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OfflineLearyfanS
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Today in counterculture history (06/21)
    #23368085 - 06/21/16 07:50 PM (7 years, 7 months ago)

  • 1965:  The Byrds release their debut album Mr. Tambourine Man




Quote:

Mr. Tambourine Man is the debut album by the American folk rock band The Byrds and was released in June 1965 on Columbia Records (see 1965 in music). The album, along with the single of the same name, established the band as an internationally successful rock act and was also influential in originating the musical style known as folk rock. The term "folk rock" was, in fact, first coined by the U.S. music press to describe the band's sound in mid-1965, at around the same time that the "Mr. Tambourine Man" single reached the top of the Billboard chart. The single and album also represented the first effective American challenge to the dominance of The Beatles and the British Invasion during the mid-1960s.

The album peaked at No.6 on the Billboard Top LPs chart and reached No.7 in the United Kingdom. The Bob Dylan penned "Mr. Tambourine Man" single was released ahead of the album in April 1965, reaching No.1 on both the Billboard Hot 100 and the UK Singles Chart. A second single from the album, "All I Really Want to Do", also a Dylan cover, was moderately successful in the U.S. but fared better in the United Kingdom, where it reached the Top 10.

Background

Prior to forming The Byrds, most of the members of the band had come from a folk and roots music background, rather than a rock and roll one.Lead guitarist Jim McGuinn[a] had been a folk singer at various New York and Los Angeles folk clubs during the early 1960s and had also served as a sideman with the "collegiate folk" groups The Limeliters and the Chad Mitchell Trio. Additionally, he had spent time as a professional songwriter at the Brill Building under the tutelage of Bobby Darin. Gene Clark had also worked as a solo folk singer and as part of The New Christy Minstrels, while David Crosby had spent time in New York's Greenwich Village as a folk singer and had also been a member of Les Baxter's Balladeers. Chris Hillman's background was more oriented towards bluegrass music than folk, having been a member of the Scottsville Squirrel Barkers, the Golden State Boys (who later renamed themselves The Hillmen), and concurrently with his recruitment into The Byrds, The Green Grass Group.Drummer Michael Clarke's musical pedigree was less auspicious, having played congas in a semi-professional capacity in and around San Francisco and L.A. since leaving his home in Spokane, Washington at the age of 16.

McGuinn and Clark initially met at The Troubadour club in Los Angeles and soon formed a Peter and Gordon style duo, playing Beatles' covers, Beatlesque renditions of traditional folk songs, and some self-penned material. The duo soon added Crosby to the line-up and named themselves The Jet Set in mid-1964. Crosby introduced McGuinn and Clark to his associate Jim Dickson who had access to World Pacific Studios. Dickson was impressed enough by the trio to take on management duties for the group, utilizing World Pacific as a rehearsal studio and recording the band as they honed their craft and perfected their blend of pop and folk.Over the coming months Hillman and Clarke were recruited to The Jet Set on bass guitar and drums respectively. During this period, Dickson managed to acquire an acetate disc of "Mr. Tambourine Man", a song written by Bob Dylan that had not been released at that time.The Byrds were initially unimpressed with the song but they eventually warmed to it and began to rehearse and record demos of it at World Pacific.

After seeing The Beatles' film A Hard Day's Night in August 1964, the band equipped themselves with similar instruments to The Beatles: a Rickenbacker 12-string for McGuinn, a Gretsch Tennessean for Clark (although Crosby commandeered it soon after) and Ludwig drums for Clarke.The band were signed to Columbia Records on November 10, 1964 and finally changed their name to The Byrds over Thanksgiving that year. The band, along with the group of L.A. session musicians later known as The Wrecking Crew, entered Columbia Recording Studios in Hollywood on January 20, 1965 to record the "Mr. Tambourine Man" single. The Byrds continued to record the Mr. Tambourine Man album without the help of session musicians from March 8 through to April 22, 1965.

