This fascinating and in-depth biography of Neal Cassady takes a look at the man who achieved immortality as Dean Moriarty, the central character in Jack Kerouac's "On the Road." A charismatic, funny, articulate, and formidably intelligent man, Cassady was also a compulsive womanizer who lived life on the edge. His naturalistic, conversational writing style inspired Kerouac, who lifted a number of passages verbatim and uncredited from Cassady's letters for significant episodes in "On the Road." Drawing on a wealth of new research and with full cooperation from central figures in his life--including Carolyn Cassady and Ken Kesey--this account captures Cassady's unique blend of inspired lunacy and deep spirituality.
By the time Lucien Carr stabbed David Kammerer to death on the banks of the Hudson River in August 1944, it was clear that the hard-partying teenage companion to Jack Kerouac, Allen Ginsberg, Neal Cassady, and William S. Burroughs might need to reevaluate his life. A two-year stint in a reformatory straightened out the wayward youth but did little to curb the wild ways of his friends. MANIA tells the story of this remarkable group—who strained against the conformity of postwar America, who experimented with drink, drugs, sex, jazz, and literature, and who yearned to be heard, to remake art and society in their own libertine image. What is more remarkable than the manic lives they led is that they succeeded—remaking their own generation and inspiring the ones that followed. From the breakthrough success of Kerouac's On the Road to the controversy of Ginsberg's Howl and Burroughs' Naked Lunch, the counterculture was about to go mainstream for the first time, and America would never be the same again. Based on more than eight years’ writing and research, Ronald Collins and David Skover—authors of the highly acclaimed The Trials of Lenny Bruce—bring the stories of these artists, hipsters, hustlers, and maniacs to life in a dramatic, fast-paced, and often darkly comic narrative.
This book offers a concise overview of the social, cultural, and aesthetic sensibilities of the Beat Generation, explaining how their drastic visions and radical styles challenged postwar America's dominant values in ways that can still be felt in literature, cinema, music, theatre, and the visual arts.
This vivid New York Times bestseller about 1950s America from a Pulitzer Prize–winning journalist is “an engrossing sail across a pivotal decade” (Time). Joe McCarthy. Marilyn Monroe. The H-bomb. Ozzie and Harriet. Elvis. Civil rights. It’s undeniable: The fifties were a defining decade for America, complete with sweeping cultural change and political upheaval. This decade is also the focus of David Halberstam’s triumphant The Fifties, which stands as an enduring classic and was an instant New York Times bestseller upon its publication. More than a survey of the decade, it is a masterfully woven examination of far-reaching change, from the unexpected popularity of Holiday Inn to the marketing savvy behind McDonald’s expansion. A meditation on the staggering influence of image and rhetoric, The Fifties is vintage Halberstam, who was hailed by the Denver Post as “a lively, graceful writer who makes you . . . understand how much of our time was born in those years.” This ebook features an extended biography of David Halberstam.
NOW AN EBOOK FOR THE FIRST TIME For fifty years and more than two thousand shows, the Grateful Dead have been earning the "deadication" of more than a million fans. Along the way, Deadheads have built an original and authentic American subculture, with vivid jargon and rich love, and its own legends, myths, and spirituality. Skeleton Key: A Dictionary for Deadheads is the first map of what Jerry Garcia calls "the Grateful Dead outback," as seen through the eyes of the faithful, friends, and family, including Bill Walton, Elvis Costello, Tipper Gore, Al Franken, Bob Bralove, Dick Latvala, Blair Jackson, David Gans, Bruce Hornsby, Rob Wasserman, and Robert Hunter. Skeleton Key puts you on the Merry Pranksters' bus behind the real Cowboy Neal, uncovers the origins of Cherry Garcia, follows the dancing bear on its trip from psychedelic artifact to trademarked icon, and unlocks the Dead's own tape vault. Informative reading for the new fan or the most grizzled "tourhead," Skeleton Key shines throughout with Deadheads' own stories, wit, insiders' knowledge, sincere appreciation of the music of the "band beyond description," and the diverse and soulful culture it inspires.
Who were the beats? Not the sandle-clad "beatniks" of popular lore but dedicated writers, experimenters, skit improvisers, theorizers, hedonists, close friends, bisexual free lovers, shapers of the future. The beats hung out at Columbia university and cheap Times Square cafeterias, devouring ideas. David Creighton shows how the world has taken up their message. In Ecstasy of the Beats he gives a fresh portrait of Carolyn Cassady, "Queen of the Beats," and of the four major Beat writers. Jack Kerouac's On the Road gave a pattern of adventure to restless youth, Allen Ginsberg donned a prophet's robe by writing Howl, William Burroughs warned against control mechanisms in Naked Lunch, and Neal Cassady's high-energy life made him an icon of freedom. Travelling widely to see where they lived, Creighton enriches the meaning of On the Road and other Beat classics. He invites the reader on the Beats' journey toward ever-deeper levels of understanding and provides interesting insight into Kerouacs French-Canadian roots.
