A regrettable turning point in counterculture evolution

In reading others’ fiction about the late ’60s and early ’70s, my awareness of the span of hippie identity has only intensified. Each one seems to focus on a different identity. As I’ve long argued, hippies came in all varieties and styles, and still do. But these also show how little overlap there often was.

So much so that I no longer find the label useful. Period. It fails to convey the extent to which we differed within the rainbow.

As one friend insists, “I was never a hippie. I was a freak!”

To the straight world, of course, there was no difference.

For many, political activism was a central component, though not for all. And I’m thinking the evolution of that activism needs more exploration. It’s where we really failed the most.

For starters, too many saw protests as the route to pursue, rather than undertaking the hard work of holding office or attending meetings.

For another, we failed to clearly articulate our vision, other than tending to be left, as in what we called radical, rather than liberal, which seemed to support the Vietnam quagmire. We were reactionary, actually, at least against the military-industrial-financial-racist complex. The ’68 Democratic national convention in Chicago didn’t help anything, either.

Looking back, it seems that too much of our political expression was being domineered by the egotistical theatrics of Abbie Hoffman and Jerry Rubin and the like. (Correct me if I’m wrong.)

Woodstock seemed to shift everything. Yes, we had the Jackson State and Kent State shootings the following spring, along with the shutdown of college campuses and some big marches. But who were our avatars?

Or, put another way, why is the experience remembered more by the music than by the speeches?

~*~

Back to Woodstock.

Seems Hoffman wanted to be part of it, naturally, and demanded – get this – $10,000, 200 free tickets, tables for distributing literature, and the right to leaflet the audience. The event’s organizer, Michael Lang, initially refused but later relented.

But that wasn’t enough. High on acid, Hoffman took to the stage and started ranting. Never mind that it was in the wee hours of Sunday morning. After 20 minutes or so, he knocked over Peter Townshend’s microphone as The Who was coming onstage, and a miffed Townshend responded by whacking Hoffman with his guitar and shouting obscenities about getting “off of my fucking stage.”

That part’s well known.

The message, intentional or not, was that politics were not to interrupt the sanctity of art.

I sense the rift only grew after that.

The protest music I remember was by folksingers-songwriters, not rockers.

Well, maybe John Lennon proved the exception.

Help me, please.

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