All language subtitles for 1967 - The Counterculture Year That Changed The World - Summer Of Love

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Shot down on the battlefields of

Vietnam. You my enemy? My name is the

white people, not Viet Congs or Chinese

or Japanese.

He refused to step forward. He was

sentenced to five years in jail.

They took they stripped his title.

He gave young people the guts to come

out against the war.

The more I hear that song, it is a

masterpiece.

It does not have a coda. It doesn't have

a riff. It is a blues song. It is a pop

song. It is a jazz song. It is a folk

song.

1967 for me was the big fight for free

radio. You know, they called it the

summer of love but I missed out on

two-thirds of it cuz I was living the

life of a sailor on a pirate ship. I'm

Radio Caroline.

The thing about the

the scene and the summer of love itself,

which was a phenomenon. It was a moment.

It was the greatest flash mob in

history.

London was the hip center of the

universe in terms of bands, fashion, and

experimentation.

There were so many great clubs to choose

from.

There was the Bag O'Nails club. There's

a Speakeasy where all the groups used to

go. Cromwellian club was a big favorite.

So, we just used to head for the clubs.

I mean, one of the things I did on my

week off is I went to the UFO

in Tottenham Court Road.

And you go down into this basement.

And and there was all these really weird

light shows.

This is where Joe Boyd, the American

Spengali producer,

would book bands like the Soft Machine

and Pink Floyd. And they'd perform and

there'd be these light shows.

And a lot of LSD would be ingested and

it was really the sort of flowering of

the beautiful people. And I think there

was a period when when UFO was at its

height, there was this feeling that

anything is possible. It was the first

manifestation in

certainly in central London of

that ethos which became known as the

kind of

summer of love.

I mean, I was going to France. You know,

kids go to Thailand, you know, South

America now. Uh

but going to France was as big a trip in

those days. There were an interesting

group of English people there and one of

them's parents bought a house on the

harbor of Saint-Tropez. Of course,

Saint-Tropez was nothing then. It was

just a small fishing port. The first day

we were there, we saw Brigitte Bardot

with a leopard on a on a chain walking

through the street and we thought we'd

gone to heaven and died. We thought it

cannot get better than this.

Sprint into springtime with a Mustang

sport sprint sale at your Ford dealers.

Those days guys had cars, you know,

these big I mean, everybody loved the

Mustang. I mean, if you got one,

um your dad had money. So, the guys

would show off by driving up in these

red

engine red Ford Mustangs. Three new ways

to take the Mustang pledge. Your choice,

the Mustang hardtop, which is hard to

top. An optional full-width seat with

center armrest.

And so, we were all us girls were trying

to find guys who had Mustangs because in

the summertime, we could drive with the

hood down by the lake. So, I think it

was the feeling of going to the prom

um

and going with the guy I wanted to go

with.

Although, I

was quite bookish. So, in a sense, I

wasn't

I only appealed to the intellectuals and

the strange boys, you know, the really

the radicals and you know, people you

who did wouldn't have a Mustang because

it was like not on to own anything. And

these guys were like, I'm going to go

live in a commune. I'm like, not going

to have a job. And my father would say,

get him out of here.

I've always thought Ray Davies is a kind

of brilliant

character and

the Kinks were always extraordinary

they're always on their own.

You know, there was they were kind of

yes, you could fit them into sort of

being other things but actually they

were very much on their own and I

thought they were they were a

quintessentially British.

This, ladies and gentlemen, is London.

Swinging London it's been called.

Up in Church Street, Kensington, which

we used to go to a lot, there was Bus

Stop and there was Biba and they were

amazing. Clothes were hanging around and

the lights were dark and there were bits

of jewelry and scarves.

And these these wonderful colors, these

aubergines and quite a lot of pinks, if

I remember rightly. Very some acid

colors. I I think we broke a lot of zips

in that Biba trying things on. A lot of

them were very small.