The first book-length study of why the Beats were so fascinated by Mexico and how they represented its landscape, history, and mystical practices in their work, this volume examines such canonical figures as Kerouac, Burroughs, Ginsberg, Lamantia, McClure, and Ferlinghetti, as well as lesser-known female Beat writers like Margaret Randall, Bonnie Bremser, and Joanne Kyger.
Lawrence Ferlinghetti’s name does not appear in any First Amendment treatise or casebook. And yet when the best-selling poet and proprietor of City Lights Books was indicted under California law for publishing and selling Allen Ginsberg’s poem, Howl, Ferglinghetti buttressed the tradition of dissident expression and ended an era when minds were still closed, candid literature still taboo, and when selling banned books was considered a crime. The People v. Ferlinghetti is the story of a rebellious poet, a revolutionary poem, an intrepid book publisher, and a bookseller unintimidated by federal or local officials. There is much color in that story: the bizarre twists of the trial, the swagger of the lead lawyer, the savvy of the young ACLU lawyer, and the surprise verdict of the Sunday school teacher who presided as judge. With a novelist’s flair, noted free speech authorities, Ronald K. L. Collins and David Skover tell the true story of an American maverick who refused to play it safe and who in the process gave staying power to freedom of the press in America. The People v. Ferlinghetti will be of interest to anyone interested the history of free speech in America and the history of the Beat poets.
Popular Lost Cities author David Hatcher Childress takes to the road again in search of lost cities and ancient mysteries. This time he is off to the American Southwest, traversing the region’s deserts, mountains and forests investigating archeological mysteries and the unexplained. Join David as he starts in northern Mexico and searches for the lost mines of the Aztecs. He continues north to west Texas, delving into the mysteries of Big Bend, including mysterious Phoenician tablets discovered there and the strange lights of Marfa. He continues northward into New Mexico where he stumbles upon a hollow mountain with a billion dollars of gold bars hidden deep inside it! In Arizona he investigates tales of Egyptian catacombs in the Grand Canyon, cruises along the Devil’s Highway, and tackles the century-old mystery of the Superstition Mountains and the Lost Dutchman mine. In Nevada and California Childress checks out the rumors of mummified giants and weird tunnels in Death Valley, plus he searches the Mohave Desert for the mysterious remains of ancient dwellers alongside lakes that supposedly dried up tens of thousands of years ago. It’s a full-tilt blast down the back roads of the Southwest in search of the weird and wondrous mysteries of the past!
The Twilight of Romanticsm is a fascinating account of the lives and literature of French Bohemian poets and writers of the Beat Generation in 1950's America. Beginning in 19th century France, every youth generation has developed a group of rebel artists and literary outlaws who defied the middle class conventions of their time in an attempt to create new forms of literature. These artists were the first ones to experiment with all kinds of depravity including mind-expanding drugs, insanity, excessive drinking, sexual experimentation and a chronic inability to settle down to a normal life. This book will appeal to those persons interested in the poetic visions of Bob Dylan, the sense-of-dread lyrics of Jim Morrison,the free form poetry of Allen Ginsberg, and the spontaneous prose of Jack Kerouac. In addition, Twilight offers a unique insight into the conflict between the desires of self-expression, creative artists and the utilitarian demands of a consumer-ridden, money obsessed culture.
David Burner's panoramic history of the 1960s conveys the ferocity of debate and the testing of visionary hopes that still require us to make sense of the decade. He begins with the civil rights and black power movements and then turns to nuanced descriptions of Kennedy and the Cold War, the counterculture and its antecedents in the Beat Generation, the student rebellion, the poverty wars, and the liberals' war in Vietnam. As he considers each topic, Burner advances a provocative argument about how liberalism self-destructed in the 1960s. In his view, the civil rights movement took a wrong turn as it gradually came to emphasize the identity politics of race and ethnicity at the expense of the vastly more important politics of class and distribution of wealth. The expansion of the Vietnam War did force radicals to confront the most terrible mistake of American liberalism, but that they also turned against the social goals of the New Deal was destructive to all concerned. Liberals seemed to rule in politics and in the media, Burner points out, yet they failed to make adequate use of their power to advance the purposes that both liberalism and the left endorsed. And forces for social amelioration splintered into pairs of enemies, such as integrationists and black separatists, the social left and mainline liberalism, and advocates of peace and supporters of a totalitarian Hanoi. Making Peace with the 60s will fascinate baby boomers and their elders, who either joined, denounced, or tried to ignore the counterculture. It will also inform a broad audience of younger people about the famous political and literary figures of the time, the salient moments, and, above all, the powerful ideas that spawned events from the civil rights era to the Vietnam War. Finally, it will help to explain why Americans failed to make full use of the energies unleashed by one of the most remarkable decades of our history.
