Dennis McNally – författare

From the New York Times bestselling author of A Long Strange Trip and the publicist of the Grateful Dead, Dennis McNally, a riveting social history of everything that led up to the 1960s counterculture movement.Few cities represent the countercultural movement of the 1960s more than San Francisco. By that decade, the Haight-Ashbury neighborhood was home to several hundred colorful refugees from the conventional, self-branded "freaks" (dubbed "hippies" by the media) who created the world's first psychedelic neighborhood, an alchemical chamber for social transformation. Collectively, these freaks rejected a large part of the mythology underlying the traditional American identity, passing over American exceptionalism, consumerism, misogyny, and militarism in favor of creativity, mind-body connection, peace, and love of all things-humans, animals, and nature alike.Dennis McNally, author of the New York Times bestseller A Long, Strange Trip: The Inside History of the Grateful Dead, is a consummate historian of the counterculture. He knows the big picture of the American bohemian tradition going back a century with a depth that is unrivaled. In THE LAST GREAT DREAM, his accessible, often riveting scholarship establishes a multi-disciplinary aesthetic, populated by some of the most colorful and trailblazing characters of these times, from Allen Ginsberg to John Cage to Judith Malina and Julian Beck of the Living Theater, to Lenny Bruce, to Ken Kesey, and scores of lesser-known yet key names. It is a who's who of the courageous pioneers who changed America forever without spilling a drop of blood. While all of these various strands have been written about before, none of their stories have been pulled together into a larger, expansive, more connected picture in the manner that McNally accomplishes with this definitive book. THE LAST GREAT DREAM is a history of everything that led to the 1960s counterculture, when long-simmering resistance to American mainstream values birthed the hippie. It begins with the San Francisco Poetry Renaissance, peaks with the Human Be-in in Golden Gate Park, and ends with the Monterey Pop Festival that introduced Jimi Hendrix and Janis Joplin to the world. It ties everything together into a gripping narrative with a cast of scores of fascinating people, and tells several micro-histories in the process, including beat poetry, visual arts, underground publishing, electronic / contemporary compositional music, experimental theater, psychedelics, and more. Fascinating, far-reaching, and definitive, THE LAST GREAT DREAM is the ultimate guide to a generation-defining countercultural movement, an Underground 101 course for newcomers and aficionados alike.

Jack Kerouac-"King of the Beats," unwitting catalyst for the'60s counterculture, ground-breaking author-was a complex and compelling man: a star athlete with a literary bent a spontaneous writer vilified by the New Critics but adored by a large, youthful readership a devout Catholic but aspiring Buddhist a lover of freedom plagued by crippling alcoholism. Desolate Angel follows Kerouac from his childhood in the mill town of Lowell, Massachusetts, to his early years at Columbia where he met Allen Ginsberg, William S. Burroughs, and Neal Cassady, beginning a four-way friendship that became a lifelong obsession. Kerouac's frenetic cross-country journeys, experiments with drugs and sexuality, travels to Mexico and Tangier, and years of failure, frustration, and depression are recounted with detail and sensitivity. Desolate Angel is a harrowing, compassionate portrait of a man and artist set against an extraordinary social backdrop.

The complete history of one of the most long-lived and legendary bands in rock history, written by its official historian and publicist–a must-have chronicle for all Dead Heads, and for students of rock and the 1960s’ counterculture.From 1965 to 1995, the Grateful Dead flourished as one of the most beloved, unusual, and accomplished musical entities to ever grace American culture. The creative synchronicity among Jerry Garcia, Bob Weir, Phil Lesh, Bill Kreutzmann, Mickey Hart, and Ron “Pigpen” McKernan exploded out of the artistic ferment of the early sixties’ roots and folk scene, providing the soundtrack for the Dionysian revels of the counterculture. To those in the know, the Dead was an ongoing tour de force: a band whose constant commitment to exploring new realms lay at the center of a thirty-year journey through an ever-shifting array of musical, cultural, and mental landscapes.Dennis McNally, the band’s historian and publicist for more than twenty years, takes readers back through the Dead’s history in A Long Strange Trip. In a kaleidoscopic narrative, McNally not only chronicles their experiences in a fascinatingly detailed fashion, but veers off into side trips on the band’s intricate stage setup, the magic of the Grateful Dead concert experience, or metaphysical musings excerpted from a conversation among band members. He brings to vivid life the Dead’s early days in late-sixties San Francisco–an era of astounding creativity and change that reverberates to this day. Here we see the group at its most raw and powerful, playing as the house band at Ken Kesey’s acid tests, mingling with such legendary psychonauts as Neal Cassady and Owsley “Bear” Stanley, and performing the alchemical experiments, both live and in the studio, that produced some of their most searing and evocative music. But McNally carries the Dead’s saga through the seventies and into the more recent years of constant touring and incessant musical exploration, which have cemented a unique bond between performers and audience, and created the business enterprise that is much more a family than a corporation.Written with the same zeal and spirit that the Grateful Dead brought to its music for more than thirty years, the book takes readers on a personal tour through the band’s inner circle, highlighting its frenetic and very human faces. A Long Strange Trip is not only a wide-ranging cultural history, it is a definitive musical biography.

