Photographs of Allen Ginsberg’s friends, colleagues, acquaintances, and locales, with long hand-written captions. Includes images of Richard Avedon, William Burroughs, Francesco Clemente, Robert Creeley, Lawrence Ferlinghetti, Robert Frank, Lou Reed, Willem de Kooning, Jack Kerouac, Timothy Leary, Neal Cassidy, and others. Photographs by Allen Ginsberg; essay by Michael Kohler; afterword by Wolf Biermann. Text in German; captions in English.

copertina illustrata in bleu su fondo argento di Rupert van den Linden, stampa in verde su carte in diverse tinte. Disegni di Mizio. Testi di Franco Beltrametti, Gianni Milano, Allen Ginsberg («Hum Bomb» con testo inglese e traduzione italiana), Alan Watts («Domani l’estasi»), un testo di Allen Ginsberg su Bob Dylan. Una pagina commemora la morte in India di Efrem, collaboratore del giornale e autore della poesia «Santi giovani ardenti nella benzina…». Una nota precisa che la poesia era stata pubblicata su «Paria n° 3 ciclostilato», ma si tratta di un errore: la poesia era stata pubblicata nel. n. 4 della serie ciclostilata.

A guide to creating the visual style of the new underground printing processes and other forms of alternative media associated with the counterculture: photography, wide angle, lenses, slides, negatives, colors, mood, contrast, film, projectors, kinescope, tapes, silk screen, Xerox and split fountain printing, reticulation, etc. Includes unusual photographs of Allen Ginsberg and Michael McClure at a poetry reading.

Having entered the New York underground in the 1960s while still a teenager, filmmaker Barbara Rubin (1945–80) quickly became one of its key figures. Her pioneering 1963 double-projection film Christmas on Earth, featuring painted and masked performers engaging in a variety of gay and straight sexual acts, was both aesthetically innovative and sexually provocative. She worked regularly with Jonas Mekas and Andy Warhol, introduced Bob Dylan to Allen Ginsberg, and connected Warhol with The Velvet Underground. During an intense period of activity and travel, Rubin wrote passionate letters about film and the underground to Mekas. This special 80th issue of the magazine Film Culture features her previously unpublished letters to Mekas. It also includes interviews and Rubin’s script, Christmas on Earth Continued, a planned sequel to her notorious film.

Dopo cinquant’anni anni di attività, a Novembre 2020, chiuderà definitivamente “Re Nudo” una delle più importanti e seminali riviste italiane. Questo libro, a cura del suo storico fondatore e direttore Andrea Majid Valcarenghi, raccoglie il meglio degli articoli e delle interviste pubblicate sulle pagine della rivista lungo cinquant’anni di militanza, ricerca, cronaca, denuncia, scoperta. Una antologia degli articoli scelti a partire dal dicembre 1970. Una selezione accurata con gli interventi di musicisti, artisti, intellettuali, ricercatori, donne e uomini dei movimenti nascenti, che hanno caratterizzato gli anni della cultura alternativa in Italia, del movimento femminista, del movimento degli omosessuali, la psichedelica, i primi festival pop musicali, l’alimentazione e le cure naturali, quello che oggi è culturalmente accettato o tollerato, viene descritto in questa antologia con testimonianze, confronti e condivisioni dei protagonisti. Una sequenza di contributi che arriva fino alla testimonianza dei movimenti della cosiddetta nuova spiritualità, dal buddismo a Osho, dallo sciamanismo alle psicologia umanistica. Un libro destinato a restare nella Storia dei movimenti culturali ed esistenziali che hanno caratterizzato gli ultimi cinquant’anni. Hanno scritto, o sono stati intervistati su Re Nudo e nel libro che presentiamo, tra gli altri: William Burroughs, Allen Ginsberg, Mauro Rostagno, Enzo Jannacci, Giorgio Gaber, Francesco Guccini, Gianna Nannini, Franco Battiato, Claudio Rocchi, Vasco Rossi, Adriano Sofri, Marina Valcarenghi, Michele Serra, Gianfranco Manfredi, Jacopo Fo, Beppe Grillo, Ignacio Ramonet, Osho.

