Authors:Michael Organ Abstract: The May 1968 (Mai ’68) social and cultural revolution in France generated a distinctive collection of posters produced by students associated with various Paris-based university community workshops known as Ateliers Populaire. These ephemeral items were in the form of graphically simple, primarily monotone, silkscreen posters. As an expression of the prevailing counterculture, they represented the important role of the fine arts in expressing to the wider public, and supporting, the concerns and desires of young people involved in the widespread protests which sought to curtail restriction of individual freedom of expression on university campuses, and support the actions of workers in their own struggle for improved conditions of employment. PubDate: Mon, 04 Oct 2021 22:15:45 PDT
Authors:Peter Jones Abstract: This paper looks at the recent trend of recasting the 1960s counterculture as official British heritage. It is argued this is due to cultural shifts in the British heritage sector, economic factors and a repurposing of the past to suit the present. The focus will be on the Handel & Hendrix in London museum as it evinces this remaking and the role of United Kingdom (UK) public bodies concerned with heritage, as well as the heritagization processes and particular conditions that enabled the rock star Jimi Hendrix and, by extension, aspects of the counterculture to be designated as official heritage. The implications of this ‘elevation’ will be discussed in relation to how the counterculture is currently represented. Raymond Williams’ concepts of the selective tradition and dominant, residual and emergent cultural elements are drawn upon in order to support the discussion. PubDate: Thu, 10 Jun 2021 17:35:34 PDT
Authors:Mark Harris Abstract: After Bomb Culture, Jeff Nuttall’s valediction to 1960s relentless anti-system experimentation, what kind of call to order were the Portsmouth Sinfonia’s commitment to community DIY practice and Veronica Forrest-Thomson’s withdrawal of language from meaning' Nuttall’s Laingian references to madness acclaim culture as symptomatic of living with the H-bomb. This essay considers alternative expressions of intimacy and apartness like Doris Lessing’s writing on women’s madness, the Caribbean Artists Movement’s understanding of schizophrenic post-colonial consciousness, and Kate Millet’s and Robert Wyatt’s eulogies to friends and partners, as marginalized by the aesthetics of catastrophe of Nuttall and his Destruction in Art Symposium colleagues. PubDate: Sun, 13 Sep 2020 20:15:39 PDT
Authors:Douglas Field et al. Abstract: The early to mid-1960s bore witness to the birth of the Underground, a loose collection of writers, artists and activists who were united in their opposition to mainstream culture, and in particular to consumerism and war. Beginning in the United States, where the Vietnam War galvanized youth protest, and building on spirit of Beat Generation, who rebelled against the conformity of life during the previous decade, the Underground spread across the Atlantic to the UK and Europe, later becoming a global phenomenon.During the 1960s, editors, artists and activists forged extensive networks across the globe through letters, underground newspapers and little poetry magazines, much of which was printed on cheap paper, with little regard for posterity. By the late 1960s, there was a burgeoning international underground, which is underscored by the life and work of the artists, writers and editors discussed in this collaborative article. Jeff Nuttall (1933-2004) was based in the UK but created networks across the globe through the editorship of his little poetry magazine; Dave Cunliffe (1941-), based in the north of England, published works by US activists and poets in his poetry magazines and books; Jim Haynes (1933-), an American based for many years in Edinburgh and London, connected writers and artists across the world through the Arts Lab and as an editor of IT, Europe’s first underground newspaper; and Harvey Marshall Matusow (1926-2002), worked in underground newspapers, first in New York, and then London. As the archives of these underground participants attest, the counterculture was a vibrant international phenomenon, albeit one that was slow to recognise the importance of women in the counterculture. PubDate: Mon, 20 Jan 2020 19:50:08 PST
Authors:Pete Steedman Abstract: The current international debate relating to press freedom, while seemingly a surprise to the mainstream media, is no surprise to those of us who have been watching the slow erosion of liberties over the last couple of decades, as our governments move us down the path to the totalitarian Right, déjà vu the 1930s. With a new mega department taking over the duties of security agencies, as well as immigration and border security, the Australian government has created a large bureaucracy with competing aims and objectives and a Minister in Peter Dutton who seems impervious to the concerns for empathy and compassion, and has no understanding of the separation of powers or our obligations as signatories to dozens of UN conventions. But it has always been so. Few will remember the censorship during WW1 and the news blackout of the bombing of Darwin in WW2, not to mention the outrageous lies from Vietnam and our following endeavours in places such as Iraq and Afghanistan. PubDate: Sun, 28 Jul 2019 18:41:38 PDT
Authors:Rowan Cahill Abstract: A significant resource relating to the ‘Long Sixties’ is in the archives of the Australian War Memorial (AWM), Canberra. It comprises 82 professionally filmed interviews, filmed against a green background to enable future film-makers creative freedom regarding their use. The interviews range in length from about fifteen minutes to over an hour; the subjects are well-known and not so well-known activists, male and female, in the anti-Vietnam movement in Australia, 1962-75. PubDate: Sun, 28 Jul 2019 18:41:28 PDT
Authors:Ross Grainger Abstract: An account of Australian Ross Grainger's meetings with the British singer songwriter guitarist Nick Drake (1948-74) during the period 1969-70, including discussions at London folk clubs. PubDate: Sun, 28 Jul 2019 18:31:21 PDT
