events for several hours.
- Country Joe and the Fish resumed the concert around 6 p.m.
- Rock and Soul Music
- Thing Called Love
- Love Machine
- The "Fish" Cheer/I-Feel-Like-I'm-Fixin'-To-Die Rag
- Ten Years After
- Good Morning Little Schoolgirl
- I Can't Keep From Crying Sometimes
- I May Be Wrong, But I Won't Be Wrong Always
- Hear Me Calling
- I'm Going Home
- The Band - Set list confirmed in Levon Helms book "This Wheel's On Fire"
- Chest Fever
- Tears of Rage
- We Can Talk
- Don't You Tell Henry
- Don't Do It
- Ain't No More Cane
- Long Black Veil
- This Wheel's On Fire
- I Shall Be Released
- The Weight
- Loving You Is Sweeter Than Ever
- Blood, Sweat & Tears ushered in the midnight hour with five songs.
- More and More
- I Love You More Than You'll Ever Know
- Spinning Wheel
- I Stand Accused
- Something Comin' On
- Johnny Winter featuring Edgar Winter, his brother, on two songs.
- Mama, Talk to Your Daughter
- To Tell the Truth
- Johnny B. Goode
- Six Feet In the Ground
- Leland Mississippi Blues/Rock Me Baby
- Mean Mistreater
- I Can't Stand It (With Edgar Winter)
- Tobacco Road (With Edgar Winter)
- Mean Town Blues
- Crosby, Stills, Nash & Young began around 3 a.m. with separate acoustic and electric sets.
- Suite: Judy Blue Eyes
- Blackbird
- Helplessly Hoping
- Guinnevere
- Marrakesh Express
- 4 + 20
- Mr. Soul
- Wonderin'
- You Don't Have To Cry
- Pre-Road Downs
- Long Time Gone
- Bluebird
- Sea of Madness
- Wooden Ships
- Find the Cost of Freedom
- 49 Bye-Byes
- Neil Young skipped most of the acoustic set (the exceptions being his compositions "Mr. Soul" and "Wonderin'") and joined Crosby, Stills & Nash, but refused to be filmed during the electric set; by his own report, Young felt the filming was distracting both performers and audience from the music. Young's "Sea of Madness," heard on the album, was actually recorded a month after the festival at the Fillmore East.
- Paul Butterfield Blues Band
- Everything's Gonna Be Alright
- Driftin'
- Born Under A Bad Sign
- Morning Sunrise
- Love March
- Sha-Na-Na
- Na Na Theme
- Yakety Yak
- Teen Angel
- Jailhouse Rock
- Wipe Out
- Book of Love
- Duke of Earl
- At the Hop
- Na Na Theme
- Jimi Hendrix After being introduced as the 'Jimi Hendrix Experience' Hendrix corrected the new group's name to 'Gypsy Sun and Rainbows'. The full list of Hendrix's Woodstock performance:
- Message to Love
- Hear My Train A Comin'
- Spanish Castle Magic
- Red House(Hendrix's high E-string broke while playing, but played the rest of the song with five strings.)
- Mastermind (written & sung by Larry Lee)
- Lover Man
- Foxy Lady
- Jam Back At The House
- Izabella
- Gypsy Woman/Aware Of Love (These two songs written by Curtis Mayfield were sung by Larry Lee as a medley)
- Fire
- Voodoo Child (Slight Return)/Stepping Stone
- The Star-Spangled Banner
- Purple Haze
- Woodstock Improvisation/Villanova Junction
- Hey Joe
Cancelled appearances
- The Jeff Beck Group was scheduled to perform at Woodstock, but failed to make an appearance because the band broke up the week before.
- Iron Butterfly was stuck at an airport, and their manager demanded helicopters and special arrangements just for them.
The festival exemplified the counterculture of the late 1960s – early 1970s and the "hippie era". Thirty-two of the best-known musicians of the day appeared during the sometimes rainy weekend in front of nearly half a million concertgoers. Although attempts have been made over the years to emulate the festival, the original event has proven to be unique and legendary. It is widely regarded as one of the greatest moments in popular music history and was listed on Rolling Stone's 50 Moments That Changed the History of Rock and Roll.
The event was captured in a successful 1970 documentary movie, Woodstock; an accompanying soundtrack album; and Joni Mitchells song "Woodstock", which commemorated the event and became a major hit for Crosby, Stills, Nash & Young.
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How to Dress Like a Hippie
1. Do have a flower. I know the song says "in your hair" but the truth is that it's hard to get the things to stay put.
2. No flower? Go for the Pocahontas headband.
3. Hair is long and "unkempt looking." (My mother's words) But it is clean. Yes, we washed our hair. Hey, deep down we were Baby Boomers from suburbia.
4. Women could wear a mini or even micro skirt provided she had decent legs. A chain belt was groovy. Boots or go-go boots were okay too.
5. Men - Jeans, the grungier the better. Leather vests were big too.
6. Fringe - for all. Vest, jackets, pants, shirts. Anything could be fringed.
7. Peace symbol. Every last one of us had at least one peace symbol.
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This chick has it all going. Hippie clothes include:
1. Hip hugger, bell bottom jeans and wide leather belt.
2. Fringed jean bottoms
3. Halter top
4. Headband with flower. (One way to keep the thing in place.)
5. Bare feet. You'll notice from the photo below that the practice of going barefoot tends to make your feet dirty. Plus, you can step in some serious er, stuff.
