The hippie subculture was originally a youth movement that arose in the United States during the mid-1960s, swiftly spreading to other countries around the world. The etymology of the term 'hippie' is from ''hipster'', and was initially used to describe beatniks who had moved into New York City's Greenwich Village, San Francisco's Haight-Ashbury district, and similar urban areas. Both the words "hip" and "hep" came from black American culture and denote awareness. To say "I'm hip to the situation" means "I am aware of the situation." Thus the word "hippie" means "one who is aware," and expanded awareness was a goal of the movement. The early hippie ideology included the countercultural values of the Beat Generation. Some created their own social groups and communities, listened to psychedelic rock, opposed the Vietnam War, embraced the sexual revolution, and used drugs such as marijuana, LSD and "magic" mushrooms to explore alternative states of consciousness.

In January 1967, the Human Be-In in Golden Gate Park in San Francisco popularized hippie culture, leading to the legendary Summer of Love on the West Coast of the United States, and the 1969 Woodstock Festival on the East Coast. Hippies in Mexico, known as ''jipitecas'', formed ''La Onda'' and gathered at Avándaro, while in New Zealand, nomadic housetruckers practiced alternative lifestyles and promoted sustainable energy at Nambassa. In the United Kingdom, mobile "peace convoys" of New age travellers made summer pilgrimages to free music festivals at Stonehenge. In Australia hippies gathered at Nimbin for the 1973 Aquarius Festival and the annual Cannabis Law Reform Rally or MardiGrass. "''Piedra Roja'' Festival", a major hippie event in Chile, was held in 1970.

Hippie fashions and values had a major effect on culture, influencing popular music, television, film, literature, and the arts. Since the widespread movement in the 1960s, many aspects of hippie culture have been assimilated by mainstream society. The religious and cultural diversity espoused by the hippies has gained widespread acceptance, and Eastern philosophy and spiritual concepts have reached a wide audience. The hippie legacy can be observed in contemporary culture in myriad forms—from health food, to music festivals, to contemporary sexual mores, and even to the cyberspace revolution.

Etymology

Lexicographer Jesse Sheidlower, the principal American editor of the ''Oxford English Dictionary'', argues that the terms ''hipster'' and ''hippie'' derive from the word ''hip'', whose origins are unknown. The term ''hipster'' was coined by Harry Gibson in 1940.

Although the word ''hippies'' made isolated appearances during the late 1950s and early 1960s, the first clearly contemporary use of the term appeared in print on September 5, 1965, in the article, "A New Haven for Beatniks", by San Francisco journalist Michael Fallon. In that article, Fallon wrote about the Blue Unicorn coffeehouse, using the term ''hippie'' to refer to the new generation of beatniks who had moved from North Beach into the Haight-Ashbury district. ''New York Times'' editor and usage writer Theodore M. Bernstein said the paper changed the spelling from ''hippy'' to ''hippie'' to avoid the ambiguous description of clothing as ''hippy fashions''. Another usage of the term from 1965, which made the term more widespread, was in the liner notes to the "The Rolling Stones, Now!" album, in which Andrew Loog Oldham wrote, "Their music is Berry-chuck and all the Chicago hippies..."

History

Origins

The foundation of the hippie movement finds historical precedent as far back as the counterculture of the Ancient Greeks, espoused by philosophers like Diogenes of Sinope and the Cynics also as early forms of hippie culture. Hippie philosophy also credits the religious and spiritual teachings of Gandhi, Hillel the Elder, Buddha, Mazdak, St. Francis of Assisi, Henry David Thoreau, and Jesus Christ.

The first signs of what we would call modern "proto-hippies" emerged in fin de siècle Europe. Between 1896 and 1908, a German youth movement arose as a countercultural reaction to the organized social and cultural clubs that centered around German folk music. Known as ''Der Wandervogel'' ("migratory bird"), the movement opposed the formality of traditional German clubs, instead emphasizing amateur music and singing, creative dress, and communal outings involving hiking and camping. Inspired by the works of Friedrich Nietzsche, Goethe, Hermann Hesse, and Eduard Baltzer, Wandervogel attracted thousands of young Germans who rejected the rapid trend toward urbanization and yearned for the pagan, back-to-nature spiritual life of their ancestors. During the first several decades of the twentieth century, Germans settled around the United States, bringing the values of the Wandervogel with them. Some opened the first health food stores, and many moved to Southern California where they could practice an alternative lifestyle in a warm climate. Over time, young Americans adopted the beliefs and practices of the new immigrants. One group, called the "Nature Boys", took to the California desert and raised organic food, espousing a back-to-nature lifestyle like the Wandervogel. Songwriter Eden Ahbez wrote a hit song called ''Nature Boy'' inspired by Robert Bootzin (Gypsy Boots), who helped popularize health-consciousness, yoga, and organic food in the United States.

Like Wandervogel, the hippie movement in the United States began as a youth movement. Composed mostly of white teenagers and young adults between the ages of 15 and 25 years old, hippies inherited a tradition of cultural dissent from bohemians and beatniks of the Beat Generation in the late 1950s. Beats like Allen Ginsberg crossed-over from the beat movement and became fixtures of the burgeoning hippie and anti-war movements. By 1965, hippies had become an established social group in the U.S., and the movement eventually expanded to other countries, extending as far as the United Kingdom and Europe, Australia, Canada, New Zealand, Japan, Mexico, and Brazil. The hippie ethos influenced The Beatles and others in the United Kingdom and other parts of Europe, and they in turn influenced their American counterparts. Hippie culture spread worldwide through a fusion of rock music, folk, blues, and psychedelic rock; it also found expression in literature, the dramatic arts, fashion, and the visual arts, including film, posters advertising rock concerts, and album covers. Self-described hippies had become a significant minority by 1968, representing just under 0.2% of the U.S. population before declining in the mid-1970s.

Along with the New Left and the American Civil Rights Movement, the hippie movement was one of three dissenting groups of the 1960s counterculture. Hippies rejected established institutions, criticized middle class values, opposed nuclear weapons and the Vietnam War, embraced aspects of Eastern philosophy, championed sexual liberation, were often vegetarian and eco-friendly, promoted the use of psychedelic drugs which they believed expanded one's consciousness, and created intentional communities or communes. They used alternative arts, street theatre, folk music, and psychedelic rock as a part of their lifestyle and as a way of expressing their feelings, their protests and their vision of the world and life. Hippies opposed political and social orthodoxy, choosing a gentle and nondoctrinaire ideology that favored peace, love and personal freedom, expressed for example in The Beatles' song "All You Need is Love". Hippies perceived the dominant culture as a corrupt, monolithic entity that exercised undue power over their lives, calling this culture "The Establishment", "Big Brother", or "The Man". Noting that they were "seekers of meaning and value", scholars like Timothy Miller have described hippies as a new religious movement.

