The World The Sixties Made

How can we make sense of the fact that after decades of right-wing political mobilizing the major social changes wrought by the Sixties are more than ever part of American life? "The World the Sixties Made, "the first academic collection to treat the last quarter of the twentieth century as a distinct period of U.S. history, rebuts popular accounts that emphasize a conservative ascendancy. The essays in this volume survey a vast historical terrain to tease out the meaning of the not-so-long ago. They trace the ways in which recent U.S. culture and politics continue to be shaped by the legacy of the New Left's social movements, from feminism to gay liberation to black power. Together these essays demonstrate that the America that emerged in the 1970s was a nation profoundly, even radically democratized.

How can we make sense of the fact that after decades of right-wing political mobilizing the major social changes wrought by the Sixties are more than ever part of American life? "The World the Sixties Made, "the first academic collection to treat the last quarter of the twentieth century as a distinct period of U.S. history, rebuts popular accounts that emphasize a conservative ascendancy. The essays in this volume survey a vast historical terrain to tease out the meaning of the not-so-long ago. They trace the ways in which recent U.S. culture and politics continue to be shaped by the legacy of the New Left's social movements, from feminism to gay liberation to black power. Together these essays demonstrate that the America that emerged in the 1970s was a nation profoundly, even radically democratized.

Factory Made: Warhol and the Sixties is a fascinating look at the avant-garde group that came together—from 1964 to 1968—as Andy Warhol’s Silver Factory, a cast that included Lou Reed, Nico, Edie Sedgwick, Gerard Malanga, Paul Morrissey, Joe Dallesandro, Billy Name, Candy Darling, Baby Jane Holzer, Brigid Berlin, Ultra Violet, and Viva. Steven Watson follows their diverse lives from childhood through their Factory years. He shows how this ever-changing mix of artists and poets, musicians and filmmakers, drag queens, society figures, and fashion models, all interacted at the Factory to create more than 500 films, the Velvet Underground, paintings and sculpture, and thousands of photographs. Between 1961 and 1964 Warhol produced his most iconic art: the Flower paintings, the Marilyns, the Campbell’s Soup Can paintings, and the Brillo Boxes. But it was his films—Sleep, Kiss, Empire, The Chelsea Girls, and Vinyl—that constituted his most prolific output in the mid-1960s, and with this book Watson points up the important and little-known interaction of the Factory with the New York avant-garde film world. Watson sets his story in the context of the revolutionary milieu of 1960s New York: the opening of Paul Young’s Paraphernalia, Truman Capote’s Black and White Ball, Max’s Kansas City, and the Beautiful People Party at the Factory, among many other events. Interspersed throughout are Watson’s trademark sociogram, more than 130 black-and-white photographs—some never before seen—and many sidebars of quotes and slang that help define the Warholian world. With Factory Made, Watson has focused on a moment that transformed the art and style of a generation.

“A very engaging collection of essays that adds much to an evolving literature on the social history of the Soviet Union and broader socialist societies.” —Choice The 1960s have reemerged in scholarly and popular culture as a protean moment of cultural revolution and social transformation. In this volume socialist societies in the Second World (the Soviet Union, East European countries, and Cuba) are the springboard for exploring global interconnections and cultural cross-pollination between communist and capitalist countries and within the communist world. Themes explored include flows of people and media; the emergence of a flourishing youth culture; sharing of songs, films, and personal experiences through tourism and international festivals; and the rise of a socialist consumer culture and an esthetics of modernity. Challenging traditional categories of analysis and periodization, this book brings the sixties problematic to Soviet studies while introducing the socialist experience into scholarly conversations traditionally dominated by First World perspectives.

Decades after the massive student protest movements that consumed much of the world, the 1960s remain a significant subject of scholarly inquiry. While important work has been done regarding radical activism in the United States and Western Europe, events in what is today known as the Global South-Asia, Africa, and Latin America-have yet to receive the requisite attention they deserve. This volume inserts the Third World into the study of the 1960s by examining the local and international articulations of youth protest in various geographical, social, and cultural arenas. Rejecting the notion that the Third World existed on the periphery, it situates the events of the 1960s in a more inclusive context, building a richer, more nuanced understanding of the Global 1960s that better reflects the dynamism of the period. Samantha Christiansen is an instructor at Northeastern University. Her research interests focus on youth and student mobilizations in South Asia and Europe and international Left politics. She has also taught at Independent University Bangladesh. Zachary A. Scarlett is an instructor at Northeastern University specializing in modern Chinese history and the history of radical social movements in the twentieth century. His work examines the ways in which Chinese students imagined and co-opted global narratives during the Cultural Revolution.

Many books have been written on the Sixties: tributes to music and fashion, sex, drugs and revolution. In The Sixties, Jenny Diski breaks the mould, wryly dismantling the big ideas that dominated the era - liberation, permissiveness and self-invention - to consider what she and her generation were really up to. Was it rude to refuse to have sex with someone? Did they take drugs to get by, or to see the world differently? How responsible were they for the self-interest and greed of the Eighties? With characteristic wit and verve, Diski takes an incisive look at the radical beliefs to which her generation subscribed, little realising they were often old ideas dressed up in new forms, sometimes patterned by BIBA. She considers whether she and her peers were as serious as they thought about changing the world, if the radical sixties were funded by the baby-boomers' parents, and if the big idea shaping the Sixties was that it really felt as if it meant something to be young.

David Chalmers's widely acclaimed overview of the 1960s describes how the civil rights movement touched off a growing challenge to traditional values and arrangements. Chalmers recounts the judicial revolution that set national standards for race, politics, policing, and privacy. He examines the long, losing war on poverty and the struggle between the media and the government over the war in Vietnam. He follows feminism's "second wave" and the emergence of the environmental, consumer, and citizen action movements. He also explores the worlds of rock, sex, and drugs, and the entwining of the youth culture, the counterculture, and the American marketplace. This newly revised edition covers the conservative counter-revolution and cultural wars. It carries the legacy of the 1960s forward: from Tom Hayden's idealistic 1962 Port Huron Statement through Newt Gingrich's 1994 "Contract with America" and Grover Norquist's twenty-first century "Tax Payer's Protection Pledge." -- David J. Garrow, author of the Pulitzer Prize'

Leading Canadian artists, curators, and art historians from Douglas Coupland to Paul Bourassa look at questions of design and national identity in the 1960s.