Word: pots
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Dates: during 1960-1969
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...country of the endless frontier, of the big sky, of manifest destiny, of unlimited resources, of 'Go west, young man,' of opportunity for all, of rags to riches, mass production, nothing to fear but fear itself, technical know-how, a chicken in every pot, gung-ho and can do. We have won all the marbles-and it just isn't enough. Further, the U.S. of A. knows or feels that it is not enough. We have been primarily concerned to establish a form of government-government of the people, by the people, and for the people...
...love, a male universe, and possibly George Washington's birthday. The husband is comforted neither by apples, affluence, martinis, the Democrats, nor a dead God. The partners turn inward-defeated by teenyboppers, Red China, polluted air, Kinsey's statistics, retreating hairlines, wash day, the office bastard, a pot-smoking son, Leda's swan, the snows of yesteryear. They devour each other and emerge as One, shrieking. It is better to have loved and flipped than never to have loved...
...hottest items: incense, cigarette papers and bells. The bells are to hear, naturally, and the incense to sniff. And the cigarette papers? "Well," admits bearded Owner Robert Stubbs, 26, "we have sold an awful lot of papers, and no one has asked for tobacco yet." To further aid his pot-puffing patrons, Stubbs carries a line of water pipes from India; to nourish their spirits, he has English kites. "Kites fit in with the psychedelic state of mind," claims Stubbs. "It's a state of mind, flying, free of the bonds that tie you down...
...example, in the middle of examining the most important pictures he has ever taken, he allows himself to take part in a mini-orgy with two teen-age would-be models; on his way to the scene of the crime to photograph the corpse, he is diverted by a pot party and loses the opportunity to take the picture...
...when chronicling the unpredictable behavior of its photographer-hero, Blow-Up tends to wax ponderous and heavy-handed when characterizing his social environment. Antonioni sketches his mod London in black-and-white values, as entirely worthless. He depicts the young people at the rock-and-roll club and the pot party as incapable of individual emotional reaction, responding only in groups to escapist stimuli and the newest hip symbols (the electric guitar handle). This damning of a culture en masse is suspect; in setting his hero against a background of complete sterility, Antonioni has taken the easy way out, avoiding...