The legendary independent London bookstore Better Books on the Charing Cross Road was the hub for Allen Ginsberg, William S. Burroughs, Alexander Trocchi, John Latham, Jeff Nuttall, Bob Cobbing, Barry Miles, Gustav Metzger, and countless others, for their ideas and approaches to art, film, literature, and activism. With its unique range of books, offbeat events, poetry readings, film screenings, and happenings, Better Books became the hot spot of London’s 1960s counter-culture scene. Now, more than fifty years later, this book is the first to examine this special historic moment. Combining previously unpublished texts, documents, and photographs with the voices of the protagonists who authored this revolution, this volume offers a comprehensive history of what really happened during those exceptional years at Better Books.

“Butturini’s London depicts the poor and the working class who failed to make good in the 1960s, contrasting that with the tourist view” -Martin Parr

In 1969 Gian Butturini was just over 30 years old and a successful graphic designer working in advertising. His journey as a photographer began at Victoria Station when he saw a young man staggering by with a syringe embedded in a vein. He began investigating 1960s London through the Nikon hanging from his neck.

Butturini’s photographs of London are full of pain and sarcasm but also joy and lyricism―hippies and fashionable young women share space with the homeless, the pacifist demonstrations and the orators at Speakers’ Corner. Butturini’s London, in the photographer’s own words, “is true and bare … I did not ask it to pose.”

Gian Butturini: London is the new facsimile edition of Butturini’s cult 1969 photobook, which interspersed his black-and-white photographs with text by Allen Ginsberg. No less an authority than Martin Parr―who contributes a text to this new edition―has credited Butturini’s photobook with containing some of the best photographs ever taken of the British capital.

Gian Butturini (born 1935) began his career in the early 1950s as a graphic designer in Milan. The publication of London in 1969 marked his transition to photography. After catching the end of the Swinging Sixties in London, Butturini continued to take photographs, documenting the Troubles in Northern Ireland, Fidel Castro’s Cuba and violence in Bosnia, among other key sights and events of the 20th century.

A collection of essays, interviews, art, poetry, photos, etc. Contributors include Robert Crumb, Allen Ginsberg, Thomas King Forcade, Irwin Silber, Jerry Takigawa, D.A. Latimer and others. A short-lived, self-proclaimed ‘subterranean’ counter-culture hippie periodical reflecting the turbulent 1960s; ie Vietnam War, Black Panthers, underground comics, anti-Police State, etc. Magazine published in paperback book format.

In this title, writer and eminence grise Barry Miles revives the reputation of the seventies. “In The Seventies” tells the story of London and New York during the decade that is often written off as one long hangover after the exuberance of the sixties. Miles remembers a fascinating period in which many of the hippie dreams became realities, and others came back in shiny new clothes at the advent of the punk revolution. Beginning with Allen Ginsberg’s hippie commune in upstate New York and moving on to his time cataloguing William Burroughs’ archives in London, Miles remembers the decade that began with David Bowie in drag and ended with Grace Jones naked at Studio 54. Writing for NME, he reported on both the CBGBs scene and was the first to review and interview The Clash, The Ramones, Talking Heads and Patti Smith. Engaging and idealistic, “In the Seventies” is a memoir that challenges modern perceptions of the decade with great anecdotes featuring an extraordinary cast of characters, from Allen Ginsberg to Richard Hell, Leonard Cohen to Brian Eno.

Contributors – Allen Ginsberg, Ted Berrigan, Joe Brainard, Ron Padgett, Robert Creeley, Anne Waldman, Clark Coolidge, Lewis Warsh, Tom Veitch, Harry Matthews, Larry Fagin, Joanne Kyger, Louis Aragon et al.