From Allen Ginsberg's 'angel-headed hipsters' to angelic outlaws in Essex Hemphill's Conditions, angelic imagery is pervasive in queer American art and culture. This book examines how the period after 1945 expanded a unique mixture of sacred and profane angelic imagery in American literature and culture to fashion queer characters, primarily gay men, as embodiments of 'bad beatitudes'. Deutsch explores how authors across diverse ethnic and religious backgrounds, including John Rechy, Richard Bruce Nugent, Allen Ginsberg, and Rabih Alameddine, sought to find the sacred in the profane and the profane in the sacred. Exploring how these writers used the trope of angelic outlaws to celebrate men who rebelled wilfully and nobly against religious, medical, legal and social repression in American society, this book sheds new light on dissent and queer identities in postmodern American literature.
If you need the short answer to aSection 1983question, and you can't afford to waste time running down the wrong research path, turn to theHandbook of Section 1983 Litigation, 2010 Edition. This essential guide is designed as the practitioner's desk book. It provides quick and concise answers to issues that frequently arise inSection 1983cases, from police misconduct to affirmative actions to gender and race discrimination. It is organized to help you quickly find the specific information you need whether you're counsel for the plaintiff or defendant. You will find a clear, concise statement of the law governing every aspect of aSection 1983claim, extensive citation to legal authority, every major Supreme Court ruling onSection 1983, as well as key opinions in every circuit, and a detailed overview of case law.TheHandbook of Section 1983 Litigation, 2010 Editionis written by David Lee, a practicing expert with 20 years of litigation experience. He has lectured on civil rights topics before thousands of litigators during his career, and argued four cases before the United States Supreme Court, as well as numerous cases before the Tenth Circuit Court of Appeals. This new updated2010 Editionfeatures coverage of recent importantSection 1983U.S. Supreme Court cases including:Fitzgerald v. Barnstable School CommitteeBaze v. ReesCrawford v. Marion County Election BoardPearson v. CallahanRothgery v. Gillespie CountyEngquist v. Oregon Department of AgricultureLocke v. KarassVan de Kamp v. GoldsteinThis is the one reference to keep at your fingertips at a hearing, trial, or deposition when dealing withSection 1983cases.
A student guide to understanding literary movements, featuring entries on fourteen movements, each with information in the areas of representative authors and works, themes, style, movement variations, and historical context, as well as a critical overview.
This work covers 840 intentional suicide cases initially reported in Daily Variety (the entertainment industry's trade journal), but also drawing attention from mainstream news media. These cases are taken from the ranks of vaudeville, film, theatre, dance, music, literature (writers with direct connections to film), and other allied fields in the entertainment industry from 1905 through 2000. Accidentally self-inflicted deaths are omitted, except for a few controversial cases. It includes the suicides of well-known personalities such as actress Peg Entwistle, who is the only person to ever commit suicide by jumping from the top of the Hollywood Sign, Marilyn Monroe and Dorothy Dandridge, who are believed to have overdosed on drugs, and Richard Farnsworth and Brian Keith, who shot themselves to end the misery of terminal cancer. Also mentioned, but in less detail, are the suicides of unknown and lesser-known members of the entertainment industry. Arranged alphabetically, each entry covers the person's personal and professional background, method of suicide, and, in some instances, includes actual statements taken from the suicide note.
Beat Film, Beat Writers is the first monograph to analyze the films of Christopher Maclaine, Lawrence Jordan, ruth weiss, Ron Rice, Robert Frank, Barbara Rubin, Shirley Clarke, William S. Burroughs, and Joanne Kyger. The book is noteworthy for its emphasis on women filmmakers who have traditionally been excluded from close analysis by film scholars. Beat Film, Beat Writers also explores the ways Beat authors such as Philip Lamantia, Michael McClure, Diane di Prima, Wiliam S. Burroughs, Allen Ginsberg, Jack Kerouac, Peter Orlovsky, Gregory Corso, Joanne Kyger, and others became deeply involved with the film communities of New York and California. The book discusses their roles as both actors and participants in the making of these films and demonstrates how many of the same themes that characterized Beat literature surface in cinema. The anxiety over the possibilities of nuclear war, the search for deeper modes of spirituality in the study of Buddhism as well as occult and esoteric systems, the struggle for equality for the LGBTQ+ community, the beginnings of the ecological movement, and the fight against censorship and the open depiction of sexuality are all themes that occur both in Beat film and in Beat literature. Beat Film, Beat Writers also features an Epilogue on the cinema of singer and poet Jim Morrison, who, although not part of the Beat movement, was deeply influenced by Beat literature and carried on many of the aesthetic and philosophical aims of the Beats into the late sixties.