Ankle bells are in.
6. Obligatory peace symbol. If you didn't want to wear it around your neck you could have a peace symbol belt buckle or pin. In which case you wore beads around your neck.
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Hippie clothes include:
1. Tee shirts are always acceptable
2. Fringed leather vest
3. Granny glasses were groovy too
4. Obligatory flower
5. Obligatory peace symbol |
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Hippie clothes include:
1. Afro hair was the syle for blacks. The bigger the better. And the more radical.
2. Combat style vest. Combat jackets and fatiques were big too.
4. Leather sandals were worn for all occasions. And they helped you avoid all the problems associated with going barefoot.
5. Obligatory peace symbol |
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Hippie clothes include:
1. Tie dye. We tie dyed everything from clothes to sheets. No, we didn't go to the mall and buy them. We made them. All over the Internet you can find sites that sell tie-dye packages that allow even a beginner to create a masterpiece. They have all kinds of products to make it perfect.
We didn't have any of that fancy stuff. What we had was Rit dye. We'd twist or gather the fabic, secure it with a rubber band and pitch it in a pot according to the Rit directions. You don't get great multicolored perfect patterns, but what you do have is authentically handmade.
2. Facial hair - on men only! Beards or moustashes, but never nicely trimmed.
3. Bell bottom, patched jeans
4. Leather sandals
5. Obligatory peace symbol
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The Peace Alliance is a nonpartisan citizen action organization representing a growing constituency for peace. A 501(c)4 organization established in March 2004, our mission is to empower civic activism for a culture of peace. Our vision is a future in which the practical programs and principles of peacebuilding are the bedrock of our personal, national and global interest and investment. Our goal is to take the field of peacebuilding from the margins of the political and societal dialogue and bring it to its rightful place: Central to our policymaking, investment and understanding. We achieve this primarily through a massive public education, outreach and citizen lobbying effort. Our current focus is the campaign for a cabinet-level U.S. Department of Peace.
Peace is not a utopian ideal; it is an issue critical to our national and human security. Either we continue reactively addressing ever-increasing levels of violence and the consequent human and economic costs, or we take a fresh approach. This isn’t about the politics of left or right; it is about what is practical and effective. We must create the possibility for applied peacebuilding to identify and resolve conflict before it erupts into violence. The science of peacebuilding has significantly expanded over the past 30 years, creating previously unavailable tools for dismantling violence. Yet nowhere in the highest echelons of our government is there a platform from which to launch a focused, strategic approach to reducing and preventing violence.
We support a grassroots volunteer network that is active in all 50 states. A new kind of peace activist, Department of Peace campaign supporters work to establish connection and understanding with people from all segments of society and political affiliations, to practice the principles of peace, and to be a demonstration of what we are calling for.
We estimate approximately half of our base has a history of peace activism and half never before considered themselves “politically active.” These passionate volunteers include Republicans, Democrats, Libertarians, Green Party members, former and current military and police, soccer moms, entrepreneurs, senior citizens, youth on high school and college campuses, traditional peace activists, and more. They enroll their elected leaders and the public at large by working with members of Congress, writing editorials, doing local media interviews, organizing local talks and trainings, getting city council endorsements, and meeting with police chiefs, fire chiefs, prison officials, directors of abuse shelters, school boards, and others to discuss how a Department of Peace will benefit their community.
So, it is with the help of thousands of citizen activists that we have taken this campaign from a beautiful idea into a political reality. Together we are building the foundation and infrastructure for a more peaceful nation and world.
Click here to find out how you can become involved in your community.
Click here to read and download an annual report of our 2005-2006 activities and accomplishments.
Click here to read and download a list of 2006-2007 status and accomplishments.
GET INVOLVED WITH THE NEW ADMINISTRATION-FIND OUT HOW YOU CAN HAVE A VOICE WITH PRESIDENT OBAMA:
http://www.change.org/
"When the power of love overcomes the love of power the world will know peace."
Jimi Hendrix
"You must be the change you wish to see in the world."
Mahatma Ghandi
The peace symbol has a convoluted and confusing history. It's most notable appearance in modern times was its first use by the Campaign for Nuclear Disarmament (CND) at their Aldermaston march in 1956. The CND meaning of the symbol is semaphore for 'N' (the two diagonal lines) and 'D' (the two vertical lines). About ten years later, the symbol was adopted as a general peace sign within the student anti-war movement. It became the single best known symbol of the youth culture of the sixties.
HIPPIE HISTORY
The hippie movement in the United States began as a youth movement. Composed mostly of white teenagers and young adults between the ages of 15 and 25 years old, hippies inherited a tradition of cultural dissent from bohemians and beatniks of the Beat Generation in the late 1950s. Beats like Allen Ginsberg crossed-over from the beat movement and became fixtures of the burgeoning hippie and anti-war movements. By 1965, hippies had become an established social group in the U.S., and the movement eventually expanded to other countries, extending as far as the United Kingdom and Europe, Australia, Canada, New Zealand, Japan, Mexico, and Brazil The hippie ethos influenced The Beatles and others in the United Kingdom and other parts of Europe, and they in turn influenced their American counterparts. Hippie culture spread worldwide through a fusion of rock music, folk, blues, and psychedelic rock; it also found expression in literature, the dramatic arts, fashion and the visual arts, including film, posters advertising rock concerts, and album covers. Self-described hippies had become a significant minority by 1968, representing just under 0.2% of the U.S. population before declining in the mid-1970s.
