Dream Machine

Speaking of American Trancendentalism I came across this article in the Globe and Mail about Brion Gysin, Edmontonian, member of the beat generation, creator of the Dream Machine, William Burroughs collaborator and lover, and shaman. He is finally getting his due in a new documentary based on a biography written by another Edmontonian; John Gieger.

Back in the ninties I collaborated with Bruce Fletcher on a journal called Virus 23 published in Edmonton and wrote an article on Gysin.

Gysin grew up partly in Edmonton before leading a typically itinerant beat existence in Paris, London and Tangier. An enigmatic figure, even among Burroughs's coterie, he came up with the concept for the Dream Machine by accident. He was looking out of the window of a bus in 1958 while travelling to an artists' colony in Marseilles, and the flickering pattern of light through the trees gave him a feeling of transcendence.
Later, a young mathematician, Ian Sommerville, another within in the beat circle, helped to build the device. Gysin then spent years trying to peddle the invention to electronics and media companies. Long story short, his invention got no takers and Gysin died in relatively obscurity in Paris in 1986.
Only now is he getting his due. The Dream Machine is widely seen as much more than a mere device, as Gysin himself described it, but as an art piece, blending the Arabic patterns that influenced his work with his idea of a kind of almost mechanical abstraction that ran throughout his artistic work. For instance, Gysin is primarily known (and increasingly being rediscovered) for his “cut-ups,” pieces of newspaper joined randomly together.
What Burroughs and Gysin wanted was to fight societal control, to fight the middle-class normality that pervaded postwar America.
“Remember the transcendentalists in the American literary tradition – Emerson, Thoreau – and this whole tradition of individualism, of taking over your own world, whether it be Walden Pond or whatever,” Sheehan says. “It's often said that the beats were the 20th-century answer or echo of the transcendentalists. Again, ‘Take control, don't trust the Man. The control systems are out to get you. They are blasting at you their television and radio.'”
So Burroughs and Gysin's alternative was the Dream Machine. “And they literally were serious. They wanted to replace the television with these machines in everyone's suburban living room,” Sheehan adds.



Strange and wonderful visions of the counterculture

Based on John Geiger's well-received book Chapel of Extreme Experience: A Short History of Stroboscopic Light and the Dream Machine, Sheehan's compelling documentary delivers a culturally incisive job of unmasking Gysin. That's no small feat, considering the mercurial and spectre-like nature of a man who believed himself to be the reincarnation of the 10th-century King of Assassins and who counted writer William S. Burroughs, singer Marianne Faithfull and Brian Jones of the Rolling Stones among his friends and lovers.
Sheehan goes out of his way to prove that, for a man who lived in infamy and died (in 1986) in obscurity, Gysin's influence on today's culture extends beyond rap and dub poetry and into the emergence of audiences as creators of their own computer-made and distributed entertainment. Experts from stuffy neurosurgeons to hip DJs are interviewed in an attempt to shed light on Gysin as a visionary and the Dream Machine as a precursor to anything Apple Inc. puts an "i" in front of and sells to the creative masses: iPhones, iPods, iMovies.



A hit when it screened earlier this year at Toronto's Hot Docs Festival -- it was awarded a special jury prize for Canadian Documentary -- the film explores the life of Gysin, who was born in a Canadian military hospital in England in 1916, raised in Edmonton and lived the impoverished-yet-glamourous life glorified by the Beat writers. He left Canada for Paris, where he fraternized with the Surrealists and later lived in the Beat Hotel (where William S. Burroughs finished Naked Lunch and Allen Ginsberg wrote Kaddish); worked as a spy during the Second World War; and co-founded a restaurant for the expat community of Tangier, Morocco. A renaissance man, Gysin was a writer, an artist, and, perhaps most of all, an innovator; he was the originator of the "cut-up" technique (the literary process later used by Burroughs and others in which text is literally cut up, rearranged at random and reconstructed to make a new work). Sheehan, though, chooses to focus on the life of Gysin by filtering it through another one of his inventions: the dream machine.



Chapel of Extreme Experience: A Short History of Stroboscopic ... - Google Books Result



Interview with John Geiger
Author of Books on Brion Gysin and the Dream Machine
John Geiger is the author of four books. His first two concerned Arctic exploration. His next two, Chapel of Extreme Experience: A Short History of Stroboscopic Light and The Dream Machine and Nothing Is True - Everything Is Permitted: The Life of Brion Gysin, concerned the Beat movement. In an age when many authors opt for specialization, publishing book after book on the same topic, the range of Mr. Geiger’s publications might strike the casual observer as odd. Here’s a guy who is a Governor and Fellow of the Royal Canadian Geographical Society. What’s he doing writing about the Beats?
Impressed by the Gysin biography and curious to know more about the juxtaposition of Mr. Geiger’s interests, RealityStudio prepared the following interview questions and Mr. Geiger graciously agreed to respond.
RealityStudio: What first drew you to study Brion Gysin, William Burroughs, their peers and their era?
Geiger: I had written two books concerned with geographic exploration, and — at the time — didn’t want to write a third. I was interested in Gysin and Burroughs both as another kind of explorer, of inner space… I was also intrigued by the idea that someone like Gysin, a bohemian, gay, had come from Edmonton, Alberta, which was a small conservative town in the 1920s. He was such a fascinating creature, Brion: how is it that such a barren landscape — then — could produce such a harvest? But the idea for the book came from a lovely guy, James Grauerholz.



