Author Archives: hobo hippie

About hobo hippie

Hi I am an old hippie, a "beat" poet and novelist, and digital artist. I was co -editor and publisher of "Alpha Beat Press" alpha beat soup, bouillabaisse and cokefish and cokefishing in alpha beat soup with my late husband Dave Christy. My novel "eeenie meenie minee moe is for sale on amazon books. my other blogs are http://tilliespuncturedromance.wordpress.com about humor and the weird. The blog is named after a Charlie Chaplin movie. http://concretebologna.wordpress.com a blog about world art.

Radical hippie dwarf gets big time for bomb plot

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Radical hippie dwarf gets big time for bomb plot

The so-called radical hippie dwarf David Ansberry was jailed for 27 years in a plot to blow up a Colorado police station.US ATTORNEY

A bitter radical hippie dwarf with a 50-year chip on his shoulder has been jailed 27 years for planting a bomb outside a police station.

David Ansberry, 67, pleaded guilty to leaving the device containing chemicals used by al-Qaida thugs, in a bag outside the station in Nederland, Colo., on Oct. 11, 2016.

The pint-sized provocateur said the bomb was retaliation for the 1971 shooting death of his friend, Guy Goughner.

Goughner was reportedly gunned down by the town’s marshal.

While no one was injured in the dwarf’s bomb plot, the judge in the case ruled that it was still an act of terrorism.

And Ansberry wasn’t hard to find.

David Ansberry was no Tyrion Lannister HBO

The 3-foot-6 tiny terrorist was captured on surveillance video after buying phones to use for his death device.

Ansberry has to use crutches because of a brittle bone disease he has suffered from since childhood.

The wheelchair-bound Ansberry told the court that he never meant for the bomb to explode.

However, US District Judge Christine Arguello said dozens of lives could have been snuffed out if the demented dwarf had been able to detonate it remotely.

“[Ansberry] is a sophisticated, calculating, and culpable offender who risked killing public servants indiscriminately to indulge his 40-year-old grudge and send a message to police,” prosecutors wrote.

Once, he had been connected to radical hippies who lived off the land outside Boulder. They were known to be violent.

But Ansberry said he was trying to draw attention to police shootings in the U.S.

His lawyers had argued for a two-year jolt in prison.

“We don’t deserve to be blown off the face of the earth because he has some political grudge,” said Det. Darragh O’Nuallain, who cleared out the students from a school next to the police station.

#radicalhippiedwarf #ansberry #bomb threat #radical # bomb #Tyrion Lannister

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When ‘Hair’ Opened on Broadway, It Courted Controversy From the Start

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Less than a month after the assassination of the Rev. Dr. Martin Luther King Jr. and just a week before student protests in Paris kicked off, an anti-Vietnam War musical heralding the arrival of an era of freedom, rebellion and compassion introduced the Broadway set to the burgeoning counterculture.

After stints Off Broadway at the Public Theaterand at the now-defunct Cheetah nightclub, “Hair” opened at the Biltmore Theater on April 29, 1968. It would run for more than four years, and during its time, Robert Kennedy would also fall to an assassin’s bullet, Charles de Gaulle would flee the Élysée Palace to avoid the ire of protesters and the Vietnam War would continue unabated.

The show, written by Gerome Ragni and James Rado with music by Galt MacDermot, follows Claude, a young man on the verge of being drafted, and the group of hippies of which he is a part. It courted controversy from the beginning.

The Times’s review of “Hair” as it appeared in the April 30, 1968, issue.

The Times’s review of “Hair” as it appeared in the April 30, 1968, issue.

In his review from April 30, our critic Clive Barnes called it “the frankest show in town.” He wrote that letters from readers had prodded him to warn potential viewers what they could expect. “Spell out what is happening onstage,” he said he was asked.

Mr. Barnes found he was unable to comply fully. “Spell it out I cannot, for this remains a family newspaper,” he wrote. “However, a great many four-letter words, such as ‘love,’ are used very freely.”

Profanity would turn out to be among the least shocking features of “Hair.” Sexual politics, drugs and the treatment of the American flag are crucial elements of the show.

Mr. Barnes includes them in his warning: “Frequent references — frequent approving references — are made to the expanding benefits of drugs. Homosexuality is not frowned upon — one boy announces that is in love with Mick Jagger, in terms unusually frank. The American flag is not desecrated — that would be a federal offense, wouldn’t it? — but it is used in a manner that not everyone would call respectful.”

Nevertheless, he praised the show’s cast and attitude. “The show is the first Broadway musical in some time to have the authentic voice of today rather than the day before yesterday,” he wrote.

Just how many people appeared nude in “Hair” was “the subject of urgent dispute” among theatergoers during previews of the musical.

Just how many people appeared nude in “Hair” was “the subject of urgent dispute” among theatergoers during previews of the musical.

The show’s use of nudity, new for the Broadway production, would become one of its trademarks. The London premiere of the musical at the Shaftesbury Theater was delayed until Parliament abolished theater censorship in 1968 so that the production could include nudity and strong language.

New York audiences were warned about what they would see. On April 28, Marilyn Bender wrote an article about the show’s nudity in The Times. “The first act of the rock musical ends with several healthy young men facing front and center in the altogether. Just how many stark naked males there are and whether the girl hippies are equally unclothed has been the subject of urgent dispute among those who have been attending previews of ‘Hair’ during the last three weeks.”

Ms. Bender reported that the amount of nudity varied throughout the preview performances. Mr. Ragni told her, “Anybody who feels like it can take his clothes off. Everybody wants to now, even the stagehands. We turned them on.”

