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When we say Peace – we mean No War. For us it is one of the most important and necessary conditions to feel it all- love, freedom, happiness, harmony. To enjoy the life, to travel, to be the citizenships of the World.
40 years ago during the Cold War, when the Planet was on the edge of a global conflict between East and West, when the governments spend billions on the militarization, nuclear weapons development and military actions around the globe, was born a new ideology. Naïve but optimistic movement started between hippies in USA combined the philosophical ideas of famous freedom fighters and pacifists, such as Mahathma Ghandi, Sidhartha and even Timothy Leary.

Today we will open some unknown Files and tell you the true story of
This famous photograph was taken on October,21 of 1967 at the March on Washington to protest the Vietnam War. More than 100,000 people gathered in Washington D.C. for that peaceful Vietnam War protest, including an 18-year-old aspiring actor named George Harris. A contingent of 2,500 Army troops wielding M-14 guns surrounded the Pentagon, cordoning off the crowd from the protected building. Undeterred, the protestors stood their ground, crowding in mere inches away from the weapons. Embracing the flower power ethos of non-violence, Harris calmly inserted the stem of a carnation into a soldier's gun barrel.
Photographer Bernie Boston, working at the time for the Washington Star newspaper, captured Harris' flower power action on film. Although the image didn't receive immediate attention, it has since come to symbolize the counterculture that rallied around non-violent Vietnam protests. That type of attention-grabbing, yet peaceful, revolt against the government and military was exactly what counterculture leaders had envisioned as the ideal way to deliver their antiwar message to mainstream America. Granted, the Youth International Party (Yippie) organizers of that October 1967 Pentagon march also tried -- and failed -- to levitate and exorcise the military complex, in an effort to rid it of the evil spirits they believed were fuelling the Vietnam War. But their ultimate goal of ending the combat and sending troops home was straightforward and practical in retrospect.
After the Pentagon march, the carnation-clad George Harris hit the road and headed West to the epicentre of the flower power movement. In San Francisco, Harris joined the masses of other youth looking to follow LSD guru Timothy Leary's advice to "tune in, turn off and drop out," (or, in other words, drop out of school and drop acid instead). There, in the Haight-Ashbury district, a short stroll from Golden Gate Pak, flower power flourished to its fullest during the summer of 1967 and soon withered away. But while marijuana smoke has clouded its legacy, and psychedelic swirls and outlandish fashion obscured its essence, flower power began as an attempt to provide clarity as the 1960s societal haze brought on by the Civil Rights Movement and the Vietnam War set in.
Flower power is a phrase likely coined by Alan Ginsberg in 1965, and it referred the hippie notion of “make love not war,” and the idea that love and nonviolence, such as the growing of flowers, was a better way to heal the world than continued focus on capitalism and wars.
Flower power also became a term used to express the hippie culture itself, and hippies were often called flower children. The power of the group left an indelible impression on American society. Large groups of teens and young adults who donned flowers in their hair, painted them on their vans, and lived together in semi-communes, often outdoors in the parks of major cities, did have a certain amount of power as a group. In the best sense, this power seeped into mainstream public views advancing civil rights. Conversely, the counterculture movement that can be called flower power had many unintended consequences: unwanted pregnancy, drug addiction, the large scale importation of drugs and development of the drug cartels, and the sexual revolution which would to a degree create the rapid spread of HIV infection in the early 1980s.
Luridly painted flowers on vans, record covers, and the like were also symbolic of the hippies’ advocacy of hallucinogens in the hopes of creating greater self-awareness, a practice not uncommon in other cultures, especially in the past. When hallucinogens were used, visual hallucinations frequently occurred, and things with intense color appeared even more intense. If you look at a film like The Yellow Submarine first released in 1968, there are many visual moments that would definitely have had more impact on people taking drugs like acid and LSD.
The film also has numerous images of flowers growing, sprouting and suddenly covering bare landscapes that suggest the spread of the flower power movement, though the term flower power isn’t used in the film. However, the end song of the movie is intricately tied to this movement: “All You Need Is Love.” The idea of the growth of love, the natural progress of love, and the power of love ties in well with actions taken by the hippies like the planting of flowers in bare lots in Berkeley in 1969 during a two-week occupation by the US National Guard.
The idea of using flowers to express a movement gets at the heart of hippie identity. Stress was on acts of civil disobedience that were nonviolent. What could be more nonviolent than distributing flowers to National Guard members, or planting flowers in empty lots? The simplicity of the flower, its ties to the earth and natural origin, and its beauty were all things this counterculture movement wanted to remain close to. In the end, there’s a beauty and grace to the flower power movement, even though it ultimately did end badly for more than a few people. Like many movements which may have many good intentions, certain aspects, like an emphasis on drug use, contributed to its destruction.
Like any flower, the flower power movement grew for a time in the mid to late 1960s, and then withered by the early 1970s.
Read 1152 times Last modified on Wednesday, 11 June 2014 19:36


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