But it was great fun. It was just like

nowhere you'd shopped before ever and it

was completely brilliant. When Mary

Quant invades new realms of fashion,

bright young girls are interested and so

is the national press. Mary Quant had a

had a boutique on the King's Road. Mary

Quant's the clothes were expensive. They

weren't cheap.

But very, very important, very

revolutionary. The mini skirt was the

most famous thing and also became a

you know, a celebrity in her own right.

Suddenly, there's this idea that there's

a kind of meeting point between fashion

and music and art.

I wore mini skirts even though my mother

I mean,

my mother would say to me, don't go out

looking like that. And I guess she must

have been terrified, you know, because

to her, I didn't have any clothes on.

How did Twiggy strike you? Very

refreshing. And her clothes? Adorable.

She was extraordinary looking. I mean,

she you know, I there was nothing that

ever looked like Twiggy before. She was

a working class shop girl. She was kind

of out of worldly, you know, but she was

she she was a gamin.

She's quite boyish looking. I used to

have a Saturday job at a hairdresser's

where my sister worked and Justin's

brother worked. My parents were like,

no. You're supposed to have hair and

it's bouffant and it's puffed out like

that and you aren't going around with

your hair cut short and big eyes and

looking like

a superannuated five-year-old, which is

what Twiggy looked like when we think

you think back on it now.

Taylor, Firebird is a stallion. Brando,

you disgust me. Elizabeth Taylor. Have

you ever been collared and dragged out

into the street and thrashed by a naked

woman?

Marlon Brando. I SWEAR I'LL KILL YOU.

REFLECTIONS in a golden eye.

We had tons of movie star magazines. I

mean, it was all about Liz Taylor. Liz

Taylor, Liz Taylor. And the hair,

the eyes, the lipstick. Reflections in a

golden eye stars the Elizabeth Taylor

who showed the world what a woman really

is. I grew up in Chicago when the

Playboy Mansion was there and Hugh

Hefner had started whole bunny thing.

So, that was also a look. It's the hair.

Hair, hair,

tits out to there, lips, and be a Bond

girl.

What's a nice girl like you doing in a

place like this? Bond is back. And then

you add on top of it being a black

woman, so we had to sort of

sort of recalibrate that through our own

experience and our own

kind of examples, which would have been

the Supremes and Diana Ross, basically.

I mean, the Supremes were actually

uh a black girl

hot

incredible group who could really sing

and Berry Gordy just kept ironing them

out, ironing them out, you know, pull

ruffling the sheets, pressing them,

pushing them down, throwing bleach on

them.

This is really a show tune, yeah. You

can hear it. You can definitely hear

this on Broadway and in nightclubs and

everything else. But, it's kind of it's

celebrating the the new hip culture the

the new hip young culture, you know, the

happening.

In 1967, Prime Minister Harold Wilson

applied for UK entry into the European

Economic Community.

NASA celebrated Surveyor 3, the first

unmanned landing on the moon.

You couldn't not be a Marvin Gaye fan.

The talent of people that came out of

Motown, there's never been anything

anything to touch that anywhere

in the world since.

Tamla was very much part of the music I

loved, but with that pop infusion.

And I just thought this is the most

incredible music. White people felt

comfortable singing soulish type songs

and black people felt comfortable

singing more pop. So, it was starting to

the cuz the Supremes were starting to

sing pop, the Temptations were starting

to sing pop.

Um and so, right before the '70s when

everything switched around, but this was

so you could see this starting to open

up.

Now, at this point, we are going to

leave Golden Gate Park to go into

the Haight-Ashbury district of San

Francisco.

I would say that the last 18 months has

seen a tremendous increase of the

so-called hippie.

In America, the young people were

beginning to rebel against their '50s

style parents.

It just wasn't cool to be concerned

about college or a profession.

Suddenly, these things called hippies

emerged, you know, and they were

you know, they just

they weren't conforming.

