Hippie (Hardcover)

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Key Phrases: hippie scene, underground scene, San Francisco, New York, Los Angeles (more...)

Editorial Reviews

From Publishers Weekly

Biographer of Allen Ginsberg, William Burroughs, Jack Kerouac and the Beat Movement itself, Miles broadens his scope to the years 1965 through 1971, a time that "really was about sex and drugs and rock ’n’ roll." This massive catalog tries to cram it all in, with quotes from groovy personalities (Timothy Leary, John Lennon, Ken Kesey, Wavy Gravy, Abbie Hoffman, Grace Slick, Frank Zappa), posters and album sleeves (Buffalo Springfield, the Doors, Big Brother and the Holding Company), period photographs (antiwar protests, love-ins, mobile communes, Haight-Ashbury), and stray ephemera (a napkin from the Whiskey A Go Go). Musicians take precedence over artists: readers looking for Peter Max or R. Crumb won’t even find them in the index. Despite the tremendous assemblage, the volume lacks a coherent organization. The table of contents, divided by years, has no page numbers. A section on the Watts Riots is sandwiched between the Byrds and Leary. More an affectionate scrapbook of the psychedelic moment than a trenchant history of the countercultural movement, this collection will appeal primarily to memorabilia enthusiasts. Over 600 full-color and b/w illustrations.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist

The watershed 1960s can be gloriously re-experienced in the pages of this magnificent, oversize volume. The swinging '60s will live forever for the boomers who came of age in that decade; for their parents, who, at the time, felt uncomfortable with the abrupt shifts they observed in values and attitudes (to say nothing of dress); and now for their children, who listen to the rock music of that era and wonder, Was it really all that cool? Miles uses the hippie as a metaphor for the whole cultural experience of the 1960s and its impact on American--no, world--political and social life. As is so graphically documented here, the hippie was the epitome of the youth culture and very much defined the times. This was the great era of protest; hippies stood outside society, and, from that vantage point, they offered both valid and off-the-wall criticism. This luscious book, its textual accompaniment as spirited as its bounty of dynamic illustrations (including candid photos, album covers, and publicity shots), establishes the wide social boundaries of the movement--from antiwar activities to fashion and music and cinema--and spotlights the individuals most important to the counterculture, from Bob Dylan to Jim Morrison, from Ken Kesey to Abbie Hoffman. And, of course, the new-arrivals-display potential of this book in the public library is rich and varied. Wayne Koestenbaum's biography Andy Warhol (2001) could be set beside it as collateral reading, as could Bruce Spizer's The Beatles Are Coming! (2004) and the Autobiography of Martin Luther King (1998), a collection of King's writings. Also, don't forget to use books and even actual artifacts pertaining to gay liberation, fashions of the time, cinema, and all other aspects of distinctive '60s culture. Brad Hooper
Copyright © American Library Association. All rights reserved

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Product Details

• Hardcover: 384 pages
• Publisher: Sterling (August 1, 2004)
• Language: English
• ISBN-10: 1402714424
• ISBN-13: 978-1402714429
• Product Dimensions: 11.5 x 10.2 x 1.6 inches
• Shipping Weight: 5.2 pounds
• Average Customer Review: 3.9 out of 5 stars  See all reviews (32 customer reviews)
• Amazon.com Sales Rank: #381,940 in Books (See Bestsellers in Books)

Customer Reviews

Most Helpful Customer Reviews

35 of 35 people found the following review helpful:

4.0 out of 5 stars Which Side Were You On?, March 31, 2005

By	G. Bestick (Dobbs Ferry, NY USA) - See all my reviews (REAL NAME)

Hippie is a glossy coffee table book covering the rise and demise of the counterculture during the years from 1965 to 1971. For those who lived through the era, the full-page photos are bound to get some synapses firing (presumably bypassing all those drug-damaged neural junctions). This is essentially a People magazine version of the sixties: lots of breathless headlines and celebrity photos. Writer Barry Miles has dug up some good music gossip, including not very flattering John Lennon anecdotes.

