Flashing on the Sixties: A Tribal Document

A look at the cultural and social upheaval of the 1960s featuring interviews with performers, footage of Woodstock, and interviews with students born during those years who are perpetuating '60s values today.

Fly Jefferson Airplane

"Fly Jefferson Airplane." Click on the image and it will take you there. Band member interviews and fascinating rare footage combine to tell the story of the Jefferson Airplane and the 1960s San Francisco psychedelic ballroom scene. Not to be missed is the color footage of the original band lineup (with Signe Andersen—not Grace Slick) performing at the Fillmore with lots of shots of hippie trippers and the wild liquid light show.

The group reveals the inspiration of several of their songs. Footage from Bell Telephone Hour, Smothers Brothers Show, Perry Como Special, promo films and more. Complete songs include "It's No Secret," "Somebody To Love," "White Rabbit," "Crown Of Creation," "Lather," "We Can Be Together," "Plastic Fantastic Lover," "Volunteers," and others. Grace Slick, Marty Balin, Paul Kantner, Jorma Kaukonen, Jack Casady, Spencer Dryden, Bill Thompson. 

Samadhi Part 1 - "Maya, the Illusion of the Self" (2017)

"The Ego Construct is nothing more than the impulse to repeat."

AYAHUASCA documentary ! full movie ! HEAVEN EARTH I 2008

HEAVEN EARTH explores the practice and commercialization of amazonian ayahuasca-shamanism in Iquitos. A critical look on ayahuasca-shamanism-culture in Iquitos.

SYNOPSIS
The film displays all day activities of Percy, a peruvian healer and another western ayahuasquero, named Ron. Both live near Iquitos and work with ayahuasca.

Participants of ayahuasca ceremonies, touroperators and --guides, as well as western visionquesters recount episodes of their journeys and internal imagery. A growing global pop cultural phenomenon, swinging between psychotherapeutic healing procedure and spiritual sell-out.

Mestizo- and gringo herbalists recount episodes of daily life and their career histories. Amazonian tourists and western visionseekers report about interior spaces, motifs and passages of their journeys.

Representatives of the local tourism industry talk about guided tours, the psychoactive drink ayahuasca, vanishing indigenous cultures, spiritual sellout triggered by "experience consumerism" and also discuss excursions into the surrounding rainforest of a jungle metropole.

Iquitos - a city affected by the change of time, fluctuating between tradition and modernity - a locus of cultural transition facing the impact of globalization and its sequences.

8 x 8: A Chess Sonata in 8 Movements (1957)

8 x 8: A Chess Sonata in 8 Movements (1957) is an American experimental film directed by Hans Richter, Marcel Duchamp, and Jean Cocteau released on March 15, 1957 in New York City. It features original music by Robert Abramson, John Gruen and Douglas Townsend.

Described by Richter as "part Freud, part Lewis Carroll," it is a fairy tale for the subconscious based on the game of chess. While living in New York, Hans Richter directed two feature films, Dreams That Money Can Buy and 8x8: A Chess Sonata in collaboration with Max Ernst, Cocteau, Paul Bowles, Fernand Leger, Alexander Calder, Duchamp, and others, which was partially filmed on the lawn of his summer house in Southbury, Connecticut.

EVERYBODY IN THE PLACE An Incomplete History of Britain 1984-1992

Acid house is often portrayed as a movement that came out of the blue, inspired by little more than a handful of London-based DJs discovering ecstasy on a 1987 holiday to Ibiza. In truth, the explosion of acid house and rave in the UK was a reaction to a much wider and deeper set of fault lines in British culture, stretching from the heart of the city to the furthest reaches of the countryside, cutting across previously impregnable boundaries of class, identity and geography.

With Everybody in the Place, the Turner Prize-winning artist Jeremy Deller upturns popular notions of rave and acid house, situating them at the very centre of the seismic social changes that reshaped 1980s Britain. Rare and unseen archive materials map the journey from protest movements to abandoned warehouse raves, the white heat of industry bleeding into the chaotic release of the dancefloor.

We join an A-level politics class as they discover these stories for the first time, viewing the story of acid house from the perspective of a generation for whom it is already ancient history. We see how rave culture owes as much to the Battle of Orgreave and the underground gay clubs of Chicago as it does to shifts in musical style: not merely a cultural gesture, but the fulcrum for a generational shift in British identity, linking industrial histories and radical action to the wider expanses of a post-industrial future.