Prince is also an enthusiastic bibliophile and a collector of Pop and American counter-culture materials dating from 1949 to 1984. A 2011 exhibition at the Bibliothegrave;que Nationale in Paris will mine his vast interests, combining popular and rare books selected by the artist from the BnF collection, As well as highlights from the artist’s personal library, On public view For The first time. Set To The music of Jimi Hendrix, Jim Morrison, Bob Dylan, And The Velvet Underground, The exhibition, which is designed by architect David Adjaye, will meander through a succession of “beat,” “hippie,” and “punk” thematic settings, To name but a few. Prince’s library contains many rare volumes, among them Naked Lunch annotated by William Burroughs, Jack Kerouac’s rolled manuscript for Big Sur, Prince’s vast collection of “pulp fiction,” and Vladimir Nabokov’s Lolita published in several languages- thereby presenting the artist as an avid collector. American Prayer is a palimpsest of Prince’s intellectual explorations revealing the source material for many of his well-known series. Reprinted texts range from one-sentence quips to 2000-word excerpts. Allen Ginsberg, Richard Seaver, Sam Shepherd, and Terry Southern are among the authors who are quoted at length. Additionally, three new illuminating essays address various aspects of Prince’s book collecting: exhibition curator Robert Rubin; Marie Minssieux-Chamonard, The contemporary and rare book curator at the BnF; and rare-book expert John McWhinnie have all contributed illuminating texts. An artistic and unique object that will provide new insight into Prince’s work, this soft-cover book is an essential addition To The library of any true bibliophile or Richard Prince collector.

On the heels of Steidl’s DVD releases of Robert Frank’s films, and as a part of their impressive ongoing project to make all of Frank’s output available, Frank Films redresses the imbalance of critical attention paid to his work in cinema–an oeuvre as esteemed among cinephiles as his photography is elsewhere. Frank turned to filmmaking towards the end of the 1950s, interrupting his swift rise to fame after The Americans. Frank describes “a decision: I put my Leica in a cupboard. Enough of lying in wait, pursuing, sometimes catching the essence of the black and the white, the knowledge where God is. I make films. Now I speak to the people in my viewfinder.” Never content to walk the same path twice, he has approached each of his 27 films as a new experience, so that his films have proved difficult to categorize, especially in their amalgamation of documentary, fiction and autobiography. Frank Films presents essays by Amy Taubin, Philip Brookman, Stefan Grisseman, Thomas Miessgang, Kent Jones, Michael Barchet, Pia Neuman and Bert Rebhandl, an interview with Allen Ginsberg and essays by various authors examining each film and video in detail. Visually, Frank Films provides a unique approach to the work, since–at his request–only new stills made from videotapes have been used for reproduction.

Containing ten essays and over 250 illustrations, this impressive catalog of the controversial show at the Whitney Museum (Nov. 9, 1995-Feb. 4, 1996), put together by the curator, documents the pervasive influence of the Beat Generation on American art and culture. The exhibit includes manuscripts, photographs, and artwork by Jack Kerouac, Allen Ginsberg, and Gregory Corso, as well as work by several West Coast artists, including Bruce Conner, Jay DeFeo, and Robert Lavigne. Essay topics, stressing shared artistic and cultural concerns, range from African American influences on the Beat Generation to the aesthetics of Beat filmmaking. A detailed chronology rounds out the book.

Pull My Daisy is a 1959 short film that typifies the Beat Generation. Directed by Robert Frank and Alfred Leslie, Daisy was adapted by Jack Kerouac from the third act of a stage play he never finished entitled Beat Generation. Kerouac also provided improvised narration. It starred Allen Ginsberg, Gregory Corso, Larry Rivers, Peter Orlovsky, David Amram, Richard Bellamy, Alice Neel, Sally Gross and Pablo, Frank’s then-infant son. Based on an incident in the life of Neal Cassady and his wife Carolyn, Daisy tells the story of a railway brakeman whose painter wife invites a respectable bishop over for dinner. However, the brakeman’s bohemian friends crash the party, with comic results. Pull My Daisy was praised for years as an improvisational masterpiece, until Leslie revealed in 1968 that the film was actually carefully planned, rehearsed, and directed by him and Frank.