Some serious issues of the era get raised - Vietnam, civil rights, woman's liberation, gay rights - but in a, well, glossy coffee-table-book way. The editorial difficulty in putting together a book of this sort is deciding whether you're celebrating sex, drugs and rock and roll or chronicling a culture in crisis.

The young people in America rose up in mass revulsion against Jell-O molds and tract homes with bomb shelters in the back yard. They hit the road looking for something more optimistic and more fun. Enormous energy went in to trying to alter or bring down the dominant culture. In the civil rights and antiwar movements, people were literally putting their lives on the line. People's "lifestyle choices," as we now call them, had profound repercussions, personally and politically, in ways unimaginable to young people today (soldiers in Iraq excepted). Similar upheavals were happening in Europe, especially France, where the student - worker alliance only dreamed of in the US actually came to pass in the heady spring of 68.

You can get a good debate going by asking which specific event signified the end of the sixties in America. Was it Kent State, where the Ohio National Guard gunned down four student protesters? Altamont, where the peace and love culture broke down on its own without any outside interference? The breakup of the Beatles? Or, even earlier, Nixon's election in 68, which demonstrated the difficulty of changing hearts and minds in America? Barry Miles covers them all here, so you can make up your own mind.

But America has a genius for absorbing new ideas into its vast, spongy middle. Hippie notions of casual sex, recreational drug use, and quirky personal style seeped into suburban living rooms, stripped of any cultural or political critique. In the 1970s, the revolution was not only televised, but merchandised, and the momentum had for sure crested and started to recede. On the plus side, protests at the Miss America pageant led by a tortuous route to housewives in Sioux Falls filling cubicles at insurance and credit card companies. African Americans got access to academia and began moving up the economic ladder. George W. Bush notwithstanding, we work harder to prevent industries from poisoning our air and water.

But there was a time, my children, when hope hung in the air, and personal liberation was a radiant promise. All you had to do was stare out at the future with the right kind of eyes. Clearly the old structures would topple, and gleaming new edifices of our own making would rise to replace them. The apocalyptic change didn't happen, but whether you were partying or protesting, it was a grand time to be alive. Hippie, for all its slickness, is a great memory jogger for those who participated and not a bad introduction for those who missed out on the Age of Aquarius.

18 of 18 people found the following review helpful:

4.0 out of 5 stars Bargain price, excellent pics, ambitious text, February 14, 2005

By	John L Murphy "Fionnchú" (Los Angeles) - See all my reviews (TOP 500 REVIEWER)    (REAL NAME)

Having had my 6th birthday the month Sgt. Pepper appeared, my memories of the hippie era are tied up with childhood. I don't idealize or denigrate the hippie era, and I was curious, after reading TC Boyle's commune novel Drop City, to discover more about what now's forty and not "twenty years ago" today, or close to it now. Miles takes a rather bi-locational look at the era 65-71 or so mostly switching between London and California. Politics are downplayed and music is highlighted, along with drugs, as the forces inspiring fashion, mores, ecology, and sexuality to change. The text may not get the attention that the photos do, but Miles tries hard to hit all of the high points within the parameters described above. A few typos (Mondo Carne, Tasahara, Berry Melton) escape the editor's eye, but I admit that he crams a lot of material into short, easily accessible mini-essays.

One on People's Park, Berkeley effectively distills the whole conflict into a few well-written paragraphs. He gives a quick rundown on the French '68 risings, and notes how--given the lack of translations of Tim Leary, for example, the French took their radicalism more from rock n' roll from abroad to mix with Gallic activism and literary bohemianism. Miles stresses how remote the Beatles had become by the later 60s, influencing from a height what others scurried about to copy and further commodify.

In one essay on the drug culture in SF, early '67, he captures the aftermath of the idealistic Human Be-In in January, in that night's police crackdown on "soft" drugs like pot and LSD and how as if overnight, they and their purveyors were replaced on the streets along with new dealers, of speed and heroin. Miles hints strongly that there was a concerted effort from authorities to undermine SF culture that escalated into the decline of the movement just as it looked at its most utopian, while even by the Summer of Love, the decline has become irreversible.

