Friday, July 31, 2009

How International Times sparked a publishing revolution

How International Times sparked a publishing revolution

http://www.guardian.co.uk/media/organgrinder/2009/jul/17/international-times-underground-newspaper

As an archive of International Times launches online, Dugald Baird
looks at the lasting influence of the underground paper

by Dugald Baird
17 July 2009

I wasn't born yet when International Times was launched in 1966, but
­ like many others ­ I felt its impact.

The counter-culture paper, which was published throughout the 1970s
and into the 1980s, helped launch the careers of Germaine Greer, Jeff
Nuttall, Heathcote Williams and John Peel, among others. There were
original stories from writers such as Norman Mailer, William
Burroughs, Alexander Trocchi and Allen Ginsberg. It mixed radical
politics with news and features on literature, drugs and sex. And it
covered the spread of alternative culture across the globe, from the
May 1968 protests in Paris to the Black Panthers to the anti-Vietnam
war movement.

It also had a great sense of provocative, playful humour, visible in
cover lines such as 1967's "Impeach the home secretary", May 1971's
"Super free cut out Jesus mask" and the numerous headlines spoofing
the News of the World, such as 1969's "London bobby turns into a
girl". "Holy cow! It's another dirty commie smut rag!" Captain
America tells readers on the cover of a March 1971 issue.

More importantly, it provided a model for the alternative press. It
was almost certainly an influence on Tony Elliott's decision to
launch Time Out magazine, whose first issue looks almost identical to
IT's "What's Happening" listings section. IT's design (a mixture of
hand-drawn illustrations, typeset text and cutout photographs),
arresting covers and striking logo helped set the graphic tone of its
era. It championed cartoonist Robert Crumb and underground comic
strips such as the Furry Freak Brothers. And it's hard to imagine the
fanzine revolution of the late 1970s, led by Mark Perry's Sniffin'
Glue, without the "do it yourself" aesthetic of IT.

The fortnightly paper also helped spark the development of the music
press in the UK; its launch was partly born out of frustration with
mainstream titles' lack of coverage of underground music. Indeed, it
launched in October 1966 at London's Roundhouse with a gig headlined
by Pink Ployd. In his blog The Wired Jester, journalist Alex Watson
quotes IT co-counder Barry Miles on the motives that spurred the
launch of the paper:

"The idea of anyone from our community writing for the Guardian or
the Times was inconceivable. None of the papers had any popular music
coverage in those days. Our group of people needed somewhere to
express themselves, so in early 1966, Hoppy [John Hopkins] and I
started to put it together. We got the guy who'd been editor of Peace
Times for CND [Tom McGrath], to help, too. He'd gotten freaked out
and left London and gone to live in the countryside, but we got him
to come back."

Miles went on to discuss the paper's writing and distribution:

"IT wasn't properly edited. It depended a lot on people bringing
stuff in. It was the same with distribution ­ anyone could come in a
grab 50 copies, and we just trusted them to bring the money back, and
then they could get some more copies. By 1969, IT's height, we were
printing about 44,000 copies, and it was going out every two weeks or
so, unless we'd been busted or something."

Commercial pressures were clearly always a factor, and the paper had
to hold regular benefit nights in order to stay in print. One of
these, 1967's "14-Hour Technicolour Dream" at London's Alexandra
Palace, featured a stellar lineup including Pink Floyd, Yoko Ono,
Arthur Brown, Soft Machine and others. Having heavyweight supporters
clearly didn't hurt either ­ Watson quotes Miles:

"The first few issues had a lot of serious articles by William
Burroughs about the overthrow of the state. He used it as his
platform to work out his ideas. And there was Ginsberg too. All the
usual suspects. When we were running out of money, I was talking to
Paul McCartney about it, and he said, 'Well, you should interview me,
then you'll get ads from the record companies.' And I thought, 'Hey,
he might be on to something.' So I interviewed him, and then George
Harrison, and then the next week Mick Jagger called up, demanding to
be interviewed too. And Paul was right, we got ads from the record companies."

The interview Miles is describing ran in January 1967, and from later
that year EMI ran ads for bands such as the Beatles and Pink Floyd.
In late 1969, the paper introduced its own regular music supplement, MusicIT.

However, the commercial pressures continued: in February 1972, it
announced that it had decided to move away from the tabloid format
and start life again as a 52-page Rolling Stone-style magazine with a
glossy cover. It explained that while it had started as "the one lone
voice in the wilderness of off-Fleet Street journalism", "there are
now four radical tabloid newspapers fighting for your custom". It
would therefore be focusing mainly on the "general culture" rather
than politics. However, this change lasted only for some half dozen
issues, and the paper soon went back to its radical tabloid format.

Like fellow underground title Oz, whose editors (including Richard
Neville, Jim Anderson and future magazine mogul Felix Dennis) faced
notorious obscenity trials, IT experienced continual harassment from
the authorities. The paper's offices were raided for the first time
in March 1967, when 8,000 copies were seized on grounds of obscenity.
The charges were later dropped. In 1970 it charged with conspiracy to
corrupt public morals by printing gay contact ads in its back pages.
It was convicted in 1972 and temporarily closed down.

Meanwhile, Hopkins, described by a judge as "a pest to society", was
jailed for allowing cannabis to be smoked in his Bayswater flat.
Miles helped organise a full-page advert in the Times in July 1967,
funded by McCartney, that stated the law on marijuana was "immoral in
principle and unworkable in practice". It was signed by the Beatles,
David Dimbleby, RD Laing, Graham Greene, Jonathan Aitken, doctors and MPs.

The paper stuttered to a halt in August 1974; in June 1975, it was
revived when underground paper Maya adopted the IT masthead and the
two titles merged. It continued into its 10th birthday and the punk
explosion, and was published regularly up to about 1978.

IT was relaunched for a few issues in the early 1980s. I first bought
it in 1986, when it had been revived by comedian and writer Tony
Allen and Chris Brook, in Camden alternative bookshop Compendium. IT
struggled on with various one-offs into the 1990s.

Until now, it has been hard to get a look at copies of the paper.
Original 1960s issues, often produced in small print runs, have
become collector's items. But now, backed by Miles and Hopkins, all
the issues are available to view in an online archive.
http://www.internationaltimes.it/

It seems fitting, given the ethos of the paper, that it lives on as
an internet resource: in a sense, the "community" that it once served
has now moved online.

But do you remember International Times in its heyday? Do the covers
in our picture gallery bring any back any memories? Let us know below.
--

In pictures: International Times covers
http://www.guardian.co.uk/media/gallery/2009/jul/15/international-times-magazine

.

Somewhere Under the Rainbow [Gathering]

Somewhere Under the Rainbow

http://alibi.com/index.php?scn=feature&di=&story=28435

An admittedly myopic view of the bigger picture

By Maren Tarro
July 16 - 22, 2009

It was sometime after midnight, and a steady, cold rain was falling.
Thunder broke above the mountain ridge, seemingly only feet above my
tent. Neither the stormy symphony nor the pillow wrapped around my
head came close to muffling the combined thumps of more than 100
drums that climbed to a rhythmic cacophony and filled every space in
the dark pine forest. Pounding endlessly day and night, hundreds of
calloused hands struck the stretched skins, hammering out a sort of
heartbeat. It rose and fell, slowed and quickened collectively. At
times it was almost gentle and timid; then, without warning, it built
to a frantic pace. Regardless of the tempo, the primitive palpitation
always sounded as though it was seeking something out. It never ceased.

It was my fourth night in the Santa Fe National Forest, and I'd yet
to grow accustomed to the constant drumming accompanying the more
than 10,000 attendees at this year's national Rainbow Gathering­a
temporary intentional community comprised of hippies, nomads and
Earth children seeking to live in harmony with nature. Actually, I
hadn't managed to acclimate to anything at the gathering. Not the
sounds, not the smells, not the complete disregard for nearly every
societal norm. They call themselves a family, made up of tribes and
clans that travel and live together, some year-round, and some only
part-time. They shun the world as we know it and seek to create their
own using public lands and the First Amendment. They hold smaller
gatherings throughout the year then come together at a different
national forest each year for a huge family reunion.

I had tried being open-minded, empathetic, treating the whole thing
as an anthropological study, but I just couldn't do it. In a
desperate attempt to see eye-to-eye with this Rainbow family, I had
even broken an eight-year hallucinogen-free run and eaten a mixture
of honey and psychedelic mushrooms. But there I was, in the midst of
a mellow trip, further from understanding them than I had been when I
arrived. Their customs, traditions and endless maze of contradictory
beliefs had brought my frustration to a tipping point matched in
intensity by their most frenzied drumming. Though I had planned to
stay for seven days, I was done. I wanted to go home.

Welcome Home

Twenty-six miles from Cuba, N.M., deep in the forest, I parked my
Jeep precariously close to a steep ravine's edge. Having somehow
managed to follow the vague directions nonchalantly offered by a
dreadlocked man wearing a dusty blazer, who steered gatherers into
parking configurations cooked up in his blissed-out head, I pulled
into a spot some 10 miles from his original suggestion. It was a
tight squeeze between a Toyota and a log marking the spot behind me
as decidedly "taken."

From there it took three trips, loaded down with newly purchased
camping gear and hailed by calls of "Welcome home!" to find and set
up camp. My friend Naomi and I were joined by 22-year-old Bonnie and
58-year-old Dave, who we'd arranged to pick up in Albuquerque through
a rideshare board. Bonnie was a Rainbow Gathering veteran who'd
offered to show us the ropes, and Dave was her roommate along for the
experience.

Our campsite was a mile up and down hills from the trailhead. The
distance mattered little when compared to the view. Perched on a
grassy, flower-covered ledge that dropped gently into a tree-filled
valley, the hike seemed worth it. A nearby kitchen called Deep Faith
only verified our decision. Cavernous pots filled with simmering
beans and rice sat atop a fire-baked mud oven and sent steamy aromas
through our campsite. I dropped in on the open-air kitchen and asked
to snap a few pictures. My request appeared to irritate the kitchen
workers; their irritation deepened when I admitted I was from a
newspaper. They turned their backs to me, covering their heads with
their sweatshirt hoods, as I tried to capture the rustic feel of the
handcrafted oven.

Exhausted from miles of trekking through the woods and racing to set
up camp before ominous clouds released their rain, we stuck close to
camp and rested for the night. I became aware of the drums minutes
after snuggling into my sleeping bag. With my eyes closed, I imagined
I was sleeping in a South American jungle on the verge of discovering
a fabled tribe.

Peace, Love and Awkwardness

The morning brought sunshine and a visit from a neighboring camper,
Brent. His ready smile and hint of lingering baby fat epitomized the
rainbow spirit I had read about while researching this nomadic tribe
known as the Rainbow family.

He joined us for tea and admired the valley view for a moment, then
pointed out the slit trench at the bottom of the hill. Affectionately
called "shitters" by the family, the four-foot-long, narrow holes
were as modern as toilets got at the Gathering. It was only minutes
before someone came along and unknowingly gave us a graphic
demonstration of shitter protocol. What a view, indeed.

Brent sent prayers and blessings our way, suggesting I join him the
next day for a nature walk hosted by an herbalist, and headed off to
meet friends. We set out ourselves to see what we could see.

We wandered down the main trail through the trade route, a stretch of
well-worn forest path flanked on either side by family hocking their
wares: hemp necklaces, cigarettes, ramen, crystals, herbs, candy­you
name it. No money is exchanged at the Gathering, only bartering is
allowed. Most vendors had wish lists consisting of items they'd be
willing to trade for. A typical wish list might read, "Bud,
mescaline, shrooms, acid, ride to NYC."

The trail was clogged with people making deals and people just trying
to bum anything for free. Fighting my way through the throngs of
people­some of whom had been in the woods for weeks readying the
campsite­I was occasionally assaulted by body odor so sharp my eyes
watered. Surprisingly, the smell didn't originate from those who
would be described as hippies but rather from gutter punks. Dickens
would have called them street urchins. They were a rough bunch,
sneering and grabbing, their darting eyes observing it all with suspicion.

As we reached the end of the crowd, we came upon a man trading
intangibles. He was offering unconditional love in exchange for funny
dances, cartwheels or silly walks. I managed a vaudevillian trot as I
passed by, starting to feel myself getting into the spirit of things.
I smiled often, and each time someone addressed me as "sister" or
"mama," I responded in kind. I hugged strangers, ignoring the
invasion of my personal space even when those embraces lasted for
minutes at a time, incorporating an awkward intimacy into what should
have been a casual greeting. Babylon­the "real world" in Rainbow
vernacular­began to melt away. I was in the woods with family, and I
was going with it. I mean, if the only requirement for membership was
having a bellybutton, then I qualified. Right?

The Sound of Creation

Mealtimes could be quite a production. Signaled by the blowing of a
conch, Gatherers materialized in the main meadow, streaming out from
the surrounding forest and arranging themselves in concentric
circles. Once assembled, all would join hands and a collective "ohm"
would reverberate through the lush green clearing. Brent explained
the ohm as being the sound of creation. Whatever it was, the
collective hum was not only audible but palpable, as well. Its low
vibration radiated out from ribcages, traveling down outstretched
arms and from hand to hand.

Meals were prepared and served by a number of kitchens with colorful
names like Musical Veggies, Granola Funk and Turtle Soup. They'd make
the rounds, handing out rice balls and ladling vegetable stews
followed close behind by an obviously seasoned Gatherer shouting,
"Yeast! I got your brewer's yeast!"

Bonnie explained the yeast was used to supplement the vegetarian
fare, helping to fill in any nutritional voids. I only partook once.
Receiving a generous "sprinkling," the yeast outweighed my stew,
transforming the already bland portion into a thick, chalky, inedible paste.

Fortunately, after nightfall, several kitchens upped the culinary
ante. Teasing impossibly tasty dishes from roaring fires and letting
out their own sounds of creation, cries announcing their efforts rang
out from the hills.

"Oz has pizza in the woods!"

"Sushi at Deep Faith!"

"Get your asses over to Shut Up and Eat It for deep-fried zuzus!"

Oz' thin-crust pizza was satisfying on many levels. It was perfectly
executed in both crust and sauce, and unlike most of the Gathering's
meals, it proudly displayed meat atop the cheesy slices. More
surprising than the pepperoni was the cooking method. The deep-woods
chefs had managed to heft an actual oven up a steep hill to their
site. Hooked up to propane tanks, the appliance seemed as at home as
it would in, well, a home.

Deep Faith's vegetable sushi was packed with fresh and pickled
veggies, a welcome break from camping's nonperishable fare. But Shut
Up and Eat It stole the show. Gatherers refer to sweet treats as
"zuzus." Shut Up raised the stakes to state-fair standards by
deep-frying battered chunks of caramel apples. The chefs made
candy-studded trail mix look like packing peanuts.

Late-night hunting and gathering excursions became a saving grace for
me. Not only was my palate comforted, but the stunning ingenuity
employed for no other reason than to make others happy most clearly
embodied, at least to me, the rumored spirit of the Rainbow family.

The Calm Before the Storm

I busied myself with camp chores and daily hikes to my car to charge
my phone. In between I joined Brent on the nature walk led by 7Song,
an herbalist from Ithica. He possessed a refreshing amount of
cynicism, telling us, "Even though my name is 7Song, get rid of your
Native American fantasies. I'm a Jew from New York."

As he pointed out native plants and described their uses, he was
careful to warn against using them irresponsibly. Cradling an osha
plant's lacy blossom, he quizzed the 50 or so students on its Latin
name, praised it for its ability to relieve altitude sickness and
cautioned would-be herbalists to not be overeager in prescribing.
Pointing out that any herb could interact differently with
pre-existing conditions or the use of other medications, he wasn't
shy about expressing his belief that Rainbow Gatherers were likely to
disregard his advice and gobble up anything growing like it was Tylenol.

I sat in on massage circles, tranced out to drum circles, carried
wood to community fires, donated money for community food and
supplies, endlessly bummed out cigarettes and otherwise did my best
to be an active participant.

I even became a one-woman candy patrol, handing out nearly 300 Dum
Dums that I'd brought in from Babylon to the muddy, the young, the
naked and the stoned. It was as I strolled about, distributing
lollipops just for the hell of it, that my frustration began to peak.

It was July 4, Interdependence Day, a day set aside for morning
silence and praying for peace followed by nonstop partying. The
morning silence was observed by some. Others just took to whispering.
Rain drenched the Gatherers and turned the camp to a mud slick. Many
took refuge beneath trees, umbrellas and plastic ponchos, while
others didn't even don basic clothing.

Despite the downpour, Gatherers were determined to celebrate. The
morning silence was broken by yet another ohm chorus, a children's
parade through the meadow, and drumming, dancing and all other forms
of revelry.

Handing out candy, I got a chance to encounter nearly every type of
Gatherer. Some were excited by the free offering, some were
uninterested. Some were disgusted at the sight of refined sugar on a
stick, some only accepted after verifying they were
vegan-appropriate. More than a few accepted my offer with a healthy
amount of suspicion, and several of the gutter punk variety snatched
the candies quickly as though I might change my mind and rescind the offer.

My bag emptied, I once again headed to my car to plug in my phone and
enjoy a little air-conditioning. I struggled up the muddy hills,
slipping and sliding all along the way. Approaching my car, I noticed
something wasn't quite right.

Lost in Translation

It seemed I had unknowingly broken a rule, a rule of the unorganized
organization's gathering, which professed to have no rules.

My first indication was a hazy coating of some substance on my
windshield. I assumed it was tree sap, but I quickly realized no
trees hung over my car. Puzzled, I slid into the passenger seat and
set to charging my phone. As I settled into the seat, I turned my
head to gaze out the driver's side window, and there it was. Scrawled
across two windows was the description of my sin, "To the shit who
parked in a supply vehicals [sic] parking spot / your [sic] lucky I
didn't slash your tires."

The message was written in a gooey, translucent substance. As I
wondered what had been used to so succinctly spell out my
transgression, my eyes fell on a tube of Carmex shoved into the frame
of my side-view mirror.

OK.

I was officially pissed. My car had been parked in the same spot for
four days. I had been told by someone with some air of authority to
park in that spot. I had been careful to not park in the log-marked
spot. What the fuck had I done to deserve greasy, petroleum-based vandalism?

I sat in my car for an hour going over the week's events. I felt
certain I had done my best to understand the Gathering and contribute
to it. Sure, at the end of each day I had been exhausted and
increasingly fed up with the Gatherers' idiosyncrasies. I struggled
to find it charming when I realized clocks were unwelcome, that
scheduled events happened when they happened. I tried not to judge
when I came across small children covered in dirt and snot, wearing
filthy clothes and no shoes. Each time I was scolded for small
infractions like using a flashlight, carrying a camera or not
sounding a warning when police were spotted, I smiled and adjusted.
When people let their dogs shit all over the place, causing the
meadow to turn into a fecal minefield, I simply held my nose and
watched my step.

I had struggled to understand why marijuana, LSD, peyote and
mushrooms were welcome but hard drugs and alcohol were frowned upon.
Why, if all were welcome and there were no rules, were drinkers kept
by the parking lot separate from the larger Gathering?

I tried to empathize with Gatherers' animosity toward Forest Service
and law enforcement officers. Hundreds of Gatherers were pulled over,
searched and issued citations for offenses ranging from dirty license
plates to possession. Bonnie had been busted for less than two grams
of weed and insisted the officers had no probable cause to search the
vehicle she was riding in. My own encounters had been peaceful until
a Forest Service agent tried to put the fear of God in me by giving
my car, parked on that ravine's edge, a forceful shove while I sat in
it. I hugged the dashboard as he walked off laughing. But I grew
tired of the Gatherers taunting the officers and shouting obscenities
when their target was a group of officials who had formed a search
party interested only in locating a Gatherer's missing 4-year-old daughter.

Perspective

To be fair, not everything contributing to my frustration was the
Rainbow's doing. Wet clothes and bedding were dragging me down, and
an angry sunburn wasn't helping. Naomi had taken a tumble on her way
to the shitter, injuring her leg and slowing us all down. Ants,
termites, biting flies and mosquitoes assaulted us day and night, and
thick mud clung to our shoes. A lack of privacy and bathing lent to
our discomfort.

It wasn't all bad. Each night I returned to camp and unloaded my
misery on the always gentle Brent. He would consider my complaints
then encourage me to give the Rainbow another chance. From his point
of view, the Gathering was a successful experiment in communal
living, while I didn't see much difference between the Gathering and Babylon.

In both places, some people worked tirelessly to build and maintain
the community while some seemed only to greedily reap what had been
so diligently sowed. Both places were home to loving individuals and
a disproportionate amount of assholes. Both places walked a thin line
between embracing nature and holding it at bay.

My final evening saw Brent and me once again hashing out our opposing
perspectives. He was sticking to his ideals; I was sticking to my
pragmatism. As the electric charge of psilocybin crept through the
center of my bones, I agreed to search out the Rainbow's meaning one
last time. A vivid rainbow appeared above us, causing Brent to leap
up, certain it was an omen. I laughed along with him and we made our
way to a bonfire seeking warmth and common ground.

The End of the Rainbow

I'd love to end my tale by telling you I connected with the universe
and discovered a pot of warm fuzzies at the end of the rainbow, that
I communed with the Great Spirit and received deliverance from my
many conflicts, but I can't. Instead, I found myself once again
surrounded by street kids. I stared into the fire as steam rose from
my soggy shoes, floating through my final hours in the forest while
my scraggly brothers and sisters debated the finer points of scamming
the welfare system and offered advice as to the most effective ways
to blow up squirrels and pigeons.

I retreated to my damp sleeping bag, wrapped myself in a blanket of
drumbeats and sought refuge in the knowledge that I would be heading
home in the morning. I felt no shame in cutting out two days early,
only relief. I would pack my impressions of Bonnie and Brent into my
bag, taking them home as souvenirs. They had been patient
ambassadors, Rainbow representatives charged with translating a
strange culture into an experience that could be grasped by a cynical
Babylonian. They did their damnedest. But no amount of sage smudging
or meditating in nature could convince me to apply for citizenship.
My allegiance lies with Babylon and all its horrific, materialistic
glory. Things might be screwed up here, even tragic, but we're aware
of our faults and trying to overcome them; we're not hiding from them
in the woods hoping they'll just go away.

.

Woodstock at 40

[2 articles]

Woodstock at 40:
Celebrate fest's B-day with books, concerts & new film

http://www.philly.com/dailynews/features/20090714_Woodstock_at_40__Celebrate_fest_s_B-day_with_books__concerts___new_film.html

By JONATHAN TAKIFF
Philadelphia Daily News
takiffj@phillynews.com 215-854-5960
Jul. 14, 2009

SEVERAL OUTDOOR, multi-day music festivals were held in the summer of
'69, including, in our own back yard, the Atlantic City Pop Festival
at the shore town's racetrack.

All were celebrating a seismic explosion in conscious rock - music
spirited by the Beatles, Bob Dylan and "the movements" (anti-war,
civil rights, feminist, ecological, psychedelic) and proffered by the
likes of Jefferson Airplane, Santana, Janis Joplin, the Who,
Creedence Clearwater Revival, Canned Heat, Joe Cocker and the Band.
Simultaneously, this surge of oversized shows served as a coming of
age and coming together for the just-emerging baby boomer generation
that would embrace its new stars as countercultural heroes.

The biggest, baddest and most legendary music fest of all was
Woodstock, a venture "created for wallets . . . designed to make
bucks. And then the universe took over and did a little dance."

So quipped Wavy Gravy, performance artist and front man for the famed
Hog Farm commune, which gently policed and fed the festival.
Woodstock pilgrims - anywhere from 300,000 to "half a million
strong," depending on who's counting - clogged the New York State
Thruway and turned the cow pastures of Sullivan County, N.Y., into an
instant city on Aug. 15-18, 1969. They suffered rain and famine of
almost biblical proportions - enough for then-New York Gov. Nelson
Rockefeller to declare the site a disaster area. Yet, through it all,
festivalgoers never lost their sense of cool or their kindliness
toward one another.

The Woodstock festival wasn't just the lead story for a day or two.
Captured first note to last by sound engineer Eddie Kramer, and
visually (pristine fields to muddy mess) by a camera crew led by
Michael Wadleigh, the epic event would soar to legendary stature,
dwarfing that other historic '69 summer happening, man's first walk
on the moon.

Even those in attendance came to rely on Wadleigh's pointedly
political, three-hour film document - first released in theaters in
March 1970 - to define what the newly anointed "Woodstock Nation" was
all about. "Most of what I know of the festival, I saw in the movie,"
said Joel Rosenman, one of the event's four producers, who was stuck
in an office all weekend, dealing with "life and death" issues.

And millions more who would dose just on the movie (considered the
best documentary ever) and soundtrack albums would likewise become
imbued with Woodstock's spirit - those calls to rock free, get back
to nature, make love, not war, expand your mind . . . so much so
that, when asked, they too would swear, "Yeah, I was at Woodstock."

This summer, you can be there too, even better than before. To mark
the festival's 40th anniversary, Woodstock is being revisited and
celebrated anew with treasure troves of freshly unearthed
performances, insightful books, commemorative concerts and a
promising new feature film.

"Woodstock was a ray of hope in a dark time, and today, it can be
that again," believes the festival's most visible creator, Michael
Lang. "It's telling that Barack Obama's inaugural celebration was
characterized as 'Washington's Woodstock.' "

Video verite

The place to start our magical mystery tour is still Wadleigh's
documentary, "Woodstock - 3 Days of Peace & Music," just re-issued by
Warner Home Video in a new, high-resolution, Blu-ray disc form (as
well as conventional DVD) in that extended, four-hour director's cut
edition first let loose at the 25th anniversary mark.

A limited-edition "ultimate collector's" treatment packs cute touches
like a wrapper of fringed buckskin - a major Woodstock fashion
statement. But the really big deal here is a new bonus disc with an
extra 2 1/2 hours of concert footage, including a big helping of
Creedence Clearwater Revival and a 38-minute grind through the
Grateful Dead's "Turn on Your Lovelight," two bands missing from the
movie due to artistic and business "differences."

Newly mixed by Kramer in 5.1-channel sound - a neat feat since he
only had seven tracks of band music to juggle - and freshly edited
and sharpened for high-def viewing (more obviously so than the
movie), this extra content brings us closer in spirit and endurance
to the six-hour marathon that Wadleigh first intended to foist on the
world "in two, three-hour or three, two-hour chunks," he told me at a
recent launch party for the video disc set.

Even 40 years later, this long-haired director still relishes
recalling how he stuck it to the man, breaking into a Warner facility
and spiriting away the "Woodstock" negative, then threatening to burn
it after hearing that a studio exec wanted to cut the movie down to a
typical, 90-minute running time.

More musical discoveries

Also enhancing our virtual festivalgoing experience are a series of
five new "Woodstock Experience" CDs from Sony Legacy that deliver the
complete Woodstock performances - previously heard only in truncated
form - of five label notables. Each is paired with the musical act's
big studio album of the same year.

Janis Joplin's performance with her then new, soul revue-style band
sounds snappier than on-site reviewers suggested. Another Texas
bluester, Johnny Winter, was in sturdy form. Best of show Sly and the
Family Stone were at absolute peak powers, blazing a funk-rock trail
still being tread by the minions.

And the Jefferson Airplane's trippy, 90-minute, dawn-on-Sunday set
was way better than the musicians believed at the time, or their
overly fatigued audience could appreciate. Conversely, not all of
Santana's Latin fusion coming-out party at Woodstock proves as
legend-making as the fiery "Soul Sacrifice" finale spotlighted in the film.

By the way, Sony Music Entertainment also is the driving force (with
Woodstock Ventures) behind a new Web site, Woodstock.com, a place to
get back in touch with the music, those still-relevant issues and
maybe that hippie chick you lost in the garden.

Want more?

Along with reissues of the multi-disc "Woodstock" and "Woodstock 2"
soundtrack albums that sold millions back in the day, Rhino is about
to unload (on the anniversary of the festival's last day, Aug. 18)
"Woodstock: 40 Years On: Back to Yasgur's Farm."

This four-years-in-the-making, six-disc, 77-song (plus numerous sound
bites) box set is the first to deliver festival performances in
precise running order (Wadleigh's film took liberties to build
themes) and includes 38 numbers never heard before.

"40 Years On" co-producer Andy Zax said that on first surveying the
tape treasure trove, he contemplated putting out a 30-disc set
covering the whole shebang - good, bad, whatever. While sanity
finally prevailed, Zax still went for a "warts and all" approach,
including unvarnished festival performances of Canned Heat, Arlo
Guthrie and Crosby, Stills, Nash & Young tunes that Wadleigh felt
compelled to replace with other recordings for the movie.

Noteworthy here are the Dead's cosmic "Dark Star" and a raga in the
rain by Ravi Shankar that didn't make the flick because the sitarist
ordered cameramen off the stage.

Woodstock by the book

While listening to all that good stuff, dig into one of the new books
focused on the festival.

Breeziest read is the handsome coffee table tome "Woodstock: Three
Days That Rocked the World" ($35, Sterling) that also tracks the
weekend in chronological fashion, with striking photographs and
large-type quotes that are easy on the eyes for the target boomer set
and for read-alongs ("Gimme an 'F' . . . ") with the grandkids.

This is an official publication of the Museum at Bethel Woods Center
for the Arts, a $100 million facility located on the festival site in
New York. Still, the book isn't a total suck-up, allowing feisty
fumers like Pete Townshend and Neil Young to repeat their objections
to the star-making machinery. (Townshend's "Won't Get Fooled Again"
was a festival retort.)

For those who want to relive the "Hey, let's put on a show!" thrills
and tribulations - and there were many of both - concert brainstormer
Michael Lang has at last spilled his guts, "because they asked me,"
in "The Road to Woodstock" ($29.99, Ecco). This writer relished the
tales of Lang's run-ins with the fiercely competitive concert
promoter Bill Graham, and the down-to-the-wire negotiations with
Warner Bros. to fund the film, spirited by festival co-producer Artie
Kornfeld and his buddy Fred Weintraub, the newly named movie studio
exec who'd formerly run the Bitter End music club.

A fractional share the film and album profits eventually helped the
concert producers wipe out a $1.6 million debt from their reluctantly
turned "free" festival a mere 10 years later, Rosenman shared.

"The only one who really got rich off Woodstock was [documentarian
Michael] Wadleigh," claimed Kornfeld.

While not on site, New York FM rock DJ Pete Fornatale was clearly on
the Woodstock wavelength: He juggles scores of snappy anecdotes from
pundits, performers, production principals and showgoers as "Back to
the Garden: The Story of Woodstock" ($24.99, Touchstone). Oddly, he
allows the late Graham to anoint himself a festival savior. But there
are other enjoyable stories about talents who fell into Woodstock
almost by accident - like John Sebastian, Melanie and doo-wop
revivalists Sha Na Na - and came out as stars.

"We were paid $300 for our Woodstock performance and a token fee of
$1 to be in the movie, which worked out to 8 cents a guy," Sha Na
Na's Jocko Marcellino told me. "And while the movie [largely edited
by a just-out-of-NYU Martin Scorsese] makes it appear we were on
early in the festival, they kept putting us off. We finally got on
second to last Monday morning, just before [Jimi] Hendrix. The place
was decimated, looked like a refugee camp. But getting into the movie
was the best career move ever."

Concerts, film tributes

Still haven't had enough? Two touring concert packages aim to
recapture the Woodstock spirit.

On Aug. 4, Glenside's Keswick Theatre hosts "Hippiefest: A Concert
for Peace & Love" with other stars of the era (like the Turtles and
Felix Cavaliere) who, um, weren't actually at Woodstock.

On Aug. 18, appropriately, the Mann Center hosts "The Heroes of
Woodstock" with remnants of Canned Heat, Ten Years After, Jefferson
Starship, Country Joe McDonald and ex-Grateful Dead keyboardist Tom
Constantine, among others.

Also in the tribute vein, Bucks County's Bristol Riverside Theatre is
putting together a revue called "Woodstock at 40," running July 16-26
and built on festival faves like Joplin's "Piece of My Heart" and
Cocker's take on "With a Little Help from My Friends," which summed
up the weekend for many.

On Aug. 28, Ang Lee's film "Taking Woodstock" offers a little-known
but true tale of a guy named Elliot Tiber (played by Demetri Martin)
who saved the festival by coming up with a permit and new location
after the event had been kicked out of two other towns.

That last-minute move explains why small items like ticket booths and
a stage roof never got built, and the whole show had to be
illuminated by just a dozen or so spotlights.

Future fest?

Both Joel Rosenman and Michael Lang hint that an officially
sanctioned commemorative concert will "eventually" be held to mark
the big 4-0. Maybe their Woodstock Ventures' "summer of love" product
tie-ins with Target could lead to more?

But the steadfastly cause-centric and image-protecting Wadleigh made
a big stink about a soft drink company's sponsorship of the last,
30th-anniversary-celebrating Woodstock festival, also sadly recalled
for its ugly setting (a decommissioned military base in Rome, N.Y.),
preponderance of thuddish metal bands and fire-fueled riots.

"There isn't a single corporate logo visible anywhere in my movie,"
Wadleigh snorted.

"Woodstock was the antithesis of what the music industry turned into.
And if anyone tries to tie another Woodstock festival to an obnoxious
sponsor, I'll be out protesting again." *

--------

DVD: 'Woodstock' delivers a lot to love

http://www.newsok.com/woodstock-delivers-a-lot-to-love/article/3385741

40th anniversary 'Director's Cut' brings definitive documentary about
landmark 3-day concert to home screens

By Gene Triplett
Published: July 17, 2009

Tickets for the Woodstock Music and Arts Fair were $7, $14 and $18 in
advance for one, two or three days.

For those prices, you could witness performances by Jimi Hendrix;
Janis Joplin; The Who; Santana; Crosby, Stills & Nash (with a guest
appearance by Neil Young, who refused to be filmed); Joan Baez;
Jefferson Airplane; Sly & the Family Stone; Arlo Guthrie; Country Joe
& the Fish; Ten Years After; Richie Havens and John Sebastian just to
name quite a few, and all on one stage, in the middle of a cow
pasture owned by a Bethel, N.Y., farmer named Max Yasgur.

That seemed moderately pricy in August 1969, especially for many
longhaired free spirits who seldom were flush with so much spare
change. But eventually the fences were cut, and the freeloaders
flooded in to turn the festival into a small city of nearly "half a
million strong" as the Joni Mitchell-penned CSNY hit goes.

It was the crowning moment in the late-'60s counterculture movement
against the war in Vietnam and the period's racial strife. It was a
movement ­ from then on dubbed the "Woodstock Nation" ­ that pleaded
for universal love and understanding and enhanced its hopefulness by
getting high and grooving to some of the greatest music ever to come
out of rock, and rock fused with folk, jazz and blues.

And this was its peak celebration, miraculously peaceful considering
the unexpectedly massive number of people who found themselves
struggling against poor sanitation, inadequate first aid provisions,
bad weather and food shortages.

Some came in the true spirit of peace and love; others just showed up
for the sex, drugs and rock 'n' roll. Almost everyone got muddy.

Director Michael Wadleigh captured it all on film for the 1970
Oscar-winning documentary "Woodstock," and the 40th anniversary
edition DVD, "Woodstock ­ 3 Days of Peace and Music: The Director's
Cut," brings bonus flower-power euphoria to the home screen ­
preferably a very large, high-def screen hooked up to a 5.1 surround
sound system.

It's the closest one can come to experiencing the visual and aural
splendor of the sweeping, frequently split-screen version originally
shown in theaters and never intended for tragically limited standard
television screens.

And the bonuses range from generous to extravagant, depending on
which version one can afford or is willing to pay for. The limited,
numbered Blu-ray and DVD "Ultimate Collector's Edition" versions
contain two extra hours of performance footage, some of it newly
discovered, much of it never before seen, including performances from
Baez, Santana, The Who, Jefferson Airplane, Country Joe McDonald,
Canned Heat, Joe Cocker and five (Creedence Clearwater Revival, Paul
Butterfield, Grateful Dead, Johnny Winter and Mountain), who played
the festival but never appeared in any film version.

The "Ultimate" package also includes a third hour of bonus material
featuring interviews with Martin Scorsese (one of the original
editors of the film), Wadleigh, Hugh Hefner, Eddie Kramer (chief
on-site engineer and Hendrix producer-engineer) and others involved
in the film and concert production. Other segments include "3 Days in
a Truck, No Rain! No Rain! No Rain!" and "Living Up to Idealism."

Other extras in the limited box include a 60-plus-page reprint of a
Life magazine commemorative issue, a Lucite lenticular display of
vintage festival photos, festival memorabilia and an iron-on patch
with the dove and guitar Woodstock emblem.

The Blu-ray "UCE" sells for $69.99, and the loaded DVD sells for
$59.99. Then there's the no-frills two-disc "Special Edition" going
for $24.98, about the same price of a three-day pass bought at the
Woodstock gate Aug. 18, 1968, the first day of the festival. It
offers the same remastered picture and sound, without the extra
performances or mementos.

Still, it's almost worth the extra bread to check out John Fogerty
and Creedence ripping through "Born on the Bayou," "I Put a Spell on
You" and "Keep on Chooglin'," a hulking Leslie West and Mountain
tearing off "Beside the Sea" and "Southbound Train," Winter
speed-riffing through "Mean Town Blues" and the Airplane flying "3/5
of a Mile in 10 Seconds."

At any price, you can revel in some of the most glorious moments of
an idealistic age when anything and everything positive seemed
possible, and/or grieve over the fact that it all seems "a long time
gone." Then take solace in the knowledge that this music is still
alive and well, and timeless.

.

The Weather Underground

The Weather Underground

http://www.examiner.com/x-13438-Boston-Indie-Movie-Examiner~y2009m7d17-The-Weather-Underground--The-Maine-Independent-Film-Festival-in-Portsmouth-NH

July 17, 2009
by Joel Bocko

[On Saturday, July 18 at the Music Hall in Portsmouth, NH, The
Weather Underground will be screened and followed by an appearance by
Mark Rudd, a member of the group and participant in the film who will
take questions regarding himself and the documentary. This will be
part of the Maine Independent Film Festival at the same location,
which will be written about on this site tonight. The event itself
will also be analyzed in a follow-up piece on The Weather
Underground, to appear on Sunday. In the mean time, here is a piece
written for my blog as part of a political movie series. The content
has been moderately revised.]

"You don't need a weatherman to know which way the wind blows."
-Bob Dylan, "Subterranean Homesick Blues"

"We're against everything that's 'good and decent' in honky America.
We will burn and loot and destroy. We are the incubation of your
mother's nightmare."
-"J.J.", member of the Weather Underground, as relayed in The
Sixties: Years of Hope, Days of Rage

"Dig it! First they killed those pigs, then they ate dinner in the
same room with them, then they even shoved a fork into the victim's
stomach. Wild!"
-Bernardine Dohrn, member of Weather Underground, wife of Bill Ayers,
on the Charles Manson murders

"They knew they were crazy...Terry [Robbins] and Billy [Ayers] had
this Butch Cassidy and Sundance attitude-they were blessed, they were
hexed, they would die young, they would live forever, and at their
most triumphant moment they would look over their shoulders, as Butch
and Sundance looked back at their implacable pursuers, and say more
in admiration than in dread, 'Who are those guys?' I believe they
thought they looked cute, and that everybody would know it was
basically a joke. The next minute, they were lost in it and couldn't get out."
-Carl Oglesby

"You don't need a proctologist to know who the assholes are."
-Popular saying amongst Students for a Democratic Society

The Weather Underground, the only domestic terrorist group to take
its name from a Top 5 hit on the Billboard charts, became - briefly -
a household name again during the 2008 election (thanks to Bill
Ayers, once a member of the defunct left-wing cadre, now a Chicago
education reformer who has crossed paths with Barack Obama). The
Weather Underground, an excellent 2002 documentary, is a decent
starting point for anyone curious about the group; though somewhat
sympathetic to the radicals (you won't find that Manson quote
anywhere in the film) the upshot is that it solicits interviews from
many of the Weather big shots. This offers a look into the group and
its history which veers from funny to scary to pathetic, but is never
less than fascinating.

Indeed, the possibilities for compelling stories in this material are
endless. The film begins by thrusting us into the midst of
late-sixties tumult. The Vietnam War has been raging for years, the
nonviolent civil rights movement has given way to black militancy,
and the student Left - at the height of its power - splits into
different factions. One of the most notorious is the Weathermen, and
at first they seem to be something of a joke, striking the
Marxist-Leninist pose half-ironically as if they can't quite convince
themselves that privileged white students are somehow equivalent to
Vietnamese guerrillas. They declare a desire to "bring the war home"
but while Asian hamlets are being napalmed, they hold orgies in order
to "smash monogamy" and destroy any last semblance of bourgeois conservatism.

