EVERYTHING IS NOW

The creative ferment and “cultural craziness” of 1960s New York City.

Disruption and confrontation were the rules of the day for the New York City avant-garde, from the Beat Generation in full rebel flower as Hoberman’s account begins in the late 1950s to the increasingly violent and politicized counterculture of 1970-71, when it ends. Drawing on interviews with participants and on research in the archives of alternative newspapers, primarily the Village Voice and East Village Other, Hoberman repeats plenty of insider gossip, some of it admittedly unverifiable: Bob Dylan and Andy Warhol’s putative rivalry over Edie Sedgwick, for example, or the film never released because one of the actors made “several tasteless references to Warhol’s sex life.” The dish, plus the mentions of virtually every downtown address where people lived and worked, gives a vivid sense of the ’60s avant-garde as a physically and personally close-knit group and the art they created as a collective enterprise. Minutely detailed descriptions of movies, plays, concerts, and “happenings,” from underground classics (the Living Theatre’s Paradise Now) to the truly obscure (Barbara Rubin’s multimedia event, Caterpillar Changes), also make palpable the period’s anything-goes ethos, although it must be noted that giving equal attention to the epochal and the ephemeral drags down the narrative momentum. Readability is also hampered by Hoberman’s jumbled chronological framework; it’s typical of his scattershot organization that a lively account of the “quintessentially East Village” Ridiculous Theater production Conquest of the Universe, featuring downtown stalwarts Taylor Mead, Mary Woronov, and Ondine, is followed 60 pages (and many intervening stories) later by the information that director John Vaccaro had fired playwright Charles Ludlam and hired a lawyer to prevent him from mounting a competing production. The abrupt ending reinforces the impression of an author not entirely in control of his material. Hoberman’s undisciplined presentation may echo the attitude of its subjects, but it doesn’t make for engaging reading.

Apparently, you had to be there.