title: Hippie

text: The first signs of modern "proto-hippies" emerged at turn of the 19th century in Europe. Late 1890s to early 1900s, 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" ("wandering bird"), this hippie movement opposed the formality of traditional German clubs, instead emphasizing folk music and singing, creative dress, and outdoor life involving hiking and camping. Inspired by the works of Friedrich Nietzsche, Goethe, and Hermann Hesse, 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 20th century, Germans settled around the United States, bringing the values of this German youth culture. Some opened the first health food stores, and many moved to southern California where they introduced an alternative lifestyle. 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.


title: Hippie

text: The hippie movement in the United States began as a youth movement. Composed mostly of white teenagers and young adults between 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. In 1968, self-described hippies represented just under 0.2% of the U.S. population and dwindled away by mid-1970s.


title: Hippie

text: Along with the New Left and the 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.


title: Hippie

text: There are echoes of the term "hippie" in "preppy" (with particular cultural currency as a 1950s fashion trend) and "yuppie" (1980s), both of which embraced rather than rejected establishment culture.


title: Hippie

text: During the late 1950s and 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/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 cannabis, amphetamine, and LSD, and during their journey they "turned on" many people to these drugs. The Merry Pranksters filmed and audio-taped 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". In 1961, Vito Paulekas and his wife Szou established in Hollywood a clothing boutique which was credited with being one of the first to introduce "hippie" fashions.


title: Hippie

text: 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, 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.


title: Hippie

text: 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, 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 19th-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.


title: Hippie

text: 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 – 23, 1966, and was organized by Stewart Brand, Ken Kesey, Owsley Stanley and others. 10,000 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.


title: Hippie

text: 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."


title: Hippie

text: 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.


title: Hippie

text: 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."


title: Hippie

text: The Sunset Strip curfew riots, also known as the "hippie riots", were a series of early counterculture-era clashes that took place between police and young people on the Sunset Strip in West Hollywood, California, in 1966 and continuing on and off through the early 1970s. In 1966, annoyed residents and business owners in the district had encouraged the passage of strict (10:00 p.m.) curfew and loitering laws to reduce the traffic congestion resulting from crowds of young club patrons. This was perceived by young, local rock music fans as an infringement on their civil rights, and on Saturday, November 12, 1966, fliers were distributed along the Strip inviting people to demonstrate later that day. Hours before the protest one of the rock 'n' roll radio stations in L.A. announced there would be a rally at Pandora's Box, a club at the corner of Sunset Boulevard and Crescent Heights, and cautioned people to tread carefully. The "Los Angeles Times" reported that as many as 1,000 youthful demonstrators, including such celebrities as Jack Nicholson and Peter Fonda (who was afterward handcuffed by police), erupted in protest against the perceived repressive enforcement of these recently invoked curfew laws. This incident provided the basis for the 1967 low-budget teen exploitation film "Riot on Sunset Strip", and inspired multiple songs including the famous Buffalo Springfield song "For What It's Worth".


title: Hippie

text: 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 to 30,000 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.


title: Hippie

text: 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.


title: Hippie

text: 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.


title: Hippie

text: In 1967 Chet Helms brought the Haight Ashbury hippie and psychedelic scene to Denver, when he opened the Family Dog Denver, modeled on his Avalon Ballroom in San Francisco. The music venue created a nexus for the hippie movement in the western-minded Denver, which led to serious conflicts with city leaders, parents and the police, who saw the hippie movement as dangerous. The resulting legal actions and pressure caused Helms and Bob Cohen to close the venue at the end of that year.


title: Hippie

text: 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 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. 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 substance use and lenient morality, fueled the moral panics of the late 1960s.


title: Hippie

text: 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.


title: Hippie

text: A sign of this was the visibility that the hippie subculture gained in various mainstream and underground media. Hippie exploitation films are 1960s exploitation films about the hippie counterculture with stereotypical situations associated with the movement such as cannabis and LSD use, sex and wild psychedelic parties. Examples include "The Love-ins", "Psych-Out", "The Trip", and "Wild in the Streets". Other more serious and more critically acclaimed films about the hippie counterculture also appeared such as "Easy Rider" and "Alice's Restaurant". (See also: List of films related to the hippie subculture.) Documentaries and television programs have also been produced until today as well as fiction and nonfiction books. The popular Broadway musical "Hair" was presented in 1967.


title: Hippie

text: People commonly label other cultural movements of that period as hippie, however there are differences. For example, hippies were often not directly engaged in politics, as contrasted with "Yippies" (Youth International Party), an activist organization. The Yippies came to national attention during their celebration of the 1968 spring equinox, when some 3,000 of them took over Grand Central Terminal 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.


title: Hippie

text: In Cambridge, hippies congregated each Sunday for a large "be-in" at Cambridge Common with swarms of drummers and those beginning the Women's Movement. In the US the Hippie movement started to be seen as part of the "New Left" which was associated with anti-war college campus protest movements. The New Left was a term used mainly in the United Kingdom and United States in reference to activists, educators, agitators and others in the 1960s and 1970s who sought to implement a broad range of reforms on issues such as gay rights, abortion, gender roles and drugs in contrast to earlier leftist or Marxist movements that had taken a more vanguardist approach to social justice and focused mostly on labor unionization and questions of social class.


title: Hippie

text: 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".


title: Hippie

text: 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, Sly & The Family Stone, 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. Similar rock festivals occurred in other parts of the country, which played a significant role in spreading hippie ideals throughout America.


title: Hippie

text: In December 1969, a rock festival took place in Altamont, California, about 45 km (30 miles ) 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 by one of the Hells Angels during The Rolling Stones' performance after he brandished a gun and waved it toward the stage.


title: Hippie

text: 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", a song that protested the Kent State massacre, recorded by Crosby, Stills, Nash and Young.


title: Hippie

text: Much of hippie style had been integrated into mainstream American society by the early 1970s. Large rock concerts that originated with the 1967 KFRC Fantasy Fair and Magic Mountain Music Festival and Monterey Pop Festival and the British Isle of Wight Festival in 1968 became the norm, evolving into stadium rock in the process. The anti-war movement reached its peak at the 1971 May Day Protests as over 12,000 protesters were arrested in Washington, D.C.; 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 January 1973. During the mid-late 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, the decline in popularity of psychedelic rock, and the emergence of new genres such as prog rock, heavy metal, disco, and punk rock, 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 punks, goths (an arty offshoot of punk), and football casuals; starting in the late 1960s in Britain, hippies had begun to come under attack by skinheads.


title: Hippie

text: Many hippies would adapt and become members of the growing countercultural New Age movement of the 1970s. 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, self-centered consumer yuppie 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. Hippie communes, where members tried to live the ideals of the hippie movement, continued to flourish. On the west coast, Oregon had quite a few. Around 1994, a new term "Zippie" was being used to describe hippies that had embraced New Age beliefs, new technology, and a love for electronic music.