Early hippies (1960–1966)

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Escapin' through the lily fields
I came across an empty space
It trembled and exploded
Left a bus stop in its place
The bus came by and I got on
That's when it all began
There was cowboy Neal
At the wheel
Of a bus to never-ever land

- Grateful Dead, lyrics from "That's It for the Other One"

During the early 1960s, novelist Ken Kesey and The Merry Pranksters lived communally in California. Members included Beat Generation hero Neal Cassady, Ken Babbs, Carolyn Adams (aka Mountain Girl and Carolyn Garcia), Stewart Brand, Del Close, Paul Foster, George Walker, Sandy Lehmann-Haupt and others. Their early escapades were documented in Tom Wolfe's book ''The Electric Kool-Aid Acid Test''. With Cassady at the wheel of a school bus named Further, the Merry Pranksters traveled across the United States to celebrate the publication of Kesey's novel ''Sometimes a Great Notion'' and to visit the 1964 World's Fair in New York City. The Merry Pranksters were known for using marijuana, amphetamines, and LSD, and during their journey they "turned on" many people to these drugs. The Merry Pranksters filmed and audiotaped their bus trips, creating an immersive multimedia experience that would later be presented to the public in the form of festivals and concerts. The Grateful Dead wrote a song about the Merry Pranksters' bus trips called "That's It for the Other One".

During this period Greenwich Village in New York City and Berkeley, California anchored the American folk music circuit. Berkeley's two coffee houses, the Cabale Creamery and the Jabberwock (see Jabberwock), sponsored performances by folk music artists in a beat setting. In April 1963, Chandler A. Laughlin III, co-founder of the Cabale Creamery, established a kind of tribal, family identity among approximately fifty people who attended a traditional, all-night Native American peyote ceremony in a rural setting. This ceremony combined a psychedelic experience with traditional Native American spiritual values; these people went on to sponsor a unique genre of musical expression and performance at the Red Dog Saloon in the isolated, old-time mining town of Virginia City, Nevada within two years time.

During the summer of 1965, Laughlin recruited much of the original talent that led to a unique amalgam of traditional folk music and the developing psychedelic rock scene. He and his cohorts created what became known as "The Red Dog Experience", featuring previously unknown musical acts — Grateful Dead, Jefferson Airplane, Iron Butterfly, Big Brother and the Holding Company, Quicksilver Messenger Service, The Charlatans, and others — who played in the completely refurbished, intimate setting of Virginia City's Red Dog Saloon. There was no clear delineation between "performers" and "audience" in "The Red Dog Experience", during which music, psychedelic experimentation, a unique sense of personal style and Bill Ham's first primitive light shows combined to create a new sense of community. Laughlin and George Hunter of the Charlatans were true "proto-hippies", with their long hair, boots and outrageous clothing of nineteenth-century American (and Native American) heritage. LSD manufacturer Owsley Stanley lived in Berkeley during 1965 and provided much of the LSD that became a seminal part of the "Red Dog Experience", the early evolution of psychedelic rock and budding hippie culture. At the Red Dog Saloon, The Charlatans were the first psychedelic rock band to play live (albeit unintentionally) loaded on LSD.

When they returned to San Francisco, Red Dog participants Luria Castell, Ellen Harman and Alton Kelley created a collective called "The Family Dog." Modeled on their Red Dog experiences, on October 16, 1965, the Family Dog hosted "A Tribute to Dr. Strange" at Longshoreman's Hall. Attended by approximately 1,000 of the Bay Area's original "hippies", this was San Francisco's first psychedelic rock performance, costumed dance and light show, featuring Jefferson Airplane, The Great Society and The Marbles. Two other events followed before year's end, one at California Hall and one at the Matrix. After the first three Family Dog events, a much larger psychedelic event occurred at San Francisco's Longshoreman's Hall. Called "The Trips Festival", it took place on January 21–January 23, 1966, and was organized by Stewart Brand, Ken Kesey, Owsley Stanley and others. Ten thousand people attended this sold-out event, with a thousand more turned away each night. On Saturday January 22, the Grateful Dead and Big Brother and the Holding Company came on stage, and 6,000 people arrived to imbibe punch spiked with LSD and to witness one of the first fully developed light shows of the era.

By February 1966, the Family Dog became Family Dog Productions under organizer Chet Helms, promoting happenings at the Avalon Ballroom and the Fillmore Auditorium in initial cooperation with Bill Graham. The Avalon Ballroom, the Fillmore Auditorium and other venues provided settings where participants could partake of the full psychedelic music experience. Bill Ham, who had pioneered the original Red Dog light shows, perfected his art of liquid light projection, which combined light shows and film projection and became synonymous with the San Francisco ballroom experience. The sense of style and costume that began at the Red Dog Saloon flourished when San Francisco's Fox Theater went out of business and hippies bought up its costume stock, reveling in the freedom to dress up for weekly musical performances at their favorite ballrooms. As ''San Francisco Chronicle'' music columnist Ralph J. Gleason put it, "They danced all night long, orgiastic, spontaneous and completely free form."

Some of the earliest San Francisco hippies were former students at San Francisco State College who became intrigued by the developing psychedelic hippie music scene. These students joined the bands they loved, living communally in the large, inexpensive Victorian apartments in the Haight-Ashbury. Young Americans around the country began moving to San Francisco, and by June 1966, around 15,000 hippies had moved into the Haight. The Charlatans, Jefferson Airplane, Big Brother and the Holding Company, and the Grateful Dead all moved to San Francisco's Haight-Ashbury neighborhood during this period. Activity centered around the Diggers, a guerrilla street theatre group that combined spontaneous street theatre, anarchistic action, and art happenings in their agenda to create a "free city". By late 1966, the Diggers opened free stores which simply gave away their stock, provided free food, distributed free drugs, gave away money, organized free music concerts, and performed works of political art.

On October 6, 1966, the state of California declared LSD a controlled substance, which made the drug illegal. In response to the criminalization of psychedelics, San Francisco hippies staged a gathering in the Golden Gate Park panhandle, called the Love Pageant Rally, attracting an estimated 700–800 people. As explained by Allan Cohen, co-founder of the ''San Francisco Oracle'', the purpose of the rally was twofold: to draw attention to the fact that LSD had just been made illegal — and to demonstrate that people who used LSD were not criminals, nor were they mentally ill. The Grateful Dead played, and some sources claim that LSD was consumed at the rally. According to Cohen, those who took LSD "were not guilty of using illegal substances...We were celebrating transcendental consciousness, the beauty of the universe, the beauty of being."

Summer of Love (1967)

On January 14, 1967, the outdoor Human Be-In organized by Michael Bowen helped to popularize hippie culture across the United States, with 20,000 hippies gathering in San Francisco's Golden Gate Park. On March 26, Lou Reed, Edie Sedgwick and 10,000 hippies came together in Manhattan for the Central Park Be-In on Easter Sunday. The Monterey Pop Festival from June 16 to June 18 introduced the rock music of the counterculture to a wide audience and marked the start of the "Summer of Love". Scott McKenzie's rendition of John Phillips' song, "San Francisco", became a hit in the United States and Europe. The lyrics, "If you're going to San Francisco, be sure to wear some flowers in your hair", inspired thousands of young people from all over the world to travel to San Francisco, sometimes wearing flowers in their hair and distributing flowers to passersby, earning them the name, "Flower Children". Bands like the Grateful Dead, Big Brother and the Holding Company (with Janis Joplin), and Jefferson Airplane lived in the Haight.

