By Sean Stewart
Forthright anecdotes and interviews fill this eye-opening account of the beginning of the underground newspaper move. Stemming from frustration with the inability of any mainstream media feedback of the Vietnam conflict, the production of the papers was once emboldened by way of the victories of the Civil Rights–era, anticolonial events within the 3rd international and using LSD. within the 4 brief years from 1965–1969, the subversive press grew from 5 small newspapers in 5 towns within the usa to greater than 500 newspapers—with hundreds of thousands of readers—all over the realm. tales via the folks concerned with the construction and distribution of the papers, resembling invoice Ayers, Paul Buhle, Paul Krassner, and Trina Robbins, carry the heritage of the flow to lifestyles. Full-color scans taken from a extensive diversity of guides, from the Berkeley Barb and the l. a. loose Press to Chicago Seed and Screw: The intercourse assessment, also are incorporated, exhibiting the extraordinary power that fueled the counterculture of the Nineteen Sixties.
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Additional info for On the Ground: An Illustrated Anecdotal History of the Sixties Underground Press in the U.S.
So I was intimately involved with them from the second issue. Berkeley Barb, vol. 5, no. 5 (1967). The power of the Underground Press Syndicate. This photo was part of a full-page reprint in the Berkeley Barb of Fifth Estate’s coverage of Detroit’s Twelfth Street riots in the summer of 1967. Caption reads: “Fifth Estate co-editors Ovshinsky & Werbe interview looters as they window-shop at a cleaners at the corner of Trumbull and Forest. T. ” HARVEY WASSERMAN Liberation News Service When I grew up in Columbus, Ohio, I was in a Jewish youth organization, and our organization had conferences.
Harvey Ovshinsky was a high school student when I met him. He had started Detroit’s first underground tabloid called the Fifth Estate. My wife Leni and I, my first wife, we saw this first issue of Fifth Estate and it was appallingly ugly. At the same time, we were thrilled because we were part of an arts community centered on a place called the Detroit Artists’ Workshop, and we were proponents of the mimeograph revolution advanced by Edward Sanders here in New York City at the Fuck You Press. So we learned from him that you could publish off a mimeograph without it costing you very much money, especially if you could steal the paper and ink.
Rag was incredibly influential. What happened at Rag was repeated, or affected what happened, in a lot of other places. Austin was unique. Austin was the perfect setting for it [Rag] because Austin already had that incredible tradition, that literary tradition, the cultural tradition, and had always been a center for progressive politics and for radical politics. We were the sixth member of the Underground Press Syndicate. Unlike LNS, which was a real organization that fed packets of intense copy and photography and art to all the papers twice a week, the Underground Press Syndicate was primarily a commitment: One, that every paper would run the list of the underground papers in every issue; and two, that there was free reprint rights.