A Cultural History of Popular Music in San Francisco (1965-69)

旧金山流行音乐文化史（1965-69）

• 批准号: AH/I003355/1
• 负责人: Sarah Hill
• 金额: $ 9.36万
• 依托单位: CARDIFF UNIVERSITY
• 依托单位国家: 英国
• 项目类别: Fellowship
• 财政年份: 2011
• 资助国家: 英国
• 起止时间: 2011 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FI003355%2F1
• 关键词: Cultural; History; Popular; Music; San

San Francisco and the Long 60s is a cultural study of popular music in the San Francisco Bay Area between the years 1965 and 1969. Those years mark the period of psychedelic experimentation, countercultural revolt, and musical revolution, which I am calling 'the short 60s'. San Francisco and the Long 60s is also a reflection on the dissemination of the contemporary local community to geographically disparate pockets of countercultural activity, and the perpetuation of the local ideology beyond the confines of geographical and temporal space - what I am calling 'the long 60s'. By 1965 the focus of San Francisco's alternative artistic community had shifted from beatnik North Beach to the hippie centre of Haight-Ashbury. Just outside of the city, author Ken Kesey and his band of Merry Pranksters started to hold what they called Acid Tests - multi-media parties, anarchic theatre, an attempt to find, in Kesey's words, a 'new reality'. The Acid Tests, and the ensuing multi-media events that followed in its wake, shaped the production and consumption of popular music in San Francisco, and ultimately provided a template for the live musical experience in cities across the United States and Europe. At the time of the Acid Tests the 'sound of San Francisco' was yet to be codified; in the short 60s the Bay Area was home to a popular music that fused folk, country and rock with philosophy, anarchy and acid. The music emerged organically from, and served the needs of, the Haight community. The concerts held at venues such as the Avalon Ballroom and the Fillmore Auditorium satisfied the community's appetite for contemporary popular music, both local and international, and enshrined a particular musical-environmental ethos which is still palpable locally today.The shift from the 'short' to 'long' 60s was not seamless, however, and the point of rupture was 1967, the moment publicized to the outside world as 'the Summer of Love'. By 1967 San Francisco had become the destination for seekers of psychedelic enlightenment; but the Haight-based counterculture, shaped by the simple desire to care for the people in its immediate environment, could not sustain the influx of people. In October 1967 members of the original community staged a symbolic 'Death of the Hippie' funeral march down Haight Street; many other members of the community had already left the city to live simple lives elsewhere in the Bay Area. The music of the long 60s reflects that shift. It became less about the psychedelic journey and more about a particular spiritual and political ethos. It bore little evidence of mind-altering chemicals, and was characterized above all else by acoustic instruments and tight vocal harmonies. San Francisco bands such as Moby Grape and the Grateful Dead embraced this musical style, and their musical output, from 1967 onward, allowed a more direct address, often crystallizing in their lyrics the simple truths gleaned from the short 60s. San Francisco and the Long 60s is both an historical account of the 'short 60s' and an oral history of the 'long 60s'. During the Fellowship period I will write the first half of my monograph, an historical narrative of the short 60s, analyzing certain key musical texts that provide examples of contemporary articulations of the hippie ideology. I will also complete my fieldwork, capturing on digital video the reminiscences of members of the original Haight community. Many of these agents of the short 60s are now in their sixties and seventies, and while their experiences form the basis of a 'living memory', that will not be the case for much longer.

《旧金山弗朗西斯科和漫长的60年代》是对1965年至1969年之间旧金山弗朗西斯科湾区流行音乐的文化研究。这些年标志着迷幻实验、反文化反抗和音乐革命的时期，我称之为“短暂的60年代”。弗朗西斯科和漫长的60年代也反映了当代地方社区向地理上不同的反文化活动的传播，以及超越地理和时间空间限制的地方意识形态的延续-我称之为“漫长的60年代”。到1965年，弗朗西斯科另类艺术界的焦点已从披头士北海滩转移到海特-阿什伯里的嬉皮士中心。就在城外，作家肯·凯西和他的快乐恶作剧乐队开始举行他们所谓的酸测试-多媒体派对，无政府主义剧院，试图找到，用凯西的话说，一个“新的现实”。迷幻药测试，以及随之而来的多媒体活动，塑造了旧金山弗朗西斯科流行音乐的生产和消费，并最终为美国和欧洲的城市提供了现场音乐体验的模板。在酸性测试的时候，“旧金山弗朗西斯科的声音”还没有被编纂;在短短的60年代，湾区是一个流行音乐的家园，融合了民间，乡村和摇滚与哲学，无政府状态和酸。音乐有机地从海特社区出现，并满足了海特社区的需求。在阿瓦隆舞厅和菲尔莫尔礼堂等场地举行的音乐会满足了社区对本地和国际当代流行音乐的需求，并体现了一种特殊的音乐环境精神，这种精神在今天的本地仍然明显。从“短”到“长”的60年代的转变并不是无缝的，然而，断裂点是1967年，这一刻对外宣传为“爱的夏天”。到1967年，弗朗西斯科已经成为寻求迷幻启蒙的人的目的地;但是，以海特为基础的反主流文化，由关心其直接环境中的人的简单愿望所塑造，无法维持人口的涌入。1967年10月，原社区的成员在海特街举行了象征性的“嬉皮士之死”葬礼游行;社区的许多其他成员已经离开了城市，在湾区的其他地方过着简单的生活。漫长的60年代的音乐反映了这种转变。它变得不那么迷幻的旅程，而更多的是一种特定的精神和政治风气。它几乎没有改变精神的化学物质的证据，最重要的是声学乐器和紧密的和声。旧金山的弗朗西斯科乐队，如Moby Grape和Grateful Dead，都接受了这种音乐风格，从1967年开始，他们的音乐作品允许更直接的地址，经常在他们的歌词中结晶从短暂的60年代收集到的简单真理。《旧金山弗朗西斯科与漫长的60年代》既是对“短暂的60年代”的历史叙述，也是对“漫长的60年代”的口述历史。在奖学金期间，我将写我的专著的前半部分，一个简短的60年代的历史叙事，分析某些关键的音乐文本，提供嬉皮士意识形态的当代表达的例子。我还将完成我的实地考察，在数字视频捕捉原始海特社区成员的回忆。这些短暂的60年代的代理人中，有许多现在已经六七十岁了，虽然他们的经历构成了“活记忆”的基础，但这种情况不会持续太久。

项目成果

Music and Protest in 1968

1968 年的音乐与抗议

• DOI: 10.1017/cbo9781139051682.004
• 发表时间: 2013
• 作者: Hill S

San Francisco and the Long 60s

旧金山和漫长的 60 年代

• 发表时间: 2016
• 作者: Hill