Film critic and experimental filmmaker Jonas Mekas has been a central figure in the New York avant-garde almost since arriving there from Lithuania soon after the end of World War II. He documented and was associated with the Fluxus movement, Warhol’s Factory, and the Living Theater, and as the founder of the Filmmaker’s Co-Op and Anthology Film Archives he has been a tireless and essential advocate of avant-garde film and performance. During all this time he has never been without his Bolex camera, which he has used to write a long, intimate film from which the photograms in Just Like a Shadow were extracted. As Mekas himself sees it: “The cinema is nothing but a photogram, one single photogram!” And indeed the cinematic quality of this collection is unmistakable. Journeying through Mekas’ story, we encounter a great many of Mekas’ fascinating friends, such as Andy Warhol, Nam June Paik, Robert Frank, the Kennedy family, Salvador Dali, Yoko Ono and John Lennon, Nico, Gerard Malanga, Allen Ginsberg, Henri Langlois, Stan Brakhage, Jack Kerouac, Lou Reed, Miles Davis, and many others, witnessing all those moments, happy or not, which he captured with his camera and his irreverent eye.

Life is Paradise gathers for the first time a mostly private collection of contemporary artist Francesco Clementes rarely seen oil, pastel, and watercolor portraits of personalities from the worlds of pop culture, high society, and art. The revealing depictions of friends and acquaintances who have passed through Clemente’s studio include the likes of Lauren Hutton, Henry Geldzhaler, Toni Morrison, Bryan Ferry, Robert Mapplethorpe, William Burroughs, Fab 5 Freddy, Robert DeNiro, Fran Lebowitz, Gus Van Sant, Edit De Ak, John Ashbery, Andy Warhol, the Baronesa Francesca Thyssen-Bornemisza, Enzo Cucchi, Christy Turlington, Rene Ricard, Gwyneth Paltrow, Allen Ginsberg, Keith Haring, Jean-Michel Basquiat, Michael McClure and many, many more.
Interspersed amongst this ravishing collection of surprising portraits are several of Clementes more well known self-portraits, in various mediums, which have become signature pieces for the artist. But its the compelling portraitures of a widely divergent circle–artists, writers, film actors, fashion industry icons, business and society headliners, done by Clemente for amusement or for special commissions–that offer a fascinating insight into another side of Francesco Clemente: the internationally famous artist who for years has been a fixture on the New York scene.

For almost two decades, Clemente has divided his time between New York, Italy, and Madras, India, and his art readily acknowledges the influence of these cultures. Clemente is widely considered one of the foremost contemporary artists in America, and his work is celebrated in art collections all over the world. The portraits in Life is Paradise span Clementes entire career as a visual artist, and showcase his versatility with various mediums. This collection gathers together and examines for the first time in detail a little known element of Clemente’s oeuvre.