Along with the New Left and the American Civil Rights Movement, the hippie movement was one of three dissenting groups of the 1960s counterculture. Hippies rejected established institutions, criticized middle class values, opposed nuclear weapons and the Vietnam War, embraced aspects of Eastern philosophy,championed sexual liberation, were often vegetarian and eco-friendly, promoted the use of psychedelic drugs to expand one's consciousness, and created intentional communities or communes. They used alternative arts, street theatre, folk music, and psychedelic rock as a part of their lifestyle and as a way of expressing their feelings, their protests and their vision of the world and life. Hippies opposed political and social orthodoxy, choosing a gentle and nondoctrinaire ideology that favored peace, love and personal freedom, perhaps best epitomized by The Beatles' song "All You Need is Love". Hippies perceived the dominant culture as a corrupt, monolithic entity that exercised undue power over their lives, calling this culture "The Establishment", "Big Brother", or "The Man". Noting that they were "seekers of meaning and value", scholars like Timothy Miller describe hippies as a new religious movement
THE GRATEFUL DEAD ON HAIGHT ST. SAN FRANCISCO 1966
Early hippies (1960–1966)
During the early 1960s novelist Ken Kesey and The Merry Pranksters lived communally in California. Members included Beat Generation hero Neal Cassady, Ken Babbs Carolyn Adams (aka Mountain Girl), Wavy Gravy, Paul Krassner, Stewart Brand, Del Close, Paul Foster, George Walker, Sandy Lehmann-Haupt and others. Their early escapades were documented in Tom Wolfe's book The Electric Kool-Aid Acid Test. With Cassady at the wheel of a school bus named Further, the Merry Pranksters traveled across the United States to celebrate the publication of Kesey's novel Sometimes a Great Notion and to visit the 1964 World' Fair in New York City. The Merry Pranksters were known for using marijuana, amphetamines, and LSD, and during their journey they "turned on" many people to these drugs. The Merry Pranksters filmed and audiotaped their bus trips, creating an immersive multimedia experience that would later be presented to the public in the form of festivals and concerts. Grateful Dead wrote a song about the Merry Pranksters' bus trips called "That's It For The Other One".
During this period Cambridge, Massachusetts, Greenwich Village in New York City, and Berkeley, California, anchored the American folk music circuit. Berkeley's two coffee houses, the Cabale Creamery and the Jabberwock, sponsored performances by folk music artists in a beat setting. In April 1963, Chandler A. Laughlin III, co-founder of the Cabale Creamery, established a kind of tribal, family identity among approximately fifty people who attended a traditional, all-night Native American peyote ceremony in a rural setting. This ceremony combined a psychedelic experience with traditional Native American spiritual values; these people went on to sponsor a unique genre of musical expression and performance at the Red Dog Saloon in the isolated, old-time mining town of Virginia City, Nevada
SUMMER 1965
In the summer of 1965, Laughlin recruited much of the original talent that led to a unique amalgam of traditional folk music and the developing psychedelic rock scene.He and his cohorts created what became known as "The Red Dog Experience", featuring previously unknown musical acts — Big Brother and the Holding Company, Jefferson Airplane, Quicksilver Messenger Service, The Charlatans, The Grateful Dead and others — who played in the completely refurbished, intimate setting of Virginia City's Red Dog Saloon. There was no clear delineation between "performers" and "audience" in "The Red Dog Experience", during which music, psychedelic experimentation, a unique sense of personal style and Bill Ham's first primitive light shows combined to create a new sense of community. Laughlin and George Hunter of the Charlatans were true "proto-hippies", with their long hair, boots and outrageous clothing of distinctly American (and Native American) heritage. LSD manufacturer Owsley Stanley lived in Berkeley during 1965 and provided much of the LSD that became a seminal part of the "Red Dog Experience", the early evolution of psychedelic rock and budding hippie culture. At the Red Dog Saloon, The Charlatans were the first psychedelic rock band to play live (albeit unintentionally) loaded on LSD
When they returned to San Francisco, Red Dog participants Luria Castell, Ellen Harman and Alton Kelley created a collective called "The Family Dog." Modeled on their Red Dog experiences, on October 16, 1965, the Family Dog hosted "A Tribute to Dr. Strange" at Longshoreman's Hall. Attended by approximately 1,000 of the Bay Area's original "hippies", this was San Francisco's first psychedelic rock performance, costumed dance and light show, featuring Jefferson Airplane, The Great Society and The Marbles. Two other events followed before year's end, one at California Hall and one at the Matrix.After the first three Family Dog events, a much larger psychedelic event occurred at San Francisco's Longshoreman's Hall. Called "The Trips Festival", it took place on January 21–January 23, 1966, and was organized by Stewart Brand, Ken Kesey, Owsley Stanley and others. Ten thousand people attended this sold-out event, with a thousand more turned away each night.On Saturday January 22, the Grateful Dead and Big Brother and the Holding Company came on stage, and 6,000 people arrived to imbibe punch spiked with LSD and to witness one of the first fully developed light shows of the era.
