Coca Crystal (born Jackie Diamond) was EVO’s self-described “gatekeeper,” receptionist, sometime reporter and sometime model until the bitter end, when, as staff and resources dwindled, she became its defacto publisher (she financed the final two issues out of her own purse). Here, she describes how she got her start.

The first time I set foot in the EVO office, it was in the fall of 1969 and I had come to visit with a college friend, Barbara, who was EVO’s secretary.

The office was located on the third floor of the Fillmore East building on Second Avenue and Sixth Street. The place was a wreck. It was freezing, the garbage cans were overflowing, cigarette butts were everywhere, and the walls were covered in fabulous cartoons by the best in underground comix: R. Crumb, Kim Deitch, Spain Rodriguez, Yossarian, Shelton, Art Spiegelman, just to name a few. It was chaos, but a kind of cool chaos.

The office was in a frenzy to get copy ready for the typesetter, and I was asked if I could type. I said I could and was given the job of typing up the classifieds. I had never seen such weird ads. (“Dominant Iguana seeks submissive zebra,” sex ads, odd employment opportunities, legal advice for pot busts). I had to type while sitting on Allen Katzman’s lap (his idea), wearing my winter coat and gloves. When I had completed the classifieds I was told the other secretary, Marcia, was leaving and I could have her job if I wanted it. The pay was $35 a week. I took the job. Read more…

In its early issues, The East Village Other began featuring a “Slum Goddess,” a title that was taken from a Fugs song:

When I see her coming down the street,
I’m as happy as I can be,
My beautiful Slum Goddess from Avenue D.

Among the first to be featured was Suze Rotolo, the artist who had been Bob Dylan’s girlfriend. In her memoir, “Freewheelin’ Time: A Memoir of Greenwich Village in the Sixties,” Ms. Rotolo, who died a year ago, of cancer at age 67, tells of the time Walter Bredel photographed her for the feature.

A few weeks later a reporter from the East Village Other, a new local biweekly claiming to be hipper than the Village Voice, asked me to be part of a feature the paper was starting up called “Slum Goddess,” inspired by a song by the Fugs, “Slum Goddess of the Lower East Side.” The feature would be the counterculture’s answer to the Miss America aesthetic of overly made-up and girdled women with beehive hairdos. I thought it was a fine idea and said yes. I was to be the Slum Goddess for December 1965. Read more…

Here, Ray Schultz, an East Village Other contributor, remembers editor Jaakov Kohn, as well as a famous incident involving R. Crumb and EVO publisher Joel Fabrikant. Though the publisher’s name often appears as Fabricant, we’re told by his onetime roommate Peter Leggieri, among others, that it was Fabrikant. Likewise, Jason Katzman, nephew of EVO editor Allen Katzman, confirms that the Ginsbergian spelling of his uncle’s given name, which also appears in the editor’s book proposal, is correct. We have seen it, even on EVO mastheads, as Alan or Allan, too. Anyway, as Charlie Frick pointed out, things like grammar and punctuation were quite fluid in those days. Mr. Schultz put it this way in an e-mail: “I wouldn’t trust my spelling from 1970, or anyone else’s.” And now, over to him.

Allan TannenbaumJaakov Kohn

Maybe it wasn’t the same as Gertrude Stein telling Hemingway, “You are a lost generation.” But the defining moment of the 1960s for me came when Jaakov Kohn said, “Think of The East Village Other as your Jewish mother.”

Boy, did I need to hear that. I was penniless and had bronchitis when I ran into him that snowy morning. He bought me a coffee, then suggested a cold treatment: “Buy a nickel-bag of heroin, divide it into six lines, snort two lines and go to sleep. Wake up, snort two more and go back to sleep. Then get up and snort the last two.”

Later, when we hit the office, I finished off the food left over from a photo shoot: fried chicken carved into genitalia.

Thus did EVO nurture “talent that other publications could not absorb,” as Jaakov Kohn put it.