title: Hippie

text: The bohemian predecessor of the hippie culture in San Francisco was the "Beat Generation" style of coffee houses and bars, whose clientele appreciated literature, a game of chess, music (in the forms of jazz and folk style), modern dance, and traditional crafts and arts like pottery and painting." The entire tone of the "new" subculture was different. Jon McIntire, manager of the Grateful Dead from the late 1970s to the mid-1980s, points out that the great contribution of the hippie culture was this projection of joy. "The beatnik thing was black, cynical, and cold." 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 that hippies tend to be associated with are "altruism and mysticism, honesty, joy and nonviolence".


title: Hippie

text: 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 or she was—especially after outright criminals such as Charles Manson began to adopt superficial hippie characteristics, and also after plainclothes policemen started to "dress like hippies" to divide and conquer legitimate members of the counterculture. Frank Zappa, known for lampooning hippie ethos, particularly with songs like "Who Needs the Peace Corps?" (1968), 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.


title: Hippie

text: Leading proponents of the 1960s Psychedelic Art movement were San Francisco poster artists such as: Rick Griffin, Victor Moscoso, Bonnie MacLean, Stanley Mouse & Alton Kelley, and Wes Wilson. Their Psychedelic Rock concert posters were inspired by Art Nouveau, Victoriana, Dada, and Pop Art. Posters for concerts in the Fillmore West, a concert auditorium in San Francisco, popular with Hippie audiences, were among the most notable of the time. Richly saturated colors in glaring contrast, elaborately ornate lettering, strongly symmetrical composition, collage elements, rubber-like distortions, and bizarre iconography are all hallmarks of the San Francisco psychedelic poster art style. The style flourished from roughly the years 1966 until 1972. Their work was immediately influential to album cover art, and indeed all of the aforementioned artists also created album covers. Psychedelic light-shows were a new art-form developed for rock concerts. Using oil and dye in an emulsion that was set between large convex lenses upon overhead projectors, the lightshow artists created bubbling liquid visuals that pulsed in rhythm to the music. This was mixed with slide shows and film loops to create an improvisational motion picture art form, and to give visual representation to the improvisational jams of the rock bands and create a completely "trippy" atmosphere for the audience.


title: Hippie

text: The Brotherhood of Light were responsible for many of the light-shows in San Francisco psychedelic rock concerts.


title: Hippie

text: Out of the psychedelic counterculture there also arose a new genre of comic books: underground comix. "Zap Comix" was among the original underground comics, and featured the work of Robert Crumb, S. Clay Wilson, Victor Moscoso, Rick Griffin, and Robert Williams among others. Underground comix were ribald, intensely satirical, and seemed to pursue weirdness for the sake of weirdness. Gilbert Shelton created perhaps the most enduring of underground cartoon characters, "The Fabulous Furry Freak Brothers", whose drugged-out exploits held a mirror up to the hippie lifestyle of the 1960s.


title: Hippie

text: 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, whitebread 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, moccasins 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, Latin American, African and Asiatic motifs were also popular. Much 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. The bold colors, hand-made clothing and loose fitting clothes opposed the tight and uniform clothing of the 1940s and 1950s. It also rejected consumerism in that the hand-production of clothing called for self-efficiency and individuality.


title: Hippie

text: The common stereotype on the issues of love and sex had it that the hippies were "promiscuous, having wild sex orgies, seducing innocent teenagers and every manner of sexual perversion." The hippie movement appeared concurrently in the midst of a rising sexual revolution, in which many views of the "status quo" on this subject were being challenged.


title: Hippie

text: The clinical study "Human Sexual Response" was published by Masters and Johnson in 1966, and the topic suddenly became more commonplace in America. The 1969 book "Everything You Always Wanted to Know About Sex (But Were Afraid to Ask)" by psychiatrist David Reuben was a more popular attempt at answering the public's curiosity regarding such matters. Then in 1972 appeared "The Joy of Sex" by Alex Comfort, reflecting an even more candid perception of love-making. By this time, the recreational or 'fun' aspects of sexual behavior were being discussed more openly than ever before, and this more 'enlightened' outlook resulted not just from the publication of such new books as these, but from a more pervasive sexual revolution that had already been well underway for some time.


title: Hippie

text: The hippies inherited various countercultural views and practices regarding sex and love from the Beat Generation; "their writings influenced the hippies to open up when it came to sex, and to experiment without guilt or jealousy." One popular hippie slogan that appeared was "If it feels good, do it!" which for many meant "you are free to love whomever you please, whenever you please, however you please". This encouraged spontaneous sexual activity and experimentation. Group sex, public sex, homosexuality; under the influence of drugs, all the taboos went out the window. This doesn't mean that straight sex or monogamy were unknown, quite the contrary. Nevertheless, the open relationship became an accepted part of the hippie lifestyle. This meant that you might have a primary relationship with one person, but if another attracted you, you could explore that relationship without rancor or jealousy."


title: Hippie

text: Hippies embraced the old slogan of free love of the radical social reformers of other eras; it was accordingly observed that "Free love made the whole love, marriage, sex, baby package obsolete. Love was no longer limited to one person, you could love anyone you chose. In fact love was something you shared with everyone, not just your sex partners. Love exists to be shared freely. We also discovered the more you share, the more you get! So why reserve your love for a select few? This profound truth was one of the great hippie revelations." Sexual experimentation alongside psychedelics also occurred, due to the perception of their being uninhibitors. Others explored the spiritual aspects of sex.


title: Hippie

text: 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" was not 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 greater 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 Rainbow Family groups, new age travellers and New Zealand's housetruckers.


title: Hippie

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


title: Hippie

text: 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 attended 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 between 400,000 and 500,000 people.


title: Hippie

text: 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 and Kovalam in Trivandrum (Kerala), or crossed the border into Nepal to spend months in Kathmandu. In Kathmandu, most of the hippies hung out in the tranquil surroundings of a place called Freak Street, (Nepal Bhasa: Jhoo Chhen) which still exists near Kathmandu Durbar Square.


title: Hippie

text: Many hippies rejected mainstream organized religion in favor of a more personal spiritual experience. Buddhism and Hinduism often resonated with hippies, as they were seen as less rule-bound, and less likely to be associated with existing baggage. Some hippies embraced neo-paganism, especially Wicca. Others were involved with the occult, with people like Timothy Leary citing Aleister Crowley as influences. By the 1960s, western interest in Hindu spirituality and yoga reached its peak, giving rise to a great number of Neo-Hindu schools specifically advocated to a western public.


title: Hippie

text: In his 1991 book, "Hippies and American Values", Timothy Miller described the hippie ethos as essentially a "religious movement" whose goal was to transcend the limitations of mainstream religious institutions. "Like many dissenting religions, the hippies were enormously hostile to the religious institutions of the dominant culture, and they tried to find new and adequate ways to do the tasks the dominant religions failed to perform." In his seminal, contemporaneous work, "The Hippie Trip", author Lewis Yablonsky notes that those who were most respected in hippie settings were the spiritual leaders, the so-called "high priests" who emerged during that era.


title: Hippie

text: One such hippie "high priest" was San Francisco State University Professor Stephen Gaskin. Beginning in 1966, Gaskin's "Monday Night Class" eventually outgrew the lecture hall, and attracted 1,500 hippie followers in an open discussion of spiritual values, drawing from Christian, Buddhist, and Hindu teachings. In 1970 Gaskin founded a Tennessee community called The Farm, and even late in life he still listed his religion as "Hippie."