It is nothing new. We have a private revolution going on. A revolution of individuality and diversity that can only be private. Upon becoming a group movement, such a revolution ends up with imitators rather than participants...It is essentially a striving for realization of one's relationship to life and other people...
Bob Stubbs, "Unicorn Philosophy" |
By February 1966, the Family Dog became Family Dog Productions under organizer Chet Helms promoting happenings at the Avalon Ballroom and the Fillmore Auditorium in initial cooperation with Bill Graham. The Avalon Ballroom, the Fillmore Auditorium and other venues provided settings where participants could partake of the full psychedelic music experience. Bill Ham, who had pioneered the original Red Dog light shows, perfected his art of liquid light projection, which combined light shows and film projection and became synonymous with the San Francisco ballroom experience. The sense of style and costume that began at the Red Dog Saloon flourished when San Francisco's Fox Theater went out of business and hippies bought up its costume stock, reveling in the freedom to dress up for weekly musical performances at their favorite ballrooms. As San Francisco Chronicle music columnist Ralph J. Gleason put it, "They danced all night long, orgiastic, spontaneous and completely free form."
Some of the earliest San Francisco hippies were former students at San Francisco State College who became intrigued by the developing psychedelic hippie music scene. These students joined the bands they loved, living communally in the large, inexpensive Victorian apartments in the Haight-Ashbury.Young Americans around the country began moving to San Francisco, and by June 1966, around 15,000 hippies had moved into the Haight.The Charlatans, Jefferson Airplane, Big Brother and the Holding Company, and the Grateful Dead all moved to San Francisco's Haight-Ashbury neighborhood during this period. Activity centered around the Diggers, a guerrilla street theatre group that combined spontaneous street theatre, anarchistic action, and art happenings in their agenda to create a "free city". By late 1966, the Diggers opened free stores which simply gave away their stock, provided free food, distributed free drugs, gave away money, organized free music concerts, and performed works of political art.
On October 6, 1966, the state of California declared LSD a controlled substance, which made the drug illegal. In response to the criminalization of psychedelics, San Francisco hippies staged a gathering in the Golden Gate Park panhandle, called the Love Pageant Rally, attracting an estimated 700–800 people.As explained by Allan Cohen, co-founder of the San Francisco Oracle, the purpose of the rally was twofold: to draw attention to the fact that LSD had just been made illegal — and to demonstrate that people who used LSD were not criminals, nor were they mentally ill. The Grateful Dead played, and some sources claim that LSD was consumed at the rally. According to Cohen, those who took LSD "were not guilty of using illegal substances...We were celebrating transcendental consciousness, the beauty of the universe, the beauty of being.
THE SUMMER OF LOVE
CORNER OF HAIGHT & ASHBURY IN SF
The Summer of Love refers to the summer of 1967, when an unprecedented gathering of as many as 100,000 young people converged on the Haight-Ashbury neighborhood of San Francisco, creating a phenomenon of cultural and political rebellion. While hippies also gathered in New York, Los Angeles, Atlanta, Philadelphiaa, Seattle, Portland, Washington, D.C., Chicago, Vancouver, and across Europe, San Francisco was the epicenter of the hippie revolution, a melting pot of music, psychedelic drugs, sexual freedom, creative expression, and politics. The Summer of Love became a defining moment of the 1960s, as the hippie counterculture movement came into public awareness. The Summer of Love is often considered as having been a social experiment, because of various alternative living styles that were utilized during this time, including: communal living; the free and communal sharing of resources, often amongst total strangers; and free love.
Revolution (1968–1973)
In April 1969, the building of People's Park in Berkeley, California received international attention. The University of California, Berkeley had demolished all the buildings on a 2.8-acre parcel near campus, intending to use the land to build playing fields and a parking lot. After a long delay, during which the site became a dangerous eyesore, thousands of ordinary Berkeley citizens, merchants, students, and hippies took matters into their own hands, planting trees, shrubs, flowers and grass to convert the land into a park. A major confrontation ensued on May 15, 1969, and Governor Ronald Reagan ordered a two-week occupation of the city of Berkeley by the United States National Guard. Flower power came into its own during this occupation as hippies engaged in acts of civil disobedience to plant flowers in empty lots all over Berkeley under the slogan "Let A Thousand Parks Bloom".
Altamont Free Concert
THE CROWD AT ALTAMONT FREE CONCERT 1969
The Altamont Speedway Free Festival was an infamous rock concert held on December 6, 1969, at the then-disused Altamont Speedway in northern California, between Tracy and Livermore. Headlined and organized by The Rolling Stones, it also featured, in order of performance: Santana, Jefferson Airplane The Flying Burrito Brothers, and Crosby, Stills, Nash and Young, with the Stones taking the stage as the final act.The Grateful Dead were also scheduled to perform between CSNY and the Stones, but canceled shortly before their scheduled appearance owing to the increasing violence at the venue. Approximately 300,000 people attended the concert, and some speculated it would be "Woodstock West." Filmmakers Albert and David Maysles and Charlotte Zwerin shot footage of the concert and incorporated it into a subsequent documentary film entitled Gimme Shelter.