Caught in the Act is an exhilarating look at multimedia performance with front-row-center photographs by Dona Ann McAdamns. Her unique vantage is in part due to the enormous respect she has earned from the performers, and it is her key to documenting this ground-breaking type of theater that continuallly challenges the definitions of all the arts. Caught in the Act seizes the energy of paint-squirting, media-mixing Blue Man Group drumming into oblivion, while it resounds with the passionate rants of Karen Finley, and quivers with Pat Oleszko’s dazzling costumes of ever-moving appendages. Covering performance art since is nasence at the East Village’s Pyramid Club, the WOW Café, 8BC, and other clubs in the early eighties McAdams became the in-house photo archivist at the infamous performance space, P.S. 122, the home of cutting-edge theater that eschews convention as it draws energy and inspiration from all media. At P.S. 122 and other alternative performance spaces such as The Kitchen and Dance Theater Workshop, McAdams developed her long-term relationships with many performers. C. Carr is a Village Voice writer and a long-recognized cultural critic of the New York underground arts movement; in her personal and insightful introduction to Caught in the Act, she writes, “The key to McAdams’s work is the relationship she has with the artists. She empathizes. They trust.” It is this collaborative approach that has allowed McAdams to faithfully represent the rage, courage, integrity, and creative force of such varied artists as Diamand Galás, Holly Hughes, Ishmael Houston-Jones, John Kelly, DANCENOISE, Ethyl Eichelberger, and David Wojnarowicz–and this is only a small sampling of the performers featured here. Caught in the Act celebrates the spirit that links all artists across their different disciplines and aesthetics. The wonderful coexistence of disparate sensibilities in this publication underscores the very nature of this hybrid art. At the same time, it features many artists who, while focusing primarily on a particular medium, have expanded the context for that medium and pioneered the boundlessness, the marvelous sense of possibility that so distinguishes this contemporary manifestation of performance. This sleek book of black-and-white photographs printed in duotone includes contributions of words, drawings, and scores from some of the pictured performers, including many of those listed above, as well as Penny Arcade, John Bernd, Eric Bogosian, Allen Ginsberg, Philip Glass, Meredith Monk, Tim Miller, and many others. A performance poet in the beat tradition who has been reading and performing since the early seventies, Eileen Myles also contributes a moving Afterword with her poem, “the Troubador.” Taken altogether Caught in the Act is as much of the artists as it is about them. This Aperture publication is an entirely original and broad collection of work by some of the most gifted artists of our time.

This reprint of the now classic and much sought-after 2005 volume celebrates the circle of the quintessential visual artist of the Beat era, Wallace Berman (1926-76), who remains one of the best-kept secrets of the postwar era. A crucial figure in California’s underground culture, Berman was a catalyst who traversed many different worlds, transferring ideas and dreams from one circle to the next. His larger community is the subject of Semina Culture, which includes previously unseen works by 52 artists. Anchoring this publication is Semina, a loose-leaf art and poetry journal that Berman published in nine issues between 1955 and 1964. Although printed in extremely short runs and distributed to only a handful of friends and sympathizers, Semina is a brilliant and beautifully made compendium of the most interesting artists and poets of its time, and is today a very rare collector’s item. Showcasing the individuals that defined a still-potent strand of postwar counterculture, Semina Culture outlines the energies and values of this fascinating circle. Also reproduced here are works by those who appear in Berman’s own photographs, approximately 100 of which were recently developed from vintage negatives, and which are seen here for the first time. These artists, actors, poets, curators, musicians and filmmakers include Robert Alexander, John Altoon, Toni Basil, Wallace Berman, Ray Bremser, Bonnie Bremser, Charles Britten, Joan Brown, Cameron, Bruce Conner, Jean Conner, Jay DeFeo, Diane DiPrima, Kirby Doyle, Bobby Driscoll, Robert Duncan, Joe Dunn, Llyn Foulkes, Ralph Gibson, Allen Ginsberg, George Herms, Jack Hirschman, Walter Hopps, Dennis Hopper, Billy Jahrmarkt, Jess, Lawrence Jordan, Patricia Jordan, Bob Kaufman, Philip Lamantia, William Margolis, Michael McClure, David Meltzer, Taylor Mead, Henry Miller, Stuart Perkoff, Jack Smith, Dean Stockwell, Ben Talbert, Russ Tamblyn, Aya (Tarlow), Alexander Trocchi, Edmund Teske, Zack Walsh, Lew Welch and John Wieners.

Wallace Berman (1926-1976) was the quintessential artist of the Californian counterculture, connecting the disparate artistic, literary, music and film scenes of Los Angeles and San Francisco with his pioneering mail-art magazine Semina. Published between 1955 and 1964 in editions ranging from 150 to 350 copies, and hand-printed on a tabletop at Berman’s house, Semina was sent through the mail to his friends, to the contributors and to those he admired. Among its many contributors were Charles Brittin, Jean Cocteau, Walter Hopps, Cameron, Michael McClure, William Burroughs, Allen Ginsberg, John Wieners, Robert Duncan and Berman himself. With its loose-leaf poetry, collages and photography, the magazine has become a defining document of its period (particularly since the 2006 traveling exhibition Semina Culture) and now sells for thousands of dollars. This volume allows itsentire contents to be seen for the first time, reproducing every component of every issue of the magazine in full color. Published in collaboration with the Berman family and Berman’s gallerist Michael Kohn, it also includes commentary and essays by friends, admirers and family in a laid-in pamphlet.

