Most Popular
-
The Principal Matter
Teachers said Principal Gil Cho was dictatorial. Students said he manhandled them. The school district said he was doing a good job.
-
He's No Angel
They once called him a savior who helped people in need. Today, Edwin Parada is accused of taking money from Latinos unfamiliar with real estate laws.
-
Nonconformity Still Reigns!
The top eccentrics of San Francisco, and that's saying something.
-
A Time to Kill
The SPCA is struggling to finance a new hospital, and one way to save money is to speed up euthanasia.
-
State of the Cart
Join us as we map the street food scene and find out why there aren't more vendors in this most food-involved and temperate of cities.
Blogs
Sat Jul 19, 10:31 AM
Fri Jul 18, 4:00 PM
Sat Jul 19, 9:20 AM
Fri Jul 18, 4:58 PM
Fri Jul 18, 3:12 PM
Thu Jul 17, 9:46 AM
Recent Articles
Recent Articles by Traci Vogel
No related articles found
National Features >
Houston Press
What mainstream publishers don't want you to know about door-to-door magazine sales.
By Craig Malisow
Riverfront Times
When these huntresses on are on the prowl, the prey very much wants to be caught.
By Unreal
Broward-Palm Beach New Times
How rumored McCain veep choice Charlie Crist wants to bail out Big Sugar.
By Bob Norman
SF Weekly
Are Asian women getting their jawbones cut to look whiter?
By Lauren Smiley
Altman Snaps
Published on January 02, 2008
Thanks to Robert Altman -- the Rolling Stone photographer, not the film director -- San Francisco's Summer of Love will never be forgotten, no matter how many drugs coursed through how many fried neural cortexes back in 1967. Altman had a front-row seat to the swinging decade, and his images of communes, protests, rock shows, and love-ins are so iconic that they have the grainy quality of shared memory. He shot Ken Kesey, Timothy Leary, Jane Fonda, Cesar Chavez, and The Cockettes. He captured the first rave, the People's Park riot, and the 1969 Black Panther rally at the Federal Building. But it's his photographs of anonymous hippies frolicking in places like Golden Gate Park or Mount Tamalpais that most evoke the innocent-seeming spirit of the era, with naked babies bathed in sunbeams and bare-chested men dancing with abandon. The black-and-white prints at the exhibit "Robert Altman's Sixties" evidence what the photographer describes as a period of "extended adolescence," full of rapture, angst, weirdness, and a lot of long hair. It was a decade when the whole world was watching, and so was Robert Altman.
Jan. 10-Feb. 9, 2008