title: Hippie

text: Timothy Leary was an American psychologist and writer, known for his advocacy of psychedelic drugs. On September 19, 1966, Leary founded the League for Spiritual Discovery, a religion declaring LSD as its holy sacrament, in part as an unsuccessful attempt to maintain legal status for the use of LSD and other psychedelics for the religion's adherents based on a "freedom of religion" argument. "The Psychedelic Experience" was the inspiration for John Lennon's song "Tomorrow Never Knows" in The Beatles' album "Revolver". Leary published a pamphlet in 1967 called "Start Your Own Religion" to encourage just that and was invited to attend the January 14, 1967 Human Be-In a gathering of 20,000 to 30,000 hippies in San Francisco's Golden Gate Park In speaking to the group, he coined the famous phrase "Turn on, tune in, drop out". The English magician Aleister Crowley became an influential icon to the new alternative spiritual movements of the decade as well as for rock musicians. The Beatles included him as one of the many figures on the cover sleeve of their 1967 album "Sgt. Pepper's Lonely Hearts Club Band" while Jimmy Page, the guitarist of The Yardbirds and co-founder of 1970s rock band Led Zeppelin was fascinated by Crowley, and owned some of his clothing, manuscripts and ritual objects, and during the 1970s bought Boleskine House, which also appears in the band's movie "The Song Remains the Same". On the back cover of the Doors compilation album "13", Jim Morrison and the other members of the Doors are shown posing with a bust of Aleister Crowley. Timothy Leary also openly acknowledged Crowley's inspiration.


title: Hippie

text: After the hippie era, the Dudeist philosophy and lifestyle developed. Inspired by "The Dude", the neo-hippie protagonist of the Coen Brothers' 1998 film "The Big Lebowski", Dudeism's stated primary objective is to promote a modern form of Chinese Taoism, outlined in "Tao Te Ching" by Laozi (6th century BC), blended with concepts by the Ancient Greek philosopher Epicurus (341-270 BC), and presented in a style as personified by the character of Jeffrey "The Dude" Lebowski, a fictional hippie character portrayed by Jeff Bridges in the film. Dudeism has sometimes been regarded as a mock religion, though its founder and many adherents regard it seriously.


title: Hippie

text: For the historian of the anarchist movement Ronald Creagh, the hippie movement could be considered as the last spectacular resurgence of utopian socialism. For Creagh, a characteristic of this is the desire for the transformation of society not through political revolution, or through reformist action pushed forward by the state, but through the creation of a counter-society of a socialist character in the midst of the current system, which will be made up of ideal communities of a more or less libertarian social form.


title: Hippie

text: 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 protesters during the 1960s. Hippies were often pacifists, and participated in non-violent political demonstrations, such as Civil Rights Movement, 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."


title: Hippie

text: 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.


title: Hippie

text: Scott McKenzie's 1967 rendition of John Phillips' song "San Francisco (Be Sure to Wear Flowers in Your Hair)", which helped to inspire the hippie Summer of Love, became a homecoming song for all Vietnam veterans arriving in San Francisco from 1967 onward. McKenzie has dedicated every American performance of "San Francisco" to Vietnam veterans, and he sang in 2002 at the 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.


title: Hippie

text: 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 San Francisco group known as the Diggers articulated an influential radical criticism of contemporary mass consumer society, and so they 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. The Diggers took their name from the original English Diggers (1649–50) led by Gerrard Winstanley, and they sought to create a mini-society free of money and capitalism.


title: Hippie

text: Such activism was ideally carried through anti-authoritarian and non-violent means; thus it was observed that "The way of the hippie is antithetical to all repressive hierarchical power structures since they are adverse to the hippie goals of peace, love and freedom... Hippies don't impose their beliefs on others. Instead, hippies seek to change the world through reason and by living what they believe."


title: Hippie

text: The political ideals of hippies influenced other movements, such as anarcho-punk, rave culture, green politics, stoner culture and the New Age movement. Arguments can be made that being "woke" is only the latest natural offshoot of hipness, since both seek heightened "awareness" of one's surroundings (social, political, sexual etc). For example, John Leland elaborates on the origins of coded language from African American slaves as a type of aware hipness and documents connections to downtrodden Jews and other minorities in American society in Hip: The History.


title: Hippie

text: 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. Crass had its roots in Dial House, which was established in 1967 as a commune. Some 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 also wrote songs critical of hippies.


title: Hippie

text: Following in the footsteps of the Beats, many hippies used cannabis (marijuana), considering it pleasurable and benign. They used drugs such as marijuana, LSD, magic mushrooms, and mescaline (peyote) to gain spiritual awakening. 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."


title: Hippie

text: 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 cocaine, amphetamines and heroin, were also sometimes used in hippie settings; however, these drugs were often disdained, even among those who used them, because they were recognized as harmful and addictive.


title: Hippie

text: 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 transgender people, as well as people who choose not to categorize themselves at all, have expanded. Religious and cultural diversity has gained greater acceptance.


title: Hippie

text: 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.


title: Hippie

text: It has been suggested that 1960s and 1970s counterculture embraced certain types of "groovy" science and technology. Examples include surfboard design, renewable energy, aquaculture and client-centered approaches to midwifery, childbirth, and women's health.


title: Hippie

text: 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.


title: Hippie

text: 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. Additionally, hippie fashion itself has been commonplace in the years since the 1960s in clothing and accessories, particularly the peace symbol. Astrology, including everything from serious study to whimsical amusement regarding personal traits, was integral to hippie culture. The generation of the 1970s became influenced by the hippie and the 1960s countercultural legacy. As such in New York City musicians and audiences from the female, homosexual, Black, and Latino communities adopted several traits from the hippies and psychedelia. They included overpowering sound, free-form dancing, multi-colored, pulsating lighting, colorful costumes, and hallucinogens. 1960s Psychedelic soul groups like the Chambers Brothers and especially Sly and The Family Stone influenced George Clinton, P-funk and the Temptations. In addition, the perceived positivity, lack of irony, and earnestness of the hippies informed proto-disco music like M.F.S.B.'s album "Love Is the Message". Disco music supported 70s LGBT movement.


title: Hippie

text: The hippie legacy in literature includes the lasting popularity of books reflecting the hippie experience, such as "The Electric Kool-Aid Acid Test".


title: Hippie

text: 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 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.


title: Hippie

text: 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 handmade crafts, educational displays and costumed entertainment. The annual Starwood Festival, founded in 1981, is a seven-day event indicative of the spiritual quest of hippies through an exploration of non-mainstream religions and world-views, and has offered performances and classes by a variety of hippie and counter-culture icons.


title: Hippie

text: 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, 50,000+ in 2011), 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.


title: Hippie

text: 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 in 1985, resulting in the Battle of the Beanfield. With Stonehenge banned as a festival site, new age travellers gather at the annual Glastonbury Festival. Today, hippies in the UK can be found in parts of South West England, such as Bristol (particularly the neighborhoods of Montpelier, Stokes Croft, St Werburghs, Bishopston, Easton and Totterdown), Glastonbury in Somerset, Totnes in Devon, and Stroud in Gloucestershire, as well as in Hebden Bridge in West Yorkshire, and in areas of London and Cornwall. In the summer, many hippies and those of similar subcultures gather at numerous outdoor festivals in the countryside.