At what point does the self-indulgent revolutionary play-acting
become real? The exact turning point is hard to determine, but by
early 1970 at least one faction of the Weathermen was building bombs
with the intention of killing people. A crossed wire prevented what
would have been the worst terrorist attack on U.S. soil (the bomb,
studded with nails, was intended for a dance at Fort Dix) and the
Greenwich Village townhouse went up in smoke, along with three
Weatherpeople. As former SDS president Todd Gitlin (who also appears
in the film, comparing the WU to Hitler, Stalin, and Mao) mercilessly
puts it in his book: "The best to be said for the Weathermen is that
for all their rants and bombs, in eleven years underground they
killed nobody but themselves."

It was actually after the townhouse explosion that the group
officially went underground, declaring that they would go out of
their way to destroy only property, not people, from now on.
Throughout the early seventies they planted bombs, including in the
Capitol and the Pentagon, sent out manifestos, and even sprang
Timothy Leary from prison. In 1976 they showed up in an Emile de
Antonio-Haskell Wexler film, Underground, which is depressing to
watch now. With the camera shooting the back of their head, they
drone monotonously about how the revolution is closer than ever,
sounding bored with their own ideas. One by one, they re-emerged into
a changed world, and the footage of Bernardine Dohrn emerging in
1980, shot on video with everyone dressed in early 80s fashion, has
the shocking quality of Rip Van Winkle.

This vibe was cultivated in the excellent 1988 Sidney Lumet film
Running on Empty, about a family that is still in hiding 20 years
after a botched bombing left a man blind. Though the movie ups the
ante on the violence its protagonists had committed, it also portrays
them as liberal humanists and loving parents. What's missing is the
obvious fanaticism of the Weather Underground, their love of abstract
theories and militant slogans and revolutionary stardom. Also missing
is the cold, almost zombielike trance they eventually slumped into,
evidenced in Underground...it's hard to shake the impression that if
most of these radicals had ever attained power they wouldn't have
been planting flowers and humanizing communities but rather sending
their enemies into gulags or re-education camps (or worse). But that
may give them too much credit; as they swing from one emotional
extreme to another, they hardly seem to know where the hell they're
headed. One Black Panther, regarding their buffoonish random violence
with disbelief, berates their organization as "Custeristic."

All this makes for a great story, with swings from romantic
revolutionary fervor to choking paranoia to that cold, empty morning
when unemployed college graduates realize that a decade has passed
them by and they are sitting on a park bench, pretending to be
revolutionaries and getting absolutely nothing done. There's
something humorous in this realization and at times The Weather
Underground suggests a sublime black, and bleak, comedy. Sometimes
the humor is broad parody - when one Weatherwoman whines about
cutting her hair after her comrades had just blown themselves up in a
botched bombing, you can't believe your ears. At other times we
approaches sharp satire - some of the slogans have to be heard to be
believed and the image of wimpy white college students psyching
themselves up to be street fighters is priceless. And occasionally
the humor has a poignant edge (Mark Rudd emerges from hiding and his
father says, "he's 30 now, too old to be a revolutionary.")

There was always an incredible tension in the countercultural left,
exacerbated in the Weather Underground, between the sense of personal
liberation and political duty. To what extent was the revolution a
pose, a game that a bunch of privileged romantics were playing until
the rules evaporated and as Oglesby says, "they couldn't get out"?
The film does a good job showing the serious context of the times,
including the shocking brutality of Vietnam, and the crippling sense
of shame that one's own country was responsible for this brutality;
also the violence unleashed on black Americans, and the guilt of
white middle-class kids who realized that they could never, ever
experience the same share of desperation. But, scored as it is with
Aphex Twin electronica, The Weather Underground doesn't quite capture
the joyousness of that time, of what it must have been like to be
young and feel that the world was transforming around you,
crystallized in rock 'n' roll and a youth culture which made the
transition from teenage rebellion to political revolution seem like a
natural progression. Many of the Weathermen saw themselves as rock
stars, and the film touches on this when Todd Gitlin notes the Bonnie
and Clyde vibe that some of the revolutionaries cultivated.

As a result, intoxicating experiments with drugs and sex were all
wound up with street violence and the romance of the doomed outlaw.
There's a mystical aspect to all of this - as ludicrous as it sounds,
the recollection of a car barreling down a highway while tripping
radicals conducted an orgy within is oddly captivating. One can see
how impossible it may have been to separate the fun from the serious,
the excitement from the responsibility - there's the sense that the
radicals themselves were never really sure where one stopped and the
other began. An antecedent to their confusion is Godard's great La
Chinoise, a vibrant piece of Pop Art in which the Mao-spouting
student revolutionaries play-act at revolution and then seem to
regard their own violent actions with disbelief. Revolution as
performance art, or vice-versa, I suppose, but the charm ends where
the damage begins.

Had another bomb detonated at the wrong time, had someone not
received the message to evacuate a building, there could easily have
been more victims of Weather violence. And meanwhile, what did their
bombing achieve? If anything it furthered the dissolution of a viable
antiwar movement, encouraged the government to crack down on the
Left, and soured public opinion against "those radicals." Some of the
Weather veterans realize this, and their recollections drip with
regret. Mark Rudd, now a math teacher at a community college, admits
that he feels more confused than anything else when looking back on
those years. He's ashamed that he succumbed to violence, but
remembers the rage that drove him and the knowledge that something
terrible was going on in the world, and acknowledges that he still
doesn't know what to do with that.

Ayers, Dohrn, and most of the others come off as unregretful. Some of
them have gone on to professional success in academic circles, and
still spout leftist rhetoric while leading comfortable bourgeois
lives. Others speak nostalgically of the past and seem to regard it
as a big fun adventure. Probably the most likable interviewee is
Brian Flanagan, a New York City bar owner who seems remarkably unlike
the typical Ayers-type aging leftie, and more like the working-class
guys that the Weather Underground initially sought support from.
Flanagan acknowledges that "the war made us crazy" and regretfully
speaks of how one can do terrible things when one thinks one is in
the right. When asked why he left the organization, he shrugs and
says "it wasn't fun anymore" and that he missed his girlfriend. After
all the grandiose glorification, the honesty is refreshing.

Brian Flanagan is also present in one of the many surreal passages in
the film: a clip from his appearance on "Jeopardy." To these bizarre
mixtures of pop culture, outsider politics, and political reality,
one can now add the cast of "Saturday Night Live" dancing with
Eskimos and a man in a giant moose costume while the vice
presidential nominee raises the roof to shouts of, "You say Obama, I
say Ayers! Obama! Ayers! Obama! Ayers!"

It's a crazy world we live in...
--

IN ADDITION: I'd just like to point you to this fascinating article
from Chicago Magazine.
http://www.chicagomag.com/Chicago-Magazine/December-2006/Sudden-Impact/index.php?cp=1&si=0#artanc
It's about a physical altercation between Flanagan and a Chicago
lawyer during the Days of Rage which left the lawyer crippled for
life and Flanagan charged with attempted murder (he was acquitted).

.

Paul Krassner: Button-pusher redefines obscene

Paul Krassner: Button-pusher redefines obscene

http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2009/07/15/NS9B18L40Q.DTL

Thursday, July 16, 2009
by Justin Berton

To Paul Krassner, obscenity is finally returning to its roots.

A prominent cultural provocateur since the '60s, the 77-year-old
comedian, political humorist, journalist, writer (etc.), says true
obscenity is now evolving into its proper definition: Something that
causes real harm.

Pornography: not obscene.

Running Sarah Palin for vice president? Totally obscene.

"They knew who she was but thought they could cram her down our
throats," Krassner said, noting Palin's stance against using
government funds to pay for rape kits. "And if her daughter got
pregnant (from rape), her daughter would have to ask for a raise in
her allowance just to pay for her kit. That's obscene."

Krassner's latest book of essays, "Who's to Say What's Obscene?
Politics, Culture, and Comedy in America Today," should reach
bookshelves any day now; his previous book, "In Praise of Indecency,"
another collection of musings and rants, has become a fixture in mall
bookstores looking to fling the bird at the Man (it's the book cover
with a large middle finger sprouting from a skyscraper, usually
prominently displayed at the greeting table).

Krassner has been pushing America's buttons all his adult life. As an
omnipresent figure in the '60s, he edited Lenny Bruce's
autobiography, "How to Talk Dirty and Influence People," took LSD
with Timothy Leary (and introduced it to Groucho Marx), rode with Ken
Kesey's Merry Pranksters, co-founded a political party with Abbie
Hoffman and started a magazine with John Lennon and Yoko Ono. He
currently writes columns for High Times magazine and the online
magazine Adult Video News.

"They say I'm 77, but I've got a mind like a 23-year-old," Krassner said.

Since Krassner first started using humor to shine a light on
America's great hypocrisies, the national discourse has shifted
dramatically, he said. Nowadays, mainstream culture has become so
allegedly subversive, it supports two satirical newscasters - Jon
Stewart and Stephen Colbert - and just about everyone owns a
sarcastic take on the state of the world.

"I used to say, 'Irreverence is our only sacred cow,' " Krassner
said, "but now irreverence is a big industry."

Commentary, book signing. 8 p.m. Fri. $19.50. Freight & Salvage
Coffeehouse, 1111 Addison St., Berkeley. (510) 548-1761.
www.freightandsalvage.com.
--

jberton@sfchronicle.com

Walking Mount Tam with Gary Snyder

An Interview With Gary Snyder

Walking Mount Tam

http://www.counterpunch.org/heilig07142009.html

By STEVE HEILIG
July 14, 2009

Mount Tamalpais is Marin's Mount Everest. Although only 2,574 feet
high at the summit, it dominates the county; to get to or from West
Marin from almost anywhere else, you have to go over or around it.

Much has been written about "Tam" and countless photographs taken and
published featuring its image. However, what may prove to be the
ultimate book about Tam does not feature a single photograph.
Tamalpais Walking: Poetry, History, and Prints, published by
visionary Berkeley publisher Heyday Books, is a labor of love by West
Marin artist Tom Killion and the poet Gary Snyder.

Gary Snyder is one of the great literary figures of our time.
Prominent in the San Francisco poetry scene of the 1950s and early
60s; he first gained wider renown as the thinly-fictionalized
primary figure "Japhy Ryder" in one of Jack Kerouac's The Dharma
Bums, published in 1958. But he has long transcended any "beat poet"
label with his prescient ecological and Buddhist thought, and voice
of true "green" values who walks his talk by homesteading in the
Sierra foothills for four decades. Before settling in there, though,
Snyder lived in Mill Valley in the 1950s and 1960s and has been
walking all over Tam for over 60 years.

Tom Killion grew up in Mill Valley and recalls a feeling of awe about
Tam since early childhood. After much education and world travel, he
settled in Inverness, where his woodblock printmaking studio is a
productive source of the many colorful prints that have graced
numerous books and countless walls and exhibits. He first
collaborated with Snyder on their book The High Sierra of California
in 2002.

Killion has been "carving Tamalpais" in both color and
black-and-white prints since the early 1970s, and his first book
featured those early works. Tamalpais Walking is primarily Killion's
project, featuring 60 of his prints, done over decades and done from
vantage points all over the mountain and from all over Marin and the
Bay Area. Killion also contributed essays on his own experiences with
Tam and the mountain's history as well as descriptions of how he
produces his prints.

But at Killion's request, Snyder wrote of his own almost lifelong
experiences all over its slopes, nooks, and crannies. Poetry
pertaining to Tam by Snyder and others is featured throughout. Snyder
is now at work on a book "which will be pretty much a personal memoir
of 20th century trans-Pacific Buddhism." But he still loves to talk
about "Tam."

What is your earliest memory of Mount Tamalpais?

Gary Snyder: I grew up the Pacific Northwest, but actually was born
in San Francisco. My aunt lived in Richmond, and in 1939, the
Treasure Island World's Fair was on. My aunt invited my parents to
send me down to stay down with them in the Bay Area for a month and
get a chance to experience the World's Fair. I was nine years old and
they put me on the train, and for that month I really experienced a
lot of good things, San Francisco, the zoo, the beach and ocean --
and Muir Woods and Mt. Tam. We went over the Golden Gate Bridge,
which was still quite new then, and up to the top of Mt. Tam, and
then spent a day in Muir Woods. And I was suitably impressed.

Impressed enough to come back before you were too much older, right?

Yes, but actually my first experience with Tam after my childhood was
in 1948 when I was passing through the Bay Area on my way back from
working as a seaman in South America. My college sweetheart lived in
San Francisco and I connected with her and we went on a hike all over
the mountain, as described in the book. Anyway, after I finished my
undergraduate work in Portland, I went to Indiana University for a
semester of linguistic anthropology, decided that wasn't what I
exactly wanted to do, and came out to the West coast in the Spring of
1952. I lived for a while in Berkeley, and then enrolled at UC
Berkeley and stayed there until I first went to Japan in May of 1956.
But before I left, I lived for 4 or 5 months in Mill Valley and did a
lot of walking on the mountain then.

It was still legal to camp anywhere up there, right?

Well, I think so, but I'd never asked! I still really don't know if
it was; I read somewhere that it was sometime in the early 70s where
they decided to ban most camping there. But it was not very intensely
managed, other than the state park at Pan Toll. Actually I didn't
sleep up there too many times. It was best for long day hikes anyway.
At that time I was living in Homestead Valley, off Throckmorton, and
I could walk out the door of my little cabin and get onto trail walks
that didn't involve very much walking on pavement at all.

On those hikes did you encounter very many other people hiking?

Only on weekends.

Then it hasn't changed that much in that regard. So you soon got this
concept of walking all the way around in a day ...

Yes, I had all these old maps and had studied them closely. When I
went to Japan there were two big hills nearby called Atago and Hiei.
And the first thing I did was discover how to catch a bus to the base
of the base of Mt. Atago and climb it. There was a Shinto Buddhist
shrine up there; and Mt. Hiei had been for many centuries the
headquarters of the Tendai sect. There were still a lot of temples up
there, and I learned from some of the priests there of one of their
many practices, although one not much done much anymore, which was
circumambulation. This involved going around the mountain by a
certain route for a thousand days. People have been doing that for
centuries; it's an old practice not only in East Asia but also in
North India, Nepal and Tibet. It's a Buddhist practice that is
probably older than Buddhism.

So when I was in India in 1962 with Joanne Kyger (a Marin poet and
Snyder's wife at that time) and Allen Ginsberg, we heard more about
circumambulation. I made a little note to myself to see if we
couldn't find a way to do that elsewhere.

So, back on the West coast in the mid-60s, I connected a route on Mt.
Tam and walked it once or twice by myself, and then took Philip
Whalen [a poet and Zen priest who once lived in Marin] and Allen
Ginsberg together to do it with me. We initiated stops at certain
locations, to chant and blow the conch and such. It was a lot of fun.
This is all described in a book titled Opening the Mountain [by
Matthew Davis and Michael Farrell Scott, with a foreword by Snyder.]
It's become a practice for a fair number of other people since.

So how did you hook up with Tom Killion to start collaborating on
these books of images and words?

I had first met him in the 1960s I think, and he had given me a gift
of his early book Views of Mt Tamalpais. He'd become a passionate
print artist fairly early on. After some years he got hold of me to
do a book on the high Sierra, which was a wonderful project. And
after several more years he said he'd like to do another on Mount
Tam, and I was interested from the start, although we agreed it would
in some ways be a very different book.

What's the main difference?

Tam is used by very many people, and is not a wilderness area like
the Sierra. Tom was already well read about the history of the
mountain, so I started reading up about the history of hiking,
especially in the late 19th century when many people got excited
about it. It was not just done for wilderness travel. William
Wordsworth and his sister walked 30 miles through a rainstorm all
night! People could be really hardy; John Muir was not so special in
that regard. Many people got out to be gold rush miners by walking
the whole way. That's the way most of the world was.

I've trekked around the Himalayas, and there and in other areas
walking still is the primary transport. Yes, it's not weird to walk
long distances -- to not do it is what's weird.

So how many times do you reckon you have circumambulated the mountain?

Oh gosh, I don't know. Others have done it much more. But easily a
dozen, I'd say. There were a lot of other great walks on it though --
when the narrow gauge railroad was working, you could take it over to
Fairfax, get off there, walk across the mountain on the north side on
a trail that would take you over to Stinson, back up over Bolinas
Ridge to Mill Valley, and catch the train back home. Part of that
trail is now obscured by the reservoirs up there, but it was
originally a major Indian trail between Richardson Bay and Bolinas Lagoon.

There was a lot of struggle through the years to preserve Tam from
development and logging; did you study that?

Yes. It's fascinating, really; the mountain has never been that
intensively managed and there is no one single landholding
jurisdiction over it -- it was cobbled together by the good will and
strong spirits of all kinds of people. It's also mostly not the
federal government, other than when William Kent decided to give them
Muir Woods -- and not let them name it after himself, by the way --
and then some parts of it are now in the Golden Gate National
Recreational Area. The efforts of private citizens from different
parts of areas around the mountain combined in various ways to save
it, even though they were often not quite sure exactly what they were
trying to do a lot of the time. The people who had the railroad to
the top also wanted to extend it over to Stinson and Bolinas, but
that got stopped. A developer was going to log and build housing in
Muir Woods until Kent bought it. Then the Marin Water district came
into existence and that saved a good chunk of the north side of the
mountain. Audubon Canyon extends all the way to the top of the
Bolinas Ridge. And so all of this combined to give us a place
where you go walking on trails that were mostly built by volunteers,
and you rarely go through a boundary that says "You have now left
this and entered that." So that's part of the fascination I have with
the social and political history of the mountain.

In the book, there is an ironic observation that a century ago, there
was a 'class' distinction about hiking; if you were rich, you rode
your horses in Golden Gate Park, but if you were of more limited
means, you hiked Mt. Tam.

Right. Once stages and cars came into being, walking started to
become something you only did if you had no other option. But later
it again became something anyone did. But a lot of the early hikers
on the hikers weren't poor; some were influenced by English and
French romanticism. Rousseau was a great walker, and Dickens went for
a ten or 15-mile walk, every night sometimes, throughout London.
Which could have made him crazy.

As for other writers, you first took Jack Kerouac hiking on Tam, right?

Yes I did, several times in the 1950s when I was living in my little
cabin in Homestead Valley. I had already introduced him to hiking in
the Sierra when we went up on the Matterhorn in October of 1955,
which is described in The Dharma Bums -- one of the few things in the
book which is actually close to truth (laughing). And I took Allen on
the mountain, and Philip, anyone I could get my hands on. Jack was a
hardy hiker and old football player, who had no problem laying on the
ground and going to sleep, and after Tam I talked him into applying
for his famous fire lookout job. Allen was thought of as one of these
wimpy Easterners, but he and I did a ropes, ice axes, and crampons
climb of Glacier Peak in the North Cascades in Washington state one time.

Do you have any favorite spots on the mountain?

Well, it's very diverse there, because it has the ocean on one side,
the interior on the East, and microclimates all over. You can go into
a damp drippy redwood grove in one part of the day, and be in cypress
and serpentinian vegetation later. One special place is up in that
basin where Rock Springs used to be, and the serpentine outcropping
just a short walk away. Potrero Meadows is always surprising in its
openness and scope, especially this time of year when it is fresh and
green and wet. The slopes coming up from Muir Woods are very nice,
and to go down the Steep Ravine trail is remarkable. I used to always
come down the absolutely barren rocky trail that would take you down
to Mountain Home, but wisely enough they've closed that as a route
and point you to a more sensible and safer one. And I really love the
old Mountain Theater, which is nearly always empty of people. What
energy they had in those days they had to think they could have a
theatre there and hold full-scale plays. I've sat there and
meditated, just pick any spot on the stone seating, looking out over
the city and bay and sometimes all the way to Mount Diablo.

Do you have any most striking memories of incidents or sightings up there?

You know, my memories are not like I have a single great story; it
might be just a particular hawk or vulture going over, an old tree...
I suppose I could tell a few things I did with girls but that
wouldn't go into a newspaper. It's just a great place to take people,
who may have looked at it from the city or the Bay Bridge, but it's
full of details and endlessly interesting.

As a poet, do you have any favorite poems about Mount Tam, by
yourself or others?

Lew Welch's poems about the mountain, especially some of his final
ones, are really touching [Welch was also associated with the Beats
and lived in Marin in the 1960s before disappearing in 1971; some of
his poems are included in the new book.] He was another person who
really got to know the mountain.

In the new book Killion writes that you avoid using words like
'sacred' about the mountain. Why is that?

I do think the word "sacred" is overused -- in fact, it's thrown
around without treating it sacredly. My ancient mother, who died
recently, always said she was an atheist. I asked her about it one
time and she said "Well, there might be a god, but if there is a god,
it's so powerful, amazing, and beautiful that it would be kind of
disrespectful to say you believed in it!" I really liked that. So,
you also shouldn't have to call wilderness, or a mountain, 'sacred'
in order to have to protect it. Mount Tam is not the High Sierra of
California. It has been a very powerful and perhaps half-unrecognized
influence on the whole Bay Area. Tam is a model for appreciating
nature close at hand and not needing a total icon of pristine
wilderness to get your attention. We can make the most out of all
kinds of areas closer to us. And I hope this book might being some
new people into consciousness about Tamalpais, and they might want to
get out on the mountain and take a real look around.

Coda: Tom Killion of Inverness Dismantles a Myth

Growing up in Mill Valley, Tom Killion's first memory of Tam is "when
I was about seven, and went way up on the fire roads with my
next-door neighbor family, and discovered I could just go right out
the back door and up some flights of steps and be on the trails -- it
was a real adventure." And thus his sense of awe about Tam's slopes.
But as an historian, he did not harbor much awe for the widely told
story of local Native Americans seeing Tam's outline as one of a
'sleeping lady." "It's an invention, one of the 19th-century
creations of the new settlers,' he says. "As the Europeans took over
new parts of America, they seemed to want to create some sort of
'back' story for themselves. And what they did was foist it upon the
people they'd displaced. Here at least it is relatively benign. The
"Sleeping Beauty" story was really popular in the mid-1800s, as the
Brothers Grimm had just published their collection of stories, and
then out came some operas, such as Wagner's Ring Cycle. Germans were
the biggest population group of immigrants in the Bay Area in the
late 19th century, and they loved to go hiking and pioneered the
hiking culture on the mountain."

Killion points out that the first mention in writing of the Sleeping
Maiden or Lady dates to the 1870s, but that the image's creation of
the "Indian" aspect of the story came later. "To make it seem more
authentic, the first generation of kids born and raised in Marin and
San Francisco in the late 1880s and early 1900s started to put it
into poetry and such. There were all sort of invented Indian legends
then; they couldn't quite decide how to view the Native Americans
here, for as long as they were still contesting them for the land
they hated them and it was massacres and genocide, but once they were
subdued and disappeared into the background, they became 'noble
savages'." Killion says it is not surprising that no mention of any
'sleeping maiden" has been found in Native American lore, as "you
just don't find that kind of anthropomorphizing of places around
here." Finally, "People I've talked to here who are descendants of
Miwoks say it was all invented."

"The fascinating thing is how young people in the early 20th century,
already a generation removed from the days when there was much
interaction between Miwok people and the early settlers, wanted this
mountain they loved to somehow have a romantic past. So they came up
with these wonderful adolescent stories -- and the adults grabbed
ahold of it and used it to create a recreational background for their
culture of hiking. One of the Marin kids was actor in the Mountain
Play and the myth found its way into the play in 1921 Still, he
admits, "once somebody says it, you can really see it. It's more
obvious from the East Bay, and in those days many more people were
out on the bay as that's how one traveled then."

Killion "never took any art classes" and is largely self-taught. His
earliest woodcut of Tam dates from 1969 or 1970, done when he was a
teenager as a holiday card for his family. Now, with many layers of
color in his more elaborate pieces, he says a single work can take
him over 300 hours of work. "I tend to expect that I will spend two
months on something, but it often runs to almost four months for
these big color ones," he says. "It's almost like painting with wood
blocks at this point; I get the basics down and keep carving away a
little more, building up the colors, and sometimes have gone up to 15
or more layers."

As for his own favorite spots on the mountain, he lists "out at the
serpentine power point above Rock Sprints, and down along the front
of Bolinas Ridge, most any old place, and an area over on the north
side trail where you have this wonderful flora, madrones with that
beautiful pink bark growing over that grey wacky rock that is all
over Mt. Tam."

Killion has many more spots he loves on Tam, including "Lone Tree
Spring, on the dispea trail -- I'm sure that's what Lew Welch was
thinking of when he wrote that hymn to a spring."
--

This interview first appeared in the Anderson Valley Advertiser.

.

1959: The Year Everything Changed

[2 items]

'1959: The Year Everything Changed' by Fred Kaplan

http://www.latimes.com/entertainment/news/arts/la-ca-fred-kaplan19-2009jul19,0,1773067.story

The end of the 1950s was a pivotal time, a cabinet of wonders, the
author contends, that overshadows every other year, including those
of the '60s.

By Zachary Lazar
July 19, 2009

1959
The Year Everything Changed
Fred Kaplan
Wiley: 336 pp., $27.95

When a writer needs a break these days, he picks a year -- 1968 was
popular last year -- and spends a few hundred pages arguing how it's
central to our lives now. This year, we have Rob Kirkpatrick's "1969:
The Year Everything Changed" and now Fred Kaplan's "1959," whose
subtitle makes the same claim. Can it be true of both years? The
answer is yes, of course. That's the thing -- every year is the year.
In just this past June, we saw violent protests in Iran, a coup in
Honduras, the sentencing of Bernie Madoff, the death of Michael
Jackson, and the implosion, via sex scandal, of two Republican
presidential hopefuls. There's always a hailstorm of interest out
there. And the challenge is in making these disparate, interesting
things cohere and produce some sort of larger meaning. The challenge
for a book like "1959" is not simply gathering together all the
interesting data about Kaplan's favorite year -- and it is a
fascinating one -- but in presenting it with a style that's
meaningful and inventive.

Kaplan's premise is certainly a good one. He's arguing that the real
fulcrum of the 20th century and beyond is not -- as many argue -- the
1960s, but the unsung '50s. Forget Woodstock, forget LSD, forget the
peace marches and "I Have a Dream." Forget also Altamont, Vietnam,
race riots and the assassinations of the Kennedys, Malcolm X and
Martin Luther King Jr. "The truly pivotal moments of history are
those whose legacies endure," Kaplan writes. "And, as the mid-forties
recede into abstract nostalgia, and the late sixties evoke puzzled
shudders, it is the events of 1959 that continue to resonate in our own time."

This is an incredibly audacious claim, but it highlights a problem
with this type of book -- casual history, we might call it -- which
never seems to decide if it wants to be really serious or just kind
of fun. A Pulitzer Prize-winning journalist, an expert on any number
of subjects both political and cultural, Kaplan is capable of being
as serious as anybody, and yet it's when his book is at its most
serious that it feels least persuasive. What Kaplan really wants to
do, I think, is illuminate some personal icons: Miles Davis and
Ornette Coleman; Jack Kerouac, Allen Ginsberg and William Burroughs;
Robert Rauschenberg and Jasper Johns; Norman Mailer, John Cassavetes,
Berry Gordy. Indeed, all of these artists were engaged in radically
important work in 1959, tantamount even to a kind of renaissance. But
then, how do you connect painting or jazz to the invention of the
microchip (March 24, 1959)? Or the Cuban revolution (Jan. 1)? And
what about the civil rights movement (King was in India, Malcolm X in
the Middle East)? Or women?

Kaplan feels obligated to stop at all of these way stations, and this
inevitably forces him to make generalizations ("for all the added
risk and strain and restlessness, the breakaways and breakthroughs of
1959 eased, enriched, and emboldened the conditions and prospects of
American life"). Writing like this often makes us forget that we're
being presented with a cabinet of wonders.

There is John Howard Griffin, author of "Black Like Me," who -- after
helping Jews escape the Nazis, losing his eyesight in a bomb attack,
retreating to a French monastery to study Gregorian chant, regaining
his eyesight -- has his skin artificially darkened so that he can
tour the southern United States as a "black" man and report on how
he's treated.

There is a 31-year-old Fidel Castro eating an ice cream cone at the
Bronx Zoo -- not yet a feared enemy or despot but a kind of folk hero
in a United States that, after Venezuela, is the second country to
recognize his new regime. There is Ornette Coleman with a white
plastic saxophone, playing music so weird that one audience "beat him
up and broke his horn outside the club afterward."

There is Richard Nixon showing Nikita Khrushchev around an exhibition
of American kitchen innovations. "Khrushchev refused to be
impressed," Kaplan writes, "dismissing the Western wonders as either
commonplace ('We have such things. . . . We are up with you on this,
too') or contemptible ('Don't you have a machine that puts food into
the mouth and pushes it down? Many things you have shown us are
interesting, but they are not needed in life. . . . They are merely
gadgets.')." In just a few paragraphs, Kaplan give us the Cold War in
all its Strangeloveian absurdity, Nixon "like a nervous real-estate
agent, trying to close a big sale" and Khrushchev "boisterous,
bellicose, brimming with energy."

At its best, "1959" captures these flavors -- the coining of the word
"aerospace," the finned Edsel, the thin lapels, the dread of the
Bomb. Those who love the AMC series "Mad Men," set just after the
epochal year, will find much to love in Kaplan's book. Where it
stumbles, though, is in its larger argument, its dutiful potted
histories of the civil rights movement, the laws of censorship, the
progress of feminism and other weighty matters. We feel the writer
filling in an outline of what must be included if his book is going
to have a sufficient page length. Neither he nor we are having much
fun, and I wished that Kaplan had found a more radical way to
construct his book, one matching the verve of 1959 itself.

Was I persuaded that 1959 was the year that changed everything? I'll
give Kaplan the microchip, and the Beats, represented here by the
publication of "Naked Lunch" -- nothing in literature after the Beats
has managed to be as radical and popular at the same time. But I'd
bet on Warhol eclipsing any 1950s artist and a certain band from
Liverpool eclipsing him and everybody else (my apologies to the King
of Pop). Which is to say only that the year 1959 was absolutely
great, but maybe not the absolutely greatest.
--

Lazar is the author of "Aaron, Approximately," "Sway" and the
forthcoming "Evening's Empire."

--------

What were you doing in 1959?

http://www.cmonitor.com/apps/pbcs.dll/article?AID=/20090717/OPINION/907170308/1028/OPINION02

That year started a U.S. culture shift

By George Will
July 17, 2009

Fifty years ago, on July 21, 1959, Grove Press won permission to
publish D.H. Lawrence's novel Lady Chatterley's Lover. Two days
later, G.D. Searle, the pharmaceutical company, sought government
approval for Enovid, the birth control pill. These two events, both
welcome, were, however, pebbles that presaged the avalanche that
swept away America's culture of restraint and reticence.

That change is recounted by Fred Kaplan, an MIT Ph.D. and cultural
historian, in 1959: The Year Everything Changed, an intelligent book
with a silly subtitle. There never has been a year - or a decade,
century or even millennium, for that matter - in which everything
changed. There are numerous constants in the human condition,
including (and because of) human nature. Furthermore, pick a year,
any year, in the last, say, 250 and you will find it pregnant with
consequential births and battles, inventions and publications that
made modernity.

Besides, one reason America got into so many messes after 9/11 was
the disorienting mantra that on that day "everything changed." Still,
consider how much 1959 did incubate.

Until into the 1940s, it had been a crime in Massachusetts to sell
Theodore Dreiser's An American Tragedy, in which Roberta loses her
innocence to a factory foreman. In 1948, the Supreme Court affirmed a
New York court's judgment against Doubleday for publishing Edmund
Wilson's novel Memoirs of Hecate County, which depicted an
extramarital affair. In 1957, the Supreme Court upheld the conviction
of a bookseller for mailing obscene materials, saying that
constitutional protection of free speech did not extend to obscenity,
as determined by the Department of the Post Office, which had its own
judiciary.

The court said, however, that the test of obscenity was "whether to
the average person, applying contemporary community standards, the
dominant theme of the material taken as a whole appeals to prurient
interest." And to be obscene, material must be "utterly without
redeeming social importance."

So, would Lawrence's novel be judged both prurient and worthless?
Barney Rosset of Grove decided to find out by alerting the post
office of his intention to import some copies from Europe. The post
office impounded them. Then a court abolished restraints on sending
them through the mail. Within weeks the novel was a best-seller, as
was Vladimir Nabokov's Lolita. Four months after the United States
slipped the leash of Earth's gravity by putting a satellite into
orbit around the sun, social restraints, too, were being shed.

In July 1959, Searle sought FDA approval to market Enovid for birth
control - not, as in 1957, to treat "menstrual disorders." When
finally the pill reached the market, U.S. News & World Report
wondered whether it would be considered "a license for promiscuity"
and "lead to sexual anarchy." The very idea of "community standards,"
the crux of the Chatterley decision, was becoming problematic.

Kaplan lavishes excessive attention on Norman Mailer, who today seems
marginal. It is a significant datum - signifying today's diminished
importance of words - that the poet Allen Ginsberg's 1959 recitation
at Columbia University caused the sort of commotion that only a rock
group could cause today. But Kaplan's judgment that Ginsberg "saw the
connection between freedom from structures in poetry and freedom from
structures in all of life" merely validates the axiom that everything
changes except the avant garde.

More serious change was coming, born of a mundane material, silicon.
On March 24, 1959, at an engineers' trade show, Texas Instruments
introduced perhaps the 20th century's most transformative device, the
solid integrated circuit, aka the microchip. It would help satisfy
what Kaplan calls Americans' "yearning for instantaneity," a cousin
of the spontaneity ("first thought, best thought" proclaimed
Ginsberg) so celebrated in the next decade.

Kaplan is especially convincing concerning jazz as a leading
indicator of more serious, because more disciplined, cultural
enrichment. On March 2, 1959, Miles Davis began recording Kind of
Blue, perhaps the greatest jazz album. On May 4, John Coltrane
recorded Giant Steps, on May 22, Ornette Coleman recorded The Shape
of Jazz to Come and on June 25, David Brubeck began recording Time
Out. The emancipation of jazz from what Kaplan calls "the structures
of chords and pre-set rhythms" proved that meticulously practiced
improvisation is not an oxymoron.

On July 8, 1959 - two months after President Eisenhower authorized
U.S. military advisers to accompany South Vietnamese units on
operations - in a hut 20 miles from Saigon, eight advisers were
watching a movie.

Viet Cong sprayed the room with bullets, wounding six. Two died, the
first of 58,220.

.

Counterculture Celebrated Throughout Summer in Taos

Summer of Love: Counterculture Celebrated Throughout Summer in Taos

http://www.californiachronicle.com/articles/yb/132912940

July 13, 2009
By S. Derrickson Moore, Las Cruces Sun-News, N.M.

Taos, once one of the planet's grooviest hippie hot spots, is
celebrating the golden alternative counterculture days of yesteryear
with the Taos Summer of Love.

Oscar-nominated actor Dennis Hopper, quintessential "Easy Rider" icon
of the era, was in residence during the 1960s, stirring up excitement
and trouble in Taos. This summer, you'll have a chance to see some of
his original artwork and the man himself, along with creations of
Larry Bell, Ron Cooper, Ronald Davis, Ken Price and Robert Dean
Stockwell at an exhibit at the Harwood Museum of Art, where art and
culture critic Dave Hickey will moderate a panel with Hopper and
other featured artists at 6 p.m. Aug. 1.

More than 300 summer events have been scheduled, including live
concerts, parades, motorcycle rallies, shopping specials, a Hippie
Homecoming, readings and lectures, art shows, festivals and more.

Michael McCormick, owner of Taos' Mike McCormick Gallery, said the
theme has stuck a chord with visitors.

"It is a brilliant theme. The show at the Harwood is stupendous!
Dennis was in town off and on for a long time and still continues to
appear. He eats regularly at the restaurant, Graham's Grill, right
next to the gallery," said McCormick, who added his gallery is among
those having special events this summer. "Our show for Angus
MacDonald was a huge success. We had a six-course dinner for 200 people."

Another insiders' tip: For a good time, visit or arrange to take a
workshop or stay at the

Mabel Dodge Luhan House, erstwhile home of the legendary bohemian
arts maven, as well as Hopper, and visitors who included Georgia
O'Keeffe, D.H. Lawrence, Ansel Adams, Martha Graham and Carl Jung.
Don't miss Lawrence's artworks on the windows of the historic adobe's
upper floor bathroom.

And the Dodge Lujan House gourmet breakfasts are delicious. Info and
reservations: (800) 846-2235 or www.mabeldodgeluhan.com

Taos, one of the country's earliest and most enduring meccas for
1960s counterculture aficionados, seemed a logical site for
celebrating the 42nd anniversary of the original Summer of Love,
which in 1967 attracted tens of thousands to the then epicenter of
flower power, San Francisco's Haight-Ashbury District.

The Taos County Chamber of Commerce will sponsor free live music on
Taos Plaza from 6 to 8 p.m. every Thursday through Sept. 7.

Taos Public Library is celebrating with a Summer of Love Library
Series through Sept. 30. Learn about living and creating in Taos
during the 1960s from John Nichols, Bill Davis, Lisa Law, Rick Klein,
Roberta Courtney Meyers, Pat McCabe and others or pick up a souvenir
Summer of Love bookbag by Taos artists Amy Cordova.

On weekends, watch Harriet Greene sculpt "Peace in Marble" at The
Farnsworth Gallery in Taos. She'll carve large peace letters in
marble with quotes from global peace activists.

Debuting from 10:30 a.m. to 9:30 p.m. Aug. 15 will be the Taos
Mountain Music Festival in the Taos Ski Valley. Joan Osborne, The
Wailers and Ozomatli will headline the first of what organizers hope
will be an annual event, featuring rock, blues, hip- hop, country and
Latin music. Tickets are $35 in advance and $38 on showday. It's free
for kids 10 and under with an accompanying adult. Info:
www.taosmountainmusicfestival.com

Fiestas de Taos, a community celebration honoring the two patron
saints of Taos, Santa Ana and Santiago, runs from July 24 to 26 on
the Taos Plaza. Don't miss the historic parade, mariachis and
traditional dances.

Somos Summer of Love Writer's Series at 7:30 Aug. 14 at Taos Art
Plaza will feature readings by Mark Rudd, former Students for a
Democratic Society leader in the 60s and author of "Underground: My
Life in SDS and the Weathermen," along with Iris Keltz, author of
"Scrapbook of a Taos Hippie." She'll read from "And the Walls Came
Tumbling Down," her new memoir about her Jewish-Palestinian marriage
during and after the 1967 Six-Day War.

In honor of the 2009 Taos Summer of Love, Revolution Records is
releasing a collection of tracks from 16 original independent artists
from New Mexico, California, and Colorado. Proceeds benefit nonprofit
groups. Info: www.imaginerevolution.com

Also on tap: summer chairlift rides, races and music at the Frazer
Mountain Madness Days July 25 and 26, "Peace. Love and Solar Spike
Volleyball," Aug. 1 to 3, wine dinners, a 60s Fashion Show on Aug.
23, Saturday art and movement classes for kids, an Aug. 8 Poetry Dojo
and more.

If you're planning a vacation in Santa Fe, you can book a round trip
shuttle between Taos and the City Different for just $10.

For a complete listing of events, visit
www.taossummeroflove.com/calendar.You can also sign up to win a
$4,000 vacation in Taos at www.taossummeroflove.com/sweeps
--

S. Derrickson Moore can be reached at dmoore@lcsun-news.com

.

Marketers see value in counterculture values

Marketers see value in counterculture values

http://www2.tbo.com/content/2009/jul/15/marketers-see-value-counter-culture-values/news-breaking/

By CURTIS ROSS | The Tampa Tribune
Published: July 15, 2009

There was no merch table at Woodstock.

The estimated 400,000 who attended had to leave perhaps the most
famous rock concert of all time with only their memories and maybe a
ticket stub to commemorate the event.

Almost 40 years later, that void has been filled.

Visit a Target department store and you can outfit your own Woodstock
nation in souvenir T-shirts. And wouldn't a Woodstock reversible
picnic blanket and beach towel have come in handy back at Yasgur's Farm?