Authors:Maurie Mulheron Abstract: I had first met Sonny Ochs during her visit to Australia many years ago after she saw a production of a musical biography I had written about Pete Seeger. Phil Ochs had been mentioned in the show. Chatting backstage, we immediately connected. I had the honour of then performing in some of the Phil Ochs Songs Nights, at Sonny’s invitation, along with other musicians. For over 30 years Sonny Ochs has been responsible for keeping the songs of Phil Ochs alive. She has done this primarily through the enormously successful Phil Ochs Song Nights that she produces regularly throughout the USA and overseas. Many of the artists that perform at these song nights are established and well-known performers. The song nights have led to a renewed interest in the work of Phil Ochs. Many of these musicians, from the established to the emerging, now include the songs of Phil Ochs in their repertoire and have also recorded many of them. What follows is an edited transcript of an interview that I conducted with Sonny over a number of days at her home in upstate New York, during May 2003. PubDate: Sun, 28 Jul 2019 18:21:26 PDT
Authors:Anthony Ashbolt Abstract: The great singer-songwriter Phil Ochs was a powerful critic of the American empire in the 1960s. He saw imperialism as corrupting the very ideals and soul of America. Thus “Cops of the World”, from the album Phil Ochs in Concert released in 1966, was a stinging indictment of inflated and brutal masculine racist war practice. The “cops of the world” are conquerors of land and sea and women. The conquered are told to “bring their daughters around to the port” so that the cops of the world can “pick and choose as we please” and then get down on their knees. PubDate: Sun, 28 Jul 2019 18:11:15 PDT
Authors:Michael Organ Abstract: On the evening of Sunday, 27 August 1967, Jazz Happenings - The World's First Psychedelic Jazz Concert was held at the Cell Block Theatre, Darlinghurst, Sydney. The event was focussed around the performance of a jazz rhapsody entitled Psychedelia written by saxophonist Graeme Lyall. It also featured a lightshow and film by artist and sculptor Gordon Mutch. PubDate: Sun, 28 Jul 2019 18:06:18 PDT
Authors:Jim Anderson Abstract: An account by OZ editor, journalist and artist Jim Anderson on his role in the production of Richard Neville's Play Power (1970) and events around 1968. PubDate: Sun, 28 Jul 2019 17:41:13 PDT
Authors:Julie Stephens Abstract: In the film HyperNormalisation by British documentary maker Adam Curtis, there is a section on Vladimir Putin’s purported puppet master, Vladislav Surkov who has also become known as ‘Putin’s Rasputin’. His central role in keeping Putin in power in Russia is documented by Curtis through collages of archival BBC footage and newsreels, and some scenes shot for the film. It is accompanied by Curtis’ bold and highly distinctive commentary. Surkov’s background in avant-gardetheatre is highlighted and portrayed as reaching right into the heart Russian politics by turning politics into a strange theatre where nobody knows what is true and what is fake any longer. Reality can be manipulated and shaped into anything you want it to be. PubDate: Sun, 28 Jul 2019 17:36:11 PDT
Authors:Barry L. Stiefel Abstract: In recent years there has been an emerging phenomenon of places and things associated with counterculture becoming a central focus of the heritage preservation field, which in a manner of speaking, is an indicator that the places, tangible objects, and intangible traditions of counterculture gradually shifts in acceptance from being the margins to the center of cultural heritage values. Examples include the Haight-Ashbury Neighbourhood in San Francisco, California that was nominated to the National Register of Historic Places in 2011; and Bob Dylan being awarded the Noble Prize for Literature “for having created new poetic expressions within the great American song tradition” in 2016. Are there underlying themes and reasons for this growing interest in preserving heritage that at one time was considered marginal to mainstream culture in what is a very mainstream expression of heritage conservation practice' Additionally, how does the phenomenon of “counterculture” and “countercultures” preservation compare in North America to other parts of the world' The objective of this study is to contextualize how and what ways society reflects and refracts on “counterculture” and through the practice of heritage preservation. PubDate: Sun, 28 Jul 2019 17:26:01 PDT
Authors:Chloe Rafferty Abstract: Presentation by UOW student activist Chloe Rafferty to the conference held by the Faculty of Law, Humanities and the Arts at the University of Wollongong on 30 November 2018. PubDate: Sun, 28 Jul 2019 17:06:04 PDT
Authors:Rowan Cahill Abstract: Presentation by Rowan Cahill to the conference held by the Faculty of Law, Humanities and the Arts at the University of Wollongong on 30 November 2018. PubDate: Sun, 28 Jul 2019 17:05:56 PDT
Authors:Julie Stephens Abstract: Presentation by Julie Stephens to the conference held by the Faculty of Law, Humanities and the Arts at the University of Wollongong on 30 November 2018. PubDate: Sun, 28 Jul 2019 16:56:14 PDT
Authors:Phillip Frazer Abstract: Talk by Phillip Frazer for the University of Wollongong Counterculture, Protest, Revolution conference, held on 30 November 2018. Video recorded in Melbourne prior to the conference. PubDate: Sun, 28 Jul 2019 16:56:05 PDT
Authors:Meredith Burgmann Abstract: Presentation by Meredith Burgmann to the conference held by the Faculty of Law, Humanities and the Arts at the University of Wollongong on 30 November 2018. PubDate: Sun, 28 Jul 2019 16:55:57 PDT
Authors:Nadia Wheatley Abstract: Presentation by Nadia Wheatley to the conference held by the Faculty of Law, Humanities and the Arts at the University of Wollongong on 30 November 2018. PubDate: Sun, 28 Jul 2019 16:50:56 PDT
Authors:Mark Gregory Abstract: Presentation by Mark Gregory to the symposium held by the Faculty of Law, Humanities and the Arts at the University of Wollongong on 30 November 2018. PubDate: Sun, 28 Jul 2019 16:46:18 PDT
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