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

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Please join us on Friday 4 May in the Talks Space at Frieze New York. The film screening will begin at 17:00, followed by an artist talk with Wu and members of the cast.

Fun Fact: San Antonio played a crucial role in defining the Balearic sound through José Padilla's lengthy sets at Café del Mar in the late eighties and early nineties, which climaxed as sunset with etheral melodies like 'Moments in Love' by Art of Noise. [via: Matthew Collin] Gene Anthony (1980). The Summer of Love: Haight-Ashbury at Its Highest (PDF). John Libbey Eurotext. ISBN 0867194219. Archived from the original (PDF) on June 6, 2007. The event was also reported by the counterculture's own media, particularly the San Francisco Oracle, the pass-around readership of which is thought to have exceeded a half-million people that summer, [28] and the Berkeley Barb.a b Gail Dolgin; Vicente Franco (2007). The Summer of Love. American Experience. PBS. Archived from the original on March 25, 2017 . Retrieved April 23, 2007. 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] On 30 October 1993, Gary Clark and former Bible frontman Boo Hewerdine (who were friends and songwriting collaborators) played a full-length concert at London's Queen Elizabeth Hall, sharing the stage throughout while alternating songs written by one or the other or by both together. Both Ged Grimes and Kit Clark played in the five-piece concert band, which played a number of Danny Wilson songs. In effect, this was a version of Danny Wilson fronted by both Clark and Hewerdine, although the evening was billed very much as friends playing together rather than a formal reunion. T. Anderson, The Movement and the Sixties: Protest in America from Greensboro to Wounded Knee, (Oxford University Press, 1995), p. 174.

Onthisday In 1967, The Words "Summer Of Love" Were First Used In The San Francisco Chronicle". Summer of Love. California Historical Society. April 6, 2017 . Retrieved May 18, 2022. Danny Wilson to play again". Evening Telegraph. 16 September 2014. Archived from the original on 18 October 2014 . Retrieved 20 August 2016. 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 ]Fun Fact: 'City Lights' was Pitt's debut single and became a hit in France in 1987. Following that, the song became a hit in many European countries, including Spain, where is was number 1 in the charts for a brief period of time.

a b c d e f g h i j Will Harris (31 August 2009). "Hooks 'N' You: A Portrait of Gary Clark as a Young Recording Artist". Popdose.com . Retrieved 20 August 2016. Allen Cohen: San Francisco Oracle, Human-Be-IN, History of the Haight-Ashbury". Archived from the original on March 1, 2003. a b Bainbridge, Luke (23 February 2014). "Acid house and the dawn of a rave new world". The Guardian. By the time the band began to demo the third Danny Wilson album in 1991, all three members had written more songs than would fit onto the album, leading to arguments and frustration. Kit Clark attempted to solve the situation by persuading Virgin Records to let him record a solo album, but was rebuffed; following this, he decided to leave the band. [3] Deciding that Danny Wilson would be too much reduced without Kit's contribution ("he was kind of a really good force just in terms of ideas and the flavour of things" [3]), Gary Clark opted to break up the band, maintaining its creative integrity and the friendships between all members before both were spoiled. [3] In 1993 she was brought into the Coalesce fold by Maddie and the pair built a close relationship. By 1994 she was signed to an agency in Germany; by 1995 she was playing at techno hotspots in Europe and in front of more than 20,000 people at Mayday festival. Being a full-time DJ would involve weekly vinyl runs to Eastern Bloc Records in Manchester for playing sets up to five hours long. “I went over to this underground party with Tantra in a car park in Paris,” recalls Maddie. “It was incredible. There were rows of men 10 deep just trying to look at what records she played. She really stood up in her world as a DJ.”Chet Helms. "About this event..." Summer of Love. Archived from the original on February 28, 2011 . Retrieved March 1, 2016.

Today, 30 years on, acid house can evoke a range of potentially conflicting feelings. For the generation that missed the crest of the wave, perhaps the main response is one of saudade – the Portuguese word for a feeling of loss or nostalgia for something you’ve never experienced. In 2018, we find ourselves in many of the same predicaments faced by the generation of ’88. We are culturally and politically fractured, perhaps even more so than during the Second Summer Of Love. There is a sense of something irreconcilable at the heart of society; a gap that can’t be recovered. Today, as the echoes of acid house are still so audible, we find ourselves asking the same questions that birthed the scene in the first place: how do we live together? What is the purpose of the collective? How do we respond to the forces of revanchism? What might the future look like? 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. P. Braunstein, and M.Doyle (eds), Imagine Nation: The American Counterculture of the 1960s and '70s, (New York, 2002), p. 7. Chet Helms, Barry Fey and others who were constructing The Family Dog Denver in the summer of 1967 also held a Human Be-In, in Denver's City Park, with the goal of harnessing the Summer of Love vibe to promote Helm's new Family Dog Productions venture, which opened in September, 1967. 5,000 people attended the Be-In, with performances by bands like the Grateful Dead, Odetta and Captain Beefheart. Ken Kesey and Timothy Leary were also reportedly in attendance. As Denver native Bruce Bond states in the 2021 documentary The Tale of the Dog, [40] "It's not like the Summer of Love ended in Frisco. It just moved east, to Denver."Club organiser, 48, co-founded Energy, putting on raves for up to 25,000 people, with Jeremy Taylor a b "The Year of the Hippie: Timeline". Pbs.org. Archived from the original on May 15, 2007 . Retrieved April 24, 2007. a b c Whiting, Sam (March 10, 2017). "Tracing the lineage of the phrase "Summer of Love" ". San Francisco Chronicle. San Francisco . Retrieved May 18, 2022. 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]