And surely the free granola, the "breakfast in bed for 400,000," as
festival emcee Wavy Gravy put it, would have tasted better served on
Woodstock paper plates, cleaned up with Woodstock napkins and washed
down with a swig from a Woodstock tumbler.

The swag makes its debut on the eve of Woodstock's 40th anniversary,
an era-defining event that lasted for three days, Aug. 15-18, 1969.

It's part of a collection called Summer of Love, which includes CDs,
posters, apparel, picnic blankets, coolers and mugs, says Target
spokesperson Leah Guimond.

The collection features "'60s-inspired fashion ­ bold, floral prints
and striped patterns."

Woodstock, that outdoor gathering of peace, love and great rock 'n'
roll, now inspires "fresh and trend-forward products," Guimond says.
A suggestion that those trend-forward products could be
pre-mud-splattered for authenticity is met with a polite "I don't get
it" laugh.

So has Woodstock been reduced to a fashion statement, worn for a
season and discarded?

Yes and no.

The concert's "anti-war, anti-capitalism" message certainly gets
diluted, says Charlene Callahan, social psychology professor and
acting provost at New College in Sarasota.

What's left is "a nice, convenient, positive image" with appeal to
people "who don't want to know the details, especially marketers,"
Callahan says.

But that doesn't mean that at least some of the message isn't getting through.

"What happened at Woodstock, the key term is 'counterculture,' " Callahan says.

She sees some of that same dissatisfaction with prevailing values
today, and a quest among young people to identify themselves as
counterculture ­ against hyper-capitalism and war.

Woodstock helped youth of the '60s establish a group identity; and
young people borrowing an identity from a previous generation isn't
new, Callahan says.

"That goes back to the Renaissance, and the Beat generation of the
'50s was borrowed by the hippies," Callahan says. "They buy into a
myth and shave off the rough edges. It's a shortcut to a value system
they may not really understand."

It has a power marketers do understand, though, Callahan notes. The
music of Woodstock resonates powerfully as well.

"The music you listen to conveys who you think you are and how you
want to be seen," Callahan says. "Researchers talk about musical
'badges.' A Woodstock T-shirt is a musical badge that says 'I'm
different. I have values that go back to the '60s.' "

"If you're a kid searching for a way to convey a different identity,
then there's Woodstock, this mythical event that represented
something really good: peace, love and rock 'n' roll," Callahan says.

Besides, who knows where seeing the Woodstock legend on a beach towel
or picnic blanket might lead?

"Hopefully, the kids will see that and it will cause them to pursue
it further and check out the music," says Hugh Romney, better known
as Wavy Gravy.

Romney, now a 73-year-old "activist clown" based in California, was
also Woodstock's head of security. He told reporters his staff, "the
please force" (as in "Hey, please don't do that"), would keep the
peace with "seltzer bottles and cream pies."

If anyone embodies Woodstock's spirit, it's Wavy Gravy. If anyone has
a right to be outraged by its commercialization, it's him.

And if anyone can find the bright spot in it, that's him, too.

"They're not just gonna wear a T-shirt that says Woodstock unless
they have a clue what it was about," Romney insists. "The message
transcends generations."

That message "has to do with not only peace and love but with sharing
and caring and people taking care of each other."

It's a lot to ask of a T-shirt. But it's a start.
--

Music critic Curtis Ross can be reached at (813) 259-7568.

.

California '66 Revue

CALIFORNIA '66 REVUE TO FEATURE THE ELECTRIC PRUNES, LOVE (FEATURING
JOHNNY ECHOLS) AND JERRY MILLER, MOBY GRAPE

http://www.pr-inside.com/california-66-revue-to-feature-the-r1391513.htm

2009-07-15

Eastern and Midwestern tour to commence in Philadelphia on August 4,
wrapping up in DC area on August 18

LOS ANGELES, Calif. ­ Three premiere bands of the Los Angeles
psychedelic era of the late '60s will join forces August 4-18, 2009
for the California '66 Revue tour. The Electric Prunes, Love and, for
the April 12-18 dates, Jerry Miller from Moby Grape will bring the
spirit of Sunset Strip and San Francisco in the late '60s up the East
Coast and into Canada and the Midwest.

Miller joined the tour when Sky "Sunlight" Saxon of The Seeds,
originally booked, passed away unexpectedly on June 25. The tour will
continue in Saxon's memory.

According to promoter Patrick Hand, "A major reason I'm promoting
this tour is that the Electric Prunes are the best rock band in the
world right now. Just listen to 'Feedback.' They sound like
20-year-olds. The Electric Prunes are the only band from the 1960s
who are putting out better music now than then. And the music they
put out then was pretty damn good

The current incarnation of Love is led by Johnny Echols, lead
guitarist in the classic 1966-68 lineup, and will be backed by Baby
Lemonade, the latter-day psychedelic L.A. band that accompanied Love
founding member Arthur Lee from 1993 until his 2005 death. Jerry
Miller will perform songs from his tenure with Moby Grape as well as
other eras of his 50-year recording career.

The tour begins in August 4 at Johnny Brenda's in Philadelphia and
ends on August 18 at the Birchmere outside Washington, D.C. Other
tour cities include New York, Chicago, Toronto, Montreal, Cleveland,
Detroit, Philadelphia and Pittsburgh.

"We wanted to do a few shows in intimate venues to see if there is
still interest in this genre, and we've already passed that test adds
Hand. "If the public is as enthusiastic in attending the shows as the
clubs have been in booking, then I have no doubt we'll be back on the
road again, in the West Coast and the U.K

About the artists:

• The Electric Prunes: In 1966, a sonic blast of feedback, tremolo
and fuzz emerged from the confines of a Los Angeles garage. The
Electric Prunes' electrifying single "I Had Too Much To Dream (Last
Night widely recognized as one of the first psychedelic hit records,
heralded a transition period in popular music. Their combination of
psychedelia and bluesy grit offered a unique auditory experience that
was a far cry from the pop music popular at the time. A cut from the
band's Mass in F Minor concept album was selected for the soundtrack
of the classic road movie Easy Rider. Unlike many of their
contemporaries, the Electric Prunes were capable of reproducing their
distinctive recording sounds in live performances. They continue to
perform across the world, stewarded by founding members Mike Tulin
and James Lowe.

• Love: Led by the late singer/songwriter/guitarist Arthur Lee, this
interracial Los Angeles band was among the most influential and
original of its era. Love's creative impact on other artists from the
mid60s right up to this very day outweighs the commercial success of
their brief but highly productive heyday. The 1967 epic Forever
Changes, a suite of songs using acoustic guitars, strings and horns
recorded while the band was falling apart as the result of various
abuses, is widely cited as one of rock's all-time greatest albums.
Since Arthur Lee's death in 2005, the legacy of Love has been carried
forward by its founding guitarist/songwriter Johnny Echols along with
Baby Lemonade.

• Jerry Miller, who Eric Clapton is reported to have called the "best
guitar player in the world is best known as the lead guitarist in
late '60s San Francisco three-guitarist band Moby Grape, which signed
to Columbia and recorded four albums between 1966-69. He co-wrote
with member Don Stevenson the classics "Hey Grandma" (covered by the
Move) and "Murder in My Heart for the Judge" (covered by Three Dog
Night and Lee Michaels.) Earlier in his career, Miller played with
Bobby Fuller in his predecessor band to the Bobby Fuller Four.
Following the Grape's 1970 dissolution, Miller joined two Grape
bandmates in the Rhythm Dukes, and later shared the stage with Jimi
Hendrix, The Doors, Eric Clapton, Taj Mahal and Robert Plant.
Originally from the Pacific Northwest, Miller is once again based in
his hometown of Tacoma.

CALIFORNIA '66 REVUE DATES
Tuesday, August 4 PHILADELPHIA, PA Johnny Brenda's
Wednesday, August 5 HOBOKEN, NJ Maxwell's
Thursday, August 6 FAIRFIELD,CT Quick Center; benefit for WPKN-FM
radio (with guests the Blues Magoos)
Friday, August 7 CAMBRIDGE, MA Middle East
Saturday, August 8 MONTREAL, QU Theater Plaza; affiliated with the
"Teenbeat Takeover Woolly Weekend
Sunday, August 9 NEW YORK, NY B.B. King's
Monday, August 10 FOXBORO, MA Patriot's Place
Wednesday, August 12 CHICAGO, IL Double Door*
Thursday, August 13 MILWAUKEE, WI Shank Hall*
Friday, August 14 TORONTO, ON Lee's Palace*
Saturday, August 15 DETROIT, MI The Magic Bag*
Sunday, August 16 CLEVELAND, OH Beachland Ballroom*
Monday, August 17 PITTSBURGH, PA Hard Rock Café*
Tuesday, August 18 ALEXANDRIA
, VA (DC AREA) Birchmere*

* denotes dates with Jerry Miller from Moby Grape on bill.

.

Tuesday, July 28, 2009

Review of Mark Rudd’s Underground

Revelation Revolution:
A Review of Mark Rudd's Underground: My Life with SDS and the Weathermen

http://www.indypendent.org/2009/07/23/revelation-revolution/

By Eleanor J. Bader
July 24, 2009

Underground: My Life with SDS and the Weathermen
By Mark Rudd
Harper Collins, 2009

Those who have characterized Mark Rudd's memoir, Underground, as
unapologetic must not have read it. The book passionately reflects on
the 1960s and 1970s, a time when a new world order seemed not only
possible, but likely.

Rudd begins this well-written, almost-confessional book with an
account of entering college in the fall of 1965. He admits that
Columbia University was a dream come true, since it was such a
radical departure from his middle- class, suburban upbringing in New
Jersey. At Columbia, he was encouraged to read revolutionary
theorists, such as Malcolm X, and was deeply affected by David
Gilbert, the chair of the university's Independent Committee on
Vietnam, who openly declared his opposition to the war and suggested
that antiwar activists adhere to their beliefs instead of behaving
like "good Germans." As a Jew reared in the shadow of the Holocaust,
Rudd found Gilbert's words potent and quickly became immersed in
campus activism, soon joining Students for a Democratic Society (SDS).

The discovery of Columbia's connection to the Institute for Defense
Analyses, a think tank affiliated with the Pentagon, in early 1967
led SDS members to intensify their anti-war efforts. Combined with
pre-existing university plans to raze several buildings in largely
Black Harlem for the construction of a gymnasium in Morningside Park,
the predominantly progressive student body felt pushed to the brink.

Due to an administration crackdown, students decided to occupy five
buildings on the Columbia campus in April 1968. African-American
students and Harlem residents entered Hamilton Hall and refused to
leave. White students took over Low Library and other surrounding
buildings and penned demands. Rudd's excitement over the week-long
sitin is palpable, and readers who have ever immersed themselves in
organizing will feel the contagion.

Rudd writes with vivid fury about the police violence that ended the
occupation and rails against a mainstream media that portrayed the
protesters as "lunatic, destructive kids."

He is also conscious, albeit in hindsight, of the media's fixation on
him as the archetypical leader ­ the charismatic white man ostensibly
in charge. At the time, however, Rudd savored the attention and
admits to rampant womanizing. After being expelled from Columbia in
spring of 1968, he became a "traveling salesman for SDS" speaking
throughout the country to ramp up opposition to the war. However, as
SDS grew, factions emerged which ultimately destroyed the largest
student mobilization in U.S. history.

While Rudd helped found the most radical portion in SDS, the
Weathermen, in 1969, he had early concerns about the group's
dogmatism. "I did not realize at the time that we had unwittingly
reproduced conditions that all hermetically sealed cults use:
isolation, sleep deprivation, arbitrary acts of loyalty, even sexual
initiation as bonding," he writes.

Rudd buried these worries as the Weathermen became the Weather
Underground, which ultimately carried out 24 property-destroying
bombings across the United States. He writes that he accepted the
idea ­ now recognized as delusional ­ that "we had begun the war
against the pigs" and describes a mood that is difficult to fathom in
2009. In retrospect he calls it "a fantasy of revolutionary
urban-guerrilla warfare."

This fantasy ground to a halt when a 1970 plan to bomb New Jersey's
Fort Dix went awry, killing three of Rudd's comrades and destroying
the Greenwich Village townhouse the would-be bomb makers were using.
Rudd, his girlfriend Sue LeGrand, and other Weatherpeople quickly
fled underground. Moving between safe houses sent Rudd into a
near-suicidal depression, and his graphic description of severing
ties with everything and everybody garners sympathy.

Nonetheless, he and LeGrand cobbled together a sub rosa life. Their
first child was born in 1974, and they had a second child after he
surrendered in 1978. The decision to resurface came after
seven-and-a-half years on the lam; Rudd could no longer stand living
with constant anxiety.

Rudd eventually paid a fine and settled in New Mexico. When his
relationship with LeGrand ended, he finished his degree and spent
more than two decades teaching mathematics at a community college in
Albuquerque, N.M. He has continued his work as a non-violent activist
and organizer through his involvement with Native American land
rights and antiwar and anti-militarization efforts.

Underground's poignancy is underscored by Rudd's conclusion: "The
Weather Underground didn't seem to affect anybody at all. We were not
part of most people's universe, even of those who were still working
in what remained of the movement." This sobering and heartfelt
statement, bolstered by his across-the-board denunciation of
violence, clearly speaks to 21st century activists who are eager for
rapid change.

.

1969: The Year of Gay Liberation

From:
The Scout Report
July 24, 2009
Volume 15, Number 29

1969: The Year of Gay Liberation

http://www.nypl.org/research/chss/1969/

The New York Public Library's excellent online exhibit on the year of gay
liberation opens with an inviting digital poster with all the names of the
gay liberation groups represented in the exhibit. Visitors can click
anywhere on the poster to enter the exhibit. Take a look at the
"Introduction" to learn about the history of gay liberation groups. About
half a dozen or so of the groups are featured on the left side of the page,
and the visitor can click on each one to read the story of their involvement
in the gay liberation movement. Visitors who will be in New York City July
through November can catch the "Traveling Panel Exhibition" at various
libraries throughout the city, however, those visitors who won't be anywhere
near the Big Apple during those months, can "Download a PDF of the Panel
Exhibition". Finally, visitors should definitely not miss out on the link
to the "LGBT Resources at the NYPL", located in the lower left hand corner
of the page. There are collections devoted to LGBT health, seniors, history
and teens, as well as a list of other digital collections that are
available.

.

The Inside Story of the Process Church of the Final Judgment

[Same article previously sent; now reposted at new URL with new title. --ed.]
--

Love Sex Fear Death:
The Inside Story of the Process Church of the Final Judgment

http://www.laweekly.com/2009-07-23/art-books/love-sex-fear-death-the-inside-story-of-the-process-church-of-the-final-judgment?src=newsletter

Juicy Tidbits of a '60s Cult

By Doug Harvey
Published on July 01, 2009

The Satanic Ritual Abuse (or SRA) conspiracy fad of the 1980s may
have torn apart families, destroyed the lives of innumerable innocent
people and set the credibility of clinical psychology back at least
50 years ­ but for fans of sleazy, poorly researched, exploitative
true-crime books, it was a godsend. While cognoscenti hold a special
place in their hearts for such early fabrications as Michelle
Remembers and The Satan Seller, the pièce de résistance of the genre
was Maury Terry's enthralling 640-page bestseller,The Ultimate Evil,
which attributed the Manson, Zodiac and Son of Sam murders to a
global satanic underground masterminded by a sinister cult known as
the Process Church of the Final Judgment, led by the shadowy and
charismatic Robert de Grimston, who had disappeared from public view
in the early '70s.

The only problem was that, by the time Terry's 1987 magnum opus
briefly rekindled the flames of the dwindling SRA media frenzy, de
Grimston had reverted to his birth name of Robert Moor and was
working an office day job on Staten Island, while the Process Church
itself ­ from which he'd long been excommunicated ­ had morphed into
the Best Friends Animal Sanctuary in Kanab, Utah, the largest no-kill
animal shelter in America. Somewhere between these mundane and
sensationalist extremes lay the truth about the Process Church and
its role in the cultural upheavals of the '60s, but reliable accounts
were fragmentary and scattered.

Enter Adam Parfrey and Genesis P. Orridge. Originally teaming up to
issue a facsimile collection of Process's strikingly designed
apocalyptically charged magazines (which remain highly sought-after
collectors' items), Feral House publisher Parfrey and Throbbing
Gristle/Temple of Psychic Youth founder Orridge quickly realized that
a number of Process insiders were prepared to go on the record about
their years with the controversial sect. The result is Love Sex Fear
Death: The Inside Story of the Process Church of the Final Judgment,
titled after, and reproducing some pages from the group's glossy
underground zine ­ but dominated by 120 pages of autobiographical
reminiscences by Timothy Wyllie, a.k.a. Father Micah, a.k.a. Mithra,
a.k.a. Father Jesse, one of the original inner circle who founded the
group in London in the early '60s.

Wyllie was friends with former public-school boy and British army
officer de Grimston (then Moor) at architecture school but had lost
contact for a couple of years when, in 1963, he got a call out of the
blue. De Grimston and his new wife, Mary Ann, had decided to leave
Scientology and create their own program of psychological and
spiritual development, based on the use of an e-meter and
self-examination in an intensive interview scenario. In the course of
his reminiscences, Wyllie reveals what has been rumored for some time
­ that de Grimston was more or less a dummy figurehead for the
megalomaniacal schemings of Mary Ann.

Mary Ann MacLean's childhood was defined by poverty and neglect in
Glasgow, before she became a high-end prostitute in London,
supposedly hooking up with Sugar Ray Robinson for a time, before she
recognized that her particular talents could be put to more lucrative
effect in other areas. As the de Grimstons' "compulsions analysis"
sessions attracted more and more disaffected protohippie types, the
group had remarkable spiritual experiences, and began suspecting that
they were not only on the cutting edge of experiential psychological
research but were also in fact a chosen spiritual elite ordained to
herald the endtimes.

According to Terry and his ilk, what followed was a rapidly
expanding, systematic program of ritual sacrifice and atonal music,
designed to precipitate the apocalypse through the summoning of a
Celtic death god named Samhain. Wyllie's account is somewhat more
prosaic and farcical, following the Process Church's random global
peregrinations, incoherent channeled theology (which gave equal
billing to Satan, Lucifer, Christ and Jehovah) and increasingly
totalitarian bureaucratic hierarchy from the point of view of an
overworked acolyte, de Grimston, who believed he was being guided
along a path of spiritual evolution by an incarnate goddess, or at
least a secret Sufi master.

While there are plenty of juicy bits ­ your flagellation, your sex
orgies, your celebrity cameos (yelled at by Klaus Kinski and Miles
Davis! Who'da thunk?) ­ most of the anecdotes in Love Sex Fear Death
(abetted by numerous shorter memories and period documents) are
sordid in a less titillating sense, a gradual unraveling of a
seemingly sincere moment of collective inspiration into
all-too-familiar routines of coercion and greed, charting Wyllie's
inevitable disillusionment with and departure from the New Religion
he had helped to invent and define. It is an unglamorous saga of
indentured panhandling, Dumpster-diving, child neglect, public-access
proselytizing, and Heathers-level Machiavellianism ­ detailing the
insidious banality of evil more convincingly than Process theology or
Maury Terry ever could.

De Grimston was forced out by Mary Ann in 1974, and after
unsuccessfully trying to start a Process revival, gave up and got a
real job. Mary Ann kept revising and renaming the group, gradually
removing all references to Satan and Lucifer before realizing that it
was easier to persuade the rubes to part with their hard-earned jack
for the protection of poor little defenseless animals than to
facilitate the immanentization of the eschaton. Ultra-ironically,
Wyllie recounts a rumor that her death in 2005 was the result of an
attack by feral dogs that had broken out of their "sanctuary." Who
says Jehovah doesn't have a sense of humor?

.

Santana: The Woodstock Experience

Santana: The Woodstock Experience

http://www.rollingstone.com/reviews/album/28854001/review/29237276/santana_the_woodstock_experience

DAVID FRICKE
Jul 20, 2009

If it had all been sun-shine and clockwork, with a tidy profit on the
morning after, no one would have said another word. Instead, the
Woodstock Music & Art Fair, held August 15th to 17th, 1969, near
Bethel, New York ­ a refugee-camp experience officially declared a
state disaster area on the second day ­ became an anniversary industry.

And business is booming. In addition to these six new releases, the
1970 documentary, Woodstock, is out as a deluxe DVD set. The 1970
soundtrack and its 1971 sequel, Woodstock Two, are back on CD. Then
there are the books, replica tchotchkes and commemorative events,
mostly drawing on an artfully massaged memory of that weekend's
accidental wonder: That amid the frozen traffic, stressed food and
medical services, and oceanic mud, "Half a million young people can
get together and have three days of fun and music ­ and have nothing
but fun and music!" as the late Max Yasgur, the farmer who welcomed
the horde on his land, said from the stage on Sunday morning.

Yasgur's breakfast speech, edited on the Woodstock album, appears in
full on Woodstock ­ 40 Years On, a small but telling example of the
box's documentary detail and momentum. Its six CDs contain virtually
all of Woodstock and Woodstock Two plus tracks from a 1994 box, then
another 38 previously unreleased songs and actualities. All but three
of the 32 acts that played are represented (the exceptions, because
of licensing issues, include the Band and, strangely, Ten Years
After, who are on the 1970 album). Everything is in the order it
happened, as it happened. There are bum notes (musicians were high,
burnt or both) and bumpy mixes (recording conditions were just shy of
wartime). But the result, combined with the full-length performances
in the Woodstock Experience packages, is the most comprehensive and
satisfying account so far of the main reason why Yasgur's acres
became an instant city of freaks, including me: the music.

Some of the history gets a valid rewrite. The Grateful Dead's set was
a notorious disaster, beset by equipment problems. But the salvaged
19-minute "Dark Star" is good trippin', one of the mostly heavy-rock
weekend's few truly psychedelic flings (especially considering the
bad acid MC John Morris keeps warning the crowd about).
Singer-songwriter Bert Sommer was left out of the movie and the
original albums. But the folk-rock strains of "And When It's Over"
and Sommer's high, rippling voice suggest a Tim Buckley-in-waiting.
(That, sadly, is where he stayed. Sommer died in 1990.) And,
honestly, Country Joe McDonald's "F-U-C-K" cheer never felt as
mutinous and euphoric on record as it did that Saturday in the open
air. The bigger gas is a long excerpt of acid-flecked garage rock
from his later appearance with the Fish.

There is a solid shot of Creedence Clearwater Revival's roots-'n'-TNT
set and more of the Who's enraged dead-of-night assault, if not
enough of either. Pete Townshend's amp-gutting solo in "Amazing
Journey" at least partly explains why he didn't hesitate to whack
Abbie Hoffman into the pit when the yippie bolted onstage after
"Pinball Wizard." (Hoffman: "I think this is a pile of shit while
John Sinclair rots in prison!" Townshend: "Fuck off my fucking stage!")

That exchange underscores a dirty, overlooked truth of Woodstock. The
biggest massed-youth moment of the decade was also the least
political: straight-up capitalism (if you bought a ticket, like I
did) and hip escapism. The most direct comment on the real state of
the nation ­ Vietnam, urban riots, civil protest ­ only came on
Monday morning, as most of the mob headed home: Jimi Hendrix's
wrenching firefight guitar adaptation of "The Star-Spangled Banner."
If it hadn't been in the movie, most of the Woodstock Nation would
have missed it altogether.

Hendrix's uneven but epochal finale was finally released in its
near-entirety in 1999. Three of the full sets in the Legacy series
are even better. (Each volume is a double CD with the act's 1969
studio LP, a drag if you already own the latter.) Sly and the Family
Stone were the only deep-R&B act on the bill, and from the shotgun
start ­ a scat-and-gallop "M'Lady" into the smiling swagger of "Sing
a Simple Song" ­ Stone is at the height of his party-politics
command. (A year later, he was sinking into drug-and-paranoia
twilight.) Jefferson Airplane's Sunday-dawn show is truly "morning
maniac music," as singer Grace Slick famously put it: fast and
gnarly, spiked with crossed-sword vocals. The convulsive jam out of
"Wooden Ships" would have blown minds at any hour.

The Janis Joplin and Johnny Winter shows are, in turn, uneven and
near great. She sings with familiar fire but leads her big band with
less assurance. He goes overlong on the solos but locks in with his
original Texas rhythm section: drummer Uncle John Turner and bassist
Tommy Shannon.

But for pure shock, nothing beat Santana's 45 Woodstock minutes. It
was one of their first East Coast gigs; the set was their
then-unreleased debut LP. And I still clearly remember guitarist
Carlos Santana's furious trills cutting the Saturday-afternoon heat
over the band's Latin-railroad charge. As far as I'm concerned, for
that alone, the rest of the mess was worth it.

.

Beatlegras fuses bluegrass with Fab Four tunes

While My Guitar Gently Twangs

http://centraljersey.com/articles/2009/07/23/time_off/entertainment_news/doc4a674fc4be0ea124262577.txt

Beatlegras fuses bluegrass with Fab Four tunes

Thursday, July 23, 2009
By Megan Sullivan

BEATLES and bluegrass. Longtime Dallas musician Dave Walser couldn't
ignore the two musical forces that had inspired him since childhood.
Once he decided to mesh the best of both worlds by forming a
bluegrass Beatles band, the result made Mr. Walser feel like a kid
all over again.

Enter Beatlegras, a trio that stays true to original Beatles
melodies, but infuses the acoustic stylings of American bluegrass and
adds a dash of jazz, country and classical influences. The group will
open the third annual Summer Beatles Bash, starring and created by
Glen Burtnik and Friends, at the State Theatre in New Brunswick July
25. Mr. Burtnik's group will re-create Abbey Road in its entirety in
celebration of the album's 40th anniversary.

"I totally respect what Glen Burtnik and his friends are doing ­
the whole note-for-note thing is hard to beat," Mr. Walser says.

But for those who don't mind their Beatles served with a twist,
Beatlegras has just the recipe. The trio features Mr. Walser on
guitar and two of his longtime friends, upright bassist George
Anderson and Milo Deering playing everything from mandolin and fiddle
to guitar and dobro. The group often opens shows with a medley of
"Hello Goodbye," "Back in the USSR" and "Sgt. Pepper's Lonely Hearts
Club Band." Audiences will likely hear one of Beatlegras' favorite
reinterpretations, "Magical Mystery Tour," and a more
classical-sounding version of "And I Love Her."

The collaboration between three musicians with very different
styles and influences yields a sound hard to classify. "We just try
to make it good and don't worry if it's country or bluegrass or jazz
or classical," says Mr. Walser, who owns and operates Downing Road
Music Studio in Texas. "It's all music."

Beatlegras started out with "Back in the USSR" about five years ago
and now has about 50 tunes in its repertoire. "The weird thing is,
there are probably 200 we haven't even touched," Mr. Walser says.
"The Beatles have so many songs."

The group hopes to release a fifth CD some time next year to
follow up Beatlegras, Beatlegras 2, In a Perfect World and a live CD
sold at shows. In a Perfect World includes six original tracks that
have a Beatles influence. Beatlegras' original music also can be
heard in the family film Tommy and the Cool Mule, released in May
(Ice-T voices the mule).

Mr. Walser grew up in the Texas countryside and has adored
bluegrass ever since hearing the strum of the banjo in the Beverly
Hillbillies theme song when he was 7 years old. "I remember hearing
that and going, 'Oh my God, that's a whole new level of music!'" A
week later, thanks to his dad for buying him a cheap banjo, Dave
mastered the tune.

Once he saw the Beatles first performance on the Ed Sullivan Show
in 1964, however, the 9-year-old had a second epiphany. "I said,
'Dad, you gotta get me an electric guitar!' and he said, 'This is
getting kind of expensive for a farmboy.'" Dave promised to learn how
to play all of the songs and his mom went out and bought the Beatles
first album. "Within a month or two, I had the whole album worked up,
the best a 9- or 10-year-old can come up with," Mr. Walser recalls.

Mr. Walser and Mr. Deering have similar backgrounds ­ two white
guys of a certain age who love Beatles and bluegrass. But while Dave
and Milo had a case of Beatlemania growing up, Mr. Anderson, an
African-American, relished the sounds of musicians like James Brown
and Stevie Wonder. Mr. Anderson's unfamiliarity with the music of the
Beatles adds a fresh perspective when the trio crafts new arrangements.

When Mr. Walser first pitched the concept of Beatlegras, Mr.
Anderson thought it sounded like a great idea ­ until he realized he
was the sought after bass player. "He said, 'I don't know if I'm the
right guy,'" Mr. Walser recounts. "The fun part, after all of that,
is every time we do a new Beatles song ­ first of all, he's probably
never heard of it ­ two days later, he calls me and says, 'Dave, this
is an awesome song!'"

Mr. Anderson, an in-demand studio session bassist, has played
with such notables as Ray Charles, Ella Fitzgerald and Woody Herman.
His jazz album, Faces, was in the running for a Grammy award in the
Best Contemporary Jazz Album category in 2003. (For those who like to
wax nostalgic about the '90s, he worked as a writer, producer and
bassist on Vanilla Ice's Jive Record debut, To The Extreme.)

A virtuoso player of stringed instruments, Mr. Deering also is in
constant demand as a session player (and composer). Fans of Lee Ann
Rimes might recognize Mr. Deering from touring with the country
starlet as a member of her band for several years.

Based in Dallas, Beatlegras mainly performs within the 200-mile
radius of north Texas but hopes to expand its reach to the northeast
after playing New Brunswick. Last year, the trio performed at the
Cathedral Quarter Arts Festival in Belfast, Northern Ireland, where
they shared the bill with Sinéad O'Connor. One might assume that a
gig in the Garden State would pale in comparison with one in the
Emerald Isle, but the trio is equally enthused.

"Honestly, I can't believe we're going to New Jersey," Mr. Walser
says. "It's not Los Angeles or Nashville, but to us it is. We're
going to New Jersey! We're just these three guys who still have a lot
of kid in us."
--

Beatlegras will open the third annual Jersey Summer Beatles Bash,
starring Glen Burtnik and Friends at the State Theatre, 15 Livingston
Ave., New Brunswick, July 25, 8 p.m. Tickets cost $27-$47. A special
happy hour and a Beatles Rock Art Show by Scott Segelbaum (for
Beatles Bash ticket holders only) will begin at 6:30 p.m.
732-246-7469; www.statetheatrenj.org; www.beatlegras.com

.

Saturday, July 25, 2009

Why we say yes to drugs

Why we say yes to drugs

http://www.salon.com/books/review/2009/07/20/this_is_your_country_on_drugs/index.html


Resistance to mind-altering substances is futile, according to a new
"Secret History of Getting High in America"

By Laura Miller
July 20, 2009

Not long ago, I was talking with a couple of friends who are about a
decade younger than I am. We got onto the subject of recreational
drugs and how my friends had recently sworn off Ecstasy. "I know a
guy who used to love it, and he's quitting, too," one of them
explained. "He's learned a lot about it and says it's just too hard
on your body." I remarked that since Ecstasy is the sort of drug most
people take only very occasionally, it probably wasn't as dangerous
as something like cocaine, which can be addictive, expensive and
lethal. "Oh, cocaine's not that bad," said my friend, looking puzzled
and leaving me surprised. Hadn't he ever worked for someone who'd
gotten so tweaked on coke that he burned out his septum, emptied his
bank account and triggered a heart attack? Hasn't every journalist
worked with someone like that?

Ryan Grim would understand this disconnect perfectly. One of the
theses of his new book, "This is Your Country on Drugs: The Secret
History of Getting High in America" -- a cornucopia of unconventional
wisdom about our relationship to mind-altering substances -- is that
the popularity of drugs waxes and wanes according to a complex sum of
factors. One of those factors is the "perceived risk" of using a
particular chemical, which also fluctuates. There's a tendency to
idealize new drugs, as the Boston Medical and Surgical Journal did
with a recently isolated narcotic in 1900. "There's no danger of
acquiring a habit," it assured its readers about the drug that had
just emerged from the labs of the aspirin manufacturer, Bayer. They
named it heroin.

Even when we ought to know better, we don't. "It takes about seven
years," Grim writes, "for folks to realize what's wrong with any
given drug. It slips away, only to return again as if it were new." I
came of age professionally at a time when older journalists and
editors were wrecking themselves on cocaine right and left; as a
result, I still think of the drug as equal parts perilous and
pathetic, as well as hopelessly uncool. My friend, no doubt, came up
during a coke lull.

A political reporter who currently works at the Huffington Post, Grim
wrote a 2004 article for Slate inspired by a curious observation:
LSD, which had been "a fixture of my social scene since the early
'90s," seemed to have vanished from that scene. No one he knew was
taking it or selling it, and when he approached a drugs-policy
researcher for some hard data, they discovered that according to
several metrics, acid use was at "an historic low: 3.5 percent." By
2003, it was down to 1.9 percent. Why?

It wasn't just that LSD had gone out of style, although it had,
somewhat. Grim found evidence of a perfect storm of causes for the
decline. In 2000, the DEA had arrested a man named William Pickard,
thought to be the manufacturer of as much as 95 percent of the
available acid in the U.S. The Grateful Dead, whose concerts provided
an opportunity for suppliers and users to connect and network, had
stopped touring after the 1995 death of Jerry Garcia, and Phish, a
jam band that had stepped in to fill the gap, also stopped touring by
the end of 2000. The rave scene began to fade away under pressure
from authorities who threatened to arrest organizers for drug
offenses committed at their events.

But if Grim has learned anything from his forays into the tangled
world of drug laws (he once worked for the Marijuana Policy Project,
which lobbies for the repeal of pot prohibition), it's that the
American passion for getting high turns enforcement-centered
strategies into a vast game of Whack-a-Mole. "Policies enacted to
counter other drugs -- marijuana and cocaine, for example -- have
ended up encouraging the meth trade, as have laws against meth
itself," he writes. Crackdowns on pot smuggled from Mexico during the
1970s caused growers, dealers and users to turn to heroin, meth and
especially cocaine, the last of which was brought in from Colombia
via the Caribbean and Miami. When federal authorities finally got
around to draining the swamp of crime and corruption in Miami (where
one-fifth of all real estate transactions were paid for in cash),
coke smuggling migrated to Mexico, and when attacked there, it
scattered throughout the region, "creating the cartel structure that
exists today." This year, the National Drug Threat Assessment has
described Mexican cartels as "the greatest organized crime threat to
the United States," whose violence has spilled over the border and
whose influence "over domestic drug trafficking is unrivaled."

Grim has a knack for digging up facts and crunching statistics to get
unexpected results. The meth "epidemic" that has recently inspired so
much media alarm is already in decline, while crack use, never as
pervasive as it was depicted in the 1980s, has remained fairly steady
since then. Today's kids aren't smoking much pot because pot is a
"social" drug, shared among peers who gather in parking lots and
other hangouts; teens have less unstructured time now and tend to
socialize online. They still get high, only on prescription drugs
pilfered from adults or ordered off the Internet. "There's no social
ritual involved," he observes, "just a glass of water and a pill,"
which "fits well into a solitary afternoon."

There's more. Early American settlers drank like fish, even the
Puritans (though, as Grim fails to note, this was likely a habit
transferred from Europe, where the water in many communities wasn't
potable). In the 19th century, the heyday of temperance campaigns, it
was more socially acceptable to consume opium than alcohol, and by
the end of the 1900s, America was a "pharmacopoeia utopia" in which
coke, heroin and morphine were all readily available, either with a
doctor's prescription or in patent medicines and products like
Coca-Cola, once a cocaine-containing beverage marketed as "a
substitute for alcohol." Traditionally, attempts to regulate or
prohibit drugs in America have come from the left rather than the
right; only with the advent of the counterculture did this change.

Some of Grim's arguments are familiar, but with a twist. By now, most
informed people know that anti-drug education and P.R. campaigns
directed at children don't work, but Grim has noted several studies
indicating that they may actually foster experimentation. He sees the
mini-boom in drug use among 10th graders in the late '90s as caused
by a confluence of the "inner child" therapy boom exhorting parents
to encourage children's curiosity and programs like D.A.R.E. (Drug
Abuse Resistance Education), which inadvertently directed that
curiosity toward exotic chemicals. Despite ample proof of its
ineffectiveness, D.A.R.E. continues to be used in three-quarters of
all American school districts on some 25 million children. (President
Obama even proclaimed April 8 "National D.A.R.E. Day" in honor of the
organization's "important work.") Grim thinks that D.A.R.E. and
similarly wasteful programs persist simply because they relieve
parents from the duty of having awkward (and possibly "hypocritical")
conversations with their kids about drugs. Also because no one knows
what else to do.

Even less excusable in Grim's eyes is the predominance of law
enforcement strategies in America's disastrous war on drugs,
initiated by the Reagan administration. Drug courts, in which
offenders are directed to court-monitored treatment programs instead
of into prison, are, according to Grim, both cheaper and more
successful. Yet even politicians inclined to support a
treatment-oriented approach to diminishing the American appetite for
illegal drugs have opted to emphasize enforcement in order to
position themselves as "tough" on crime.

For just this reason, President Clinton replaced his first,
reform-minded drug czar, Lee Brown, with retired Gen. Barry
McCaffrey, who squandered billions on a scandal-ridden media campaign
(planting secret anti-drug messages in prime-time TV dramas) and
combating the medical marijuana movement, which is supported by a
majority of Americans. Worse yet, overseas enforcement campaigns lead
to horrific blowback. Grim points out that aggressive attacks on
growers and suppliers cause centralization of the drug trade (only
big organizations can afford the losses) and this in turn leads to
corruption, as cartel leaders parlay their fortunes into political
influence. Not only are we pissing away our own resources on
ineffectual enforcement efforts, we have "brought the Mexican
government to the brink of collapse, making the prospect of a failed
state on America's southern border a very real possibility."

For Grim, most of these mistakes have roots in an elementary error,
the inability to accept that "altering one's consciousness is a
fundamental human desire." The craving to be more relaxed or more
alert, more outgoing or more reflective, happier or deeper or even
just sillier and less bored -- in one form other another, this drive
has always been and always will be with us, though many of us refuse
to admit it. As a result, our political response to drug problems
tends to be blinkered. "In reality, there's no such thing as drug
policy," Grim writes. "As currently understood and implemented, drug
policy attempts to isolate a phenomenon that can't be taken in
isolation. Economic policy is drug policy. Healthcare policy is drug
policy. Foreign policy, too, is drug policy. When approached in
isolation, drug policy almost always backfires, because it doesn't
take into account the powerful economic, social and cultural forces
that also determine how and why Americans get high."

Yet a simplistic call for legalization fails to take into account the
fact that almost all drugs can be very dangerous, and that the
impulse to control them may run as deep as the desire to enjoy them.
People who trust themselves to use drugs wisely don't necessarily
want their kids, or their irresponsible neighbors, or their troubled
relatives to enjoy unfettered access to previously controlled
substances. For that reason, Grim -- who exhibits a distinct
preference for hallucinogens and is prone to idealizing the
"psychonauts" who use them to "expand consciousness" -- stops short
of calling for the repeal of all drug prohibitions, for the most
part, apparently, because he thinks it just won't last. "What would
happen if drugs were legalized?" he asks, referring to the
"pharmacopoeia utopia" of the late 1800s. "Well, it happened. And
history suggests that if we ever legalize them again, it won't be
long before we ban them all over again."

"Realism" seems to be the most Grim can bring himself to hope for,
which is why he applauds cable TV series like "Weeds," "Breaking Bad"
and "The Wire" for their nuanced depictions of the drug trade and the
people who ply it. The library-like Web site Erowid.com emerges as
one of the few real heroes in "This Is Your Country on Drugs," due to
its curators' fierce commitment to objectively and thoroughly
substantiating the vast amounts of information -- positive and
negative -- they present about virtually every drug under the sun. A
little realism would certainly help with regard to cocaine, whose
"perceived risk" is rapidly shrinking in my own (admittedly highly
anecdotal) experience. In the final pages of the book, Grim remarks
that his own observations suggest that "coke's next honeymoon could
be right around the corner." Sounds prescient, but not more so than
his world-weary conclusion that "America has shown just about zero
capacity to learn from its long and complicated history with drugs."

.

Free theater - a longtime Bay Area tradition

[2 articles]

Free theater - a longtime Bay Area tradition

http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2009/07/17/PKQ418K5GV.DTL

Robert Hurwitt, Chronicle Theater Critic
Sunday, July 19, 2009

If you give it away, they will come.

More to the point, they might even pay to come back. Or at least drop
some money in the hat.

