The Second Summer of Love: How Dance Music Took Over the World

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Billie Ray Martin: "One of the first house music nights, if not the first, was at Heaven. I had been told there was something called acid house and that it was the new thing. There were about 50 people there that night in the whole place, all doing weird robotic dances, it looked so exciting. And the sound? My ears grew larger each second of it and my body wanted to move to this. My soul opened. It was like ' this is what I've been waiting for all along.' It was incredible, it spread like wildfire." [via: i-D] By 1990, the rave scene had deteriorated, but that first couple of years people felt like they were really part of a tribe. Acid house was completely inclusive, everyone was welcome and the attitude was infectious. I’m just very grateful to have pioneered that part of the scene. The term "Summer of Love" originated with the formation of the Council for the Summer of Love during the spring of 1967 as a response to the convergence of young people on the Haight-Ashbury district. The council was composed of the Family Dog hippie commune, The Straight Theatre, The Diggers, The San Francisco Oracle, and approximately 25 other people, who sought to alleviate some of the problems anticipated from the influx of young people expected during the summer. The council also assisted the Free Clinic and organized housing, food, sanitation, music and arts, along with maintaining coordination with local churches and other social groups. [15] Psychedelic poster artist Bob Schnepf was commissioned by Chet Helms to create the official Summer of Love poster, which became a lasting icon of the era. [16] Beginning [ edit ] Spring Mobilization against the War in Vietnam march, from Second and Market Street to Kezar Stadium, looking towards City Hall, on Fulton Street, in San Francisco, on April 15, 1967 [17] [18] [19] [20] [21] Youth arrivals [ edit ] The location was always a closely guarded secret until the last minute, so that the police wouldn’t arrive and shut you down. I was probably the most hated person in England whenever anything was cancelled or redirected. A particular moment of pride was when the BBC did a story on the orbital/M25 scene and they played my voice, giving out directions on the news. a b Wilson, Alan (13 September 2014). "Danny Wilson to reunite for Ryder Cup gig". The Courier . Retrieved 20 August 2016.

a b "The Year of the Hippie: Timeline". Pbs.org. Archived from the original on May 15, 2007 . Retrieved April 24, 2007. The band released its second album, Bebop Moptop the following year. Gary Clark was no longer the band's only songwriter, as Ged Grimes and Kit Clark co-wrote "I Can't Wait" and Kit also contributed "N.Y.C Shanty", both of which Kit sang on the record. The first single released from the album was "Never Gonna Be the Same", but this was overshadowed by its successor, the hit single "The Second Summer of Love", which reached number 23 in the British charts. [5] P. Braunstein, and M.Doyle (eds), Imagine Nation: The American Counterculture of the 1960s and '70s, (New York, 2002), p. 7.I’d come off the free festival scene. That was my life,” she tells me over the phone from her home in Bristol. When she discovered free parties, she saw people coming together to just dance, celebrate life, be unified and be on the land.

The split was amicable, with all three members supporting – and sometimes playing on – each other's future projects. A compilation album, Sweet Danny Wilson, was released by Virgin Records in 1991 (containing a bonus album of live recordings called Three-In-A-Bed Romp). The songs which Gary Clark had written for the unrecorded third Danny Wilson album ended up on his 1993 solo album Ten Short Songs About Love (on which both Ged Grimes and Kit Clark performed). [3] Post-band activities [ edit ] And so, Paulette wonders why the story of women at the Hacienda has been “written out”. We’re sat in her garden on a sunny afternoon in Manchester, and she suddenly becomes more serious. “Every book you read about the Hacienda, every article – it just seems to gloss over the gay history and the female history of the Hacienda.” It’s something Paulette says she isn’t prepared to take lying down anymore. “History being history, I just feel it has to be factually correct. I was there. Kath was there. In management, there was Ang Matthews. There were women there.” CIS: 'Summer of Love' Reached Behind Iron Curtain, by Salome Asatiani. RFE/RL, August 30, 2007 (an article about the impact of the Summer of Love event on Soviet youth culture)

Haight Ashbury was a ghetto of bohemians who wanted to do anything—and we did but I don't think it has happened since. Yes there was LSD. But Haight Ashbury was not about drugs. It was about exploration, finding new ways of expression, being aware of one's existence. [41] Away from the huge clubs, you’ll find the indomitable promoter Maddie Ridgway-Brown. Maddie has been organising upmarket underground raves since 1992. Only the well-established raver would be invited to one of her Coalesce parties. Josh Blaaberg is an emerging video artist, whose work spans both the film and art worlds. He has recently been commissioned by Channel 4’s art strand ‘Random Acts’ and the British Film Institute, while his work has screened at Sundance Film Festival and SXSW Andrew Woods (31 July 2018). "Pills, thrills, and Britain's second Summer of Love". The New European. In major new collaboration between Frieze and Gucci to mark 30 years since the Second Summer of Love artists Wu Tsang, Jeremy Deller, Jenn Nkiru and Josh Blaaberg will present new films exploring acid house and the social and political histories behind a selection of the scenes that preceded and influenced it, from New York house to Detroit techno. The films will be released later this year.