David Amram has been described as "the Renaissance man of American Music." His musical career has spanned participating with Jack Kerouac in the original jazz-poetry reading in 1957 in Greenwich Village to being honored as the first Composer-in-Residence for the New York Philharmonic and to playing in Farm Aid concerts. He's performed with an incredible variety of musical greats, such as Dizzy Gillespie, Thelonius Monk, Willie Nelson, and and Tito Puente, and he continues to compose and tour nationally. Now available in paperback, following the 50th anniversary of the publication of Kerouac's classic On The Road, Offbeat is the rollicking story of this legendary musician and his adventures with his close friend Jack Kerouac. Amram and Kerouac shared a relationship based on creativity, respect, and fun, and Offbeat offers the reader a full share of each. This wonderful memoir takes the reader from the coffee houses of New York to the San Francisco Opera House and into the making of the now-classic film Pull My Daisy. Offbeat is Amram's energetic and heartfelt account of Kerouac and the creative community of artists-including Allen Ginsberg, Gregory Corso, Langston Hughes, and Neal and Carolyn Cassady-that courageously explored their creative potential and, in doing so, changed American culture forever.
Film critic David Sterritt presents an interdisciplinary exploration of the Beat Generation, its intersections with main-stream and experimental film, and the interactions of all of these with American society and the culture of the 1950s. Sterritt balances the Beat countercultural goal of rebellion through both artistic creation and everyday behavior against the mainstream values of conformity and conservatism, growing worry over cold-war hostilities, and the "rat race" toward material success. After an introductory overview of the Beat Generation, its history, its antecedents, and its influences, Sterritt shows the importance of "visual thinking" in the lives and works of major Beat authors, most notably Jack Kerouac, Allen Ginsberg, and William S. Burroughs. He turns to Mikhail Bakhtin's dialogic theory to portray the Beat writers-who were inspired by jazz and other liberating influences-as carnivalesque rebels against what they perceived as a rigid and stifling social order. Showing the Beats as social critics, Sterritt looks at the work of 1950s photographers Robert Frank and William Klein; the attack against Beat culture in the pictures and prose of Life magazine; and the counterattack in Frank's film Pull My Daisy, featuring key Beat personalities. He further explores expressions of rebelliousness in film noir, the melodramas of director Douglas Sirk, and other Hollywood films. Finally, Sterritt shows the changing attitudes toward the Beat sensibility in Beat-related Hollywood movies like A Bucket of Blood and The Beat Generation; television programs like Route 66 and The Many Loves of Dobie Gillis; nonstudio films like John Cassavetes's improvisational Shadows and Shirley Clarke's experimental The Connection; and radically avant-garde works by such doggedly independent screen artists as Stan Brakhage, Ron Rice, Bruce Connor, and Ken Jacobs, drawing connections between their achievements and the most subversive products of their Beat contemporaries.
This is a multidisciplinary analysis of the relationship between the motor car and popular culture in the 20th century, which brings together original essays by academics in the UK, North America and Australia. The contributors write from a wide range of disciplinary perspectives, including semiotics, social history, literary and film criticism, and musicology. Three main themes are addressed: the car as a cultural image; its impact on leisure and entertainment; and the cultural significance of the processes of manufacturing and selling cars.
For twenty years, Miki "Da Cat" Dora was the king of Malibu surfers—a dashing, enigmatic rebel who dominated the waves, ruled his peers' imaginations, and who still inspires the fantasies of wannabes to this day. And yet, Dora railed against surfing's sudden post-Gidget popularity and the overcrowding of his once empty waves, even after this avid sportsman, iconoclast, and scammer of wide repute ran afoul of the law and led the FBI on a remarkable seven-year chase around the globe in 1974. The New York Times named him "the most renegade spirit the sport has yet to produce" and Vanity Fair called him "a dark prince of the beach." To fully capture Dora's never-before-told story, David Rensin spent four years interviewing hundreds of Dora's friends, enemies, family members, lovers, and fellow surfers to uncover the untold truth about surfing's most outrageous practitioner, charismatic antihero, committed loner, and enduring mystery.
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