"Free" comes in all shapes and sizes in the grand ecology of Bay Area
theater. Many companies offer free staged readings, playwright
interviews or looks at works-in-progress. A few have followed the
route pioneered by the San Francisco Mime Troupe to perform full
shows gratis in the parks. Many others have discovered the magic of
the age-old street come-on: The first taste is free.

That last idea has worked well for the San Francisco Theater
Festival. Moving into its sixth year, the all-day sampler - with
theater companies and comedy groups performing 20- to 30-minute
scenes, skits or songs from their shows - seems to get bigger and
attract bigger-name companies every summer. Small wonder, considering
its track record of attracting an estimated 10,000 potential future
ticket buyers.

Two popular shows

"Wicked" and "Beach Blanket Babylon" have come aboard this year.
Festival founder and producer Bill Schwartz says "125 to 130 shows"
have signed on - then checks with an aide who provides an update -
"149? How did we get so many more? And that includes 33 children's shows."

That's more than twice the number that performed four years ago, so
the festival has expanded beyond the performance spaces available in
Yerba Buena Gardens. The 2009 edition will take place next Sunday on
17 outdoor and indoor stages in the gardens, Yerba Buena Center for
the Arts, the Metreon, the Contemporary Jewish Museum, Museum of the
African Diaspora and Zeum, the primary center for child-oriented fare.

"Beach Blanket" cast members and hats will perform songs, as will
"Wicked" witches - just before dashing back to the Orpheum for a
matinee - on an outdoor stage hosted by David Alan Grier. Charlie
Varon will reprise excerpts from his Marsh hit, "Rabbi Sam." Dan
Hoyle ("Tings Dey Happen") will offer glimpses of his next show, and
his dad, master comic Geoff Hoyle, will perform with Lamplighters
Music Theatre in bits from its forthcoming "My Fair Lady" (opening July 30).

Opera Piccola and 42nd Street Moon are on the bill, as are the comedy
troupes Killing My Lobster and BATS Improv - not to mention Three
Wise Monkeys, Crowded Fire, AtmosTheatre and No Nude Men. PlayGround
will stage two short plays from its recent Best of PlayGround
production. Tanya Shaffer and Shanique Scott will showcase their new
solo shows.

Many local theaters won't be there - some because they aren't in
production in July; others are out performing free in the parks
already. The Mime Troupe, which opened its rousing "Too Big to Fail"
on July 4, will be in Redway (Humboldt County) and Fort Bragg that weekend.

Woman's Will, which closes its opening run of "Taming of the Shrew"
in Berkeley's John Hinkel Park today, moves into Walnut Creek and
Oakland parks at the end of the week (it plays Bay Area parks through
Aug. 16). Shotgun Players follows Woman's Will into John Hinkel with
Jon Tracy's "The Farm," adapted from "Animal Farm," Aug. 1-Sept. 13.

San Francisco Shakespeare Festival's Free Shakespeare in the Park
opened Saturday for a three-weekend run of "The Comedy of Errors" in
Pleasanton, and moves on to Cupertino in August and the Presidio for
most of September. Shady Shakespeare presents a free "As You Like It"
and "Richard III" in Saratoga's Sanborn-Skyline County Park, Aug. 7-Sept. 13.

Cost is relative concept

Stanford Summer Theater offers some timely Greek tragic relief with
its Electra Festival. The main offering, Sophocles' "Electra," isn't
free, but there's a free Electra-themed film festival (through Aug.
10), and free stagings of Aeschylus' "Libation Bearers" (Aug. 5) and
Euripides' "Electra" (Aug. 12).

Unlike the festival at Yerba Buena, though, "free" is a relative
concept at these shows. As anyone who's seen the Mime Troupe, Woman's
Will or Free Shakespeare knows, actors surround the audience with
hats or baskets extended by the end of the post-show fundraising
pitch. The Mime Troupe raises almost a quarter of its operating
budget from the hat. Shotgun is asking a $10 "suggested donation" for
"The Farm."

The San Francisco Theater Festival operates more on the notion that a
free sample is the best advertising. Information tables and mailing
lists are usually readily available. Truly wary buyers have another
option as well: If a sample makes you think you might like a group's
work, you can probably check out one of its full productions through
the annual Free Night of Theater sponsored by Theatre Bay Area in October.

San Francisco Theater Festival takes place 11 a.m. to 5 p.m. next
Sun. on 17 stages in and around Yerba Buena Center for the Arts,
including Zeum, the Metreon and Contemporary Jewish Museum. Free.
www.sftheaterfestival.org.
--

E-mail Robert Hurwitt at rhurwitt@sfchronicle.com.

--------

S.F. Mime Troupe brings its show to San Jose for first time in a decade

http://www.mercurynews.com/karendsouza/ci_12876890?nclick_check=1

By Karen D'Souza
kdsouza@mercurynews.com
Posted: 07/23/2009

The San Francisco Mime Troupe has been fiercely raising its voice in
protest of the status quo for 50 years. This summer is no exception.
Its free, outdoor musical production ­ cheekily titled "Too Big to
Fail" ­ is a scathing lampoon of capitalism in general and the Wall
Street meltdown in particular.

"Jobs just keep getting shed, and a lot of people have lost their
homes, and their whole lives have changed. That makes them question
whether the system is working for them," says veteran Mime Troupe
actress Velina Brown, who may be best remembered for her tartly
acerbic Condi Rice imitation. "We wanted to address not just the bank
bailout but the nature of capitalism itself, which is basically a
Ponzi scheme. Madoff was not the only one, you know?"

In a boon for local political-theater junkies, not to mention folks
looking for free comedy, the Tony-winning theater collective, founded
in 1959 by R.G. Davis, is making an extremely rare trip to San Jose.
It's the first time in almost a decade that the revered
rabble-rousers have brought their unique blend of politics and
pranks, which has been aptly described as half Karl Marx and half
Marx brothers, to these parts.

"They are one of our treasures," says Stanford drama Professor Rush
Rehm. "The Mime Troupe is so needed now, because they remind us of
the wisdom in voices that are viewed as 'down and out' or 'marginal,'
suggesting that common sense and the common man can see through the
ideology and nonsense thrust down our throats. We need the Mime
Troupe because we're still lying to ourselves, and buying what those
in power want us to buy" ­ the bailouts, Afghanistan, big military, etc.

Indeed, director Wilma Bonet, who has often worked at San Jose's
Teatro Visión, says it was crucial to bring this show to the South
Bay right now as the economic crisis grinds on.

"People all across the Bay Area need to see this story. It's about
all of us," Bonet says. "We are literally pointing at the audience to
take the responsibility. The government is bailing out the banks. The
working class and the middle class are sinking into a lifetime of
debt. It's up to us. What are we going to do about it?"

The plight of the underdog is a theme that playwright-actor Michael
Gene Sullivan expects will hit hard here in the valley, where
downsizing the workforce has become the norm.

"San Jose is built on entrepreneurship, investment and debt ­
hardworking people who built companies, only to be laid off, bought
out or disempowered," says the veteran trouper. "It's important that
valley people know that there are alternatives" to capitalism.

The troupe has become legendary around the globe for taking the
temperature of the socioeconomic scene and creating new plays that
speak to the state of the world.

"There's no other company like the Mime Troupe," Bonet says. "The
body of work is amazing. At home we get taken for granted, but in
Europe we are rock stars. We are studied by college students as one
of the iconic American theaters."

Of course, many local folks also appreciate the troupe. Indeed, a
band of South Bay fans ­ led by the San Jose Peace and Justice
Center, a liberal advocacy group (and its parent organization, the
Collins Foundation) ­ not only urged the company to come to town,
they also helped raise money to defray the costs of the San Jose engagement.

"Hurray! This means that San Jose is no longer a cultural backwater
when it comes to free, progressive, socially relevant theater!" says
Charlotte Casey, treasurer for the Peace and Justice Center, and a
huge troupe fan since the '70s. "Their shows always take on the most
important social issues and expose hypocrisy. They do what Jon
Stewart does on 'The Daily Show,' but they do it live and with songs!"

Indeed, "Too Big to Fail" takes on the hot-button issues of the
credit crisis in the tale of a young couple in love who become
hopelessly mired in a spiral of debt. The story is set in a tiny
African village, but creators say the theme echoes the American
credit crisis and how our patterns of consumption have shaped the world.

Brown, who stars as the young bride Jeneeba, hopes the play gets
people to question the wisdom of putting the profit margin first
everywhere from the banking world to the health care industry. In
Mime Troupe fashion, the play makes no bones about its leftist
politics. Centrism is a dirty world in this oeuvre.

"Our culture is all about money, but the truth is that some
institutions are about more than money," Brown says. "If you look at
the world through the lens of profit, if something doesn't make
money, it shouldn't exist ­ like public schools and libraries and
hospitals. But a school isn't supposed to make money; it's supposed
to educate our children so we can have an actual democracy. A
hospital isn't supposed to make money; it's supposed to care for the
sick. It's a no-brainer."

As it happens, the troupe remains committed to the notion that there
is more to life than the almighty dollar, and it refuses to charge
for most of its performances. It does pass the hat for donations, but
believes that art should be available to everyone.

"The Mime Troupe has always been an example of the power of people's
theater," notes Sullivan, taking its "political message to the people
who need to hear it most."

It's all part of the troupe's mission to "foment revolution through
musical comedy." In the subversive tradition of Brecht, the Mime
Troupe believes in theater as a way to change the world by changing minds.

"The financial crisis has been a big wake-up call for America," Brown
says. "I am hopeful that people who have woken up will stay awake,
but there's a lot of lulling going on to try and get us to fall back
asleep. We're trying to keep everyone alert and aware."
--

Contact Karen D'Souza at 408-271-3772.
--

"Too Big to Fail"

Produced by the San Francisco Mime Troupe

Through: Sept. 27

Where: Various Bay Area parks including 7 p.m. Wednesday at San
Jose"s Arena Green, 7 p.m. Aug. 5 at Palo Alto"s Mitchell Park, 3
p.m. Aug. 8 and 9 at Santa Cruz"s San Lorenzo Park; details at www.sfmt.org

Admission: Free, donations accepted;
415-285-1717, www.sfmt.org

.

Peace, Love, and Interest Payments

Peace, Love, and Interest Payments:
How to Run a Modern Co-op

http://www.washingtoncitypaper.com/blogs/housingcomplex/2009/07/20/peace-love-and-interest-payments-a-guide-to-running-a-modern-co-op/

by Ruth Samuelson
Jul. 20, 2009

Dinner at Maitri House is supposed to start at 6:30, but often begins
later. It takes a long time to fix a meal for 20 people.

Tonight Tarek Maassarani, one of the house's founding members, is
cooking. The brown marble counter is loaded up with basil and bags of
various greens. Maassarani's focused on preparing Brussels sprouts
with mushrooms and dried apricots two ways­with nuts and without.

On the refrigerator is a summary of the home's "Document of Intention
and Practice."

One covenant within its 12 pages is the practice of group dining:

"We will have several regularly scheduled vegetarian meals each week
at which everyone is invited to eat together. We will try to
frequently be at group meals with each other, and attendance is not required."

Among the other covenants: no TVs or computers in most common areas
because "devices can tend to draw us into non-interacting
activities." There's a long list of shared practices: Bicycle Share,
Supplies Share, Housework Share, and two different car shares (one is
for a designated communal car; another encourages residents to share
their personal cars "to the greatest extent possible").

There's even a line of thought about junk mail. Residents are
encouraged "not to be put on new mailing lists, to be removed from
preexisting mailing lists, and to get put on 'do not mail' lists."

Their house is a large brick colonial with a yellow door on Manor
Circle in Takoma Park. It's easy to pick out the Maitri­which means,
according to the favored interpretation of members, "loving kindness"
in Sanskrit­with its strollers strewn about the front yard, a new
bike shed, and a rain-water barrel in the back.

There are two gardens­one out front, and one toward the side of the
house­with broccoli, squash, tomatoes, kale, chard, lettuce, arugula,
beans, snap peas, beets, carrots, potatoes, amaranth, and various other herbs.

"I'm not sure what we don't have," says Maassarani.

The community fluctuates in size, although 20 seems to be a stable
number here. There are six children total, and eight parents. The
residents say the correct name for their setup isn't "commune," or
even "co-op," though the latter's a decent default.

"I would term it as an intentional community," says Maassarani, 30,
who knows from co-ops. He and his wife, Holly Smith, 33, helped found
H Street Community Market around late 2003 in their old neighborhood
near Gallaudet University.

The market is slowly working toward opening an actual storefront. So
far, 150 people have pledged to contribute dues and talks are ongoing
on a partnership with another local business.

But aside from the co-operative element, Maassarani's market and his
house have entirely different organizational structures.

"The privileges for the house is that you get to live here," he says.
Another: operating without leader.

"Consensus decision-making would probably doom a store to failure," he says.

Residents do, however, get a type of dividend in the form of shared
ownership of their house.

Technically, the property is backed by a limited liability company
(LLC) put together with some help from Silver Spring-based lawyer
Mark Kreiser. The idea behind organizing in this manner was equal
ownership, despite the fact only certain members could contribute
significantly to the house's down payment.

Ryan McAllister, 32, was one of those people. He actually first
conceived of the idea years before when he bought a home in
Hyattsville. He remained in touch with his real-estate agent, Chuck
Bailey, now a personal friend, and around late 2006, started
searching for another property in which to start his intentional community.

Bailey of Long & Foster Real Estate of College Park says of
McAllister: "He's a very smart guy, and he's very clear about his
vision, and very clear about taking action to bring that to reality."

McAllister seriously considered one house in Hyattsville and another
in Takoma Park before landing on Maitri's eventual location. By that
time, there was usually an entourage coming around to check out
various properties. McAllister, Maassarani, and others were already
beginning to write the house's vision and intention documents.

In the course of that process, the LLC was formed.

"We made a way for people to buy in no matter how much money they
have," says McAllister.

Each month, Maitri dwellers make three payments: One covers the
mortgage, utilities, repairs, and other general needs; another covers
food costs; the third is an equity payment for buying shares in the LLC.

Currently, the owner of the house is "McAllister, Ryan et al,"
according to Montgomery County documents.

"As long as there's a mortgage outstanding, we're not able to
transfer the title," says Maasarani. But the LLC is given "first
right of refusal on the house," if it were ever up for sale, meaning
that the LLC would be able to buy it for the exact sale price offered
by another buyer. The LLC pays rent to the owners, who pay the
mortgage company every month, says Maasarani.

Neither McAllister nor another member, Megan Donohue, pay equity
shares since they both spent substantial amounts acquiring the house.
The more money that's contributed over time, the more evenly the
shares will be distributed. Members receive interest payments every six months.

If people who live at the house want to leave, they can either
withdraw their shares and end their relationship with Maitri or they
can keep their shares, keep receiving payments, and, if the house
ever sells and Maitri shuts down, they can cash out.

Donohue says the LLC works; they couldn't have true communal living without it.

"In the larger vision of everyone buying into the house, we're more
invested in keeping it up, and we're more invested in the long-term
vision that this will work," she says.

Donohue came to the house with her two children, Makiya, 5, who is
adopted, and Noah, 3, her biological son. The three of them share a
room on the second floor and, though it's clear she spends time with
them individually (they were chilling at a swimming pool earlier
today and went on a camping trip last week), they are very
comfortable playing with/crawling all over other Maitri adults, who
in turn act as caretakers and disciplinarians.

McAllister, for example, takes Donohue's kids outside before
tonight's dinner. "I recommend we don't put sand in the rain barrel
because then it will be full of sand and not rain," he warns.

From there, the children head into the playroom, where Susan Cho,
41, is playing with Liam, a little blond baby and, at 7 months, the
youngest member of the house.
Liam's parents are Mary and Chris, who live on the house's first
floor. Cho and her boyfriend, Eric, live next door to the playroom,
where ear plugs often come in handy, she says.

Well after 7 p.m., Maassarani finishes the meal and sets it out
buffet-style on a kitchen counter for everyone to serve themselves.

Besides the Brussels sprouts, there's a dish with glazed salmon;
veggie potpie with chard, collared greens, turnip greens, mustard
greens, onion, and a pizza dough crust; an attempt at an egg souffle
with mushrooms and onions; and a seasoned risotto boiled in an onion stock.

Turnout is on the low side. Three parents and four kids have
stationed themselves toward one end of the table, which is actually
two rounded tables pushed together.

Further down, there's Cho, still watching Liam as he bounces in a
little seat on the ground, and two sub-leasers, college students in
Washington for the summer.

One of them, a University of Wisconsin-Madison student named Rebecca,
was drawn to Maitri House because she'd always wanted to live in a
co-op. Her school has a healthy co-op culture­an international house,
a Jewish house, and a liberal activism house, which advertises "our
home is an open resource to activist groups like: Food Not Bombs,
Stop the War, Radical Cheerleaders, & the Madison Art Collective."

These co-ops sit amongst the fraternities and sororities.

"I don't know why they put the hippies next to the capitalists," she
says, but that's the way it goes.

Afraid of all the distraction, she opted out of living in a college
co-op, but specifically searched one out when she came to D.C. She
landed in a nightmare house, a "faux-op," she says, merely marketed
as a co-op, but actually ruled by the landlord with a reign of
terror. Her current LLC arrangement is much more to her liking, she says.

Symbolically, the LLC says a lot about the nature of Maitri, but
ultimately, Maassarani believes it has less to do with the house's
success than the Kum-bah-Yah approach of having constant gatherings
with house members to air concerns, communicate with each other, and
have a good time.

There's a "human support group" twice a month, where people talk
about what's going on in their lives and "we self-teach things like
nonviolent communication," says Maassarani. Maitri has held several
open-to-the-public events­a cookout/yard sale/open house, and a movie
night. It really values interacting with its Takoma Park neighbors,
who are welcome to attend "Expressionfest…an open-mic-type thing
without a microphone" that's a reoccurring event.

Hearing himself share all these names, Maassarani pauses and chuckles
for a moment. Even with all the outreach, he knows the word
"Expressionfest" won't turn up in the next Webster's edition.

Another way the housemates bond together: "Once you gather together
as 20 people, you tend to have your own language," he says.

.

Rubber Souldiers bring the Sixties to the 21st century

Jamming with the Beatles and the Dead

http://www.eastbayexpress.com/music/jamming_with_the_beatles_and_the_dead/Content?oid=1159893

Rubber Souldiers bring the Sixties to the 21st century.

By Paula Lehman
July 22, 2009

In 1972, David Gans' roommate dragged him to a Grateful Dead concert,
and his life was changed forever. From then on, all his musical
endeavors have been Dead-oriented. He started playing Dead-influenced
music at what he calls "steak-'n'-lobster" gigs. He drew crowds from
his generation and others with a taste of the past and a hint of the
future. Two decades later, Gans now takes his solo act on tour,
playing festivals and hooking up with world-renowned jam bands such
as String Cheese Incident and Phil Lesh & Friends. He continues to
stay connected to local bands in the East Bay, showcasing them on his
radio show, the Grateful Dead Radio Hour, on KFOG. He still looks the
part, too: usually adorned in gray sweatpants, tie-dye shirt, round
tinted shades, and long gray hair tied into a ponytail.

Gans, who has lived near Lake Merritt for the past 35 years, is a
classic jammer. He's known to the community as an accomplished
guitarist and a symbol of the old days with a modern twist, using
technology such as a looping device. But his strength is remaining
loyal to music of the Sixties and Seventies, from the Dead to the
Doobie Brothers. It's a philosophy that he eventually used to create
perhaps his most successful endeavor to date.

One fateful day in the KFOG studio, Gans invited local musicians
Lorin and Chris Rowan to play a segment. As the two tuned their
instruments, they started playing a Beatles song. Unable to resist,
Gans chimed in with his baritone voice and the classic Beatles
three-part harmony filled the room. The jam turned into Gans' newest
project: Rubber Souldiers.

To the casual listener, Rubber Souldiers appears to be a mere cover
band. To old hippies, it's a trip down memory lane. But to the
musicians themselves, the band is an improvisational take-off of the
British legends, influenced by the Beatles but in no way a clone.

"We're not a tribute band," Lorin said. "The concept is to continue
seeking out new capillaries, new brain cells to Beatles songs."

The band is starting to take on its own "identity," said Gans. The
band visits Florida twice a year for the Magnolia Festival and has
played festivals in Northern California through word-of-mouth. Gans
attributes the band's swift popularity to the ability of Beatles
songs to transgress generations of listeners.

"They've kept their catalog fresh," said Gans. "When the movie Across
the Universe hit theaters, a whole new generation was introduced to
their music. I think there is a revival of Beatles music among young
people who heard that."

The result is what Gans envisions the Beatles would sound like if
they had become a San Francisco band and written songs that were
longer than three minutes. Rubber Souldiers turn the original songs
into ten-minute jams, melding multiple songs together and sometimes
drifting into a different sound completely.

"We take those songs and stretch them out," Gans said. "We shuffle
them like a deck of cards. We're reverent in that we're giving them a
lot of love, but we're irreverent in that we're adapting their music
to our own style."

After years of typical hippie strife in the music biz, Gans has found
a unique formula to bring him into mainstream popularity. He's moving
listeners in the direction of musical appreciation and old-school
talent by bringing back the brilliance of the Beatles and the
jamability of the Dead.

But Gans says perhaps the greatest thing he learned from the Dead was
that storytelling and causing a political and emotional stir are the
backbone of creating great music. "Whatever people think about the
Grateful Dead, they were great storytellers," Gans said. "I also grew
up thinking music was going to change the world. I'm a diehard,
Sixties, tree-hugging, world-changing kind of guy, and I write songs
about that kind of stuff."

His philosophies and current musical style are best exemplified in
his new solo album, The Ones that Look the Weirdest Taste the Best.
The first track, "Shove in the Right Direction," perhaps best sums up
the current stage of his musical career. "Save Us from the Saved" is
critical of the conservative religious right who condemn what Gans
considers natural freedoms such as abortion rights and marijuana use.
He may be becoming more aggressive as his music develops, but his
philosophy and style remain constant.

"Music is art and art is not a mirror to reflect the world but a
hammer with which to shape it," said Gans. "I don't have a
heavy-handed agenda. I'm just a guy who wants to enlighten and
persuade. You can't change the world through coercion."

Gans continued to expand his musical knowledge in the form of
freelance writing and photography. In the 1970s he worked a series of
day jobs, including his radio show on KFOG and for the long-defunct
BAM magazine, interviewing everyone from Leo Fender, creator of the
Fender guitar, to the Grateful Dead themselves. On a press junket in
1982 when he traveled to Jamaica to cover the Dead, Gans schmoozed up
Peter Simon and the editor of Simon's book, Playing in the Band: An
Oral and Visual Portrait of the Grateful Dead. The goal was to sell
some of Gans' photos, but with his credentials and a bit of luck ­
Simon's writer had just dropped out of the deal ­ Simon soon signed
up Gans as the co-author of the book. "My whole life I've been able
to be a musician," Gans said. "I've been able to play and find
related ways to really make a living."

Three decades of music education has brought Gans to where he is
today, analyzing music from the past and shaping it to the jamability
of the modern jam scene. He continues to perform solo throughout the
country but holds a special place in his heart for the Rowan brothers
and Rubber Souldiers. Lorin and Chris describe him as the fourth
Rowan (Peter, who also performs on the road, is the third Rowan
brother). And their family continues to expand. Rather than take a
full band on the road, the trio picks up local musicians along the
way and gets them into the groove. Thanks to Rubber Souldiers, the
Sixties are getting new life in the 21st century.

.

The CIA, licensed to kill

The CIA, licensed to kill

http://www.latimes.com/news/opinion/commentary/la-oe-wise22-2009jul22,0,2126028.story

The agency has been involved in planning assassinations since at least 1954.

By David Wise
July 22, 2009

Back in 1960, the CIA hatched a plan to kill Patrice Lumumba by
infecting his toothbrush with a deadly disease. The Congolese leader
would brush his teeth and, presto, in a few days or weeks he would be gone.

Around the same time, the CIA's Health Alteration Committee -- who
thought that name up? -- sent a monogrammed, poisoned handkerchief to
Gen. Abdul Karim Kassem, the leader of Iraq.

And the CIA's "executive action" unit plotted for years to murder
Fidel Castro. It hired the Mafia to poison his food and tried to give
him a diving suit contaminated with Madura foot, a rare tropical
disease that starts in the foot and moves upward, slowly destroying
the body. The CIA also considered offing the Cuban leader with an
exploding cigar, a poison pen and a seashell that would blow up
underwater when he touched it.

Not one of the plots was successful. Lumumba and Kassem were executed
by their foes, and Castro is still alive. But the plots make clear
that the CIA has been licensed to kill for decades.

Congress -- especially congressional Democrats -- was outraged
earlier this month when it was disclosed that, apparently on orders
from Vice President Dick Cheney, the CIA for eight years concealed
from Congress a program to assassinate the leaders of Al Qaeda,
starting with Osama bin Laden. But they shouldn't have been surprised
that such a plan was being hatched.

The CIA's involvement in planning assassinations goes back at least
to 1954, when it prepared a manual for killings as part of a U.S.-run
coup against the leftist government of Guatemala. The 19-page manual,
which was declassified in 1997, makes chilling reading. "The
essential point of assassination is the death of the subject," it
declares, noting that while it "is possible to kill a man with the
bare hands ... the simplest local tools are often much the most
efficient means of assassination. A hammer, ax, wrench, screwdriver,
fire poker, kitchen knife, lamp stand or anything hard, heavy and
handy will suffice."

The agency's manual recommends "the contrived accident" as the best
way to dispose of someone. "The most efficient accident ... is a fall
of 75 feet or more onto a hard surface. Elevator shafts, stairwells,
unscreened windows and bridges will serve." The manual suggests
grabbing the victim by the ankles and "tipping the subject over the
edge. ... Falls before trains or subway cars are usually effective,
but require exact timing."

The manual goes on to discuss "blunt weapons," noting that "a hammer
can be picked up almost anywhere in the world" and that baseball bats
are also excellent. The manual explains the best place in the body to
stab people or how to bash their skulls in and the pros and cons of
rifles, pistols, submachine guns and other weapons.

During the Cold War years, the CIA plotted against eight foreign
leaders, five of whom died violently. The agency's role varied in each case.

After the plots were publicized by a Senate committee, President Ford
issued an executive order in 1976 barring political assassination.
President Reagan broadened the ban, dropping the word "political" and
extending the prohibition to include contract killers as well as
government employees.

Although the ban remains in effect, it has largely been ignored on
the premise that it does not apply in a military setting. Consider
the following:

In 1986, Reagan ordered the bombing of Libya in retaliation for a
terrorist attack on a Berlin disco that killed three people,
including two U.S. servicemen, and wounded more than 200 others. In
the airstrike, Libya's leader, Moammar Kadafi, a target of the raid,
escaped unharmed, but his 2-year-old adopted daughter was killed.

During the Persian Gulf War in 1991, when the first Bush
administration bombed Baghdad, Robert M. Gates, the former CIA
director and current Defense secretary, said White House officials
hoped that "Saddam Hussein would be killed in a bunker." At an air
base in Saudi Arabia that year, Cheney, then secretary of Defense,
and Gen. Colin L. Powell signed a 2,000-pound laser-guided bomb
destined for Iraq. "To Saddam with affection," Cheney wrote.

In 1998, President Clinton ordered a cruise missile strike on Al
Qaeda training camps in Afghanistan after the bombing of two U.S.
embassies in Africa. The White House was clearly disappointed when
the strike failed to kill Bin Laden, who reportedly left one of the
camps shortly before the attack.

A year later, again during the Clinton administration, NATO bombed
Belgrade after Serbia forced ethnic Albanians to flee from Kosovo. A
cruise missile was lobbed right into the bedroom of Slobodan
Milosevic, the Serbian leader and Yugoslav president, but he was not
sleeping there and escaped injury.

In Yemen in 2002, a CIA Predator drone fired a Hellfire missile that
destroyed a car in which a top Al Qaeda leader, Qaed Sinan Harithi, was riding.

The problem with assassination, morality aside, is that the U.S. is
not very good at it, as the CIA's farcical efforts to murder Castro
demonstrate. It seems unlikely that the CIA will kill Bin Laden with
a baseball bat. And there is the real possibility of retaliation for
a state-sponsored assassination. President Kennedy was quoted as
saying, "We can't get into that kind of thing or we would all be
targets." Perhaps CIA Director Leon Panetta had that in mind when he
canceled the assassination program.
--

David Wise writes frequently about intelligence. He is the author of
"Nightmover: How Aldrich Ames Sold the CIA to the KGB for $4.6
Million" and "Spy: The Inside Story of How the FBI's Robert Hanssen
Betrayed America."

.

Dick Gregory / Mort Sahl – Terrific!

Dick Gregory/Mort Sahl ­ Terrific!

http://www.beyondchron.org/news/index.php?itemid=7173

by Buzzin' Lee Hartgrave
Jul. 24‚ 2009

It's a 'two for one' exhilarating evening of satire and political
fun. Dick Gregory has still got that sparkle that made him one of the
world's most sought after headline performers. Gregory keeps the
audience fired up with his jabs about everyone and everything. No one
is safe as he rolls out the puns. He also makes fun of himself, his
culture and our culture. "I'm early ­ because you know what they say
about Black Folk!" Gregory talks about his life. "I'm 76 and my wife
is 71. And there are no prescription drugs between us."

Gregory is an anti-drug crusader and nutritionist. He is all about
healthy living. And at 76, he still can jump on and off the stage.
"Now, Mort Sahl who is coming up next is older than me. So, laugh
hard and clap real loud -- you may see someone die up here." ­ he sez.

Just about that time, a cell phone goes off. Gregory looks up to the
ceiling. "Is that you, Lord? That cell phone ring sounded like the
bill was not paid." It was a very annoying ring, but got lots of
laughs. As a matter of fact, everything that Gregory said on stage
brought bent over laughs from everyone in the audience.

Gregory is also a philosopher: "The people that run the world have
never worked." That is not only funny ­ but also true in my book.
That is why everyone loves Gregory -- he has a way of making fun out
of the hidden truths.

Though, most of his comments on life are about today -- he does go
back into history now and then to let us know how it was way back
then. "When I grew up, there was no T.V. We just listened to Tap
Dancers on the Radio."

This knocked the audience out of their chairs: "Cigarettes will give
you Cancer. Oral Sex will not give you Cancer!"

Some People have called Gregory the Black Mort Sahl (who follows
Gregory in the show). And Gregory's friends call Sahl the "White Dick
Gregory." They both draw their material from current events, politics
and social movements. Gregory is a Master Comic. He's subtle -- but,
Oh ­ so powerful!

MORT SAHL ­ AN EXTRAORDINARY STORY TELLER

"I'm older than Dick Gregory. I just paid off my student loan" -- Sahl sez.

About Obama: "The President is the only guy that has bigger ears than
Ross Perot."

A lot of the time Sahl admits ­ "everything I say is true ­ oh, sure
I do embellish a bit." Like this one: - "Wal Mart put out a notice
that they were looking for help. The parking lot was full of people
looking for jobs. Sarah Palin was there ­ she was the only one they
didn't hire."

Mort Sahl is the Political Comedy God. Not only has he been one of
the most enduring stage performers in the world. Sahl has also
written for the movies, T.V. and other comedians.

Sahl may be older, but he still has that great strong voice, and his
memory is sharp as a tack as are his sly insights into the political
pot. That pot never stops stirring, and Sahl keeps up with what's
going on. He had the current New York Times with him. "I get all my
ideas from the newspaper," he says. Yes, in Sahl's world ­ Newspapers
are more than just the funnies ­ they are a Gold Mine of material
about the upside down world of politicians.

Sahl sometimes delves into other areas. "Let's take Gay Marriage.
Which I'm in favor of. Why should THEY be happy." Good question and
answer ­ and funny as hell. He continues with that subject. Oscar
Wilde. He wrote: 'It is love that dare not speak its name' Now it
won't shut up!"

AS A WRITER, MORT SAHL IS CREDITED WITH 18 SCREENPLAYS AND HAS BEEN A
SPEECH WRITER FOR 3 PRESIDENTS. And he tells many funny stories about
these Presidents. Surprisingly, even Ronald Reagan was funny. And
George Bush Junior also came out with a few zingers. Maybe he missed
his real calling. Just wondering.

Sahl and Gregory are both "Utterly Irreverent!" This show is full of
uproarious surprises and laughs. Terrific guys. They both fire up the
stage. Don't miss! Every gesture and glance is perfection.

RATING: FOUR GLASSES OF CHAMPAGNE!!!! (highest rating) ­ trademarked ­

When you go: The Rrazz Room. Hotel Nikko
Through July 26, 8pm
222 Mason
http://www.therrazzroom.com./

.

Age no big deal to Badfinger's Joey Molland

Age no big deal to Badfinger's Joey Molland

http://www.intelligencer.ca/ArticleDisplay.aspx?e=1666300

By LUKE HENDRY THE INTELLIGENCER
7/22/09

If Joey Molland's act has an expiration date, he'll be the first to know.

Molland, 62, and his version of British rock band Badfinger are part
of the Hippiefest tour, which on Saturday comes to Empire Square.

Make whatever jokes you like about aging rock stars, but Molland said
he's still enjoying and will keep it up so long as he can do it well.

"The moment I can't, I promise you I'll stop," he said in a phone
interview. "I'm not going to ruin that."

His chipper mood belies the band's tragic history.

Founding member Peter Ham killed himself in 1975; guitarist Tom Evans
did the same in 1983. The band also had serious money problems;
Molland remains bitter over that issue, which he attributes to
mismanagement. But he said he remembers the early years fondly.
Molland said he started playing music for fun, and still is.

"I don't know if people dream about being rock stars, but I certainly
didn't ... I was a teenage guy making songs up in the back of taxi
cabs on the way to the studio."

Badfinger took its name from Badfinger Boogie, the working title for
The Beatles' With a Little Help from My Friends. The band was often
linked to The Beatles. Paul McCartney wrote the early hit Come and
Get It; George Harrison served as one of Badfinger's producers.
Badfinger was also signed to The Beatles' Apple Records.

The bandmates also collaborated with solo Beatles, playing on
Harrison's All Things Must Pass and John Lennon's Imagine albums.

Dealing with The Beatles was enjoyable yet intimidating despite the
Fab Four's down-to-earth personalities, Molland said.

"I was never really able to get over the fact that they were the Beatles.

"They were all very regular guys ... There wasn't a big entourage
around them. I saw George load his own guitar and amp into a car on
the All Things Must Pass album."

Badfinger became a hit-making band in its own right, with songs such
as Day After Day, No Matter What and Carry on to Tomorrow.

"Everywhere was sold out for about five years," Molland recalled.

At Badfinger's peak, he said, "we were playing for 7,000 to 10,000
people a day."

Molland is still writing and recording. He'll tour Australia in
November and hopes to soon record with sons Shaun Michael and Joe Molland III.

He's also about to get his first songwriting credits in a movie, when
five tunes are used in the upcoming film Immigration Tango.

"I've got about 28 or 30 new songs that I've demo'd over the last few
years, but I don't go shopping for record deals," he said.

"I don't sell a lot of records any more.

"Of course I'd love to have some more success, but it's a passing
thing anyway."

Having led a relatively normal life -- he was married 39 years to
Kathie, who died in March -- Molland said he's happy.

"I haven't had a heart attack yet. I make a reasonable living. Our
kids are OK, our house is up to date. Our bills are all paid."
--

Molland and Hippiefest hit Empire Square July 25, the second of three
days of Empire Rockfest. Call 613-969-0099 or visit empiresquare.com
for details on all shows.

.

Ted Kennedy: Forty Years after Chappaquiddick

Ted Kennedy: Forty Years after Chappaquiddick

http://www.humanevents.com/article.php?id=32773

by John Gizzi
07/20/2009

Saturday, July 18th, was the fortieth anniversary of the day that
Mary Jo Kopechne drowned at Chappaquiddick (an island part of
Edgartown,Massachusetts) in a car driven off a bridge by Sen. Edward
M. Kennedy (D.-Mass.). And, still, questions linger. What did Kennedy
do that night? Was he intoxicated? Why wasn't he prosecuted?

The one question still pondered by political observers on all sides:
did what is known universally known as "the Chappadquiddick incident"
keep Kennedy from being elected President? Clearly, it did.

For younger readers who know Kennedy -- now 77 and battling cancer --
primarily as the premier voice of liberalism in the Senate, it is
hard to believe how eagerly he was once considered a natural
candidate and probable winner of the office held by his brother John
and pursued by brother Robert until his death. Ted Kennedy in 1968 ,
as the New York Times' Tom Wicker wrote, "a year before his career
was dashed by the Chappaquiddick incident -- was another matter."
That year, Hubert Humphrey and his advisers in the Democratic Party
worked tirelessly to get the junior senator from Massachusetts to
become his vice presidential running mate. Less than two months after
the assassination of his brother Robert (Humphrey's chief rival for
nomination), Ted Kennedy ruled out a run on a national ticket for
"personal reasons" -- obvious reasons.

After Humphrey lost to Richard Nixon, Kennedy was elected to the
Number Two position in the Senate Democratic hierarchy and polls
showed him the leading Democratic contender for 1972.

All that changed on July 18th, 1969 when Kopechne (one of the "Boiler
Room Girls," who had worked on Robert Kennedy's '68 campaign) left a
party at Lawrence College (Massachusetts) with Kennedy, who later
said he asked his driver for the car keys rather than interrupt him
at the party. Driving despite a suspended license, Kennedy turned off
the Dike Bridge, his Oldsmobile plunging into water. The senator
later explained that he swam to the surface and dove back seven or
eight times to try to rescue Kopechne but without success. He
returned to the party, brought back friends to help in the search,
but never reported the incident to authorities until the next day.

Seven days later, Kennedy pled guilty in court to leaving the scene
of an accident after causing injury. Judge James Boyle sentenced
Kennedy to two months in jail, the minimum sentence for such an
offense, and thus formalized an agreement between prosecutors and
Kennedy's lawyers.

However, Judge Boyle later oversaw the inquest into Kopechne's death
and found that in driving twenty miles per hour in a car as large as
his Oldsmobile, Kennedy was "at least negligent and possibly
reckless." Because of this negligence, Boyle found "probable cause"
for a crime, but never issued a warrant for Kennedy's arrest. A grand
jury met in April of 1970 but at the time, Judge Boyle's report was
still impounded. District Attorney Edmund Dinis, a high-profile
figure throughout the incident, never sought an indictment for
manslaughter against the senator. Four witnesses testified for about
twenty minutes. The suspension of Kennedy's license was extended
during Boyle's inquiry and the grand jury proceedings.

The Chappaquiddick incident was later the subject of "Senatorial
Privilege", a devastating book by investigative reporter Leo Damore.

"Feels It Marks the End for Teddy"

Writing in his diary at the time of reports of Chappaquiddick,
then-White House Chief of Staff H.R. Haldeman noted that Richard
Nixon "feels it marks the end for Teddy."
Not exactly. In a nationally-televised address, Kennedy expressed
remorse for the death of Kopechne and offered to resign from the
Senate. A flood of mail urging him convinced him to stay. In 1970,
with Republican opponent Josiah "Si" Spaulding vowing never to make
Chappaquiddick an issue, Kennedy won re-election with 62% of the vote.

Fresh from re-election, Kennedy was ousted as Assistant Senate
Democratic Leader by colleague Robert Byrd. The Bay State senator
took himself out of consideration as a candidate in 1972 and declined
an offer from nominee George McGovern to be his running mate. Four
years later, as lesser known Democrats such as former Georgia Gov.
Jimmy Carter and Arizona Rep. Mo Udall, Kennedy again took himself
out of the running -- thus passing on what was perhaps his best year
at being elected.

There are many reasons Ted Kennedy lost when he finally made a run
for the presidency in 1980. As Teddy Roosevelt and Ronald Reagan
found it, it is near-impossible to take out a sitting President. But
Chappaquiddick has to be considered a factor in Kennedy's loss to
President Carter. First Lady Rosalynn Carter repeated that her
husband "always tells the truth" and Carter himself said he was "did
not panic under pressure" -- not-so-subtle references to Kennedy at
Chappaquiddick. In the now-celebrated interview with Roger Mudd on
CBS in November 1979, in which Kennedy fumbled the question as to why
he wanted to be President, the senator was also asked repeatedly
about Chappaquiddick. The rest is history.

