Hoberman (J.

We look for history to map the future.

I came to this basic reaffirm while reading J. Hoberman’s latest, addictive, grand cultural history. Everything is now: 1960s New York avant-all-ups-main events, underground movies, radical pop music. The title snake promises a lot to chew, and the book offers it. But while in its semi-stubborn, breathing call to the exciting art era of the 1960s, I can’t help but reflect on the three nominal words of the present, when the book greets us, it may be what it is now.

Hoberman gives us a flickering analysis of various art ages in his culture of midnight film culture, paranoid 1960s or Reagan’s 1980s Mirquite films. Jonas Mekas is Jonas Mekas, the mentor of Hoberman’s, Doyen of the city’s experimental film, and a self-proclaimed poet who discovers beauty in others’ so unthinking of pornography (Jack Smith) Burning creatures), celebrity belly button (Yoko ono on Yoko on troublery movie), or wasting time and time (Andy Warhol) empire).

Mecas also co-founded the New York anthology film archive, J. Hoberman will offer a range of shorts in June, and he’s Everything is now. This book, in fact, is the era, and is provided by the film with the latest thinking about it: the portrait of Shirley Clarke’s Black Gay Gigolo Jason; the matchmaker of Jack Smith’s and Paul Morrissey, the lively charm of cheap-o b-hollywood. Mekas and Robert Frank’s horror movies about friends are shot like a camera finally shot with a pencil. There are also “events” that attract attention, wild strobes and light shows, music piercing the underground velvet guitar or goldy and gingerbread in a mess, and the party people will give up as the dance physically casts a lively movie. The key here is approaching, Manhattan’s hips to boats, cafes to stages, making life in the city so messy. In the chaos of the 1960s, the idea of ​​alternative futures flowed.

read Everything is now Like facing a rolling avalanche, it doesn’t matter if you live (D) or Die (D): the heinous events among diasporas are stuck one by one, popcorn string style, with little comment or author judgment. Harlem’s Uprising and a Group of Harlem A cool world (1963) produced by Shirley Clarke and produced by Frederick Wiseman; a week later, Warhol and Mekas were shot all night long afterwards. empire, Ultimate American Movie: Eight Hours of Penis Empire Tower shrouded in the darkness and then illuminated by dawn.

In 1968, a black-skinned Diane Arbus floated in downtown Mickey from her apartment on 120 East 10th Street, sitting in the park with future Mrs. Paul McCartney, where she discussed F-Spop. At the five-position cafe, Harry Smith listened to Allen Ginsberg as they listened to Thelonious Monk, Smith wrote down the advance or behind the piano ball of beat monks. Smith met each other some early nights and soon played one of his hieroglyphic movies, which forced Ginsberg Wizard of Oz. But the project collapsed, the fourth and biggest supporter suicide, was a horse breeding millionaire. c’estcommeça. Svengali, Uncle Andy’s ’68’68 assassination case was stabbed by another Kennedy killing, Hoberman reported: “Ray Johnson saw the next morning Daily News Headline actress shoots Andy Warhol, robbed at Knife Point, leaving New York City never returns. “It’s a kind of honor for Hoberman’s horror wit as a storyteller who held hundreds of crazy events in New York in the 1960s, just like everything.

You will need to keep your notebook handy to note down which of the many cultural objects you want to discover or revisit in this book. Hoberman correctly identify visionary LPs Yoko Yoko/Plastic Band (1970) as the climax of the long and winding road from John Cage’s class to the room street loft, to the infamous of Fluxus to the counterculture star, and considering Ono’s and John Lennon’s billboard reading the war “The war is over! Political nature in harmony with the Beatles’ famous three-part harmony.

Elsewhere, the author compiled the jazz/rock debate (late 1960s flirting) from jazz artist Miles Miles Miles Davis (Miles Miles Davis) by compiling the late 1960s R&B flirting and more “business” 4/4 rhythm (Brew bits in a silent way) and Albert Ayler (New Grass). In particular, Hoberman made me finally listen to the last three albums of Ayler’s overly short life, and I found myself surprised with music critic Robert Christgau, who praised Ayler’s later revival of “the stylish male high price made up for the early R&B.” The debate was not relevant to Hoberman, but his taste and encyclopedia’s collection of American culture were encouraging.

Most importantly, Hoberman demonstrates the natural fluidity of art, film, music and writing, which are still confusing to each other and cause damage to all. Nearly 50 years have passed since the great painter criticized Manny Farber for the difference between painting and criticism. Movie Review: “The cruel fact is that they are exactly the same.” He continued to condemn “provincial” American criticism, in Farber’s eyes, “not realizing the cross-border of art…it seems like there is a law in film criticism that you should not participate in other art forms.” The status quo remains. Since his landmark collection vulgar modernism, Hoberman shows that this rope is historic. Nothing will bloom without cross-pollination.

Hoberman’s last line, haunting to remember what he wrote: “Memoirs, though not me.” The book draws off the unconscious Others in East Village and Countryside sound, Warhol’s explosion of plastic inevitably and Jerry Schatzberg’s legendary loft party, their youth-led hope, one can imagine that one can escape the situation of the Cold War in the United States, cold water apartments and shattered soho floors, in a dull gentrification, late night, in Bleecker, Dan Talbot’s Dan Talbot’s Dan Talbot’s New York film, and in a new year, in a movie theater in New York, and in a movie theater in New York, and in a movie theater in New York. I never experienced anything in person when I was 28, but the cinematic glory of Hoberman’s history writing makes them so compelling that it makes me feel as if I have it.