The greatest wave of communal living in American history crested in the tumultuous 1960s era including the early 1970s. To the fascination and amusement of more decorous citizens, hundreds of thousands of mostly young dreamers set out to build a new culture apart from the established society. Widely believed by the larger public to be sinks of drug-ridden sexual immorality, the communes both intrigued and repelled the American people. The intentional communities of the 1960s era were far more diverse than the stereotype of the hippie commune would suggest. A great many of them were religious in basis, stressing spiritual seeking and disciplined lifestyles. Others were founded on secular visions of a better society. Hundreds of them became so stable that they survive today. This book surveys the broad sweep of this great social yearning from the first portents of a new type of communitarianism in the early 1960s through the waning of the movement in the mid-1970s. Based on more than five hundred interviews conducted for the 60s Communes Project, among other sources, it preserves a colorful and vigorous episode in American history. The book includes an extensive directory of active and non-active communes, complete with dates of origin and dissolution.
In this sympathetic history of a maligned decade, Marty Jezer, a fellow antiwar activist, details Abbie Hoffman's humor, manic energy, depressive spells, political skills, & above all, his incurable & still contagious optimism. He presents a thoughtful, solidly researched biography of the wildly creative & iconoclastic Yippie, portraying Hoffman as a fresh force in American political culture. Jezer surveys in detail the politics, philosophies, & struggles of the antiwar movement."... Abbie, more than any other radical, showed potheads how to demonstrate and radicals how to dance." -- Chicago Tribune "... deeply sympathetic and scrupulously detached-a triumph of judicious empathy." -- MARTIN DUBERMAN, Distinguished Professor of History, Lehman/The Graduate School, C.U.N.Y. "... details Hoffman's humor, manic energy, depressive spells, political skills, and above all, his Incurable and still contagious optimism." -- Entertainment Weekly "Here's the Abbie I knew and loved Marty Jezer has captured him in all his complexity, dedication, humor, and heart." -- ANITA HOFFMAN
The Burning Man Festival is a weeklong spasm of radical self-expression held annually just before Labor Day since 1986. In late August 2003, more than 33,000 participants converged in Nevada's Black Rock Desert for this counterculture event staged as an experiment in temporary community.
The participants gather to rid themselves of the conventional structures of their life and to sample the alternatives in hundreds of theme camps. The climax of the festival comes when attendees erupt into cheers and applause at the burning of a forty-foot-tall human effigy described as part pre-technological idol and part post-technological puppet.
AfterBurn contributor Erik Davis writes of the festival, Ironic and blasphemous, intoxicated and lewd, Burning Man's ADD theater of the absurd might even be said to embody the slap-happy nihilism of postmodern culture itself.
CounterCulture series editor David Farber summarizes the significance of the event: Burning Man is] spiritual discovery, utopian experiment, artistic spectacle, participatory democracy, do-it-yourself anarchism, and communitarian adventure. AfterBurn features ten essayists each addressing a specific aspect of the festival, from the recruitment and management of volunteers, to the artistic and cultural context of the modern conception of Utopia.
Both Lee Gilmore and Mark Van Proyen have attended Burning Man annually since 1996.
They have names like Barmy Bernie, Daft Donald, and Steamin' Sammy. They like lager (in huge quantities), the Queen, football clubs (especially Manchester United), and themselves. Their dislike encompasses the rest of the known universe, and England's soccer thugs express it in ways that range from mere vandalism to riots that terrorize entire cities. Now Bill Buford, editor of the prestigious journal Granta, enters this alternate society and records both its savageries and its sinister allure with the social imagination of a George Orwell and the raw personal engagement of a Hunter Thompson.
Perhaps the most notorius How To manual on the market. This is the most asked for book that we know of. Is it any good? Well, it's now in its 29th printing since 1971, has chapters on home preparation of weapons, electronics, drugs, and explosives. Extensively illustrated, 8.5 x 11, 160 pp., softcover.
Cited by the L.A. Weekly as the culture's foremost spokesman for the psychedelic experience, Terrence McKenna is an underground legend as a brilliant raconteur, adventurer, and expert on the experiential use of mind-altering plants.In these essays, interviews, and narrative adventures, McKenna takes us on a mesmerizing journey deep into the Amazon as well as into the hidden recesses of the human psyche and the outer limits of our culture, giving us startling visions of the past and future.
Since the early nineteenth century, the bohemian has been the protagonist of the story the West has wanted to hear about its artists-a story of genius, glamour, and doom. The bohemian takes on many guises: the artist dying in poverty like Modigliani or an outrageous entertainer like Josephine Baker. Elizabeth Wilson's enjoyable book is a quest for the many shifting meanings that constitute the bohemian and bohemia.
She tells unforgettable stories of the artists, intellectuals, radicals, and hangers-on who populated the salons, bars, and cafs of Paris, London, New York, Los Angeles, and San Francisco, including Djuna Barnes, Juliette Greco, Allen Ginsberg, William Burroughs, Jack Kerouac, Amiri Baraka, Andy Warhol, and Jackson Pollock. Bohemians also follows the women who contributed to the myth, including the wives and mistresses, the muses, lesbians, and independent artists. Wilson explores the bohemians' eccentric use of dress, the role of sex and erotic love, the bohemian search for excess, and the intransigent politics of many.
As a new millennium begins, Wilson shows how notions of bohemianism remain at the core of heated cultural debates about the role of art and artists in an increasingly commodified and technological world.