The nudity in “Hair” continues to push boundaries. In 2014, a production of the show in Los Angeles marked the first time full-frontal nudity was seen onstage at the Hollywood Bowl. And in 2017, a London production at The Vaults included a clothing-optional performance.

Today, gay characters are routinely portrayed onstage, marijuana enjoys legal protection in some states and antiwar sentiment is less prevalent in the United States. Nudity, if not ubiquitous, appears onstage with some frequency. And bad language? It’s no big deal.

Though much has changed between 1968 and 2018, “Hair” continues to be relevant. Many of the cultural divides that began to express themselves in 1968 seem to still exist today. Flag burning, for example, remains a contentious issue.

Perhaps this is why “Hair” has continued to be produced so frequently. Since the first Broadway production closed in 1972, four subsequent Broadway revivals have been staged, the most recent at the St. James Theater in 2011.

Or maybe it’s just the music that drives its popularity. Mr. Barnes said in his review, “This is a happy show musically,” while also noting “Galt MacDermot’s music is merely pop-rock, with strong soothing overtones of Broadway melody.” Despite this somewhat lukewarm appraisal, Mr. Barnes wrote that the music “precisely serves its purpose, and its noisy and cheerful conservatism is just right for an audience that might wince at ‘Sergeant Pepper’s Lonely Hearts Club Band.’”

A cultural mismatch between the subjects of “Hair” and some of its audience was inevitable. “You probably don’t have to be a supporter of Eugene McCarthy to love it, but I wouldn’t give it much chance among adherents of Governor Reagan,” Mr. Barnes wrote.

Yet he also connected the show’s characters to an American archetype. “As long as Thoreau is a part of America’s heritage, others will respond to this musical that marches to a different drummer,” he wrote.

If longevity and popularity are anything to go by, that drummer beats on.

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Bryan Derballa for The New York Times

#hair #musical #1960s #rockmusical #biltmoretheatre #controversy #broadway #1968 #nudity

Did They Wear Flowers in Their Hair? See the Happy Hippies in 1967 – The New York Times

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https://www.nytimes.com/2017/08/10/movies/did-they-wear-flowers-in-their-hair-see-the-happy-hippies-in-1967.html?rref=collection%2Ftimestopic%2FHippies&action=click&contentCollection=timestopics&region=stream&module=stream_unit&version=latest&contentPlacement=3&pgtype=collection

The Hippie Chickpea Montpelier

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In Montpelier, the Hippie Chickpea, a Middle Eastern café at 41 Elm Street, has expanded its hours to include breakfast. Since January 7, chef-owner Vince Muraco has been serving the morning meal Monday through Friday, 7 to 10:30 a.m., with a menu that includes a breakfast pita with housemade chorizo and local eggs; a vegan scramble of chickpeas and vegetables served over fried potatoes and dressed with tahini; and a Greek yogurt bowl with roasted apples, chia seeds, toasted pistachios and raw honey. Lunch and dinner are available weekdays from 11 a.m. to 7 p.m


In Montpelier, the Hippie Chickpea, a Middle Eastern café at 41 Elm Street, has expanded its hours to include breakfast. Since January 7, chef-owner Vince Muraco has been serving the morning meal Monday through Friday, 7 to 10:30 a.m., with a menu that includes a breakfast pita with housemade chorizo and local eggs; a vegan scramble of chickpeas and vegetables served over fried potatoes and dressed with tahini; and a Greek yogurt bowl with roasted apples, chia seeds, toasted pistachios and raw honey. Lunch and dinner are available weekdays from 11 a.m. to 7 p.m

FREIGHT TRAINS And BOXCARS

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FREIGHT TRAINS AND BOXCARS
I see the railroad run high
Above the course of the
Winding road
This is the remote landscape
Of the rockies
The wind of the Colorado at
The bottom of deep ravines
I think of days of hobos on
The pacific railroad
Pete Seeger doing a harmonica
Train whistle and
Blind sonny
Woodie Guthrie
Spirit voices of the boxcars
Car wheels clicking over
Sleepers
The bass strings thumping
Out a rattling caboose
Freedom whistles and hillbilly
Yodels
Singing songs of unfelt land
Small nourishing villages
Blues blowers in straw hats
Boogie woogie of jagged rock
Riding the ‘rods under carloads
Of steel
Hobos on the Wabash cannonball
The mingle of oil and mountain
Flower
Engine steam and morning fog
Driving rain on creosote ties
Tank spouts rattling
Gamblers. settlers miners
Soldiers and ordinary folk
Boarding trains in small town
Stations
Sheep dogs on cars ready
To scare off straying cows
Steam locomotives screeching
Along blinding curves in
Oregon
along sawmills and
Great warehouses
The green of timber touching
The sky
Running over deep chasms
And bridges
The song of the hammering
Driving wheels
Heavy jawed breakmen in
Oil cloth pants
Smoking a pipe with hand on
The throttle
Construction camps and shanty
Towns
Side door pullman and smokers
Crowded with passengers
Singing songs
Telling tall stories
“Train butchers” peddling
Orange-aide
I think of Jesse James
With a colt 45 standing
On a depot platform having
Robbed a train car on a
Missouri platform about to
Get his getaway to Kansas city
Transient trackmen riding
Boxcar Pullman going to lumber
Camps in Washington doing
Roadwork in raw untamed
Territory
Scoffing down black cawfee
And rye bread dipped in
Sowbelly grease at mess tables
In roadside tents
Pacific slim Syracuse shine
And slim jim from vinegar hill
I think of negro work songs
And the voice of Irish immigrants
As they told their tales
A land of being discovered and
Miles of track and the rhythm of
The engine
“Standing on a platform making
A cheap cigar waiting for an old
Freight train that carries an empty car.”
Ana Christy

from “real junkies don’t eat pie”