1970  

On March 6, 1970, an explosive the Weathermen were constructing was accidentally detonated, costing three Weathermen their lives. [...]

"Altamont and Kent State in particular shattered the hippie illusion that if enough youthful minds trusted the inherent power of love, community, rock and roll music, the arts, and dope, especially LSD, all the ills of late 1960s liberal/bourgeois American culture and society would be rectified, or at the very least significantly ameliorated. However, such was not to become the new reality. In fact, according to Bruce Pollock, the Kent State tragedy, which occurred only five months after the Altamont ... Jimi Hendrix, Janis Joplin, and Jim Morrison reached the end of the road."--The Hippies: A 1960s History (2017) by John Anthony Moretta

"[1970] was the end of the Beatles, the end of Woodstock Nation, the end of the Greenwich Village folk scene. ‘The Bus’ went into the shop permanently. In San Francisco, Bill Graham got out of the Fillmore business, the Airplane became the Starship, the Dead incorporated. Jimi Hendrix, Janis Joplin, and Jim Morrison reached the end of the road. As Dave Van Ronk told me, ‘The check was not in the mail.’ As Tom Wolfe quoted Ken Kesey as saying, ‘We blew it.’ And as Monkee Peter Tork said, ‘When they shot them down at Kent State that was the end of the Flower Power era. That was it. You just throw your flowers and rocks at us, man, and we’ll just pull the guns on you. Essentially, the revolution, which was sort of tolerated as long as it wasn’t a significant material threat, was not tolerated any more. And everybody went ‘oops’ and scurried for cover and licked their wounds. They became isolated, which was the point of it all. Because the less togetherness there is, the more room there is for exploitation."--Bruce Pollock

"In December 1970, Jonas Mekas was organizing one of his periodic festivals of avant-garde films at the Elgin Cinema, a rundown six hundred seat theater, not unlike the Charles, on Eighth Avenue just north of Greenwich Village. Although the program was laden with major avant-garde figures, the most widely attended screenings were those on the three nights devoted to the films of John Lennon and Yoko Ono. The Elgin management took advantage of the hippie crowds to announce an added feature-Alexandro Jodorowsky's El Topo to be shown at midnight because, as the first ad announced, it was "a film too heavy to be shown any other way."" --Midnight Movies (1983), page 80