Interview with John Geiger(Pataphysics)

You’ve been working on this book for many years. What was the thing that really began your interest in Brion Gysin?
What surprised me was the discovery that Brion Gysin grew up in Edmonton, Alberta, which still has some very ‘old west’ sensibilities about the place, so you can well imagine what it would have been like in the 1920s, when Brion was there, growing up and receiving most of his schooling. It was a very conservative, small frontier town perched on the edge of the great forests of the North. It struck me as being remarkable that this kind of person could’ve come out of that kind of place. I think that exploration in our own time has been undertaken by people like William Burroughs and Brion Gysin, and I think in the case of Burroughs, a book like The Yagé Letters is very much a narrative of exploration, in the same way Ernest Shackleton’s narratives are. So to me, I was just conducting research into another very different manner of exploring. Those things together caught my interest. I was already aware of Gysin, but interestingly not throug! h Burroughs so much, although in hindsight I had seen his name obviously—you can hardly read Burroughs without seeing Gysin’s name or some reference to his ideas—but it was really through Paul Bowles that I first discovered him.
It’s interesting that right at the end of Semiotext(e)’s Burroughs Live, in a discussion with Allen Ginsberg, Burroughs mentions that Brion was a potent shaman. Certainly he had an erudite involvement with magic, and his availability to intuitive principles seems quite advanced. How did you take those things into consideration when you were writing the book?
When I first spoke to William Burroughs about the biography—he was an enthusiastic supporter—he made it very clear to me that the approach should be a conventional biography, and he felt that Brion needed to be taken seriously, and that there had been enough homages and remembrances, that really someone ought to just examine his life very carefully and set out the facts of that life. So, obviously his interest in ‘the other way,’ in what Burroughs called ‘the magical universe,’ was integral to Gysin’s character. I mean it’s something that he learned from the very earliest moments of his life from the Indian people he was encountering. Brion Gysin was always different, he wasn’t a normal child anymore than he was a normal adult, and consequently he found himself hanging out with people who were marginalized, even when he was a child. In the context of Canada in those years and p! robably even to this day, those people were aboriginal people, they were North American Indians. It was through those interactions that he first took magic mushrooms—that was when this interest really first took hold and he was introduced to an alternative approach to life and thought.



Key to Hallucinations Found

Almost fifty years ago, the beat poet Brion Gysin (1916 - 1986), described a visual hallucination that he experienced while riding a bus:
...Had a transcendental storm of colour visions today in the bus going to Marseille. We ran through a long avenue of trees and I closed my eyes against the setting sun. An overwhelming flood of intensely bright patterns in supernatural colours exploded behind my eyelids: a multidimensional kaleidoscope whirling out through space. I was swept out of time. I was in a world of infinite number. The vision stopped abruptly as we left the trees. Was that a vision? What happened to me? (Brion Gysin, 21 December 1958)
Gysin, a writer and performance artist, though known for his discovery of the cut-up technique, which inspired writers like William S. Burroughs, was also the co-inventor (along with scientist Ian Sommerville) of the Dreamachine, a stroboscopic flicker device designed to be viewed with the eyes closed and produces visual stimuli.
At the end of his documentation, Gysin asks, "Was that a vision? What happened to me?"
PURKINJE PATTERNS
According to Dominic ffytche of the Institute of Psychiatry in London, and author of 'The Hodology of Hallucinations,' a study recently published in an issue of Cortex, "Fifty years on we are able to answer Gysin's question." Gysin's hallucinations were quite similar to what Jan Purkinje (1787-1869), the father of contemporary neuroscience, experienced as a child.
"I stand in the bright sunlight with closed eyes and face the sun. Then I move my outstretched, somewhat separated, fingers up and down in front of the eyes, so that they are alternately illuminated and shaded. In addition to the uniform yellow-red that one expects with closed eyes, there appear beautiful regular figures that are initially difficult to define but slowly become clearer. When we continue to move the fingers, the figure becomes more complex and fills the whole visual field. (Purkinje, 1819)
When Purkinje moved his fingers, he simulated an effect similar to that of Gysin's Dreamachine.
Because of the brevity and unpredictability of hallucinations, up until now, surprisingly little is known about brain changes that occur during hallucinations—one cannot anticipate when a hallucination will occur. The chances of capturing a hallucination during a brain scanning are small.
However, it has long been recognized that flashes of light at particular frequencies, like those experience by Gysin and Purkinje, produce hallucinations of intricate patterns and vivid colors. Indeed, these stimulated visual patterns are described as Purkinje patterns. For anyone who's confused out there, the Purkinje patterns ffytche describes in his paper are much more complicated than the stuff everyone sees after a camera flash or when we stare at the sun too long without protective eyewear. They're actually much more than that.
"They are more complex...entirely unexpected the first time you encounter them. At slow rates of flashing through closed lids you experience exactly what you might expect, a dull red light pulsing with each flash. At the critical frequency the whole thing changes and colours, patterns and forms appear. The Beat poet Brion Gysin's description puts it better than I can."
Most people have a rough idea of what a hallucination experience might be like, but when it comes to defining a hallucination, that's more difficult. If a hallucination is defined as 'seeing or hearing something that is not actually there,' then dreams and imagery would be considered hallucinations.
According to ffytche, visual hallucinations, (people do hallucinate with other senses), "are located in the world around us, not in the mind's eye. They are not under our control, in the sense that we cannot bring them on or change them as they occur. They also look real and vivid, although the things one sees may be bizarre and impossible. Purkinje phenomena meet all these criteria and can thus be considered true hallucinations.
However, Purkinje phenomena are induced by experiment rather than occurring spontaneously as in the Charles Bonnet Syndrome, an eye disease that causes patients to have complex hallucinations. ffytche points out:
"We are only beginning to understand just how common this Syndrome is, partly because patients have been unwilling to admit their hallucinations for fear of being labeled as having serious mental illness. Charles Bonnet Syndrome patients almost all hallucinate patterns and geometrical forms identical to Purkinje phenomena. Many also see figures, objects and faces, the types of experience we generally associate with hallucinations. The hope is that what we learn from the Purkinje phenomena will also apply to these other hallucination experiences."
ffytche also adds that "most people will experience Purkinje hallucinations under appropriate conditions of visual stimulation, although their clarity and ease of induction varies from subject to subject. I have only encountered a few subjects who do not seem to have the experiences for reasons I do not fully understand. I assume the visual systems of such 'immune' subjects are wired up in a slightly different way."



