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Thefreak scene was originally a component of thebohemiansubculture which began inCalifornia in the mid-1960s, associated with (or part of) thehippie movement. The term is also used to refer to the post-hippie and pre-punk period of the early to mid-1970s. It can be viewed as encompassing a range of disparate groups including hippies, pacifists,politicized radicals, as well aspsychedelic andprogressive rock fans. Those connected with the subculture often attendedrock festivals,free festivals,happenings, andalternative society gatherings of various kinds.[citation needed]
In the United States of the 1960s, especially during the heyday of thehippiecounterculture 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 formermarathon dancing championVito Paulekas and his wife Szou established a clothingboutique on the corner of Laurel Avenue andBeverly Boulevard inHollywood, close toLaurel Canyon. Paulekas and his later associate Carl Franzoni (known as "Captain Fuck") were known for their sexual appetites and unconventional behavior.[1] 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 inSunset Strip nightclubs, being described as "an acid-drenched extended family of brain-damaged cohabitants".[2]
Barry Miles wrote: "The first hippies in Hollywood, perhaps the first hippies anywhere, were Vito, his wife Zsou [sic], 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."[3]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."[2]
Musicians and others who became associated with the scene at the time included Zappa, his later wifeGail Sloatman,Kim Fowley,Arthur Lee,David Crosby, Don Van Vliet (Captain Beefheart), andThe GTOs.[2] Zappa andThe Mothers of Invention became central to the freak scene in Los Angeles, and the termfreak appeared throughout the liner notes of the 1966 Mothers of Invention albumFreak 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, orsquares 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 calledDada orExistentialism 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'".[4]
The term "freaks" became much more widely and generally used in the late 1960s and early 1970s, often as a synonym for "hippies" (although Zappa, in particular, regularly drew a clear distinction between the two subcultures). The freaks, with their aggressively anti-social stance, came in for much criticism, not only from conventional culture but from within the counterculture itself, for their 'pretext of a theoretically total but actually quite false revolt against the "conventional lies of civilization"'.[5]John Lennon sang how '"freaks on the phone won't leave me alone"', explaining how he was 'sick of all these aggressive hippies or whatever they are, the Now Generation...demanding my attention as if I owed them something...under a delusion of awareness by having long hair and that's what I'm sick of'.[6]Bob Dylan also suffered from 'Dylan freaks...once more trying to force him to live up to their concept of what he should be'.[7] In a not atypical exchange, he'd be told '"you've got to live up to your responsibility as aculture hero – you're DYLAN, man, every freak has a soft spot in their heart for ya...you're DYLAN, DYLAN, DYLAN."' only for him to reply '"I'm not Dylan, you're Dylan"'.[8]
Members of theWeather Underground drafted theirmanifesto anddeclaration of war on the U.S. state with the sentence: "Freaks are revolutionaries and revolutionaries are freaks".[9]
Freaks' hairstyles were mostly long and unkempt. The clothing of the freaks used elements ofroleplay such as headbands, cloaks, frock coats, and kaftans, suggesting either a romantic historical era or a distant region. These were combined with cheap, hardwearing clothes such as jeans and army surplus coats.[citation needed]
Freak scene music was an eclectic mixture based aroundprogressive rock and experimentalism. There werecrossover bands bridgingrock andjazz, rock andfolk, rock and sci-fi (space rock).BBC radio presenterJohn Peel presented a nightly show that featured the music. In 1967,The Bonzo Dog Doo-Dah Band's album parodied the expression in thesleeve notes for the song "Cool Britannia", which said "Someone letta Freak-Out? What do you think Reader?" Another musical reference is inJoni Mitchell's 1971 songCarey: "A round for these freaks and these soldiers / A round for these friends of mine..." Ian Gillan ofDeep Purple often referred to himself as a freak, such as in the song "Space Truckin'" (with the lyric "The Freaks said 'Man those cats could really swing'") and the song "No No No" (with the line "Looking at them all it feels good to be a freak").[citation needed]
J. R. R. Tolkien novels were big influences on lyrics of bands likeLed Zeppelin, which created interest in the novels among followers of the bands.
The freak scene made inroads into theunderground comix movement inThe Fabulous Furry Freak Brothers byGilbert Shelton in 1968. Fabulous Furry Freak Brothers comics, an original underground comix scene, over three decades had influenced thousands of people and thousands of new readers yearly.[10]
Following the success of the 1978 smash hit "Le Freak" byChic, the term enjoyed somewhat of a resurgence on thefunk scene by the early 1980s, thanks to artists likeRick James,Whodini and Midnight Star. In 1981,Was (Not Was) released "Out Come the Freaks". The 1988 albumBug byDinosaur Jr includes the song "Freak Scene", which in turn has given its name to restaurants owned by chefScott Hallsworth.[11]
Journalist and writerHunter S. Thompson was well-known for his embrace of the "Freak" moniker:
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In 1970, Thompson ran forsheriff ofPitkin County, Colorado, as part of a group of citizens running for local offices on the"Freak Power" ticket. The platform included promoting thedecriminalization of drugs (for personal use only, not trafficking, as he disapproved ofprofiteering), tearing up the streets and turning them into grassypedestrian malls, banning any building so tall as to obscure the view of the mountains, disarming all police forces, and renaming Aspen "Fat City" to deter investors. Thompson, having shaved his head, referred to thecrew cut-wearingRepublican candidate as "mylong-haired opponent".[12]
With polls showing him with a slight lead in a three-way race, Thompson appeared atRolling Stone magazine headquarters in San Francisco with a six-pack of beer in hand, and declared to editorJann Wenner that he was about to be elected sheriff of Aspen, Colorado, and wished to write about the "Freak Power" movement.[13] "The Battle of Aspen" was Thompson's first feature for the magazine carrying the byline "By: Dr. Hunter S. Thompson (Candidate for Sheriff)". (Thompson's "Dr" certification was obtained from a mail-order church while he was in San Francisco in the '60s.) Despite the publicity, Thompson lost the election. While carrying the city of Aspen, he garnered only 44% of the county-wide vote in what had become, after the withdrawal of the Republican candidate, a two-way race. Thompson later said that theRolling Stone article mobilized more opposition to the Freak Power ticket than supporters.[14] The episode was the subject of the 2020 documentary filmFreak Power: The Ballot or the Bomb. Writing of the episode more than 50 years later, Wenner wrote, "Aspen didn't get a new sheriff, but I realized that, in Hunter, I had a fellow traveler."[15]