And I was awed to be there. Founded in 1965 as the “newspaper of patarealism,” EVO was one of the best underground papers in the country, but it was different from most, run not by New Left types, but by old Beatniks like Jaakov Kohn. Read more…

Raeanne Rubinstein Claudia Dreifus

Sometime in the late 1960s, I was working, unhappily, for Local 1199 of the Drug and Hospital Workers Union here in New York City.  There were dozens of reasons why I was miserable with the job; the main ones being that I wasn’t particularly good at it and that I really wanted to write. But whenever I asked the union leadership if I could transfer to their news magazine, the answer was always, “Organizers organize and writers write.” In other words: No.

I finally left 1199 to take a job as the editor of another union’s newspaper, a post from which I was fired after producing a “1968 Election Special” without ever once mentioning the name of Hubert Horatio Humphrey.

So there I was: 23 and unemployed.

I had a pal from 1199, a writer/photographer named Joe Walker, who’d left the union to become the editor of Muhammed Speaks, the newspaper of the Nation of Islam. One day he phoned to say that he’d just done a story for The East Village Other and that they were looking for writers and that I ought go down there and talk to them.

“Nice bunch of guys,” Joe promised. “They’re open to all kinds of stories.” Read more…

EVO poster showing Mr. Frick.

Charlie Frick was a rock n’ roll writer and photographer for The East Village Other. He was a network television cameraman and in more recent years has become an independent media consultant. An original light box is among the artifacts he rescued from EVO’s last office in the Law Commune at 640 Broadway. Writing in 1979 for an Alternative Media Syndicate publication (hence at least one instance of “alternative” language), he described the “controlled artistic anarchy” of psychedelic design.

Tripping the Lightbox Fantastic

For more on “Blowing Minds: The East Village Other, the Rise of Underground Comix and the Alternative Press, 1965-72,” read about the exhibition here, and read more from EVO’s editors, writers, artists, and associates here.

Steve Kraus

As documented in a DNA Info video, Steve Kraus has been publishing the New York Good News since the 1960s. Now 82, he has lived just above Café Mogador on St. Marks Place for the past 37 years. He also volunteers for the Jewish Foundation of the Righteous. The following piece appeared in a 1979 booklet produced by the Alternative Press Syndicate, titled “Alternative Media: How the Muckrakers Saved America,” published by Bell and Howell. It is reprinted here with the author’s permission.

Steve Kraus – How Green Was My Underground

For more on “Blowing Minds: The East Village Other, the Rise of Underground Comix and the Alternative Press, 1965-72,” read about the exhibition here, and read more from EVO’s editors, writers, artists, and associates here.

Last weekend, in one of our posts celebrating The East Village Other, Ed Sanders wrote that poet Ted Berrigan may have named the alternative newspaper after the Rimbaud line “I is an Other.” Mr. Sanders acknowledged, “Another account has Ishmael Reed coining the name.” In the comments, EVO editor Peter Leggieri wrote that Allen Katzman (who founded the paper along with Dan Rattiner and Walter Bowart) “always gave the impression that he had suggested the name ‘Other.'” After citing the reasons, Mr. Leggieri wrote, “However, if the question of origin came to a vote, I’d probably pull the lever for Ishmael Reed.” Here, now, is Mr. Reed himself, on his role in shaping The East Village Other.

Isamu Kawai Ishmael Reed, 1967

My receiving a job as the editor of a newspaper in Newark, N.J., led to the origin of The East Village Other. I worked a number of temporary jobs from the time I arrived in New York in the fall of 1962 until I left for California in the summer of 1967. One of those jobs was that of  a pollster for The Daily News. So when I went to the Department of Labor to get a temporary job, after the poll was completed, I was informed of an opening for a reporter for a new newspaper in Newark.

I had written for a newspaper in Buffalo called The Empire Star, edited by the great A.J. Smitherman, who was the target of mob violence during one of the worst riots in American history, the Tulsa riots of 1921, which left 300 blacks dead.

Smitherman believed in armed self-defense against lynching. After an interview with the investors, it was decided that I would be the editor of a newspaper that I named Advance. Although I had watched the production of a newspaper using the old linotype method while working for the newspaper in Buffalo, I hadn’t a clue about offset printing.

Walter Bowart was a bartender at Stanley’s, which was our hangout. It was owned by Stanley Tolkin who was a patron of the arts and our benefactor. Read more…

Drawing by Bill Beckman, Nov. 1966.