Music

Mr. Tambourine Man opens with the Dylan-penned title track, which had been a huge international hit for the group and had initiated the folk rock boom of the mid-1960s. Due to producer Terry Melcher's lack of confidence in The Byrds' musicianship at the time, most of the band had been replaced by session musicians (known later as The Wrecking Crew) for the "Mr. Tambourine Man" single and its B-side "I Knew I'd Want You", with only McGuinn being allowed to play on these tracks. The most distinctive features of The Byrds' rendition of "Mr. Tambourine Man" were the vocal harmonies of Clark, McGuinn and Crosby, as well as McGuinn's jangling twelve-string Rickenbacker guitar playing (which complemented the phrase "jingle jangle morning" found in the song's lyric). This combination of 12-string guitar and complex harmony work became the band's signature sound during their early period. Another notable element of the band's rendition of "Mr. Tambourine Man" was the melodic bass playing of session musician Larry Knechtel, standing in for The Byrds' bassist, Chris Hillman.

Another Dylan cover, "All I Really Want to Do", was the first song to be recorded for the album following the "Mr. Tambourine Man" and "I Knew I'd Want You" session and it would go on to become the band's second single release. Producer Terry Melcher felt confident that the band's debut single would be, at the very least, a regional hit and so he brought The Byrds back into the studio on March 8, 1965 to record a follow-up. This March 8 recording session yielded the version of "All I Really Want to Do" that appears on the album but the song was later re-recorded on April 14 and it was this later take that graced the A-side of The Byrds' second single.

Although the band's musicianship had improved since the recording of their debut single, it was assumed by both Columbia Records and the band's manager that the entire album would be recorded with session men providing the musical backing. However, the band had other ideas and insisted that they be allowed to perform the album's instrumental accompaniment themselves. Melcher felt satisfied that the group had polished their sound enough to be able to produce professional sounding backing tracks and thus, The Byrds were allowed to play on all of the remaining songs on the album without any help from outside musicians. However, a persistent myth about the album is that all of the playing on it was done by session musicians.[4] This misconception is likely due to confusion between the "Mr. Tambourine Man" single and the album of the same name. Chris Hillman has noted that the contrast between the smoother, more polished sound of the two tracks featuring session musicians and the rawer sound of the rest of the album is quite noticeable.

For the most part, the Mr. Tambourine Man album consisted of two types of songs: band originals, primarily penned by Clark, the group's central songwriter during its first eighteen months of existence, and covers of modern folk songs, composed primarily by Bob Dylan. The Clark-penned songs included "Here Without You", a song detailing a bittersweet trip through the city in which every landmark and physical object reminds the singer of an absent lover, and "I Knew I'd Want You", a Beatlesque recountal of the first flushes of romance. Although "I Knew I'd Want You" had been recorded as the intended B-side of the band's debut single, it's interesting to note that had the band failed to secure permission to release "Mr. Tambourine Man" from Dylan and his manager Albert Grossman, "I Knew I'd Want You" would've been issued as the group's first A-side.

A third song from the pen of Gene Clark featured on the album was "I'll Feel a Whole Lot Better", an upbeat number with pounding tambourine, jangling Rickenbacker and criss-crossing vocals from Clark on the lead and McGuinn and Crosby on backing vocals. The song bore a passing resemblance to The Searchers' 1963 hit "Needles and Pins" and has, since its release, become a rock music standard, inspiring a number of cover versions over the years. Two of the album's songs were co-written by Clark and McGuinn: "You Won't Have to Cry", which featured a lyric concerned with a woman who has been wronged in love, and "It's No Use", which anticipated the harder-edged, psychedelic sound that the band would begin to explore towards the end of 1965 and throughout 1966.

The abundance of Dylan material on the album, with three songs taken from the Another Side of Bob Dylan album alone, led to accusations of the band being too reliant on his work. However, the Dylan covers, including "Chimes of Freedom", "All I Really Want to Do", and "Spanish Harlem Incident", in addition to the title track, remain among The Byrds' best-known and most enduring recordings. Another enduring cover included on the album was an expansive arrangement of Idris Davies and Pete Seeger's "The Bells of Rhymney", stressing the band's folk music roots. "The Bells of Rhymney" was a relative newcomer to the band's stage repertoire, having been worked up in March 1965, during The Byrds' residency at Ciro's nightclub on the Sunset Strip. The song, which told the sorrowful tale of a coal mining disaster in Wales, had originally been adapted by Pete Seeger from a lyric by the Welsh poet Idris Davies. During recording, the band paid special attention to their diction and pronunciation of the song's lyrics but in spite of this attention to detail, the band actually mispronounced the word "Rhymney" in their recording of the song. Although the song had a somewhat sombre theme it became one of the band's most popular numbers during their residency at Ciro's. "The Bells of Rhymney" was also influential on The Beatles, particularly George Harrison, who co-opted McGuinn's guitar riff and incorporated it into his own composition, "If I Needed Someone", from the Rubber Soul album.

