Category Archives: Art

Ramparts Magazine: Midwife of the 1960s Student Revolts

If you were a Left-leaning college student in the 1960s there is a good chance that you had a copy of Ramparts magazine on the coffee table. From 1964-1969, under the leadership of executive editor Warren Hinckle, Ramparts was arguably the most important anti-war, counter-culture, general circulation magazine in the United States. Closely associated with the New Left political movement the magazine reached an ultimate circulation of 250,000 in 1968. That was a large number in those days, especially for an ostensibly underground publication frequently denigrated by its competitors in the mainstream media. Ramparts was so good at its craft that it became the ire of the CIA, which tried to censor the magazine and then shut it down, failing on both counts, not to mention breaking the law and its own charter prohibiting it from domestic spying.

Why was the CIA so rattled?

In the April 1966 edition Ramparts exposed a program the CIA was running clandestinely out of Michigan State University as part of the Michigan State University Vietnam Advisory Group (MSUG). Though there were some positive outcomes from MSUG the article revealed that the Agency had infiltrated it early on and was using it as a front for covert operations, including training and arming police interrogators in South Vietnam to spy on and harass dissidents in Saigon. Though not explicit in the record there were almost certainly some classes on torture methods in the curriculum. What we do know is that Diem’s forces had gained considerable expertise in using such brutal practices during the time period in question. Ramparts asked: “what the hell is a university doing buying guns, anyway?” It was one of the early sparks in what would erupt into open confrontations between students and their universities over support for the Vietnam War, most famously at Berkeley, Michigan, Columbia, Wisconsin, Ohio State and Kent State, among many others. Ramparts won the 1966 George Polk Award for Magazine Reporting for the article. The cover is a 60s classic (see below).

Then in March 1967 Ramparts created a national sensation by publishing an embarrassing expose of CIA secret funding of the National Student Association (NSA) which was the largest college student organization in America. A year earlier the New York Times ran a series of articles which began to uncover secret CIA funding of various fronts going back to the late 1940s, including arts organizations, political and cultural journals, radio stations, cultural foundations etc. That operation, known as the Congress For Cultural Freedom, aka the Mighty Wurlitzer within the CIA, was a primary weapon against Soviet influence in what is today known as the Cultural Cold War. But the Ramparts story went one step further by including the first acknowledgement of the program’s existence by a former CIA officer involved in the covert operations, Michael Wood, who had records, not just about the NSA, but other related fronts that the CIA had established. The upstart magazine had once again scooped the big players in the main stream media on one of the biggest stories of the time, pouring more gasoline on the fire on campuses nationwide.

For excellent treatments of this history see The Cultural Cold War by Frances Stonor Saunders and Cold Warriors by Duncan White.

A side note about the March 1967 issue: Hinckle wrote the cover story, “A Social History of the Hippies.” Editorial differences over that story led contributing editor Ralph J. Gleason to resign in protest. Gleason and former Ramparts staffer Jann Wenner, then founded a new magazine, Rolling Stone, later that year.

Below are photos of these two landmark issues of Ramparts, they are two of the more influential magazine editions of any kind from the time period, helping to lay the foundation for the student radicalism that was to follow.

External Links:

Ramparts Editors on CIA Activities – KPIX TV (1967)

The University That Launched A CIA Front Operation in Vietnam – Politico (2018)

The Spy Who Funded Me: Revisiting the Congress for Cultural Freedom – LA Review of Books (2017)

NSA and the CIARamparts Magazine, March 1967, pp. 29-39 text

Phil and Michael Ochs – Goodbye Columbus

When I’m in the Journalism Building at Ohio State University I am often reminded that I am roaming the same hallways that Phil Ochs did back in the year that I was born (although the building was renovated in 1973, so they aren’t exactly the same hallways). Phil Ochs will always be my Ohio State hero.

Ochs studied journalism in college and formed a keen interest in politics, signing on with the student newspaper, the Lantern, as a student reporter (1959-1962). While there he contributed some interesting editorials on the Cold War events of the day. But when the student paper refused to publish some of his more radical articles, and then passed him over for the editor-in-chief job, he dropped out in his last quarter and moved to New York City in 1962.

While at OSU he developed a liking for the folk music of Woody Guthrie, Pete Seeger, the Weavers and the mythical IWW union leader Joe Hill, among others. Inspired by this music, he learned the guitar and formed a duo called the Sundowners. His first gig was at the legendary campus bar named Larry’s, right next door to where I tended bar for a few years in my college days. I spent many nights that I don’t remember at Larry’s, as I am sure Phil probably did too.

In Greenwich Village he emerged as one of the most influential folk singers of the sixties. He had a good friendship, and also an artistic rivalry, with Bob Dylan. Suze Rotolo, Dylan’s girlfriend at the time (seen on the cover of The Freewheelin’ Bob Dylan), attended his wedding. He performed at the 1963 and 1964 Newport Folk Festivals to thunderous applause and great reviews. He appeared at Carnegie Hall and became a mainstay at many of the most famous civil rights rallies and anti-war demonstrations of the time. He was involved in the creation of the Youth International Party, known as the Yippies, along with Jerry Rubin and Abbie Hoffman.

But, like many of his contemporaries, the moment of change came with Dylan’s famous electric performance at Newport in 1965, one of the most important dates in 20th century American music. Ochs was unable, or unwilling, to make the leap to the new sound and his star began to slowly fade. These days he is hardly remembered. Sadly, even OSU remains ambivalent/silent about his legacy.