The Grateful Dead were one of the most fascinating rock bands and cultural phenomena of the twentieth century. Despite having few mainstream hits, from 1965 to 1995 the Dead blazed an extraordinary incendiary trail across the rock firmament. Exploding from the roots and folk scene of the early 1960s, the Dead went on to provide the soundtrack to the Dionysiac revels of the burgeoning counterculture. Their history is the history of the modern American Revolution in the years of rage and rebellion, which were to change the country forever. Here is the band's full story. Not just a brilliant rock biography, it forms a compelling portrait of America's West Coast from the halcyon days of Magic Buses and Merry Pranksters to the corporate dawn of the twenty-first century.

The Church needs the arts, as they are a way to access the soul. As Augustine says, one who sings, prays twice. Recent popes have given the impression that the Church is again interested in the way the arts draw us into ourselves, where we are able to contact the mystery that is God. Art for Church is a personal and professional expression of how that renewed interest plays itself out. This text takes its name from the "cloth of gold," an image related to centuries of experimentation by the medieval and Renaissance worlds as they sought an alchemical solution to worship. There previously existed a centuries-long search for how to make golden cloth that would praise God; this pursuit distinctly resembles the quest of the artist to produce the perfect product. Pope Paul VI (1897-1978) and his papal fraternity had set the tone, too often a confining one, for such an alchemical quest in the Church. Unfortunately, the music in the artist's heart is not always the same as that in the heart of the pastor. Pope Paul VI eventually did apologize for the "cloak of lead" he imposed upon artists creating works in the name of the Church. He also came to admit that artistic freedom is a necessary part of the process when the Church seeks the works of artists. In this book, McNally offers insights on how much freedom is necessary for art to flourish in the service of the Church and just what is at stake if that freedom is curtailed. Art for Church contains over 120 original paintings and 30 original poems by the author.

On Highway 61 explores the historical context of the significant social dissent that was central to the cultural genesis of the sixties. The book is going to search for the deeper roots of American cultural and musical evolution for the past 150 years by studying what the Western European culture learned from African American culture in a historical progression that reaches from the minstrel era to Bob Dylan. The book begins with America’s first great social critic, Henry David Thoreau, and his fundamental source of social philosophy:---his profound commitment to freedom, to abolitionism and to African-American culture. Continuing with Mark Twain, through whom we can observe the rise of minstrelsy, which he embraced, and his subversive satirical masterpiece Huckleberry Finn. While familiar, the book places them into a newly articulated historical reference that shines new light and reveals a progression that is much greater than the sum of its individual parts. As the first post-Civil War generation of black Americans came of age, they introduced into the national culture a trio of musical forms—ragtime, blues, and jazz— that would, with their derivations, dominate popular music to this day. Ragtime introduced syncopation and become the cutting edge of the modern 20th century with popular dances. The blues would combine with syncopation and improvisation and create jazz. Maturing at the hands of Louis Armstrong, it would soon attract a cluster of young white musicians who came to be known as the Austin High Gang, who fell in love with black music and were inspired to play it themselves. In the process, they developed a liberating respect for the diversity of their city and country, which they did not see as exotic, but rather as art. It was not long before these young white rebels were the masters of American pop music – big band Swing.As Bop succeeded Swing, and Rhythm and Blues followed, each had white followers like the Beat writers and the first young rock and rollers. Even popular white genres like the country music of Jimmy Rodgers and the Carter Family reflected significant black influence. In fact, the theoretical separation of American music by race is not accurate. This biracial fusion achieved an apotheosis in the early work of Bob Dylan, born and raised at the northern end of the same Mississippi River and Highway 61 that had been the birthplace of much of the black music he would study. As the book reveals, the connection that began with Thoreau and continued for over 100 years was a cultural evolution where, at first individuals, and then larger portions of society, absorbed the culture of those at the absolute bottom of the power structure, the slaves and their descendants, and realized that they themselves were not free.