In June 1967, Herb Caen was approached by "a distinguished magazine" to write about why hippies were attracted to San Francisco. He declined the assignment but interviewed hippies in the Haight for his own newspaper column in the ''San Francisco Chronicle''. Caen determined that, "Except in their music, they couldn't care less about the approval of the straight world." Caen himself felt that the city of San Francisco was so straight that it provided a visible contrast with hippie culture. On July 7, ''Time'' magazine featured a cover story entitled, "The Hippies: The Philosophy of a Subculture." The article described the guidelines of the hippie code: "Do your own thing, wherever you have to do it and whenever you want. Drop out. Leave society as you have known it. Leave it utterly. Blow the mind of every straight person you can reach. Turn them on, if not to drugs, then to beauty, love, honesty, fun." It is estimated that around 100,000 people traveled to San Francisco in the summer of 1967. The media was right behind them, casting a spotlight on the Haight-Ashbury district and popularizing the "hippie" label. With this increased attention, hippies found support for their ideals of love and peace but were also criticized for their anti-work, pro-drug, and permissive ethos.

At this point, The Beatles had released their groundbreaking album ''Sgt. Pepper's Lonely Hearts Club Band'' which was quickly embraced by the hippie movement with its colorful psychedelic sonic imagery.

By the end of the summer, the Haight-Ashbury scene had deteriorated. The incessant media coverage led the Diggers to declare the "death" of the hippie with a parade. According to the late poet Susan 'Stormi' Chambless, the hippies buried an effigy of a hippie in the Panhandle to demonstrate the end of his/her reign. Haight-Ashbury could not accommodate the influx of crowds (mostly naive youngsters) with no place to live. Many took to living on the street, panhandling and drug-dealing. There were problems with malnourishment, disease, and drug addiction. Crime and violence skyrocketed. None of these trends reflected what the hippies had envisioned. Some of the more idealistic hippies preferred to be called freaks, to distinguish themselves from those for whom being a hippie meant sex and drugs, not revolution and transcendence. By the end of 1967, many of the hippies and musicians who initiated the Summer of Love had moved on. Beatle George Harrison had once visited Haight-Ashbury and found it to be just a haven for dropouts, inspiring him to give up LSD. Misgivings about the hippie culture, particularly with regard to drug abuse and lenient morality, fueled the moral panics of the late 1960s.

Revolution (1967–1970)

By 1968, hippie-influenced fashions were beginning to take off in the mainstream, especially for youths and younger adults of the populous "Baby Boomer" generation, many of whom may have aspired to emulate the hardcore movements now living in tribalistic communes, but had no overt connections to them. This was noticed not only in terms of clothes and also longer hair for men, but also in music, film, art, and literature, and not just in the US, but around the world. Eugene McCarthy's brief presidential campaign successfully persuaded a significant minority of young adults to "get clean for Gene" by shaving their beards or wearing longer skirts; however the "Clean Genes" had little impact on the popular image in the media spotlight, of the hirsute hippy adorned in beads, feathers, flowers and bells.

The Yippies, who were seen as an offshoot of the hippie movements parodying as a political party, came to national attention during their celebration of the 1968 spring equinox, when some 3,000 of them took over Grand Central Station in New York — eventually resulting in 61 arrests. The Yippies, especially their leaders Abbie Hoffman and Jerry Rubin, became notorious for their theatrics, such as trying to levitate the Pentagon at the October 1967 war protest, and such slogans as "Rise up and abandon the creeping meatball!" Their stated intention to protest the 1968 Democratic National Convention in Chicago in August, including nominating their own candidate, "Lyndon Pigasus Pig" (an actual pig), was also widely publicized in the media at this time. In Cambridge, hippies congregated each Sunday for a large "be-in" at Cambridge Park with swarms of drummers and those beginning the Women's Movement. In April 1969, the building of People's Park in Berkeley, California received international attention. The University of California, Berkeley had demolished all the buildings on a parcel near campus, intending to use the land to build playing fields and a parking lot. After a long delay, during which the site became a dangerous eyesore, thousands of ordinary Berkeley citizens, merchants, students, and hippies took matters into their own hands, planting trees, shrubs, flowers and grass to convert the land into a park. A major confrontation ensued on May 15, 1969, when Governor Ronald Reagan ordered the park destroyed, which led to a two-week occupation of the city of Berkeley by the California National Guard. Flower power came into its own during this occupation as hippies engaged in acts of civil disobedience to plant flowers in empty lots all over Berkeley under the slogan "Let A Thousand Parks Bloom".

In August 1969, the Woodstock Music and Art Fair took place in Bethel, New York, which for many, exemplified the best of hippie counterculture. Over 500,000 people arrived to hear some of the most notable musicians and bands of the era, among them Canned Heat. Richie Havens, Joan Baez, Janis Joplin, The Grateful Dead, Creedence Clearwater Revival, Crosby, Stills, Nash & Young, Carlos Santana, The Who, Jefferson Airplane, and Jimi Hendrix. Wavy Gravy's Hog Farm provided security and attended to practical needs, and the hippie ideals of love and human fellowship seemed to have gained real-world expression.

In December 1969, a similar event took place in Altamont, California, about 30 miles (45 km) east of San Francisco. Initially billed as "Woodstock West", its official name was The Altamont Free Concert. About 300,000 people gathered to hear The Rolling Stones; Crosby, Stills, Nash and Young; Jefferson Airplane and other bands. The Hells Angels provided security that proved far less benevolent than the security provided at the Woodstock event: 18-year-old Meredith Hunter was stabbed and killed during The Rolling Stones' performance after he brandished a gun and waved it toward the stage.

By the summer of 1970, the revolution was dying. An attempt at Middlefield, CT to stage a Woodstock like rock festival (Powder Ridge Rock Festival) collapsed on the eve of the festival when local residents obtained an injunction against the event.

Aftershocks (1970–present)

By the 1970s, the 1960s zeitgeist that had spawned hippie culture seemed to be on the wane. The events at Altamont Free Concert shocked many Americans, including those who had strongly identified with hippie culture. Another shock came in the form of the Sharon Tate and Leno and Rosemary LaBianca murders committed in August 1969 by Charles Manson and his "family" of followers. Nevertheless, the turbulent political atmosphere that featured the bombing of Cambodia and shootings by National Guardsmen at Jackson State University and Kent State University still brought people together. These shootings inspired the May 1970 song by Quicksilver Messenger Service "What About Me?", where they sang, "You keep adding to my numbers as you shoot my people down", as well as Neil Young's "Ohio", recorded by Crosby, Stills, Nash and Young.

Much of hippie style had been integrated into mainstream American society by the early 1970s. Large rock concerts that originated with the 1967 Monterey Pop Festival and the 1968 Isle of Wight Festival became the norm, evolving into stadium rock in the process. The anti-war movement reached its peak in May 1971 as 40,000 protesters were arrested in Washington DC. President Nixon himself actually ventured out of the White House and chatted with a group of the 'hippie' protesters. The draft was ended soon thereafter, in 1972. In the mid-1970s, with the end of the draft and the Vietnam War, a renewal of patriotic sentiment associated with the approach of the United States Bicentennial and the emergence of punk in London, Manchester, New York and Los Angeles, the mainstream media lost interest in the hippie counterculture. At the same time there was a revival of the Mod subculture, skinheads, teddy boys and the emergence of new youth cultures, like the goths (an arty offshoot of punk) and football casuals. Acid rock gave way to prog rock, heavy metal, disco, and punk rock.