I think maybe especially shocking were

the guys who when you look back on it

now, were taking a lot of feminine

values. The philosophy

that they brought with them and that was

engendered right in that place was that

everything would be free.

It was a mini utopia.

It completely freaked out so many

American families. They just couldn't

deal with it.

When they had kids who suddenly wore

weird clothes or let let their hair grow

long, have left school college, looking

strange or with a weird looking

boyfriend or girlfriend or something

like that.

People got locked up, you know, because

the parents could not handle

the idea that everything they worked for

to establish their toehold in the

American dream

is being thrown away by their son who

was joining the three kids and jumping

in the VW van and going to

Haight-Ashbury. There is no family so

busy but that it can come together in

the evening for a dinner date which will

give its members something to look back

upon with happiness.

Somebody who came to Britain, I noticed

long-haired people I knew and kids with

earrings, gold earrings and

shoulder-length hair

going home and having a drink with their

dad in the pub who had a short

haircut and

it was very relaxed. One's parents

didn't really I mean, they might have

objected, but they they were more

accommodating, I think, because they

didn't perceive it in the same way as

the Americans did. They didn't perceive

it as a threat at all. They just

thought, "Oh, it's it's a phase he's

going through. This is uh this is the

teenage years, you know, and he wants to

express himself."

But, the difference about '67 and I

think the thing that makes it such a

unique year and a year that's still to

this day

gets right-wing politicians

steam coming out of their ears, you

know, they feel it's like that's where

everything went wrong

is because of LSD. And I mean, drugs has

to be mentioned as being a part of it

cuz people's consciousness was expanded

by by, you know, marijuana and and to a

certain extent LSD. Paul, how often have

you taken LSD?

Uh four times.

I don't know what everyone's so angry

about. You know, when Paul McCartney

acknowledged taking it, you know, it was

blown up in all the newspapers. Shock,

horror. You know, they busted the Stones

and there was a huge trial.

And there was a feeling of alarm among

powers that be that things were getting

out of control, that young people were

going off in a dangerous direction which

nobody could understand.

And it did have to do with drugs, but it

also had to do with dress, it had to do

with music and

most important, it did have to do with

that sense

that you could change things.

And young people felt they could and in

fact did.

1967 for me was the big fight for free

radio. You know, they call it the summer

of love, but I missed out on two-thirds

of it cuz I was living the life of a

sailor on a pirate ship on Radio

Caroline.

I was already in the media by then and

I'd been into this

guy called Ronan O'Rahilly, this

revolutionary idea of blasting out pop

music from a ship in international

waters, which already sounded very

glamorous. I defy anybody, I mean,

anybody in my generation. We were avid

listeners to Radio Caroline. I mean, you

forget BBC. That was

it was old old people's stuff.

So, it was the only place you could

actually hear all this new music.

Of course, we all had our little

transistors radios that that were, you

know, another wonderful thing that you

could have cuz you had portable music.

You know, I'd listen to Radio Caroline

on that and it would come

it would come and go with it was like

the waves breaking sometimes and then,

you know, but you you stuck with it cuz

you admired them.

They were doing something for us, it

felt, against them. You know, in America

you had thousands of commercial

stations. We didn't have many in this

country. We only had the BBC who had

this idea of what was good for us and

what we should hear and more

importantly, what we're not supposed to

hear. People like Johnny Walker, you

know, great great DJs and they would mix

the stuff up. You know, you'd have Sam

and Dave and Arthur Conley followed by

um I don't know, Cream or something. You

know, they didn't sort of separate it

out because it was all great music and

it was all happening at the time. And he

would do something so I thought was very

romantic.

He would ask the listeners to park their

cars on the coastline

and flash their headlights out to sea so

he could see them. I always thought that

was a

I think the whole of

to me radio is a very romantic thing. I

mean, there were huge numbers of records

that may not have been hits at all.