title: Hippie

text: 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.


title: Hippie

text: In the UK and Europe, the years 1987 until 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. In 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. Also, there was a trend towards psychedelic indie rock in the form of Shoegaze, Dream Pop, Madchester and neo-Psychedelic bands like Jesus And Mary Chain, The Sundays, Spacemen 3, Loop, Stone Roses, Happy Mondays, Inspiral Carpets and Ride. This was effectively a parallel soundtrack to the rave scene that was rooted as much in 1960s psychedelic rock as it was in post-punk, though Madchester was more directly influenced by Acid House, funk and northern soul. Interestingly, many ravers were originally soul boys and football casuals, and football hooliganism declined after the Second Summer of Love.


title: Hippie

text: 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. In 1995, The Sekhmet Hypothesis attempted to link both hippie and rave culture together in relation to transactional analysis, suggesting that rave culture was a social archetype based on the mood of friendly strength, compared to the gentle hippie archetype, based on friendly weakness. The later electronic dance genres known as goa trance and psychedelic trance and its related events and culture have important hippie legacies and neo hippie elements. The popular DJ of the genre Goa Gil, like other hippies from the 1960s, decided to leave the US and Western Europe to travel on the hippie trail and later developing psychedelic parties and music in the Indian island of Goa in which the goa and psytrance genres were born and exported around the world in the 1990s and 2000s.


title: Hippie

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


title: Hippie

text: 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.


title: Internet protocol suite

text: The Internet protocol suite, commonly known as TCP/IP, is a framework for organizing the set of communication protocols used in the Internet and similar computer networks according to functional criteria. The foundational protocols in the suite are the Transmission Control Protocol (TCP), the User Datagram Protocol (UDP), and the Internet Protocol (IP). In the development of this networking model, early versions of it were known as the Department of Defense (DoD) model because the research and development were funded by the United States Department of Defense through DARPA.


title: Internet protocol suite

text: The Internet protocol suite provides end-to-end data communication specifying how data should be packetized, addressed, transmitted, routed, and received. This functionality is organized into four abstraction layers, which classify all related protocols according to each protocol's scope of networking. An implementation of the layers for a particular application forms a protocol stack. From lowest to highest, the layers are the link layer, containing communication methods for data that remains within a single network segment (link); the internet layer, providing internetworking between independent networks; the transport layer, handling host-to-host communication; and the application layer, providing process-to-process data exchange for applications.


title: Internet protocol suite

text: The technical standards underlying the Internet protocol suite and its constituent protocols are maintained by the Internet Engineering Task Force (IETF). The Internet protocol suite predates the OSI model, a more comprehensive reference framework for general networking systems.


title: Internet protocol suite

text: Initially referred to as the "DOD Internet Architecture Model", the Internet protocol suite has its roots in research and development sponsored by the Defense Advanced Research Projects Agency (DARPA) in the late 1960s. After initiating the pioneering ARPANET in 1969, DARPA started work on several other data transmission technologies, including mobile packet radio. packet satellite service, local area networks, and other data networks in the public and private domains. In 1972, Robert E. Kahn joined the DARPA Information Processing Technology Office, where he worked on both satellite packet networks and ground-based radio packet networks, and recognized the value of being able to communicate across both. In the spring of 1973, Vinton Cerf, who helped develop the existing ARPANET Network Control Protocol (NCP) protocol, joined Kahn to work on open-architecture interconnection models with the goal of designing the next protocol generation for the ARPANET. They drew on the experience from the ARPANET research community and the International Networking Working Group, which Cerf chaired.


title: Internet protocol suite

text: By the summer of 1973, Kahn and Cerf had worked out a fundamental reformulation, in which the differences between local network protocols were hidden by using a common internetwork protocol, and, instead of the network being responsible for reliability, as in the existing ARPANET protocols, this function was delegated to the hosts. Cerf credits Hubert Zimmermann and Louis Pouzin, designer of the CYCLADES network, with important influences on this design. The new protocol was implemented as the Transmission Control Program in 1974.


title: Internet protocol suite

text: Initially, the Transmission Control Program (the Internet Protocol did not then exist as a separate protocol) provided only a reliable byte stream service to its users, not datagram. As experience with the protocol grew, collaborators recommended division of functionality into layers of distinct protocols, allowing users direct access to datagram service. Advocates included Danny Cohen, who needed it for his packet voice work; Jonathan Postel of the University of Southern California's Information Sciences Institute, who edited the Request for Comments (RFCs), the technical and strategic document series that has both documented and catalyzed Internet development; and the research group of Robert Metcalfe at Xerox PARC. Postel stated, "We are screwing up in our design of Internet protocols by violating the principle of layering." Encapsulation of different mechanisms was intended to create an environment where the upper layers could access only what was needed from the lower layers. A monolithic design would be inflexible and lead to scalability issues. In version 3 of TCP, written in 1978, the Transmission Control Program was split into two distinct protocols, the Internet Protocol as connectionless layer and the Transmission Control Protocol as a reliable connection-oriented service.


title: Internet protocol suite

text: The design of the network included the recognition that it should provide only the functions of efficiently transmitting and routing traffic between end nodes and that all other intelligence should be located at the edge of the network, in the end nodes. This design is known as the end-to-end principle. Using this design, it became possible to connect other networks to the ARPANET that used the same principle, irrespective of other local characteristics, thereby solving Kahn's initial internetworking problem. A popular expression is that TCP/IP, the eventual product of Cerf and Kahn's work, can run over "two tin cans and a string." Years later, as a joke, the IP over Avian Carriers formal protocol specification was created and successfully tested.


title: Internet protocol suite

text: DARPA contracted with BBN Technologies, Stanford University, and the University College London to develop operational versions of the protocol on several hardware platforms. During development of the protocol the version number of the packet routing layer progressed from version 1 to version 4, the latter of which was installed in the ARPANET in 1983. It became known as "Internet Protocol version 4" (IPv4) as the protocol that is still in use in the Internet, alongside its current successor, Internet Protocol version 6 (IPv6).


title: Internet protocol suite

text: In 1975, a two-network IP communications test was performed between Stanford and University College London. In November 1977, a three-network IP test was conducted between sites in the US, the UK, and Norway. Several other IP prototypes were developed at multiple research centers between 1978 and 1983.


title: Internet protocol suite

text: A computer called a router is provided with an interface to each network. It forwards network packets back and forth between them. Originally a router was called "gateway", but the term was changed to avoid confusion with other types of gateways.


title: Internet protocol suite

text: In March 1982, the US Department of Defense declared TCP/IP as the standard for all military computer networking. In the same year, NORSAR and Peter Kirstein's research group at University College London adopted the protocol. The migration of the ARPANET from NCP to TCP/IP was officially completed on flag day January 1, 1983, when the new protocols were permanently activated.


