嬉皮士乐队的成员介绍
The hippie subculture was originally a youth movement that began in the United States during the mid-1960s and spread around the world. The word hippie derives from hipster, and was initially used to describe people who created their own communities, listened to psychedelic rock, embraced the sexual revolution, and used drugs such as cannabis and LSD to explore alternative states of consciousness.
On January 1967, the Human Be-In at Golden Gate Park in San Francisco popularized hippie culture, leading to the legendary Summer of Love on the West Coast of the United States, and the 1969 Woodstock Festival on the East Coast. Hippies in Mexico, known as jipitecas, formed La Onda Chicana and gathered at Avándaro, while in New Zealand, nomadic housetruckers practiced alternative lifestyles and promoted sustainable energy at Nambassa. In the United Kingdom, mobile "peace convoys" of New age travellers made summer pilgrimages to free music festivals at Stonehenge. In Australia hippies gathered at Nimbin for the 1973 Aquarius Festival and the annual Cannabis Law Reform Rally or MardiGrass. In Chile, "Festival Piedra Roja" was held in 1970 (following Woodstock's success), and was the major hippie event in that country.
Hippie fashions and values had a major effect on culture, influencing popular music, television, film, literature, and the arts. Since the 1960s, many aspects of hippie culture have been assimilated by mainstream society. The religious and cultural diversity espoused by the hippies has gained widespread acceptance, and Eastern philosophy and spiritual concepts have reached a wide audience. The hippie legacy can be observed in contemporary culture in myriad forms — from health food, to music festivals, to contemporary sexual mores, and even to the cyberspace revolution.
During the early 1960s novelist Ken Kesey and The Merry Pranksters lived communally in California. Members included Beat Generation hero Neal Cassady, Ken Babbs, Carolyn Adams (aka Mountain Girl), Wavy Gravy, Paul Krassner, Stewart Brand, Del Close, Paul Foster, George Walker, Sandy Lehmann-Haupt and others. Their early escapades were documented in Tom Wolfe's book The Electric Kool-Aid Acid Test. With Cassady at the wheel of a school bus named Furthur, the Merry Pranksters traveled across the United States to celebrate the publication of Kesey's novel Sometimes a Great Notion and to visit the 1964 World's Fair in New York City. The Merry Pranksters were known for using marijuana, amphetamines, and LSD, and during their journey they "turned on" many people to these drugs. The Merry Pranksters filmed and audiotaped their bus trips, creating an immersive multimedia experience that would later be presented to the public in the form of festivals and concerts. Grateful Dead wrote a song about the Merry Pranksters' bus trips called "That's It For The Other One".[26]
During this period Cambridge, Massachusetts, Greenwich Village in New York City, and Berkeley, California, anchored the American folk music circuit. Berkeley's two coffee houses, the Cabale Creamery and the Jabberwock, sponsored performances by folk music artists in a beat setting.[27] In April 1963, Chandler A. Laughlin III, co-founder of the Cabale Creamery,[28] established a kind of tribal, family identity among approximately fifty people who attended a traditional, all-night Native American peyote ceremony in a rural setting. This ceremony combined a psychedelic experience with traditional Native American spiritual values; these people went on to sponsor a unique genre of musical expression and performance at the Red Dog Saloon in the isolated, old-time mining town of Virginia City, Nevada.[29]
In the summer of 1965, Laughlin recruited much of the original talent that led to a unique amalgam of traditional folk music and the developing psychedelic rock scene.[29] He and his cohorts created what became known as "The Red Dog Experience", featuring previously unknown musical acts — Big Brother and the Holding Company, Jefferson Airplane, Quicksilver Messenger Service, The Charlatans, The Grateful Dead and others — who played in the completely refurbished, intimate setting of Virginia City's Red Dog Saloon. There was no clear delineation between "performers" and "audience" in "The Red Dog Experience", during which music, psychedelic experimentation, a unique sense of personal style and Bill Ham's first primitive light shows combined to create a new sense of community.[30] Laughlin and George Hunter of the Charlatans were true "proto-hippies", with their long hair, boots and outrageous clothing of nineteenth-century American (and Native American) heritage.[29] LSD manufacturer Owsley Stanley lived in Berkeley during 1965 and provided much of the LSD that became a seminal part of the "Red Dog Experience", the early evolution of psychedelic rock and budding hippie culture. At the Red Dog Saloon, The Charlatans were the first psychedelic rock band to play live (albeit unintentionally) loaded on LSD.[31]
When they returned to San Francisco, Red Dog participants Luria Castell, Ellen Harman and Alton Kelley created a collective called "The Family Dog."[29] Modeled on their Red Dog experiences, on October 16, 1965, the Family Dog hosted "A Tribute to Dr. Strange" at Longshoreman's Hall.[32] Attended by approximately 1,000 of the Bay Area's original "hippies", this was San Francisco's first psychedelic rock performance, costumed dance and light show, featuring Jefferson Airplane, The Great Society and The Marbles. Two other events followed before year's end, one at California Hall and one at the Matrix.[29] After the first three Family Dog events, a much larger psychedelic event occurred at San Francisco's Longshoreman's Hall. Called "The Trips Festival", it took place on January 21–January 23, 1966, and was organized by Stewart Brand, Ken Kesey, Owsley Stanley and others. Ten thousand people attended this sold-out event, with a thousand more turned away each night.[33] On Saturday January 22, the Grateful Dead and Big Brother and the Holding Company came on stage, and 6,000 people arrived to imbibe punch spiked with LSD and to witness one of the first fully developed light shows of the era.[34]
It is nothing new. We have a private revolution going on. A revolution of individuality and diversity that can only be private. Upon becoming a group movement, such a revolution ends up with imitators rather than participants...It is essentially a striving for realization of one's relationship to life and other people...
