Posts Tagged ‘Easy Rider’
April 9, 2013 | by M.J. Moore
Annette Funicello’s death, at age seventy, occurred one day after the Sunday night premiere of season 6 of Mad Men. The pilot of the show, you will recall, was set in the year 1960: the same year Annette Funicello segued from The Mickey Mouse Club (which aired from 1955 to 1959) to her career as a singer and performer in a passel of musicals produced in Hollywood, before the British Invasion transformed youth culture. Mad Men’s narrative trek through the decade now compels its protagonists to face the increasingly surreal and riotous mayhem of America’s social and political panorama in the late 1960s: the shift from “We Shall Overcome” to black power. Our total plunge into Vietnam’s quagmire. The generation gap. Two assassinations in 1968: the Reverend Dr. Martin Luther King Jr. and Senator Robert F. Kennedy. Plus, of course, the incipient women’s movement. All that, set against a sound track ruled by the Doors, the Stones, and the White Album incarnation of the Beatles, whose aural evolution defined the whole epoch.
According to one school of thought, the “real” 1960s did not unfold until well after JFK’s death, definitely after the onset of the Beatles’ psychedelic phase in 1966 (“Strawberry Fields Forever” in lieu of “She Loves You”), and eons after the earlier half of the decade was sweetly personified by Annette Funicello and Frankie Avalon in a slew of beach movies, replete with “Twist”-era rock-and-roll dance music. Of course, it was that earlier part of the 1960s—the Annette Era, so to speak—that first created Mad Men’s buzz. The meticulous re-creation of the fashions, manners, and mores of 1960–63 reminded (or taught) viewers how drastically different the first part of the decade was from the latter. Read More »
March 13, 2012 | by The Paris Review
On Tuesday, April 3, The Paris Review will honor two of our favorite young writers.
Amie Barrodale will receive the Review’s Plimpton Prize for “Wiliam Wei,” which appeared in our Summer issue.
Adam Wilson will receive the second Terry Southern Prize for Humor for his story “What’s Important Is Feeling” and his contributions to The Paris Review Daily.
The Plimpton Prize for Fiction is a $10,000 award given to a new voice published in The Paris Review. The prize is named for the Review’s longtime editor George Plimpton and reflects his commitment to discovering new writers of exceptional merit. The winner is chosen by the Board of the Review. This year’s prize will be presented by Mona Simpson.
The Terry Southern Prize for Humor is a $5,000 award recognizing wit, panache, and sprezzatura in work published by The Paris Review or online by the Daily. Perhaps best known as the screenwriter behind Dr. Strangelove and Easy Rider—and the subject of an interview in issue 200!—Terry Southern was also a satirical novelist, a pioneering New Journalist, and a driving force behind the early Paris Review. Comedian David Cross will present this year’s award.
The honoree of this year’s Revel is Robert Silvers. Zadie Smith will present Silvers with the 2012 Hadada, the Review’s lifetime achievement award recognizing a “strong and unique contribution to literature.” Previous recipients of the Hadada include James Salter, John Ashbery, Joan Didion, Norman Mailer, Peter Matthiessen, George Plimpton (posthumously), Barney Rosset, Philip Roth, and William Styron.
Come help us celebrate our honorees and our two hundredth issue—and support the Review. Buy your Revel tickets now!
June 7, 2010 | by Thessaly La Force
After the jump is, as promised, the exchange in full, where Southern discusses making Easy Rider with Dennis Hopper, and the missing pie-fight scene from Dr. Strangelove: