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The first hippie("sekous") freak("Afrique"), Vito Paulekas, learned African dance to an extent, when he and his friends went to black R&B(rhythm and blues) clubs in LA. "There were no white bands in LA", at that time, according to Laurel Canyon chronicler Dave McGowan.

Sonny Boy Williamson II, Alex or Aleck Miller né Ford, first recorded with Elmore James on "Dust My Broom" and some of his popular songs include "Don't Start Me Talkin'", "Help Me", "Checkin' Up on My Baby", and "Bring It On Home". He toured Europe with the American Folk Blues Festival and recorded with English rock musicians, including the Yardbirds, the Eric Burdon(Animals), and Jimmy Page(Led Zeppelin). Beginning in the 1930s, he traveled around Mississippi and Arkansas and encountered Big Joe Williams, Elmore James and Robert Lockwood, Jr., also known as Robert Junior Lockwood, who would play guitar on his later Checker Records sides. He was also associated with Robert Johnson during this period. Willie Dixon recalled seeing Lockwood and Miller playing for tips in Greenville, Mississippi in the 1930s. In the early 1960s he toured Europe several times during the height of the British blues craze.

Soon Vito and his hippie frique friends also came to be called "go-go" dancers because they danced in front of white bands, Laurel Canyon bands, at the club called Whiskey A-Go-Go. Go-Go music, as opposed to go-go dancing, branched from Fusion in the early 1970's, by inspiration of Chuck Brown.

"These icons were, to an overwhelming degree, the sons and daughters of the military/intelligence complex and the scions of families that have wielded vast wealth and power in this country for a very long time. Are we to believe that the only kids from that era who had musical talent were the sons and daughters of Navy Admirals, chemical warfare engineers and Air Force intelligence officers? Or are they just the only ones who were signed to lucrative contracts and relentlessly promoted by their labels and the media? -Dave McGowan"

"For every Joni and Cass there were hundreds of girls of spirit and talent who could ascend no higher up the food chain than groupie or go-go dancer. No matter how close the ladies and gentlemen of the canyon came to making a paradise on earth, reality had a nasty habit of intruding...With the advent of the ’70s, any notion that Laurel Canyon represented some sort of utopia faded. It became just another exclusive community, where people with more freedom than sense staggered home to nurse hangovers. The main reason for this transition was chemical, as the stardust of Joni Mitchell’s Woodstock generation was replaced by a different sort of powder. Cocaine proved a far less enlightening drug of choice than pot and acid — Walker notes that “there is universal agreement that it leeched whatever charm and innocence, real or imagined, the canyon scene still possessed.” Where drugs in the ’60s were seen to create a new sort of social cohesion — the druggy classic “Don’t Bogart That Joint” was written in the cellar of Zappa’s cabin — in the ’70s they began to turn the canyon into a paranoid neighborhood full of fences, locked doors and suspected narcs. -Stephen Amidon"

Lunchin(out to lunch), (not) trippin (on that). "I'm not trippin on that", as far as packaging lively 1960's music and dance as From Above, limited hangout, forestry backfire(Lansdale), designed burnout of fire's fuel ahead of the authentic movement and its leaders, From Below. As-a-lion, not a lion, "lies outside, studying you, Cain", to eat you up, Cain, his brother Abel's keeper, From Above, fake humanitarian, paternalistic, condescending, crisis manager, Big Brother, faking Failed State as if From Below, al-CIA-duh, gmo terminator seeds as manna starving you, Mon Santo mumeffen SS.

Chuck Brown, Go-Go music, wind me up, turnup. Uh-oh, political hook coming up From Below, as-a-lion studies that, here comes counter-insurgency, From Above, Bill Clinton's Is (Not Is), in for George Clinton's Was (Not Was), after a good run by Chuck Brown--