The band also covered two non-folk songs on the album: "Don't Doubt Yourself, Babe" by Jackie DeShannon, an early supporter of the band, and Vera Lynn's World War II era standard, "We'll Meet Again".The latter was given a very sardonic reading, influenced by the song's appearance in the final scene of Stanley Kubrick's movie Dr. Strangelove. This treatment of "We'll Meet Again", sequenced at the end of the album, began a tradition of closing The Byrds' albums with a tongue-in-cheek or unusual track, a policy that would be repeated on several subsequent LPs.

Release and legacy

Mr. Tambourine Man was released on June 21, 1965 in the United States (catalogue item CL 2372 in mono, CS 9172 in stereo) and August 20, 1965 in the UK (catalogue item BPG 62571 in mono, SBPG 62571 in stereo). It peaked at No.6 on the Billboard Top LPs chart, during a chart stay of 38 weeks, and reached #7 in the United Kingdom, spending a total of 12 weeks on the UK albums chart. The preceding single of the same name was released on April 12, 1965 in the U.S. and May 15, 1965 in the UK, reaching No.1 on both the Billboard Hot 100 and the UK Singles Chart. A second single taken from the album, "All I Really Want to Do", peaked at No.40 on the Billboard Hot 100 but fared better in the United Kingdom, where it reached No.4. The album's distinctive fisheye lens front cover photograph was taken by Barry Feinstein and has since become an acknowledged classic. The album's back cover featured liner notes, written in the form of an open letter to a friend, by Columbia Records' publicist Billy James. In addition, the back cover also featured a black and white photograph, taken by Jim Dickson, of The Byrds on stage with Bob Dylan at Ciro's.

Upon release, critical reaction to the album was almost universally positive, with Billboard magazine noting "the group has successfully combined folk material with pop-dance beat arrangements. Pete Seeger's "The Bells Of Rhymney" is a prime example of the new interpretations of folklore." In its July 1965 issue, Time magazine praised the album by stating "To make folk music the music of today's folk, this quintet has blended Beatle beats with Lead Belly laments, created a halfway school of folk-rock that scores at the cash box if not with the folk purists." In the UK, the NME described the band and its debut album by commenting "They look like a rock group but are really a fine folk unit. They play their stringed instruments with great skill and invention against the rock-steady drumming. Their voices merge well...As the first group to bridge the gap between beat and folk, they deserve to be winners." The UK publication Music Echo was also enthusiastic about the album's contents, concluding that the record was "an album which easily lives up to the promise of their great knock-out singles." However, not all reviews of the album were positive: Record Mirror in the UK awarded the album two stars out of five, deriding it as "The same nothingy vocals, the same jangly guitar, the same plodding beat on almost every track. The Byrds really must try to get some different sounds." In more recent years Richie Unterberger, writing for the Allmusic website, has called the album "One of the greatest debuts in the history of rock, Mr. Tambourine Man was nothing less than a significant step in the evolution of rock & roll itself, demonstrating that intelligent lyrical content could be wedded to compelling electric guitar riffs and a solid backbeat."

The "Mr. Tambourine Man" single instantly established the band on both sides of the Atlantic, introducing the new genre of folk rock and challenging the dominance of The Beatles and the rest of the British Invasion. At roughly the same time that their debut single peaked at #1 on the Billboard charts, the U.S. music press began using the term "folk rock" to describe the band's blend of beat music and folk. In the months following the release of the Mr. Tambourine Man album and its attendant singles, many acts imitated this hybrid of a British Invasion beat, jangly guitar playing and poetic or socially conscious lyrics. The roots of this sound were to be found in the American folk music revival of the early 1960s, The Animals' recording of "The House of the Rising Sun", the folk-influenced songwriting of The Beau Brummels, and the twelve-string guitar jangle of The Searchers and The Beatles. However, it was The Byrds who first melded these disparate elements into a unified whole. The Byrds' influence can be heard in many recordings released by American acts in late 1965 and 1966, including The Turtles, Simon & Garfunkel, The Lovin' Spoonful, Barry McGuire, The Mamas & the Papas, Jefferson Airplane, We Five, Love, and Sonny & Cher.The Byrds' folk rock sound, as heard on Mr. Tambourine Man, has continued to be influential on many bands, including Big Star, Tom Petty and the Heartbreakers, R.E.M., The Church, The Long Ryders, The Smiths, The Bangles, The Stone Roses, Teenage Fanclub, The Bluetones, and Delays amongst others.

