Sex, Drugs, and Rock 'n' Roll: The Rise of America's 1960s Counterculture

by Robert C. Cottrell

Overview

Sex, Drugs, and Rock ‘n Roll: The American Counterculture of the 1960s offers a unique examination of the cultural flowering that enveloped the United States during that early postwar decade. Robert C. Cottrell provides an enthralling view of the counterculture, beginning with an examination of American bohemia, the Lyrical Left of the pre-WWII era, and the hipsters. He delves into the Beats, before analyzing the counterculture that emerged on both the East and West coasts, but soon cropped up in the American heartland as well. Cottrell delivers something of a collective biography, through an exploration of the antics of seminal countercultural figures Allen Ginsberg, Jack Kerouac, Timothy Leary, and Ken Kesey. Cottrell also presents fascinating chapters covering “the magic elixir of sex,” rock ‘n roll, the underground press, Haight-Ashbury, the literature that garnered the attention of many in the counterculture, Monterey Pop, the Summer of Love, the Death of Hippie, the March on the Pentagon, communes, Yippies, Weatherman, Woodstock, the Manson family, the women’s movement, and the decade’s legacies.

Product Details

ISBN-13:	9781442246072
Publisher:	Rowman & Littlefield Publishers, Inc.
Publication date:	03/19/2015
Sold by:	Barnes & Noble
Format:	eBook
Pages:	408
File size:	1 MB

About the Author

Robert C. Cottrell has written over twenty books, including biographies of the radical journalist I. F. Stone, ACLU icon Roger Nash Baldwin, and Negro League founder Rube Foster. He is the author most recently of Two Icons: How Hank Greenberg and Jackie Robinson Transformed
Baseball and America. Cottrell, professor of history and American studies at California State University, Chico, has also taught in London; Puebla, Mexico; and Moscow, Russia, in the latter instance as a Distinguished Fulbright Chair. He is currently working on a collective biography
of four key members of the early twentieth-century American left: Crystal Eastman, John Reed, Inez Milholland, and Randolph Bourne.

Table of Contents

Preface
Acknowledgments
Chapter 1: The Precursors: From Utopia to Huxley
Chapter 2: Troubadours for a New American Bohemia: Allen Ginsberg, Jack Kerouac, and the Beats
Chapter 3: The Continued Reception of the Beats
Chapter 4: From Harvard to Millbrook: Timothy Leary
Chapter 5: The Merry Prankster: Ken Kesey
Chapter 6: The Magic Elixir of Sex and a Touch of Anarchism
Chapter 7: The Magic in the Music
Chapter 8: California Dreaming and Haight-Ashbury
Chapter 9: Spreading the Word: Alternative Media
Chapter 10: People of the Book
Chapter 11: From the Human Be-In to the Summer of Love
Chapter 12: The Death of Hippie and Early Postmortems
Chapter 13: Alternative Living
Chapter 14: From Hippie to Yippie on the Way to Revolution
Chapter 15: Fighting in the Streets and the Latest Battle of the Bands
Chapter 16: COINTELPRO and the Millennium
Chapter 17: The Conspiracy, Street Fighting Man, and the Apocalypse
Chapter 18: The Not So Slow Fade
Chapter 19:It’s All Over Now
Notes
Bibliography
Index
About the Author

Editorial Reviews

Robert Cottrell’s book is engagingly written, broadly conceived, and critical without being dismissive. He places the Sixties counterculture in the long stream of American cultural radicalism, a subject he knows better than anyone.

David Steigerwald

It’s all here—not only the 1960s counterculture, but where it came from, how it happened, and how it faded away. Cottrell’s book is a tour de force, with meticulous research, engaging writing, and fascinating subject matter.