SEE:

HOWL

New Age Libertarian Manifesto

100 years of the Avante-Garde 1905-2005

Kenneth Patchen

Tags
American Transcendentalism, Brion Gysin,
William Burroughs,
counter culture,
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John Geiger, dream machine,
beat culture,
Nik Sheehan,

Forty Years Ago

Happy New Year

2008 is the Fortieth Anniversary of the 1968 Revolution.

And once again the Amerikan Empire is in the throes of a foreign war and a Presidential Election. While a new activist movement has arisen in opposition to Imperialism, Globalization and Capitalism. What goes around comes around....Of course some folks dread that.

Tet Offensive



The Tet Offensive (Tet Mau Than) or Tong Cong Kich/Tong Khoi Nghia (General Offensive, General Uprising) was a three-phase military campaign launched between 30 January and 23 September 1968, by the combined forces of the National Front for the Liberation of South Vietnam (NLF, or derogatively, Viet Cong) and the People's Army of Vietnam (PAVN) during the Vietnam War (1955-1975). The purpose of the operations, which were unprecedented in their magnitude and ferocity, was to strike military and civilian command and control centers throughout the Republic of Vietnam (South Vietnam) and to spark a general uprising among the population that would then topple the Saigon government, thus ending the war in a single blow.

Paris

Constraints imposed on pleasure incite the pleasure of living without constraints.

The more I make love, the more I want to make revolution.
The more I make revolution, the more I want to make love.

Communiqué

Comrades,

Considering that the Sud-Aviation factory at Nantes has been occupied for two days by the workers and students of that city,

and that today the movement is spreading to several factories (Nouvelles Messageries de la Presse Parisienne in Paris, Renault in Cléon, etc.),

THE SORBONNE OCCUPATION COMMITTEE calls for

the immediate occupation of all the factories in France and the formation of Workers Councils.

Comrades, spread and reproduce this appeal as quickly as possible.

Sorbonne, 16 May 1968, 3:30 pm

" The only safeguard against authority and rigidity setting-in is a playful attitude."
Raoul Vaneigem.

Chicago





Chicago: demonstrators gather at grant park (Aug. 1968).
photo: Fred W. McDarrah

Theatre of fear: one on the aisle A view from the Chicago Democratic Convention riots by Richard Goldstein

"You afraid?" I asked a kid from California. He zipped his army jacket up to his neck, and filled his palm with a wad of Vaseline. "I dunno," he answered. "My toes feel cold, but my ears are burning."

We were standing together in Lincoln Park, not long after curfew on Tuesday night, watching an unbroken line of police. Around us were 1000 insurgents: hippies, Marxists, tourists, reporters, Panthers, Angels, and a phalanx of concerned ministers, gathered around a 12-foot cross. Occasionally a cluster of kids would break away from the rally to watch the formation in the distance. They spoke quietly, rubbing cream on their faces, and knotting dampened undershirts around their mouths. Not all their accoutrements were defensive. I saw saps and smoke bombs, steel-tipped boots and fistfuls of tacks. My friend pulled out a small canister from his pocket. "Liquid pepper," he explained.

Watching these kids gather sticks and stones, I realized how far we have come from that mythical summer when everyone dropped acid, sat under a tree, and communed. If there were any flower children left in America, they had heeded the underground press, and stayed home. Those who came fully anticipated confrontation. There were few virgins to violence in the crowd tonight. Most had seen—if not shed—blood, and that baptism had given them a determination of sorts. The spirit of Lincoln Park was to make revolution the way you make love—ambivalently, perhaps but for real.

