Haight-Asbury
San Francisco and the Haight gained a reputation as the center of illegal drug culture and rock and roll lifestyles soon after, especially with the use of marijuana and LSD and other hallucinogenic drugs. By 1967, the neighborhood’s fame chiefly rested on the fact that it became the haven for a number of important psychedelic rock performers and groups of the mid-1960s. Acts like Jefferson Airplane, the Grateful Dead and Janis Joplin all lived a short distance from the famous intersection. They not only immortalized the scene in song, but also knew many within the community as friends and family.
 
The fabric of the neighborhood was forever altered in 1967 during the Summer of Love, much to the dismay of many residents. Psychedelic rock music was entering the mainstream, and received more and more commercial radio airplay. The song “San Francisco”

became a hit single. The Monterey Pop Festival in June further cemented the status of psychedelic music as a part of mainstream culture and elevated local Haight bands such as Big Brother and the Holding Company and Jefferson Airplane to national stardom. A July 7th Time Magazine cover story on “The Hippies: Philosophy of a Subculture”, an August CBS News television report on “The Hippie Temptation”[1] and other major media interest in the hippie subculture exposed the Haight-Ashbury district to enormous national attention and popularized the movement across the country and around the world. Thousands of disaffected youth migrated to the Haight-Ashbury district, including many runaway teenagers, irrevocably altering the social structure of the neighborhood. The Diggers, a local “community anarchist” group famous for its street theatre and for providing free food to residents every day, held a “Death of the Hippie” parade as the new residents poured in.
 
Bron: en.wikipedia.org

Summer 2007 revisits the unprecedented explosion of contemporary art and popular culture brought about by the civil unrest and pervasive social change of the 1960s and early ’70s, when a new psychedelic aesthetic emerged in art, music, film, architecture, graphic design, and fashion. The exhibition includes paintings, photographs and sculptures by Isaac Abrams, Richard Avedon, Lynda Benglis, Richard Hamilton, Elliott Landy, Jimi Hendrix (his only known watercolor), Robert Indiana, Yayoi Kusama, Richard Lindner, and John McCracken, among others, as well as a rich selection of important posters, album covers and underground magazines. A special emphasis is placed on environments as well as on film, video and multimedia installations, including works by Jordan Belson, USCO, Stan VanDerBeek, James Whitney, and Lamonte Young and Marian Zazeela. The exhibition includes films of performances and light shows, and spotlights places such as the UFO nightclub in London and the Human Be-In in San Francisco, featuring Allen Ginsberg and Timothy Leary. Organized by Tate Liverpool and originally presented there, the show has toured to the Kunsthalle Schirn Frankfurt and the Kunsthalle Wien.
 
Bron: whitney.org

George Harrison’s guitar playing on Leon Russell’s first album led to his participation in the first rock and roll benefit concerts, the “Concert for Bangladesh.” Leon played piano, guitar, and bass guitar. His duet with George Harrison on “Beware of Darkness,” and his performance of “Youngblood” and “Jumpin’ Jack Flash” are legendary. These performances were subsequently included in the film and platinum album “Concert for Bangladesh.” The album won the 1972 ‘Album of the Year’ Grammy Award. The all star lineup included: George Harrison, Ringo Starr, Eric Clapton, Bob Dylan, Billy Preston, Klaus Voorman, Badfinger, and Ravi Shankar, along with Leon’s band members Don Preston, Carl Radle, and Claudia Linnear with friends Jim Horn, Jim Keltner, and Jesse Ed Davis.
 
Bron: leonrussellrecords.com