Twenty years on the bus with Garcia and the Grateful Dead."Extraordinarily candid… Scully provides as complete a picture of the band's high times as anyone could want." -Details
$ 17.95
A cultural studies book on the counter culture. "The counterculture is not just a failure, but a harmful illusion." -Globe and Mail, Toronto.
$ 14.95
With contributions by, William S. Burroughs, Timothy Leary, Ph.D., Robert Anton Wilson, Austin Osman Spare, Lon Milo DuQuette, Genesis P-Orridge, James Wasserman, Aleister Crowley, Israel Regardie, Peter J. Carrol, Jack Parons, Phil Hine, Osho, and many others.
$ 19.95
"A Marvelous, massive, crazily plotted, and wonderfully written work. Praise be." - Chicago Sun-Times Book Week
$ 17.00
"A contemporary classic… This book… and its creator have become part of our consciousness and memory." Chicago tribune.
$ 14.95
Steven Hager has been covering the counterculture for over 35 years. He founded The Tin Whistle, his first underground newspaper, in 1968, while still a high school student in Illinois. Twelve years later, he was the first reporter to travel to the South Bronx to document the history of hip hop. Hager became editor of High Times in 1988, founded the Cannabis Cup (the world's most prestigious marijauna festival) and became a leading figure in the hemp legalization movement of the 90's. For the first time, his most important writings have been collected into one volume.
$ 12.95
Still Life With Wood Pecker is sort of a love story that takes place inside a pack of Camel Cigarettes. It reveals the purpose of the moon, explains the difference between criminals and outlaws, examines the conflict between social activism and romantic individualsim, and paints a portrait of contemporary society that includes powerful Arabs, exiled royalty, and pregnant cheerleaders. It also deals with the problem of redheads.
$ 13.95
"Marvelously entertaining… There is no better way to find out just how the news… reaches us." - The Boston Globe.
$ 14.95
"I was, at the time, a succesful robot-respected at Harvard, clean-cut, witty, and, in that inert culture, unusually creative. Though I had attained the highest ambition of the young American intellectual, I was totally cut off from the body and senses. My clothes had been obediently selected to fit the young professional image. Even after one hundred drug sessions I routinely listened to pop music, drank martinis, ate what was put before me. I had appreciated" art by pushing my body around to "sacred places," but this tourism had nothing to do with direct aesthetic sensation. My nervous system was cocooned in symbols; the event was always second-hand. Art was an academic concept, an institution. The idea that one should live one's life as a work of art had never occurred to me. After we took psilocybin, I sat on the couch in Flora Lu's Elysian chamber, letting my right cerebral hemisphere slowly open up to the direct sensual reception. Flora Lu and Maynard started teaching me eroticism-the yoga of attention. Each moment was examined for sensual possibility. The delicious grace of moving one' hand, not as part of a learned survival sequence, but for kinstetic joy." -From the introduction by Timothy Leary
$ 13.95
"A Cultural Encyclopedia of the 1960s, and 1970s by John Bassett McCleary