—Bob Stubbs, "Unicorn Philosophy"[35]
By February 1966, the Family Dog became Family Dog Productions under organizer Chet Helms, promoting happenings at the Avalon Ballroom and the Fillmore Auditorium in initial cooperation with Bill Graham. The Avalon Ballroom, the Fillmore Auditorium and other venues provided settings where participants could partake of the full psychedelic music experience. Bill Ham, who had pioneered the original Red Dog light shows, perfected his art of liquid light projection, which combined light shows and film projection and became synonymous with the San Francisco ballroom experience.[29][36] The sense of style and costume that began at the Red Dog Saloon flourished when San Francisco's Fox Theater went out of business and hippies bought up its costume stock, reveling in the freedom to dress up for weekly musical performances at their favorite ballrooms. As San Francisco Chronicle music columnist Ralph J. Gleason put it, "They danced all night long, orgiastic, spontaneous and completely free form."[29]
Some of the earliest San Francisco hippies were former students at San Francisco State College[37] who became intrigued by the developing psychedelic hippie music scene.[29] These students joined the bands they loved, living communally in the large, inexpensive Victorian apartments in the Haight-Ashbury.[38] Young Americans around the country began moving to San Francisco, and by June 1966, around 15,000 hippies had moved into the Haight.[39] The Charlatans, Jefferson Airplane, Big Brother and the Holding Company, and the Grateful Dead all moved to San Francisco's Haight-Ashbury neighborhood during this period. Activity centered around the Diggers, a guerrilla street theatre group that combined spontaneous street theatre, anarchistic action, and art happenings in their agenda to create a "free city". By late 1966, the Diggers opened free stores which simply gave away their stock, provided free food, distributed free drugs, gave away money, organized free music concerts, and performed works of political art.[40]
On October 6, 1966, the state of California declared LSD a controlled substance, which made the drug illegal.[41] In response to the criminalization of psychedelics, San Francisco hippies staged a gathering in the Golden Gate Park panhandle, called the Love Pageant Rally,[41] attracting an estimated 700–800 people.[42] As explained by Allan Cohen, co-founder of the San Francisco Oracle, the purpose of the rally was twofold: to draw attention to the fact that LSD had just been made illegal — and to demonstrate that people who used LSD were not criminals, nor were they mentally ill. The Grateful Dead played, and some sources claim that LSD was consumed at the rally. According to Cohen, those who took LSD "were not guilty of using illegal substances...We were celebrating transcendental consciousness, the beauty of the universe, the beauty of being."[43]
Summer of Love (1967)
Homemade tie-dyed t-shirts added a psychedelic flavor to hippie dress
On January 14, 1967, the outdoor Human Be-In organized by Michael Bowen[44] helped to popularise hippie culture across the United States, with 20,000 hippies gathering in San Francisco's Golden Gate Park. On March 26, Lou Reed, Edie Sedgwick and 10,000 hippies came together in Manhattan for the Central Park Be-In on Easter Sunday.[45] The Monterey Pop Festival from June 16 to June 18 introduced the rock music of the counterculture to a wide audience and marked the start of the "Summer of Love."[46] Scott McKenzie's rendition of John Phillips' song, "San Francisco", became a hit in the United States and Europe. The lyrics, "If you're going to San Francisco, be sure to wear some flowers in your hair", inspired thousands of young people from all over the world to travel to San Francisco, sometimes wearing flowers in their hair and distributing flowers to passersby, earning them the name, "Flower Children." Bands like the Grateful Dead, Big Brother and the Holding Company (with Janis Joplin), and Jefferson Airplane continued to live in the Haight, but by the end of the summer, the incessant media coverage led the Diggers to declare the "death" of the hippie with a parade.[47][48] According to the late poet Susan 'Stormi' Chambless, the hippies buried an effigy of a hippie in the Panhandle to demonstrate the end of his/her reign.