title: Internet protocol suite

text: In 1985, the Internet Advisory Board (later Internet Architecture Board) held a three-day TCP/IP workshop for the computer industry, attended by 250 vendor representatives, promoting the protocol and leading to its increasing commercial use. In 1985, the first Interop conference focused on network interoperability by broader adoption of TCP/IP. The conference was founded by Dan Lynch, an early Internet activist. From the beginning, large corporations, such as IBM and DEC, attended the meeting.


title: Internet protocol suite

text: IBM, AT&T and DEC were the first major corporations to adopt TCP/IP, this despite having competing proprietary protocols. In IBM, from 1984, Barry Appelman's group did TCP/IP development. They navigated the corporate politics to get a stream of TCP/IP products for various IBM systems, including MVS, VM, and OS/2. At the same time, several smaller companies, such as FTP Software and the Wollongong Group, began offering TCP/IP stacks for DOS and Microsoft Windows. The first VM/CMS TCP/IP stack came from the University of Wisconsin.


title: Internet protocol suite

text: Some of the early TCP/IP stacks were written single-handedly by a few programmers. Jay Elinsky and of IBM Research wrote TCP/IP stacks for VM/CMS and OS/2, respectively. In 1984 Donald Gillies at MIT wrote a "ntcp" multi-connection TCP which runs atop the IP/PacketDriver layer maintained by John Romkey at MIT in 1983–4. Romkey leveraged this TCP in 1986 when FTP Software was founded. Starting in 1985, Phil Karn created a multi-connection TCP application for ham radio systems (KA9Q TCP).


title: Internet protocol suite

text: The spread of TCP/IP was fueled further in June 1989, when the University of California, Berkeley agreed to place the TCP/IP code developed for BSD UNIX into the public domain. Various corporate vendors, including IBM, included this code in commercial TCP/IP software releases. Microsoft released a native TCP/IP stack in Windows 95. This event helped cement TCP/IP's dominance over other protocols on Microsoft-based networks, which included IBM's Systems Network Architecture (SNA), and on other platforms such as Digital Equipment Corporation's DECnet, Open Systems Interconnection (OSI), and Xerox Network Systems (XNS).


title: Internet protocol suite

text: Nonetheless, for a period in the late 1980s and early 1990s, engineers, organizations and nations were polarized over the issue of which standard, the OSI model or the Internet protocol suite, would result in the best and most robust computer networks.


title: Internet protocol suite

text: The technical standards underlying the Internet protocol suite and its constituent protocols have been delegated to the Internet Engineering Task Force (IETF).


title: Internet protocol suite

text: The characteristic architecture of the Internet Protocol Suite is its broad division into operating scopes for the protocols that constitute its core functionality. The defining specification of the suite is RFC 1122, which broadly outlines four abstraction layers. These have stood the test of time, as the IETF has never modified this structure. As such a model of networking, the Internet Protocol Suite predates the OSI model, a more comprehensive reference framework for general networking systems.


title: Internet protocol suite

text: The end-to-end principle has evolved over time. Its original expression put the maintenance of state and overall intelligence at the edges, and assumed the Internet that connected the edges retained no state and concentrated on speed and simplicity. Real-world needs for firewalls, network address translators, web content caches and the like have forced changes in this principle.


title: Internet protocol suite

text: The robustness principle states: "In general, an implementation must be conservative in its sending behavior, and liberal in its receiving behavior. That is, it must be careful to send well-formed datagrams, but must accept any datagram that it can interpret (e.g., not object to technical errors where the meaning is still clear)." "The second part of the principle is almost as important: software on other hosts may contain deficiencies that make it unwise to exploit legal but obscure protocol features."


title: Internet protocol suite

text: Encapsulation is used to provide abstraction of protocols and services. Encapsulation is usually aligned with the division of the protocol suite into layers of general functionality. In general, an application (the highest level of the model) uses a set of protocols to send its data down the layers. The data is further encapsulated at each level.


title: Internet protocol suite

text: An early architectural document, , emphasizes architectural principles over layering. RFC 1122, titled "Host Requirements", is structured in paragraphs referring to layers, but the document refers to many other architectural principles and does not emphasize layering. It loosely defines a four-layer model, with the layers having names, not numbers, as follows:


title: Internet protocol suite

text: The protocols of the link layer operate within the scope of the local network connection to which a host is attached. This regime is called the "link" in TCP/IP parlance and is the lowest component layer of the suite. The link includes all hosts accessible without traversing a router. The size of the link is therefore determined by the networking hardware design. In principle, TCP/IP is designed to be hardware independent and may be implemented on top of virtually any link-layer technology. This includes not only hardware implementations, but also virtual link layers such as virtual private networks and networking tunnels.


title: Internet protocol suite

text: The link layer is used to move packets between the Internet layer interfaces of two different hosts on the same link. The processes of transmitting and receiving packets on the link can be controlled in the device driver for the network card, as well as in firmware or by specialized chipsets. These perform functions, such as framing, to prepare the Internet layer packets for transmission, and finally transmit the frames to the physical layer and over a transmission medium. The TCP/IP model includes specifications for translating the network addressing methods used in the Internet Protocol to link-layer addresses, such as media access control (MAC) addresses. All other aspects below that level, however, are implicitly assumed to exist, and are not explicitly defined in the TCP/IP model.


title: Internet protocol suite

text: Internetworking requires sending data from the source network to the destination network. This process is called routing and is supported by host addressing and identification using the hierarchical IP addressing system. The internet layer provides an unreliable datagram transmission facility between hosts located on potentially different IP networks by forwarding datagrams to an appropriate next-hop router for further relaying to its destination. The internet layer has the responsibility of sending packets across potentially multiple networks. With this functionality, the internet layer makes possible internetworking, the interworking of different IP networks, and it essentially establishes the Internet.


title: Internet protocol suite

text: The internet layer does not distinguish between the various transport layer protocols. IP carries data for a variety of different upper layer protocols. These protocols are each identified by a unique protocol number: for example, Internet Control Message Protocol (ICMP) and Internet Group Management Protocol (IGMP) are protocols 1 and 2, respectively.


title: Internet protocol suite

text: The Internet Protocol is the principal component of the internet layer, and it defines two addressing systems to identify network hosts and to locate them on the network. The original address system of the ARPANET and its successor, the Internet, is Internet Protocol version 4 (IPv4). It uses a 32-bit IP address and is therefore capable of identifying approximately four billion hosts. This limitation was eliminated in 1998 by the standardization of Internet Protocol version 6 (IPv6) which uses 128-bit addresses. IPv6 production implementations emerged in approximately 2006.


title: Internet protocol suite

text: The transport layer establishes basic data channels that applications use for task-specific data exchange. The layer establishes host-to-host connectivity in the form of end-to-end message transfer services that are independent of the underlying network and independent of the structure of user data and the logistics of exchanging information. Connectivity at the transport layer can be categorized as either connection-oriented, implemented in TCP, or connectionless, implemented in UDP. The protocols in this layer may provide error control, segmentation, flow control, congestion control, and application addressing (port numbers).


title: Internet protocol suite

text: For the purpose of providing process-specific transmission channels for applications, the layer establishes the concept of the network port. This is a numbered logical construct allocated specifically for each of the communication channels an application needs. For many types of services, these "port numbers" have been standardized so that client computers may address specific services of a server computer without the involvement of service discovery or directory services.