The cops advanced at 12:40 a.m., behind two massive floodlight-trucks. They also had the fear; you could see it in their eyes (wide and wet) and their mouths. All week, you watched them cruise the city—never alone and never unarmed. At night, you heard their sirens in the streets, and all day, their helicopters in the sky. On duty, the average Chicago cop was a walking arsenal—with a shotgun in one hand, a riot baton (long and heavy with steel tips) in the other, and an assortment of pistols, nightsticks, and ominous canisters in his belt. At first, all that equipment seemed flattering. But then you saw under the helmets, and the phallic weaponry, and you felt the fear again. Immigrant to stranger, cop to civilian, old man to kid. The fear that brought the people of Chicago out into the streets during Martin Luther King's open housing march, now reflected in the fists of these cops. The fear that made the people of Gage Park spit at priests, and throw stones at nuns, now authorized to kill. And you realized that the cops weren't putting on that display for you; no—a cop's gun is his security blanket, just as Vaseline was yours.

Then the lights shone brilliant orange and the tear gas guns exploded putt-putt-puttutt, and the ministers dipped their cross into a halo of smothering fog. The gas hit like a great wall of pepper and you ran coughing into the streets, where you knew there would be rocks to throw and windows to smash and something to feel besides fear.

The soldiers stood on all the bridges, sealing off Grant Park from the city streets. The kids couldn't be gassed anymore, because the wind was blowing fumes across the guarded bridges and into every open pore of the Conrad Hilton, and the hotel was filled with good people who had tears in their eyes. So the soldiers just stood with their empty guns poised against the tide. And they were frowning at the kids who shouted "put down your guns; join us." A few hid flowers in their uniforms, and some smiled, but mostly, they stood posing for their own death masks.

"Wouldn't you rather hold a girl than a gun?" asked one kid with his arm around two willing chicks.

"You don't understand," the soldier stammered, moving his tongue across his lips. "It's orders. We have to be here."

That was Wednesday—nomination day—and the city was braced for escalation. At the afternoon rally, an American flag was hauled down, and the police responded by wading into the center of the crowd, with clubs flying. The kids built barricades of vacated benches, pelted the police with branches, and tossed plastic bags of cow's blood over their heads. . . .

With every semblance of press identification I owned pinned to my shirt, I set out across the mall. But most of the crowd had the same idea. Across on Michigan Avenue, I could hear the shouts of demonstrators who were re-grouping at the Hilton. I stopped to wet my undershirt in a fountain and ran down the street. My hands were shaking with anticipation and I could no longer close my eyes without seeing helmets and hearing chants. So my body was committed, but my head remained aloof.




Czechoslovakia

The Soviet Invasion
of Czechoslovakia: August 1968

Materials from
the Labadie Collection
of Social Protest Material

Soviet tank in front of the Czechoslovak Radio building, photo: CTK

In the morning hours of August 21, 1968, the Soviet army invaded Czechoslovakia along with troops from four other Warsaw Pact countries. The occupation was the beginning of the end for the Czechoslovak reform movement known as the Prague Spring.

This web site contains material from the days immediately following the invasion, and they reflect the atmosphere in Czechoslovakia at the time: tense, chaotic, uncertain, full of pathos, fear, and expectation...

SDS: Anarchist Libertarian Alliance

SDS Bulletin - July, 1964 (Vol 2, Nr 10) New Left Notes - May 13, 1968 (Vol 3, Nr 17) New Left Notes - March 8, 1969 (Vol 4, Nr 9)

• Bookchin, Murray. Anarchy and Organization: A Letter To The Left. Reprinted from New Left Notes. January 15, 1969. Retrieved April 12, 2005. "The essay originally was written in reply to an attack by Huey Newton on anarchist forms of organization."

First-phase SDSers hadn’t talked much about values. But as anti-war activity heated up during the second phase, SDSers were looking for new worldviews, indulging in new tastes and lifestyles. Pardun, for whom LSD was practically religion, took the hippie lifestyle as a facet of the movement.

But neither critique nor lifestyle, without political gains, were enough by late 1967, when second-phase leaders began to worry about the realism of their project. Pardun puts its succinctly: "Protesting the war," he writes, "assumed that it was a mistake and that if we could convince the war makers of that then the war would end."

Escalations in ground forces and bombing–his book recounts them, brigade by brigade, ton by ton–told SDS that the war wasn’t simply a "mistake" and that hawks would not be persuaded–until and unless doves could take power away from them.

Several prairie leaders, notably Carl Oglesby, Greg Calvert, and Carl Davidson, began to concoct theories to deal with the task. Three elements were common to their formulations: the notion of a "New Working Class," of "resistance," and of youth as a powerful and independent force. The "New Working Class" was a highly technical, white-collar proletariat, whose members, proponents of the theory insisted, were going to replace the blue-collar industrial workforce. "Resistance" was a vaguer idea, which took practical form in a campaign to sabotage and derail the military draft. Youth were "revolutionary" because they weren’t sworn to doctrines about racial supremacy and My Country, Right or Wrong. They also smoked pot.