Regarding this period of history, the July 7, 1967, Time magazine featured a cover story entitled, "The Hippies: The Philosophy of a Subculture." The article described the guidelines of the hippie code: "Do your own thing, wherever you have to do it and whenever you want. Drop out. Leave society as you have known it. Leave it utterly. Blow the mind of every straight person you can reach. Turn them on, if not to drugs, then to beauty, love, honesty, fun."[49] It is estimated that around 100,000 people traveled to San Francisco in the summer of 1967. The media was right behind them, casting a spotlight on the Haight-Ashbury district and popularizing the "hippie" label. With this increased attention, hippies found support for their ideals of love and peace but were also criticized for their anti-work, pro-drug, and permissive ethos.
By the end of the summer, the Haight-Ashbury scene had deteriorated. The neighborhood could not accommodate the influx of crowds (mostly naive youngsters) with no place to live. Many took to living on the street, panhandling and drug-dealing. There were problems with malnourishment, disease, and drug addiction. Crime and violence skyrocketed. By the end of 1967, many of the hippies and musicians who initiated the Summer of Love had moved on. Misgivings about the hippie culture, particularly with regard to drug abuse and lenient morality, fueled the moral panics of the late 1960s.[50]
Revolution (1967–1970)
Hippies relaxing at the 1969 Woodstock Festival
In April 1969, the building of People's Park in Berkeley, California received international attention. The University of California, Berkeley had demolished all the buildings on a 2.8-acre (11,000 m2) parcel near campus, intending to use the land to build playing fields and a parking lot. After a long delay, during which the site became a dangerous eyesore, thousands of ordinary Berkeley citizens, merchants, students, and hippies took matters into their own hands, planting trees, shrubs, flowers and grass to convert the land into a park. A major confrontation ensued on May 15, 1969, when Governor Ronald Reagan ordered the park destroyed, which led to a two-week occupation of the city of Berkeley by the United States National Guard.[51] Flower power came into its own during this occupation as hippies engaged in acts of civil disobedience to plant flowers in empty lots all over Berkeley under the slogan "Let A Thousand Parks Bloom".
In August 1969, the Woodstock Music and Art Fair took place in Bethel, New York, which for many, exemplified the best of hippie counterculture. Over 500,000 people arrived[52] to hear the most notable musicians and bands of the era, among them Richie Havens, Joan Baez, Janis Joplin, The Grateful Dead, Creedence Clearwater Revival, Crosby, Stills, Nash & Young, Carlos Santana, The Who, Jefferson Airplane, and Jimi Hendrix. Wavy Gravy's Hog Farm provided security and attended to practical needs, and the hippie ideals of love and human fellowship seemed to have gained real-world expression.
In December 1969, a similar event took place in Altamont, California, about 30 miles (45 km) east of San Francisco. Initially billed as "Woodstock West", its official name was The Altamont Free Concert. About 300,000 people gathered to hear The Rolling Stones; Crosby, Stills, Nash and Young; Jefferson Airplane and other bands. The Hells Angels provided security that proved far less benevolent than the security provided at the Woodstock event: 18-year-old Meredith Hunter was stabbed and killed during The Rolling Stones' performance.[53]
Aftershocks (1970-present)
At the Rainbow World Gathering 2004 in Costa Rica
By the 1970s, the 1960s zeitgeist that had spawned hippie culture seemed to be on the wane.[54][55] The events at Altamont shocked many Americans, including those who had strongly identified with hippie culture. Another shock came in the form of the Sharon Tate and Leno and Rosemary LaBianca murders committed in August 1969 by Charles Manson and his "family" of followers. Nevertheless, the turbulent political atmosphere that featured the bombing of Cambodia and shootings by National Guardsmen at Jackson State University and Kent State University still brought people together. These shootings inspired the May 1970 song by Quicksilver Messenger Service "What About Me?", where they sang, "You keep adding to my numbers as you shoot my people down", as well as Neil Young's "Ohio", recorded by Crosby, Stills, Nash and Young.
Much of hippie style had been integrated into mainstream American society by the early 1970s.[56][57][58] Large rock concerts that originated with the 1967 Monterey Pop Festival and the 1968 Isle of Wight Festival became the norm. In the mid-1970s, with the end of the draft and the Vietnam War, a renewal of patriotic sentiment associated with the approach of the United States Bicentennial and the emergence of punk in London and New York, the mainstream media lost interest in the hippie counterculture. Acid rock gave way to heavy metal, disco, and punk rock.
Starting in the late 1960s, hippies began to come under attack by working class skinheads. [59][60][61] Hippies were also vilified and sometimes attacked by punks, revivalist mods, greasers, football casuals, Teddy boys and members of other youth subcultures of the 1970s and 1980s. Hippie ideals had a marked influence on anarcho-punk and some post-punk youth subcultures, especially during the second summer of love.
