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Freak scene
The freak scene was originally a component of the bohemian subculture which began in California in the mid-1960s, associated with (or part of) the hippie movement. The term is also used to refer to the post-hippie and pre-punk period of the early to mid-1970s. It overlaps with hippies, pacifists, politicized radicals, non-political psychedelic music fans, and generally non-political progressive rock fans. Those connected with the subculture often attended rock festivals, free festivals, happenings, and alternative society gatherings of various kinds.
==Origins==
In the United States of the 1960s, especially during the heyday of the hippie counterculture on the west coast, many teens and young adults that were disillusioned with the austere confines of the postwar, suburbanite American way of life, and some of the resultant countercultural and New Left movements defined themselves as "freaks". During the early 1960s, painter, sculptor and former marathon dancing champion Vito Paulekas and his wife Szou established a clothing boutique on the corner of Laurel Avenue and Beverly Boulevard in Hollywood, close to Laurel Canyon. Paulekas and his later associate Carl Franzoni (known as "Captain Fuck") were known for their sexual appetites and unconventional behavior.〔( John Trubee, ''Last of the Freaks: The Carl Franzoni Story'', Scram magazine )〕 They and an expanding troupe of associates called themselves "freaks" or "freakers", and became well known in the area by about 1963 for their eccentric free form dancing in Sunset Strip nightclubs, being described as "an acid-drenched extended family of brain-damaged cohabitants".〔( David McGowan, ''Inside The LC: The Strange but Mostly True Story of Laurel Canyon and the Birth of the Hippie Generation'' )〕
Barry Miles wrote that: "The first hippies in Hollywood, perhaps the first hippies anywhere, were Vito, his wife Zsou , Captain Fuck and their group of about thirty-five dancers. Calling themselves Freaks, they lived a semi-communal life and engaged in sex orgies and free-form dancing whenever they could."〔Barry Miles, ''Hippie'', Bounty Books, 2003, p.60, ISBN 978-0-7537-2456-9〕 Frank Zappa said of Vito's freaks: "As soon as they arrived they would make things happen, because they were dancing in a way nobody had seen before, screaming and yelling out on the floor and doing all kinds of weird things. They were dressed in a way that nobody could believe, and they gave life to everything that was going on."〔
Musicians and others who became associated with the scene at the time included Zappa, his later wife Gail Sloatman, Kim Fowley, Arthur Lee, David Crosby, Don Van Vliet (Captain Beefheart), and The GTOs.〔 Zappa and The Mothers of Invention became central to the freak scene in Los Angeles, and the term ''freak'' appeared throughout the liner notes of the 1966 Mothers of Invention album, ''Freak Out!''. At the first Mothers of Invention concerts, audience members were invited to "freak out!", which meant to express themselves freely, be it through dancing, screaming, or letting a band member spray them with whipped cream. In terms of concert culture, the freak mentality influenced similar bands of subsequent musical generations. The freaks, by Zappa's reckoning, resisted the binaries of right versus left, dominant culture versus counterculture, or squares versus hippies, preferring instead to align themselves with an aesthetic not narrowly defined by fashion or political leanings. The concept also allowed The Mothers to celebrate the freak identity, which until then was used to describe perversions of nature or carnivalesque sideshows. 'Bearded and gross and filthy, entirely obscene, they...were freaks. They were meant to be. They were playing the same old game again, ''épater la bourgeoisie'', but this time round it wasn't called Dada or Existentialism or Beat, it was Freak-Out'. "On a personal level", wrote Zappa, "Freaking out is a process whereby an individual casts off outmoded and restricted standards of thinking, dress and social etiquette in order to express CREATIVELY his relationship to his environment and the social structure as a whole"'.〔Nik Cohn, ''AwopBopaLooBopaLopBamBoom: Pop from the Beginning'' (Paladin 1973), pp. 222-223〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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