Consciousness and Social Life - Google Books Result

by David H. DeGrood - 1976 - Philosophy - 112 pages
Now Karl Marx was being referred to, help! theory!45 By the Summer of 1967 ... the Spring of 1968 opportunists such as Carl Oglesby were urging SDS to drop ...

Building a New Libertarian Movement

[The following, which I co-authored with the late Samuel Edward Konkin III, originally appeared in slightly different form under the title “Smashing the State for Fun & Profit!” in Tactics of the Movement of the Libertarian Left (Vol. 5, No. 1), May Day 2001. I offer it here as a clarification of “Libertarian Leftism,” an illuminating piece of political revisionist history, and a contribution to Tom Knapp’s ongoing Symposium on Building a New Libertarian Movement. I apologize for its length.]
What was the New Left in 1965 was conducive to an alliance with Libertarians. Indeed, the New Left and the nascent Libertarian Movement reached out for each other to battle the common enemy, Corporate Liberal Imperial Leviathan. Libertarian Movement founder Murray N. Rothbard traded votes with Maoists at New York Peace & Freedom Party conventions. Rothbard and historian Leonard Liggio started Left and Right: A Journal of Libertarian Thought to help forge a Libertarian alliance with the New Left. Carl Oglesby, 1965 president of Students for a Democratic Society (SDS), wrote an analysis of the U.S. Empire, Containment and Change, in which his prescription for defeating the Empire called explicitly for a coalition with the Libertarian “Old Right” as led by Rothbard and Liggio. And Karl Hess, speechwriter for the Goldwater presidential campaign in 1964, determined by 1968 that he had more in common with the New Left than Buckley’s Right and penned his stirring “Death of Politics” Libertarian manifesto for Playboy magazine.

But those “Old Left” commune-statists were not, to use that familiar Trotskyist phrase, “decisively defeated on the proletarian terrain.” By the time of its 1969 convention, SDS expelled its anarchists and split between Maoists and WeatherMaoists. After a brief exhibition of street violence, the “vanguard” collapsed underground with an occasional eruption over the years. Also in 1969, Libertarian Rightists, inspired by Rothbard and led by Hess, walked out of the Young Americans for Freedom (YAF) convention to join the New Left. And unfortunately, even the first Libertarian Con that year in New York, which brought together disenfranchised SDS decentralists and YAF free-marketeers, also split — not on Left-Right lines but on revolutionary rage vs. quite academic movement-building lines.

YIPPIE!



The Youth International Party (whose adherents were known as Yippies, a variant on "Hippies") was a highly theatrical political party established in the United States in 1967. An offshoot of the free speech and anti-war movements of the 1960s, the Yippies presented a more radically youth-oriented and countercultural alternative to those movements. They employed theatrical gestures—such as advancing a pig ("Pigasus the Immortal") as a candidate for President in 1968—to mock the social status quo.They have been described as a highly theatrical youth movement of “symbolic politics.”


It was during the conventions in 1968 that the Yippies really made a national splash.

At the turbulent Democratic gathering in Chicago, Yippie founders Abbie Hoffman and Jerry Rubin presented their candidate for president – "Pigasus the Immortal," a real pig.

But the scene at the convention turned ugly as Chicago police, and then the National Guard, clashed with antiwar protesters. In the aftermath, Hoffman and Rubin were among seven protesters arrested and charged with conspiring to incite violence.

During the trial of the so-called "Chicago Seven," Hoffman and Rubin continued to play to the media, one day showing up for court in judicial robes. Ultimately, the charges against the defendants were dismissed.

Paul Krassner, who was among the founding members of the Yippies with Hoffman and Rubin, said the party came about because "the whole antiwar effort seemed dreary. .. We wanted to add some color and fun to the demonstrations."

Abbie Hoffman.

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Taken in (See more photos here)

Yippie Workshop Speech by Abbie Hoffman (1968)

Cops are like Yippies-you can never find the leaders... You just let 'em know that you're stronger psychically than they are. And you are, because you came here for nothin' and they're holdin' on to their fuckin' pig jobs 'cause of that little fuckin' paycheck and workin' themselves up, you know. Up to what? To a fuckin' ulcer. Sergeant. We got them by the balls. The whole thing about guerrilla theatre is gettin' them to believe it. Right.

