Everything Is Now:Primal Happenings, Radical Music, Underground Movies, and the 1960s New York Avant-Garde

A groundbreaking history of New York City cultural life in the 1960s

Comparable to Paris in the 1920s, 1960s New York City was a cauldron of avantgarde ferment and artistic innovation. Boundaries were transgressed and new forms created. Drawing on interviews, memoirs, and the alternative press, Everything is Now chronicles this collective drama as it was played out in coffeehouses, bars, lofts, storefront theaters and ultimately the streets.

The principals are penniless filmmakers, jazz musicians, performing poets, as well as less classifiable and hyphenate artists. Most were outsiders. They include Albert Ayler, Amiri Baraka, Shirley Clarke, Jackie Curtis, Bob Dylan, Allen Ginsberg, Yayoi Kusama, Boris Lurie, Jonas Mekas, Yoko Ono, Nam June Paik, Barbara Rubin, Ed Sanders, Carolee Schneeman, Jack Smith, Sun Ra, Andy Warhol and many more.

Some were associated with specific movements (Avant Rock, Destruction Art, Fluxus, Free Jazz, Guerrilla Theater, Happenings, Mimeographed Zines, Pop Art, Protest-Folk, Ridiculous Theater, Stand-Up Poetry, Underground Comix and Underground Movies). But there were also movements of one. Their art, rooted in the detritus and excitement of urban life, largely free of established institutional support, was taboo-breaking and confrontational. Often and to a degree unimaginable today, artists conflicted with the law.

By the mid ‘60s these subcultures were cross-pollinating and largely self-sufficient, coalesced into an entire counterculture that changed the city, the country, and the world.

Praise for J. Hoberman
“Nobody in America writes as well about culture and film as J. Hoberman.”
—Peter Biskind

"J. Hoberman is simply the best historian of that hallucinatory decade when politics imitated celluloid and movies invaded reality. Cultural history doesn’t get any better.” —Mike Davis

Praise for J. Hoberman's The Dream Life
“One of the most vital cultural histories I’ve ever read. Hoberman’s deceptively easygoing yet deliriously compacted prose threads history through movie lore through McLuhanesque media criticism. . . . An extraordinary publishing event.”—David Edelstein, Slate

“So invigorating that I had to ration myself to a chapter a week.”—John Patterson, The Guardian