Groups and artists we may not have heard

of

were it not for pirate radio.

There were huge marches, thousands of

teenagers would descend on Trafalgar

Square. There was a massive

Offences Act, which would become legal

just a minute past midnight on the 14th

of August, 1967. And Radio Caroline was

the only station that said, "We're going

to defy the government and keep on

broadcasting."

I think so many of these things which

were played out very playfully in

Britain

with fashion, with demonstrations, with

rebellion

and were kind of

amusing and they were entertaining and

they made for a very lively arts, music,

fashion, design

scene. In America,

they were deadly serious and they were

much more threatening to the status quo

and much more unsettling

to authority and uh

and the stakes seemed to be much higher.

Promises of the Great Society

have been shot down on the battlefields

of Vietnam.

You know, what Johnson called the Great

Society,

it was meant to be great for everyone.

It wasn't meant to just be great for the

middle-aged generation who got you know,

who survived the

Second World War, gone through that. It

was meant to be great for their

children, too. And yet, you had this

this entire generation who

were threatened by the war, they could

have been drafted, they had that hanging

over them and it didn't make any sense

to them. It wasn't this noble fight the

World War II was.

The giant protests

were

not only not even so much the soldiers

as their mothers.

Because what the hell is my boy doing in

Vietnam?

Television news was full of the latest

no real surprise that most of us were

kind of dreaming and searching for a

faith that things would get better. We

didn't know the suffering that

the soldiers on our side went through.

We didn't know

what they had inflicted as well on the

on the Vietcong. We didn't know any of

those things.

We just knew that we were being sent to

war by old guys.

Were there any Americans who thought the

Americans were going to win the war?

So, what are you doing in the jungle?

I still remember his name. His name was

Richard Panaman. He was like the class,

I guess, clown and always happy.

And he went to Vietnam.

And he stepped on a landmine and he was

killed.

And it resonated through our school.

When you think about how many thousands

of young American lives are sacrificed

for that war and really

what was it all about? We had no say in

it at all. Just for us a bunch of old

people who were saying you got to go.

Uh, if you didn't want to go, you either

went to jail like Muhammad Ali or

you went to Canada. The thing about Ali

was that he was very articulate. So, in

spite of the fact that he was threatened

with actually 5 years imprisonment,

which is what he could have been for

refusing the draft.

Um, he gave very impassioned and very

articulate speech as to why he wouldn't

fight and didn't want to fight because

um, he did not regard uh, the Vietnamese

North Vietnamese and the Vietcong as his

enemy. You my enemy? My enemy is the

white people, not the Vietcong or the

Chinese or Japanese. Yes, I'll just no

comment on my boxing religion induction.

No comments on whatever, nothing. He

refused to step forward. He was

sentenced to 5 years in jail.

They took They stripped his title.

While he was waiting for the Supreme

Court to decide his case, he spent his

time going to colleges, talked all over

the country. He gave young people the

guts to come out against the war.

I remember Muhammad Ali said,

"No Vietcong ever called me a [ __ ]

So, why am I going to go and fight him?

I'm not going to fight him."

So, they took away his belt, his status,

and he got convicted.

'67 was the turning point where

huge swaths of America

went, "Wait a minute.

What are we doing?"

You know, Muhammad Ali opened their

eyes.

"What have we got against these

Vietnamese? Why are we killing them?"

And also he was a great athlete. He was

very beautiful as well. So, you know,

all of these things sort of welded

together.

Um, because we were little kids, he was

in his prime, he was fighting, and he

won every fight. So, he would you know,

if you're a little child and you're

sitting there and some guy comes on the

ring and says,

"I told him a lie. I'm going to get him

in five." And then you get him in five.

You sitting there as a little kid going,

"Yeah." You know, so he meant

an awful lot to us and his point of view

is very important to us.