I first knew Walter Bowart around 1963 or ’64 when he was a bartender at Stanley’s Bar, located at 12th Street and Avenue B. Bowart was an artist who did some design work in early 1965 for LeMar, the Committee to Legalize Marijuana, which operated out of my Peace Eye Bookstore located in a former Kosher meat store on East 10th Street between Avenues B and C.

Allen Katzman I had known since 1961 when he helped run open readings at various east-side coffee houses, such as Les Deux Magots on East Seventh, and later the Cafe Le Metro on Second Avenue. Katzman was known at the time mainly as a poet.  (During his time at EVO, Katzman spelled his first name Allan.)

During the summer of 1965, Bowart, Katzman and others, including the artist Bill Beckman, Ishmael Reed, Jaakov Kohn, and Sherry Needham, decided to found a newspaper. Poet Ted Berrigan, as I recall, came up with the name, The East Village Other, with “Other” coming, of course, from Rimbaud’s famous line of 1871, “Je est un autre,” I is an Other. Another account has Ishmael Reed coining the name. (The participants in the Dada movement argued for 50 years over who first thought of the name “Dada.”) Read more…

Jane Wilson John Jonas Gruen, 1965.

Until John Jonas Gruen decamped for the Upper West Side with his wife, the painter Jane Wilson, and their daughter Julia, he lived at 317 East 10th Street, around the corner from the headquarters of The East Village Other. While covering the burgeoning neighborhood, the journalist befriended EVO editors Allen Katzman and Dan Rattiner. He recently told The Local, “I was the one who brought the East Village phenomenon to Clay Felker, one of my editors [at the New York Herald Tribune], who suggested I write all about it.” Mr. Gruen captured the era in a Nov. 29, 1964 article in the Herald Tribune’s Sunday supplement (the precursor to New York magazine), and then later in his 1966 book, “The New Bohemia,” a portion of which is excerpted here.

Jefferson Poland [was] an East Villager [who] made a name for himself by creating the League for Sexual Freedom, an organization devoted to, among other things, the legalization of prostitution. But Poland is also something of a clairvoyant in that he sensed a need for an East Village newspaper, a neighborhood paper that would function for the area as The Village Voice does so successfully for Greenwich Village.

The gap has now been filled by The East Village Other, a biweekly publication started in October 1965 by Walter Bowart, a 27-year-old painter who gave it a slim, but provocative kickoff with one thousand dollars and an excess of drive. With typically offbeat headquarters located on Tompkins Square Park, The Other currently boasts a circulation of 7,000 and champions the causes of New Bohemia. The style is one of humorous candor and immediacy designed to reach the same mass-media audience that so fervently responds to the folk-rock wailings of Bob Dylan. Bowart has said: “I came to the conclusion that most official journalism was a big fat opinion. Because of the superego conditioning of this society, most reporters are only spewing out status quo propaganda. I wanted an intrepid broadside paper, like Poor Richard’s Almanack or The Tatler. I was ready to gamble a thousand bucks on three issues and now we’re here to stay because no one else is speaking to the New Left with laughter.

“My hero,” Bowart concluded, “is Will Rogers.” Read more…

Illustration: Ethan Persoff and Scott Marshall

How did you know Walter Bowart?

When I went to Japan to revise my book, “Japan on $5 a Day,” I had been dating Sherry Needham. When I returned, he was dating her.

Did you fight?

Of course not. I was just worried that she wouldn’t fulfill her promise to bare a breast in the fourth picture of a story I wanted to tell in one of those-25 cent photo machines.

And did she?

Yes, Walter came along and we had a high old time, assisted, as I remember, by the benevolent herb. Walter told me he was starting a new paper and I agreed to write for it. My first column was about how forgery had been a constant presence on the art scene for centuries. I called it “Art & Other Scenes” but Walter eliminated the “Art &.” The appearance of the column in EVO infuriated Ed Fancher [Village Voice founder and publisher] who insisted I choose between the two papers. Read more…

Fred W. McDarrah/Getty Images From left: Dan Rattiner, Walter Bowart, and brothers Allen and Don Katzman. Jan. 14, 1966.