With three poems by Bukowski: That’s Where They Came From, It is Very Good to Know When You Are Done and Poem for Brigitte Bardot. Other contributions from: Andy Warhol, Allen Ginsberg, Philip Lamantia, Kenneth Roxroth, Lou Reed, John Wieners, Nico, Philip Whalen, D.A. Levy, etc.

Se di un happening si può tenere un diario, questo libro è un diario. Il diario di una farsa tragica in un atto che copre l’arco di due anni. Do it!/Fallo, il precedente libro di Jerry Rubin, era la sceneggiatura della rivoluzione. Con Siamo tanti assistiamo alla rappresentazione di questa sceneggiatura. Il prologo dell’azione sono i fatti dell’agosto 1968 durante i quali Chicago, amministrata dal brutale e tirannico sindaco Daley, viene messa a soqquadro da cinque giorni di combattimenti al Lincoln Park e attorno all’Hilton, l’albergo dei delegati della Convenzione democratica. Ne seguì, nel settembre del ’69, un processo famoso che durò cinque mesi e mezzo. L’aula del tribunale divenne teatro: gli accusati, i Sette, ai quali va aggiunto Bobby Seale, ospite d’onore” di questo drammatico ed incredibile play, assistono o partecipano all’azione scenica; fra essi primeggia Jerry che chiama sul palcoscenico i vari personaggi: gli Weatherman, le White Panther, le Pantere Bianche, e il loro “capo”, John Sinclair, e poi Timothy Leary, evaso e ricercato dalla polizia, Allen Ginsberg che renderà una testimonianza che è anche un insegnamento. Contro di essi muovo il Sistema dell’ingiustizia, l’FBI, la CIA, il Grande Capitale, le Polizie Parallele, mentre allo scontro assistono i media, servi di due padroni. Nell’epilogo, la scena si sposta in Europa: dall’Olanda con i Kabouters, agli yippie londinesi, ai Provisionals di Belfast. E quando le luci si spengono, quando anche l’ultima azione svanisce, resta l’amarezza di un silenzio che da allora ancora nessuno ha rotto.”

Contributors – Allen Ginsberg, Ted Berrigan, Joe Brainard, Ron Padgett, Robert Creeley, Anne Waldman, Clark Coolidge, Lewis Warsh, Tom Veitch, Harry Matthews, Larry Fagin, Joanne Kyger, Louis Aragon et al.

Typical underground black-white photography and illustrations. – Important inventory of the social/cultural revolution in life- style, social organization, communes, counter universities, free theatre, anti-hospital movement, alternative ‘underground’ communication media, etc., which gathered momentum in the late sixties. – Important inventory of the social / cultural revolution in lifestyle, Social Organization, communities, universities counter, free theater, anti-hospital movement, alternative “underground” media communication, etc. which gathered momentum in the late sixties. Contributions by contemporary expert- and cult-writers, such as Joseph Berke, Tuli Kupferberg, Simon Vinkenoog, Allen Ginsberg, Stokely Carmichael, Jeff Nutall and others. Contributions by contemporary and cult expert writers, Such As Joseph Berke, Tuli Kupferberg, Vinkenoog Simon, Allen Ginsberg, Stokely Carmichael, Jeff Nutall and others.

