Shawyer dissertation May 2008 final version - The University of ...

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e-enforced this dynamic. Their actions compelled participants and spectators to choosesides: either support the revelers or condone the violence. Just as the Chicago Posterinterpellated readers who understood all the background references as Yippies “in theknow,” the Yip-In too established the participating activists, hippies, and artists as part ofa community of radicals.Once the Yip-In proved that revolutionary action-theater could build communityacross the counterculture and the Left, the Yippies began planning their next move:demonstrations against the Johnson administration and Democratic Party at the NationalDemocratic Convention in Chicago in August. The day after the Yip-In, Abbie Hoffmanflew to a Mobe-sponsored conference in Lake Villa, Illinois, to meet with Mobe and SDSleaders to discuss plans for protests. Buoyed by the hope of the utopian performative, andtheir new publicity and notoriety, the Yippies were determined to bring thousands ofactivists to Chicago to experience the biggest performance of revolutionary action-theateryet.146
Chapter ThreeThe Festival of Life: Form Made into ChaosAbandon the Creeping Meatball!—Yippie Chicago slogan (Hoffman, Revolution 102)With an expression of permanent surprise, the large steel sculpture looks down onChicago’s Civic Center Plaza. Although its fifty feet of steel tower above the scurryingpedestrians rushing to appointments at the Cook County courts, Picasso’s abstractcreation is itself dwarfed by the gleaming steel-and-glass Civic Center, the tallestbuilding in the city of Chicago. Across the street the classical columns of the stately oldCity Hall offer incongruous juxtaposition. Here at the center of Chicago civic life,tradition meets innovation: architecture and art combine to form a welcoming publicspace for the citizens of Chicago.This warm August day in 1968, the plaza buzzes with a tense anticipation. Severalhundred people swarm beneath Picasso’s sculpture: there are uniformed police and plainclothesofficers, journalists with notepads and cameras at the ready, curious passers-bywondering what all the fuss is about, and several dozen scraggly Yippies—long hairedyouths carrying mock campaign signs and electoral pamphlets. The journalists areexpecting a news conference, the police are waiting for trouble to erupt, the Yippies areanticipating a good time poking fun at the Establishment, and the inquisitive onlookers donot know what to think. It appears to be a political rally: there are waving signs and147
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CopyrightbySusanne Elizabeth Shawye
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Radical Street Theatre and the Yipp
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Kokai, Olivia Whitmer O’Hare, Tam
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organizational strategies of the an
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IntroductionThe Chicago Poster:Cont
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adical hipsters, or counterculture
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linguistic theory, the field of per
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The language of performance thus al
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protest from theatre. 8 Mass demons
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performative has the potential to e
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evolution using methodological and
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Realist, suddenly noticed that when
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Revolution for the Hell of It is a
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The Yippies’ politics are clear i
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2). They embraced a romantic notion
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made up of many separate organizati
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and a free store on the Lower East
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When they formed the Youth Internat
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Most of the dozen core Yippies were
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acknowledgment that her business sk
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The claim of millions of Yippies wa
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Man to tease out the New Left’s n
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eports from the popular press, test
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Image of Yippie Chicago poster.47
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surround the Pentagon are a long wa
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the Conference for New Politics in
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Washington was no stranger to mass
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uilding in acts of civil disobedien
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had a history of civil disobedience
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the crowd into affinity groups by m
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Like Abbie Hoffman, Rubin was aware
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Krishna” and “Om” to their re
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Pentagon began its work for the wee
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A respectable horde of respectable
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that time was still expected to see
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It didn’t matter if there was dis
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democratic political-economic and c
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social activist Malcolm X, Communis
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The aesthetic of the New Left now t
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straight-laced emphasis on communit
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Unlike the young student politician
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on the improvised actions of variou
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society” by changing, not ignorin
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similar to the very same ones used
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scenery falls. The Yippies loved th
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unrest by the lower ranks of societ
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Don’t rely on words. Words are th
Page 103 and 104: writing to President Johnson from V
Page 105 and 106: wasn’t just their situation that
Page 107 and 108: freshly-shorn young men in army uni
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Page 117 and 118: Yip-In moved into an unexpected sec
Page 119 and 120: Yippies had been publishing manifes
Page 121 and 122: experimental works. Like other New
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Page 133 and 134: Since Happenings emerged from New Y
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Page 139 and 140: The costumes of the Yip-In particip
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Page 143 and 144: free stores, or crash pads. In 1969
Page 145 and 146: The hippies and Yippies also used m
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Page 149 and 150: perform the power of authority and
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Page 153: emotion and hope, like the “utopi
Page 157 and 158: Double (1938). The Yippies used the
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Page 165 and 166: American politicians. We’ll infil
Page 167 and 168: named themselves the Youth Internat
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Page 195 and 196: The Battle of Michigan Avenue was a
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Dismayed by his lack of action abou
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night of the Battle of Michigan Ave
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Chapter FourFlash Mobs: The Yippie
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that is, they were political only t
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as their primary political and cult
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1969, “Four Days of Rage” campa
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The Festival of Life and the ensuin
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The Yippies’ revolutionary action
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Glasgow, Rome, Vienna, Berlin, Sydn
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and social conventions: flash mobs
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social behaviors, and the technolog
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organized by anyone with access to
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advantage of the dramaturgy of prot
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Yet the insider/outsider dynamic of
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List of AbbreviationsCOREFBIHUACLBJ
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Letter, Roger Light to the Presiden
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Telegram, Marjorie Satthoff to the
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Brown, Joe David, ed. The Hippies.
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Editorial. Chicago Tribune. 29 Aug.
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Higgins, Dick. “The Origin of the
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Karastamatis, John. “Don’t Star
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McMillian, John. “Garbage Guerril
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Rosenberg, Bernard. “Chicago: Blo
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Stewart, M. J. F. and Davis, Lisa.
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VITASusanne Elizabeth Shawyer was b
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