As Wolfe wrote, “Well, the kids are just having an LSD experience without the LSD, that’s all, and this is what it looks like. Saturday night featured Kesey’s Acid Test, with music by Big Brother and the Holding Company and the Grateful Dead. The kind of thing that Burning Man is now, the idea that there are no spectators, it’s all art, was born that night.” Those of us who could accommodate that were part of the next era.
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“The Grateful Dead, and Kesey, and basically the audience, the people who came in costume and stoned and basically as performers themselves, were the show. “There was a kind of Beatnik era of art that got to participate in a big public way - and then pass,” Brand told Christensen. But as Jacopetti says in Eric Christensen’s documentary “Trips Festival 1966: The Movie,” “We didn’t go over as well because these people were out for rock ’n’ roll.” For his part, Brand saw the Trips Festival as a passing of the torch from the older, high-art Beat aesthetic to the new, drugs-and-rock-driven one. & the unexpectable.”įriday night’s program featured a multimedia installation called “America Needs Indians,” as well as Jacopetti’s experimental theater-art pieces. The Congress of Wonders, the Jazz Mice, liquid projections, etc.
#Tom and jerry aesthetic plus
The handbill advertising the Friday night “program” read: “Slides, movies, sound tracks, flowers, food, rock n’ roll, eagle lone whistle, Indians and anthropologists, plus Revelations - nude projections, the God box. When thousands of people poured into Longshoremen’s Hall that weekend, they found themselves part of an unclassifiable, participatory, drug-fueled, ecstatic, out-of-control 50-ring circus, party, art installation, light show and rock concert. The event was publicized by San Francisco’s radical ad man, Jerry Mander, and managed by a young promoter named Bill Graham, who had made his name holding two benefits for the San Francisco Mime Troupe and agreed to do the Trips Festival for free.
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The Trips Festival was the collective product of an eclectic group that included Kesey Stewart Brand, a Kesey associate who would become famous as publisher of the Whole Earth Catalog Ramon Sender, an electronic music composer and co-founder of the San Francisco Tape Music Center and Ben (later Roland) Jacopetti, an experimental artist and co-founder of Berkeley’s Open Theater.
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Although LSD was still legal at the time, the Festival’s creators disingenuously billed it as “an LSD experience without the LSD.” That was less than truthful: Many of the attendees were not just figuratively but actually tripping. The Trips Festival was inspired by acid and was all about acid. The novelist Ken Kesey’s “Acid Tests” had drawn attention to LSD the Grateful Dead sound man and underground chemist Augustus Owsley Stanley had begun making large quantities of the drug and by late 1965, a small but growing number of young Americans had begun taking it.Ī not-yet-formed subculture was bubbling below society’s surface. The secret sauce of the nascent hippie scene was the psychedelic drug LSD, especially when combined with rock music - much of it played by musicians who were themselves high on acid. As Tom Wolfe wrote in his account of the festival in “The Electric Kool-Aid Acid Test,” “For the acidheads themselves, the Trips Festival was like the first national convention of an underground movement that had existed on a hush-hush cell-by-cell basis.”
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That show was groundbreaking, but the Trips Festival, as the three-night event was called, was epochal: It was the first time that the hitherto hidden-away psychedelic scene came fully into the open. As recounted in the past Portals, in October that same unlikely venue had been the scene of the city’s first rock dance concert, called a Tribute to Doctor Strange. The event that kicked off the hippie era, and whose cultural reverberations are still echoing today, took place in San Francisco’s Longshoremen’s Hall on the evenings of Jan. Barney Peterson/The Chronicle 1966 Show More Show Less The Trips Festival Acid Test at Longshoreman’s Hall, where the Grateful Dead performed. Michael Ochs Archives/Getty Images 1967 Show More Show Less 2 of2 Beat poet Allen Ginsberg chats with hippies on a street corner in San Francisco in early summer 1967.