Little is it known that Dan Rattiner, doyen of Dan’s Papers, helped launch the East Village Other alongside its more celebrated founders, the late Walter Bowart and the late Allen Katzman. In 1964, having abandoned graduate school in architecture at Harvard, Mr. Rattiner, in between gigs producing a summer newspaper in Montauk, rented an apartment in a brownstone on West 10^th Street in Greenwich Village. A year later, in the fall of 1965, something amazed him on the newsstand at Eighth Street and Sixth Avenue. He picks up the story from there.

It cost 15 cents and was an enormous piece of newsprint all folded up into tabloid size. The four pages, when unfolded looked more like a work of modern art than a newspaper. A new way to print a newspaper was on the market. It involved using scissors and rubber cement to put together a proof of a page, then making a plate from a photograph of it and then printing from that. But I had never seen anyone make use of the new process like this before; most people just used it to mimic the old.

As for the content, it was also revolutionary. The lead headline read: “TO COMMEMORATE THE GLORIOUS NEWSPAPER STRIKE THE HERETOFORE UNDERGROUND ‘OTHER’ EXPANDS ITS PATAREALISM.” In huge black type, the words coiled along the perimeter of the page and ended with a half-tone photograph of a half-closed eye. “Peace Rally Breeds Strange Bedfellows,” was the headline below. “Generation of Draft Dodgers” read another headline below that.

I bought it. And I looked for, and found the name, address and phone number of the publisher and editor, Walter Bowart. Read more…

Design Observer Steve Heller as a SVA student.

Robert Hughes once described the weekly paste-up night at The East Village Other as “a Dada experience.” The year was 1970 and while none of us who were toiling into the wee hours of the morning at one of America’s oldest underground papers (founded in 1965) knew what he was talking about, we nevertheless assumed that to get Time’s then newly appointed art critic to spend some of his first weeknights in America with us, we were doing something weird and perhaps even important. “Dada was the German anti-art political-art movement of the 1920s,” he explained in his cool Australian accent. “And this is the closest thing I’ve come to seeing it recreated today. I’m really grateful for the chance to be here.”

Yet he needn’t have been so grateful. He was as welcome as any other artist, writer, musician, hanger-on and at that moment, detective Frank Serpico, the most famous whistle-blowing cop in America, was stationed at the local Ninth Precinct and would came around periodically in his various undercover costumes to schmooze with the EVO staffers. Paste-up night was open to anybody who drifted up to the dark loft above Bill Graham’s Fillmore East, a former Loews Theater turned rock palace on Second Avenue and Sixth Street, just next door to Ratner’s famous dairy restaurant, in a neighborhood that in the Thirties was the heart of New York’s Yiddish Theater. At that time it was the East Coast hippie capital.

Beginning at seven or eight o’clock at night and lasting until dawn, the regular and transient layout staff took the jumble of counterculture journalism and anti-establishment diatribe that was the paper’s editorial meat and threw it helter skelter onto layouts that were pretty anarchic. Anyone could join in whether they had graphic design experience or not, yet many of the gadfly layout artists were too stoned to complete their pages which were finished on the long subway ride to the printer deep inside Brooklyn. Read more…

On Feb. 28, the Local East Village inaugurates its exhibit “Blowing Minds: The East Village Other, the Rise of Underground Comix and the Alternative Press” at the NYU Arthur L. Carter Journalism Institute at 20 Cooper Square, appropriately located in the East Village.

From 1965 until 1971, this underground newspaper struck fear into the hearts of millions of Americans. But countless other Americans welcomed it as a glorious ray of hope and joy.

Essentially the flagship of the Sixties, EVO influenced many other so-called underground newspapers in this country and around the world. While resistance to the Vietnam War was often featured, it was scarcely the only theme. Nor was EVO only about sex, drugs, and rock ‘n’ roll, though these were certainly present.

