- Page 1 and 2: CopyrightbySusanne Elizabeth Shawye
- Page 3 and 4: Radical Street Theatre and the Yipp
- Page 5 and 6: Kokai, Olivia Whitmer O’Hare, Tam
- Page 7 and 8: organizational strategies of the an
- Page 9 and 10: IntroductionThe Chicago Poster:Cont
- Page 12: adical hipsters, or counterculture
- Page 22 and 23: activists, and members of the Nazi
- Page 24 and 25: demonstrations as performances, and
- Page 26 and 27: no one should expect “a specific,
- Page 28 and 29: number of interconnected nodes, or
- Page 30 and 31: The Yippie Archive: Creating a “P
- Page 32 and 33: Hoffman denied the very existence o
- Page 34 and 35: signaling its distance from the out
- Page 36 and 37: problematic romantic stereotype of
- Page 38 and 39: the park, with poetry, music, and p
- Page 40 and 41: Umbrella organizations, like the Na
- Page 42 and 43: Many of this group were well-educat
- Page 44 and 45: machine for printing leaflets (Kras
- Page 46 and 47: collective UATW/MF, for example, in
- Page 48 and 49: that the published Yippie archive i
- Page 50 and 51: water of Chicago with LSD and to bu
- Page 52 and 53: theater are the theatrical notions
- Page 54 and 55: organization. Using social network-
- Page 56 and 57: Chapter OneThe March on the Pentago
- Page 58 and 59: This chapter investigates how the Y
- Page 60 and 61: their message to the American publi
- Page 62 and 63: Case Western Reserve University, ec
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until the last minute (Kenworthy 1)
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demonstration might bring. At strat
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When the crowd reached the Pentagon
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Carey measured the Pentagon to dete
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The demonstrators carried banners a
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Lampe, Rubin’s Vietnam Day collea
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spectators, and the clean-cut type
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were successful networkers: they kn
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confrontation had become fixed the
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The New Left listened to Mills’s
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As a social system we seek the esta
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Every small group a revolutionary c
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The wide variety of protest actions
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“Thing” was a hippie word with
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and New Left activist tactics, radi
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widely reported on, and Mailer even
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Open to improvisation and without a
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game” by exposing its contradicti
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war. The exorcists demonstrated a f
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networked, participatory performanc
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democracy, but there is a distincti
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Chapter TwoThe Grand Central Statio
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of environment and artistic conside
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—Yip-In invitation (Jezer, “YIP
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attended (Michael Stern 1), while t
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the Yippies organized this instance
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Accounts differ as to what happened
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efers to the crowd generally as hip
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community, youth power, dignity, un
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nationwide “Stop the Draft Week,
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whose future reign will continue a
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formal understandings of the Happen
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what an audience brings to the obse
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Performance and audience share time
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invite audience participation rarel
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on 5 th Avenue. 53 With some dresse
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the audience’s cultural memory ca
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48). In one sense, the community of
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The Grand Central Station Yip-In wa
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other hippies see their commitment
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the alternative lifestyle. 55 Just
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soldiers in Confederate gray, and m
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through iterated actions and clothi
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informationmeditationexperiencefunt
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jailed activists (Morrison 287).Yip
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e-enforced this dynamic. Their acti
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campaign literature and a nominatin
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public into expressing outrage and
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Preparations for some kind of giant
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protesters at Columbia University s
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have organized speeches at the Inte
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The Dimensions of Man (1964) and Th
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Even though the media confused the
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slated to begin with a free rock co
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creates a worse image than four or
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As the character of the Soubrette f
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Living Theatre takes its audience o
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pig, they undercut the gravity of t
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specific tactic for dealing with th
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You know I didn’t see you there.I
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Yippies wildly projected, was inspi
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Park to the International Amphithea
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world is watching!” echoed from b
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York. Abbie Hoffman in particular o
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the defunct images of the old Myths
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crisis in Western culture. For the
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delegates in the hotel itself, Conv
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flags. The media extensively covere
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(Box 65). The immediacy of the tele
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Just days before the Convention sta
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sloganeering, the police lines atta
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I approve of letters to the editor
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September, 1968 (Gallup 2158). Even
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This concluding chapter investigate
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theater would fulfill its ultimate
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egan creating theatrical demonstrat
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movement. In June, 1969, Jim Fourat
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a flash mob are purposefully simple
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thought they were part of something
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theatre. Many initial media reports
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In addition to comparing the flash
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agency. 82 A smart mob may be compo
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potential when you can get that man
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Flash mob performances are perhaps
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network that can be harnessed for e
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Works CitedMaterials from the Lyndo
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Memorandum, Charles Maguire to John
- Page 238 and 239:
Barabási, Albert-László. Linked:
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Creamer, Matthew. “Media Relation
- Page 242 and 243:
Gitlin, Todd. The Whole World is Wa
- Page 244 and 245:
Improv Everywhere. “Look Up More.
- Page 246 and 247:
Lennox, Raphael. “Take the A Trai
- Page 248 and 249:
“The Politics of YIP.” Time Mag
- Page 250 and 251:
- - - . “Flash Mob Flashback.”
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Weaver, Warren Jr. “Parley on New