Well, the Vietnam War was a huge shadow

over which every young man faced, you

know, you could be drafted. And that's

absolutely terrifying. So, I think that

the the the hippie movement was a huge

product of that. Certainly that was the

golden age of the San Francisco hate

ashbury scene. And

for that brief period,

it was a kind of it seemed like a sort

of wonderland, but I think the

wonderland was tempered by the fact that

it it was by its it had to be escapist

because there was such a horrible fear

of Vietnam.

On the one level you can talk about all

the social changes,

sexual revolution,

anti-war protests and everything, but

meanwhile,

huge business was being done

with the sale of LPs.

The album was a statement. You know,

before it would be that you know, you'd

write your hit single and then you'd do

a bunch of blues songs and live. And now

it got to the point where bands were

writing enough material to fill an

entire album and making their own

statements and making and and so, you

know, the album, the artwork, the sleeve

notes, the lyric sheet, all that stuff

became very very important.

We'd all

gather and and sit around the the stereo

and listen to the whole album in

silence. There was obviously a certain

amount of competition, you know, who'd

get the album first, whatever it

happened to be next, you know, the new

Jimi Hendrix album.

Chas Chandler of The Animals

had seen him play in America. Said,

"I'll be your manager." Brought him to

the UK, got him on Track Records, which

was The Who's label.

Um,

and

got him to be heard by

the peer group.

By all accounts,

as soon as he arrived, he was an

absolute sensation. Played in front of

Eric Clapton and Eric Clapton sort of

right, "That's it. It's over. You know,

there's nobody like this." Played in

front of Pete Townshend, couldn't

believe it, you know. And so, all these

guitar gods had suddenly, you know, had

to sort of doff their cap to this

incredible guy.

And he developed here, you know. So,

early songs like Hey Joe, you know, the

first album Are You Experienced, all

these things, it was it was developed in

Britain. So, Jimi Hendrix was kind of

introduced to the superstar straight

away cuz everyone wanted to

figure out this incredible talent he had

with guitar. And I mean, you know, you

could have regarded him as a threat

because he was so much better than

everybody else.

Being a DJ at Radio Caroline, we'd do

these Radio Caroline disco nights on

land. We did one at the Wimbledon

Palais, another one was the Chislehurst

Caves. They'd put a little stage in

there and a disco system and they had a

stage with a PA and bands used to play.

And in fact, Jimi Hendrix

played his first ever gig,

uh, I think I'm right in saying it, in

the Chislehurst Caves.

I used to go to skating rink a lot. And

Groovin' was what you skated to. So, you

put your skates on, rental skates, and

then they would put Groovin' on. And it

was a good thing. You could glide in

your skates. And if you had a boyfriend,

you could do like these two things to

Groovin'. It was all deeply corny, but

it was a good skating song, so it was

really nice.

Young Rascals are a great American band

and and

uh, and they came up with a record that

called Groovin'.

Groovin' on a a Sunday afternoon. What a

perfect pop record that was.

The Beatles had achieved huge success

with Sergeant Pepper and were now caught

up in the emotion of the time and how to

achieve spirituality. It meant catching

a train to Bangor, North Wales.

And in 1967, they made the first UK

color TV transmission.

I've got an announcement to make. It's

about sir.

Well, sir, we'd all like to thank you

very much for everything you've done for

us.

And we'd like to give you a little

present to remember us by.

Go on, Babs. You mean MISS PEG?

BABS.

THE TIME HAS come

for closing books and long last looks my

stare.

And as I leave,

I know that I am leaving my best friend.

Interestingly enough, the song that

topped the charts in 1967 was Lulu, um,

To Sir, with Love, which came from the

score of this film in the same name. It

was a small Sidney Poitier film, partly

because it was filmed in London. So, it

wouldn't have been

it wasn't a huge huge mainstream film,

but the song was. To get to Billboard

top 100 or to be in the number one, that

means everybody was buying you. Not just

people who would have been to Lulu's

music. Everybody was buying this.