Here he is in 1965, young, vibrant and rebellious, on Let’s Sing Out, just a few months after the first ground troops landed in Vietnam. Note: if you watch to the end you’ll see a filler clip of him playing on the Oval at OSU in front of Orton Hall, the oldest building on campus and one that I help manage.

Phil Ochs Concerts Listing

Michael Ochs, Phil’s younger brother, is an American photographic archivist best known for his extensive collection of pictures related to rock music dating back to the 1950s and 1960s. The Michael Ochs Archives contained 3 million vintage prints, proof sheets and negatives. The Los Angeles Times called Ochs “America’s preeminent rock ‘n’ roll photo archivist” and described his archive as “the dominant force in the rock image marketplace”; The New York Times called it “the premier source of musician photography in the world”. (Wikipedia)

Michael Ochs earned a B.A. in radio and television writing from Ohio State University in 1966.  He then managed for his folk singer brother, worked as a photographer for Columbia Records, and later headed the public relations departments at Columbia Records, Shelter Records and ABC Records. He began collecting photographs as a hobby and spent years building the collection, ultimately establishing The Michael Ochs Archives in 1977. In the eighties he hosted his Archives Alive radio show on KCRW.

From his collection, he has produced six books: Rock Archives; Elvis In Hollywood; Marilyn: March, 1955; Shock, Rattle & Roll; Marilyn Monroe: From Beginning To End; and 1,000 Record Covers. He was one of three producers of the 2010 documentary film Phil Ochs: There but for Fortune.

In 2007, Getty Images purchased the Michael Ochs Archives.

Michael Ochs Archive Getty Images

Michael Ochs At Photos.com

https://entergallery.com/blogs/news/enter-gallery-presents-the-michael-ochs-archive

There’s A Riot Goin’ On

There’s a Riot Goin’ On was recorded, mixed and over-dubbed, in 1970-71 by Sly Stone, mostly alone in the studio. It was made during a period of escalated drug use and turmoil between Sly and his Family Stone. The album is a sharp departure from the group’s previous 1960s records. The upbeat psychedelic soul sound of Everyday People, Dance to the Music and I Want to Take You Higher is instead replaced by a more edgy, funky and rhythmic sound. It is also very pessimistic and reflects Sly’s increasing disillusionment at the turn of 1970s, brought on by political assassinations, police brutality, the decline of the civil rights and anti-war movements, and the Nixon presidency. The first track “Luv n’ Haight” reflects his growing disdain for the hippie counterculture that was retreating from political and artistic activism, and relevance.

It is a commonplace declaration that the Altamont concert represented the “death of the sixties.” Perhaps, but for me this landmark recording also stands as a symbol of the changeover from the hopeful and progressive spirit of the 60s to the malaise and hedonism of the decades to come. This is perfectly captured in the album’s title, which was coined in response to Marvin Gaye’s album released six months before, What’s Going On, There’s a Riot Goin’ On.

As time has passed the album has consistently been praised as one of the greatest and most influential recordings of all time. It is one of the primary archetypes for the funk and hip hop genres that followed. It seems to creep higher with each release of greatest all-time lists. Rolling Stone had it at 82 on its most recent top 500. I personally put it much higher than that, and I bet George Clinton does too.

“If You Are Going To Try, Go All The Way” – Charles Bukowski

Bukowski’s autobiographical anti-hero, Henry Chinaski: ‘The problem was you had to keep choosing between one evil or another, and no matter what you chose, they sliced a little bit more off you, until there was nothing left. At the age of 25 most people were finished. A whole god-damned nation of assholes driving automobiles, eating, having babies, doing everything in the worst way possible, like voting for the presidential candidate who reminded them most of themselves.”  – Ham On Rye 1982

Bukowski’s Los Angeles Tour:

5124 De Longpre, Hollywood – residence 1964-1973. Post Office, Notes from a Dirty Old Man, South of No North, Mockingbird Wish Me Luck, The Days Run Away like Horses, and Factotum written there.

Frolic Room (6245 Hollywood Blvd) – Alcohol.

Musso & Frank Grill (6667 Hollywood Blvd) – Alcohol. Ruben no longer.

Pink Elephant Liquor Store (1836 N Western Ave, Los Feliz) – Alcohol.

Richard J. Riordan Central Library (630 W 5th St., Los Angeles) – Books.

USPS Terminal Annex (900 N Alameda St., Los Angeles) – Work 1952-1955 and 1958-1969.

Cole’s French Dip (118 East 6th St., Los Angeles) – Alcohol.

Smog Cutter (864 N. Vrigil Ave., Los Angeles) – Alcohol

Beyond Baroque Literary Arts Center  (681 Venice Blvd, Venice) – Shrine.

Barkowski (2819 Pico Blvd, Santa Monica) – Shrine.

Santa Anita Racetrack – Horses.

Huntington Library (1151 Oxford Rd, San Marino) – Papers.

San PedroResidence. 1978-1994. Ham on Rye. Near Bandini Street and Elementary school (Fante).

Downtown Books (414 W 6th St, San Pedro) – Books.

Green Hills Memorial Park Cemetery (27501 S Western Ave, Rancho Palos Verdes, Plot: Ocean View #875) – Grave. “Henry Charles Bukowski, Jr. — Hank — “Don’t try” — 1920-1994.”

While you’re at it… more infamous drinking establishments in Los Angeles