Mr. Tambourine Man was remastered at 20-bit resolution and partially remixed as part of the Columbia/Legacy Byrds series. It was reissued in an expanded form on April 30, 1996, with six bonus tracks, including three alternate versions of songs found on the original album, the outtakes "She Has a Way" and "You and Me", and the single version of "All I Really Want to Do".

The album was selected by Rolling Stone magazine as No.232 on their list of the 500 Greatest Albums of All Time.

The album was included in Robert Dimery's 1001 Albums You Must Hear Before You Die.



Track listing

Side 1


    "Mr. Tambourine Man" (Bob Dylan) – 2:29
    "I'll Feel a Whole Lot Better" (Gene Clark) – 2:32
    "Spanish Harlem Incident" (Bob Dylan) – 1:57
    "You Won't Have to Cry" (Gene Clark, Jim McGuinn) – 2:08
    "Here Without You" (Gene Clark) – 2:36
    "The Bells of Rhymney" (Idris Davies, Pete Seeger) – 3:30

Side 2

    "All I Really Want to Do" (Bob Dylan) – 2:04
    "I Knew I'd Want You" (Gene Clark) – 2:14
    "It's No Use" (Gene Clark, Jim McGuinn) – 2:23
    "Don't Doubt Yourself, Babe" (Jackie DeShannon) – 2:54
    "Chimes of Freedom" (Bob Dylan) – 3:51
    "We'll Meet Again" (Ross Parker, Hughie Charles) – 2:07



Personnel

The Byrds

    Jim McGuinn - lead guitar, vocals
    Gene Clark - rhythm guitar, tambourine, vocals
    David Crosby - rhythm guitar, vocals
    Chris Hillman - electric bass
    Michael Clarke - drums

Released June 21, 1965
Recorded January 20 – April 22, 1965, Columbia Studios, Hollywood, CA
Genre Folk rock, pop
Length 31:35
Label Columbia
Producer Terry Melcher


(https://en.wikipedia.org)









  • 2018:  Canadian marijuana legalization receives Royal Assent




Quote:

The Cannabis Act (also known as Bill C-45) (the Act) is the law which legalized recreational cannabis use nationwide in Canada in combination with its companion legislation Bill C-46, An Act to Amend the Criminal Code. The law is a milestone in the legal history of cannabis in Canada, alongside the 1923 prohibition.

The Act was passed by the House of Commons of Canada in late November 2017. It was passed in the Senate of Canada on June 7, 2018, and the House accepted some Senate amendments and sent the bill back to the Senate on June 18. The Senate then passed the final version of the bill on June 19, and it received Royal Assent on June 21. Canada is the second country in the world to legalize recreational cannabis nationwide after Uruguay.

Cannabis Act

Enacted by House of Commons
Enacted by Senate
Date of royal assent June 21, 2018
Date effective October 17, 2018
Legislative history
Bill introduced in the House of Commons C-45
Introduced by Jody Wilson-Raybould, Minister of Justice
First reading April 13, 2017
Second reading June 8, 2017
Third reading November 27, 2017
Committee report Report 12
Bill introduced in the Senate C-45
First reading November 28, 2017
Second reading March 22, 2018
Third reading June 7, 2018


(https://en.wikipedia.org)
















Edited by Learyfan (06/21/22 05:12 AM)


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OfflineLearyfanS
It's the psychedelic movement!
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Registered: 04/20/01
Posts: 34,086
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Re: Today in counterculture history (06/21) [Re: Learyfan]
    #24422904 - 06/21/17 05:39 AM (6 years, 7 months ago)

Annual bump.