The event is best known for having been marred by violence, including one homicide and three accidental deaths: two caused by a hit-and-run car accident and one by drowning in an irrigation canal.
ALTAMONT BUS
Planning
The concert originally was scheduled to be held at Golden Gate Park in San Francisco. However, a previously scheduled San Francisco 49ers football game the weekend of December 6–7 made that venue impractical, and the permits were never issued for the concert or were revoked. The venue was then changed to the Sears Point Raceway, but after a dispute with the owner of Sears Point, Filmways, Inc., over film distribution rights, the festival was moved to the Altamont Raceway at the suggestion of its then-owner, local businessman Dick Carter. The concert was to take place on Saturday, December 6; the location was switched on the night of Thursday, December 4. This resulted in numerous logistical problems including a lack of facilities such as portable toilets and medical tents. The stage, which was only four feet high, was surrounded by members of the Hells Angels motorcycle club, led by Oakland chapter head Ralph 'Sonny' Barger, who acted as bouncers.
HELLS ANGELS AT ALTAMONT
Security
By some accounts, the Hells Angels were hired as security by the Rolling Stones, on the recommendation of the Grateful Dead, for $500 worth of beer — a story that has been denied by parties who were directly involved. According to Rolling Stones' road manager Sam Cutler, "the only agreement there ever was ... the Angels would make sure nobody fucked with the generators, but that was the extent of it. But there was no 'They're going to be the police force' or anything like that. That's all bollocks." Hells Angels member Sweet William recalled this exchange between Cutler and himself at a meeting prior to the concert, where Cutler had asked them to do security:
- "We don't police things. We're not a security force. We go to concerts to enjoy ourselves and have fun."
- "Well, what about helping people out - you know, giving directions and things?"
- "Sure, we can do that."
When Cutler asked how they would like to be paid, William replied, "we like beer. In the documentary Gimme Shelter Sonny Barger states that the Hells Angels did not initially get involved to police the event, and that organizers had told him that he and his fellow Angels would be required to do little more than sit on the stage and drink beer. Other accounts also state that the initial arrangement was for the Hells Angels to watch over the equipment, but that Cutler later moved them, and their beer, near the stage to placate them or to protect the stage.
Since Ken Kesey had invited the Hells Angels to one of his outdoor Acid Test, the bikers had been perceived by the hippies as akin to "noble savages" They had provided security at Grateful Dead shows without reported violence. Further, the Rolling Stones may have been misled by their experience with a British contingent of self-described "Hells Angels", a peaceful group of admirers of American biker-gear, who had been present at a free concert the Stones had given earlier that year in Hyde Park, London.
Crowd management proved to be difficult. Many spectators were injured and four died. Over the course of the day, the Hells Angels became increasingly agitated and violent, fueled by alcohol and alleged violence toward them and their motorcycles from fans using drugs. In addition, at least one witness stated that the group of Angels at the concert were relatively young and inexperienced and that "their leaders weren't there". The Angels used weighted sawed-off pool cues to control the crowd, or aimed at troublemakers with their bikes at full throttle, causing serious injuries. After one of the Angels' motorcycles was knocked over, the Angels became even more aggressive, including toward the performers. Marty Balin of Jefferson Airplane was knocked unconscious following an altercation with an Angel on stage, as seen in the documentary film Gimme Shelter. The Grateful Dead refused to play following the Balin incident, and left the venue.
The organizers hoped to ease tensions in the crowd by having the Stones perform early, but it was hours before the Stones took the stage. Accusations that Mick Jagger did not want to take the stage during daylight hours due to the filming of the concert have been voiced in the past, but in commentary on the official Gimme Shelter DVD, it is reported that Stones bassist Bill Wyman was having difficulties reaching the venue.
HEADLINES OF ALTAMONT FREE CONCERT CIRLCED IS MEREDITH HUNTER
Death of Meredith Hunter
Meredith Hunter, an 18-year-old black man, became involved in an altercation with some Hells Angels and drew a long-barreled revolver. It is clear that Hunter drew his weapon before he was stabbed the first time. He was stabbed five times in total and kicked to death during the Rolling Stones' performance; the incident, which took place near the stage, was captured on film. The alleged killer, Alan Passas, was arrested and tried for murder in the summer of 1972, but was acquitted after a jury concluded he acted in self-defense because Hunter was carrying a handgun, drew it and allegedly pointed it at the stage.
Footage from Gimme Shelter shows that while the Rolling Stones were ending "Under My Thumb," Hunter was approaching the stage and drawing his gun; Passaro subsequently parried the gun with his left hand and stabbed Hunter in the upper back with his right. The same footage also gives a glimpse of audience members and some of the Angels on the Stones' stage at the time. This incident is detailed in Rolling Stone.
The Rolling Stones had to interrupt their performance numerous times. Unaware that Hunter's stabbing was fatal, the Stones decided to continue to prevent a possible riot. Hell's Angel Sonny Barger claims he held a gun to Keith Richards and said "You keep fuckin' playing or you're dead."