title: Internet protocol suite

text: TCP is a connection-oriented protocol that addresses numerous reliability issues in providing a reliable byte stream:


title: Internet protocol suite

text: The newer Stream Control Transmission Protocol (SCTP) is also a reliable, connection-oriented transport mechanism. It is message-stream-oriented, not byte-stream-oriented like TCP, and provides multiple streams multiplexed over a single connection. It also provides multihoming support, in which a connection end can be represented by multiple IP addresses (representing multiple physical interfaces), such that if one fails, the connection is not interrupted. It was developed initially for telephony applications (to transport SS7 over IP).


title: Internet protocol suite

text: Reliability can also be achieved by running IP over a reliable data-link protocol such as the High-Level Data Link Control (HDLC).


title: Internet protocol suite

text: The User Datagram Protocol (UDP) is a connectionless datagram protocol. Like IP, it is a best-effort, unreliable protocol. Reliability is addressed through error detection using a checksum algorithm. UDP is typically used for applications such as streaming media (audio, video, Voice over IP etc.) where on-time arrival is more important than reliability, or for simple query/response applications like DNS lookups, where the overhead of setting up a reliable connection is disproportionately large. Real-time Transport Protocol (RTP) is a datagram protocol that is used over UDP and is designed for real-time data such as streaming media.


title: Internet protocol suite

text: The applications at any given network address are distinguished by their TCP or UDP port. By convention, certain "well known ports" are associated with specific applications.


title: Internet protocol suite

text: The TCP/IP model's transport or host-to-host layer corresponds roughly to the fourth layer in the OSI model, also called the transport layer.


title: Internet protocol suite

text: QUIC is rapidly emerging as an alternative transport protocol. Whilst it is technically carried via UDP packets it seeks to offer enhanced transport connectivity relative to TCP. HTTP/3 works exclusively via QUIC.


title: Internet protocol suite

text: The application layer includes the protocols used by most applications for providing user services or exchanging application data over the network connections established by the lower level protocols. This may include some basic network support services such as routing protocols and host configuration. Examples of application layer protocols include the Hypertext Transfer Protocol (HTTP), the File Transfer Protocol (FTP), the Simple Mail Transfer Protocol (SMTP), and the Dynamic Host Configuration Protocol (DHCP). Data coded according to application layer protocols are encapsulated into transport layer protocol units (such as TCP streams or UDP datagrams), which in turn use lower layer protocols to effect actual data transfer.


title: Internet protocol suite

text: The TCP/IP model does not consider the specifics of formatting and presenting data and does not define additional layers between the application and transport layers as in the OSI model (presentation and session layers). According to the TCP/IP model, such functions are the realm of libraries and application programming interfaces. The application layer in the TCP/IP model is often compared to a combination of the fifth (session), sixth (presentation), and seventh (application) layers of the OSI model.


title: Internet protocol suite

text: Application layer protocols are often associated with particular client–server applications, and common services have "well-known" port numbers reserved by the Internet Assigned Numbers Authority (IANA). For example, the HyperText Transfer Protocol uses server port 80 and Telnet uses server port 23. Clients connecting to a service usually use ephemeral ports, i.e., port numbers assigned only for the duration of the transaction at random or from a specific range configured in the application.


title: Internet protocol suite

text: At the application layer, the TCP/IP model distinguishes between "user protocols" and "support protocols". Support protocols provide services to a system of network infrastructure. User protocols are used for actual user applications. For example, FTP is a user protocol and DNS is a support protocol.


title: Internet protocol suite

text: Although the applications are usually aware of key qualities of the transport layer connection such as the endpoint IP addresses and port numbers, application layer protocols generally treat the transport layer (and lower) protocols as black boxes which provide a stable network connection across which to communicate. The transport layer and lower-level layers are unconcerned with the specifics of application layer protocols. Routers and switches do not typically examine the encapsulated traffic, rather they just provide a conduit for it. However, some firewall and bandwidth throttling applications use deep packet inspection to interpret application data. An example is the Resource Reservation Protocol (RSVP). It is also sometimes necessary for Applications affected by NAT to consider the application payload.


title: Internet protocol suite

text: The Internet Protocol Suite evolved through research and development funded over a period of time. In this process, the specifics of protocol components and their layering changed. In addition, parallel research and commercial interests from industry associations competed with design features. In particular, efforts in the International Organization for Standardization led to a similar goal, but with wider scope of networking in general. Efforts to consolidate the two principal schools of layering, which were superficially similar, but diverged sharply in detail, led independent text book authors to formulate abridging teaching tools.


title: Internet protocol suite

text: The following table shows various such networking models. The number of layers varies between three and seven.


title: Internet protocol suite

text: Some of the networking models are from textbooks, which are secondary sources that may conflict with the intent of RFC 1122 and other IETF primary sources.


title: Internet protocol suite

text: The three top layers in the OSI model, i.e. the application layer, the presentation layer and the session layer, are not distinguished separately in the TCP/IP model which only has an application layer above the transport layer. While some pure OSI protocol applications, such as X.400, also combined them, there is no requirement that a TCP/IP protocol stack must impose monolithic architecture above the transport layer. For example, the NFS application protocol runs over the External Data Representation (XDR) presentation protocol, which, in turn, runs over a protocol called Remote Procedure Call (RPC). RPC provides reliable record transmission, so it can safely use the best-effort UDP transport.


title: Internet protocol suite

text: Different authors have interpreted the TCP/IP model differently, and disagree whether the link layer, or any aspect of the TCP/IP model, covers OSI layer 1 (physical layer) issues, or whether TCP/IP assumes a hardware layer exists below the link layer.


title: Internet protocol suite

text: Several authors have attempted to incorporate the OSI model's layers 1 and 2 into the TCP/IP model since these are commonly referred to in modern standards (for example, by IEEE and ITU). This often results in a model with five layers, where the link layer or network access layer is split into the OSI model's layers 1 and 2.


title: Internet protocol suite

text: The IETF protocol development effort is not concerned with strict layering. Some of its protocols may not fit cleanly into the OSI model, although RFCs sometimes refer to it and often use the old OSI layer numbers. The IETF has repeatedly stated that Internet Protocol and architecture development is not intended to be OSI-compliant. RFC 3439, referring to the internet architecture, contains a section entitled: "Layering Considered Harmful".


title: Internet protocol suite

text: For example, the session and presentation layers of the OSI suite are considered to be included in the application layer of the TCP/IP suite. The functionality of the session layer can be found in protocols like HTTP and SMTP and is more evident in protocols like Telnet and the Session Initiation Protocol (SIP). Session-layer functionality is also realized with the port numbering of the TCP and UDP protocols, which are included in the transport layer of the TCP/IP suite. Functions of the presentation layer are realized in the TCP/IP applications with the MIME standard in data exchange.