My colleague, Jurek Martin, of the Financial Times recently cited
Kennedy as a classic example of successful "second acts" in politics.
Focusing on his Senate duties, he has been the most vigorous voice
for liberal causes and has forged convivial alliances with Republican
colleagues such as Orrin Hatch and John McCain. As the late
Democratic National Chairman Lawrence O'Brien wrote in 1974, "Despite
the Chappaquiddick tragedy, he remains the most visible Democratic
leader in America."

It could also be said that because of the Chappaquiddick tragedy, he
never became President.

.

Queer Prehistory

Queer Prehistory

http://www.inthesetimes.com/article/4550/queer_prehistory/

The gay-rights movement did not begin with the Stonewall riots in 1969.

By Doug Ireland
July 16, 2009

Myth has it that the 1969 riots at the Stonewall Inn in Greenwich
Village were the first open queer rebellion against discrimination.
Not so. In 1965, the first queer sit-ins on record took place at a
late-night Philadelphia coffee shop and lunch counter called Dewey's,
a popular hangout for young gays, lesbians and drag queens.

The establishment began refusing service to this LGBT clientele,
prompting a protest rally on April 25, 1965. Dewey's management
turned away more than 150 patrons while the demonstration went on
outside. Four teens resisted efforts to force them out and were
arrested and later convicted of disorderly conduct. In the ensuing
weeks, Dewey's patrons and others from Philadelphia's gay community
set up an informational picket line protesting the lunch counter's
treatment of gender-variant youth. On May 2, activists staged another
sit-in, and the police were again called, but this time made no
arrests. The restaurant backed down, and promised "an immediate
cessation of all indiscriminate denials of service."

In August 1966, there was a riot at Compton's Cafeteria, a 24-hour
San Francisco eatery popular with drag queens and other
gender-benders, hustlers, runaway teens and cruising gays. The
Compton's management had begun calling police to roust this
nonconformist clientele, and one night a drag queen precipitated the
riot by throwing a cup of coffee into the face of a cop who was
trying to drag her away. Plates, trays, cups and silverware were soon
hurtling through the air, police paddy wagons arrived, and street
fighting broke out. Some of the 60 or so rioting drag queens hit the
cops with their heavy purses, a police car was vandalized and a
newspaper stand was burned down. The Compton's Riot eventually led to
the appointment of the first police liaison to the gay community.

These are just two of the many nuggets of little-known or forgotten
queer history to be found in Smash the Church, Smash the State: The
Early Years of Gay Liberation (City Lights, June 2009), the new
anthology edited by Tommi Avicolli Mecca, himself a veteran of the
earliest gay liberation struggles, and today a San Francisco-based
gender-bending performance artist.

By the time of the Stonewall riots in June 1969, rebellion and
radicalism were in the air. The country had been riven by the mass
agitation against the war in Vietnam. America's cities had exploded
in urban riots by the black underclass. Feminists had begun to
articulate their own liberation ideology and burn their bras.
Stonewall and the militant gay liberation movement to which it gave
birth arose out of this '60s turbulence.

If the first night of the Stonewall riots was spontaneous, the
ensuing nights benefited from activist participation. Mark Segal, who
for 32 years has been the publisher of the Philadelphia Gay News
writes, "Marty Robinson recruited me into the 'activist group,' a
subgroup of Mattachine New York. If there were organizers of the
demonstrations on the nights following the [first] Stonewall riot, it
was us. After the first incident in which cops raided the bar, Marty
had the brilliant idea to have us write in chalk on Christopher
Street, 'Stonewall Tomorrow Night.' For three more nights, we
gathered and protested."

Stonewall became the much-evoked milestone because it was followed by
the launch of a concrete and militant political organization, the Gay
Liberation Front (GLF). Within two years, imitators of the New York
GLF had launched some 300 independent Gay Liberation Front cells
across the country. At GLF demonstrations, one frequently heard the
chant "2-4-6-8, smash the church, smash the state!"­hence the title
of Avicolli Mecca's collection of articles.

Nick Benton, a founder of the Berkeley Gay Liberation Front, writes
that for him and his fellow GLF activists, "gay liberation was part
of the larger struggle of human beings for liberation, in solidarity
with the civil rights, anti-war, feminist, and Third World liberation
struggles."

The personal testimonies collected for Smash the Church, Smash the
State! help recreate those heady, joyously rambunctious days of "sex,
drugs, and rock 'n roll." Queers, influenced by the hippies, Yippies
and Zippies, built their own radical wing of the youth counterculture
and created their own influential publications­including Boston's Fag
Rag, which published the notorious Charlie Shively article,
"Cocksucking As an Act of Revolution."

There are contributions by women who tired of the male domination of
GLF and founded groups like RadicalLesbians, RedStockings and
Dyketactics. There are also accounts both of radical gay liberation's
earliest and often campy direct actions and of the factional fights
that eventually destroyed GLF and led to its replacement by the much
larger­and single-issue­Gay Activists Alliance.

Avicolli Mecca has not abandoned the anarchic radicalism of those
early days. He writes in his introduction, "In many ways, the new
millennium gay movement is the antithesis of the early '70s gay
liberation. It cavorts with politicians who may be good on gay
issues, but not on concerns affecting other disenfranchised
communities. It courts corporate support for its … pride parades,
which used to be be protest marches and celebrations of the Stonewall
Riots. Now those marches seem more of a market than a movement."

On this 40th anniversary of Stonewall, that's a critique that
deserves to be heard.

.

40th anniversary of John Lennon and Yoko Ono's 'Bed-in for Peace'

Montreal hotel celebrates 40th anniversary of John Lennon and Yoko
Ono's 'Bed-in for Peace'

http://www.kansas.com/living/travel/story/890026.html

Jul. 13, 2009
BY NICOLE BRODEUR
The Seattle Times

MONTREAL -- We were sitting in a Montreal hotel room that could only
be described as disheveled -- covers strewed across the bed, towels
on the floor, half-empty coffee cups on the table -- when there was a
knock on the door.

No chambermaid. No bellman. Just two middle-aged women wearing meek smiles.

"Is this the room?" the first woman asked.

"We're staying in the hotel," stammered the other. "And we just
wanted to see ..."

"Come on in," I said, stepping back to allow two strangers into our sanctum.

So it goes when you're living in the lap of history: Room 1742 of
Montreal's Fairmont Queen Elizabeth Hotel, where, in 1969, Beatle
John Lennon and his wife, Yoko Ono, spent an eight-day "Bed-in for
Peace" to protest the Vietnam War.

In this hotel room, the long-haired newlyweds wore white, conducted
countless media interviews and received visitors such as Timothy
Leary and Dick Gregory before recording the cacophonous anthem, "Give
Peace a Chance," with the help of some 50 packed-in revelers.

The luxury hotel is making the most of the 40th anniversary, with a
"Bed-in for Peace" package available through the end of the year in
room 1742, now known as the John Lennon and Yoko Ono Suite.

The Fairmont has made sure that John and Yoko are all over the room,
in framed black-and-whites taken by photographers Ted Church and
Gerry Deiter, who was at the "Bed-in" on assignment for Life Magazine.

Here's a photo of John, legs tucked under him, sitting on the hotel
bed. Here are John and Yoko with Timothy Leary. With Tommy Smothers.
John and Yoko with her daughter, Kyoko. Here's John at the center of
the room, playing the guitar during the recording of "Give Peace a
Chance," a rowdy crowd squeezed in around him.

On another wall, in a huge frame, are eight gold 45s of "Give Peace a
Chance," by the Plastic Ono Band, surrounding another photo of John and Yoko.

As the story goes, the couple showed up at the Montreal hotel without
a dollar between them. The hotel set them up on the 17th floor. Apple
Records later sent a check for $10,000 to cover the cost of their stay.

It's funny about history. You don't know an event is actually worth
remembering, or preserving, until the players have left or died, the
witnesses are gone and the walls have been painted and papered again
and again.

And while it has been refurbished numerous times since John and Yoko
stayed here, Suite 1742 has been in steady demand for 40 years (the
room is already booked for the 50th anniversary of John and Yoko's visit).

We came because my boyfriend, Gene, is a self-described "Beatle nerd"
who still gets sad when he passes The Dakota apartment building in
New York City, where Lennon lived ­ and where he was shot to death by
Mark David Chapman in 1980.

"I wanted to visit some place with a more positive memory," Gene
said. "Here, John Lennon was alive and funny, hairy and artistic. Who
else could lie in bed for a week and have the world come to him?
Lennon said he knew it was silly, but he was willing to be the clown
to do a positive thing.

"It wasn't Sid and Nancy at the Chelsea Hotel, rock 'n' roll at its
most narcissistic, sad and dark," he added. "The Bed-in was the
opposite of that. 'Give Peace a Chance' wasn't just a song, but a
worldwide peace anthem."

Thanks to YouTube videos and a 2008 book of Gerry Deiter's
photographs called "Give Peace a Chance: John & Yoko's Bed-In For
Peace" (Wiley Publishing, $24.95), we were able to puzzle out how the
rooms looked back then.

Over there, against the west-facing wall and under the window, is
where the bed was set up in the suite's living room. John and Yoko
spent their nights in another suite, and starting seeing visitors
after breakfast.

Over there, by the (new) French doors and where the television
cabinet now sits, is where engineer Andre Perry set up the
reel-to-reel tape on June 1 to record "Give Peace a Chance."

The hotel-room acoustics left Perry wanting. Low ceiling, sheetrock
walls, "the worst conditions for making a recording," Perry says in
Deiter's book.

The lyrics were written on poster board and hung on the walls so that
people could follow along. The song was recorded only twice, with
people singing and banging on telephone books, ashtrays, whatever
they could get their hands on.

Perry stayed after everyone left and recorded Yoko singing "Remember
Love," which would be the record's B-side.

Back in his studio, Perry frantically called friends to come and sing
background vocals to improve the recording's sound quality. John
approved, and an anthem was launched.

"Is this the bed?" asked one of the women who knocked on our hotel room door.

The exact same bed? After an eight-day "Bed-in" with John, Yoko,
journalists, cartoonists, Hare Krishnas, deejays, Petula Clark, Allen
Ginsberg and one of the Smothers Brothers? Plus 40 years of guests?

Let's hope not.

Ono came to Montreal for the opening of a springtime exhibit about
the "Bed-in" at The Montreal Museum of Fine Arts, and thanked the
city for hosting them all those years ago.

"I think without your help, without your vibration, without your
spirit about us, 'Give Peace a Chance' may not have been born," she
told the crowd.

That spirit still lives in Montreal, 17 floors above the street.
--

IF YOU GO

The Fairmont Queen Elizabeth Hotel is offering a "Bed-in for Peace"
package to mark the 40th anniversary of John Lennon and Yoko Ono's
1969 "Bed-In for Peace."

The package, available through the end of the year, includes one
night in room 1742, now known as the John Lennon and Yoko Ono Suite;
breakfast; a copy of the lyrics to "Give Peace A Chance;" and a $50
donation in your name to the local chapter of Amnesty International.
The rate is about $703 (Cdn. $799).

To make reservations in the John Lennon and Yoko Ono Suite, call the
hotel directly at 514-861-3511. For more information on Fairmont
hotels, see www.fairmont.com.

"BED-IN": To see a bit of the "Bed-in," go to
www.youtube.com/watch?vacb15JsCGSk

MONTREAL RESTAURANTS: In Montreal's Latin Quarter, L'Express (3927
Rue Saint-Denis; 514-845-5333), is a classic Montreal bistro with
simple, cloth-covered tables and traditional French dishes at
reasonable prices. It's open from breakfast until 3 a.m.;
reservations for dinner are strongly recommended.

Le Saint Sulpice (1680 Rue Saint-Denis; 514-544-9458) is a converted
mansion that claims to be "king of the Montreal bars." It's fronted
by a sidewalk cafe, then opens into an enormous patio filled with
tables, where students from nearby University of Quebec at Montreal
and McGill University drink pitchers of beer and sangria, and where
older couples and families feel welcome. .

In the city's Old Montreal district, live jazz is offered at Modavie
(1 Rue St-Paul Ouest; 514-287-9582), a Mediterranean bistro and wine
bar with lots of exposed brick and candlelit ambience.

MORE INFORMATION: Tourism Montreal: www.tourisme-montreal.org or 877-266-5687.

.

Wednesday, July 22, 2009

Couple in All the Woodstock Photos Still Together

Couple in All the Woodstock Photos Still Together

http://www.prefixmag.com/news/couple-in-all-the-woodstock-photos-still-together/30366/

July 8, 2009
by Kali Holloway

There are plenty of stories from Woodstock about brief, fleeting, um,
acts of love, but far fewer about couples who made it through that
weekend of free love and debauchery unscathed. But the New York Daily
News has discovered a couple from the event -- the most famous
couple, in fact -- still living together in married bliss, just miles
from where the famous 1969 concert took place. Nick and Bobbi
Ercoline, whose picture became a stock image from the event, and even
graced the Woodstock album and poster, married two summers after the
music festival and remain so, four decades later. The two were
unaware of being photographed at the time and didn't discover the
image until years later, as they listened to the Woodstock album at a
friend's house:

"We weren't striking a pose. We were as surprised as everybody to see
that photo on the album cover," said Nick to the News. The
realization came slowly, and only after he recognized the orange
butterfly in the photo. "It belonged to this guy Herbie. We latched
on to him that day because he was having a very bad experience. He
was tripping pretty heavily and he had lost his friends. After I saw
that staff I said, 'Hey that's our blanket.' Then I said, 'Hey, that's us.'"

There's a renewed interest in the pic and all things Woodstock
because of the upcoming 40th anniversary of the music festival.
Michael Lang, one of the original organizers, has suggested Brooklyn,
New York's Prospect Park as a possible site, but there's been no
confirmation as of yet.

.

SDS Holds 4th National Convention

SDS Holds 4th National Convention

http://fightbacknews.org/2009/07/sds-holds-fourth-national-convention.htm

By Chapin Gray
July 2009

Murfreesboro, TN - Students for a Democratic Society (SDS) held its
fourth annual national convention here, July 11 -12, bringing
together around 100 students and youth activists from across the country.

The new SDS was formed in 2006 and since then has grown to over 100
chapters. This past year SDS has organized students around many
issues, including education rights, labor solidarity and against the
wars in the Middle East.

This convention consisted of workshops, discussions and meetings that
covered topics ranging from direct action and civil disobedience, to
Colombia solidarity and G20 resistance. The convention body also
passed a proposal to have a national day of action on Oct. 7 to
protest the eights anniversary of the U.S. war on Afghanistan.

Participants also decided to send a statement of solidarity to the
Quad City Die Casting workers, who the day before the convention held
a dramatic action at Wells Fargo bank in Rock Island, Illinois.

"It was great meeting so many amazing activists, both 'veteran' SDS
members who have been organizing for years.. and students who are in
the process of starting a chapter," said Ryan Costello from
Tuscaloosa, Alabama. "I am excited about starting organizing on my
campus in the fall and proud to be involved in an organization that
is playing such a leading role in the student movement, that is
making history."

.

Here are 10 films to put you in a '60s mood

Here are 10 films to put you in a '60s mood

http://www.goerie.com/apps/pbcs.dll/article?AID=/20090712/ENTERTAINMENT0702/307129963/-1/NEWS

by Kevin Cuneo
Published: July 12. 2009

To provide some insight into the mood of the country in the late
1960s, cable networks and movie channels plan to show many films from
that era in the coming weeks.

Some, such as "The Graduate," which came out in 1967, echo themes of
the time through Simon and Garfunkel's haunting melodies.

Others, such as "Hair," based on the popular Broadway show and
released in 1979, seem dated. The music is great, but the film
doesn't hold up as well as the stage show.

To get a feel for what was percolating in the U.S. during that time,
here are 10 films to consider:

"Alice's Restaurant" 1969 -- Arlo Guthrie's popular song inspired
this quirky movie. Critic Leonard Maltin calls it an "odd blend of
satire, whimsy, melodrama and social commentary." But it's generally
good fun and well worth another look.

"Bob & Carol & Ted & Alice" 1969 -- Paul Mazursky's glossy study of
modern lifestyles and sexual freedom also seems like a period piece,
but strong performances by Natalie Wood, Robert Culp, Dyan Cannon and
Elliott Gould will keep you entertained.

"Easy Rider" 1969 -- Peter Fonda and Dennis Hopper wrote and star in
this film about two motorcyclists who chuck it all and try to find
the "real America." Jack Nicholson, playing a boozy lawyer, became a
star in this movie. A strong cast helps offset the dated material.

"Five Easy Pieces" 1970 -- Jack Nicholson is back as a talented
musician who gives up that career to work on an oil rig. Performances
are outstanding in this excellent film which captures the mood of
discontent of the era.

"Forrest Gump" 1994 -- This really isn't a '60s film, but rather a
survey of those years. Tom Hanks is so engaging as Gump, however,
that children might get a glimpse of what made the '60s such a vital
time. Robin Wright and Gary Sinise are at the top of their games.

"The Graduate" 1967 -- Mike Nichols' bitingly poignant film about a
naive college graduate (Dustin Hoffman) who is seduced by an older
woman (Anne Bancroft) reveals much about the rift between
generations. That was a recurring theme of the late '60s.

"Hair" 1979 -- The great theatrical musical doesn't translate too
effectively to the screen, but the passion of the songs is still
there. "Hair" is enjoying another revival on Broadway, and if you can
make it to New York, that's the place to see this show.

"Love Story" 1970 -- The backdrop of this rich-boy-meets-poor-girl
love story touches upon the powerful rifts between generations of
that era. A huge best-seller and hit movie at the time, it seems
schmaltzy and corny today. But if it pops up on the late show, you
might think twice before turning it off.

"Midnight Cowboy" 1969 -- The friendship between characters played by
Jon Voight and Dustin Hoffman is an old story. But, set in seamy New
York City at the time, it captures the mood and feel of the era.
Rated X when it came out, it seems tame by today's standards.

"Woodstock" 1970 -- The young Martin Scorcese helped edit this
riveting documentary of the famous rock festival. Not only do you see
terrific performances by some of the top singers and bands of the
time, you also get a feel for what it must have been like to be at
Woodstock. Look for the 1994 release of the film, which offers 40
additional minutes of performances.

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Why is Leonard Peltier still in prison?

Why is Leonard Peltier still in prison?

http://socialistworker.org/2009/07/15/why-is-peltier-in-prison

Michele Bollinger documents a cruel story of the American injustice system.

July 15, 2009

LEONARD PELTIER is an innocent man who has spent over 33 terrible
years in prison for a crime he didn't commit.

In 1977, he was sentenced to two consecutive life terms for the
deaths of two FBI agents, Jack Coler and Ronald Williams, who were
killed in a gunfight on the Pine Ridge reservation in South Dakota on
June 26, 1975.

Peltier's case is one of the awful travesties of the U.S. justice
system--standing alongside those of Sacco and Vanzetti, Julius and
Ethel Rosenberg and Mumia Abu-Jamal.

Like these individuals, Peltier is rightly considered by his
supporters to be a political prisoner--because his prosecution and
conviction was driven solely by his participation in the American
Indian Movement (AIM) in the 1970s. Since his conviction in 1977, he
has been a victim--repeatedly--of the racism of the U.S. criminal
justice system.

But Leonard Peltier is not simply a victim. He is also a fighter.

Leonard and his friends, family, allies and supporters have been
courageous and relentless in speaking out for justice in Leonard's
case, even when faced with government repression for doing so. And
Peltier has stood up for justice not only in his own case, but on
behalf of indigenous people and all victims of war, poverty and racism.

In his memoir Prison Writings: My Life Is My Sun Dance, he wrote:

The destruction of our people must stop! We are not statistics. We
are people from whom you took this land by force and blood and
lies...You practice crimes against humanity at the same time that you
piously speak to the rest of the world of human rights! America, when
will you live up to your own principles?

Views such as these, along with the work he has done setting up
scholarships for Native American children, among other efforts,
explains why Peltier was a nominee for the Nobel Peace Prize and the
2004 presidential candidate of the Peace and Freedom Party.

Our society would benefit enormously from having someone like Leonard
living as a free man. Instead, at age 64, he languishes in prison
while in poor health. Earlier this year, he was brutally beaten; he
has been repeatedly denied proper medical care.

On July 28, Peltier will appear at his first full parole hearing in
15 years. Now is the time to rebuild momentum around his case and
demand his release and exoneration--and put his name back at the
center of the fight against the criminal justice system.
- - - - - - - - - - - - - - - -

PELTIER WAS indicted along with two others in the 1975 shoot-out at
the Jumping Bull property. His co-defendants, Bob Robideau and Dino
Butler, represented by famed radical attorney William Kunstler, were
acquitted on the basis of self-defense.

Humiliated by the not-guilty verdict for Robideau and Butler, the
government went after Peltier with a vengeance. It lied, cheated and
slammed the book on any sense of justice to ensure a conviction.

The Feds used three perjured affidavits to get Peltier extradited
from Canada, to which he had escaped. During the trial itself,
Peltier faced an all-white jury in North Dakota, where racism against
Native Americans and hostility to AIM was palpable. The jury was
unnecessarily sequestered and deliberately made to feel vulnerable by
the judge. This same judge wouldn't allow Leonard's attorney's to
argue self-defense.

Assistant U.S. attorney Lynn Crooks didn't produce any witnesses who
could identify Peltier as the person who killed the agents. The
government presented false evidence--the claim that only Peltier had
the type of gun that killed the agents--and also concealed evidence
showing that the gun they claimed Peltier used didn't match the
bullet casings found near the agent's bodies.

Documents uncovered later through Freedom of Information Act requests
revealed, among other things, that the judge met with the FBI before
the trial began, and that the legal defense committee that emerged
out of the Wounded Knee occupation had been infiltrated.

None of these facts are really contested by the federal government.
In fact, at an appellate hearing in the 1980s, the government
attorney conceded: "We had a murder, we had numerous shooters, we do
not know who specifically fired what killing shots...we do not know,
quote unquote, who shot the agents."

But the government was hell-bent on convicting Peltier in order to
crush AIM, which was founded in 1968 and reached its high point in
cities and on reservations in the mid-1970s.

AIM clearly took inspiration from the civil rights and Black Power
movements of the 1960s as well as struggles for national liberation
around the world. Its profile and credibility was heightened by
several bold actions, including in 1972, when it mobilized 1,400
people for a three-day occupation of the border town of Gordon, Neb.,
in response to the murder of Raymond Yellow Thunder by white racists.

Peltier became a leading activist in AIM, participating in the
occupation of Fort Lawton in Seattle and the "Trail of Broken
Treaties" caravan to Washington, D.C., which resulted in AIM's
stunning occupation of the Bureau of Indian Affairs (BIA) building.

According to Like a Hurricane author Paul Chaat Smith:

[T]his sudden rebellion in Washington, D.C., had catastrophic
possibilities that bordered on the surreal. Five days before the
presidential election, Indian revolutionaries held a government
building six blocks from the White House, vowing to die rather than
surrender. The casualties, if it came to that, would likely include
the Trail's scores of children and old people.

In 1973, in response to the rampant fraud, intimidation and violence
of Oglala Sioux tribal government President Dick Wilson, traditional
people and civil rights activists on the Pine Ridge reservation in
South Dakota invited AIM to come help them fight Wilson.

This resulted in the famous 71-day occupation of Wounded Knee, where
AIM demanded Wilson's ouster and congressional hearings on treaty
rights. The occupation drew broad support and was headline news,
creating an outpouring of support for the Lakota people.

But it was viciously attacked by the FBI, U.S. marshals and Dick
Wilson's heavily armed "GOONs" (Guardians of the Oglala Nation).
Within hours, 200 agents surrounded and blockaded the town. The army
sent in armored personnel carriers, fighter jets flew overhead, and
500,000 rounds of ammunition were fired into Wounded Knee, killing
Frank Clearwater and Buddy Lamont.

Coming out of Wounded Knee, AIM and its supporters were targets in a
two-sided war--on one side, by the FBI in the form of its overall
COINTELPRO program against radicals, and on the other, a reign of
terror by BIA police, other federal law enforcement and GOONs.
Between 1973 and 1976, the per capita murder rate on Pine Ridge was
the highest in the country--170 per 100,000 people, or around 20
times the U.S. average.

This was the context of the famous "Incident at Oglala."

On June 26, 1975, two unmarked cars chased a red truck onto the
Jumping Bull property on the Pine Ridge Reservation. Across the field
from the road was the compound where the Jumping Bull family lived,
and where AIM members and families had set up camp. When the agents,
who hadn't identified themselves, then began firing on the ranch,
Peltier and others, who were defending the compound against violence,
fired back, not knowing who the men were or what they wanted.

Within minutes, more than 150 FBI SWAT team members, BIA police and
GOONs had surrounded the ranch. FBI agents Coler and Williams, as
well as one Lakota man, Joe Killsright Stuntz, were killed. No one
has ever been convicted of Joe Stuntz's death, and in fact, only one
major newspaper even mentioned it at the time.

The largest FBI manhunt in history followed, culminating in the
arrest of Robideau, Butler and Peltier.
- - - - - - - - - - - - - - - -

SINCE THE time of his conviction, countless numbers of people have
come to believe in Leonard Peltier's innocence and to demand his freedom.

In the late 1990s, the documentary Incident at Oglala and Peter
Matthiessen's book In the Spirit of Crazy Horse became popular, and
led to a heightened awareness about Peltier's case. Everyone from the
Indigo Girls to Rage Against the Machine has recorded songs about him.

Many supporters hoped that former President Bill Clinton, who stopped
at the Pine Ridge reservation during his 1999 poverty tour, would
grant Leonard executive clemency. But Clinton succumbed to pressure
from police and FBI agents, and refused to free Leonard--saving his
generosity for wealthy benefactors like Mark Rich.

After Clinton came eight long years of the Bush administration's many
abuses of the U.S. Constitution--including more cases of political
persecution, like that of Dr. Sami Al-Arian. Unfortunately, this has
meant that Peltier's case has been somewhat pushed to the margins of
political consciousness.

But no longer. Justice is long overdue. We must include the fight for
Leonard's freedom in a bigger struggle to free all political
prisoners and push back against the injustices of the criminal justice system.
--

What you can do

Leonard Peltier will face his first full parole hearing in 15 years
on July 28, and his supporters are calling for a campaign of
pressure. Mail letters of support to: U.S. Parole Commission, 5550
Friendship Blvd. #420, Chevy Chase, MD 20815-7286.

Visit the Free Leonard Peltier Web site http://www.freepeltiernow.org/
for more information on the case, sample letters to send to the
parole commission and updates on other activities.

.

Activist pushes FBI to probe hate crimes cases

Missouri activist pushes FBI to probe hate crimes cases

http://www.columbiamissourian.com/stories/2009/07/13/update-mo-activist-pushes-fbi-probe-hate-crimes-cases/

Monday, July 13, 2009
BY SHEILA ELLIS

KANSAS CITY ­ A Kansas City man who was the driving force behind an
effort to bring civil rights-era offenders to justice is preparing to
meet with Attorney General Eric Holder to jump-start efforts to find
criminals because "people are dying and memories are fading."

Alvin Sykes is widely credited with the idea behind the Emmett Till
Unsolved Civil Rights Crime Act, which authorized up to $135 million
over 10 years for investigations of civil rights-era killings and
established a permanent cold case unit in the Justice Department.

The law is named for the black 14-year-old boy from Chicago who was
lynched for whistling at a white woman while visiting relatives in
Mississippi in 1955. Sykes persuaded the Justice Department to
re-investigate Till's case in 2004. No one has been convicted.

Sykes plans to meet with Holder to urge him to focus more energy on
finding witnesses, victims and evidence before it's too late. The
meeting with Holder had been set for Tuesday, but the two sides are
rescheduling because Holder will be traveling.

"People are dying and memories are fading," Sykes said in an
interview last week with The Associated Press. "The president of the
United States and the U.S. attorney general need to step up to the
plate and tell this country that we mean business and that this is
not just show."

Holder, citing a rise in white supremacist activity, recently called
on Congress to create new hate crimes legislation to stop what he
called "violence masquerading as political activism." He cited
separate attacks over a two-week period in which a young soldier in
Little Rock, Ark., an abortion provider in Wichita, Kan., and a guard
at the U.S. Holocaust Memorial Museum in Washington were killed.

Sykes persuaded former U.S. Sen. Jim Talent, R-Mo., to introduce the
bill in 2005. It passed Congress late last year, but action stemming
from the legislation has been lagging, Sykes said.

According to a statement from the FBI, there are more than 100
unsolved civil rights killings that occurred before 1969 that are
under review. Since 2007, there have been 28 arrests and 22
convictions, according to the Southern Poverty Law Center, a watchdog
group that tracks hate crimes.

Sykes said the FBI should reach out to people instead of waiting for
them to come forward, noting that many witnesses likely have
information but are either scared to come forward or resigned that
nothing can be done.

Sykes said he'll push Holder for a national outreach project that
would include town hall meetings and door-to-door canvassing to
encourage victims' families to report information about crimes while
suspects are still alive and witnesses still have their memory.

"We want to make sure that they are brought before the bar of justice
or they die in fear of being next," he said.

Sykes is the chairman of the Emmett Till Justice Campaign and lives
mostly off donations. He hopes to raise enough money to bring about a
dozen other people to Washington with him, including relatives of
victims of civil rights-era killings. Two of them are relatives of Till.

The FBI has worked diligently to probe decades-old hate crimes, but
it's important not to give false hopes to victims' families, said
Richard Cohen, president of the Southern Poverty Law Center.

"The cases that are brought will have to serve as proxies or
representatives as justice for all," he said. "We will have to be
satisfied with that, that's just the reality of it."

Cohen predicted the vast majority of cases won't reach trial because
of statutes of limitations, jurisdictional issues and the
difficulties of investigating claims that went unreported because
they may have involved police.

But Sykes is hoping his meeting with Holder produces the "largest
criminal manhunt in America."

"It will be a greater victory over violence that will occur in this
country because of this effort," he said. "And as people see other
family members coming forth and getting some resemblance of justice,
that helps encourage to bring other people forward."

.

Allen Leepa: Always true to the beat generation

[2 articles]

Leepa remembered as always being true to the beat generation

http://suncoastpasco.tbo.com/content/2009/jul/10/101222/pi-leepa-remembered-as-always-being-true-to-the-be/

BY MARK SCHANTZ
THE SUNCOAST NEWS
Published: July 10, 2009

TARPON SPRINGS - Allen Leepa was a beatnik from the 1950s who always
remained true to his creed and convictions, says Lynn Whitelaw,
director of the Leepa-Rattner Museum on the Tarpon Springs Campus of
St. Petersburg College.

Leepa, an art educator, artist and half the museum's namesake duo,
died at his home in New Port Richey last week at the age of 90 after
a long illness.

Leepa loved art and was concerned about the human condition, Whitelaw
said. His Abstract Expressionist artwork revealed the emotion of his thought.

Born in Brooklyn, N.Y., Leepa lived in California, trained at The Art
Students League in New York and New Bauhas School of Design in
Chicago. He received advanced degrees from Columbia University.

After moving to this area in 1997 from Michigan, where he was an art
professor at Michigan State University for many years, Leepa and wife
Isabelle donated $20 million worth of art to what was then St.
Petersburg Junior College.

The Leepas also gave $2.5 million to build the Leepa-Rattner Museum.
Construction of the museum began in 1999 and was completed in 2002.

Abraham Rattner, a renowned expressionist painter, was Allen Leepa's
stepfather. Leepa donated to the museum works by Rattner and
Rattner's second wife, sculptor, painter and printmaker Esther Gentle
Rattner, 1899 - 1991, who was Leepa's mother. Leepa also gave the
museum works by artists such as Picasso and Chagall.

Isabelle Leepa died in 2006, at age 78.

Whitelaw said his friend Allen Leepa used vivid colors and shapes to
bring emotion to the canvass. In his textbook, "The Challenge of
Modern Art," written in 1945 and revised in 1995, Leepa said every
shade, color, line and shape should evoke a feeling in a painting.

The museum will present a tribute exhibit, "Allen, Leepa: In
Memoriam," Aug. 2 - 30.
--

Mark Schantz can be reached at 727-815-1075 or mschantz@suncoastnews.com.

--------

Allen Leepa, artist and benefactor, dead at 90

http://suncoastpinellas.tbo.com/content/2009/jun/29/allen-leepa-artist-and-benefactor-dead-90/

June 29, 2009

Allen Leepa, an abstract expressionist artist, author and college
professor, died Friday. He was 90.

Leepa, who called Tarpon Springs his home after retiring as a
Michigan State University art professor, was a champion for the arts.
In 1997, he and his wife, Isabelle, donated an expansive art
collection to St. Petersburg College.

The collection, valued at more than $20 million, includes thousands
of Leepa's works, along with those of his mother, Esther Gentle
Rattner, and stepfather, Abraham Rattner, as well as works by
Picasso, Chagall and others, college administrators say.

The Leepas also donated $2.5 million to the college for the
58,000-square-foot Leepa-Rattner Museum of Art complex, which opened
in 2002 on the Tarpon Springs campus.

Isabelle Leepa died in 2006 at age 78.

In a statement today, college President Carl M. Kuttler Jr. said the
"gift of such magnificent works by Allen and Isabelle Leepa has
become one of St. Petersburg College's most valuable assets. It also
has added greatly to the cultural value of West Central Florida."

Leepa was born in Brooklyn, N.Y., and spent his early years in
California before returning to New York for high school.

He trained at The Art Students League in New York City and the New
Bauhaus school of design in Chicago, and received undergraduate and
graduate degrees from Columbia University.

Leepa exhibited his works around the United States and abroad. He
published two books, including "Rattner," a biography of his stepfather.

The museum will present the exhibition "Allen Leepa: In Memoriam,"
opening Aug. 2 with a tribute to Leepa's life at 3 p.m. The
exhibition runs through Aug. 30.

Funeral services are pending. In lieu of flowers, donations can be
sent to the Allen Leepa Memorial Fund at the museum.

.

Keep Your Eyes On the Prize: Protest US Aggression

Keep Your Eyes On the Prize:
Protest US Aggression

http://dissidentvoice.org/2009/07/keep-your-eyes-on-the-prize-protest-us-aggression/

by Ron Jacobs
July 13th, 2009

Should the US antiwar movement be attending rallies sponsored by the
National Endowment for Democracy (NED) claiming to support the
opposition movement in Iran? According to the group Stop War on Iran,
this is exactly what United for Peace and Justice (UFPJ) and other
antiwar groups are doing. If so, are they really supporting the
leftist and progressive elements of that opposition or are they
naively providing cover for those in the United States power elites
who would love to see a regime friendly to Washington ruling in
Tehran? Recently, UFPJ urged its members to attend rallies called by
a group that goes by the name of United for Iran on July 25, 2009.
While I believe the intentions of the antiwar organizations calling
on folks to join these protests come from a genuine desire to see an
end to the Tehran government's repression, the fact that some of the
Iranian dissident groups in Iran and in exile take their money and
guidance from the NED and other US-propaganda operations compromises
the antiwar groups' position.

An even closer connection to the NED funds is that of the apparent US
organizer of the United for Iran rallies, Hadi Ghaemi. Mr. Ghaemi is
is the director of the International Campaign for Human Rights in
Iran. This group is a project of the Dutch Foundation for Human
Security in the Middle East. More important as regards his NED
connection is Ghaemi's role as a former board member of the National
Iranian American Council, which has received over a quarter million
dollars in NED grants. While this is not an indictment of the desire
for greater freedoms in Iran expressed by Ghaemi and his
organization, one would think these connections would give pause to a
US antiwar group whose leadership knows only too well the role groups
funded by the NED and other US special funds played in the period
leading up to the 2003 invasion of Iraq.

The last time I wrote a piece regarding the NED, some readers wrote
me asking what was wrong with this organization. To answer them, I
quoted former CIA agent Philip Agee, who certainly knew a good deal
about the true nature of Washington's concern for democracy in
nations it considers enemies. "In November 1983," said Agee.
"Congress created the National Endowment for Democracy and gave it an
initial $18.8 million for building civil society abroad during the
fiscal year ending September 30, 1984…Whereas the CIA had previously
funneled money through a complex network of `conduits,' the NED would
now become a `mega-conduit' for getting U.S. government money to the
same array of non-governmental organizations that the CIA had been
funding secretly…. There is really nothing private about it, and all
its money comes from the Congress. " NED and similar organizations
are not interested in democracy as much as they are interested in
maintaining and expanding US imperialism.

In addition to the NED funds are $20 million in USAID funds provided
under George Bush to fund Iranian dissidents that meet Washington's
criteria. Despite the belief by many US citizens that USAID is a
government organization designed to help locals in other countries,
it has served as a front for CIA activities from Laos to Venezuela
and is part of the effort to rebuild Fallujah into a
tightly-controlled hamlet after the US military destroyed the Iraqi
city in 2004. Now, United for Iran may be free of any NED or CIA
taint. There may be no connection between any of its members and the
Congressionally-approved funds that Mr. Obama talked about a few
weeks ago. However, given the long term desire of the US government
to destroy the Iranian revolution and insure the installment of a
regime friendly to Washington back in Tehran should be more than
enough to give US antiwar groups pause.

The recent protests in Iran were a hopeful sign. Indeed, many groups
across the political spectrum considered them to be monumental in
their impact. While their actual impact is yet to be determined, the
fact that the original protests seemed to have been mostly
spontaneous and without the taint of foreign meddling proved that the
Iranian people continue to believe in their political power. As most
readers know, later protests were blocked and attacked by the police
and other groups. However, if one reads some commentators, they might
come away assuming that this repression was unusual and specific to
the theocrats in Iran. Such an assumption is naturally untrue. In
fact, while I watched the coverage on CNN and the internet, I was
reminded me of the police response to the protests in Seattle in 1999
against the WTO. Pictures from those protests certainly rivaled those
coming out of Iran in terms of police violence. For a more recent
example, one need only look at the total repression of the antiwar
protests in Minneapolis during the Republican Party convention in
2008. Participants in those protests came back telling stories of
police beatings of protesters, preventive detention, and a police
presence so intimidating that many protesters decided to stay home.
The only thing missing were the shootings.

It is appropriate that the US antiwar movement should be concerned
about the repression of protests in Iran. However, the bottom line is
that the antiwar movement in the United States should be focusing on
demanding that the government in Washington end the wars it is
currently waging. Equally important is opposing threats of war
against Iran from Washington and Tel Aviv. By helping to organize
protests against the repressive actions of the Iranian government
instead of focusing on ending the wars of Washington, UFPJ and other
antiwar supporters of the United for Iran rallies are not only
minimizing the aggression of Washington, they are tacitly providing
cover for that aggression.
--

Ron Jacobs is the author of The Way The Wind Blew: A History of the
Weather Underground. His most recent novel Short Order Frame Up is
published by Mainstay Press. He can be reached at: rjacobs3625@charter.net.

.

The calm after a wild ride

The calm after a wild ride

http://www.thetimes.co.za/Careers/Article.aspx?id=1031664

Published:Jul 11, 2009

Surfing has come full circle for one of the sport's professional
pioneers, SA's legendary Shaun Tomson

It was called chasing the dragon. China white, diacetylmorphine ­
pure Afghanistan heroin ­ is carefully laid up into a little pile on
a piece of silver foil and then lit from underneath, converting the
powder to a gaseous state. The smoke is inhaled through a thin straw,
which immediately induces a sense of euphoria, wellbeing and a
straight shot on the highway to hell of addiction.

It was November 1974 and I had just arrived in Hawaii, surfing's
equivalent of Olympus, Valhalla and Mount Everest, all melded
together into a 15km stretch of the most hellacious waves on earth. I
was 10 months out of the South African Defence Force, my first year
BCom. exams at the then University of Natal behind me, and three
months in Hawaii ahead of me. I was 19 years old, 20000km away from
my home town of Durban, back in an era when the world was a vast,
unknown place. I had received an invitation to surf in one of
Hawaii's prestigious pro surfing contests and I had come in search of
fame but not fortune, since, back then, there was none to be had from surfing.

I'd rented a downstairs studio from a local family, using the money I
had won in the Gunston 500, South Africa's largest professional
surfing contest, which my father had started in 1969. I had ventured
upstairs into the main house into my host family son's room. He was
the same age as me, and an excellent surfer, one of the best at the
Pipeline, the most dangerous wave on the island, but, as I was to
learn, the waves weren't the only danger.

"Hey Shaun, try this. All the top guys at Pipeline are doing it."

"What is it?" I asked.

"It's China white, man."