There have been rumors over the years that a second, unidentified assailant had inflicted the fatal wounds, and, as a result, the police considered the case still open. On May 25, 2005, however, the Alameda County Sheriff's Office announced that it was officially closing the stabbing case. Investigators, concluding a renewed two-year investigation, dismissed the theory that a second Hells Angel took part in the stabbing.
THE ROLLILNG STONES AT ALTAMONT FREE CONCERT
Reactions
The Altamont concert is often contrasted with the Woodstock festival that took place four months earlier. While Woodstock represented "peace and love", Altamont came to be viewed as the end of the hippie era and the de facto conclusion of 1960s American culture: "Altamont became, whether fairly or not, a symbol for the end of the Woodstock Nation." Future rock concerts were banned at the site.
The Grateful Dead wrote several songs about, or in response to, what lyricist Robert Hunter called "the Altamont affair", including "New Speedway Boogie" (featuring the line "One way or another, this darkness got to give") and "Mason's Children". Both songs were written and recorded during sessions for the early 1970 album Workingman's Dead, but "Mason's Children" was viewed as too "popular" stylistically and was consequently not included on the album. It is rumored that Don McLean took moral exception to Mick Jagger and the Rolling Stones, allegedly referencing the Altamont incident in his song "American Pie" with the following verses: "Oh, and as I watched him on the stage / my hands were clenched in fists of rage. No angel born in hell /could break that satan's spell. And as the flames climbed high into the night, / to light the sacrificial rite / I saw Satan laughing with delight / the day the music died." McLean has never confirmed this interpretation.
Hippie Sites of Interest:
A Visual Journey:- Photographs by Lisa Law
1965-1971
Country Joe McDonald - Official home on the web of this singer, songwriter and performer at the Woodstock Festival, summer of '69. A biography and discography plus extensive list of song lyrics.
1968 Bekeley Barb Article "Tales of the Terror"
Furthur - A site about Ken Kesey and the Merry Pranksters. Pictures and hippie cultural links.
The Hippie Museum - An open project founded by cultural creatives and hippies, where people can submit essays, speak out politically and tell their life stories.
The Hippie's Old but Far-Out Loft - Profile, links, photos, and commentary.
Hippy Land - Information on the 60's and articles on political activism, cannabis, peace, the new age, music and art.
Love, Peace, Freedom, Harmony & Happiness - A celebration of love, peace, freedom, harmony, happiness and Rock 'n' Roll. For discussions on music and subjects related to peaceful co-existence. Poetry, philosophy and the famous Rock Roll of Honor
The Old Hippie Lost in Mississippi - Musings and memoirs from an old hippie also provides links to other hippie pages.
Random Advice and Hippy Values - A collection of advice on subjects ranging from sex, love, relationships, drugs, death, money, and tomatoes. A full text of the entire book is available for free downloading.
Sixties Co-Nexus - Psychedelic links, ideas on low maintenance lifestyles, poems for Timothy Leary as well as dog-eared diaries, thoughts on Kosovo, photos, and graphics.
Wavy Gravy's Homepage - At Woodstock as Chief of the Please Force and member of entertainment activist commune known as The Hog Farm. Biography of Hugh Romney or Mr. Gravy, still practicing the '60s idealism.
We welcome your personal pics and love to add them to our favs!
HIPPIE PICTURES:
"ZELLA" is owned by Ray, pictured here with son Brandon
MORE WOODSTOCK PHOTOS:
(click pic to see bigger image)
ARTICLES OF INTEREST:
TIME Magazine Domestic SPECIAL ISSUE, Spring 1995 Volume 145, No. 12
HISTORY
WE OWE IT ALL TO THE HIPPIES
Forget antiwar protests, Woodstock, even long hair. The real legacy of the sixties generation is the computer revolution
BY Stewart Brand
Newcomers to the Internet are often startled to discover themselves not so much in some soulless colony of technocrats as in a kind of cultural Brigadoon - a flowering remnant of the '60s, when hippie communalism and libertarian politics formed the roots of the modern cyberrevolution. At the time, it all seemed dangerously anarchic (and still does to many), but the counterculture's scorn for centralized authority provided the philosophical foundations of not only the leaderless Internet but also the entire personal-computer revolution.
We - the generation of the '60s - were inspired by the "bards and hot-gospellers of technology," as business historian Peter Drucker described media maven Marshall McLuhan and technophile Buckminster Fuller. And we bought enthusiastically into the exotic technologies of the day, such as Fuller's geodesic domes and psychoactive drugs like LSD. We learned from them, but ultimately they turned out to be blind alleys. Most of our generation scorned computers as the embodiment of centralized control. But a tiny contingent - later called "hackers" - embraced computers and set about transforming them into tools of liberation. That turned out to be the true royal road to the future.
"Ask not what your country can do for you. Do it yourself," we said, happily perverting J.F.K.'s Inaugural exhortation. Our ethic of self-reliance came partly from science fiction. We all read Robert Heinlein's epic Stranger in a Strange Land as well as his libertarian screed-novel, The Moon Is a Harsh Mistress. Hippies and nerds alike reveled in Heinlein's contempt for centralized authority. To this day, computer scientists and technicians are almost universally science-fiction fans. And ever since the 1950s, for reasons that are unclear to me, science fiction has been almost universally libertarian in outlook.
