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Colorful patterns to plain colored clothing was worn during this time.
People commonly overly defined their eyebrows and wore trimmed cut clothing.

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During the 60's, the film company, Hollywood was in its best and most successful years. Most movies were rarely rated over a PG rating.

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Two years later the show was canceled only to be perversely resurrected in mutant form by Mr. Rafelson and Jack Nicholson as "Head," a film they wrote and was produced with money from Columbia. (Mr. Schneider was the executive producer.) Directed by Mr. Rafelson, "Head" hammered the final nail in the pop group's coffin with a cacophony of self-reflexive gestures and art-house techniques. It bombed, but before it opened, Mr. Schneider shelled out some $350,000 to buy the rights to a biker movie with Dennis Hopper and Peter Fonda that became "Easy Rider" and was distributed by Columbia. It zoomed to No. 4 on the 1969 box-office chart, right behind "Hello, Dolly!"

"Easy Rider" is the most significant and "Head" is the most subversive of the seven titles in the BBS box, which also includes "Five Easy Pieces"; "Drive, He Said"; "A Safe Place"; "The Last Picture Show"; and "The King of Marvin Gardens." It's a divergent collection in terms of stories, characters, filmmaking competency, narrative coherency and degrees of induced tedium. The classicism of Peter Bogdanovich's lovely, lonely, Hollywood-haunted landscapes in "The Last Picture Show" speaks to influences like John Ford. (Another hovering ghost was Orson Welles, who suggested that it be shot in black and white.) Then there were the visual and narrative experiments of Mr. Hopper's "Easy Rider," his directorial debut, on which his friend, the avant-garde filmmaker Bruce Conner ( "A Movie"), served as an editing consultant.

Much is often made (including in a few of the DVD extras) about Mr. Hopper's and Mr. Fonda's work with the independent producer Roger Corman on flicks like "The Trip" (1967) and how a gig with Mr. Corman was something of a run-and-gun film school. But some of Mr. Hopper's larger lessons were learned from avant-garde cinema, a world he was familiar with and contributed to. He appeared, for instance, in Andy Warhol 's film, "Tarzan and Jane, Regained Sort of," which was partly shot at the Beverly Hills Hotel in 1963, the year Mr. Hopper discovered Pop art. ("Little did I know," Warhol later wrote of "Easy Rider," that "it would be the exact image millions of kids were fantasizing - being free and on the road, dealing dope and getting persecuted.")

The influence of avant-garde cinema, documentary, television and even Old Hollywood on New Hollywood tends to be underplayed in accounts of the era. Instead, foreign-language cinema is often reflexively invoked as the primary influence, which partly speaks to anxieties and prejudices about no-nothing Americans learning culture from Europeans.

It's unlikely that the usual European suspects would be invoked as much if films like Michelangelo Antonioni's "Blow-Up" (shot in English and bankrolled by MGM) hadn't also been hits. In 1966 "Blow-Up" raked in more than $6 million on American screens (more than $30 million in today's dollars). Mr. Nicholson, one of New Hollywood's brightest lights, went on to star in Antonioni's "Passenger" in 1975, the year "Jaws" nominally changed everything again by ushering in the blockbuster age.

This isn't to say that foreign-language cinema didn't inspire New Hollywood, only that its influences were more varied and complex than is usually stated and at times most evident in the inchoate disquiet that marks films like "Five Easy Pieces" (1970). Antonioni, in discussing his 1960 masterwork "L'Avventura," said: "Eros is sick; man is uneasy, something is bothering him."

Certainly the same goes for Bobby Dupea, the classical pianist turned oil-rig worker played by Mr. Nicholson in "Five Easy Pieces." As directed by Mr. Rafelson and written by him and Carol Eastman, Bobby is an exemplary alienated dropout, who's walked away from his art-bourgeois family to drift unhappily among the working classes (including his girlfriend, played wonderfully by Karen Black) for whom he largely shows contempt.

"Five Easy Pieces" has its attractions, primarily Mr. Nicholson's and Ms. Black's performances, as well as a very specific and textured sense of place, evidenced by the oil fields, shabby houses, bowling alley, diner and motel that Bobby passes through before returning to the high-art mausoleum that is his ancestral home. Opaque yet obvious, Bobby might seem more ambiguous than the heroes who populate old Hollywood movies, but he's also on a continuum with the alienated youth of films like "Rebel Without a Cause" (made in 1955 and featuring a young Dennis Hopper), whose beautiful angst was sometimes accompanied by a rock 'n' roll soundtrack.

By 1940 Hollywood already knew that most movie tickets were bought by people under 30, and that teenagers were a critical market. It began targeting younger and younger audiences, even while it tried to deal with the aftershocks of the 1948 government decree that forced the studios out of the exhibition business. By the time BBS made a deal with Columbia to make six movies for under $1 million each, independent productions were the studio rule, and the old system was gone. In its place was a reconfigured system that had yet to recover from the devastating impact of television, among other shifts, and had seen weekly movie attendance drop to as low as 20 million in 1970 from as high as 90 million in 1946.

A familiar take on New Hollywood is that the inmates took over the asylum. But the truth is that the wardens were also smart enough to hand over the keys, at least as long as it made dollars and sense. The history of Hollywood is one of perpetual crisis and retrenchment and the extraordinary resilience of an industry that continually co-opts potential threats (television, video, independent filmmakers) and exploits them to its benefit. There were great films made during this era, including by filmmakers like John Cassavetes, who had a tough time with the studios, and others, like Mr. Schneider, who already had a foot in the door. In Mr. Schneider's case his father actually ran the studio.

"We used to call them 'the Hollywood sperm,' " the filmmaker Jim McBride told Mr. Biskind, "because they were all children of successful Hollywood people."

If BBS earned a reputation out of proportion to its actual achievements - its legacy rests largely on "Easy Rider" and Mr. Nicholson's emerging stardom - it is partly because the company's flashy, short history (it closed in 1975) feeds familiar myths about Hollywood, including its reputation as a creative desert when it's always been defined by its oases. One of the most crucial myths is that of the triumphant individual - be it Mr. Schneider in the late 1960s and early 1970s or Harvey Weinstein in the 1990s - who is at once part of the system and yet somehow apart, and whose cultivated identity as a rebel only makes the system look better, less monolithic. The fantasy is that it's the individual who conquers the system, when it's part of the genius of the system to have, decade after decade, done much of the conquering.

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'60s Hollywood, the Rebels and the Studios

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Two years later the show was canceled only to be perversely resurrected in mutant form by Mr. Rafelson and Jack Nicholson as "Head," a film they wrote and was produced with money from Columbia. (Mr. Schneider was the executive producer.)

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A musical selection of the 1960's. This song, "House of the Rising Sun" was very popular during this time. Popular bands during this time include:
1. The Beetles
2. The Rolling Stones
3. The Animals
etc.

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The Animals - House of the Rising Sun (1964) HD + Lyrics

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John F. Kennedy wins the election! The Cold War was occuring during this time. Becuase of the TV entering households, people began to see newly visible images of war, poverty, racism, and nuclear threat.

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The '60s begin with a race for President, and John F. Kennedy wins by promising to keep the U.S. ahead of the Soviet Union in the Space Race and Cold War. America's new President is young and charismatic; the First Lady is sophisticated and fashionable.

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Cars during this time period were box like and had less room than modern cars of today. Cars during this time include:
1. 1964 Ford Mustang
2. 1966 Chevy Camaro (birth of the Camaro)
3. 1968 Plymouth Road Runner
etc.