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Mp3 of the month:  The Apple-Glass Cyndrome - Someday



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OfflineLearyfanS
It's the psychedelic movement!
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Registered: 04/20/01
Posts: 34,086
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Re: Today in counterculture history (06/21) [Re: Learyfan]
    #25282559 - 06/21/18 05:43 AM (5 years, 7 months ago)

Annual bump.











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Mp3 of the month:  The Apple-Glass Cyndrome - Someday



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InvisibleBig Bear
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Re: Today in counterculture history (06/21) [Re: Learyfan] * 1
    #25282561 - 06/21/18 05:44 AM (5 years, 7 months ago)

:hatsoff:


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Need help growing? Ask AMU for hassle free answers.

Every year is getting shorter, never seem to find the time...


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OfflineLearyfanS
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Re: Today in counterculture history (06/21) [Re: Big Bear]
    #26065088 - 06/21/19 06:20 AM (4 years, 7 months ago)

1 year anniversary of marijuana legalization receiving royal assent in Canada.  It was the final stage in the legalization process and set the stage for cannabis to be legalized on October 17th officially. 




Quote:

The Cannabis Act (also known as Bill C-45) (the Act) is the law which legalized recreational cannabis use nationwide in Canada in combination with its companion legislation Bill C-46, An Act to Amend the Criminal Code. The law is a milestone in the legal history of cannabis in Canada, alongside the 1923 prohibition.

The Act was passed by the House of Commons of Canada in late November 2017. It was passed in the Senate of Canada on June 7, 2018, and the House accepted some Senate amendments and sent the bill back to the Senate on June 18. The Senate then passed the final version of the bill on June 19, and it received Royal Assent on June 21. Canada is the second country in the world to legalize recreational cannabis nationwide after Uruguay.

Cannabis Act


Enacted by House of Commons
Enacted by Senate
Date of royal assent June 21, 2018
Date effective October 17, 2018
Legislative history
Bill introduced in the House of Commons C-45
Introduced by Jody Wilson-Raybould, Minister of Justice
First reading April 13, 2017
Second reading June 8, 2017
Third reading November 27, 2017
Committee report Report 12
Bill introduced in the Senate C-45
First reading November 28, 2017
Second reading March 22, 2018
Third reading June 7, 2018

History leading up to act

The Liberal Party of Canada proposed legalization in 2012 and it was a major campaign platform for Justin Trudeau who became Prime Minister of Canada in 2015. Shortly after election, the Task Force on Cannabis Legalization and Regulation was convened to study the issue. They released a report on Dec. 13, 2016. On April 10, 2017, the Canadian Broadcasting Corporation and sources in other countries reported that the Liberals intended to table legislation by April 13, in time for it to be considered prior to the 420 "holiday". A legalization date prior to July 1, 2018 was set to avoid Canada Day. Canadian policymakers considered regulations and laws around legalized cannabis in Colorado, Washington State and Uruguay as a model.

Act and its provisions

On April 13, 2017, Bill C-45, with the short title Cannabis Act, was introduced to Parliament, sponsored by Jody Wilson-Raybould, Minister of Justice and Attorney General of Canada. It allowed for national use by individuals 18 and over, and possession of 30 grams. Provinces may further restrict possession, sale and use. Legal sales take place at retail outlets or through the mail. The provinces are responsible for setting up a system for retail sales. Mail delivery will be handled by the federal government. The bill was said on 14 April 2017 to have a solid majority of support from both the governing Liberal Party and the Conservative Party.

Personal production: Individuals are permitted to grow up to four plants for their own use. While the sale of edibles (baked goods, drinks, etc) will not be allowed initially, individuals can make edibles at home for their own use.

Promotion and packaging: Companies are allowed to brand their products, but they must avoid anything that would appear to appeal directly to youth such as cartoon characters, animals, or celebrity endorsements. Event sponsorship is also not allowed. Companies can also use factual information on their packaging, such as THC levels, that would help consumers make a decision on what product to buy. Promotion is only allowed in places where youth cannot view it.

Revenue projections

Tax revenue to the national treasury was projected in 2017 to be upwards of $675 million a year.

Reactions

National legalization of cannabis north of the Canada–United States border is expected to create a competitive pressure for the United States to legalize at the federal level, lest consumers divert billions of dollars of revenue outside of the country.