Timothy Miller

Cottrell begins this fine narrative of 1960s counterculture with a detailed examination of four 'godfathers' of the movement: Jack Kerouac, Allen Ginsberg, Timothy Leary, and Ken Kesey. He argues that the Beats, Leary’s LSD experimentation and promotion, and Kesey’s Merry Pranksters provided the foundation of the counterculture. Relying on secondary literature contemporary to the era, Cottrell traces the various threads of the counterculture with a critical eye, emphasizing the music, literature, and politics that both shaped and reflected the prevalent ideas of the 1960s. This is no nostalgic tour; Cottrell also treats the underside of the 1960s, reflecting on the drug-ridden demise of Haight-Ashbury, the violence at Altamont, and the rise of radical groups such as the Weathermen. Yet the author strives for objectivity by treating the counterculture on its own terms and considering the music young people listened to, the books they read, and what they did. Ultimately, he concludes that the counterculture cannot be dismissed as ephemeral—its impact on the generation of baby boomers was significant. Or, as Cottrell suggests by quoting Charles Dickens, 'It was the best of times, it was the worst of times. ...' Summing Up: Highly recommended. All levels/libraries.

Choice Reviews

Well researched and well written, Robert Cottrell’s Drugs, Sex and Rock ‘n Roll recounts the rise of the colorful hippies, the cults, the communes, and the conspiracies that transformed the culture of the Cold War. A near-perfect history for those who didn’t live through the 1960s, as well as for those who can remember the smell of teargas, pot, and patchouli, this book recognizes the original literary achievements of Allen Ginsberg, Ken Kesey, Richard Brautigan and more. Bravo!

Jonah Raskin

Sex, Drugs, and Rock ‘n’ Roll is a very lively look at the 1960s counterculture. Robert Cottrell does a great job of capturing the climate and mood of the era in ways that will appeal both to people who lived through the 1960s era and also to the millennial generation.

Jerry Rodnitzky

Sex, Drugs, and Rock ‘n’ Roll is a very lively look at the 1960s counterculture. Robert Cottrell does a great job of capturing the climate and mood of the era in ways that will appeal both to people who lived through the 1960s era and also to the millennial generation.

From the Publisher

Cottrell begins this fine narrative of 1960s counterculture with a detailed examination of four 'godfathers' of the movement: Jack Kerouac, Allen Ginsberg, Timothy Leary, and Ken Kesey. He argues that the Beats, Leary’s LSD experimentation and promotion, and Kesey’s Merry Pranksters provided the foundation of the counterculture. Relying on secondary literature contemporary to the era, Cottrell traces the various threads of the counterculture with a critical eye, emphasizing the music, literature, and politics that both shaped and reflected the prevalent ideas of the 1960s. This is no nostalgic tour; Cottrell also treats the underside of the 1960s, reflecting on the drug-ridden demise of Haight-Ashbury, the violence at Altamont, and the rise of radical groups such as the Weathermen. Yet the author strives for objectivity by treating the counterculture on its own terms and considering the music young people listened to, the books they read, and what they did. Ultimately, he concludes that the counterculture cannot be dismissed as ephemeral—its impact on the generation of baby boomers was significant. Or, as Cottrell suggests by quoting Charles Dickens, 'It was the best of times, it was the worst of times. ...' Summing Up: Highly recommended. All levels/libraries.

Choice

Cottrell begins this fine narrative of 1960s counterculture with a detailed examination of four 'godfathers' of the movement: Jack Kerouac, Allen Ginsberg, Timothy Leary, and Ken Kesey. He argues that the Beats, Leary’s LSD experimentation and promotion, and Kesey’s Merry Pranksters provided the foundation of the counterculture. Relying on secondary literature contemporary to the era, Cottrell traces the various threads of the counterculture with a critical eye, emphasizing the music, literature, and politics that both shaped and reflected the prevalent ideas of the 1960s. This is no nostalgic tour; Cottrell also treats the underside of the 1960s, reflecting on the drug-ridden demise of Haight-Ashbury, the violence at Altamont, and the rise of radical groups such as the Weathermen. Yet the author strives for objectivity by treating the counterculture on its own terms and considering the music young people listened to, the books they read, and what they did. Ultimately, he concludes that the counterculture cannot be dismissed as ephemeral—its impact on the generation of baby boomers was significant. Or, as Cottrell suggests by quoting Charles Dickens, 'It was the best of times, it was the worst of times. ...' Summing Up: Highly recommended. All levels/libraries.

CHOICE