Theatre, guerrilla theatre, can be used as defense and as an offensive weapon. I mean, I think like people could survive naked, see. I think you could take all your fuckin' clothes off, a cop won't hit ya. You jump in Lake Michigan, he won't go after you, but people are too chickenshit to do that. It can be used as an offensive and defensive weapon, like blood. We had a demonstration in New York. We had seven gallons of blood in little plastic bags. You know, if you convince 'em you're crazy enough, they won't hurt ya. With the blood thing, cop goes to hit you, right, you have a bag of blood in your hand. He lifts h is stick up, you take your bag of blood and go whack over your own head. All this blood pours out, see. Fuckin' cop standin'. Now that says a whole lot more than a picket sign that says end the war in wherever the fuck it is you know. I mean in that demonstration, there was a fuckin' war there. People came down and looked and said holy shit I don't know what it is, blood all over the fuckin' place, smokebombs goin' off, flares, you know, tape recorders with the sounds of machine guns, cops on horses tramplin' Christmas shoppers. It was a fuckin' war. And they say, right, I know what the fuck you're talkin' about. You're talkin' about war. What the fuck has a picket line got to do with war? But people that are into a very literal bag, like that heavy word scene, you know, don't understand the use of communication in this country and the use of media. I mean, if they give a ten-page speech against imperialism, everybody listens and understands and says yeah. But you throw fuckin' money out on the Stock Exchange, and people get that right away. And they say, right, I understand what that's about. And if they don't know what you're doin', fuck 'em. Who cares? Take this, see, you use blank space as information. You carry a sign that says END THE. You don't need the next word, you just carry a sign that says END, you know. That's enough. I mean the Yippie symbol is Y. So you say, why, man, why, why? Join the Y, bring your sneakers, bring your helmet, right, bring your thing, whatever you got. Y, you say to the Democrats, baby, Y that's not a V it's a Y. You can do a whole lotta shit. Steal it, steal the V, it's a Y. It's up the revolution like that. Keeping your cool and having good wits is your strongest defense.

If you don't want it on TV, write the work "FUCK" on your head, see, and that won't get on TV, right? But that's where theatre is at, it's TV. I mean our thing's for TV. We don't want to get on Meet the Press. What's that shit? We want Ed Sullivan, Johnny Carson show, we want the shit where people are lookin' at it and diggin' it. They're talking about reachin' the troops in Viet Nam so they write in The Guardian! [An independent radical newsweekly published in New York.] That's groovy. I've met a lot of soldiers who read The Guardian, you know. But we've had articles in Jaguar magazine, Cavalier, you know, National Enquirer interviews the Queen of the Yippies, someone nobody ever heard of and she runs a whole riff about the Yippies and Viet Nam or whatever her thing is and the soldiers get it and dig it and smoke a little grass and say yeah I can see where she's at. That's why the long hair. I mean shit, you know, long hair is just another prop. You go on TV and you can say anything you want but the people are lookin' at you and they're lookin' at the cat next to you like David Susskind or some guy like that and they're sayin' hey man there's a choice, I can see it loud and clear. But when they look at a guy from the Mobilization [against the War in Vietnam] and they look at David Susskind, they say well I don't know, they seem to be doing the same thing, can't understand what they're doin'. See, Madison Avenue people think like that. That's why a lot SDS's don't like what we're doin'. 'Cause they say we're like exploiting; we're usin' the tools of Madison Ave. But that's because Madison Ave. is effective in what it does. They know what the fuck they're doin'. Meet the Press, Face the Nation, Issues and Answers-all those bullshit shows, you know, where you get a Democrat and a Republican arguin' right back and forth, this and that, this and that, yeah yeah. But at the end of the show nobody changes their fuckin' mind, you see. But they're tryin' to push Brillo, you see, that's good, you ought to use Brillo, see, and 'bout every ten minutes on will come a three-minute thing of Brillo. Brillo is a revolution, man, Brillo is sex, Brillo is fun, Brillo is bl bl bl bl bl bl bl bl. At the end of the show people ain't fuckin' switchin' from Democrat to Republicans or Commies, you know, the right-wingers or any of that shit. They're buying Brillo! And the reason they have those boring shows is because they don't want to get out any information that'll interfere with Brillo. I mean, can you imagine if they had the Beatles goin' zing zing zing zing zing zing zing, all that jump and shout, you know, and all of a sudden they put on an ad where the guy comes on very straight: "You ought to buy Brillo because it's rationally the correct decision and it's part of the American political process and it's the right way to do things." You know, fuck, they'll buy the Beatles, they won't buy the Brillo.

We taped a thing for the David Susskind Show. As he said the word hippie, a live duck came out with "HIPPIE" painted on it. The duck flew up in the air and shat on the floor and ran all around the room. The only hippie in the room, there he is. And David went crazy. 'Cause David, see, he's New York Times head, he's not Daily News freak. And he said the duck is out and blew it. We said, we'll see you David, goodnight. He say, oh no no. We'll leave the duck in. And we watched the show later when it came on, and the fuckin' duck was all gone. He done never existed. And I called up Susskind and went quack quack quack, you motherfucker, that was the best piece of information: that was a hippie. And everything we did, see, non-verbally, he cut out. Like he said, "How do you eat?" and we fed all the people, you know. But he cut that out. He wants to deal with the words. You know, let's play word games, let's analyze it. Soon as you analyze it, it's dead, it's over. You read a book and say well now I understand it, and go back to sleep.