I declined the offer of the drugs, left the room and shortly
thereafter left the house. Three months later the young surfer was
dead from a drug overdose.

That was the reality of surfing back in 1974. Top surfers were doing
drugs and dealing drugs, too. It was ingrained into the surfing
culture, embedded into the surfing lifestyle of freedom and escape.
Since the late '60s, surfers had been at the forefront of a cultural
revolution as the youth of the world turned their backs on
established culture and values. It was a new world and surfers were
at the cutting edge of experimentation with mind-altering
psychedelics and the North Shore was the epicentre. Free love, cheap
dope and the waves were free too.

But a group of us from the southern hemisphere, Aussies and South
Africans, saw it differently. Sure, we loved the lifestyle of surfing
but we also loved the sporting aspect and most of us abhorred drugs.
Growing up in the southern hemisphere, going to school in
post-colonial Africa , the cultural revolution of the late '60s
somewhat bypassed us. We had been born into team sports, rugby in
winter, cricket in summer. Do your best and play to win. We saw
surfing differently and competed differently too ­ surfing wasn't
only an artistic expression, a spiritual communion with the ocean; to
us it was also a sport ­ a place where we could compete with honour
and compete to the death if we had to. And death was always there,
awaiting its chance ­ the waves had the power and ferocity to kill
and maim and often did. And then there were a few angry Hawaiian
locals too, who once we became successful chose us as targets ­ it
didn't help that some of the Aussies started boasting about their
success, not in a mean-spirited or disrespectful way but just to
promote the sport, just like Muhammad Ali did with boxing ­ and he
was a great influence on all of us.

Bad feelings had a way of growing out of control and they did, and
after being punched out twice, swiped by a bottle and told to leave
the island or die, I had to take a drive out to the other side of the
island to the small military town near the famed Schofield Barracks,
home of Tropic Lightning, and pick up a Remington 12 gauge pump
action shotgun and load in 10 shells because I was in serious fear of
my life. Eventually peace was declared between us and the locals, but
cultural clashes were a part of growing up into men in Hawaii and,
when I look back now our lives would have been different if we had
run and hidden; and surfing would have been too.

Out of our vision and belief in ourselves as sportsmen, pro surfing
was born. We were convinced that we were as good or better than
anyone on the planet, in terms of sheer sporting prowess and courage.
We were proud of our sport and we made sure that the media knew we
were as good as any other athlete and from this came the confidence
of sponsors to support a professional tour, because they knew they
had a crew of legitimate professionals who would put their lives on
the line for a dream, a dream that we all believed, a dream of
actually being paid to go surfing. In short order it all happened
quite quickly ­ a professional tour was formed, we won everything
there was to win, and promoted the hell out of our sport and ourselves.

There was still very little money on the tour. As the No 1 surfer in
the world in 1977, O'Neill, the world's largest wetsuit company, paid
me the princely sum of 350 a month. My cousin, Mike, and I could see
the writing on the wall and we saw an opportunity ­ he launched
Gotcha and I launched Instinct, both surfing brands that grew into
multimillion-dollar businesses with distribution throughout the
world, and together we sponsored multiple world champions. As our
companies grew, so did surfing and eventually other brands like
Billabong, Quiksilver, Volcom, O'Neill and Ripcurl came to dominate
the market that us young guys kick-started. It was cool to be a
surfer and kids all over the world embraced the surfing dream and
idolised its pro athletes.

Today, surfing is big business with the worldwide market for surfing
products estimated at about 16-billion. The three largest companies
are all publicly traded with the market leader, Quiksilver, grossing
2.4-billion annually and employing thousands of people from
Huntington Beach, California, to Hossegor, France.

The Association of Surfing Professionals' world tour is worth
9-million and young surfers like South African superstar Jordy Smith
are making in excess of 1-million a year. Nine-time world champ Kelly
Slater is a darling of Hollywood, having dated superstar models and
been seen with film stars like Pamela Anderson and Cameron Diaz.

Surfing is used to sell products across the market spectrum ­ cars,
cosmetics, credit cards and clothing. Capitalism and consumerism have
crashed into the coast.

Surfing is still a big part of my life and I continue to make a
living from doing what I love ­ books, films, TV shows, clothing and
public speaking ­ all my income is still derived from surfing, but
the sports side of surfing disappeared with my retirement from the
pro tour in 1989.

I consider myself exceptionally lucky to have chosen surfing, because
even at 53, the best part of my surfing is still intact.

I've come full circle and it is a lifestyle now. Surfing represents
freedom, solitude and escape, a respite from the chaos and confusion
of the world, a time when I can paddle out with the open horizon
ahead and think only of the next wave coming down the line. Nothing
else, just me and the wave, sliding along on an invisible band of
energy that I know will take me to another place, to where I need to be.

<snip>

.

Lashings of the Old Ultra-Violence

Lashings of the Old Ultra-Violence

http://www.brooklynrail.org/2009/07/film/lashings-of-the-old-ultra-violence

by David N. Meyer
July-August 2009

The Baader Meinhof Complex, Dir: Uli Edel; Surveillance, Dir: Jennifer Lynch

The Baader Meinhof gang­as the press called them - did not play
around. In the early 1970s, the Red Army Faction­the name they
preferred­set off bombs in US Army barracks, German newspaper offices
and various police headquarters. They trained in Palestinian guerilla
camps, robbed German banks, gunned down district attorneys and
kidnapped police chiefs.

The RAF did not lack for hubris or competence as they helped to
invent modern day terrorism. According to this dramatization of the
eponymous non-fiction book, they could bomb, shoot, kidnap and
speechify. But they sucked at avoiding arrest. And so the second
half of their grand political drama played out in German prisons and
courtrooms. Led by whining complainer journalist/social theorist
Ulrike Meinhof (while on the lam she would not stay anywhere without
central heating and kept telling the Palestinians what uncomfortable
shitholes their desert training camps were) and charismatic sociopath
Andreas Baader, the RAF made a mockery of the German justice system
­an easy target, granted. While imprisoned, they gained increasing
control over their day to day lives to the point that their
colleagues smuggled in pistols and ammunition. Meinhof hung herself
after four years in jail, much of it spent in solitary and the rest
in the forced company of Baader's main squeeze, Gudrun Ensslin.
Apparently Gudrun­something of a sociopath her own self­made
Meinhof's life inside an utter hell.

After members of the RAF had been incarcerated for five years,
Palestinian-trained terrorists hijacked a German commercial flight
with the specific purpose of ransoming out the RAFers and terrorists
held in other countries. When the hijacking failed, and the hijackers
were shot down on a runway in Mogadishu, the RAFers died in their
cells. The film suggests the two with guns shot themselves and the
others followed Meinhof's example….shortly after, a kidnapped German
industrialist was murdered by the new cells of the RAF in revenge.

It's quite a saga, and director Uli Edel captures all aspects of the
gang: their charisma, the romance of their struggle, their sex appeal
(apparently the women robbed banks with Uzis and leapt over teller
counters in mini-skirts, peasant crop-tops and lace-up knee-high
white boots). Not to mention their at one time good intentions, the
repressive German police apparatus which they so despised and the
state-sponsored violence against protestors. With equal emphasis,
Edel depicts the horrific bloody consequences of the RAF's actions
and the internal blood-letting without which no revolutionary cell
would be complete. Gudrun held Meinhof in such contempt that while
they were training at a desert camp, Gudrun gave Al Fatah the secret
code word that Meinhof's fugitive children and nanny would assume
came only from Meinhof. Al Fatah made it clear to Gudrun (who spoke
English, which Meinhof did not), that if they picked up the kids (who
were safe somewhere in Europe at the time), they would be whisked
into Palestinian camps and never seen again. Without consulting
Meinhof, Gudrun gave the go-ahead.

Edel walks the narrowest of tightropes and never falters. He shows
the broader political actions that triggered the gang's rage and the
internal logic of their arguments, yet never once fails to also show
the dismembered bodies of their victims… Or the profound sexual kicks
the gang got from its violence. Edel takes no moral or political
position. He's a historian. I've never seen so brave a film, a film
so willing and even more surprising, able, to embrace such a
narrative with the complexity it warrants.

He takes a while to do it, too. Complex is over two hours long, and
every sequence seems necessary. The opening is a bravura urban
spectacle. Iranian pro-Shah apparatchiks assault anti-Shah protestors
on the streets of Berlin, and, with the cops' passive approval, beat
the living shit of out of them. In a moment evoking Potemkin's Odessa
Steps, the German mounted police charge down the cobbled streets into
Edel's deliriously tracking camera, smashing the heads of fleeing
students. A right-wing goon squad executes a student in the plain
view of the cops. They do nothing. This is presented as the seminal
radicalizing event for the RAF. The brutal thrills of this sequence
evoke Edel's model: Costa-Gavras' Z and State of Siege, two of the
most visually dynamic political histories (and political thrillers) ever made.

Once the leaders get thrown into jail, the pace slows. The RAF argues
with each other in their cells and the judge in court. Baader had
better instincts for political theatre than politics, and he turned
the courtroom into his stage. Newbie cells sprang up around Germany,
and their younger more hardassed members easily equaled the RAF
founders for viciousness. Baader plaintively tells one cop: "These
new groups operating in our name are so much more violent than we ever were."

Jennifer Lynch, the writer/director of Surveillance, takes a much
more American view of sociopathic violence; her protagonists kill and
maim because, in a modern America of alienation, crippling boredom
and dysfunctional relationships, it gets them off when nothing else
will. This forms a rather old-fashioned view of the cathartic killing
off of squares by a hip elite. It springs from the heyday of arty low
budget violent exploitation, the American International Pictures (and
their imitators) of the early and mid 1970s.

Bill Pullman appears to have aged poorly. He looks like a drunk Irish
cop. Julia Ormond was once briefly the next big thing and here
reclaims her career by turning an exploitation caricature into an
icon of sophisticated sex appeal and depth. Lynch's last film­ten
years back­was the abomination Boxing Helena, which showcased her
dad's disdain for narrative and her own inability to convincingly
create atmosphere. Here, there actually is a plot. Serial killers
terrorize the countryside; Bill and Julia play the FBI agents brought
in to bring them down.

They arrive in psychotic American nowheresville, where the local cops
shoot out the tires of passing tourists, then sexually humiliate and
rob them. Again, just for kicks and pocket change ­ harmless fun. The
traffic stop scenes prove as harrowing as the explicit serial killer
violence and get as close to a theme as Lynch embraces: America makes
people crazy. And what do crazy people like the best? They like to
make other people crazy.

The traffic stop cops, who see themselves as morally superior to the
serial killers, are presented as only the first falling domino in the
collapse of society. They and the serial kiiller are not ying and
yang, but only points on a continuum. How old-school hipster is that?

The tiny cast are unknown but recognizable character and stage
actors. They relish their hinky roles and only occasionally y drift
into self-parody. The dialogue offers plenty of Lynchian quirk and
some really unsettling subconscious character reveals. Lynch toys
with the idea that the killers are the sanest folks in town, if only
because they are the least in denial. But she chucks that notion
overboard for an orgasmic bloodletting finale both truly disturbing
and creepily hot. Very AIP.

This would be a smart genre picture if this genre still existed. Now
it's an anomaly: a self-conscious, amusing, far from perfect but
still compelling journey into unease, madness and blood. And all, it
turns out, in the service of letting true love thrive.

.

Abbie Hoffman Was Right

Let's Focus On Government "By The People" Part Of Things

http://washingtonparkprofile.com/index.php?option=com_content&task=view&id=574&Itemid=107

By Paul Kashmann
[July 2009]

"We are here to make a better world.

"No amount of rationalization or blaming can preempt the moment of
choice each of us brings to our situation here on this planet. The
lesson of the '60s is that people who cared enough to do right could
change history."We didn't end racism, but we ended legal segregation.
We ended the idea that you could send half-a-million soldiers around
the world to fight a war that people do not support. We ended the
idea that women are second-class citizens.

"We made the environment an issue that couldn't be avoided. The big
battles that we won cannot be reversed. We were young,
self-righteous, reckless, hypocritical, brave, silly, headstrong and
scared half to death.

"And we were right." --Abbie Hoffman
--

Well, we're still working on that half-a-million soldiers thing, but
we'll deal with that some time when we rail on about the pros and
cons of a volunteer army. Past that, I think Abbie didn't miss the
mark by much.

The former founder of the Youth International Party (Yippies) was
made famous as a member of the Chicago Seven, a group of radical
"lefties" who stood trial for alleged crimes committed during the
demonstrations held in the Windy City during the 1968 Democratic
National Convention. His urging: "Don't trust anyone over 30," was a
rallying cry for many of his contemporaries.

I saw Abbie in person only once, some 27 years ago, at University of
Denver. He was then about 45 years of age. He came out on stage in a
rumpled gray suit, white shirt, no tie. He looked a bit under the
weather, and launched into his assessment of the politics of the time
by growling, "I know what I said in the '60s, and I don't trust
anyone under 40." He followed with a scathing diatribe condemning the
students present ­ and their peers ­ for what he saw as a failure to
step up and take their place in the political give and take of the
times. A failure to honor that "moment of choice each of us brings to
our situation here on this planet."

There is absolutely no doubt in my mind that Mr. Hoffman ­ regardless
of what you might think of his more outlandish political theories ­
was spot-on in his assessment that inherent in the gift of life on
Planet Earth is a responsibility of each individual to participate
actively in the goings-on of their community.

And, in return, in any town, city, county, country or kingdom that
claims a representative form of government, it is incumbent upon the
leadership to open the doors wide to the participation of those they
have been elected to represent. The participation of the citizenry
should not be allowed begrudgingly, but welcomed wholeheartedly.

I was asked recently my assessment of how John Hickenlooper is doing
as Mayor of Denver. It's my view that if you look at how the city is
functioning as a whole, I'm thinking I would honor Hizzoner with an
A-/B+. He's doing a good job in difficult times. If, however, you
evaluate how residents feel about this administration's attitude
toward the value of citizen involvement, I'm thinking it could be
bottom-feeding around a C-/D.

My evidence is largely anecdotal, to be sure, based on comments of
individuals in the neighborhood movements who express the feeling
that the current administration seems to be very confident in the
team of professionals it has assembled. While appreciating the
comments of concerned individuals who write in, the pervasive feeling
communicated to the public is, "We've got things under control."

I do believe that Mayor Hick has a great many things about as under
control as can be expected in such a time of fiscal uncertainty, but
I believe the realm of citizen empowerment has slipped through his
fingers. I don't know that it's a matter of good vs. evil, I just
think our Mayor's management style is focused in other directions.

The Office of Community Planning and Development is currently in the
midst of an ongoing flurry of public forums designed to inform
residents of the gargantuan rewrite of Denver's Zoning Code. As The
Profile went to press, 3,122 people had attended the first two rounds
of meetings, and another 9,031 had visited www.newcodedenver.org to
research info on their own.

While the second series of meetings is presenting important details
about the code and related zoning maps, the first round was hailed by
many as time poorly spent, filled with gross generalities about the
theories being used in the rewrite, and no tangible substance to
discuss, with insufficient time for questions on details presented.

The final series of get-togethers to be held in August will return to
each City Council district with the next iteration of the Zoning Code
draft that will, ostensibly, incorporate changes based on the
feedback being collected from the current dialogue.

We've received a few complaints recently from residents unhappy with
the relationship of Denver's Dept. of Parks and Recreation and those
interested in its activities. Recent meetings of the Parks & Rec.
Advisory Board were marred by lack of time for public comment, and in
one case, a last minute shifting of location that left citizens
wanting to attend wondering "which way they went."

We're told by Parks spokesperson Jill McGranahan that, "Because of
concerns raised by (former City Councilwoman) Donahue and other
members of the public, a public comment session has been added to the
(Advisory Board) monthly meeting. Unfortunately, the change in venue
for the June meeting was very last-minute, and human error caused the
meeting to not be posted in time. We work very hard to keep our
department transparent and accessible."

Regarding resident concerns that there is a growing rift between
Parks & Rec. and those everyday Joes and Janes who would oversee its
activities, McGranahan reiterated, "It (changing the location of the
June meeting) was an honest mistake. No evil intent behind it. Just
human error."

While our friends on the conservative side of the aisle had good fun
making light of President Obama's early background as a community
organizer, we hope Mr. Hickenlooper thinks more highly of such
effort. There's got to be a slew of outstanding ideas lurking out
there in a population nearing 600,000. We urge him to sharpen his
focus and redouble his efforts to pull the best from the population
at large in the same way he has attempted to pull the best from the
professional ranks.

There's still time for him to ace that class, too.

.

Tuesday, July 21, 2009

Tales of the Brotherhood of Eternal Love

Mike Hynson, Co-Star of 'The Endless Summer,' Resurfaces With Tales
of the Brotherhood

http://www.ocweekly.com/2009-07-09/news/mike-hynson-the-endless-summer-the-brotherhood


By NICK SCHOU
Published on July 08, 2009

The Surfer Who Came In From the Cold

Whatever happened to The Endless Summer co-star Mike Hynson? A lot,
much of it bad, starting when he got mixed up with the notorious
Laguna Beach drug-smuggling ring known as the Brotherhood of Eternal Love
--

It's 2 a.m. in New Delhi, halfway through a hot night in August 1967,
and Mike Hynson is still awake and sweating in his hotel room. The
pressure is on­it's a feeling of impending doom that Hynson, a
fearless surfer whose quest for the perfect wave had been captured in
the 1966 cult classic The Endless Summer, has never encountered
before, certainly never while simply working on a surfboard. But this
is no normal surfboard-repair job.

Using a spoon he borrowed from the hotel restaurant, Hynson has
carved a giant chunk of foam out of the bottom of one of the boards
he'd delivered to India a few weeks earlier. He's filled the hole
with a watertight bag of hashish oil that he and a friend from Laguna
Beach obtained in Kathmandu. He seals the compartment shut with
carefully concealed tape and resin. But time is conspiring against
Hynson. He still has two more boards to go before dawn, when he has
to catch a return flight to California. The trio of hash-laden boards
he's busy preparing are supposed to arrive on a cargo flight a few
days after him.

His brown wig and fake mustache­which he wore for the photograph that
adorns his phony passport­await his attention. He must not forget to
wear them to the airport. As Hynson hunches over his hollowed-out
board, a thought keeps parading through his brain, over and over like
a mantra, until he feels as if every nerve in his body is about to snap.

"Uh-oh," says the voice in Hynson's ?head. "I'm really doing this.
This is really fucking real."
* * *

Stepping inside Hynson's garage at his house in Encinitas is like
entering a strange world where Southern California surfing history,
1960s counterculture and Hynson's renegade sense of humor all compete
for surface space. There's the red pirate flag hanging over the door
with the words "Prepare to be Boarded" splashed above a skull and
crossbones. Faded portraits of Hindu swamis hang above a tray of
expired incense, next to a blown-up photograph of a 24-year-old
Hynson with a bunch of his friends­Robert August, Bruce Brown, Hobie
Alter, Corky Carroll and Phil Edwards­posing in front of a Winnebago
at San Onofre State Beach with a trio of then-wives and -girlfriends.

The photo captures Hynson on the cusp of greatness, about to embark
on a nationwide tour to promote the film he'd just starred in, Bruce
Brown's The Endless Summer. On an opposite wall is a black-and-white
Warner Brothers production still from the acid-drenched 1972 Jimi
Hendrix "concert" film Rainbow Bridge, in which Hynson surfs waves in
Maui and cracks open a surfboard to reveal a bag of smuggled hashish.
Other photos of Hynson surfing in the early 1970s adorn the walls:
molten energy captured in freeze frame, gold locks flowing in the
wind, a pair of intensely focused eyes, arms spread out in a
yoga-style stretch.

What's missing from this Technicolor trip down memory lane are the
past 20 or so years of his life. It's a stretch of time Hynson
doesn't talk about much, partly because he's not proud of it, but
mostly because he doesn't remember it well, even less so than the
heady days of the late-1960s, when he was dropping acid nearly every
day with his friends in the Laguna Beach-based band of smugglers
known as the Brotherhood of Eternal Love (see "Lords of Acid," July
8, 2005). Those were strange times indeed, but a lot of fun compared
to what came next. In the early 1980s, life went downhill for Hynson
when John Gale, one of the Brotherhood's best surfers and Laguna
Beach's most legendary outlaws, died in a mysterious car crash, thus
ruining Hynson emotionally and financially.

Gale was Hynson's business partner in Rainbow Surfboards, which the
two founded in Laguna Beach in 1969, as well as his best friend.
Hynson's drug-addled, rebellious lifestyle had already led to a
divorce from wife Melinda Merryweather, a Ford Agency model, actress
and art designer, but Gale's death seemed to push him over the edge
from reckless to beyond help. He descended into a depression and drug
addiction that lasted decades, ruining his surfing career and
alienating him from everyone but his closest friends until only a few
years ago.

Now 67, Hynson is muscular and trim from long days spent shaping
boards for mostly Japanese customers. He still has a full head of
hair, which is pulled back over his scalp into a short Native
American-style braid. He's wearing a black T-shirt adorned with a red
Chinese dragon, dusty black jeans and rugged work boots. His face is
full of color and breaks easily into a self-deprecating grin. Gone
are the gaunt physique and haggard expression on display in
photographs taken of him just a decade ago, when People profiled him
in an embarrassing article titled "The Endless Bummer." (The story
noted that just a few weeks before Endless Summer 2 was released,
Hynson was serving jail time for drug possession.)

It was during one of Hynson's numerous jail stints, at some point in
the 1980s­he's not sure what year or why he was in jail­that somebody
suggested he use his free time to write, a suggestion that, two
decades later, led to Transcendental Memories of a Surf Rebel, an
autobiography Hynson co-wrote with Donna Klaasen that was released
this month by the Dana Point-based Endless Dreams Publishing. Among
other things, the book divulges that Hynson, who has never spoken
publicly about the Brotherhood, wasn't just pals with them, but
actually instructed them in the art of using surfboards to smuggle drugs.

"The last time I'd been in jail, I'd started reading for the first
time in my life," Hynson recalls of his autobiographical efforts.
"And on this stretch, I just got obsessed with writing." By the
mid-1990s, Hynson had cranked out hundreds of pages of handwritten
memoirs, all of it scrawled in pencil on jailhouse paper, which he
eventually shared with a few friends at the surf shop down the street
from where he now lives, a half-mile from the beach in Encinitas. "A
couple of people looked at it and said, 'Michael, I know you can
understand this, but I look at it and I can't understand a word,'" he says.

Hynson remembers glancing down at the first draft of his
autobiography. For the first time, he realized that, after the first
few pages, his magnum opus consisted of nothing but incomprehensible
chicken-scratch scrawl, less a series of words and punctuation marks
than a never-ending pattern of zigzag lines, like heart-monitor
readings. "It was just so dysfunctional," he says, chuckling.
* * *

Unlike the blurry events of the past few decades, the highlights of
Hynson's early life are still very vivid in his mind. Michael Lear
Hynson was born in the Northern California coastal town of Crescent
City in 1942, a Navy brat whose father survived kamikaze attacks as a
radioman in World War II. Mike grew up in San Diego and Hawaii, never
staying in one place long enough to make friends. His thrill-seeking
lifestyle began while living with his mother at a trailer park when
he was just 2 years old.

One morning, he crawled out the door while his mother wasn't looking
and discovered that the trailer next door had moved. He grabbed a
250-volt electrical plug that was lying on the ground and stuck it in
his mouth. According to Hynson, the shock split his tongue and made
it hard for him to learn how to speak. "I developed my own unique way
of talking, and sometimes, I mumble and stumble," he says. "Then,
when I was 5, I was climbing these stairs at Imperial Beach, and this
friend of mine had a hammer in his hand. My mother said something
behind us, and he turned, and the claw of the hammer went right into
the temple of my head."

The next thing Hynson knew, he was being flown by helicopter to San
Diego's nearby naval base. He remembers floating above himself,
looking down at his body surrounded by doctors, all of whom left the
room. "I remember being really comfortable and just tripping, you
know," he says, "and then my mother turned around to leave the room,
and I screamed into my body, 'Where are you going?' And my mother
goes, 'He's alive!' and the doctors came back in, and they got me
back." Hynson says he likes to joke that the hammer incident explains
why he often seems to lose his train of thought nowadays. "Everybody
who knows me knows that I go off on tangents," he says. "But I'm just
making an excuse for myself."

Hynson spent most of his elementary-school years in Honolulu, where,
he says, he never picked up a surfboard. It wasn't until he was in
junior-high school in San Diego that he took up surfing with some
older kids who surfed at Pacific Beach, called themselves the Sultans
and wore matching purple-nylon jackets. After watching the older kids
a few times, he borrowed a board. Hynson recalls standing up on his
first wave, not realizing how fast he was moving until he looked at
the nearby pier and saw wooden posts rushing by in a blur. "I'll
never forget it," he says. "It was so far out. I couldn't sleep, and
I just got into it, borrowing boards and stealing them and everything."

Stealing surfboards is how Hynson met the man who would give him his
first big break in the world of surfboard shaping, Hobie Alter, an
early surf pioneer and inventor of the Hobie Cat, which is now the
world's top-selling small catamaran. "I first met Mike when he stole
some of my boards," Alter says. "The cops wanted to press charges,
but Linda Benson, one of the finest surfer gals, called me and said
Mike wasn't that bad." Alter agreed to drop the charges if Hynson
would return the boards and later gave him a job as a shaper.

Hynson's first board was an 11-foot plank of balsa wood that he
spotted while collecting weeds in the front yard of a house in
Mission Beach. The board's owner told him he could have the board if
he wanted it, so Hynson and a friend lugged it to the friend's
garage, where Hynson began whittling away. "I had no idea what I was
doing, and his parents were getting angry because of all this dust
and resin and mess, but it turned out to be a 7-foot-11-inch board.
It was a hot little board, and everyone loved it who rode it."

Hynson suddenly found his board-shaping skills very much in demand.
He became a top shaper for Gordon and Smith Surfboards in San Diego,
where he designed and produced his trademark "RedFin" boards. He also
began hanging out with all the best surfers in Southern California,
including Corky Carroll, Phil Edwards, Nat Young and Robert August.
"As a surfer, Mike was very good," recalls Carroll, now TheOrange
County Register's surfing columnist. "He was not a guy that you had
to worry about beating you in a contest, but he knew how to ride a
wave. He also had a kind of charisma about him that seemed to attract
'followers,' so to speak."

One person who began following Hynson's surf career was Bruce Brown,
a film director who, by the early 1960s, was filming all the big surf
contests in Southern California and Hawaii. According to Hynson,
Brown was getting tired of the fact that all the surf movies being
made showed the same group of surfers on the same group of waves.
"There was no story to any of these movies," Hynson says. Brown came
up with the concept of taking two surfers­one blond and right-footed
(Hynson) and one dark-haired goofy-footer­August fit the part­and
following them around the world, from California to Europe and
Africa, in search of the perfect wave.

The details of their epic quest, which culminates with Hynson surfing
a beautiful right-breaking wave at Cape St. Francis in South Africa,
are familiar to anyone who has seen The Endless Summer, which remains
iconic more than 40 years later. The film not only exposed the sport
to a nationwide audience, helping export the industry beyond
California and Hawaii, but it also helped shift the sport itself from
a handful of well-known beaches to a constant quest for pristine
waves in exotic locales. Hynson recalls the trip as one of the most
fun adventures in his life, although part of the sense of adventure
was the fact that he smuggled an ounce of pot with him as he flew
around the world.

"I was young, stupid and loaded," Hynson says. "I smoked pot
everywhere. I had a roll of bennies, which I took with me also, so
when we had to drive somewhere, guess who stayed up all night?"

Before the movie was released theatrically in 1966, Hynson
accompanied Brown and August, as well as several other surf legends,
including Carroll, on a nationwide road trip to promote the film.
"We'd go into towns, and every time we'd stop for gas, Corky and I
would jump out and go skateboarding," Hynson says. "We really caused
a scene because skateboarding hadn't reached the inner part of the
States yet." As the trip wore on, the audiences were growing larger,
and before Hynson realized it, the movie had become a hit. (At latest
count, The Endless Summer has grossed $30 million.) Hynson claims
that Brown had promised him and August that if the movie did well,
everyone would share in the good fortune.

"It wasn't until I grabbed Robert and went to LA and talked to a
lawyer that I realized this guy was fucking me left and right,"
Hynson says. In fact, Hynson had only become suspicious after his
then-girlfriend Merryweather, whom he had just met at San Diego's
Windansea beach, asked him about his allowing Brown to use his
likeness on film. "He'd never signed a release," says Merryweather,
now a civic activist in La Jolla. Merryweather's father, Hubert, was
the president of Arizona's state senate; Barry Goldwater was her
godfather. "I told Mike my father knew a great lawyer up in
Hollywood, and let's go up and see him."

Hynson brought August with him to see the attorney, who insisted they
each deserved a third of the profit from The Endless Summer. Hynson
claims Brown refused to do that, instead offering each surfer $5,000,
a new car and help getting set up in business. While August accepted
the deal, Hynson says, he refused. (Neither Brown nor August
responded to written requests for comment for this story, but Alter
says Brown gave Hynson the gift of fame he still enjoys. "Nobody knew
who Mike was back then," he says. "Bruce took all the risk, and I've
never met anybody more forthright and honest.") The dispute ended
Hynson's friendships with Brown and, eventually, August. Enraged by
what he felt was Brown's betrayal, Hynson dropped out for a while,
leaving California with Merryweather to spend half a year surfing big
waves on Oahu's North Shore.
* * *

One of the surfers Hynson got to know in Hawaii was Chuck Mundell, a
high-school dropout from Huntington Beach. Mundell admired Hynson and
wanted him to meet a good friend of his named John Griggs, who was
living with a bunch of friends in a stone building in Orange County's
Modjeska Canyon. Griggs and his friends, most of whom were former
boozers, brawlers and heroin addicts from Anaheim, had begun
experimenting with a new drug that Griggs had stolen at gunpoint from
a Hollywood film producer: lysergic acid diethylamide (LSD). Until
October 1966, acid was legal in California, and Griggs and his group,
who called themselves the Brotherhood of Eternal Love, believed that
just as it had cured them of their addictions and violent behavior,
it could also transform American society into a glorious utopia. They
were heavily influenced by Harvard professor Timothy Leary, he of the
famous exhortation "Turn on, tune in, drop out"­and who would later
describe Griggs as the "holiest person who has ever lived in this country."

Before Griggs invited Leary to join his group, which in early 1967
moved south to Laguna Canyon, to a neighborhood Griggs would christen
"Dodge City" because of the constant skirmishes with the local forces
of law and order, Hynson was Griggs' most famous disciple. "Griggs
had gold flashing out of his eyes and tongue, these words; he was
just a magical little guy," Hynson says. Accompanied by Merryweather,
Hynson dropped his first acid with Griggs and several other
Brotherhood members at Black's Beach near La Jolla.

The experience brought him back to the hospital room where he'd
nearly died as a child. It took Hynson a few trips to get beyond that
near-death experience, but when that happened, he felt reborn with a
new sense of spiritual purpose. "Those guys turned me on," he says.
"Things were happening. I remember Johnny and I walking down
Haight-Ashbury [in San Francisco], and he got some acid from
somebody, and the whole street was loaded with people doing their own
hippie thing. It was really going on."

Griggs had a plan: open a psychedelic spiritual and cultural center
in Laguna Beach that would turn the town into a Southern California
version of Haight-Ashbury. To finance the construction of Mystic Arts
World, the store that would serve as that center, Griggs relied on
cash from the Brotherhood's burgeoning marijuana-smuggling operation.

"One day, I walked into this warehouse with Johnny and saw 50 tons of
pot," Hynson says. "I wasn't supposed to see it, but I was there. I
remember thinking, 'It's not going to get any better than this, and
it's not going to get any worse.'"

But Hynson had another idea for how Griggs could raise money: Why not
use surfboards to smuggle hash from the Middle East or India? After
all, nobody knew anything about surfing in India, so customs wouldn't
know if, for example, a surfboard weighed 20 or 30 pounds more than
it should. Hynson suggested the idea to Griggs' friend Dave Hall, who
promptly borrowed a board and set off for Nepal, returning a few
weeks later with the board­and the best hash anyone in Laguna Beach
had ever smoked.

On his next trip, Hall invited Hynson to come along, which is how
Hynson found himself struggling to fill three surfboards with hash
oil late one night in New Delhi. The trip was a success, and the cash
raised helped make Griggs' dream a reality. "I wasn't going to sell
it or anything," Hynson says. "I just gave it to those guys, and it
bankrolled Mystic Arts. It was an honor, you know."
* * *

During the next several years, the Brotherhood of Eternal Love
established itself as both America's top hashish-smuggling ring­with
up to a dozen hash-stuffed Volkswagen buses and Land Rovers being
shipped back from Afghanistan at any given moment­and the country's
top LSD-distribution ring. Leary moved to Laguna Beach and later
accompanied Griggs to a mountain commune in Idyllwild, where Griggs
died of an overdose of crystallized psilocybin in August 1969. Hynson
stayed away from Dodge City as much as possible because Leary and the
Brotherhood attracted too much heat.

He let his guard down once, however, when he and Merryweather sped
through Laguna Canyon smoking a joint. A cop pulled them over,
smelled the weed and arrested them both. At the station, the officer
rifled through Merryweather's belongings. "In my purse, I had a
little Buddha, a prayer book and beads, some patchouli oil and
incense, and a Murine bottle full of LSD," Merryweather recalls. "The
cop ingested it through his fingers and never got around to booking
us." In the morning, another officer arrived at the station,
slack-jawed at the sight of his colleague, who reeked of patchouli,
sitting with glazed eyes in front of a Buddha. "They let us the hell
out of there right away," Hynson says.

Not surprisingly, much of the late 1960s is a blur to Hynson. "It's a
fog," he says. "There are a few years when I know I was there, but I
don't know what happened." Although Griggs' untimely death saddened
Hynson, he'd already become best friends with a talented young surfer
who also happened to be Dodge City's biggest drug dealer, John Gale.
In 1969, the two opened their own company, Rainbow Surfboards. Theirs
were among the first truly shredding shortboards to hit the waves in
Southern California and Hawaii. "Mike was one of the surfboard
shapers in the 1960s who could make boards that worked," recalls
Carroll. "There were better craftsmen around, guys who could make
'perfect boards,' but Mike had the gift to make ones that just rode great.'"

Rainbow Surfboards got an unexpected publicity boost from Jimi
Hendrix and Chuck Wein, a member of Andy Warhol's so-called Factory
whom Merryweather had befriended while working as a model in New
York. In 1972, while Hynson and Merryweather were living in
Maui­where most of the Brotherhood had relocated after Laguna Beach
became too hot­Merryweather suggested to Wein that he direct a Jimi
Hendrix concert movie in Maui and even introduced him to Hendrix's
manager, Michael Jefferey.

"Chuck wanted to make a movie that was going to have surfing,
healers, vegetarians, New Age people, even a space woman,"
Merryweather says. "Jimi was going to play the music because he was
at the top of his game, and Michael was going to surf because he was
at the top of his game." The result, 1972's Rainbow Bridge, was
billed as a Hendrix concert film because the concert Hendrix played
in Maui provides the ending of the movie, much of which actually
features surfing by Hynson and his friends, goofy-foot hotshot Dave
Nuuhiwa and Leslie Potts. "Gale refused to be in the movie, because
he didn't want to have his face on camera," Hynson recalls.

The film's most notorious scene features Hynson and Potts ripping
open a Rainbow Surfboard to reveal a stash of hash, a stunt that
takes place under a Richard Nixon poster that reads, "Would You Buy a
Used Car From This Man?" When the film opened in Laguna Beach, Hynson
gave Gale all the tickets as a birthday present. Half of the audience
was rumored to be narcs. "The room smoked up so much you couldn't see
the stage," Hynson says. "We had all these Rainbow Surfboards up on
the stage, and when the movie showed the board being opened up, it
got the police crazy. They were constantly on our ass. Anybody who
had a Rainbow Surfboard got pulled over."
* * *

A few months after Rainbow Bridge came out, a multi-agency task force
arrested dozens of members of the Brotherhood of Eternal Love in
California, Oregon and Maui, including Gale, who spent the next
several months in prison. "He wasn't in for long," Hynson says. "He
was like a rabbit." But thanks in part to the Brotherhood's legendary
secrecy, the police never knew Hynson's role in the group. Once Gale
got out of prison, the two continued to sell surfboards and market
the Rainbow brand by opening a Rainbow Juice bar in La Jolla with
help from Merryweather. But the business folded after just a few
years. "We didn't shortchange anything," Merryweather says. "We got
an accounting firm and figured out we were paying people 25 cents to
eat the avocado sandwiches."

Meanwhile, Gale had become the biggest cocaine broker in California.
Hynson says he didn't know the full extent of Gale's business
dealings, but he does recall visiting his friend's house one time
when Gale suddenly remembered that a truck full of Colombian
marijuana was on its way from Florida. He also recalls that whenever
he rode in Gale's car, someone always seemed to be following them.
"Not for long, though," Hynson says. "Gale didn't stick around long
enough for anyone to chase him."

On June 2, 1982, Gale perished when the car he was driving, Hynson's
Mercedes, went off the road in Dana Point. Hynson remains convinced
someone­either the cops or rival criminals­was chasing his friend.
The tragedy ended Rainbow Surfboards (it's recently been reincarnated
under new ownership) and left Hynson financially strapped. "If you
ever had a business project and you're wondering whatever happened to
it, it's probably because the other guy is dead," Hynson jokes.

Gale's death devastated Hynson, says Merryweather. "I wasn't with him
at the time, but people told me they'd never seen Michael take
anything so bad. He just really went sideways."

Hynson spent the next two decades broke, strung out on coke and
crystal methamphetamine, bouncing between jail and sleeping in alleys
and garages in San Diego. "I got tripped up on my probation, you
see," he says, his voice trailing off as it often does when he
attempts to make sense out of what happened to his life. "You know,
it just snowballed. I hit rock-bottom, and then stayed there for a while."

Hynson isn't exactly sure how he finally managed to pull himself out
of the downward spiral, although he credits ex-wife Merryweather and
current girlfriend Carol Hannigan with being "angels" in his life.
"It's just been a gradual process of coming back to reality, and I
haven't stopped since," he says. "One day, I realized I had a
driver's license with my own address and a telephone number. I even
had a bank account. That's when I realized I was back in society again."

Thanks to the booming market for American-designed surfboards in
Japan, Hynson is doing brisk business there. "There's really no money
in surfboards," he says. "But thank God for the Japanese." Meanwhile,
Hynson hopes to sell the first 1,000 signed copies of his book for
$350 each, which would raise enough cash to print many thousands of
additional copies. Eventually, he wants to help publish art books by
local artists such as Lance Jost and Bill Ogden, whom he's known
since his Laguna Beach days. "The more books we sell, the more the
price goes down," he says. "I don't have any money right now, but I'm
taking every cent I have, and we are just going to snowball this
thing. If I can just get some juice, I'm going to have some fun."
--

Nick Schou's book Orange Sunshine: The Brotherhood of Eternal Love
and Its Quest to Spread Peace, Love, and Acid to the World, is
scheduled for release in March 2010 by Thomas Dunne Books/St. Martin's Press.

.

16 theoretically terrifying movie biker gangs

"We want to be free to ride our machines without being hassled by The Man!":
16 theoretically terrifying movie biker gangs

http://www.avclub.com/articles/we-want-to-be-free-to-ride-our-machines-without-be,30244/

By. Keith Phipps
July 13, 2009

1. The Black Rebels Motorcycle Club, The Wild One (1953)
The Stanley Kramer-produced The Wild One is today better remembered
for Marlon Brando's iconic performance as the leader of the rowdy
Black Rebels Motorcycle Club than any other element. And rightly so.
Brando's famous response to "What are you rebelling
against?"­"Whaddaya got?"­captures the free-floating wanderlust and
rebellion that helped inspire the post-war spike in biker gangs. But
the film surrounding it is pretty tedious, and Brando's gang seems
more rude than dangerous. What's more, Brando's great crime,
possessing a stolen trophy, won't exactly make anyone lose sleep. He
didn't even steal it himself, and at heart, he's just a misunderstood
kid looking to settle down.