Starting in the late 1960s, hippies began to come under attack by working-class skinheads. Hippies were also vilified and sometimes attacked by punks, revivalist mods, greasers, football casuals, Teddy boys, rednecks and members of other youth subcultures of the 1970s and 1980s. The countercultural movement was also under covert assault by J. Edgar Hoover's infamous "Counter Intelligence Program" (COINTELPRO), but in some countries it was other youth groups that were a threat. Hippie ideals had a marked influence on anarcho-punk and some post-punk youth subcultures, especially during the Second Summer of Love.

While many hippies made a long-term commitment to the lifestyle, some people argue that hippies "sold out" during the 1980s and became part of the materialist, consumer culture. Although not as visible as it once was, hippie culture has never died out completely: hippies and neo-hippies can still be found on college campuses, on communes, and at gatherings and festivals. Many embrace the hippie values of peace, love, and community, and hippies may still be found in bohemian enclaves around the world.

Towards the end of the 20th century, a trend of "cyber hippies" emerged, that embraced some of the qualities of the '60s psychedelic counterculture.

Ethos and characteristics

Hippies sought to free themselves from societal restrictions, choose their own way, and find new meaning in life. One expression of hippie independence from societal norms was found in their standard of dress and grooming, which made hippies instantly recognizable to one another, and served as a visual symbol of their respect for individual rights. Through their appearance, hippies declared their willingness to question authority, and distanced themselves from the "straight" and "square" (i.e., conformist) segments of society.Personality traits and values hippies tend to be associated with are "altruism and mysticism, honesty, joy and nonviolence".

At the same time, many thoughtful hippies distanced themselves from the very idea that the way a person dresses could be a reliable signal of who he was, especially after outright criminals, like Charles Manson, began to adopt superficial hippie characteristics, and also after plainclothes policemen started to "dress like hippies" in order to divide and conquer legitimate members of the counter-culture. Frank Zappa admonished his audience that "we all wear a uniform": the San Francisco clown/hippie Wavy Gravy said in 1987 that he could still see fellow-feeling in the eyes of Market Street businessmen who had dressed conventionally to survive.

As in the beat movement preceding them, and the punk movement that followed soon after, hippie symbols and iconography were purposely borrowed from either "low" or "primitive" cultures, with hippie fashion reflecting a disorderly, often vagrant style. As with other adolescent, white middle-class movements, deviant behavior of the hippies involved challenging the prevailing gender differences of their time: both men and women in the hippie movement wore jeans and maintained long hair, and both genders wore sandals or went barefoot. Men often wore beards, while women wore little or no makeup, with many going braless. Hippies often chose brightly colored clothing and wore unusual styles, such as bell-bottom pants, vests, tie-dyed garments, dashikis, peasant blouses, and long, full skirts; non-Western inspired clothing with Native American, Asian, Indian, African and Latin American motifs were also popular. Much of hippie clothing was self-made in defiance of corporate culture, and hippies often purchased their clothes from flea markets and second-hand shops. Favored accessories for both men and women included Native American jewelry, head scarves, headbands and long beaded necklaces. Hippie homes, vehicles and other possessions were often decorated with psychedelic art.

Travel

[[Image:Housetrucks and camping at Nambassa 1981.jpg|thumb|right|500px|Housetrucks at the Nambassa 5 day festival 1981.]] Travel, domestic and international, was a prominent feature of hippie culture, becoming (in this communal process) an extension of friendship. School buses similar to Ken Kesey's Further, or the iconic VW bus, were popular because groups of friends could travel on the cheap. The VW Bus became known as a counterculture and hippie symbol, and many buses were repainted with graphics and/or custom paint jobs — these were predecessors to the modern-day art car. A peace symbol often replaced the Volkswagen logo. Many hippies favored hitchhiking as a primary mode of transport because it was economical, environmentally friendly, and a way to meet new people. During the late 1960s and early 1970s, two organizations in Texas, Student Travel, Inc. under Oliver Herd and European Adventures under Ronny Hames operated extensive VW Bus tours for college students (mostly female) across Europe. Tours ranged from 45–60 days in length and covered destinations from Scandinavia to Spain (running of the bulls in Pamplona), East Germany and the Greek Islands. Under the business model of the time, male students who sold tours to six other students could drive one of the VW buses and travel free. Five - six buses formed the core travel group, and several travel groups would operate at the same time on slightly different itineraries.

Hippies tended to travel light and could pick up and go wherever the action was at any time. Whether at a "love-in" on Mount Tamalpais near San Francisco, a demonstration against the Vietnam War in Berkeley, or one of Ken Kesey's "Acid Tests", if the "vibe" wasn't right and a change of scene was desired, hippies were mobile at a moment's notice. Planning was eschewed as hippies were happy to put a few clothes in a backpack, stick out their thumbs and hitchhike anywhere. Hippies seldom worried whether they had money, hotel reservations or any of the other standard accoutrements of travel. Hippie households welcomed overnight guests on an impromptu basis, and the reciprocal nature of the lifestyle permitted freedom of movement. People generally cooperated to meet each other's needs in ways that became less common after the early 1970s." This way of life is still seen among the Rainbow Family groups, new age travellers and New Zealand's housetruckers.

A derivative of this free-flow style of travel were hippie trucks and buses, hand-crafted mobile houses built on truck or bus chassis to facilitate a nomadic lifestyle as documented in the 1974 book ''Roll Your Own'' Some of these mobile gypsy houses were quite elaborate with beds, toilets, showers and cooking facilities.

On the West Coast, a unique lifestyle developed around the Renaissance Faires that Phyllis and Ron Patterson first organized in 1963.

During the summer and fall months, entire families traveled together in their trucks and buses, parked at Renaissance Pleasure Faire sites in Southern and Northern California, worked their crafts during the week, and donned Elizabethan costume for weekend performances and to attend booths where handmade goods were sold to the public.

The sheer number of young people living at the time made for unprecedented travel opportunities to special happenings. The peak experience of this type was the Woodstock Festival near Bethel, New York, from August 15 to 18, 1969, which drew over 500,000 people.

One travel experience, undertaken by hundreds of thousands of hippies between 1969 and 1971, was the Hippie trail overland route to India. Carrying little or no luggage, and with small amounts of cash, almost all followed the same route, hitch-hiking across Europe to Athens and on to Istanbul, then by train through central Turkey via Erzurum, continuing by bus into Iran, via Tabriz and Tehran to Mashhad, across the Afghan border into Herat, through southern Afghanistan via Kandahar to Kabul, over the Khyber Pass into Pakistan, via Rawalpindi and Lahore to the Indian frontier. Once in India, hippies went to many different destinations but gathered in large numbers on the beaches of Goa, or crossed the border into Nepal to spend months in Kathmandu. In Kathmandu, most of the hippies hung out in tranquil surrounding of a place called Freak Street (Nepal Bhasa: Jhoo Chhen) which still exists near Kathmandu Durbar Square.

Religion

Many hippies rejected mainstream organized religions in favor of a more personal spiritual experience, often drawing on indigenous beliefs and folk religions, among others. If they adhered to mainstream faiths, they embraced Buddhism, Hinduism and the Jesus Movement. Many hippies embraced neo-paganism (especially Wicca) as well.