While many hippies made a long-term commitment to the lifestyle, some younger people argue that hippies "sold out" during the 1980s and became part of the materialist, consumer culture.[62][63] Although not as visible as it once was, hippie culture has never died out completely: hippies and neo-hippies can still be found on college campuses, on communes, and at gatherings and festivals. Many embrace the hippie values of peace, love, and community, and hippies may still be found in bohemian enclaves around the world.[13]
Ethos and characteristics
Hippies sought to free themselves from societal restrictions, choose their own way, and find new meaning in life. One expression of hippie independence from societal norms was found in their standard of dress and grooming, which made hippies instantly recognizable to one another, and served as a visual symbol of their respect for individual rights. Through their appearance, hippies declared their willingness to question authority, and distanced themselves from the "straight" and "square" (i.e., conformist) segments of society.[64]
At the same time, many thoughtful hippies distanced themselves from the very idea that the way a person dresses could be a reliable signal of who he was, especially after outright criminals, like Charles Manson, began to adopt hippie personas, and also after plainclothes policemen started to "dress like hippies" in order to harass legitimate members of the counter-culture. Frank Zappa admonished his audience that "we all wear a uniform": the San Francisco clown/hippie Wavy Gravy said in 1987 that he could still see fellow-feeling in the eyes of Market Street businessman who'd dressed conventionally to survive.
A 1967 VW Kombi bus decorated with hand-painting
As in the beat movement preceding them, and the punk movement that followed soon after, hippie symbols and iconography were purposely borrowed from either "low" or "primitive" cultures, with hippie fashion reflecting a disorderly, often vagrant style.[65] As with other adolescent, white middle-class movements, deviant behavior of the hippies involved challenging the prevailing gender differences of their time: both men and women in the hippie movement wore jeans and maintained long hair,[66] and both genders wore sandals or went barefoot.[39] Men often wore beards,[67] while women wore little or no makeup, with many going braless.[39] Hippies often chose brightly colored clothing and wore unusual styles, such as bell-bottom pants, vests, tie-dyed garments, dashikis, peasant blouses, and long, full skirts; non-Western inspired clothing with Native American, Asia, Indian, African and Latin American motifs were also popular. Much of hippie clothing was self-made in defiance of corporate culture, and hippies often purchased their clothes from flea markets and second-hand shops.[68] Favored accessories for both men and women included Native American jewelry, head scarves, headbands and long beaded necklaces.[39] Hippie homes, vehicles and other possessions were often decorated with psychedelic art.
有叫dead can dance的
主唱：崔彻
自幼接触摇滚乐，14岁受邀辽宁电台献唱Eric Clapton代表作品《Tears In Heaven》，独特的硬摇滚嗓音及不可思议的音域是国内极少见到的，也是乐队亮点之一，17岁独自来到北京学习摇滚唱法，随后被北京现代音乐学院欧美演唱系录取，18岁就被中国一著名唱片公司签下，2010年8月份加入嬉皮士乐队。
吉他：信飞
从小受家庭影响接触音乐，接触了大量音乐风格，9岁学钢琴，12岁学习吉他，丰富的音乐理论和良好的乐感总是能让乐队创作中锦上添花，和高中时就与鼓手王梓繁在家乡举办校园巡演及参加各种大型晚会现场。2009年为了坚持摇滚梦想与鼓手王梓繁来到北京一专业音乐学院跟随国内blues大师张耘丰继续学习吉他，和声及编配，也是乐队领军人物。
吉他：翁曲弦
乐队创始人之一。高中时认识吉他手信飞，接触了摇滚乐之后立即休学独自去郑州找吉他老师学习吉他，08年在北京迷笛学校跟随郭志勇，顾中山继续学习吉他及理论编曲，复苏硬摇滚是他最大的梦想，执着的性格使他的音乐更严谨，乐队大部分原创都出自他手，创新的思想及对摇滚乐的态度影响着乐队每个人。
贝斯：周磊
内蒙包头人，乐队中年龄最大的一个，08年来到北京一专业音乐学院学习贝斯，曾做过许多乐队客串贝司，丰富的阅历指引着乐队每个人，2010年10月份经丝绒公路吉他手大薛介绍加入嬉皮士乐队，大家一拍即合，他的加入，嬉皮士乐队才算是正式成立！
鼓 ：王梓繁
跟吉他手小弦从小穿一条裤子长大，高中时接触摇滚乐，09年与信飞怀着一颗摇滚的心来到北京，踏实的态度及不满足的性格使他在专业上突飞猛进，担任过国内众多知名摇滚乐队鼓手，乐队创始人之一！
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颛怀复方： 性手枪
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