The media distorts. But it always works to our advantage. They say there's low numbers, right? 4000, 5000 people here. That's groovy. Think of it, 4000 people causin' all this trouble. If you asked me, red say there are four Yippies. I'd say we're bringin' another four on Wednesday. That's good, that freaks 'em out. They're lookin' around. Only four. I mean I saw that trip with the right wing and the Communist conspiracy. You know, you'd have 5000 people out there at the HUAC demonstrations eight years ago in San Francisco and they'd say there are five Communists in the crowd, you know. And they did it all. You say, man that's pretty cool. So you just play on their paranoia like that. Yeah, there're four guys out around there doin' a thing. So distortion's gonna backfire on them, 'cause all of a sudden Wednesday by magic there are gonna be 200,000 fuckin' people marchin' on that amphitheater. That's how many we're gonna have. And they'll say, "Wow. From 4000 up to 200,000. Those extra four Yippies did a hell of a good job." I dig that, see. I'm not interested in explainin' my way of life to straight people or people that aren't interested. They never gonna understand it anyway and I couldn't explain it anyway. All I know is, in terms of images and how words are used as images to shape your environment, the New York Times is death to us. That's the worst fuckin' paper as far as the Yippies are concerned. They say, "Members of the so-called Youth International Party held a demonstration today." That ain't nothin'. What fuckin' people read that? They fall asleep. 'Cause the New York Times has all the news that's fit to print, you know, so once they have all the news, what do the people have to do? They just read the New York Times and drink their coffee and go back to work, you know. But the Daily News, that's a TV set. Look at it, I mean look at the picture right up front and the way they blast those headlines. You know, "Yippies, sex-loving, dope-loving, commie, beatnik, hippie, freako, weirdos." That's groovy, man, that's a whole life style, that's a whole thing to be, man. I mean you want to get in on that.

ABBIE HOFFMAN

1936-1989

This site is dedicated to the memory and spirit of Abbie Hoffman.

"Revolution is not something fixed in ideology, nor is it something fashioned to a particular decade. It is a perpetual process embedded in the human spirit."

Abbie Hoffman

Soon to be a Major Motion Picture

abbie hoffman by Alex Burns (alex@disinfo.com) - May 29, 2001

Abbie Hoffman (1936-1989) was a complex and deeply paradoxical social activist and media celebrity, whose legendary culture-jamming exploits have come to characterise the period's para-political turmoil and counter-culture. His early 1950s experiences as a Brandeis student and sexual experienced aesthete marked Hoffman as a future American Rebel (Outsider). Under the tutelage of famous humanist psychologist Abraham Maslow, Hoffman conceived of political protest as a positive and life-affirming self-actualising process. During the early 1960s, Hoffman was involved with civil rights activism as an organiser in Mississipi for the Student Non-violent Co-ordinating Committee. In San Francisco's Haight-Ashbury district, Hoffman became involved with the Diggers (actors turned social activists), distributing free food and organising accomodation. He first came to national exposure with Jerry Rubin during the infamous 1967 New York Stock Exchange "money-burning" incident. Through his involvement with anti-Vietnam War protests and the Chicago Eight trial which resulted from 1968 Chicago Democratic convention riots, Hoffman became a counter-culture icon and the face of American radical dissidence. Hoffman mixed with many of the leading protesters, including John Lennon and Yoko Ono, Tom Hayden, Timothy Leary and G. Gordon Liddy, and was notable for fusing creativity with righteous fury and savage humour. He pioneered many tactics of guerilla survival and personal autonomy. Drifting into an outlaw life-style, Hoffman was implicated in a 1973 cocaine deal gone wrong, and busted by undercover agents. Fleeing, Hoffman lived underground for six years, working on environmental campaigns. Re-surfacing in 1980, Hoffman served a brief prison sentence, before returning to social activism. Hoffman battled many fronts, but his demons were largely personal, in an environment that had dramatically changed since the demise of the Counter-culture. Psychosis, substance abuse and relationship breakdowns created a messy personal life. The rise of the Moral Majority as a political force, increased on-campus student conservatism and a critical re-appraisal of New Left radicalism countered his many attempts to re-mobilise university campus and environmental progressive forces into raising hell. Hoffman also encountered a media backlash against his clown persona and culture-jamming legacy, as many critics claimed that he had betrayed his earlier ideals. But despite his deep flaws, Hoffman remained committed to progressive campaigning, and criticised the Reagan administration's War on Some Drugs. Hoffman's social revolution ideals were finally realised through the 1989 collapse of Eastern European 'puppet' Communist states, but plagued by manic depression, Hoffman had died by suicide. Sadly, he did not live to see the resurgence of his ideas and radicial dissidence in the 1990s by a variety of individuals and progressive foundations. Hoffman's legacy has been chronicled in several excellent biographies: Marty Jezer's American Rebel (1992); Damien Simon and Jack Hoffman's Run Run Run (1994); Jonah Raskin's For the Hell of It and Larry 'Ratso' Sloman's Steal This Dream (1998).

Who is Jerry Rubin?
the co-founder of the Yippies



Jerry C. Rubin was perhaps the most outlandish figure to ever defended American civil liberties. A revolutionary and anti-war activist, his voice and zany stunts were heard and seen throughout the world. Rubin was a master of media sensationalism, exposing American injustice through outrageous spectacles and whimsical press conferences. His outrageousness and free style made him a household name, and soon every politician's worst nightmare.