Politics

The peace symbol was developed in the UK as a logo for the Campaign for Nuclear Disarmament, and was embraced by U.S. anti-war protestors during the 1960s. Hippies were often pacifists and participated in non-violent political demonstrations, such as civil rights marches, the marches on Washington D.C., and anti–Vietnam War demonstrations, including draft-card burnings and the 1968 Democratic National Convention protests. The degree of political involvement varied widely among hippies, from those who were active in peace demonstrations to the more anti-authority street theater and demonstrations of the Yippies, the most politically active hippie sub-group. Bobby Seale discussed the differences between Yippies and hippies with Jerry Rubin who told him that Yippies were the political wing of the hippie movement, as hippies have not "necessarily become political yet". Regarding the political activity of hippies, Rubin said, "They mostly prefer to be stoned, but most of them want peace, and they want an end to this stuff."

In addition to non-violent political demonstrations, hippie opposition to the Vietnam War included organizing political action groups to oppose the war, refusal to serve in the military and conducting "teach-ins" on college campuses that covered Vietnamese history and the larger political context of the war.

Scott McKenzie's 1967 rendition of John Phillips' song "San Francisco (Be Sure to Wear Flowers in Your Hair)", which helped inspire the hippie Summer of Love, became a homecoming song for all Vietnam veterans arriving in San Francisco from 1967 on. McKenzie has dedicated every American performance of "San Francisco" to Vietnam veterans, and he sang at the 2002 20th anniversary of the dedication of the Vietnam Veterans Memorial. Hippie political expression often took the form of "dropping out" of society to implement the changes they sought. Politically motivated movements aided by hippies include the back to the land movement of the 1960s, cooperative business enterprises, alternative energy, the free press movement, and organic farming.

The political ideals of the hippies influenced other movements, such as anarcho-punk, rave culture, green politics, stoner culture and the new age movement. Penny Rimbaud of the English anarcho-punk band Crass said in interviews, and in an essay called ''The Last Of The Hippies'', that Crass was formed in memory of his friend, Wally Hope. Rimbaud also said that Crass were heavily involved with the hippie movement throughout the 1960s and Seventies, with Dial House being established in 1967. Many punks were often critical of Crass for their involvement in the hippie movement. Like Crass, Jello Biafra was influenced by the hippie movement and cited the yippies as a key influence on his political activism and thinking, though he did write songs critical of hippies.

Drugs

Following in the well-worn footsteps of the Beats, the hippies also used cannabis (marijuana), considering it pleasurable and benign. They enlarged their spiritual pharmacopeia to include hallucinogens such as LSD, psilocybin, and mescaline while renouncing the use of alcohol. On the East Coast of the United States, Harvard University professors Timothy Leary, Ralph Metzner and Richard Alpert (Ram Dass) advocated psychotropic drugs for psychotherapy, self-exploration, religious and spiritual use. Regarding LSD, Leary said, "Expand your consciousness and find ecstasy and revelation within."

On the West Coast of the United States, Ken Kesey was an important figure in promoting the recreational use of psychotropic drugs, especially LSD, also known as "acid." By holding what he called "Acid Tests", and touring the country with his band of Merry Pranksters, Kesey became a magnet for media attention that drew many young people to the fledgling movement. The Grateful Dead (originally billed as "The Warlocks") played some of their first shows at the Acid Tests, often as high on LSD as their audiences. Kesey and the Pranksters had a "vision of turning on the world." Harder drugs, such as amphetamines and heroin were also used in hippie settings; however, these drugs were often disdained, even among those who used them, because they were recognized as harmful and addictive.

Legacy

The legacy of the hippie movement continues to permeate Western society. In general, unmarried couples of all ages feel free to travel and live together without societal disapproval. Frankness regarding sexual matters has become more common, and the rights of homosexual, bisexual and transsexual people, as well as people who choose not to categorize themselves at all, have expanded. Religious and cultural diversity has gained greater acceptance. Co-operative business enterprises and creative community living arrangements are more accepted than before. Some of the little hippie health food stores of the 1960s and 1970s are now large-scale, profitable businesses, due to greater interest in natural foods, herbal remedies, vitamins and other nutritional supplements. Authors Stewart Brand and John Markoff argue that the development and popularization of personal computers and the Internet find one of their primary roots in the anti-authoritarian ethos promoted by hippie culture.

Distinct appearance and clothing was one of the immediate legacies of hippies worldwide. During the 1960s and 1970s, mustaches, beards and long hair became more commonplace and colorful, while multi-ethnic clothing dominated the fashion world. Since that time, a wide range of personal appearance options and clothing styles, including nudity, have become more widely acceptable, all of which was uncommon before the hippie era. Hippies also inspired the decline in popularity of the necktie and other ''business'' clothing, which had been unavoidable for men during the 1950s and early 1960s. Astrology, including everything from serious study to whimsical amusement regarding personal traits, was integral to hippie culture.

Culture

The hippie legacy in literature includes the lasting popularity of books reflecting the hippie experience, such as ''The Electric Kool-Aid Acid Test''. In music, the folk rock and psychedelic rock popular among hippies evolved into genres such as acid rock, world beat and heavy metal music. Psychedelic trance (also known as psytrance) is a type of electronic music music influenced by 1960s psychedelic rock. The tradition of hippie music festivals began in the United States in 1965 with Ken Kesey's Acid Tests, where the Grateful Dead played tripping on LSD and initiated psychedelic jamming. For the next several decades, many hippies and neo-hippies became part of the Deadhead community, attending music and art festivals held around the country. The Grateful Dead toured continuously, with few interruptions between 1965 and 1995. Phish and their fans (called ''Phish Heads'') operated in the same manner, with the band touring continuously between 1983 and 2004. Many contemporary bands performing at hippie festivals and their derivatives are called jam bands, since they play songs that contain long instrumentals similar to the original hippie bands of the 1960s.

With the demise of Grateful Dead and Phish, nomadic touring hippies attend a growing series of summer festivals, the largest of which is called the Bonnaroo Music & Arts Festival, which premiered in 2002. The Oregon Country Fair is a three-day festival featuring hand-made crafts, educational displays and costumed entertainment.

The Burning Man festival began in 1986 at a San Francisco beach party and is now held in the Black Rock Desert northeast of Reno, Nevada. Although few participants would accept the ''hippie'' label, Burning Man is a contemporary expression of alternative community in the same spirit as early hippie events. The gathering becomes a temporary city (36,500 occupants in 2005), with elaborate encampments, displays, and many art cars. Other events that enjoy a large attendance include the Rainbow Family Gatherings, The Gathering of the Vibes, Community Peace Festivals, and the Woodstock Festivals.

In the UK, there are many new age travellers who are known as hippies to outsiders, but prefer to call themselves the Peace Convoy. They started the Stonehenge Free Festival in 1974, but English Heritage later banned the festival, resulting in the Battle of the Beanfield in 1985. With Stonehenge banned as a festival site, new age travellers gather at the annual Glastonbury Festival.

In New Zealand between 1976 and 1981 tens of thousands of hippies gathered from around the world on large farms around Waihi and Waikino for music and alternatives festivals. Named ''Nambassa'', the festivals focused on peace, love, and a balanced lifestyle. The events featured practical workshops and displays advocating alternative lifestyles, self sufficiency, clean and sustainable energy and sustainable living.