As Steven Levy chronicled in his 1984 book, Hackers: Heroes of the Computer Revolution, there were three generations of youthful computer programmers who deliberately led the rest of civilization away from centralized mainframe computers and their predominant sponsor, IBM. "The Hacker Ethic," articulated by Levy, offered a distinctly countercultural set of tenets. Among them:
"Access to computers should be unlimited and total."
"All information should be free."
"Mistrust authority - promote decentralization."
"You can create art and beauty on a computer."
"Computers can change your life for the better."
Nobody had written these down in manifestoes before; it was just the way hackers behaved and talked while shaping the leading edge of computer technology.
In the 1960s and early '70s, the first generation of hackers emerged in university computer-science departments. They transformed mainframes into virtual personal computers, using a technique called time sharing that provided widespread access to computers. Then in the late '70s, the second generation invented and manufactured the personal computer. These nonacademic hackers were hard-core counterculture types - like Steve Jobs, a Beatle-haired hippie who had dropped out of Reed College, and Steve Wozniak, a Hewlett-Packard engineer. Before their success with Apple, both Steves developed and sold "blue boxes," outlaw devices for making free telephone calls. Their contemporary and early collaborator, Lee Felsenstein, who designed the first portable computer, known as the Osborne 1, was a New Left radical who wrote for the renowned underground paper the Berkeley Barb.
As they followed the mantra "Turn on, tune in and drop out," college students of the '60s also dropped academia's traditional disdain for business. "Do your own thing" easily translated into "Start your own business." Reviled by the broader social establishment, hippies found ready acceptance in the world of small business. They brought an honesty and a dedication to service that was attractive to vendors and customers alike. Success in business made them disinclined to "grow out of" their countercultural values, and it made a number of them wealthy and powerful at a young age.
The third generation of revolutionaries, the software hackers of the early '80s, created the application, education and entertainment programs for personal computers. Typical was Mitch Kapor, a former transcendental-meditation teacher, who gave us the spreadsheet program Lotus 1-2-3, which ensured the success of IBM's Apple-imitating PC. Like most computer pioneers, Kapor is still active. His Electronic Frontier Foundation, which he co-founded with a lyricist for the Grateful Dead, lobbies successfully in Washington for civil rights in cyberspace.
In the years since Levy's book, a fourth generation of revolutionaries has come to power. Still abiding by the Hacker Ethic, these tens of thousands of netheads have created myriad computer bulletin boards and a nonhierarchical linking system called Usenet. At the same time, they have transformed the Defense Department-sponsored ARPAnet into what has become the global digital epidemic known as the Internet. The average age of today's Internet users, who number in the tens of millions, is about 30 years. Just as personal computers transformed the '80s, this latest generation knows that the Net is going to transform the '90s. With the same ethic that has guided previous generations, today's users are leading the way with tools created initially as "freeware" or "shareware," available to anyone who wants them.
Of course, not everyone on the electronic frontier identifies with the countercultural roots of the '60s. One would hardly call Nicholas Negroponte, the patrician head of M.I.T.'s Media Lab, or Microsoft magnate Bill Gates "hippies." Yet creative forces continue to emanate from that period. Virtual reality - computerized sensory immersion - was named, largely inspired and partly equipped by Jaron Lanier, who grew up under a geodesic dome in New Mexico, once played clarinet in the New York City subway and still sports dreadlocks halfway down his back. The latest generation of supercomputers, utilizing massive parallel processing, was invented, developed and manufactured by Danny Hillis, a genial longhair who set out to build "a machine that could be proud of us." Public-key encryption, which can ensure unbreakable privacy for anyone, is the brainchild of Whitfield Diffie, a lifelong peacenik and privacy advocate who declared in a recent interview, "I have always believed the thesis that one's politics and the character of one's intellectual work are inseparable."
Our generation proved in cyberspace that where self-reliance leads, resilience follows, and where generosity leads, prosperity follows. If that dynamic continues, and everything so far suggests that it will, then the information age will bear the distinctive mark of the countercultural '60s well into the new millennium.
Copyright 1995 Time Inc.
Stewart Brand - sb@gbn.org
Saturday Evening Post Article: "Slouching Towards Bethlehem"
AN OVERVIEW
by Char ~*, with Peace links from Nicole Savage, and Penny Sidoli
As we grew up and were taught to salute the flag, to become consumers, and not to question our government, many began to realize that our political ideas where fashioned from fear. We were taught that Russia was out to get us -- it was just a matter of time.
We had drills to learn to protect ourselves from nuclear holocaust -- hiding under our school desks and clasping our hands over our heads. We watched as a generation of our elders built bomb shelters and stocked shelves with rations for the time of "The Big One."
And we learned to accept War as a natural condition of our culture. To not question it, and just maybe fashion careers around it.
Enter the 60's -- a mass shift in consciousness occurred -- a combination of psychedelics and a generation of young adults facing the prospect of going to a war that they didn't understand -- Vietnam. To Kill or perhaps to Die.