I wrote for EVO from 1968 to 1971 and before that helped out with other underground newspapers in London, Amsterdam, and Berlin. So let me confirm that other EVO topics included feminism, eastern mysticism, the commune movement, new approaches to education, practical problems of artists, the budding ecology/environmental movement, and the struggle for black and Hispanic equality. Read more…

With this special edition, The Local presents the first of seven wild, winding, weekend walks through the seven years when this neighborhood was home to The East Village Other. EVO, as the weekly soon became known, began in the imagination of the late Walter Bowart, in his fourth-floor painter’s loft at Avenue B and Second Street. He was the sole creator of Issue No. 1, a broadside, or uncut proof sheet, that was folded into tabloid size. As readers unfolded it again, the pages faced all directions. Anyone with half an eye who happened to pass a Village newsstand that October of 1965, could see that Mr. Bowart was far ahead of others in grasping the real potential of the revolution in printing techniques just getting underway: the move from costly metal plates, professional printers, and “hot type” to paper, scissors and rubber cement. Cold type — offset printing — did more than lower the bar to entry; it provided whole new means of expression in graphics and text.

By Issue No. 2, the East Village Other had a team of publishers and actual papers of incorporation. By Issue No. 3, it had its own storefront office on Avenue A between Ninth and Tenth Streets, just across from Tompkins Square Park. In 1968, Bill Graham bartered concert ads for office space on the third floor of his new Fillmore East, giving EVO daily access to the concert hall’s all-important back stairwell and the stars of rock ‘n’ roll.

By the time the Fillmore closed in 1971, EVO’s end was not far behind. It had moved to new offices on the 11th floor of 20 East 12th Street, and then to a back store room of the Law Commune offices at 640 Broadway. There, as word surfaced that, owing to unpaid bills, city marshals were coming to seize whatever assets might be, the young Charlie Frick, alone in the office with Coca Crystal, scooped up all and sundry, boxed up the files, commandeered his family truck and then hauled it all to his mother’s barn in Passaic County, N.J. There it would remain unmolested for the next few decades.

In anticipation of The Local’s exhibition “Blowing Minds: The East Village Other, the Rise of Underground Comix and the Alternative Press, 1965-72,” we asked Mr. Frick to dive back into the bounty, now variously housed in a storage unit and at his home in Montclair, N.J. Choice selections from the ephemera and artifacts he and others have unearthed will be among items to be featured.

The Local has something from the annals, too. The items in Mr. Frick’s collection included the following undated typescript that must have come into his possession at some point at least a decade after EVO’s demise. It is a xerox of a proposal for a book to be titled “The Best of the East Village Other.” Its cover page attributes it to the late Allen Katzman (most likely the proposal’s author) and the well-known creative consultant and book and magazine designer, J.C. Suares. The late Mr. Katzman, a poet and longtime publisher of EVO, was, along with Mr. Bowart and Dan Rattiner, a signatory to the founding papers. Who better than he to start us out?

Read more…

From 1965 to 1972, it revolutionized ‘The Good News,’ and shook the foundations of the existing print and visual media. After seven years, it went just as it came – in a hail of livingness. In true American phantasmagoria, it was a legend in its own time.

Initiated by poets, painters, artists, seers, perverts and prophets, it shared its pages with the likes of Buckminster Fuller, Timothy Leary, Robert Crumb, Ishmael Reed, Allen Ginsberg, Lenny Bruce, The Beatles, Bob Dylan, Baba Ram Das, Jerry Rubin and Abbie Hoffman  – the conspiracy of the 1960s.

The East Village Other had a consciousness which was created. The News needing a shoe-up to come alive was new to an unconscious civilization. It was more than Print, it was Imprint. An indelible biologue, the East Village Other made even The New York Times seem to come alive. Headlines, columns, advertisements, propaganda and prosletyzing made the “form of the newspaper an adjunct of reality . . .”

The above was written by the late Allen Katzman, poet and co-founding editor of the East Village Other, one of the pioneering underground newspapers. Over the next six weeks, The Local will journey back to the East Village of the mid-1960s and early 1970s with special weekend editions, culminating in an exhibit and party on Tuesday, Feb. 28. We hope you’ll join us for “Blowing Minds: The East Village Other, the Rise of Underground Comix and the Alternative Press, 1965-72.” Full registration details for this free event are at EastVillageOther.org, where you’ll soon also be able to find archival material, ephemera, photographs, and EVO issues. Read more…