title: Internet protocol suite

text: Another difference is in the treatment of routing protocols. The OSI routing protocol IS-IS belongs to the network layer, and does not depend on CLNS for delivering packets from one router to another, but defines its own layer-3 encapsulation. In contrast, OSPF, RIP, BGP and other routing protocols defined by the IETF are transported over IP, and, for the purpose of sending and receiving routing protocol packets, routers act as hosts. As a consequence, include routing protocols in the application layer. Some authors, such as Tanenbaum in "Computer Networks", describe routing protocols in the same layer as IP, reasoning that routing protocols inform decisions made by the forwarding process of routers.


title: Internet protocol suite

text: IETF protocols can be encapsulated recursively, as demonstrated by tunnelling protocols such as Generic Routing Encapsulation (GRE). GRE uses the same mechanism that OSI uses for tunnelling at the network layer.


title: Internet protocol suite

text: The Internet protocol suite does not presume any specific hardware or software environment. It only requires that hardware and a software layer exists that is capable of sending and receiving packets on a computer network. As a result, the suite has been implemented on essentially every computing platform. A minimal implementation of TCP/IP includes the following: Internet Protocol (IP), Address Resolution Protocol (ARP), Internet Control Message Protocol (ICMP), Transmission Control Protocol (TCP), User Datagram Protocol (UDP), and Internet Group Management Protocol (IGMP). In addition to IP, ICMP, TCP, UDP, Internet Protocol version 6 requires Neighbor Discovery Protocol (NDP), ICMPv6, and Multicast Listener Discovery (MLD) and is often accompanied by an integrated IPSec security layer.


title: No Longer Human

text: "No Longer Human" is told in the form of notebooks left by one , a troubled man incapable of revealing his true self to others, and who, instead, maintains a facade of hollow jocularity. The work is made up of three chapters, or "memoranda", which chronicle the life of Ōba from his early childhood to his late twenties.


title: No Longer Human

text: The story is bookended with two other, shorter chapters from the point of view of a neutral observer, who sees three photos of Ōba and eventually tracks down one of the characters mentioned in the notebooks who knew him personally.


title: No Longer Human

text: Ōba refers to himself throughout the book using the reflexive pronoun , whereas the personal pronoun is used both in the foreword and afterword to the book by the writer, whose name is unclear. The name "Ōba" is actually taken from one of Dazai's early works, .


title: No Longer Human

text: The novel was first translated into English by Donald Keene as "No Longer Human", published 1958 by New Directions in Norfolk, Connecticut. This translation was published in the UK by Peter Owen Publishers in 1959.


title: No Longer Human

text: The novel received another English translation in 2018 by Mark Gibeau as "A Shameful Life", published by Stone Bridge Press.


title: No Longer Human

text: "Ningen Shikkaku" was adapted to film in 2009, the 100th anniversary of Dazai's birth. The film was directed by Genjiro Arato, the producer responsible for the award-winning "Zigeunerweisen" in 1980. Filming started in July, and it was released on February 20, 2010.


title: No Longer Human

text: The film stars Toma Ikuta as Ōba Yōzō, a young man who finds it hard to relate to the world around him, but masks this sense of alienation with a jovial demeanor. Still, his life spirals toward self-destruction. Actress Satomi Ishihara plays one of the several women in his life, and the only one he marries.


title: No Longer Human

text: A new film titled "Ningen Shikkaku" was released September 13, 2019, starring Shun Oguri in the role of writer Osamu Dazai, following the story of Dazai's life. Movie is directed by photographer and film director Mika Ninagawa. The movie opened in 320 theaters, ranking 4th place in its first weekend.


title: No Longer Human

text: Another adaptation of the story was told in the four first episodes of the 2009 anime series "Aoi Bungaku". It received the Platinum Grand Prize at the Future Film festival in Italy.


title: No Longer Human

text: Another anime, "Bungo Stray Dogs" features a character named after Dazai, as well as various influences from "No Longer Human". The novel is also referenced in "Bungo Stray Dogs Wan!" which is a comedy gag spin-off of the original series.


title: No Longer Human

text: In the series "Sayonara Zetsubou Sensei", the main character, Nozomu Itoshiki, is based on Dazai’s novel protagonist.


title: No Longer Human

text: "Human Lost", a science fiction 3D anime Polygon Pictures feature was directed by Fuminori Kizaki. Katsuyuki Motohiro served as supervisor to the film. Tow Ubukata and screenplay writer. Yūsuke Kozaki was character designer. It premiered on October 22, 2019 in U.S theaters, becoming the first Polygon Pictures film to not be distributed worldwide on Netflix. In this film, the novel is transported to the year 2036. Breakthroughs in medical technology have led to a system of nanomachines internally implanted in all humans that can reverse illness, injury and even death. But if a person severs their nanomachines from the system, they mutate into monstrous creatures known as "Lost". Oba, Horiki and Hiiragi are now "applicants" with special powers over the Lost.


title: No Longer Human

text: The movie stars the voice cast of Mamoru Miyano, Kana Hanazawa, Takahiro Sakurai, Jun Fukuyama, and Miyuki Sawashiro.


title: No Longer Human

text: Usamaru Furuya created a three-volume manga version of "No Longer Human", serialized in Shinchosha's "Comic Bunch" magazine beginning in number 10, 2009. An English edition was published by Vertical, Inc. in 2011–2012.


title: No Longer Human

text: Yasunori Ninose created another manga version of "No Longer Human", titled "Ningen Shikkaku Kai" ( "kai", "destruction"), serialized in "Champion Red" from April to July in 2010. Unlike Furuya's version, this manga depicts human beings' negative emotion and sexual intercourse as tentacles, which have enthralled Ninose since he was five years old.


title: No Longer Human

text: A third version (), a straight retelling of the story set in its original pre-WWII setting, was commissioned for the "Manga de Dokuha" series (comic adaptations of classic literature), published by Gakken. An English edition was published in online format by JManga in 2011.


title: No Longer Human

text: In 2017, Junji Ito created another manga adaptation of "No Longer Human", which retained the original title. In this version, Yōzō meets Osamu Dazai himself during an asylum recovery, thus giving him permission to tell his story in his next book. The manga includes a retelling of Dazai's suicide from Ōba's perspective.


title: No Longer Human

text: William Bradbury of "The Japan Times" called it a timeless novel, saying that "The struggle of the individual to fit into a normalizing society remains just as relevant today as it was at the time of writing." Serdar Yegulalp of Genji Press noted the strength of Dazai in portraying the situation of the protagonist, describing the novel as "bleak in a way that is both extreme and yet also strangely unforced". Both critics have noted the autobiographical qualities of the novel, but claim that Dazai's style causes readers to connect to Ōba rather than focus on the author.


title: No Longer Human

text: One modern analyst, Naoko Miyaji, has proposed Dazai was suffering from complex post-traumatic stress disorder when he wrote the book.


title: Claes Bang

text: Claes Kasper Bang (; born 28 April 1967) is a Danish actor and musician. He is best known for playing the leading role of Christian in Ruben Östlund's 2017 film "The Square", which won the Palme d'Or at the Cannes Film Festival, and for the role of Fjölnir in Robert Eggers's 2022 film "The Northman". In 2019, he played the role of Sasha Mann for the final season of "The Affair", and he rose to further international recognition by starring as Count Dracula in the BBC/Netflix series "Dracula" (2020). For his role in "The Square", he became the first Dane to win the European Film Award for Best Actor. Bang has also developed a music career under the moniker of This Is Not America.