2. The Wild Angels, The Wild Angels (1966)
The mid-'60s saw a spike in interest in biker gangs in general and
the Hell's Angels in particular, thanks in part to Hunter S.
Thompson's exposé Hell's Angels: The Strange And Terrible Saga Of The
Outlaw Motorcycle Gangs. In his first-hand account of life with the
San Francisco and Oakland chapters of the famed gang, Thompson uses
pinpoint precision to detail the biker lifestyle. The book captures
both the calculated outrage of adopting Nazi emblems and some truly
shocking bursts of crime and violence.

Never one to let a trend pass him by, Roger Corman decided to make
what would become ground zero for an explosion of biker movies.
Taking an effortless, New Wave-inspired approach­sure, Bonnie And
Clyde gets all the credit­Corman follows a few eventful days in the
life of a club led by Peter Fonda, playing a character named Heavenly
Blues. When his second-in-command, Loser (Bruce Dern), is injured,
The Wild Angels' antisocial tendencies come to the fore. When he
dies, they explode in a deeply memorable sequence in which a funeral
service turns into a drug-and-alcohol-fueled orgy that doesn't leave
out the corpse.

Up until that finale, Corman's film doesn't really make The Wild
Angels seem dangerous so much as nasty. The party scenes place a
greater emphasis on whooping, hollering, and surf-music rock than
real excess. But an undercurrent of sexual danger remains present at
all times. Left a biker widow, Dern's girlfriend (played by Dern's
real-life partner, Diane Ladd) becomes vulnerable and desperate to
avoid becoming a "mama," a woman who acts as common property for the
gang. Fonda has a long, angry, philosophical dialogue with a preacher
that makes his membership seem like a matter of principled
non-conformity. But the church desecration that follows feels
transgressive in the ugliest way possible, and the final scenes find
Fonda looking hollowed-out and lost. If there's some middle ground
between settling down and hanging out with a bunch of sleazeballs, he
can't find it.

3. The Hell's Angels (first fictional version), Hells Angels On Wheels (1967)
The Hell's Angels were the obvious inspiration behind most onscreen
biker gangs. Sometimes they even turned up in the movies themselves:
Real-life Angels played extras in The Wild Angels. In Hells Angels On
Wheels, the San Francisco and Oakland chapters, including leader
Sonny Barger, fill out the cast in a movie ostensibly about the
Hell's Angels, though the title didn't get the name exactly right.

Directed by Richard Rush, later of Stunt Man fame, Hells Angels On
Wheels ups the ante on biker outrage by capturing some of the
man-on-man tongue-kissing the Angels would bring out to shock the
squares. Jack Nicholson plays a peevish gas-station
attendant/motorcycle enthusiast who stands up to some bikers when
they break his headlight. Impressed, they let him hang around with
them, and he soon feels the benefits of having the Angels on his
side. Their leader (Barger look-alike Adam Roarke) doesn't seem to
mind that his girlfriend (Sabrina Scharf) wants to show Nicholson a
good time, even beyond the expected body-painting-and-bongo-rock
orgies. Also, they defend him from some bullying sailors. True, they
kill one of the sailors, then later run an old man off the road to
his death, just because he happened to be in the way. Which leaves
Nicholson to wonder whether he was better off at the gas station
after all. He becomes a variation on Fonda's existential Wild Angels
hero, a misfit in the square world, and dissatisfied with the
alternative. Still, the movie makes the Hell's Angels look like the
gang to hang with for anyone wanting to engage in chain fights in
empty swimming pools.

4. The Black Souls, The Glory Stompers (1968)
Jody McCrea­Joel McCrea's son, most famous as Deadhead in the Beach
Party movies­stars as a good kid who nonetheless likes running with a
gang called The Glory Stompers. And why not? It means the thrill of
the open road and the requisite outdoor biker parties featuring go-go
dancing, vaguely surf-like music, and lots of jiggly women in bras
and hot pants. But he's confronted with the dark side of biker life
pretty quickly after pissing off the Black Souls, a mean-tempered
gang led by a heavily bearded Dennis Hopper. They beat him up, leave
him for dead, and steal his woman with the intent to sell her into
slavery in Mexico, as bike gangs do. The Black Souls are a bad bunch,
but fortunately for McCrea's rescue efforts, they're plagued by
infighting and prone to be distracted by parties in which women ride
around topless, a sight the film captures from an extremely discreet distance.

5. The Born Losers, The Born Losers (1967)
Meaner and more rape-happy than the average movie biker gang, even
though one of their members looks like a stereotypical beatnik and
their hangout includes a big poster of James Dean, the Born Losers
announce their intention to offend everyone via the emblem on their
jackets: a naked woman hanging on a cross. They're dangerous at any
time, and even more so when hanging out in a coastal California town
that's a favorite for vacationing college students. After a rape
spree that leaves three women hospitalized, and one babbling like an
idiot, the Born Losers appear to have pushed their life of crime and
destruction too far. Fortunately for them, they're dealing with the
most incompetent police force this side of Jackie Gleason's anti-Bear
squad. Unfortunately, they're also dealing with a badass local named
Billy Jack (Tom Laughlin, who later revived the character for Billy
Jack and its sequels) who won't stand for their raping ways. After
one rape too many, he makes sure the gang will never ride, or rape, again.

6. The Devil's Advocates (non-werewolf chapter), Run, Angel, Run! (1969)
Even as movie bikers go, Angel (William Smith) is a total asshole. As
Run, Angel, Run! opens, he's sold out his buddies in the
not-so-frighteningly named The Devil's Advocates by selling their
secrets to Like magazine for $10,000. Stuck in jail, he calls on his
girlfriend (Valerie Starrett) to bail him out by turning some tricks.
When she shows up with more than the required $80, he asks, "What'd
you do? Form an assembly line?" Again: asshole. His old gang,
however, is filled with even bigger assholes who chase him up the
California coast, occasionally in split-screen (this being a movie
from 1969, after all). Eventually Smith starts to see the appeal of
the straight life, thanks to a biker-turned-farmer (Dan Kemp) who
takes him in. And how does Kemp get repaid for helping? The Devil's
Advocates turn up and rape his daughter. The moral of the story:
Never assist a Devil's Advocate. If he doesn't rape a loved one, one
of his former buddies will.

7. Man-Eaters, She-Devils On Wheels (1968)
Unlike most biker gangs, the all-female, L.A.-based Man-Eaters
seemingly formed a bike club primarily to compete. Or maybe that
should be secondarily. The club's members race each other weekly, in
events where the bikes seem to reach speeds in excess of 30 or 40
mph. (Director Herschell Gordon Lewis never really masters the racing
sequences.) Then, under the direction of a leader named Queen (Betty
Connell), they pair off with a group of male biker groupies for an
orgy, with the winner of the race getting first pick, and the loser
getting the dregs. It's kind of like a scuzzy variation on Mystery
Date. Unfortunately, a rival male gang has it out for them, and
murders their adorable, pint-sized mascot Honey Pot (Nancy Lee
Noble). But even though they sport a logo of a pussycat wearing a
bowtie, the Man-Eaters do not go down easily. Soon they're stringing
wires across the road to decapitate their enemies, a technique that
allows Lewis­better known for films like Two Thousand Maniacs! and
Blood Feast­to break out some of his patented gore.

8. The Satans, Satan's Sadists (1969)
This low-, low-budget movie from Al Adamson (the cheapie specialist
behind Psycho A Go-Go, and later, Doctor Dracula) features a truly
brutal gang led by Russ Tamblyn. Wearing granny glasses and a floppy
hat that makes him look more like Chuck Barris than Charles Manson,
Tamblyn and his gang of nogoodniks take over a desert diner and
commence raping and killing everyone in sight, when not delivering
speeches about middle-American hypocrisy. ("Even though I got a lot
of hate inside, I got friends who ain't got hate inside. They're
filled with nothin' but love. Their only crime is growing their hair
long, smokin' a little grass…") But Tamblyn and a gang that also
includes "Firewater" (his name is a respectful homage to his Native
American heritage) and "Acid" (who likes acid) prove no match for an
Army vet who takes them out while expressing regrets for his actions.
"Oh Christ," he exclaims after killing Tamblyn. "At least in Vietnam,
they paid me…"

9. Hell's Angels (second fictional version), Hell's Angels '69 (1969)
Apparently okay with Hells Angels On Wheels' portrayal of them as
casually murderous thugs, the Oakland chapter of the Hell's Angels
signed on to play themselves in another movie. But in spite of the
title, they're clearly supporting players in what's essentially a Las
Vegas heist movie with a biker twist. Director Lee Madden shepherds
stars/co-writers Tom Stern and Jeremy Slate through a story in which
they play Hollywood playboys who decide to rip off Caesars Palace
just for kicks. Their convoluted plan involves posing as vacationing
Boston-area bikers, then befriending some Hell's Angels too dimwitted
to see past their pretty-boy hair and lame club name: The Salem
Witches. (Really?) Then they check into a casino and trick the Angels
into causing a commotion while they rob it. Does double-crossing a
bunch of bikers with names like Terry The Tramp and Tiny (plus Sonny
Barger) work out well? No, it does not. Madden apparently liked the
milieu well enough to return the following year with…

10. The Exiles (or the Nomads), Angel Unchained (1970)
The Arizona-based Exiles (or Nomads; their jackets have both names on
the back) aren't really a bad bunch. They mostly like to booze and
get high, and in a striking opening scene, battle other bikers at an
abandoned amusement park. But the lifestyle has started to wear on
Don Stroud, who amicably parts ways with his biking comrades a few
minutes into the film. Opting for a more sedate existence, he settles
down with some hippies at a commune run by Luke Askew. There, Stroud
hooks up with a beguiling, free-spirited lass (future TV cop Tyne
Daly). But when some hippie-hating, dune-buggy-riding locals decide
to run the hippies out of town, Stroud has little choice but to call
on his old pals to ensure peace and love the old-fashioned way:
through violence. Also on board is the tastefully nicknamed Injun,
who keeps the bikers happy with drug-laced cookies.

11. Unnamed toughs, The Cycle Savages (1969)
The Bruce Dern-led gang of The Cycle Savages don't appear to have a
name, but they do have a clear M.O. The terror of the Los Angeles
suburbs, they cruise the streets looking for adventurous hippie
chicks, then selling them into a prostitute ring run by Dern's
brother (Casey Kasem). It's a sweet operation, so it's understandable
that Dern would guard it with a paranoid intensity. After Dern
catches a clean-cut young artist (Chris Robinson) drawing his gang in
the middle of a stompdown, he decides that this "uncool" behavior
should be punished, lest the police use the drawings against them.
(Either Dern has a faulty understanding of the law, or the film takes
place in an alternate universe where drawings can be admitted as
evidence. Maybe in a sequel, dogs stand trial for their illegal poker
games.) "I'm going to show you that I can do a little artwork, too,"
Dern hisses before cutting Robinson with a razor. But after 90
minutes of tortured overacting, only one of them is left to sketch
the death scene. (Hint: It isn't Dern.)

12. The Dragons, Angels Hard As They Come (1971)
The uneasy relationship between bikers and the counterculture gets
explored again in a script co-written by a young Jonathan Demme.
Here, a group of drug-dealing bikers called The Angels (an
organization with no apparent hellish association) tries to lay low
after a drug deal goes awry. Three Angels, including the soulful Long
John (Scott Glenn) decide to hang out in a ghost town populated by
hippies, including a fresh-faced Gary Busey, and another bike gang
called The Dragons. All seems to be going well, and Glenn and a woman
who catches his eye even have a rap session, mellowing out the vibes
by breaking down the stereotypes about hippies and bikers. ("Shit,
I've never been to Altamont.") Only problem: The Dragons are fucking
nuts. When one of the hippie women dies in a round of group sex gone
terribly wrong, The Dragons get all paranoid and assume that the
Angels are trying to assassinate their leader. Soon, The Dragons
begin subjecting the Angels to a sadistic game of Chopperball, which
is kind of like polo, but with bikes instead of horses and people
instead of balls.

13. The Devil's Advocates (werewolf chapter), Werewolves On Wheels (1971)
In a movie that doesn't fully make good on its title until the
closing moments, a group of bikers that includes "Eve Of Destruction"
singer Barry McGuire (as "Scarf") run into some satanic monks. As
their ranks become afflicted with a bad case of lycanthropy, they
have to struggle with whether their new desire to bite, howl, and
kill conflicts with their highway-riding, yokel-terrorizing
lifestyle. Unsurprisingly, it doesn't.

14. The Devil's Advocates (Vietnam chapter, also non-werewolf), The
Losers (a.k.a. 'Nam's Angels) (1970)
The biker-movie cycle rolled out alongside the Vietnam War, an
entanglement mentioned in many of the films. But only one biker movie
took place inside Vietnam. Directed by Jack Starrett (fresh off Run,
Angel, Run!), The Losers sends five beer-swilling bikers­swastika
regalia and all­upriver on a covert mission to rescue a CIA agent
(also played by Starrett). Why bikers? "Speed's all you've got going
for you." Well, speed and a bunch of Yamahas outfitted with machine
guns and armor. Biker-movie vets William Smith and Adam Roarke help
lead a charge that results in more biker-on-Viet Cong carnage than
any movie ever made. Surprisingly, Vietnam has a lot more
cycle-friendly ramps than might be expected. Also, Red Chinese
soldiers are surprisingly generous in supplying their prisoners with
mind-bending weed.

15. The Black Six, The Black Six (1973)
When a white bike gang kills a kid for the crime of dating a white
woman, in swoop The Black Six, a gang of six Vietnam-vet bikers who,
as their name suggests, are black. (They're also played by
professional football players, including "Mean" Joe Greene. The
opening credits even list their team affiliation.) And that, in
short, is the whole plot. But there's a lot more to these guys than
righteous rage. When not avenging a fallen friend, they like to hang
out on farms, helping widows, tossing bales of hay, and cuddling
goats. They're sweet, really­until they encounter racism. Then they
become total bad-asses. And in this film, they encounter
badass-inducing racism a lot, between loonnnngg scenes of driving
around to generic Shaft-funk. The film has one foot in the biker
genre and one foot in the blaxploitation world, a sign that new types
of heroes and villains were starting to take over.

16. Satan's Helpers, Pee-wee's Big Adventure (1985)
Ways in which the Satan's Helpers may punish you if you make them
angry: hanging, killing, stomping, tattooing, and/or time alone with
an imposing biker mama. Ways to escape: Perform a lively dance to The
Champs' 1958 hit "Tequila."

.

Reissues, new film revisit Woodstock

[3 articles]

Reissues, new film revisit Woodstock

http://www.denverpost.com/headlines/ci_12856746

By Jonathan Takiff
Philadelphia Daily News
Posted: 07/19/2009

Several outdoor, multiday music festivals were held in the summer of '69.

All were celebrating a seismic explosion in conscious rock ­ music
spirited by the Beatles, Bob Dylan and "the movements" (anti-war,
civil rights, feminist, ecological, psychedelic) and proffered by the
likes of Jefferson Airplane, Santana, Janis Joplin, the Who,
Creedence Clearwater Revival, Canned Heat, Joe Cocker and the Band.

Simultaneously, this surge of oversized shows served as a coming of
age and coming together for the just-emerging baby boomer generation
that would embrace its new stars as countercultural heroes.

The biggest, baddest and most legendary music fest of all was
Woodstock, a venture "created for wallets ... designed to make bucks.
And then the universe took over and did a little dance." So quipped
Wavy Gravy, performance artist and frontman for the famed Hog Farm
commune, which gently policed and fed the festival.

Woodstock pilgrims ­ anywhere from 300,000 to "half a million
strong," depending on who's counting ­ clogged the New York State
Thruway and turned the cow pastures of Sullivan County, N.Y., into an
instant city on Aug. 15-18, 1969. They suffered rain and famine of
almost biblical proportions ­ enough for then-New York Gov. Nelson
Rockefeller to declare the site a disaster area. Yet, through it all,
festivalgoers never lost their sense of cool or their kindliness
toward one another.

The Woodstock festival wasn't just the lead story for a day or two.

Captured first note to last by sound engineer Eddie Kramer, and
visually (pristine fields to muddy mess) by a camera crew led by
Michael Wad- leigh, the epic event would soar to legendary stature,
dwarfing that other historic '69 summer happening, man's first walk
on the moon.

Even those in attendance came to rely on Wadleigh's pointedly
political, three-hour film document ­ first released in theaters in
March 1970 ­ to define what the newly anointed "Woodstock Nation" was
all about. "Most of what I know of the festival, I saw in the movie,"
said Joel Rosenman, one of the event's four producers, who was stuck
in an office all weekend, dealing with "life and death" issues.

And millions more who would dose just on the movie (considered the
best documentary ever) and soundtrack albums would likewise become
imbued with Woodstock's spirit ­ those calls to rock free, get back
to nature, make love, not war, expand your mind ... so much so that,
when asked, they too would swear, "Yeah, I was at Woodstock."

This summer, you can be there too, even better than before. To mark
the festival's 40th anniversary, Woodstock is being revisited and
celebrated anew with treasure troves of freshly unearthed
performances, insightful books, commemorative concerts and a
promising new feature film, "Taking Woodstock."

"Woodstock was a ray of hope in a dark time, and today, it can be
that again," believes the festival's most visible creator, Michael
Lang. "It's telling that Barack Obama's inaugural celebration was
characterized as 'Washington's Woodstock.' " The place to start our
magical mystery tour is still Wadleigh's documentary, "Woodstock ­ 3
Days of Peace & Music," just reissued by Warner Home Video in a new
Blu-ray disc form (as well as conventional DVD) in that extended,
four-hour director's cut edition first let loose at the 25th-anniversary mark.

A limited-edition "ultimate collector's" treatment packs cute touches
like a wrapper of fringed buckskin ­ a major Woodstock fashion
statement. But the really big deal here is a new bonus disc with an
extra 2 1/2 hours of concert footage, including a big helping of
Creedence Clearwater Revival and a 38-minute grind through the
Grateful Dead's "Turn on Your Lovelight," two bands missing from the
movie due to artistic and business "differences."

Newly mixed by Kramer in 5.1- channel sound ­ a neat feat since he
only had seven tracks of band music to juggle ­ and freshly edited
and sharpened for high-def viewing (more obviously so than the
movie), this extra content brings us closer in spirit and endurance
to the six-hour marathon that Wadleigh first intended to foist on the
world "in two, three-hour or three, two-hour chunks," he said.

Even 40 years later, this long- haired director still relishes
recalling how he stuck it to the man, breaking into a Warner facility
and spiriting away the "Woodstock" negative, then threatening to burn
it after hearing that a studio exec wanted to cut the movie down to 90 minute.

Also enhancing our virtual festivalgoing experience are a series of
five new "Woodstock Experience" CDs from Sony Legacy that deliver the
complete Woodstock performances ­ previously heard only in truncated
form ­ of five label notables. Each is paired with the musical act's
big studio album of the same year.

Janis Joplin's performance with her then new, soul revue-style band
sounds snappier than on-site reviewers suggested. Another Texas
bluester, Johnny Winter, was in sturdy form. Best of show Sly and the
Family Stone were at absolute peak powers, blazing a funk-rock trail
still being tread by the minions.

And the Jefferson Airplane's trippy, 90-minute, dawn-on-Sunday set
was way better than the musicians believed at the time, or their
overly fatigued audience could appreciate.

Conversely, not all of Santana's Latin fusion coming-out party at
Woodstock proves as legend-making as the fiery "Soul Sacrifice"
finale spotlighted in the film.

--------

Going down to Yasgur's farm

http://www.thonline.com/article.cfm?id=249683

Woodstock and all that music that rocked America in 1969.

BY ERIK HOGSTROM TH STAFF WRITER
July 12, 2009

You'd never know what to expect back then, slapping some vinyl on the
turntable or switching on the transistor radio.

"It was just so exciting," Luis Moscoso said of the music scene of 1969.

Now living in the Seattle area, Moscoso was the singer for Dutch
Uncle, a popular Dubuque band during 1969 -- the year of Woodstock,
Led Zeppelin's first two albums and The Beatles' final performance on
the roof of the Apple building.

Although the Woodstock Music & Art Fair helped define the era, the
Aug. 15-18 festival wasn't actually held in Woodstock. Instead, the
gathering of musicians and fans was held at Max Yasgur's 600-acre
dairy farm in the rural town of Bethel, N.Y., about 43 miles
southwest of its namesake.

Friday's lineup included Richie Havens, Tim Hardin, Ravi Shankar and
Joan Baez. Saturday's bill included Country Joe McDonald, Santana,
Janis Joplin, the Grateful Dead, Creedence Clearwater Revival, Sly &
The Family Stone, The Who and Jefferson Airplane. The festival
concluded Sunday with acts that included The Band, Blood, Sweat &
Tears, Crosby, Stills, Nash & Young and Jimi Hendrix.

Several seminal albums were released in 1969, including The Beatles'
"Abbey Road," the debut album by the Jackson 5 and The Band's
self-titled second album. "Dusty in Memphis" and "From Elvis in
Memphis" also arrived in record stores 40 years ago, giving music
fans Dusty Springfield's "Son of a Preacher Man" and Elvis Presley's
"In the Ghetto."

Singer and "Wizard of Oz" star Judy Garland died in 1969, as did
Delta bluesman Skip James. Guitarist Brian Jones, a founding member
of The Rolling Stones, died in July 1969.

The Rolling Stones also experienced the highs of "Let it Bleed" --
the album included classic songs such as "Gimme Shelter," "Midnight
Rambler" and "You Can't Always Get What You Want" -- and the lows of
Altamont -- the site of a California concert marred by a stabbed fan
-- during 1969.

The Who released "Tommy" in 1969, and Iggy Pop's Stooges released
their debut album.

"There were new and creative sounds coming out all the time." Moscoso said.

A pair of classic albums highlighted the year in country music -- "At
San Quentin" by Johnny Cash and "Okie From Muskogee" by Merle Haggard.

In Iowa, Simon & Garfunkel performed in Ames. That concert yielded
the pair's recording of the Everly Brothers' classic "Bye Bye Love,"
included later on the "Bridge Over Troubled Water" album.

Moscoso witnessed rock history during a trip out of his native Dubuque.

"We attended the first concert by Crosby, Stills & Nash in Chicago,"
he said. "It was a couple of weeks before Woodstock."
--

Top-selling singles
1. The Archies: "Sugar,Sugar"
2. 5th Dimension:"Aquarius/Let the
Sunshine in"
3. The Temptations: "I Can't Get Next to You"
4. The Rolling Stones: "Honky Tonk Women"
5. The Beatles: "Come Together/Something"
6. Sly & The Family Stone: "Everyday People"

Billboard

Grammy winners
Some of the winners at the 12th Grammy Awards, honoring the musical
accomplishments of 1969:

Record of the Year:
Bones Howe (producer) and The Fifth Dimension for "Aquarius/Let the
Sunshine In"

Album of the Year: James William Guercio (producer) and Blood, Sweat
& Tears for "Blood,
Sweat & Tears"

Song of the Year:
Joe South for "Games People Play"
Best New Artist:
Crosby, Stills & Nash
Best Country Vocal Performance, Female:
Tammy Wynette for "Stand By Your Man"
Best Country Vocal Performance, Male:
Johnny Cash for "A Boy Named Sue"
Best R&B Vocal Performance, Female:
Aretha Franklin for "Share Your Love With Me"
Best R&B Vocal Performance, Male:
Joe Simon for "The Chokin' Kind"
Best R&B Performance by a Duo or Group:
Isley Brothers for "It's Your Thing"

The National Academy of
Recording Arts and Sciences

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Woodstock Ventures & Sony Music Entertainment Launch of Woodstock.com
Social Network

http://www.iconvsicon.com/2009/07/07/woodstock-ventures-sony-music-entertainment-launch-of-woodstock-com-social-network/

07 July 2009

Woodstock Ventures has teamed with Sony Music Entertainment to launch
Woodstock.com, the official website for the Woodstock community.

Woodstock.com will feature a cutting edge live music social
network for all concerts, including complete artist and event
information, access to ticketing, concert reviews, blogs and a forum
to connect with other fan events throughout the world. There will be
platforms for environmental initiatives, social issues, and other
current topics. Visitors to the site can meet on a virtual village
green, a platform for developing initiatives about global warming,
carbon emissions, and responsible energy use.

A special interactive portion of the site will make clear to the
world which issues are of the greatest importance to the Woodstock
community. And of course, the site will be the ultimate source for
all things Woodstock ­ exclusive interviews, guest editors,
audio-visual content, rare photographs and other memorabilia with an
online store offering a wide variety of goods including fine art
prints of never-before-seen photography, music, film, collectables,
apparel and books.

Woodstock.com will also offer a platform where fans can share their
experiences from all of the Woodstock Festivals ('69,'94 & '99) as
well as other live concert events. Woodstock.com will also premiere
WikiStock, an interactive wiki-style encyclopedia of all things
Woodstock, which will accept and incorporate contributions about the
individual experiences visitors have had at Woodstock festivals over the years.

Woodstock.com is being created under the auspices of Michael Lang and
Joel Rosenman, two of the founders of the Woodstock Festival. The
launch of Woodstock.com is planned to coincide with the 40th
anniversary of the 1969 Woodstock Festival, the historic weekend that
showed the world how the youth of America could unite in peace and music.

"Woodstock began as a dream and became a reality that exceeded our
wildest expectations," said Michael Lang. "That dream lives on and
our hope is that Woodstock.com will harness the power of 21st century
technology to the communal idealism and values that continue to grow
out of Woodstock."

Joel Rosenman added, "Like the Woodstock Festival, Woodstock.com is
designed with the Woodstock community in mind ­ a destination for
music, social issues, memories and hopes, and above all, a place to
have fun. And, like the festival, the website will change and evolve.
The Woodstock community will see right away that Woodstock.com is not
only a place, it's a pathway for a fascinating journey."

"The original Woodstock festival shaped the musical and cultural
values of a generation," said Adam Block, Senior Vice President and
General Manager, Legacy Recordings, a division of Sony Music
Entertainment. "We at Sony Music are grateful for the opportunity to
partner with Woodstock Ventures in bringing the heritage and spirit
of Woodstock Nation into the future."

.

Pop review: Various Artists, Woodstock 40

Pop review:
Various Artists, Woodstock 40

http://www.guardian.co.uk/music/2009/jul/12/woodstock-40-album-reviewed

Various Artists, Woodstock 40
(Rhino)

Barney Hoskyns
12 July 2009

We are all so inured these days to the business of rock festivals -
sponsored, multi-generational, beamed into our living rooms - that
it's difficult now to imagine the tribal excitement and trepidation
felt by people as they swarmed into New York's Catskill mountains for
the Woodstock Music and Art Fair on a long hot weekend in August
1969. Sixty thousand hippies were expected at the event; at least
350,000 showed up, most looking for some kind of communal climax to
the 60s rock dream, soundtracked by (most of) the leading lights of
the London/LA/San Francisco/Greenwich Village revolution.

The name - the town itself was 70 miles away - has become a byword
for the collective celebration of music. The event against which all
other rock gatherings are measured, Woodstock has additionally been
filtered through Michael Wadleigh's eponymous three-hour hit film,
recently boxed up and reissued with two new hours of footage. We know
Woodstock and yet we don't know it.

Staged two years after Monterey Pop first signalled that rock'n'roll
was going to be a big open-air industry, Woodstock remains The Big
One. It is where the radical rhetoric and chemical chaos of the 60s
reaches fever pitch.

For the best part of 40 years, the official audio documentation of
Woodstock was confined to two albums/CDs, both replete with highlight
numbers by the festival's biggest acts: Hendrix, Janis, Sly, CSNY,
the Who, Joe Cocker, Santana, Richie Havens et al. Now we have a
six-CD box, adding to the previously released tracks not only music
by such lesser lights as Tim Hardin, the Incredible String Band, Keef
Hartley, Bert Sommer and Quill but previously unfamiliar stage
announcements about blue acid, asthma pills and insulin. Even so, the
box represents only about a fifth of the music actually performed at Woodstock.

There are 77 tracks here. Beyond the previously released peak moments
you should already know - Jimi's Star-Spangled Banner, Sly's I Want
to Take You Higher, Santana's Soul Sacrifice - Woodstock 40 features
Cocker hollering Dave Mason's rock'n'soul classic Feelin' Alright,
Janis Joplin tearing the innards out of Ball and Chain, and the
Grateful Dead's 19-minute micro-trip Dark Star. Not to mention Max
Yasgur - the Michael Eavis of the story - thanking "the kids" for
"proving something to the world".

Were those kids "stardust and golden", in Joni Mitchell's famous
phrase, or were they the bewildered inhabitants of a virtual disaster
zone? Whichever it was, listening to Woodstock 40 beats watching
Glasto from the comfort of your sofa.

.

MD says Jimi Hendrix murder claim plausible

Doctor who tried to save Jimi Hendrix says murder claim plausible

http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/article6719597.ece

Ben Hoyle, Arts Correspondent
July 20, 2009

The doctor who attempted to revive Jimi Hendrix on the night that the
guitarist died believes that it is "plausible" that he was murdered.

John Bannister said that medical evidence was consistent with claims
in a book that Hendrix was killed on the orders of his manager, Mike Jeffery.

James "Tappy" Wright, a former road manager who worked for Jeffery,
writes in his new memoir, Rock Roadie, that in the early hours of
September 18, 1970, a gang hired by Jeffery broke into the London
hotel room where Hendrix was staying with his girlfriend, Monika
Dannemann, and forced sleeping pills and wine down his throat until
he drowned.

Mr Bannister was the on-call registrar at the now defunct St Mary
Abbots Hospital in Kensington on the morning that Hendrix was brought
in. He had no idea who the famous patient was but remembers that he
was "very long". Mr Bannister, 67, speaking at his home in Sydney,
said: "He was hanging over the table we had him on by about ten inches."

It was apparent from the start that Hendrix had probably arrived too
late for the medical staff to save him. "When you are in casualty,
one always tries very hard to resuscitate people. There's always a
hope. We worked very hard for about half an hour but there was no
response at all. It really was an exercise in futility," said Mr
Bannister. "Somebody said to me 'You know who that was?. That was
Jimi Hendrix' and, of course, I said, 'Who's Jimi Hendrix?'."

Mr Wright's description of what had happened to Hendrix "sounded
plausible because of the volume of wine", Mr Bannister said. What
struck him most about the unusually tall patient was that he was
drenched in alcohol. "The amount of wine that was over him was just
extraordinary. Not only was it saturated right through his hair and
shirt but his lungs and stomach were absolutely full of wine. I have
never seen so much wine. We had a sucker that you put down into his
trachea, the entrance to his lungs and to the whole of the back of his throat.

"We kept sucking him out and it kept surging and surging. He had
already vomited up masses of red wine and I would have thought there
was half a bottle of wine in his hair. He had really drowned in a
massive amount of red wine." According to the conventional account,
Hendrix ­ one of the most charismatic guitarists in the history of
rock ­ died at the age of 27 from choking on vomit after a drugs
overdose. Wright, now 65, has stirred conspiracy theorists and
Hendrix obsessives around the world with his alternative account of
the guitarist's demise. He claims that Jeffery confessed the murder
to him a month before he died in an aircraft collision.

Dannemann, an ice-skating instructor-turned-drug addict, who many
people suspected knew more about Hendrix's death than she let on,
committed suicide in 1996.

Wright contends that Jeffery, his old boss, was "a dangerous man" who
had been in the Secret Service and flaunted his connections with
organised crime. By 1970 he was heavily in debt and had fallen out
with his star act who may have been looking to change management and
whose behaviour had become increasingly erratic as his drug taking
reached uncontrolled levels.

In response Jeffery allegedly took out a $2 million life insurance
policy on the guitarist. According to Wright, Jeffery told him that
Hendrix was "worth more to him dead than alive".

Mr Bannister returned to Australia in 1972 and practised as an
orthopaedic surgeon until 1992, when he was deregistered in New South
Wales for fraudulent conduct.

.

Music heals Vietnam War vet's psychological wounds

Music heals Vietnam War vet's psychological wounds

http://morningsentinel.mainetoday.com/news/local/6590405.html

BY COLIN HICKEY
07/12/2009

WATERVILLE -- Jazz violinist Billy Bang used music to help him
exercise the demons of his Vietnam War past.

But the two albums he produced on the subject only got him so far. He
needed to take an even bolder step. And that's how he came to return
to Vietnam 40 years after his military experience, film crew in tow.

The result is the movie "Redemption Song," which makes its U.S.
premiere Monday night at the Maine International Film Festival.

Billy Bang will perform a solo concert immediately after the 6:30
screening at Railroad Square Cinema -- the movie also will be shown
at 3:30 p.m. Tuesday at Railroad Square.

His is one of many films at the festival that revolve around music or
musicians, but for Bang, 61, the power of song did more than lift his
spirits or soothe his soul; music saved his life.

The mental and psychological pain caused by Vietnam, he said,
tormented him for decades, and even today some of the terrible
memories stay with him, such is the indelible mark they left on his psyche.

His violin proved to be his lifeline.

The strings he made sing with every thrust of his bow kept him from
slipping into the abyss and provided him with a livelihood and a community.

And yet Bang still struggled at times.

"It was hard even being an artist," he said from his home in New York
City. "All the frustration and pent-up anger, I think I channeled it
through the music."

Bang said he was 18 or 19 when he went to Vietnam, a kid just out of
high school forced to engage in armed combat against a people he had
never known.

"If you don't fire back, you are going to be shot. You have no
choice, no options there," he said, and then he paused and added,
"Well, there is a choice, but I didn't like the other side of that option."

Bang survived, although he sometimes turned to alcohol and drugs to
keep the demons at bay.

"I had been running away from it," he said, "and pretended it didn't
happen, and that made it worse, of course."

Bang stopped running in 2000.

That's when he came out with "Vietnam: The Aftermath," an album that
earned critical acclaim for Bang.

This was Bang fighting back rather than running way, but this time he
relied on his violin, not his rifle.

He followed that musical effort with "Vietnam: Reflections," the
second of what he now calls his trilogy of healing.

"I really never wanted to go back," he said, "but I went back for the
sake of making this film."

The filming took place over six weeks during the winter 2006-07, Bang said.

He played music with Vietnamese musicians across what for him was a
former battleground.

"(The movie) took me back to some of the areas that I actually fought
in," he said. "Of course it was not the same as it was in the '60s,
but it was still Vietnam."

Bang described the experience as an emotional whirlwind: tears of
grief and happiness, and lots of silence, times when his senses were
overwhelmed with odors, sights and feelings of past and present.

At first Bang said he found the movie that resulted unsatisfying. He
thought the filmmaker edited out too many important moments, critical
parts of his return.

But over time, he said, his view changed.

"Ultimately," he said, "I was happy that it was even done. The big
picture overrules the rest."

Bang said the last few years have been the happiest of his life. And
yet the demons of his war experience never go away completely.

Today, he said, the physical demon is his chief foe.

"As much as I got rid of a lot of it and cope better now," he said,
"the physical demon came on me. I've developed lung cancer now from
the Agent Orange."

Bang said he wasn't sure he would be able to make it to the film
festival, such are his physical struggles.

Waterville, though, has become a special place for Bang. He has been
up here twice before to perform, and during those visits he formed
friendships with many of the film festival organizers.

The visits also led him to contemplate a film about his Vietnam past.

"I talked to (film festival programmer) Ken Eisen about this quite
some time ago," Bang said. "He said to me, 'If you ever do a film, we
would love to show it.' So a part of my heart is in Waterville, and
I'm trying to maintain that (relationship), and I think that is the
true reason I'm going up."
--

Colin Hickey -- 861-9205
chickey@centralmaine.com

.

Pentagon Enlists Feminists for War Aims

Pentagon Enlists Feminists for War Aims

http://www.commondreams.org/view/2009/07/20-5

by Tom Hayden
Published on Monday, July 20, 2009 by Huffington Post

Over a decade ago a young woman approached me on the California
Senate floor with a petition against the Taliban. Women are being
repressed, tortured and killed by religious fundamentalists, she
said. I signed on. The Taliban seemed like a Ku Klux Klan aimed at
women. I was disgusted that the State Department and oil companies
would negotiate with them over pipelines, with cursory regard for
women's rights. I still feel that way.

But I had no idea then that I was joining The Feminist Majority in a
coalition with the Pentagon to invade and occupy Afghanistan. Given
the respect I have for Ellie Smeal and Kathy Spillar, among others,
it's still hard to believe that they think Afghan women can be
liberated by an invading, bombing, imprisoning American army. It's
hard to believe that Predators, drones, Special Forces, detention
camps and foreign occupiers are solutions to Taliban fundamentalism.
Even the US-supported Kabul government showed its real character this
year by passing a law requiring women to obey their husbands in
sexual matters, in violation of the country's own constitution and
international norms.

A top United Nations official this month told a Kabul audience "that
violence against women is not being challenged or condemned." This
was eight years following the Bonn Agreement which included human
rights at its core. In northern areas under Western occupation, the
UN report found that in 39 percent of rapes "that perpetrators were
directly linked to power brokers who are, effectively, above the law
and enjoy immunity from arrest as well as immunity from social condemnation."

It's safe to say the Kabul government will not be recognizing any NOW
chapters among its local non-governmental organizations in the
foreseeable future.

The Feminist Majority echoes Democratic Party hawks in claiming that
the liberation of Afghanistan was well underway until the Bush
Administration wandered off into Iraq. But Afghanistan was among the
poorest countries in the world before and after the Bush years, and
will continue to be left impoverished by a Pentagon budget that
expends 90 percent of funds for military occupation. According to the
United Nations, Afghanistan is 174th of 178 countries in its human
development index. One in every four children dies at birth, the
fourth highest child mortality rate in the world. Half of Afghan
children are malnourished, and an estimated 40 per cent of children
die from diarrhoea and acute respiratory infections. Thirteen per
cent of the population have access to safe drinking water and 12 per
cent have access to adequate sanitation. In both Afghanistan and
Pakistan, children are growing up traumatized, malnourished, stunted
and extremely stunted [the categories the United Nations uses]. Life
expectancy for women in "peacetime" is 44, twenty percent below the
global mean.

The Feminist Majority chooses to be uncharacteristically obscure in
advocating more American troops as the solution. Its website speaks
of more "peacekeeping forces" rather than an escalation of the
occupation. They write that "virtually everyone knows that a military
solution alone won't work. Yet, we cannot ignore that security and
the Taliban are among Afghans' top concerns", whatever that means.
They quote an Afghan human rights activist, Sima Simar, who obliquely
says "security must be re-established until the Afghan army and
police can take over." But they fail to note that the current
Pentagon plan for establishing an Afghan security force will take at
least ten more years. Meanwhile, the war continues under the
direction of an American general, Stanley McChrystal, whose career in
Iraq was in clandestine Special Ops, including the supervision of
many extra-judicial killings [according to Bob Woodward's most recent
book]. The real effect of the Pentagon's game plan is to kill Al
Qaeda and Taliban suspects, round up and hold thousands more in
detention camps with no due process, lock Afghanistan into the
Western alliance, and obtain American military bases and pipeline
projects in the region. Women's rights always will be secondary to
military objectives. "Protecting the population", which the Feminist
Majority supports, is counterinsurgency phrasing for keeping the
population surrounded by barbed wire, floodlights, blast walls and
subject to check points and retinal scanners while, a short distance
away, the killing goes on.

As for women's rights, perhaps Condoleeza Rice could be named US
ambassador to Kabul; after all, she's been on Chevron's board and
already has an oil tanker named after her.

Seriously then, what to do about the fate of Afghan women? Ending a
military occupation through a negotiated settlement among countries
in the region, and parties in Afghanistan, is the only way out of
this latest adventure in The Long War. Making any future economic or
diplomatic assistance contingent upon women's rights to health care,
child care, education and dignity should be among the terms for a US
and NATO withdrawal. In all seriousness, top US officials in a future
Kabul embassy could be feminists linked to Afghan women's groups.
Hillary Clinton knows how to be relentless if she chooses. The
struggle will be long and bitter, won in civil society, not on
battlefields. Even if all the Taliban are killed, Afghanistan will be
a deeply patriarchal Muslim country where change will emerge from
outside and inside pressures.

These progressive initiatives could be advanced today by the Obama
administration and Congress as civilian ones, not as cover to solicit
support for deeper military occupation.

The Feminist Majority is being used by the Pentagon to advance its
war aims. Perhaps they believe they are using the Pentagon, though
they don't say it. One result is division and confusion within the
peace movement. In soliciting support from genuine peace groups for
Afghanistan, for example, The Feminist Majority is less than candid
that the funds are linked to the escalation of the war.