In the UK and Europe, the years 1987 to 1989 were marked by a large-scale revival of many characteristics of the hippie movement. This later movement, composed mostly of people aged 18 to 25, adopted much of the original hippie philosophy of love, peace and freedom. The summer of 1988 became known as the Second Summer of Love. Although the music favored by this movement was modern electronic music, especially house music and acid house, one could often hear songs from the original hippie era in the ''chill out rooms'' at raves. In the UK, many of the well-known figures of this movement first lived communally in Stroud Green, an area of north London located in Finsbury Park.

Popular films depicting the hippie ethos and lifestyle include ''Woodstock'', ''Easy Rider'', ''Hair'', ''The Doors'', ''Across the Universe'', ''Taking Woodstock'', and ''Crumb''.

In 2002, photojournalist John Bassett McCleary published a 650-page, 6,000-entry unabridged slang dictionary devoted to the language of the hippies titled ''The Hippie Dictionary: A Cultural Encyclopedia of the 1960s and 1970s''. The book was revised and expanded to 700 pages in 2004. McCleary believes that the hippie counterculture added a significant number of words to the English language by borrowing from the lexicon of the Beat Generation, through the hippies' shortening of beatnik words and then popularizing their usage.

Notes

References

Binkley, Sam. (2002). Hippies. ''St. James Encyclopedia of Pop Culture''. FindArticles.com.

.

Brand, Stewart. (Spring, 1995). We Owe it All to the Hippies. ''Time''.

. .

Gaskin, Stephen. (1970). ''Monday Night Class''. The Book Farm. ISBN 1-57067-181-8.

. . . .

Kent, Stephen A. (2001). ''From slogans to mantras: social protest and religious conversion in the late Vietnam war era''. Syracuse University Press. ISBN 0-8156-2923-0

. . . . . . . . .

Mecchi, Irene. (1991). ''The Best of Herb Caen, 1960–75''. Chronicle Books. ISBN 0-8118-0020-2

. . . . . . . . . . .

Young, Shawn David. (2005). ''Hippies, Jesus Freaks, and Music''. Ann Arbor: Xanedu/Copley Original Works. ISBN 1-59399-201-7

Further reading and resources

. . . . . . . . . . . . . . See also: Rainbowpedia . . . . .

External links

Hippie Hangouts — slideshow by ''Life magazine''

Category:Subcultures Category:1960s fashion * Category:Counterculture Category:California culture Category:Oregon culture Category:Washington (state) culture Category:Culture of the Pacific Northwest Category:Free love advocates Category:Sexual revolution

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name	Penn & Teller
birth name	Penn JilletteRaymond Joseph Teller
birth date	Penn Jillette (March 5, 1955) Teller (February 14, 1948)
residence	Las Vegas
othernames	Asparagus Valley Cultural Society
homepage	pennandteller.com
known for	MagicComedy }}

Penn & Teller (Penn Jillette and Teller) are Las Vegas headliners whose act is an amalgam of illusion and comedy. Penn Jillette is a raconteur; Teller generally uses mime while performing, although his voice can occasionally be heard throughout their performance. They specialize in gory tricks, exposing frauds, and performing clever pranks, and have become associated with Las Vegas, atheism, scientific skepticism, and libertarianism.

Careers

On 19 August 1975, Penn & Teller did their first show together at the Minnesota Renaissance Festival. Penn and Teller were introduced to one another by Weir Chrisimer. From the late 1970s through 1981, the three made up an act called "Asparagus Valley Cultural Society" which played in San Francisco at the Phoenix Theater. This act was sillier and less "edgy" than today's Penn & Teller act. Chrisimer helped to develop some bits that continued, most notably Teller's "Shadows" trick, which involves a single red rose.

By 1985, Penn & Teller were receiving rave reviews for their Off Broadway show and Emmy award-winning PBS special, ''Penn & Teller Go Public''. In 1987, they began the first of two successful Broadway runs. Through the late 1980s and early 1990s, the duo made numerous television appearances on ''Late Night with David Letterman'' and ''Saturday Night Live'', as well as ''The Tonight Show with Jay Leno'', ''Late Night with Conan O'Brien'', ''Today'', and many others.

Penn & Teller had national tours throughout the 1990s, gaining critical praise. They have also made television guest appearances on ''Babylon 5'' (as the comedy team ''Rebo and Zooty''), ''The Drew Carey Show'', a few episodes of ''Hollywood Squares'' from 1998 until 2004, ABC's ''Muppets Tonight'', FOX's ''The Bernie Mac Show'', an episode of the game show ''Fear Factor'' on NBC, NBC's ''The West Wing'', in a two-part episode of the final season of ABC's ''Home Improvement'' in 1998, four episodes during season 1 of ''Sabrina, the Teenage Witch'' in 1996, NBC's ''Las Vegas'', and FOX's ''The Simpsons'' episodes Hello Gutter, Hello Fadder and The Great Simpsina and ''Futurama'' film ''Futurama: Into the Wild Green Yonder'' in 2009. They also appeared as Three-card Monte scam artists in the music video for "It's Tricky" by Run-DMC in 1987, and were thrown out of a Las Vegas hotel room in the music video for "Waking Up in Vegas" by Katy Perry in 2009.

Their Showtime Network television show ''Bullshit!'' takes a skeptical look at psychics, religion, the pseudoscientific, conspiracy theories, and the paranormal. It has also featured critical segments on gun control, astrology, Feng Shui, environmental issues, PETA, weight loss, the Americans with Disabilities Act, and the war on drugs.

On ''Bullshit!'', the duo describe their social and political views as libertarian.

They have also described themselves as teetotalers. Their book, ''Penn & Teller's How to Play in Traffic'', explains that they avoid absolutely all alcohol and other drugs, including caffeine, though they do appear to smoke cigarettes in some videos. Penn has said that he has never even tasted alcohol, and that his tolerance for certain drugs is so low that his doctor only had to administer a minute amount of anesthetic relative to what one would expect necessary for a man of his size to undergo surgery.

The pair have written several books about magic, including ''Penn & Teller's Cruel Tricks For Dear Friends'', ''Penn & Teller's How to Play with Your Food'', and ''Penn & Teller's How to Play in Traffic''. Since 2001, Penn & Teller have performed six nights a week (or as Penn puts it on ''Bullshit!'': "Every night of the week . . . except Fridays!") in Las Vegas at the Rio All Suite Hotel and Casino.

Penn Jillette hosted a weekday one-hour talk show on Infinity Broadcasting's Free FM radio network from January 3, 2006 to March 2, 2007 with cohost Michael Goudeau. He also hosted the game show ''Identity'', which debuted on December 18, 2006 on NBC.

Penn & Teller have also shown support for the Brights movement and are now listed on the movement's homepage under the Enthusiastic Brights section. According to an article in Wired magazine, their license plates are customized so they read, "Atheist" and "Godless", and when Penn signs autographs, he often writes down, "there is no God" with his signature.

Off-stage relationship

Penn Jillette has told interviewer Larry King that a big part of the duo's success and longevity is due to their never having been close friends. They enjoy working together immensely, but have little in common besides magic. As a result of their drastically different lifestyles and interests, they rarely socialize or interact when not working. Jillette believes that their partnership succeeds precisely because they give each other a great deal of space off-stage.