Sidney Poitier had an unbelievable year

in 1967. He made To Sir, with Love,

Guess Who's Coming to Dinner, and In the

Heat of the Night.

We're all pretty sure you're something,

Virgil. Virgil, that's a funny name for

a boy that comes from Philadelphia. What

do they call you up there?

They call me Mr. Tibbs. MR. TIBBS? WELL,

MR. WOOD, TAKE MR. TIBBS. TAKE HIM DOWN

TO THE DEPOT and I mean boy, like now.

To see In the Heat of the Night

about a racist Southern cop,

a redneck, having to deal with this very

educated black man who comes down and

solves the crime. And he has to work

with this guy who's like educated 3,000

times above anything Rod Steiger could

be. It was a big movie. It was a big

movie. YOU CAN GET

JAMES BROWN

INVENTED EVERYTHING.

Let me just

say that even before he was born he

invented stuff. Nobody has touched cold

sweat. They had people who have

attempted to touch cold sweat.

There have been people who have come

close to cold sweat. That was the

mothership. That was the the foundation

record. You kind of underestimate the

significance of James Brown who invented

funk.

Is it Sly Stone? Is it James Brown? I

think it's James Brown.

Intriguing enough, although there was

this

movement towards um

peace and love and understanding. It It

coincided with with quite a lot of

international conflicts.

Um the Six-Day War began in Israel.

Which again was a was a fairly

unpleasant um period. The Six-Day War

was a you know huge headline news and

obviously um

you were aware of the impact it was

going to have on changing you know the

borders and politics in the Middle East.

Again, I mean we weren't really that

politically involved but you knew this

was obviously a momentous event really.

Israel was extremely important for us.

But I think the Six-Day War began to

change that a bit.

Because Israel began to take territory.

And that was something

that went against our own idea of what

it Israel was.

And we were caught up in Vietnam, too.

Every black kid on planet Earth loves

Stevie and I was made to love her. It

was just beautiful. It was a song you

danced to at your prom. It was the song

of the summer. It was a great great

great song.

This was the Ed Sullivan show and that

was the big showcase. Like Saturday

night the Palladium. It was massive. If

you got on that show,

you cracked open everything. And Ed

Sullivan was like this waxwork who had

been around for sort of like 50 years

and he would come out and he'd go, "No.

It's

the Doors."

They said they wanted him to take out

the line about getting high.

Jim Morrison cheered, "Yeah, okay, we'll

do that."

And then when it came to the live show,

he sang about getting high. Fantastic.

I think the Doors are a very symbolic of

the darkness that was at the heart of

the most interesting American music of

1967.

It was a demarcation

and it was indication of the demarcation

of our youth. The the the whole thing

that we've been brought up in and the

whole thing we've been brought to

respect, it was over over over.

The Mamas and the Papas were another

band that captured the whole California

vibe. Their harmonies were were

marvelous, classic. I mean never like

the Beach Boys with girls. I mean who

didn't want to go to California because

of California Dreaming? Who You couldn't

not want to go there. I was desperate to

get there. I was desperate to go to

Monterey.

Lou Adler and Andrew Oldham put on the

Monterey Pop Festival with a little help

from the Mamas and Papas. Well, this is

John Phillips of the Mamas and Papas.

And I'd like to talk to Dion. I had no

idea that the Monterey Pop Festival was

going to happen but I wished I could

have been there.

Uh

to see Otis Redding. I mean one of my

big idols, one of my heroes of the 1960s

was Otis Redding. Have been

loving you

too long

to stop now.

For him to go to Monterey was really

what

catapulted Otis Redding

to becoming as famous as he did. Otis

Redding

in my mind, I think probably is the

greatest soul singer of all time. I just

love his voice. It was the year he did

it did Monterey and it was the year he

did I've been loving you too long at

Monterey which is again one of the most

beautiful songs.

So I think Otis, you know, absolutely

integral to the uh the story of 1967.