The solution is more transparent and thorough discussion at the base
of the peace movement, where the possibility of a feminist coalition
with the Special Forces should be hard to defend.
--

Tom Hayden is a former state senator and leader of Sixties peace,
justice and environmental movements. He currently teaches at
PitzerCollege in Los Angeles. His books include The Port Huron
Statement [new edition], Street Wars and The Zapatista Reader.

.

The Weather Underground at Forty

Bringing the War Home:
The Weather Underground at Forty

http://hnn.us/articles/93754.html

By Ron Briley
Mr. Briley is Assistant Headmaster, Sandia Preparatory School.
7-20-09

Forty years ago, the Revolutionary Youth Movement (RYM) faction of
the Students for a Democratic Society (SDS) drafted a statement to be
employed in a factional dispute with the Maoist Progressive Labor
(PL) wing of the organization. At the June 1969 Chicago convention
of SDS, the RYM group, now known as the Weathermen, expelled the PL
wing and effectively dismembered SDS as a national student organization.

The Weather Manifesto­based upon lyrics from Bob Dylan's Subterranean
Homesick Blues (1965) that "you don't need a weatherman to tell which
way the wind is blowing"­assailed the Progressive Labor movement for
failing to comprehend the revolutionary nature of global
anti-imperialism in which American capitalism and empire were under
attack in Cuba, Vietnam, Algeria, Bolivia, Angola, and throughout the
Third World in conjunction with domestic revolutionaries such as the
Black Panthers. Living in the belly of the beast, it was imperative
that radicalized American students join the revolutionary struggle
that would usher in the millennium of world communism. White youth
would be radicalized to support black liberation through the example
of the Weathermen renouncing nonviolence and joining the armed
struggle against American imperialism.

The bellicose nature of the Weather Manifesto evoked considerable
controversy then and now, as the radicals sought to embody their
principles with the formation of revolutionary collectives that would
"bring the war home." In other words, the goal was to subject
Americans to some of the violence and destruction inflicted daily
upon the Vietnamese people. Terming themselves the Weather
Underground, the New York City collective planned a bombing that
would simulate the Vietnam experience by creating death and
destruction during a military dance at Fort Dix in nearby New
Jersey. Instead, on March 6, 1970 the bomb was triggered by
accident, destroying a New York City town house where the explosives
were being assembled. Dead in the explosion were Weather members Ted
Gold, Diana Oughton, and Terry Robbins.

Following this tragedy, the Weather Underground members re-evaluated
their strategy. While not disavowing the principles of their
Manifesto, the Weather Bureau, or leadership cadre, asserted that
symbolic attacks against institutions and manifestations of
imperialism such as military induction centers and government offices
would galvanize the support of the American working class. Thus, the
Weather Underground did not consider themselves terrorists as their
goal was not to induce fear amongst the American people, but rather
to demonstrate that it was possible to strike against the
institutions and property of the capitalist "pig" state which sought
global control over the working class and people of color. The
Weather Underground conducted a series of bombings in the early 1970s
which sought to symbolically bring the war home without the taking of
human life. Warnings of impending explosions were provided to
authorities in order to avoid the type of tragedy which occurred in
the Weather town house explosion.

But the Weather Underground failed to incite a working-class
revolution in the United States, and with the end of the war in
Vietnam, many radicals attempted to re-enter mainstream
society. Individuals such as Mark Rudd, Bill Ayers, and Bernardine
Dohrn surrendered to authorities and were able to arrange plea
bargains as more serious charges were dismissed due to massive civil
rights violations and illegal domestic surveillance by the government
in the COINTELPRO or Counter-Intelligence Program. Black Panther
leaders such as Fred Hampton, however, were victims of more deadly
government repression and were unable to negotiate plea
bargains. Other Weather Underground members such as David Gilbert
and Judy Clark remain incarcerated for their roles in a Brink's
robbery in which three people were killed.

What are we to make of the Weather Manifesto and Underground after
forty years? Certainly some on the radical left continue to
perpetuate the myth of the Weather Underground as romantic
revolutionaries. On the other hand, efforts by the political right
to keep the cultural wars of the 1960s alive were negated in the 2008
Presidential election as few voters were influenced by accusations
that Barack Obama was linked to terrorism through his far from
intimate associations with Bill Ayers, now a professor of education
at the University of Illinois, Chicago. And, of course, Obama was a
school boy during the heyday of the Weather Underground. More
serious assessments of the Weather legacy are available in the
Academy-Award nominated documentary The Weather Underground (2003)
and recently published memoirs by Rudd and Ayers.

In My Life with the SDS and the Weathermen Underground
(HarperCollins, 2009), Rudd credits filmmakers Sam Green and Bill
Siegel with providing the incentive to prepare his memoir. Rudd
remains a political activist opposed to manifestations of American
imperialism such as the war in Iraq, but he expresses serious
reservations regarding the strategy employed by the Weathermen. In
an orgy of self-indulgence, the Weather faction destroyed SDS; a
student organization which offered the best potential to organize the
growing campus opposition to the Vietnam War. In addition, the
Weather fascination with violence split the antiwar movement and
alienated the working class which the radicals hoped to rally with
their Manifesto and revolutionary action. Rudd laments that the
Weather Underground abandoned the tactics of organization and
participatory democracy which fueled the early campus antiwar
movement and the Columbia University insurrection which Rudd does not
repudiate.

In Fugitive Days (Beacon Press, 2001; revised edition 2009), Bill
Ayers is more ambivalent. While denouncing the intolerance and
machismo of the Weathermen, he regrets that he did not do more to end
the immoral Vietnam War. Seeking to recreate the mood of the times,
Ayers describes the increasing frustration with the Vietnam War which
drove antiwar activists to more extreme positions. He also accounts
for the naiveté with which many associate the Weather Underground by
evoking the milieu of the late 1960s. With a growing protest
movement in the United States and the global struggle in which
anti-imperialist forces were on the march in Vietnam, Algeria, and
Angola, the Weathermen believed they were on the winning side of
history­creating new communities free from capitalist exploitation
and embracing the Che Guevara prediction that numerous Vietnam-type
conflicts would topple the American regime. This impression of a
brave new world was also fueled by the Prague Spring in
Czechoslovakia and the revolt of students and workers on the streets
of Paris. Revolution in America and the world seemed inevitable. Or
at least so thought the radicals as well as Richard Nixon and J.
Edgar Hoover. Indeed, what is even more surprising in retrospect
than the illusions of the Weathermen regarding a working-class
revolution in the United States is the assumption of the Nixon
administration that the radicals were capable of bringing down the
government. The fears of the Nixon administration fueled the
repression of the antiwar movement and dissenters such as the Black
Panther Party, culminating in the record of criminal misconduct
revealed in the Watergate scandals. The illusions of both leftist
radicals and the reactionary political right reveal much about the
passions and insecurities unleashed during the tumultuous 1960s.

The Weather Manifesto was a product of the times and reflective of an
increasing radicalization of the antiwar and civil rights movements
induced by government suppression and the frustrations of addressing
de facto segregation, economic inequality, and the intransigence of a
government intent upon pursing a war of aggression in Vietnam. The
tragedy for many was the abandonment by the Weathermen of the
principles established in the 1962 founding document of SDS, The Port
Huron Statement. Addressing issues of imperialism, racism, economic
inequality, the military-industrial complex, and the sense of
alienation experienced by many individuals seemingly overwhelmed by
the powers of impersonal institutions such as the university, The
Port Huron Statement advocated greater democracy rather than armed
revolution. These sentiments would seem to resonate well with the
young people of today who have re-established SDS. While the Iraq
War has failed for a number of reasons, including the absence of a
military draft and sustained media coverage, to provoke Vietnam
era-style protests, the youth of the twenty-first century are
technologically savvy and intent upon creating a world community to
formulate solutions for environmental concerns of which the
protesters of the 1960s were only dimly aware. Perhaps social
networking will provide the organizational impetus, advocated by
Rudd, to implement the democratic vision of The Port Huron Statement
rather than the days of rage envisioned by the Weather Manifesto.

.

Many Nicaragua revolutionaries feel betrayed by the revolution

Many Nicaragua revolutionaries feel betrayed by the revolution

http://www.latimes.com/news/nationworld/nation/la-fg-sandinista19-2009jul19,0,6076661.story

Thirty years after the Sandinistas came to power, many are still
loyal to the cause but feel disillusioned by the policies of
President Daniel Ortega, the former guerrilla commander.

By Tracy Wilkinson
July 19, 2009

Reporting from Managua, Nicaragua -- He is as old as the Sandinista
revolution, 30 years. His father was such a true believer that he
named him after a communist hero. Twice.

"My father still believes," said Marx Lenin Martinez, an aspiring
computer technician. "I admired the original goals of the revolution,
but today the Sandinistas are just like all politicians."

On July 19, 1979, a young Nicaraguan guerrilla commander with an
idealistic swagger and a droopy black mustache helped overthrow a
brutish dictator and captivate the world's imagination. Three decades
later, older and not necessarily wiser, President Daniel Ortega has
repulsed many followers and baffled others.

Although Sandinista loyalists like Martinez's father, Mario, still
abound, far more common are the disillusioned, like Martinez himself
-- those who believe today's version of Sandinista rule is a mockery
of the original leftist revolution. "A farce," in the words of
renowned Nicaraguan poet and novelist Gioconda Belli.

Most of the top Sandinista comandantes who led the revolution, along
with other prominent militants, have long parted company with Ortega.
They accuse him of reversing many of the revolution's gains and of
using the presidency primarily to expand his own financial and
political power base.

Critics charge that Ortega and his forces have systematically
persecuted opposition politicians, dissidents and independent
journalists, while striking deals with erstwhile enemies, including
right-wing businessmen, in the interest of political expediency.

Ortega has created a kind of "co-government" with his wife, Rosario
Murillo, who has never held an elected post. He benefits from
millions of dollars from Venezuelan President Hugo Chavez, most of
which evades central accounting procedures. Some is used to finance
populist, vote-grabbing social programs, but it is a mystery where it
all ends up. Mayoral elections last fall, in which Ortega's
supporters won the lion's share, were widely seen as fraudulent, and
Ortega has begun to explore ways he can change laws to succeed
himself at the end of his term in 2011.

"The revolution is dead and buried," veteran Sandinista activist
Sofia Montenegro said. "So much effort, so many lives sacrificed to
create a process of democratization, a political constitution,
elections . . . a legacy that they are destroying."

The revolution will forever have its place in history. It made
Nicaragua the region's most tenacious Cold War foil for Washington
during the Reagan administration. And it led to fundamental changes
in a country where, more than in most of long-repressed Central
America, citizens are not shy about demanding their rights. Today, an
army and police force that were once purely partisan are considered
models of professionalism.

But many of the revolution's brightest lights now worry that Ortega
will plunge the country deeper into poverty and push a divisive
agenda that will lead to more violence.

Dora Maria Tellez, a onetime guerrilla commander and member of the
dissident Sandinista Renewal Movement, assailed what she calls
Orteguismo, a faction used to sustain Ortega and his family in power.
He spouts anti-imperialistic rhetoric to give a leftist patina to his
government, she and others say, while making deals with the most
conservative sectors of society and building up his own business interests.

The Times' requests for interviews with Ortega and Murillo for this
article went unanswered. He has routinely dismissed his critics as
disaffected oligarchs or reactionaries.

In July 1979, Ortega and other Sandinista militants rode a popular
insurrection against dictator Anastasio Somoza into the seat of
power. Those were heady, passionate days, the first time in the
Americas, since the Cuban revolution 20 years earlier, that a nation
rose up to overthrow its entrenched rulers (and the last time).

The Sandinistas ruled over a revolutionary experiment for the next
decade, and fought U.S.-backed rebels for the last decade of the Cold
War. Ortega called elections in 1990, and then unexpectedly lost
them. He failed in successive attempts to return to the presidency
until 2006, when he won election with just 38% of the vote.

His climb back to power involved an unsavory deal with former
President Arnoldo Aleman, who was convicted of fraud and money
laundering after his term ended in 2002 and sentenced to 20 years in
prison. In a nutshell, Ortega purportedly promised to pardon Aleman
if Aleman threw his support behind the Sandinistas; the deal would
shelve allegations from Ortega's stepdaughter that he had molested
her for years, a never-resolved case.

Even die-hard Sandinistas such as Marx Lenin's father, Mario, are
uncomfortable with the deal, known as El Pacto. In the end, though,
he says it was necessary.

"The alternative, of the right wing continuing [in office], would
have been worse," said Mario Martinez, 50, in the three-room home he
has lived in for 25 years. The son of a market vendor, Martinez says
his children got educations and careers as engineers and teachers
thanks to the revolution.

"Sandinismo taught me to be a fighter and a good citizen," he said as
a hot breeze fluttered the floral curtains that serve as doors and a
green parrot chattered from its cage.

Martinez's mother, Juana Aminta Mendez, 78, is also an unflinching
Sandinista. Mother and son were wearing Che Guevara T-shirts during a
recent visit; Marx Lenin was having none of it. His memories of the
revolution have more to do with the clothes he couldn't buy and the
obligatory military service that kept his father away when he was a boy.

Through the 1980s, Managua was a tired shell of a city. The
earthquake-ruined center had never been repaired. Shortages, thanks
to U.S. embargoes and Sandinista mismanagement, meant empty store
shelves and long lines for fuel to cook and run cars.

Today, Managua's center has shifted a couple of miles north, along a
major road now lined with restaurants, U.S.-style gas stations and a
handful of sprawling malls. Intersections where beggars languish are
anchored, remarkably, by casinos.

Nicaragua remains one of the poorest countries in the hemisphere,
though it does not suffer the same sky-high crime rates of some of
its neighbors.

Somewhere along the way, the Sandinista party under Ortega abandoned
its trademark and ubiquitous red-and-black colors for what can only
be described as a garish fuchsia. Hot-pink signs with Ortega's
picture equate El Presidente with El Pueblo -- the people and the
president are one.

To grasp power, Ortega formed an unlikely alliance with the
conservative Roman Catholic Church hierarchy, notably with Cardinal
Miguel Obando y Bravo, who had been one of the Sandinistas' fiercest
critics in the '80s.

To win Obando's support, Ortega came out in favor of tightening
Nicaragua's already tough abortion law: It is now illegal in
Nicaragua even if the woman's health is threatened. In the '80s,
Ortega had been a champion of women's rights and abortion rights.

"We have gone backward," said Ana Quiros, a public health advocate
and longtime Sandinista.

"They are taking away rights and liberties, and we have gone full
circle, back to dictatorship," Montenegro agreed. "We are fighting
for the same things we were fighting for 30 years ago."
--

wilkinson@latimes.com

.

Vietnam center creates new post

Pull quote:

"...our keynote speaker will be Tom Hayden, who was well known as a
protestor during Vietnam..."
--

Vietnam center creates new post

http://independent.gmnews.com/news/2009/0709/front_page/003.html

Deputy director brings military, management experience

BY ERIN O. STATTEL Staff Writer
7/9/09

The New Jersey Vietnam Veterans' Memorial Foundation has named an
Eatontown veteran to oversee day-today operations and programs that
educate the public about the Vietnam veteran's experience for the
Vietnam Era Educational Center.

Kenneth Gurbisz, a Vietnam veteran and a volunteer at the educational
center, has been named deputy director of education and operations at
the center, which, the website states, is the first educational
center and museum of its kind in the U.S.

According to the website, the center was dedicated in September 1998
and is devoted solely to promoting understanding of the conflict in
Southeast Asia and the surrounding political strife in America.

The center is located next to the New Jersey Vietnam Veterans'
Memorial, which honors all who served during the Vietnam War,
especially the 1,562 New Jerseyans who did not return home, the
website states.

"In March, I was approached and asked if I would consider taking the
job, and I said absolutely," Gurbisz said. "I have been volunteering
at the [memorial] for the past six years and I love being here."

As a 27-year employee of PSE&G, Gurbisz held both supervisory and
management positions in the company's fossil production department
until his retirement in 2003.

Gurbisz came out of retirement to teach mathematics at the
Monmouth-Ocean Educational Services Commission (MOESC) in Tinton
Falls, and presently serves as an adjunct professor in management at
Brookdale Community College.

He holds a bachelor's degree in industrial engineering from the New
Jersey Institute of Technology, as well as a master's degree in
education and human development from George Washington University in
Washington, D.C.

Gurbisz's credentials include serving in Vietnam.

"I served in the Army for almost three years during the Vietnam War,
one of them as a helicopter pilot in Vietnam," he said. "Like many
Vietnam veterans, I didn't join or become part of anything
afterwards. The center here is great and it is a wonderful memorial
to those who served in Vietnam."

In a newly created position, Gurbisz will take on some of the duties
that former Executive Director Kelly Watts carried out for 17 years.

"I have loved every minute working with the veterans," Watts told
Greater Media Newspapers in May. "It truly is rewarding work, but it
was time for me to move on and I hope the center continues to thrive."

Watts left the foundation earlier this year to take over the post of
director of development at The Rutgers School of Environmental and
Biological Studies, formerly Cook College.

"We are fortunate to have someone with Ken's credentials join our
staff," said Jim Cusick, president of the board of trustees. "His
experience in Vietnam, coupled with his background in business and
education, will serve us well as we continue to tell our story to
students and visitors of all ages."

Currently, the new deputy director of education and operations said
he is working on a forum that the memorial will hold later this year.

"Right now, I am beginning to set up October's teacher forum, and our
keynote speaker will be Tom Hayden, who was well known as a protestor
during Vietnam and is probably better known for his marriage to Jane
Fonda," Gurbisz said. "The theme for this year is 'Three Faces, Three
Views' and the five topics are the draft, military action, protests,
social issues and diplomacy."

Gurbisz, who has been in his new post for all of six weeks, said that
since he is so passionate about Vietnam veterans' affairs, the job is
a natural fit.

"It is nice to do something that you are passionate about," he said.

Gurbisz said there are no plans to expand the scope of the
educational center to include veterans of the war in Iraq. His son,
Capt. James M. Gurbisz, a graduate of West Point Military Academy and
a Monmouth Regional High School scholar-athlete, was killed by an IED
on Nov. 10, 2005, while

serving in Baghdad. The younger Gurbisz, who was 25 at the time of
his death, was assigned to the 26th Forward Support Battalion, 2nd
Brigade, 3rd Infantry Division, based at Fort Stewart, Ga. The next
program at the New Jersey Vietnam Veterans' Memorial, "Going
Underground: Tunnel Rats in Vietnam," will be held Saturday, July 18,
at 1 p.m. The presentation, which will be a discussion led by N.J.
Vietnam veterans, will be about the important role that soldiers
known as "tunnel rats" played in the war.

According to the Department of History at the University of Richmond,
Va., tunnel rats were American soldiers lowered into the extensive
tunnel system used by the Vietcong.

"They were usually smaller in stature and equipped only with knives,
pistols and flashlights," describes Richmond's Professor Ernest C.
Bolt's Web page on the People'sWar and Tran Van Tra.

The New Jersey Vietnam Veterans' Memorial is open 24 hours a day,
seven days a week, and is located off exit 116 of the Garden State
Parkway. The Educational Center, adjacent to the memorial, is open
Tuesday through Saturday, 10 a.m.-4 p.m. For more information about
the memorial or educational center, call the New Jersey Vietnam
Veterans' Memorial Foundation at 1-800- 648-VETS or visit www.njvvmf.org.

.

Monday, July 20, 2009

Rainbows in New Mexico

[4 articles]

Rainbows in New Mexico

http://www.opednews.com/articles/Rainbows-in-New-Mexico-by-Dick-Overfield-090708-35.html

by Dick Overfield
July 8, 2009

During the months of June & July, The Rainbow Family of Light is
having an annual gathering in the Santa Fe National Forest some
thirty miles northeast of Cuba, in northwestern New Mexico. The
opening days were a bit wet & muddy. It's the monsoon season in New
Mexico so the rain came as no surprise to some 13,000 people
celebrating a desire for world peace, freedom & the power of universal love.

The Rainbow Family of Light is an extended, loosely structured tribal
community that dates back to the mid sixties when they held their
first gathering in southern Colorado. They are a sophisticated,
politically astute society of free spirits who pose a clear &
distinctly viable alternative to the anti-humanist aggressiveness of
American consumption based free market capitalism. Their economic
policies are based on barter. Necessities are available based on
need. There are no celebrities in their vision of the world. Broad
decisions made on behalf of others are made by "elders." That is
about as oligarchic as it gets.

There is an undeniable vein of Luddite values in their world view.
They actively shun alcohol, most drugs, technology & money based
economic systems whenever possible. They reject greed, excessive
materialism, competitiveness & militarism of any kind. They believe
we are here to learn, share & take care of each other. The natural
world is a source of wisdom to be protected & revered as opposed to a
resource to be exploited for profit & then consumed. They openly
celebrate sensuality & eroticism on an intimate, personal level. They
celebrate & revere children & childhood.

Rainbow Family members are not utopian. They are genuine realists &
dedicated, nonviolent revolutionaries. They believe peace in our
time is not an empty phrase. With a pagan exuberance, they are
passionately dedicated to making it happen now.

For the Rainbow Family of Light, tolerance, kindness & unconditional
love are goals of the highest order to be pursued on an individual
level from moment to moment. That is a tall order. It is
particularly so in the face of the general cynicism & mindlessly
reflexive materialism of hostile outsiders who consistently
misunderstand & fear them. The Albuquerque Journal, with its typical
obtuse, wrongheaded, crime & violence obsessed main stream media
fixation on the sordid, called the Gathering a "mudfest." Family
members have always made it clear that cameras not be used when
attending events at the Gathering, but Journal photographers were
there anyway contemptuously & intrusively taking the photographs they
believed they had a right to take for their front page no matter what.

All in all, Cuba, with roughly 800 residents & the Cuba police
department have handled themselves very well. In June, during the
early stages of the Gathering, law enforcement officers arrested a
group of family members for marijuana possession, unleashed dogs &
other minor infractions. The group appeared before an Albuquerque
judge who reduced their offenses by half & set a fine accordingly &
invited them to return to their event in the Santa Fe Forest.

I asked an eighteen year old skate boarding jujitsu adept freshman
from the University of New Mexico who had been there two & a half
days what he thought of it all. He raised both hands making a big
peace sign & said it was the most amazing experience he has ever had.

Right on!

--------

Rainbow Family Gathers for Peace

http://www.voanews.com/english/AmericanLife/2009-07-06-voa51.cfm

By Erika Celeste
Santa Fe National Forest, New Mexico
06 July 2009

While most people express a desire for world peace, few have any
idea how to bring it about. Some get involved in politics or
community service; others support organizations working for conflict
resolution. Many say a prayer for peace in their worship services.
For the past 37 years, people from all 50 U.S. states as well as many
foreign countries have spent the July Fourth holiday in Santa Fe
National Forest near Cuba, New Mexico to pray for world peace.

There is a Native American legend which says when the earth is broken
and the land is dying, a tribe of many colors and creeds, like the
rainbow, will rise up to heal the planet. These special people would
be known as the Rainbow Warriors.

In 1972, a group of about 2,000 free-spirited individuals decided to
hold a gathering for world peace and took the name, the Rainbow
Family, in honor of the legendary clan. A man who goes by the name
Barry Plunkar helped organize the first gathering, which was to
include an hour of silence for participants to meditate for peace.

"Now there is not any one place on this planet where you could impose
any sort of authoritative silence on any of these people," he says.

Only half of those present kept quiet. So the organizers made the
silence voluntary and suggested that those who would like to
participate should gather in a circle. Soon Christians and Krishnas,
Buddhists and pagans, Jews and atheists were joining in the quiet
celebration, holding hands in a meditation circle of peace. Over the
years, the hour of silence has expanded, and now the circle lasts
from dawn until noon.

"So there's no way to impose silence. It has to come from the
community," Plunkar says. "That's self-discipline on the part of individuals."

Hour of silence grows into week of activities

The silence isn't the only thing that has grown over the years. The
event itself has also grown, from a weekend to a full week of
impromptu workshops, discussions and activities, with as many as
20,000 participants.

Plunkar says people often begin camping in the forest as much as a
month early to prepare for the gathering, while others stay after the
event on clean-up duty.

"We all share one thing: We show respect to one another, with the
idea and the vibration that if we truly had any love or respect for
one another, we would not lay [power] trips on one other," Plunkar
says. "We are not above one other; we're not below. We're sort of
living a natural equality."

Because of this natural equality, Rainbows believe in
self-responsibility and govern by consensus instead of through a
hierarchy. There are no leaders, because that would be exercising
control over another. There are no rules, except to treat each other
with respect. Therefore, there are no membership requirements. Anyone
who wants to be a Rainbow is a Rainbow.

Participants bring their talents

Denny, a man with long, blond dreadlocks, says while this may sound
like it would inspire chaos, quite the opposite is true.

"We're known as the world's biggest unorganized organization, so
everybody has to take it upon themselves to decide what their duty
is. I personally love cooking, so I come with my talent and whatever
I can, and a lot of people here have better talents to, say, make a
tarp over the kitchen than, say, I do. So everybody comes out and
brings whatever talent they can."

While some people dig trenches for latrines, others carry logs to
construct foot bridges on forest paths, and still others erect tarps
to shield sleeping quarters from the harsh sun. It's become a
tradition to name the various campsites, so participants set up tents
among the trees in areas called "Camp Kitten," 'Love Militia" and
"Sushi Tribe."

It's a massive volunteer effort to feed the Rainbows during their
gathering. Denny is one of a few dozen people running the kitchens,
which serve free food. Like the campsites, the kitchens have catchy
names. You can grab a bite to eat at sites like "Instant Soup,"
"Jesus Kitchen" and "Lovin' Oven." And many of the attendees take
colorful Rainbow names, as well.

Food, music, merriment

Turtle Girl is a marketing executive from Wisconsin. Dressed casually
in a sweatshirt and khakis and sporting a cowboy hat, she kneads
sourdough for bread near a large earthen oven. She says she's learned
an important lesson from attending gatherings.

"Do we all know how to be kind to each other and treat each other
with respect, no matter what walk of life you're in? That's what we
should all be trying to do."

Musicians playing everything from folk music to rap wander through
the forest, engaged in spontaneous jam sessions. Each day, people
gather in the meadow in small circles for workshops on everything
from herbal healing and tai chi to drumming and juggling. An outdoor
market is set up along a path through the forest. Rainbows display
bumper stickers, crystals, candy and other wares on blankets. Goods
are purchased through barter and trade, not money.

A special area called Kid Village is set up for the smallest
Rainbows. Medicine Story, a Wampanoag Indian from Massachusetts, uses
his talent as a counselor to organize special games and music for kids.

"It's like a summer school in trying to figure out how to live
together in a good way," Story says. "To me, the most important part
of that is how we are with the kids and, of course, how we are with
each other, because that effects the kids, too, and so that's my main focus."

Silent prayers for world peace

Excitement builds as the time for silence draws near. Robby is a
Rainbow elder, a respected member who has attended many gatherings. A
slight man, he sits in his wheelchair in front of his tepee and
recalls his first one.

"I was sitting together in silence with my daughter, and I was
crying. There were tears all over my face for Mother Earth, and a
sparrow landed on my foot, a little sparrow. That's the kind of thing
that happens in silence."

Turtle Girl smiles as she explains what it's like to be among 20,000
people gathered silently in a meadow, praying for peace.

"It's kind of an interesting thing to stand in a circle when you
can't see the other end, and you know you're all thinking about the
same thing that we wish we could stop war and have a peaceful family
- it always makes me cry."

As the sun rose high in the Santa Fe Forest on Independence Day, the
Rainbow's prayer for peace was spreading. Across the Atlantic Ocean,
a second Rainbow Gathering was taking place in a forest in Ukraine.
At noon, the silence broke and people begin to sing as the youngest
Rainbows led a parade across the meadow, signifying the bright
promise of tomorrow in a world of peace.

--------

'Rainbow people' ­ fewer this time ­ grace area forest

http://www.smokymountainnews.com/issues/07_09/07_08_09/fr_rainbow_people.html

By David Tell
7/8/09

A much smaller contingent of Rainbow Family members than North
Carolina's Nantahala National Forest has sometimes experienced
descended on Buck Creek in the forest's Tusquitee District in late June.

In 1987, an estimated 12,000 Rainbow Family members converged on
Nantahala Forest in Graham County ­ an invasion that caused
substantially more problems than the recent incursion.

A group of Rainbowers numbering 50 to 60 had converged at a campsite
in the national forest in Clay County off U.S. 64 west of Franklin.
Clay County Sheriff Joe Shook said it was actually four or five Clay
County residents that ended up with citations from the U.S. Forest
Service, however. It's not that the local residents were arrested for
harassing ­ or trying to join ­ the campers.

Instead the locals got tickets for various mundane violations, like
dead tags, expired licenses, no insurance, improper registration and
the like. Shook surmised the locals were driving out to the area to
get a look at the campers, Shook said.

"They was just out there looking seeing what was going on and the
Forest Service had set up some checking stations on Buck Creek. A
couple cars and trucks didn't have insurance, so they had them towed
in," Shook said.

Shook said the checkpoints were also not meant as a deterrent to
people bothering the peaceable campers, but were a routine practice.
Shook emphasized that the Rainbow Family campers presented no law
enforcement issues at all.

"If they don't cause us a problem, let's not create a problem," Shook
said of his attitude toward them. In fact, the only concern was
whether they would overstay the 14-day limit on camping. Leading up
to Fourth of July weekend ­ when they would have hit the 14-day mark
­ Shook said a deputy would continue to check on the encampment until
the campers left.

Attempts to get more detail from the Forest Service about the tickets
issued were unsuccessful.

The Rainbow Family is a decidedly unorganized, uncentralized group or
movement with its origins in the 1960s counterculture. The group
subscribes to a philosophy of love and peace. The Fourth of July is
apparently a traditional occasion for mass Rainbow campouts, which
they reportedly call "harmonic convergences." The events are said to
develop by word-of-mouth and through information made available on the web.

--------

Rainbow Gathering creates peace, love and piles of trash

http://www.kob.com/article/stories/S1021478.shtml?cat=519

07/09/2009
By: Gadi Schwartz, Eyewitness News 4; Charlie Pabst, KOB.com

The Rainbow Gathering in the Jemez Mountains near Cuba is over, but
the clean-up is not.

A few hundred hippies stayed behind to clean up, but they really have
their work cut out for them.

Rainbow Brother Roo has become an expert at sorting garbage from recyclables.

"There's always good fun stuff to find in the trash. It's like
treasure," Roo said. "Shirts and pants all this stuff that if you
throw it in the washing machine, it will be fine… you'll be able to
use it save you a few bucks."

It's tough to convince 10,000 people to take what they brought with
them. "We try to get the hippies to take a bag of trash with them
when they leave- and it's our policy that the trash get dispersed
more than a hundred miles away from here in all directions. We don't
want to overwhelm the local town," one member of the clean-up crew said.

But there are still piles of garbage waiting to be trucked out, and
since a lot of the hippies at the gathering hitchhiked, they didn't
take their trash with them.

It's expected to take about three weeks to clean everything.

.

Back to Biba: New film explores the fashion label

Back to Biba:
New film explores the fashion label that helped define a decade

http://www.independent.co.uk/life-style/fashion/news/back-to-biba-new-film-explores-the-fashion-label-that-helped-define-a-decade-1742750.html

By Rachel Shields
Sunday, 12 July 2009

It was the fashion hub of the swinging Sixties, as synonymous with
those years as the Beatles, miniskirts and the Kings Road. Biba was
credited with bringing fashion to the British high street until it
vanished almost without trace.

The reason for its disappearance is explored in Beyond Biba: A
Portrait of Barbara Hulanicki, which premieres this week. The
documentary is the first in a slew of films offering
behind-the-scenes access to the world of the fashion industry.

"Everyone had heard of Biba," said Tom Walters, a producer on Beyond
Biba. "It was a real part of swinging Sixties London, but Barbara was
reclusive, and most people in the UK don't know what happened to her
after Biba closed."

The ups and downs of Ms Hulanicki's life are captured in the film,
which shows the designer weeping when talking about the failure of
Biba. The label shut its doors in 1975 after financial difficulties
and relaunched in 2006 with the designer Bella Freud at the helm
rather than the label's founder.

Undaunted, Ms Hulanicki has recently enjoyed success on the British
high street for the second time, producing a sell-out line for
Topshop. However, she is keen to differentiate between her collection
and that of fellow Topshop designer Kate Moss. "She just gathers up
armfuls of vintage clothes and takes inspiration," said Ms Hulanicki.
"I suppose she is more styling than designing."

The film is not all beautiful people and wild parties, but relates
harrowing incidents from the Polish-born designer's past, including
the murder of her diplomat father, who was killed by the Zionist
extremist organisation, the Stern Gang, in 1948.

The film, which will be screened for the first time at the Victoria
and Albert Museum on Friday, is the first of several films aimed at
fashion fans this summer, with fashion legends Coco Chanel and Vogue
editor Anna Wintour both getting the Hollywood treatment.

The much-anticipated Coco avant Chanel, which stars the French
actress Audrey Tatou as the designer, and explores her modest
childhood and younger years, will hit UK screens on 31 July. Hot on
its heels is The September Issue, a fly-on-the-wall documentary
following Wintour as she creates the September issue of Vogue. The
film is released in September.

"There is an innate glamour in the pairing of fashion and film, they
are natural bedfellows," said Ali Jaafar, international editor of
Variety magazine. "And with people like Barbara Hulanicki and Chanel,
you generally get a rags-to-riches tale, which is a natural narrative."

.

History By The Book [Moe's Books]

History By The Book

http://www.dailycal.org/article/106027/history_by_the_book

Moe's Books, the Well-Known Local Vendor of Used Volumes,
Commemorates a Half Century of Business

By Arielle Little
Contributing Writer
Thursday, July 9, 2009

Cavernous yet towering, world-renowned yet familiar, Moe's Books on
Telegraph is a landmark in the Berkeley community. Sporting a
red-and-white striped canopy and a sign announcing "four floors of
books," it is one of the few remaining independent bookstores near
campus. A destination for book lovers from around the globe, the
store will be celebrating the 50th anniversary of its founding this
Saturday, July 11.

Moe's Books is a place where books are more than a commodity. People
go to chain bookstores when they need to buy a certain title. People
go to Moe's Books when they need to lose themselves between crammed
shelves, discover a passion for an obscure subject or search for
hidden treasures. "I am always surprised by what I find here. I never
come here with any intentions, and I always end up buying something,"
said customer Eric Heinonen, a visual culture student from UC Santa
Cruz who frequents the shop about once a month. "It is definitely my
favorite bookstore in the country, or even in the world."

A native of Queens, New York, Moe Moskowitz and his wife Barbara
opened the first Moe's Books on Shattuck Avenue in 1959 but soon
moved the store to its present neighborhood. A true eccentric,
Moskowitz became a legendary figure in Berkeley. He could often be
found behind the counter, smoking his characteristic cigar, loudly
singing his favorite songs or examining the books that a potential
seller had brought in for inspection, according to John Wong, an
antiquarian expert who has worked at the store for 30 years.

Standing next to a basket of Moe's old pool balls on the fourth
floor, Wong remembers his longtime friend fondly. "He never read, but
he could spontaneously quote all of these authors," Wong said. "It
was a source of pride for him to come 3,000 miles to the other coast
and be a commercial success."

That pride was legitimate, and the selection of new and used books at
Moe's Books continues to be impressive. There is an entire bookshelf
of chess strategy literature, as well as nearly 10 different versions
of Alexis de Tocqueville's "Democracy in America."

When Moe passed away in 1997, his daughter Doris Moskowitz took
ownership of the store. Doris works in the store most days during
regular business hours. Sitting in one of the sun-flooded corners of
the fiction section one afternoon, she recounted a childhood memory
of growing up in Moe's Books.

"When I was little there was a record department in the store, and it
was right next to the kids section," she said, smiling. "I remember
being in the store and when my mom would read to me, it would have
this amazing soundtrack. Whether it was Miles Davis or Jimi Hendrix,
when I remember it, I remember thinking that I couldn't believe my
good fortune to be in this exciting place."

But as much as the 50th Anniversary bash planned for Saturday is
meant to celebrate the history and tradition of Moe's Books, it is
also meant to celebrate the employees who make it a real bookstore
experience. "Saturday is about the people who work here," Moskowitz
said. "My father's legacy is the 27 jobs he created. It is the
employees that make (Moe's Books) work."

The employees have an extensive knowledge and passion for books, and
their expertise contributes to the store's close-knit community. "The
reason the books are all so awesome is that the (employees) are
constantly referring to each other and constantly culling over the
collection," Moskowitz remarked.

The store has also become a center for discussion. "You can have an
idea and you can come here and explore it with all these other
thinkers," she said. Moe's Books has a history of being not only a
place for scholarly discourse but also a safe haven. In the 1960s,
Free Speech Movement and Vietnam War protesters sought refuge from
the police in the store, according to the shop's Web site. Today,
Moe's remains a space for the inquisitive.

Among the curious patrons who weave in and out of the shelves
nowadays, a few said they find Moe's Books more satisfying than
online shopping and go to the store simply to enjoy browsing the
ever-changing selection of titles. "I thought I'd have a good chance
of finding something here," said Justine Mendoza, a graduate of the
California College of the Arts. "I'd rather buy something here than
on Amazon."

In the past 50 years, Moe's Books has become part of the intellectual
culture surrounding the university and in the city of Berkeley as a
whole. A favorite haunt of students, residents and bibliophiles from
all walks of life, Moe's Books will remain a Berkeley tradition.

"For the population of Berkeley, books are not a luxury, they are a
pleasure," Moskowitz said. "And going to bookstores is a social experience."

.

Woodstock turns 40, and it's all history now

Woodstock turns 40, and it's all history now

http://www.cleveland.com/living/plaindealer/index.ssf?/base/living-2/1247387558162290.xml&coll=2

Looking back at icon of peace, love and music'
Sunday, July 12, 2009
Joanna Connors
Plain Dealer Reporter

Next month, the baby born at Woodstock turns 40.

For those of us old enough to remember Woodstock, this is slightly
depressing news, if not exactly unexpected. Time does march on.
Middle age comes to us all, if we live long enough -- even those
whose birth happened to be celebrated by half a million people on a
muddy field in upstate New York, most of them young enough to be
horrified by the possibility of turning 30, let alone 40.

They were stardust. Now they are golden-agers.

Milestone birthdays and anniversaries must be celebrated, and plenty
of both will be going on in the coming weeks, as the 40th anniversary
of Aug. 15-17, 1969, approaches. If you use any kind of media at all,
you may have no choice but to go on down to Yasgur's farm and get
yourself back to the garden.

Before we set off, though, one more thing about the Woodstock Baby --
if he or she actually does exist. Have you noticed anything unusual
about this 40-year-old?

Woodstock Baby has not written a memoir.

Woodstock Baby has not signed a deal for a reality TV show, either.
Woodstock Baby has not hired a publicist, or appeared at the MTV
Movie Awards, or confided in Oprah about his or her happy/sad childhood.

In short, Woodstock Baby has not cashed in or sold out. John
Sebastian, whose mind was boggled by a lot more than awe for the
miracle of life that day 40 years ago, had it right when he announced
the birth from the stage at Woodstock.

"That kid's gonna be far out, man," he said, and it's true: So far,
Woodstock Baby has remained far out. Of the public eye.

That anonymity makes W.B. a true member of the 21st-century
counterculture, countering a culture in which the notion of privacy
is as anachronistic as the Big Three automakers.

It also makes W.B. a rarity this milestone year, when Woodstock
nostalgia, translated into commerce, is everywhere. By the latest
count, 13 books are coming out. Woodstock Ventures, the business
entity that produced Woodstock in 1969, launched a Web site,
woodstock.com, where you can download music, and, of course, buy
Woodstock merch.

Ang Lee's film "Taking Woodstock" opens in Cleveland on Friday, Aug.
28. A new two-hour documentary, "Woodstock: Now & Then," premieres at
9 p.m. Friday, Aug. 14, on VH1 and at 8 p.m. Monday, Aug. 17, on the
History Channel.

Rhino Records has released two Woodstock CDs, and Warner Bros. has
released several DVD versions of the original 1970 documentary,
"Woodstock: 3 Days of Peace & Music," including two "Ultimate
Collector's Editions" available only at Amazon.com and Target.

And speaking of Target, its Woodstock collection includes a 20-can
insulated cooler tote ($17.99), kids' T-shirts ($8.99) and a truly
alarming item they call the "Adults' John Q. Woodstock costume&