M. Isserman, and M. Kazin (eds), America Divided: The Civil War of the 1960s, (Oxford University Press, 2004), pp. 151–172. Engebråten, Linda (2010). "1967: a year in the life of The Beatles: history, subjectivity, music". Masteroppgave. University of Oslo Library. hdl: 10852/26951. P. Braunstein, and M.Doyle (eds), Imagine Nation: The American Counterculture of the 1960s and '70s, (New York, 2002), p. 7.

T.H. Anderson, The Movement and the Sixties: Protest in America from Greensboro to Wounded Knee, (Oxford University Press, 1995), p. 172. Summer of Love Producer is Heading to the Polls After Various Permit Denials". Ampthemag.com. January 12, 2018 . Retrieved August 31, 2019. a b "The Year of the Hippie: Timeline". Pbs.org. Archived from the original on May 15, 2007 . Retrieved April 24, 2007. Chris Warne. "The Second Summer of Love". Google Arts & Culture. Museum of Youth Culture . Retrieved 7 October 2022. British news media and tabloids devoted an increasing amount of coverage to the hedonistic scene, focusing increasingly on its association with club drugs. Early positive reports such as running articles on the "acid house" fashion would soon become sensationalist negative coverage. The moral panic of the press began in late 1988, when The Sun, which only days earlier on 12 October had promoted acid house as "cool and groovy" while running an offer on acid smiley face t-shirts, abruptly turned on the scene. [16] On October 19, The Sun ran with the headline "Evils of Ecstasy," linking the acid house scene with the newly popular and relatively unknown drug. On 24 June 1989, the newspaper ran its infamous "Spaced Out!" headline after a Sunrise party. [17] See also [ edit ]In Manhattan, near the Greenwich Village neighborhood, during a concert in Tompkins Square Park on Memorial Day of 1967, some police officers asked for the music's volume to be reduced. [4] In response, some people in the crowd threw various objects, and 38 arrests ensued. [4] A debate about the "threat of the hippie" ensued between Mayor John Lindsay and Police Commissioner Howard R. Leary. [4] After this event, Allan Katzman, the editor of the East Village Other, predicted that 50,000 hippies would enter the area for the summer. [4] [34] California [ edit ] Counterculture". Smith.edu. Archived from the original on August 16, 2017 . Retrieved August 16, 2017. It’s 30 years ago this summer that acid house exploded in the UK, triggering what’s now called the second summer of love and the biggest youth revolution since the 1960s. As a Mexican wave of parties swept through London in a rush of joy and unity, a new world emerged from the swirl of dry ice and pulsing beats, one that was to shape our culture and outlook for the next generation. In many respects, the scene was a boys club, says Sarah, who now works as a psychotherapist. “I had to really push my way in.” Summing up the Coalesce aesthetic as “Prada, pink fluff, silk and satin,” a 1998 review from iD Magazine observed: “The first thing that hits you is the love.” Creating a warm environment for everyone was always at the heart of Coalesce’s mission, says Maddie. “They walked in and there were flowers everywhere. It became a seasonal world of fluff and fun and love, instead of the male-dominated club world which is very dark and filled with strobe lights. I would go out in the morning and give out silly things like wands and sweets. And the men loved it too.”

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 ] 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] But the energy had begun to change. The tabloids had whipped up a moral panic in middle England and police vans would be waiting for us in fields as we drew up to the gates. The carefree spirit had gone out of it, at least it had for me. I got a job and started seeking out smaller, more grown-up clubs, like Graham Ball’s soulful Quiet Storm and Sara Blonstein’s glamorous Pussy Posse parties, which were incredibly creative, with their kissing booths, four-poster beds and “dating agencies”. The first time my husband saw me I was dancing on a podium at Sunrise Transcript (for American Experience documentary on the Summer of Love)". PBS and WGBH. March 14, 2007. Multimedia Inc and the Council of Light Announce San Francisco's Summer of Love 50th Anniversary Concert". Businesswire.com. January 25, 2017 . Retrieved August 31, 2019.

I don’t think the acid-house culture ever really finished. Without it you would never have got garage and without garage you would never have got grime, so basically the biggest music in the world now owes a debt to acid house. Acid house is extraordinary today in part because of how recent it is. The revolution still feels palpable, and the Second Summer Of Love remains a vivid memory for many of those who lived through it. But even for those too young to have experienced 1988, the impact of the scene is evident throughout contemporary culture. Acid house raves gave birth to the free party culture; the genre bled heavily into Berlin techno; the visual signifiers of the scene are in evidence from street style to the catwalk. But, at heart, acid house remains about the music – about virtuosic manipulation of machines; about almost imperceptible changes in rhythm or timbre writ large through bludgeoning repetition; about huge numbers of people motivated by a search for ecstatic experience through sound, by a search for transcendence in a bleak landscape of political catastrophe and social entropy. Acid house was a salve, a sound that unified a fractured culture around an extraordinary, alien music.

Spencer Dryden, Marty Balin, and Paul Kantner of Jefferson Airplane performing at the Fantasy Fair, early June 1967 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. Fun Fact: A part of the mid-'80s London soul scene with Jazzie B, Kid Batchelor started working on house music in 1987 during his DJ sets at the legendary Hedonism club nights. He recorded with Keith Franklin (KCC) as Bang the Party in the late 80s, releasing some of the first quality British house records, including the classic 'Bang Bang, You're Mine'. a b c Roberts, David (2006). British Hit Singles & Albums (19thed.). London: Guinness World Records Limited. p.140. ISBN 1-904994-10-5.The Summer of Love was a social phenomenon that occurred during the summer of 1967, when as many as 100,000 people, mostly young people sporting hippie fashions of dress and behavior, converged in San Francisco's neighborhood of Haight-Ashbury. [1] [2] More broadly, the Summer of Love encompassed the hippie music, hallucinogenic drugs, anti-war, and free-love scene throughout the West Coast of the United States, and as far away as New York City. [3] [4] Danny Wilson to play again". Evening Telegraph. 16 September 2014. Archived from the original on 18 October 2014 . Retrieved 20 August 2016. The inspiration for Shoom came from a trip to Ibiza to celebrate Paul Oakenfold’s birthday in August 1987. We went to this open-air, after-hours club called Amnesia where DJ Alfredo was playing and that was a pivotal experience. It was a combination of the spirit of Ibiza, the spirit of the people and this revolutionary new music, house and techno. We returned to London and sprinkled some of that Ibiza magic into the clubs we created. When I created Shoom in a basement gym in Southwark, it was a complete breath of fresh air. It was small and intimate and it attracted a group of like-minded people of all races, colours and sexual preferences, a mixture of art students, street kids and fashion people. It only held 300 people, but within a few months there were thousands waiting to get in.