Tricks

Their tricks include Teller hanging upside-down over a cushion of spikes in a straitjacket, Teller submerged in a huge container of water, Teller being run over by an 18-wheel tractor-trailer, Teller swinging going through Penn's hands. Many of their effects rely heavily on shock appeal and violence, although presented in a humorous manner.

Sometimes, the pair will claim to reveal a secret of how a magic trick is done, but those tricks are usually invented by the duo for the sole purpose of exposing them, and therefore designed with more spectacular and weird methods than would have been necessary had it just been a "proper" magic trick. For example, in the "reveal" of one trick, while Teller waits for his cue, he reads magazines and eats a snack. Another example is their rendition of the cups and balls, using transparent cups.

Penn and Teller perform their own adaptation of the famous bullet catch illusion. Each simultaneously fires a gun at the other, through small panes of glass, and then "catches" the other's bullet in his mouth. They also have an assortment of card tricks in their repertoire, virtually all of them involving the force of the Three of Clubs on an unsuspecting audience member as this card is easy for viewers to identify on television cameras.

The duo will sometimes perform tricks that discuss the intellectual underpinnings of magic. One of their acts, titled "Magician vs. Juggler", features Teller performing card tricks while Penn juggles and delivers a monologue on the difference between the two: jugglers start as socially aware children who go outside and learn juggling with other children; magicians are misfits who stay in the house and teach themselves magic tricks out of spite.

In one of their most politically charged tricks, they make a U.S. flag seem to disappear by wrapping it in a copy of the United States Bill of Rights, and apparently setting the flag on fire, so that "the flag is gone but the Bill of Rights remains." The act may also feature the "Chinese bill of rights", presented as a transparent piece of acetate. They normally end the routine by restoring the unscathed flag to its starting place on the flagpole; however, on a TV guest appearance on ''The West Wing'' this final part was omitted.

One of their more recent tricks involves a powered nail gun with a quantity of missing nails from the series of nails in its magazine. Penn begins by firing several apparently real nails into a board in front of him. He then proceeds to fire the nailgun into the palm of his hand several times, while suffering no injuries. His pattern builds as he oscillates between firing blanks into his hand and firing nails into the board. While performing he states that the trick is merely memorization, and explains that the fact that he does not flinch when he could be firing a nail into his hand should be a sign that the trick is not actually dangerous. A later revision to the trick replaced the false claims of memorization with a more open explanation, allowing the audience to enjoy the rhythm of the nail gun without fear of a serious mishap.

A trick introduced in 2010 is a modern version of the bag escape, replacing the traditional sack with a black trash bag apparently filled with helium. Teller is placed in the bag which is then pumped full of helium and sealed by an audience member. For the escape, the audience are blinded by a bright light for a second and when they are able to see again, Teller has escaped from the bag and Penn is holding it, still full of helium, above his head, before releasing it to float to the ceiling. The duo had hoped to put the trick in their mini-tour in London; however, it was first shown to the public in their Las Vegas show on 18 August 2010. In June 2011, Penn and Teller performed this trick for the first time in the United Kingdom on their show ''Fool Us''.

Filmography

Film

! Year	! Film	! Role	! Notes
	''Penn & Teller Get Killed''	Themselves
	''Penn & Teller's Cruel Tricks for Dear Friends''	Themselves
		Themselves	Penn also co-directed the film

Television

! Year(s)	! Title	! Role	! Notes
1985	''Penn & Teller Go Public''	Themselves	On KCET Los Angeles
1985 - 1986	''Saturday Night Live''	Themselves	7 Episodes
1993	''FETCH! with Ruff Ruffman''	Themselves	They taught one of the show's contestants, Rubye, to perform magic tricks.
1994	''The Unpleasant World of Penn & Teller''	Themselves
1995	''Phobophilia''	Themselves
1995	''The Drew Carey Show''	Archibald Fenn & Geller	2 Episodes: "Drew Meets Lawyers" (1995) and "See Drew Run" (1997)
1995 - 2008	''The Tonight Show with Jay Leno''	Themselves	4 Episodes: 14 November 1995, 27 November 1998, 13 May 2004, & 25 November 2008
1996 & 1997	''Sabrina, the Teenage Witch''	Drell & Skippy	4 Episodes: "Pilot" (1996), "Terrible Things" (1996), "Jenny's Non-Dream" (1997), & "First Kiss" (1997)
1997	''Muppets Tonight''	Themselves	Episode: "The Gary Cahuenga Episode"
1997 - 2003	''Late Night with Conan O'Brien''	Themselves	3 Episodes: 16 October 1997, 7 June 2000, & 23 January 2003
1998	''Babylon 5''	Rebo & Zooty	Episode: "Day of the Dead"
1998 - 1999	''Penn & Teller's Sin City Spectacular''	Themselves	24 Episodes
1998 - 2000	''The Daily Show with Jon Stewart''	Themselves	2 Episodes: 13 August 1998 & 5 June 2000
1998 - 2004	''Hollywood Squares''	Themselves	60 Episodes
1999	''Home Improvement''	Themselves	2 Episodes: "Knee Deep"
1999 & 2011	''The Simpsons''	Themselves	2 Episodes: "Hello Gutter, Hello Fadder" (1999) and "The Great Simpsina" (2011)
2002	''Grand Illusions: The Story of Magic''	Themselves	Discovery Channel documentary: Penn & Teller present 200 years of the history of stage magic
2002	''Fear Factor''	Themselves	Episode: "Celebrity Fear Factor 3"
2003		Themselves	Episode: "Luck Be a Lady"
2003	''Penn & Teller's Magic and Mystery Tour''	Themselves	3 Part mini-series
2003	''The Bernie Mac Show''	Themselves	Episode: "Magic Jordan"
2003 - 2010		Themselves	85 Episodes
2004	''The West Wing''	Themselves	Episode: "In The Room"
2004 - 2010	''Last Call with Carson Daly''	Themselves	6 Episodes: 13 July 2004, 16 November 2005, 5 April 2007, 16 June 2008, 5 April 2010, & 5 May 2010
2007 & 2008	''Late Show with David Letterman''	Themselves	2 Episodes: #15.32 & #15.113
2009	''Futurama: Into the Wild Green Yonder''	Themselves
2009	The Great American Road Trip	Themselves	Guests
2011	''Penn & Teller: Fool Us''	Themselves	7 Episodes (ongoing), ITV1 (UK)
2011	''Penn & Teller: Tell a Lie''	Themselves	Starts Fall of 2011

Books

''Penn & Teller's How to Play in Traffic'' (1997, ISBN 1-57297-293-9)

''Penn & Teller's How to Play with Your Food'' (1992, ISBN 0-679-74311-1)

''Penn & Teller's Cruel Tricks for Dear Friends'' (1989, ISBN 0-394-75351-8)

''Sock '' 2004, ISBN 0-312-32805-2 (Penn Jillette sole author)

''How to Cheat Your Friends at Poker: The Wisdom of Dickie Richard'' 2006, ISBN 0-312-34905-X (Penn Jillette and Mickey D. Lynn)

''When I'm Dead All This Will Be Yours: Joe Teller—A Portrait By His Kid'' 2000, ISBN 0-922-23322-5 (Teller sole author)

Other Media

Music

''The horse you rode in on by Pigface'' (Penn Jillette only)

''Penn & Teller Present: Music To Look At Boxes By'' (With Mike "Jonesy" Jones)

''Never Mind the Sex Pistols, by Bongos Bass & Bob'' (Penn Jillette with Dean J Seal and Bob "Running" Elk)

''Tattoo of Blood by the Captain Howdy'' (Penn Jillette with Mark Kramer)

''Money Feeds My Music Machine, by the Captain Howdy'' (Penn Jillette with Mark Kramer)

''It's Tricky video, by RunDmc" Penn and Teller shown throughout the video and at the end appear to take over the persona of RunDMC

Jillette also toured with the Residents during the Mole Show, and hosted Ralph Records' 10th Anniversary Radio Special (1982). There is some mild controversy and confusion surrounding this. While the premise of 10th Anniversary Radio Special revolved around Jillette having never heard of the label or any of the bands on it (the Residents included), he was credited as a collaborator on the 1981 album Mark of the Mole, and he can be heard giving news bulletins in the first track. This has led some to speculate that Jillette may have been a Resident at one point.