During the 70's Rubin reflected about his past deeds and thoughts. In essays he would admit his wrongs, explaining how sexism, homophobia, racism, and drug abuse shaped his beliefs. Once believing homosexuality was a sick behavior, he now understood it as a valid sexual expression. He also thanked women for the role they played in creating his public image: women were the ones who typed his manuscripts, handled his clerical work, and labored behind the scenes. He abandoned his "Kill You Parents" mantra and encouraged people to accept the "Love Your Parents" wisdom.

In the 80's Rubin slowly removed himself from the media spotlight, complaining, "To live inside a media image is like a prison. Living for your image means sacrificing your true self." He made a few guest appearances with Abbie Hoffman and appeared in the movies "Growing Up in America" (1987), "Rude Awakening" (1989), and "Panther" (released 1995).

Rubin died on November 28, 1994 when he was struck by a car while jay walking in Los Angeles. He was buried at Hillside Memorial Park in Culver City, California.

Anita Hoffman: 16 March, 1942 - December 27, 1998

The Yippies didn't just want to sit around and smoke pot. They sought to pull Uncle Sam's pants down in public, to show that revolution could be conducted in a spirit of festive nonviolence.

Dubbing her the "Queen of the Yippies," the U.K.'s Economist (not exactly a radical publication) had this to say of Anita Hoffman and her husband Abbie: "Perhaps the most famous song of the 1960s was Bob Dylan's 'The Times They Are A'Changin'', in which 'senators, congressmen' and others stuck in the past were warned of the 'battle outside raging.' No one fought the battle with more enthusiasm than the Hoffmans, Abbie and Anita."

> The Hoffmans became the symbols of an era of resistance against racism, capitalism and war.

Steal this millennium!
Yippie Stew Albert sits down with R.U. Sirius to plan the revolution and remember Abbie Hoffman.

- - - - - - - - - - - -
By R.U. Sirius

Stew Lives!

Activist Stew Albert's quest for social and economic justice found its path in the Yippie movement of the late 1960s

By Michael Simmons

Photo by Judy Gumbo Albert

HUNGRY FOR JUSTICE: Yippie Stew Albert, 1939-2006.

"My politics have not changed."

So read the simple blog entry by Stew Albert on Jan. 28. Two days later, he died in his sleep at his home in Portland, Ore., surrounded by his wife Judy Albert, daughter Jessica and friends. Suffering from cancer and unable to write at length, he was clearly determined to make a statement - a last stand - that blended the legendary Yippie's defiance and wit. As if his politics would ever change!

For the Yippies - the Youth International Party - the word "party" meant both political group and outrageously good times. The Yippies merged leftwing activism and freak culture in the late 1960s. One of the "non-leaders" along with Abbie Hoffman, Jerry Rubin and Paul Krassner was another party animal - equally irresponsible for the chaos and comedy: Stew Albert, a fierce soldier for justice as well as a subversive prankster.

Yippies on Wall Street (1)

This guy was not a YIPPIE!



SEE

Gay Old Communists

The Summer of Love

40 Years Later; The Society of the Spectacle

Year of the Pig

Black and Redmonton

Paul Goodman

Military Industrial Complex

SOME REMARKS ON WAR SPIRIT

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Reprint Paul Goodman

Anarchist psychologist, philosopher and counter culture maven Paul Goodman's books are now out of print. A new biographical movie is out about this important but overlooked activist writer. A documentary on Goodman is being made and the folks who made the movie are now on a campaign to get Goodman's works reprinted by Random House. They are also trying to raise money to finish the film.

Please tell Random House editor JUDY STERNLIGHT -- Jsternlight@Randomhouse.com -- that you agree with Marcus Raskin's letter below urging them to reprint Paul Goodman's work and to bring out an "Essential Paul Goodman."

Thank you very much.

Jonathan Lee

---

February 20, 2007

Judy Sternlight
Random House

Dear Ms. Sternlight:

There is a tradition of greatness in American thought and letters which must be kept alive. It revolves around a moral impulse, a personal commitment to creativity and freedom, a vast knowledge of the past and present. And a strong nose for bull shit.

Paul Goodman is part of that tradition and in fact he was crucial in keeping it alive during his immensely productive life. Jason Epstein, his editor and publisher understood that impulse and was, as you know, his champion at your house. No doubt there will come a time when this "American Master" will receive his due. But that is only part of the story. This present, say the 21st century, is in desperate need of insight and thought from those who struggled and lived lives of nobility and brilliance. This, Ms. Sternlight is a dark time and Goodman in his work and life kept a candle lit which helped one generation find itself whether in letters, education, politics, and gender freedom.

Goodman was a colleague of mine, dedicated a book to me and made his voice heard among many in the establishment and of course among students. There is no doubt that his voice and his straightforward writing would resonate with a new generation of young. This I know first hand as a professor at George Washington University, the co-founder o the Institute for Policy Studies, author and editor of some 20 books-two from Random House.

Further, there is an entire generation of people from the sixties who are in teaching positions at universities and schools who grew up escaping absurd lives because of his work. The republication of Paul's books makes enormous commercial sense besides being a literary necessity.

Sincerely,

Marcus Raskin
Institute for Policy Studies, Washington, DC


See:

A Little Eros For Valentine's Day

Mirror Mirror On The Wall

SOME REMARKS ON WAR SPIRIT

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