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Peopleas Park in Berkeley was born when a diverse coalition of activists seized a vacant lot to build a park in 1969. The authorities reacted violently, leading to riots in which police shot into crowds, killing one bystander and wounding over 100 people. The battle over Peopleas Park became a symbol for the battles of the 1960s between the counter-culture and mainstream society. While the dramatic story of the Parkas violent creation in 1969 has been thoroughly told, no book until now has brought the story up to date. This book illustrates how the Park is still a living counter-cultural experiment and a model for do-it-yourself ecological and social direct action. The book features hundreds of historical images and photographs of the Parkas present uses: as a community garden and native plant repository; as a liberated zone for concerts and political rallies; and as one of the few places open to all peoplearich and poor, homeless and housedain an increasingly consumer-dominated Berkeley. The book uses interviews, news clipping, political tracts, and primary documents to show how generations of activists have fought to allow the users of the Park to control its development, operation, and maintenanceaembodying the principal of user development in the face of constant police repression.
"After the blast, Kurt Cobain's body slumped. Next to his corpse lay a piece of paper with his last words. At the time the bullet seared his head, Cobain was a rock star, his grizzled face graced the covers of slick music industry magazines, his songs received mainstream radio play, his band Nirvana performed in huge arenas. But he had been thinking an awful lot about what he called the "punk rock world" that saved his life during his teen years and that he had subsequently abandoned for stardom. He first encountered this world in the summer of 1983, at a free show the Melvins held in a Thriftway parking lot. After hearing the guttural sounds and watching kids dance by slamming against one another, he ran home and wrote in his journal: "This was what I was looking for," underlined twice. As he dove into this world, he recognized its blistering music played in odd venues, but also a wider array of creativity, like self-made zines, poetry, fiction, movies, artwork on flyers and record jackets, and even politics. This too: how all of these things opened up spaces for ideas and arguments. Now in his suicide note he reflected on his "punk rock 101 courses," where he learned "ethics involved with independence and the embracement of your community."2 There are people who can recount where they were when Cobain's suicide became news. I was in Ithaca, NY, finishing up my dissertation... but my mind immediately hurled backwards to growing up in Washington, D.C.'s "metropolitan area" (euphemism for suburban sprawl). I started to remember the first time I entered this "punk rock world." Around a year or two before Cobain went to the Thriftway parking lot, I opened the doors of the Chancery, a small club in Washington, D.C., and witnessed a tiny little stage, maybe a foot and a half off the ground. Suddenly, a small kid about my age (fifteen), his hair bleached into a shade of white that glowed in the lights, jumped up. I remember it being brighter than expected (unlike my earlier, wee-boy experiences in darkened, cavernous arenas where bands like Kiss or Cheap Trick would play to me and thousands of stoned audience members). This kid with the blond hair might have said something, I don't remember, what I recall is that his band broke into the fastest, most vicious sounding music I had ever heard. Suddenly bodies started flying through the air, young men (mostly) propelling themselves off the ground into the space between one another, flailing their arms, skin smacking skin. Control was lost, for when a body moved in one direction, another body collided into its path. When someone fell over, another would pick him up. The bodies got pushed onto the stage, making it hard to differentiate performer from audience member. At one moment it appeared the singer had been tackled by a clump of kids, and he seemed to smile. Sometimes, I could even make out what the fifteen-year old was shouting, especially, "I'm going to make their society bleed!" Overwhelmed, I rushed outside to clear my head"--
There has been a resurgence of community gardening over the past decade with a wide range of actors seeking to get involved, from health agencies aiming to increase fruit and vegetable consumption to radical social movements searching for symbols of non-capitalist ways of relating and occupying space. Community gardens have become a focal point for local activism in which people are working to contribute to food security, question the erosion of public space, conserve and improve urban environments, develop technologies of sustainable food production, foster community engagement and create neighbourhood solidarity. Drawing on in-depth case studies and social movement theory, Claire Nettle provides a new empirical and theoretical understanding of community gardening as a site of collective social action. This provides not only a more nuanced and complete understanding of community gardening, but also highlights its potential challenges to notions of activism, community, democracy and culture.
Offers advice on planning public spaces in urban areas, discussing the positive effects that parks and gardens can have on cities and their residents; and covering design, maintenance, volunteers, public funding, and private donations; with a list of plants and other resources.
One woman, an impossible dream, and the faith it took to see it through, inspired by the life of Hulda Klager German immigrant and farm wife Hulda Klager possesses only an eighth-grade education—and a burning desire to create something beautiful. What begins as a hobby to create an easy-peeling apple for her pies becomes Hulda’s driving purpose: a time-consuming interest in plant hybridization that puts her at odds with family and community, as she challenges the early twentieth-century expectations for a simple housewife. Through the years, seasonal floods continually threaten to erase her Woodland, Washington garden and a series of family tragedies cause even Hulda to question her focus. In a time of practicality, can one person’s simple gifts of beauty make a difference? Based on the life of Hulda Klager, Where Lilacs Still Bloom is a story of triumph over an impossible dream and the power of a generous heart. “Beauty matters… it does. God gave us flowers for a reason. Flowers remind us to put away fear, to stop our rushing and running and worrying about this and that, and for a moment, have a piece of paradise right here on earth.”
It's the Silver Jubilee of People Park, an urban experiment conceived by a radical mayor and zealously policed by the testosterone-powered New Fraternal League of Men. To celebrate, the insular island city has engaged the illustrator Raven, who promises to deliver the most astonishing spectacle its residents have ever seen. As the entire island comes together for the event, we meet an unforgettable cross-section of its inhabitants, from activists to nihilists, art stars to athletes, families to inveterate loners. Soon, however, what has promised to be a triumph of civic harmony begins to reveal its shadow side. And when Raven's illustration exceeds even the most extreme of expectations, the island is plunged into a series of unnatural disasters that force people to confront what they are really made of. People Park is a tour de force of eerily prescient, grotesque, and hilarious observation and a narrative of gripping, unrelenting suspense. Malla writes as if the twin demons of Stephen King and Flannery O'Connor were resting on his shoulders. You've never read anything quite like People Park.
The San Francisco Bay Area was a meeting point for radical politics and counterculture in the 1960s. Until now there has been little understanding of what made political culture here unique. This work explores the development of a regional culture of radicalism in the Bay Area, one that underpinned both political protest and the counterculture.
A story of murder and greed in a small Southern City. Four inhabitants of Lancaster try to cope with the changing social and ecomomic climate as lives clash in a fury of raw emotion.
From the charming and wickedly funny co-creator and star of Crazy Ex-Girlfriend, a collection of hilarious personal essays, poems and even amusement park maps on the subjects of insecurity, fame, anxiety, and much more. Rachel Bloom has felt abnormal and out of place her whole life. In this exploration of what she thinks makes her "different," she's come to realize that a lot of people also feel this way; even people who she otherwise thought were "normal." In a collection of laugh-out-loud funny essays, all told in the unique voice (sometimes singing voice) that made her a star; Rachel writes about everything from her love of Disney, OCD and depression, weirdness, and Spanx to the story of how she didn't poop in the toilet until she was four years old; Rachel's pieces are hilarious, smart, and infinitely relatable (except for the pooping thing).
In twenty essays, this book covers aspects of planning, architecture, urban design, landscape architecture, park and garden design. Their approach, described as post-postmodern, is a challenge to the 'anything goes' eclecticism of the merely postmodern.