Because something is happening here
And you don’t know what it is
Do you, Mister Jones?
– “Ballad of a Thin Man” by Bob Dylan (from “Highway 61 Revisited,” 1965)

Alan Abramson, 1972.

The times were overwhelming. America was violently awakened from the slumber of the 1950s on Nov. 22, 1963 and quickly found itself inhabiting an unrecognizable, incomprehensible, rapidly evolving reality. The Civil Rights Movement, the Vietnam War, the Free Love Movement, the Women’s Liberation Movement, the Gender Equality Movement, the Consciousness Raising Movement, the Save Our Planet Movement, the Eastern Mysticism Movement, and sex, drugs and rock and roll all conspired to create a giddy, euphoric Renaissance. If you were a nice young person raised in Eisenhower-era suburbia, the questions that consumed you were: “What the hell is going on? What does this all mean? Where do I fit in?” And most importantly: “How do I get invited to the party?”

Enter, The East Village Other. For me it was the Rosetta Stone that enabled me to decode the meaning of the ‘60s.  Attending Oberlin College from 1964 to 1968, I experienced an environment that was receptive to the Strange Days that were sweeping the nation. I had a subscription to the Village Voice, which retained an aura of cool, post-Beat sensibility.

All of the sudden, however, it was left way, far behind: things were happening much too quickly for it to process. The ‘60s were not about quiet, low key cool. The ‘60s were flaming hot. There was a void in the media. Nature abhors a vacuum and something Other was desperately needed (I always felt that the name was a play on words, dissing its neighbor from the West Village). Like Athena springing fully clad in armor from the aching head of Zeus, The East Village Other burst upon the scene. The Other was not your parents’ newspaper. Read more…

Kathy Streem Lynda Crawford, 1971

Breathless — not just from the late-night climb up 11 flights to the EVO office on East 12th Street, or the astonishing art by the likes of Yossarian, Spain, Little Moon, Joe Schenkman, Brad Holland, R. Crumb, Kim Deitch, Trina Robbins, and Fred Mogubgub, or by Dean Latimer‘s gorgeous prose, or the thrill of reading Ray Schultz, or from the stunning reportage of Jackie Friedrich, Pat Morris, and Claudia Dreifus, or the amazing true life adventures of Coca Crystal (subduing a would-be attacker with a tune on her guitar) and Steve Kraus, or the Krassner interview by Kathy Streem, or the wondrous music reviews by Richard Meltzer and Charlie Frick (and Charlie’s magical layouts), or Tuli’s poetry and songs, Vincent Titus’ fables, Honest Bob Singer’s film writings, Rex Weiner’s off-off Broadway reviews (he was homeless and theaters were warm), Tim Leary’s communiqués from Algeria, A. J. Weberman‘s illuminating investigative portraits, or the vocal harmonies of Steve Heller, Latimer, and Schultz; but also from EVO’s coverage of the major events of the time: efforts to stop the Vietnam War, the Pentagon Papers, the Panther 21 trial, American Indian Movement protests, the murder of George Jackson, the Attica uprising, and Bob Dylan’s 30th birthday party, all produced at high intensity under editor Jaakov Kohn‘s benign leadership.

“EVO is not a tit!” I remember editor Allen Katzman telling several of us when salaries were slashed to the single digits, and then disappeared, during the post–salad days of the early 1970s — my tenure.

I waitressed to pay the rent on my $51-per-month apartment on East Sixth Street and to be able to eat a little more than the nightly fare of free chicken wings and chickpeas at Max’s Kansas City that many subsisted on. The EVO piece I wrote that is most remembered came out of that gig at a deli on Christopher Street when John and Yoko happened in one night and I interpreted their relationship through bits of conversation, body language, and by dissecting leftover pieces of blueberry blintz (A. J. gave me kudos for that one); it was reprinted in the Berkeley Barb and a bunch of other papers too. Read more…

Detail from an illustration by Bill Beckman.

I came to EVO in late 1965. I think the paper was about three issues old. Walter Bowart had quit his job as a bartender at the Dom on St. Marks Place (Ed Sanders says it was Stanley’s, maybe it was both) and had raised some money to publish what he was soon to become fond of calling “a hippie National Inquirer.” (“Hippies don’t like to read. They like pictures and big headlines.”) I had just come to New York City from Texas. At the time I wasn’t sure if I wanted to make it uptown or downtown. All that was certain was that I needed to get some kind of employment.

I was living in the basement of Bill and Debbie Beckman’s apartment on East Ninth Street between Avenues C and D. At the time, this was decidedly a sketchy neighborhood, populated by young Puerto Rican street entrepreneurs who would have duels with ripped-off car antennae, whipping each other viciously over turf or girlfriends or whatever. The old mittel Europeans, Ukrainians, and refugees who lived in the ratty tenements would scurry to get out of their way as they crossed Houston to get a knish. It would have been maybe December of 1965 when I arrived. It was shaping up as a very cold winter, with an incredible blizzard that happened just a few weeks after my arrival. Being a naive Texan, I had innocently driven my car and tried to keep it on the streets. I lost it for almost 10 days under the snow. It was all very new to me. Snow. Hippies. The East Village Other. Read more…

The Local East Village continues its celebration of the pioneering alternative newspaper of the late 1960s and early 70s, The East Village Other. This weekend, further to last week’s piece by artist Trina Robbins, we’re keeping our attention on the paper’s trailblazing illustrations, starting with an essay from Patrick Rosenkranz, the author of “Rebel Visions: The Underground Comix Revolution 1963-1975.”

Cover of the first Gothic Blimp Works issue, by Robert Crumb

I never worked for The East Village Other but I was a captivated reader from the first time I picked up an issue in 1966. As an 18-year-old naïve Catholic scholarship student at Columbia University, I was ripe for the revolution. My roommate introduced me to smoking dope that winter and my enhanced appetite often drew me to the student cafeteria, where I couldn’t help but be attracted to the radical contingent from Students for a Democratic Society sitting around their regular table. They looked to my eyes like bomb-throwing anarchists who were having wild sex every night. They often left behind copies of The East Village Other, which I picked up. It was love at first sight.

I’d never seen a publication like this before. It was full of wild accusations and bawdy language and doctored photographs. It had President Johnson’s head in a toilet bowl. It had naked Slum Goddesses, truly bizarre personal ads, and a whole different slant on the anti-war movement than my hometown paper upstate. But best of all, it had the most outrageous comic strips. The continuing saga of Captain High; the psychedelic adventures of Sunshine Girl and Zoroaster the Mad Mouse; Trashman offing the pigs and scoring babes left and right. While I enjoyed many aspects of EVO, I liked the comics the most. Read more…

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…

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…

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…