C’era una Volta un Beat ripercorre le esperienze di Fernanda Pivano attraverso un decennio cruciale – dal 1956 al 1967; gli anni della scoperta della letteratura beat, dei viaggi in America e l’amicizia con Jack Kerouac, Gregory Corso, Allen Gisberg, il Living Theater ed altri scrittori ed artisti fatti conoscere in Italia dalla Pivano; la seconda parte è la cronaca della scena beat italiana nata sull’entusiasmo per la scoperta dei beat americani; il libro racconta del campeggio di via Ripamonti, Mondo Beat e Pianeta Fresco, protagonisti Paolo Gerbino, Vittorio Di Russo, Poppi Ranchetti, Gianni Milano e tanti altri, con immagini e documenti dalla raccolta Pivano-Sottsass. Sommario: – Fu allora che senti parlare di Howl -…incontrai Howl e On The Road -…cercai di far pubblicare On The Road -…incontrai Gregory Corso, Henri Cru e Henry Miller -…incontrai Ginsberg -…incontrai il Living Theatre -…incontrai S. Francisco -…incontrai Ted Wilentz -…incontrai la censura -…uscì l’Antologia -…rividi tutti -…uscì Juke Box all’Idrogeno -…Kerouac venne a Milano -…incontrai “Don’t Count on Me” e il resto -…incontrai i capelloni italiani -…qualcosa cambiò -…Ginsberg venne in Italia -…nacque Pianeta Fresco Fotografie di Ettore Sottsass (tranne quelle delle pagine 89-96 che appartengono alla collezione di Giovanni De Martino).

White wrappers with purple matt dust jacket with title design stamped in deep gray on cover and printed in light gray on spine. Paintings by Francesco Clemente. Introduction by Francesco Clemente, Allen Ginsberg and Peter Orlovsky. Includes an index of illustrations. Designed by Hansjörg Mayer, Staib+Mayer, Stuttgart. 108 pp., with 80 four-color plates and additional black and white illustrations

Gerard Malanga has been acclaimed as a poet, photographer, and filmmaker. Resistance to Memory is a compilation of his photographic portraits taken during the 1970s, many never before published. Included are remarkable photographs of the legendary cultural, artistic, literary, and musical personalities of our time, including: Robert Mapplethorpe, Jasper Johns, George Plimpton, Lou Reed, Patti Smith, Abbie Hoffman, Nico, Candy Darling, Allen Ginsberg, Lawrence Durrell, Roman Polanski, William Burroughs, and many more. Many of these people were and are friends of Malanga, and as a result the portraits display an unparalleled intimacy. Malangas keen photographic eye and acute sensibility come alive in a style that is revealing, and never artificial. The book features texts by Thurston Moore, a founding member of the band Sonic Youth, and the late Ben Maddow, one of the great visual critics of twentieth century film and photography.

Fug You is Ed Sanders’s unapologetic and often hilarious account of eight key years of “total assault on the culture,” to quote his novelist friend William S. Burroughs.Fug You traces the flowering years of New York’s downtown bohemia in the sixties, starting with the marketing problems presented by publishing Fuck You / A Magazine of the Arts, as it faced the aboveground’s scrutiny, and leading to Sanders’s arrest after a raid on his Peace Eye Bookstore. The memoir also traces the career of the Fugs–formed in 1964 by Sanders and his neighbor, the legendary Tuli Kupferberg (called “the world’s oldest living hippie” by Allen Ginsberg)–as Sanders strives to find a home for this famous postmodern, innovative anarcho-folk-rock band in the world of record labels.

Truth in advertising: this cigar box-style raw wood case, 12 x 19 inches, is stamped Beat Bible / 2 Books in 1 / Beat & Pieces / + Beat Books. And that’s what it is. The first of its two titles, Beat & Pieces, is a previously released but little-known generational history in Allen Ginsberg’s enlightening Beat-era photographs and handwritten notes alongside Fernanda Pivano’s contextual essay. The second title, Beat Books, which appears in its first edition here, catalogues the covers of the most seminal Beat publications–from Lawrence Ferlinghetti’s A Coney Island of the Mind to Ginsberg’s Howl to Jack Kerouac’s On the Road, alongside lesser-known books and a wide variety of anthologies and journals featuring such key voices as Gregory Corso, William Burroughs and Brion Gysin, among others. It lovingly collects Evergreen paperbacks, Two Cities editions, the bright red Pocket Poets volumes, and even a mass-market Signet paperback entitled Beat Beat Beat: A Hip Collection of Cool Cartoons About Life and Love Among the Beatniks.