Other essays, like that on the Weathermen, seem diffused, and confused--the Manson murders are celebrated by Bernadette Dohrn before the murders themselves are examined a few pages later; the SDS receives nearly no attention prior to the Chicago trial; the end years peter out into a dribble of unrelated vignettes before stumbling to a halt with Woodstock '99. One problem: many shorter entries read as if made to fit the page and the graphics, and they suddenly stop at the bottom while leaving you as the reader expecting more coverage on the non-existent next page's continuation. This staccato pace throws off the flow.

Miles wisely stays out of the way himself in nearly all of his narrative, allowing others to be quoted at length. You do learn about personalities like Vito and Szou in '65 on the Sunset Strip, the conflict between the Family Dog and Bill Graham approaches to doing business with/as the counterculture, and the Diggers vs. HIP Haight-Ashbury merchants ideological differences. Valerie Solanas' SCUM manifesto gains citations at length, as does a key ad by Frank Zappa warning the hippies about their smug conformity. What it felt like to have Neal Cassady driving the bus, play at London's Roundhouse, be at Woodstock, or watch a light show in SF all gain credence through carefully chosen details and quotes. Alice Cooper and Led Zep are astutely credited with ushering in the death of the love generation (named by SF police chief Thomas Cahill that night after the Be-In!) and the era of the no-message, good-time arena rock that followed the earnest 60s.

I do wish a glance at the hippie influence abroad--Brazil, Israel, Nepal, Japan, Mexico City--could have been included; the lack of international attention as well as how hippies filtered into suburban life would've been salutory. However, given the "heavy" heft of this large-format work, Miles and his photo compilers have pulled off a handsome and very inexpensively priced presentation. In summary, if you wish to see the rise and fall of the hippie ideals more from an Anglo-American rather than a global perspective, this book offers a glossy and engrossing, if not comprehensive, look at the London-California axis.

14 of 14 people found the following review helpful:

4.0 out of 5 stars A Posers Review, December 29, 2005

By	John P. Morgan "Light Coach" (Beautiful San Dimas, CA) - See all my reviews (TOP 500 REVIEWER)    (REAL NAME)

I was born in 1965 so that makes me 40 now so there are a lot of people who might say I have no buisiness writing a review of a movement I really knew nothing about. Maybe they're right...maybe I am just a poser but I can remember my older relatives being hippies and I grew up thinking that when I grow up I want to be just like that.

Be careful of what you wish for, kid.

I'm a hippie in my own way. I mean, I don't dress like one, I don't have long hair, I do have a beard and I am greatly impressed what the hippie generation tried to do; they attempted to win over a point that Love is where it's at, that Peace can happen, and that the individual is very important. Hippies brought to Light a lot of things that were previously in the dark; different religious beliefs, meditation, the use of psycho-active substances that may or may not lead to a deeper realization of the self and his/her relation to not only each other but to the universe.

Dude...I'm trippin'...

This book is a wonderful testament to those times. There are also a lot of pictures of some really hot hippie chicks. My dad laughed when he saw it on my coffee table after he removed the Nag Champa incense off its cover and read the title. I know I'm a poser! I know I have no right to review this book! Geezh...don't rub it in...but I think everyone has the right to pursue a deep inner peace, a greater love, and a willingness to know that all belong to the same planet, so let's hold hands, brothers and sisters...c'mon, people, smile on your brother, got to love one another right now...

RIGHT NOW...

Yeah, in some ways hippies were "mis-guided" in their attempts to create a better world. We know now that we don't have to support the war in order to support our troops. We know that having sex with everyone in sight may not be the smartest thing in the world. We know that certain chemicals may lead to a greater inner awareness but what do we do with the awareness once we've been blessed enough to receive it?

Once, you're past 30, you can't be hip anymore...but you can always be cool...you can always be well read...you can always stand for what you believe in. Maybe we need a term now for people who still have the passion, the enthusiuasm, and the energy to change things.

May Hippie Power prevail.

C'mon, c'mon...break out the loot and buy the dang thing...