Many were disappointed that the legislation did not contain plans to expunge the criminal records of persons charged with simple possession. This means that anyone with a record for possessing under 30 grams will still need to petition a Record Suspension after a five year waiting period. This led some activists to believe that the legalization is not "true legalization"  and does not help people who come from disadvantaged backgrounds.

A satirical reaction in The Beaverton, an online Canadian publication, said that legalization would make cannabis "shittier and harder to get" in a country where it is already plentiful. Canoe.com reported that the bill was rushed and failed to address concerns of the black market and did not set limits for legal impairment for motor vehicle operators.

During the Lac St. Jean byelection, the debate over legalization was an issue. The Bloc Québécois candidate Marc Maltais expressed concerns over the bill's ability to respect provincial jurisdiction. The NDP candidate felt that the July 1st deadline was too fast for legalization to be implemented.

A lawyer pointed out that the ticketing provision in the Act could likely "violate the Canadian Charter of Rights and Freedoms."

Final implementation

After being passed by the House of Commons, the bill was sent to the Senate. On June 1, 2018, the Canadian Senate passed an amendment to C-45 outlawing cannabis "brand-stretching". The amendment, which passed 34–28, outlaws the sale and display of cannabis-related merchandise and makes it difficult to publicly promote cannabis once legalized. However, this amendment was rejected by the Liberal government when the bill was returned to the House of Commons and does not appear in the final version of C-45 that received Royal Assent.

On June 19, 2018, the Senate passed the bill and the Prime Minister announced the effective legalization date as October 17, 2018. Canada is the second nation (after Uruguay) to legalise the drug.

As expected, the use of cannabis for recreational purposes became legal across the country on October 17, 2018, under the Cannabis Act. Persons aged 18 or older can possess up to 30 grams of dried or “equivalent non-dried form” in public. Adults are also allowed to make cannabis-infused food and drinks "as long as organic solvents are not used to create concentrated products." Each household is allowed to grow up to four cannabis plants from "licensed seed or seedlings", although Quebec and Manitoba chose to be excluded from this aspect of the legislation. Each province set its own procedures for retail sales, and these vary as to the ownership of retail stores (government or private enterprise) but all provinces decided to offer an option for on-line sales.

Since marijuana is illegal in the US per federal legislation, the government warned that "previous use of cannabis, or any substance prohibited by U.S. federal laws, could mean that you are denied entry to the U.S". Canadians travelling within the country (but not internationally) are allowed to carry up to 30 grams of cannabis. Driving under the influence of drugs remained illegal.

(https://en.wikipedia.org)













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Mp3 of the month:  The Apple-Glass Cyndrome - Someday



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OfflineLearyfanS
It's the psychedelic movement!
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Registered: 04/20/01
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Re: Today in counterculture history (06/21) [Re: Learyfan] * 1
    #26762748 - 06/21/20 10:56 AM (3 years, 7 months ago)

55th anniversary of The Byrds' Mr. Tambourine LP today.










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Mp3 of the month:  The Apple-Glass Cyndrome - Someday



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OfflineLearyfanS
It's the psychedelic movement!
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Registered: 04/20/01
Posts: 34,086
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Re: Today in counterculture history (06/21) [Re: Learyfan]
    #27357128 - 06/21/21 04:09 AM (2 years, 7 months ago)

Annual bump.









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Mp3 of the month:  The Apple-Glass Cyndrome - Someday



Edited by Learyfan (06/21/22 06:17 PM)


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Invisibleplasma
ɹoʇɐɹǝpoɯ

Registered: 09/17/08
Posts: 10,001
Re: Today in counterculture history (06/21) [Re: Learyfan] * 1
    #27357229 - 06/21/21 06:48 AM (2 years, 7 months ago)

Bucket list event

I will be there one day


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Re: Today in counterculture history (06/21) [Re: plasma]
    #27829800 - 06/21/22 05:14 AM (1 year, 7 months ago)

Annual bump.









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Mp3 of the month:  The Apple-Glass Cyndrome - Someday



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OfflineLearyfanS
It's the psychedelic movement!
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Re: Today in counterculture history (06/21) [Re: Learyfan]
    #28368156 - 06/21/23 04:09 AM (7 months, 5 days ago)

5th anniversary of Canadian marijuana legalization receiving Royal Assent.








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