Acid Dreams is the complete social history of LSD and the counterculture it helped to define in the sixties. Martin Lee and Bruce Shlain’s exhaustively researched and astonishing account — part of it gleaned from secret government files — tells how the CIA became obsessed with LSD as an espionage weapon during the early 1950s and launched a massive covert research program, in which countless unwitting citizens were used as guinea pigs. Though the CIA was intent on keeping the drug to itself, it ultimately couldn’t prevent it from spreading into the popular culture; here LSD had a profound impact and helped spawn a political and social upheaval that changed the face of America. From the clandestine operations of the government to the escapades of Timothy Leary, Abbie Hoffman, Ken Kesey and his Merry Pranksters, Allen Ginsberg, and many others, Acid Dreams provides an important and entertaining account that goes to the heart of a turbulent period in our history. Book jacket.

Premiere issue of Les Levine’s short-lived Culture Hero, a satirical tabloid/fanzine that covered the downtown art scene in New York. Contents include a lengthy interview with Peter Fonda, a profile on actress Joy Bang, a substantial article on Roy Lichtenstein, an Allen Ginsberg centerfold, with contributions by John Giorno, Anne Waldman, John Margolies, Claudia Dreifus, Jean Fields, and Lennox Raphael.

Contents:
“An Interview with Peter Fonda,” by Elizabeth Campbell; “The Culture Heroine of the Month : Joy Bang,” by Claudia Dreifus; “Latimer on Lichtenstein,” by D.A. Latimer; “Drowning Girl,” illustration by Mr. and Mrs. C.B. Wright; “Vitamin G,” by John Giorno; “Allen Ginsberg, Polymorphous Hero,” photographs by Ben Fernandez; “Monty Hall : TV Super-Star,” by John Margolies; poetry by Anne Waldman; “Nude! Nude! Nude!” by Claudia Dreifus; “Film,” by Jean Fields; “Lennox Rafael,” by Dan Mouer.

Birth of a Psychedelic Culture, an extraordinary new book, shines a bright light on the emergence of the sixties culture and the experiments with mind-altering substances undertaken by Professors Timothy Leary, Richard Alpert (Ram Dass) and then-Harvard graduate student Ralph Metzner. Based on a series of con-versations between Metzner and Ram Dass and recorded by psychiatrist and author Gary Bravo, this book describes their initial experiments at Harvard, the experiments after they were dismissed from Harvard, their journeys to India and their reflections on that transformative era. Birth of a Psychedelic Culture is filled with never before published photographs. Luminaries who appear in this astonishing account include: Aldous Huxley, Allen Ginsberg, R.D. Laing, Charles Mingus, Maynard Ferguson and William Burroughs, as well as many lesser known personalities. These include convicts, graduate students and Vedantist monks! In addition to reviewing the experiments, the conversations offer vividly-recalled descriptions of particular trips, with profound insights into the nature of hallucinogens and the role they can play in transcending social conditioning. Included in Birth of a Psychedelic Culture are personal commentaries from some of the other players integral to the scene: Peggy Hitchcock, the Mellon Foundation heiress; Dr. George Litwin, Harvard professor and author; Dr. Gunther Weil, psychologist and educator; Dr. Michael Kahn, clinical psychologist and Professor Emeritus at USC, Santa Cruz; poet Dr. Elsa von Eckartsberg; Dr. George Litwin, organizational behavior consultant; Dr. Paul Lee, professor of philosopy and religion, UC Santa Cruz; Dorothy Fadiman, award winning filmmaker; Lisa Ferguson, and many others. No understanding of the history of the sixties could ever be complete without a grasp of the work of Leary, Alpert, and Metzner, the cultural resistance to their experiments, and the way in which psychoactive drug use became a part of contemporary society.