title: Claes Bang

text: Bang was born in Odense on the Danish island of Funen. After his parents’ divorce, he mostly lived with his father and moved home frequently; he ended up attending several different schools while growing up. During his third year of high school, Bang participated in the musical "Hair" which sparked his interest in acting, and after he left school, he continued to do amateur theatre. At the age of 23, he made an application to the Danish National School of Theatre after discovering that the age limit for applying is 25. He was unsuccessful but applied again the next year and was accepted five days before his 25th birthday. He attended the school in 1992 and graduated with a diploma in 1996. His first theatre role after graduation was at Børneteatret Skægspire in the play "Tudseakvariet", and he received his first breakthrough role in the Danish 1997 television show "Taxa". He has worked mainly on stage and television in Denmark.


title: Claes Bang

text: From 2001 to 2004, he was a permanent member of the cast at Aalborg Teater. In 2002, he asked the theatre director for permission to perform a monologue called "Ondskaben", which is based on Jan Guillou’s novel "Evil". After leaving the theatre in 2004, Bang bought the rights to the work so he could perform the monologue at other theatres. He has performed the monologue almost 400 times, including an English language version in Denmark, Sweden, the UK, Germany, and South Africa.


title: Claes Bang

text: Bang starred in numerous Danish television series and films early in his career. From 2006 to 2008, he gained wide recognition (particularly in Germany) for his role in the Danish police drama "Anna Pihl". He subsequently starred in several German language roles both on television ("Küstenwache", "SOKO Wismar", "Notruf Hafenkante", "Sibel & Max", and "Cologne P.D.") and in film ("Jungle Child", "Rettet Raffi!", "Alle unter einer Tanne", and "Überleben an der Scheidungsfront").


title: Claes Bang

text: He played the leading role of the art museum curator Christian in Ruben Östlund's 2017 film "The Square", which won the Palme d'Or at the 2017 Cannes Film Festival. He also won the European Film Award for Best Actor, being the first Dane to do so.


title: Claes Bang

text: In November 2018, Bang was cast to play Count Dracula in the BBC mini-series "Dracula," created by the film-makers involved in "Sherlock". In an interview for "The Guardian", it was observed that, while "sexy" and "insatiable", it is also "a very witty performance" from Bang.


title: Claes Bang

text: On 14 April 2020, it was announced that Bang would be working on the pilot of "Little Room" (previously called "The Agoraphobics Detective Society"), which was produced by Maggie Montieth and directed/written by his "Dracula" co-star Dolly Wells, with Suzi Ewing and Heidi Greensmith. Bang and the other cast members filmed themselves from home on Zoom, and were responsible for the props, wardrobe, hair and makeup, and sound. The pilot was released online by Pinpoint Presents on 27 May 2020, and viewers were asked to donate to The Film and Television Charity and the Motion Picture & Television Fund, to help those in the film, TV and cinema industries who have been financially impacted by the COVID-19 pandemic.


title: Claes Bang

text: This Is Not America is the name of Bang's musical side project. He describes it as "a sanctuary and a creative playground where there is no director making the decisions." Bang writes and composes the songs himself, and his musical style can be described as a mix of Gangway, Pet Shop Boys and Depeche Mode. Music videos and album art for This Is Not America are produced with help from his wife Lis Kasper Bang, née Louis-Jensen, who does the filming and photography.


title: Claes Bang

text: Bang started composing music for fun with a recording studio on his computer in 2002. He records the piano and guitar pieces himself (he learnt these instruments when he was younger) and then programs them with other sounds on his computer. Bang chose the alias This Is Not America to circumvent DR's policy of not broadcasting tracks by actors, and to prevent his acting career from influencing how people perceive his music. The name comes from a song by David Bowie, who is one of Bang's great role models. His first three singles "Don't Come Crying", "Shameless", and "Run" were played on P3 for a year before the station found out that they were made by the actor, however his songs were still played on various DR radio stations for a few more years. These singles were later released on the debut album "Dislocated" on 7 April 2010.


title: Claes Bang

text: Two of Bang's co-stars have featured on some This Is Not America tracks. In 2015, he released the single "Still of the Night", featuring Charlotte Munck, his co-star in the Danish police drama "Anna Pihl". While filming "The Square", Bang discovered that co-star and musician Marina Schiptjenko shared the same taste in music, so he showed her some of his music and sent her a few demos. Once filming finished, they recorded five songs together in his home studio in Copenhagen. So far, the duo has released "Who Am I", "I Don't Care" and "Here We Go".


title: Claes Bang

text: Bang met stylist and photographer Liz Louis-Jensen in 2006 while they were both working on the play "Den grønne elevator" at Kanonhalløj. Louis-Jensen proposed to Bang on New Year's Eve 2007, and they got married on 25 September 2010 on a canal boat in Copenhagen. Bang is stepfather to Liz's two children, Sarah and Bella. The pair have lived together in Frederiksberg, Copenhagen since 2008.


title: Shehbaz Sharif

text: Mian Muhammad Shehbaz Sharif (Urdu, Punjabi: , ; born 23 September 1951) is a Pakistani politician and businessman who is currently serving as the 23rd Prime Minister of Pakistan, in office since 11 April 2022. He is the current president of the Pakistan Muslim League (N) (PML-N). Previously in his political career, he served as the Chief Minister of Punjab three times, making him the longest-serving Chief Minister of Punjab.


title: Shehbaz Sharif

text: Shehbaz was elected to the Provincial Assembly of the Punjab in 1988 and to the National Assembly of Pakistan in 1990. He was again elected to the Punjab Assembly in 1993 and named Leader of the Opposition. He was elected as chief minister of Pakistan's most populous province, Punjab, for the first time on 20 February 1997. After the 1999 Pakistani coup d'état, Shehbaz along with his family spent years of self-exile in Saudi Arabia, returning to Pakistan in 2007. Shehbaz was appointed Chief Minister for a second term after the PML-N's victory in Punjab province in the 2008 Pakistani general election. He was elected as Chief Minister of Punjab for the third time in the 2013 general election and served his term until his party's defeat in the 2018 general election. During his tenure as chief minister, Shehbaz enjoyed a reputation as a highly competent and diligent administrator. He initiated ambitious infrastructure projects in Punjab and was noted for his efficient governance. Shehbaz was nominated as the president of the Pakistan Muslim League-N after his brother, Nawaz Sharif, was disqualified from holding office in the wake of the Panama Papers case. He was nominated as the Leader of the Opposition after the 2018 election.


title: Shehbaz Sharif

text: In December 2019, the National Accountability Bureau (NAB) froze 23 properties belonging to Shehbaz and his son, Hamza Sharif, accusing them of money laundering. On 28 September 2020, NAB arrested Shehbaz at Lahore High Court and indicted him on charges of money laundering. He was incarcerated pending trial. On 14 April 2021, Lahore High Court released him on bail in money laundering reference. Amid the 2022 Pakistani political crises, he was elected as Prime Minister on 11 April 2022 after the no-confidence motion against Imran Khan.