People began to look at the atrocities of War -- flashed steadily across t.v. screens -- screaming headlines -- bloodied magazine covers -- while frantic youths sought release from the Draft, and were faced with the prospect of being criminals if they didn't wish to fight. The reasons for War didn't make sense, but the reasons for Peace were many, as people began to "march to the tune of a different drum," dance for Love, and sing for Peace.
And from hearts filled with compassion, and minds needing to be heard, came the musical voice to "put an end to war," with Protest Songs
And people began to take a good look around and a good look within, and out of this introspection came a new spirit of understanding and sensitivity, of seeing themselves as being connected, and "One" with each other and the Universe -- and there came about a deeper insight into the truism "Do unto Others as you wish them to do unto You" -- and from this came a desire for a radically more Peaceful world.
Thus, The Peace Movement was Born.
HIPPIE COMMUNES:
THE FARM
In 1969, Stephen Gaskin, a San Francisco visionary Hippie , and 300 others of like Hippie heart, set out from California in a caravan of 75 school buses and traveled the countryside for seven months, in search of a place to start a community, 'til they finally setteled in Summertown Tennesse, where they established "The Farm" - a beautiful 3d manifestation of Hippie Spirit , lifestyle and community, with focus on organic living, vegetarian cooking, home birthing,sustainable living and building, peace activism and global out reach. Following, you will find some mighty informative and entertaining videos and links. (and if you have a link, photos, or information you'd like to share, please get in touch by emailing hippiemuseum@yahoo.com) Enjoy....
The Farm's History Portal
| Great resourses, featuring a free download of the new book by Tim Hodgson, searching for hippie origins first among the diggers, and later at The Farm. |
The Farm in the 90sSteve Gaskin Albert Bates Ina May Back to the Farm Hippie Lawyer Alan Graf and The Farm "Farmola" by Cliff
Terra Firma
www.gaiauniversity.org
ena.ecovillage.org
www.i4at.org
www.peaceroots.org/
thegreatchange.com
High Times Stephen Gaskin Interview
Part 2
~ AHIMSA ~
MORNINGSTAR & WHEELER/S OPEN LAND RANCHES
Morningstar Lives, by Phil Morningstar - collage' of both Wheeler's and Morningstar Ranch folk
( click on the picture to enlarge it)Morningstar and Wheeler's Ranches where both in Sonoma County,and where unique amongst communes, as they where declared "Open Land" ranches, Access Which Was Denied No-One. The main Founders of each (Lou Gottlieb, Ramon Sender and Bill Wheeler where also close friends).
Morningstar was open first, and started as a small family based community with Lou Gottlieb, the main Focalizer, and his colorful wisdom combined with his "onstage" presence (Lou was a member of the popular band the Limeliters) propelled him into the spotlight that the media had on the communes at the time. He and Ramon Sender became the main "spokesmen" to stand up for the land against the negative media frenzy and governmental manipulation of laws that eventually led to the bulldozing of the commune .
Wheeler's Ranch was open during the time Morningstar was going through it's hassles, and of course , because of the "war on hippies" that was being waged by our government, Wheeler's began to get the same kind of hassles as Morningstar.
After Morningstar was bulldozed, it's members scattered near and far. Some going to live on Wheeler's, while others went to Morningstar New Mexico, or just went their seperate ways. Ramon Sender was one who helped write the "Manifesto II on Wheeler's.
Wheeler's continued to fight "against the machine", but the intent of the government at the time, was to do away with the open land ranches, and in 1973 Wheeler's ranch met the fate of the bulldozers too.
It is wonderful now, more than 30 years later, to see folk again speaking of "returning to the land", and folk coming together to live communally in the country and woods, as well as big citys and small towns. The system bulldozed open land 30 years ago - but the spirit and tribal truth of open land lives and glows brightly in the Hearts of the people. May we all find our way back to Tribal Unity, and the Land. In Peace. And Love. And find joy in the knowledge that we are helping to heal our planet and our lives, as we build our Brave New World.
Peace. |
Char~*
More From Both Ranches
Ramon Sender's Site
Ahimsa-Star
Books and Magazine Articles and Photos
Tales From the Land
Morningstar Newsletter
Lou Gottlieb , Ramon Sender & Bill Wheeler Photo>
Tribute To Moses Moon
BLACK BEAR RANCH
Black Bear Website
1987 Reunion
History Review
DROP CITY
Bringing It All Together: Drop City by Timothy Miller
Drop City : A Model Hippie Commune
from he Center for Land Use Interpretation Newsletter
About the Droppers with Domes
Former Site Of Drop City
(with short history)
Memories of DROP CITYa novel by John Curl
Adventures in the Counterculture of the 1960s
Read the lyrics to:
PROTEST SONGS
Wolfgang’s Vault is the world's most exceptional collection of live music, poster art, vintage t-shirts, concert photos, concert tickets and other rock music memorabilia. The Vault's holdings feature the complete archives of legendary rock impresario Bill Graham, whose headliners included Johnny Cash, Lynyrd Skynyrd, Janis Joplin, Aerosmith, Jefferson Airplane, AC/DC and Phish. Here, you'll find rock posters, concert photos, remarkably preserved vintage t-shirts and more from over 17,000 concerts worldwide.