Not least because it was still quite a

segregated time and Otis had the the

foresight to cross over into the

predominantly white hippie culture.

The showmanship, the flair. I mean

British groups all had this sense of

showmanship whereas Americans were like

seriously playing the blues solo.

And and in way the first

manifestation of this was Monterey.

When all these groups that were sort of

legendary in America cuz they were been

famous in Britain

were brought for the first time.

But the Animals were they were a

raw British blues band who

got involved in the early days of the

American hippie scene.

It was so competitive really. The groups

they they'd be real friends when they

met each other but my word that they did

not, you know, try to outdo each other.

Well, I made this documentary about Jimi

Hendrix and I have Pete Townshend

talking about backstage

at Monterey.

Where basically Hendrix says, "I'm not

going to follow you guys.

You're too good on stage." And Townshend

says, "Well, I'm not following you.

You're way better than us." And finally

Hendrix says, "Well, look, I'm warning

you.

If I follow you,

I'm going to pull out all the stops."

And so the Who go on stage and

Townshend, you know, smashes his guitar

and and the Americans had never seen

anything like it. And then out comes

Hendrix.

As the climax of his set, burns his

guitar on stage.

In a way Monterey, you see

so many things being presented to the

mass American audience for the first

time. You know, this English flamboyance

in the form of the Who, this

transatlantic weird blend

um of Hendrix and the show

and and Otis and Janis. I mean all of

these together in one place in one

weekend in 1967.

It was amazing.

Janis Joplin was

completely wild. You know, she'd come

through Austin, Texas. She had been uh

you know, been in trouble at school in

various ways and then she she you know,

showed up in San Francisco and and had

the most incredible voice of you know,

kind of the best

the best blues voice you could have find

in a white woman.

These three days in June were as tense

as the all the music of 1967.

The importance of the music because it

was so central to the culture, I'd say

it was the most important art form in

Britain and America at the time is that

it

galvanized and unified people and made

people feel hopeful and positive and

capable of dealing with whatever was

being thrown their way. Which in

America, the big thing was Vietnam and

in in Britain, the big thing was

breaking away from the former war

generation.

It was about class thing, a social thing

and you could break through and do what

you dreamed of doing without having had

a very privileged background.

Suddenly there was a whole turnabout and

aristocrats wanted to employ working

class people because of the Beatles,

because of the Stones, because of that

whole movement.

You know, in that period in the '60s,

there was a feeling that we could do

anything. If you were young and you had

ambition and you had drive, you could

get out there and do whatever you

wanted.

It gave us all

a moment in the sun to think that maybe

just maybe if we did this and not that,

then things would be a lot better.

I mean, it was all about love.

And it's a shame now people are kind of

shy and embarrassed to talk about love.

But then, it became known as the summer

of love.

If we want to talk about 1967, we have

to talk about Jefferson Airplane. We

have to talk about White Rabbit.

Masterpiece.

White Rabbit is a movie. It's a novel.

It's an opera. It is the darkness that

was about to come.

One pill makes you larger

and one pill makes you small. Jefferson

Airplane were very much a product of the

politics of the time.

They were a strident

revolutionary band born of the

Haight-Ashbury scene.

And even when you have songs like

Somebody to Love and White Rabbit,

there's a there's an edge of darkness

there. I mean, lot of people didn't I

think realize what White Rabbit was

about.

Um otherwise, it wouldn't have got

airplay. We didn't know that the madness

was coming. A lot of madness was coming

down. We didn't know that. But Grace

Slick and the Airplane actually told us

in so many ways that there was a dark

side to this. And it was the other side

of the summer of love. It was the other

side. She said it was coming. They said

it was coming.

And it came.

As the fighting raged on for years, the

U.S. military continued the bombing of

Vietnam and civil rights battles would

escalate to cities across America. We

will not tolerate lawlessness. Murder

and arson

have nothing to do with civil rights.