Penn and Teller also appear in the video of Katy Perry's single, ''Waking up in Vegas'' in which they are kicked out of their hotel room by Perry and her boyfriend. They later kick Perry out again.

Theater

In 2008 Teller co-directed a production of ''Macbeth'' in Red Bank, New Jersey and Washington, DC.

Video games

''Penn & Teller's Smoke and Mirrors'' 1995 - Absolute Entertainment for Sega CD & 3DO, Unreleased.

''Sabrina, the Teenage Witch: Spellbound'' 1998 - Simon & Schuster for PC - Voices for Drell & Skippy

References

External links

Penn's "Hydro-therapeutic stimulator" (aka Jill-jet) patent

A man, a ball, a hoop, a bench (and an alleged thread)… TELLER!

Category:Living people Category:Magician of the year Award winner Category:Celebrity duos Category:American magicians Category:Comedy duos Category:Duos Category:1955 births

de:Penn & Teller es:Penn y Teller fr:Penn & Teller id:Penn & Teller it:Penn & Teller lt:Penas ir Teleris nl:Penn & Teller pl:Penn & Teller pt:Penn & Teller fi:Penn & Teller sv:Penn & Teller ta:பென் அண்டு டெல்லர்

name	Jacques Dutronc
origin	Paris, France
genre	French pop, French rock, Chanson, Ye-ye, Garage rock, Psychedelic rock
background	solo_singer }}

Jacques Dutronc (born April 28, 1943 in Paris; ) is a French singer, songwriter, guitarist, composer, and actor. He has been married to singer Françoise Hardy since March 30, 1981, and the two have a son (jazz guitarist Thomas Dutronc, born 1973). He also has been a longtime songwriting collaborator with Jacques Lanzmann. Some of Dutronc best known hits include "Il Est Cinq Heures, Paris S'éveille" (a chanson tune akin to "Waterloo Sunset" by The Kinks that All Music Guide has called "his finest hour"), "Le Responsable", and "Les Cactus".

Dutronc played guitar in the rock group El Toro et les Cyclones. He wrote successful songs for Françoise Hardy in the 1960s before moving on to pursue a successful solo career. His music incorporated traditional French pop and French rock as well as styles such as psychedelic rock and garage rock. He later branched out into film acting, starting in 1973. He earned a Cesar for Best Actor for the leading role in ''Van Gogh'', which was directed by Maurice Pialat. According to the All Music Guide, Dutronc is "one of the most popular performers in the French-speaking world", although he "remains little known in English speaking territories" aside from a cult following in the U.K.

Career history

Early history

Between 1963 and 1964, Dutronc played guitar for the group with Hadi Kalafate. During this time he also appeared at Le Golf Drouot in Paris as backing guitarist for stars including Eddy Mitchell. After performing his obligatory military service, he landed a job as assistant at Vogue Records to Artistic Director Jacques Wolfsohn. In this capacity, he arranged songs for several lesser known artists such as Zou Zou and Cleo. At Vogue Records, he teamed with writer Jacques Lanzmann, then director at ''Lui'' magazine, to create songs for up-and-coming artists. One of their first commissions was for the pop singer Benjamin, however, after his first EP failed to perform, Vogue Records unceremoniously booted him from their roster. After hearing one of the demos that Dutronc had produced, Wolfsohn declared that Jacques should perform the record for release. This single, was released in 1966, and its popularity turned Dutronc into a star.

With Lanzmann writing lyrics and Dutronc producing the music, the two created several significant songs. Songs such as , and , are still frequently played. Other songs include , and .

Dutronc's songs combine American and British musical influences with French lyrical themes. Many of his early songs feature a British garage sound comparable to that of Ray Davies of The Kinks. Dutronc's and David Bowie's "Jean Genie" share a riff likely derived from the Yardbirds' accelerated version of Bo Diddley's "I'm a Man" (the Belgian singer Arno Hintjens recorded a medley of the Dutronc and Bowie songs ("Jean Baltazaarr") with the American singer Beverly Jo Scott that highlight these similarities). However, Dutronc is distinctive for his mocking attitude toward late 1960s French youth culture. Dutronc's biggest hit was , with the classical flute player Roger Bourdin performing an essential part. In this song, Dutronc paints an evocative portrait of the French capital in the early morning hours.

In 1973, was adapted with English lyrics. "Alright Alright Alright" and became a UK No. 3 hit for the group Mungo Jerry.

Also in 1973, Dutronc began a second career as an actor in the film , directed by Jean-Marie Périer. In the following years, Dutronc devoted most of his energies toward his acting career. He has appeared in films directed by Andrzej Zulawski, Jean-Luc Godard, Claude Lelouch and Maurice Pialat.

In retrospect to Dutronc's early career, critic Mark Deming of the All Music Guide has remarked:

Later history and current activities

Dutronc returned to music in recent years, and also has enjoyed a resurgence of popular interest in his music. Since the early Dutronc songs had a classic late-sixties freakbeat backing (provided by session musicians), his songs were played in the hip retro clubs of the UK and USA in the late 1990s, a practice which continues to this day. He is celebrated in the 1997 Cornershop song "Brimful of Asha" with the line: "Jacques Dutronc and the Bolan Boogie/The Heavy Hitters and the Chichi music."

Dutronc earned a Cesar for Best Actor for the leading role in ''Van Gogh'', which was directed by Maurice Pialat. Critic Christopher Null of the AMC Network praised Dutronc performance, commenting that:

Dutronc currently lives in the town of Monticello on the Mediterranean island of Corsica.

Selected discography

Selected filmography

See also

French pop

French rock

Ye-ye

Jacques Lanzmann

César Award for Best Actor

Further reading

''Jacques Dutronc'', by Michel Leydier ISBN 2-290-30077-2

Endnotes

External links

The official website of Jacques Dutronc

French Wikipedia article

The original dandy: Jacques Dutronc

rfimusique.com entry

Category:1943 births Category:French film actors Category:French male singers Category:French rock guitarists Category:French rock singers Category:Garage rock Category:Living people Category:Actors from Paris Category:Psychedelic rock musicians

de:Jacques Dutronc es:Jacques Dutronc eo:Jacques Dutronc fr:Jacques Dutronc id:Jacques Dutronc it:Jacques Dutronc nl:Jacques Dutronc pl:Jacques Dutronc pt:Jacques Dutronc sv:Jacques Dutronc