They called themselves the Motherfuckers; others called them a "street gang with an analysis." Osha Neumann's thoughtful, funny, and honest account of his part in ’60s counterculture is also an unflinching look at what all that rebellion of the past means today. The fast moving story follows the establishment of the Motherfuckers, who influenced the Yippies and members of SDS; makes vivid the art, music, and politics of the era; and reveals the colorful, often deeply strange, personalities that gave the movement its momentum. Abbie Hoffman said the Motherfuckers were "the middle-class nightmare . . . an antimedia media phenomenon simply because their name could not be printed." In the few years of its existence the group forced its way into the Pentagon during a war protest, helped occupy one of the buildings in the Columbia University takeover, and cut the fences at Woodstock to allow thousands in for free, among many other feats of radical derring-do. Progressing from a fractured family of intellectuals to rebellion in the streets of New York and on to communes in California, Newmann shows us a view of a life led in rebellion, anger, and eventually a tentative peace.

New York City's identity as a cultural and artistic center, as a point of arrival for millions of immigrants sympathetic to anarchist ideas, and as a hub of capitalism made the city a unique and dynamic terrain for anarchist activity. For 150 years, Gotham's cosmopolitan setting created a unique interplay between anarchism's human actors and an urban space that invites constant reinvention. Tom Goyens gathers essays that demonstrate anarchism's endurance as a political and cultural ideology and movement in New York from the 1870s to 2011. The authors cover the gamut of anarchy's emergence in and connection to the city. Some offer important new insights on German, Yiddish, Italian, and Spanish-speaking anarchists. Others explore anarchism's influence on religion, politics, and the visual and performing arts. A concluding essay looks at Occupy Wall Street's roots in New York City's anarchist tradition. Contributors: Allan Antliff, Marcella Bencivenni, Caitlin Casey, Christopher J. Castañeda, Andrew Cornell, Heather Gautney, Tom Goyens, Anne Klejment, Alan W. Moore, Erin Wallace, and Kenyon Zimmer.

They called themselves the Motherfuckers; others called them a ''street gang with an analysis.'' Osha Neumann's thoughtful, funny, and honest account of his part in '60s counterculture is also an unflinching look at what all that rebellion of the past means today. The fast moving story follows the establishment of the Motherfuckers, who influenced the Yippies and members of SDS; makes vivid the art, music, and politics of the era; and reveals the colorful, often deeply strange, personalities that gave the movement its momentum. Abbie Hoffman said the Motherfuckers were ''the middle-class nightmare . . . an antimedia media phenomenon simply because their name could not be printed.'' In the few years of its existence the group forced its way into the Pentagon during a war protest, helped occupy one of the buildings in the Columbia University takeover, and cut the fences at Woodstock to allow thousands in for free, among many other feats of radical derring-do.

The book offers a step-by-step blueprint of radical proposals for the U.S.-Mexican border that go far beyond traditional initiatives to ease restrictions on immigration. Up Against the Wall provides the background to understanding how the border has become a fraud, resulting in nothing more than the criminalization of Mexican and other migrants. The book argues that the border with Mexico should be completely open for Mexicans wishing to travel north.

THE STORY: Struggles with addiction, friendship, love and the challenges of adulthood are at the center of the story. Jackie, a petty drug dealer, is just out of prison and trying to stay clean. He's also still in love with his coke-addicted childh

A fascinating exploration and celebration of the life and work of the coolest man in Hollywood, Samuel L. Jackson—from his star-making turns in the films of Spike Lee and Quentin Tarantino to his ubiquitous roles in the Star Wars and Marvel franchises, not to mention the cult favorite Snakes on a Plane. Samuel L. Jackson’s embodiment of cool isn’t just inspirational—it’s important. Bad Motherfucker lays out how his attitude intersects with his identity as a Black man, why being cool matters in the modern world, and how Jackson can guide us through the current cultural moment in which everyone is losing their cool. Edwards details Jackson’s fascinating personal history, from stuttering bookworm to gunrunning revolutionary to freebasing addict to A-list movie star. Drawing on original reporting and interviews, the book explores not only the major events of Jackson’s life but also his obsessions: golf, kung fu movies, profanity. Bad Motherfucker features a delectable filmography of Jackson’s movies—140 and counting!—and also includes new movie posters for many of Jackson’s greatest roles, reimagined by dozens of gifted artists and designers. The book provides a must-read road map through the vast territory of his on-screen career and more: a vivid portrait of Samuel L. Jackson’s essential self, as well as practical instructions, by example, for how to live and work and be.

"Rock and roll's most iconic, not to mention wealthy, pioneers are overwhelmingly white, despite their great indebtedness to black musical innovators. Many of these pioneers were insensitive at best and exploitative at worst when it came to the black art that inspired them. Tear Down the Walls is about a different cadre of white rock musicians and activists, those who tried to tear down walls separating musical genres and racial identities during the late 1960s. Their attempts were often naïve, misguided, or arrogant, but they could also reflect genuine engagement with African American music and culture and sincere investment in anti-racist politics. Burke considers this question by recounting five dramatic incidents that took place between August 1968 and August 1969, including Jefferson Airplane's performance with Grace Slick in blackface on the Smothers Brothers Comedy Hour, Jean-Luc Godard's 1968 film, Sympathy for the Devil, featuring the Rolling Stones and Black Power rhetoric, and the White Panther Party at Woodstock. Each story sheds light on a significant but overlooked facet of 1960s rock-white musicians and audiences casting themselves as political revolutionaries by enacting a romanticized vision of African American identity. These radical white rock musicians believed that performing and adapting black music could contribute to what in the Black Lives Matter era is sometimes called "white allyship." This book explores their efforts and asks what lessons can be learned from them. As white musicians and activists today still attempt to find ethical, respectful approaches to racial politics, the challenges and victories of the 1960s can provide both inspiration and a sense of perspective"--