In 1967-1968, a small group of talented people in the San Francisco Bay Area came together to form a short-lived but highly inventive poster and notecard company, East Totem West. Its founder, Joseph McHugh, took the poster -- heretofore used primarily as a travel enticement or concert announcement -- to a new, revolutionary place: the poster as art. East Totem West's posters and notecards sold by the thousands to the growing generation of hippies, free thinkers, bohemians, and individualists who were thriving in San Francisco and had begun to find themselves all over America. This book tells the story of the rise and fall of the company and brings together for the first time the now-legendary works of the East Totem West artists.

Readers are invited to take a time trip through the mind-blowing era of psychedelics with this illustrated narrative, peppered with personal recollections about rock music and radical culture. Includes rare photos of players, album covers, and record labels. 200 photos, some in color.

A riveting survey of almost three hundred posters, revealing a history of Bay Area artists, activists, and movements from the 1960s to 2012. This catalog of political posters pays homage to an influential and populist art movement that has created some of the most enduring imagery of our time. In All of Us or None, author Lincoln Cushing examines key selections from a remarkable archive of over 24,000 posters amassed by free speech movement activist, author, and educator Michael Rossman over the course of thirty years. This inspiring collection of Bay Area posters illuminates the history of this ad-hoc and ephemeral art form, celebrating its unique capacity to infuse contemporary issues with the urgency and energy of the eternal fight for justice. Featuring posters on topics as diverse as civil rights, war, poverty, the environment, music, women’s liberation, fine art, and gentrification, All of Us or None shows us why the Bay Area was such fertile breeding ground for the genre and why it arguably produced more independent political posters than anywhere else on earth. Here is an exhilarating history of artists, studios, printshops, distributors, activists, icons, and changemakers—among them R. Crumb, Stanley Mouse, Cesar Chavez, Max Scherr, Emory Douglas, Angela Davis, the San Francisco Mime Troupe, Bill Graham, and Pete Seeger—together raising their voices in opposition to the status quo. In spring of 2012, the Oakland Museum of California presented its first comprehensive exhibition of this recently acquired treasure; the show, along with this book, presented an unbroken narrative of passionate social justice printmaking from the mid-1960s to 2012. “This engaging catalogue surveys nearly 300 of the late Michael Rossman’s enormous collection of over 24,000 San Francisco Bay Area social justice posters . . . . With fluid, highly accessible prose, Cushing traces the lineage of images that have now become iconic, such as Frank Cieciorka’s often quoted clenched fist, or the Black Panther Party’s panther symbol as rendered by Emory Douglas and others.” —Publishers Weekly “An extremely remarkable and useful book: remarkable because it brings back so many of the memorable images of rebellion political, cultural, and both together from a past now rapidly receding, and useful because in our new era of protest, creative expression in artistic forms is more badly needed than ever. Lincoln Cushing, a distinguished scholar of political art, has given us a small masterpiece.” —Paul Buhle, publisher of the SDS magazine Radical America and author of more than forty books on radical politics and culture

The San Francisco Bay Area was a meeting point for radical politics and counterculture in the 1960s. Until now there has been little understanding of what made political culture here unique. This work explores the development of a regional culture of radicalism in the Bay Area, one that underpinned both political protest and the counterculture.

San Francisco and the Long 60s tells the fascinating story of the legacy of popular music in San Francisco between the years 1965-69. It is also a chronicle of the impact this brief cultural flowering has continued to have in the city – and more widely in American culture – right up to the present day. The aim of San Francisco and the Long 60s is to question the standard historical narrative of the time, situating the local popular music of the 1960s in the city's contemporary artistic and literary cultures: at once visionary and hallucinatory, experimental and traditional, singular and universal. These qualities defined the aesthetic experience of the local culture in the 1960s, and continue to inform the cultural and social life of the Bay Area even fifty years later. The brief period 1965-69 marks the emergence of the psychedelic counterculture in the Haight-Ashbury neighbourhood, the development of a local musical 'sound' into a mainstream international 'style', the mythologizing of the Haight-Ashbury as the destination for 'seekers' in the Summer of Love, and the ultimate dispersal of the original hippie community to outlying counties in the greater Bay Area and beyond. San Francisco and the Long 60s charts this period with the references to received historical accounts of the time, the musical, visual and literary communications from the counterculture, and retrospective glances from members of the 1960s Haight community via extensive first-hand interviews. For more information, read Sarah Hill's blog posts here: http://blogs.cardiff.ac.uk/musicresearch/2014/05/15/san-francisco-and-the-long-60s http://blogs.cardiff.ac.uk/musicresearch/2014/08/22/city-scale/ http://blogs.cardiff.ac.uk/musicresearch/2015/07/21/fare-thee-well/

A collection of reminiscences that illuminate the career and private life of the iconic author of 'Slaughterhouse-Five' Kurt Vonnegut (1922–2007), who began his writing career working for popular magazines, held both literary aspirations and an attraction to genre fiction. His conspicuous refusal to respect literary boundaries was part of what made him a countercultural icon in the 1960s and 1970s. Vonnegut’s personal life was marked in large part by public success and private turmoil. Two turbulent marriages, his sudden adoption of his late sister’s four children (and the equally sudden removal of one of those children), and a mid-eighties suicide attempt all signaled the extent of Vonnegut’s inner troubles. Yet, he was a generous friend to many, maintaining close correspondences throughout his life. Kurt Vonnegut Remembered gathers reminiscences—by those who knew him intimately, and from those met him only once—that span Vonnegut’s entire life. Among the anecdotes in this collection are remembrances from his immediate family, reflections from his comrades in World War II, and tributes from writers he worked with in Iowa City and from those who knew him when he was young. Editor Jim O’Loughlin offers biographical notes on Vonnegut’s relationship with each of these figures. Since Vonnegut’s death, much has been written on his life and work, but this new volume offers a more generous view of his life, particularly his last years. In O’Loughlin’s introduction to the volume, he argues that we can locate and understand Vonnegut’s best self through his public persona, and that in his performance as the kind and humane figure that many of the speakers here knew him as, Vonnegut became a better person than he ever felt himself to be.

Whether Inspiring, Incomprehensible, insightful, bleak, or absurd, last words can be spoken by the living as well as the dying. Among the dying, last words are truly final, as was the case with Dylan Thomas, who uttered "I've just had eighteen straight whiskeys. I think that's the record." Famous Last Words records the parting shots of dozens of folks no longer with us, from those dead for political reasons to those who themselves decided to end it all. And it records the words of those who went on with their lives after uttering a memorable farewell but whose reputation was made by their words, often to their lasting frustration, such as the infamous Richard Milhous Nixon: "You won't have me to kick around anymore, because, gentlemen, this is my last press conference." Famous Last Words also preserves the last words of those inhabiting the world of fiction, whether in a book, on the stage, in a movie or on TV. Blanche DuBois's "I have always depended on the kindness of strangers" ranks right alongside Charles Foster Kane's "Rosebud" and Sidney Carton's "It is a far, far better thing that I do, than I have ever done. . . ." The mutterings of the imagined are always floating around in our culture's consciousness, kicking lustily. Author Alan Bisbort consulted unimpeachable sources and original texts in compiling this compendium of 140 choice good-byes. But not only the farewells capture our attention: Bisbort's concise, witty, and informative text adds revealing context to the quoted words. Famous Last Words is fascinating, illuminating, and immensely rewarding. Reading through the pages may reveal some unifying impulse behind all those bye-byes; if so, you have truly stumbled uponthe meaning of life.