Breathe, relax, listen around. Ask into a phone, “Who are you, love?” and type, “Bless you!” Seek out “America Needs Indians,” the multimedia show that Stewart Brand performed at the 1966 San Francisco Trips Festival. The show placard for the festival lists “America Needs Indians” as the first part of a double bill on Friday January 21, the first night of the three-day festival. It describes the event as follows: “AMERICA NEEDS INDIANS — Sensorium 9. By Stewart Brand and Zach Stewart. 600 slides, 2 movies, 4 sound tracks, flowers, food, rock ‘n’ roll, Eagle Bone Whistle, Thunderstorm, live Cheyenne Tipi, Chippewas, Sioux, Blackfeet, Tlingit, Makah, Pomo and Miwuk, plus anthropologists.” If ever I happened upon a time machine, the Trips Festival is certainly among the events of the past I’d visit. Charles Perry describes the festival in his history of Haight-Ashbury — though he says no more about “America Needs Indians” than that it was “mournfully out of place in the rackety, echoing space of Longshoremen’s Hall.” Ben Van Meter shot footage at the festival, eventually releasing a short called S.F. Trips Festival, An Opening (1966). Look, too, for a feature film of his called Acid Mantra or Rebirth of a Nation (1968). Wheeler Winston Dixon discusses Van Meter in his book The Exploding Eye: A Re-Visionary History of 1960s American Experimental Cinema.
I situate myself amid circles of relatives and kin. Friends and family shower Sarah, F. and I with gifts. Each day is lovely. I wish to give back, give thanks. How do I do that properly in light of settler-colonialism? What happens, too, when we view postal systems in that light? Let our view take into its account Thomas Pynchon’s approach to these matters — but also the idea of mail systems as prehistories of the Internet. Wasn’t the Pony Express an arm of the settler state? What happens when texts replace letters as units of exchange? How do we remove or subtract from these relations guns, money, and oil — the tools, in the Whole Earth sense, at the core of the settler toolkit? Whole Earth Catalog creator Stewart Brand produced a multimedia slide show which he performed called “America Needs Indians.” His wife at the time was a Chippewa woman named Lois Jennings. How did the commune movement that Brand and Jennings catered to with their Whole Earth Truck Store negotiate its relationship to the settler-colonialist project? Were they attempting an alliance with Native people, or did they think of themselves as cowboys, as in Ant Farm’s Cowboy Nomad Manifesto? For Ant Farm, though, the cowboy was distinct from the settler. The cowboy “carried all his life support systems with him being restricted by what his vehicle (horse) could carry.” Something of the same can be said for the hero of Ed Dorn’s poem Gunslinger. Missing from that figuration of the cowboy, however, is his relation to land. Does the cowboy’s migrancy, his refusal to settle down, absolve him of complicity with the settler-colonialist project? By “migrancy,” I mean his life “on the road,” as Kerouac put it — the latter’s Dean Moriarty character nothing if not a cowboy. Poet Gary Snyder described Moriarty as an embodiment of “the energy of the archetypal west, the energy of the frontier, still coming down. Cassady is the cowboy crashing” (as quoted in Ann Charters’s “Introduction” to On the Road, p. xxix). The hippie counterculture at its best, however, was more than just a collection of “cowboy nomads.” It fashioned itself into a Woodstock Nation, a coming together, a global village, a gathering of the tribes.