March 2, 2015
The Brotherhood of Eternal Love was an organization of drug users and distributors that operated from the mid-1960s through the late 1970s in Orange County, California; they were dubbed the ‘Hippie Mafia.’ They produced and distributed drugs in hopes of starting a ‘psychedelic revolution’ in the US. The organization was started by spiritual guru John Griggs as a commune but by 1969 had turned to the manufacture of LSD and the importing of hashish. The group was known for it’s particular brand of highly potent acid dubbed ‘Orange Sunshine.’
In 1970, the Brotherhood hired the radical left organization the Weather Underground for a fee of $25,000 to help Harvard psychologist and LSD evangelist Timothy Leary make his way to Algeria after he escaped from prison, while serving a 5-year sentence for possession of marijuana. Their activities came to an end on August 5, 1972 in a drug raid where dozens of group members in California, Oregon, and Hawaii were arrested, though all of them were released within months; some who had escaped the raid continued underground or fled abroad. More members were arrested in 1994 and 1996, and the last of them in 2009.
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March 1, 2015
L’arrivée d’un train en gare de La Ciotat (‘The Arrival of a Train at La Ciotat Station,’ known in the UK as ‘Train Pulling into a Station’) is an 1895 French short black-and-white silent documentary film directed and produced by filmmaking pioneers Auguste and Louis Lumière. Contrary to myth, it was not shown at the Lumières’ first public film screening on December 28th, 1895 in Paris (the first public showing took place in January 1896). The train moving directly towards the camera was said to have terrified spectators at the first screening, a claim that has been called an urban legend.
This 50-second silent film shows the entry of a train pulled by a steam locomotive into a train station in the French coastal town of La Ciotat. Like most of the early Lumière films it consists of a single, unedited view illustrating an aspect of everyday life. There is no apparent intentional camera movement, and the film consists of one continuous real-time shot. This 50-second movie was filmed by means of the Cinématographe, an all-in-one camera, which also serves as a printer and film projector. As with all early Lumière movies, this film was made in a 35 mm format with an aspect ratio of 1.33:1.
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