LEADER 04071nam 2200625Ia 450 001 9910818455503321 005 20200520144314.0 010 $a0-8147-3810-9 024 7 $a10.18574/9780814738108 035 $a(CKB)2670000000276395 035 $a(EBL)1057775 035 $a(OCoLC)818819035 035 $a(SSID)ssj0000832546 035 $a(PQKBManifestationID)11966405 035 $a(PQKBTitleCode)TC0000832546 035 $a(PQKBWorkID)10899843 035 $a(PQKB)11370915 035 $a(StDuBDS)EDZ0001323857 035 $a(OCoLC)835910022 035 $a(MdBmJHUP)muse19232 035 $a(DE-B1597)547842 035 $a(DE-B1597)9780814738108 035 $a(MiAaPQ)EBC1057775 035 $a(OCoLC)820335482 035 $a(EXLCZ)992670000000276395 100 $a20120621d2012 uy 0 101 0 $aeng 135 $aurnn#---|un|u 181 $ctxt 182 $cc 183 $acr 200 10$aWell met $eRenaissance faires and the American counterculture /$fRachel Lee Rubin 205 $a1st ed. 210 $aNew York $cNew York University Press$dc2012 215 $a1 online resource (361 p.) 300 $aDescription based upon print version of record. 311 0 $a1-4798-5972-9 311 0 $a0-8147-7138-6 320 $aIncludes bibliographical references (p. 313-331) and index. 327 $tFront matter --$tContents --$tAcknowledgments --$tNote on Interviews --$tIntroduction --$t1. ?Welcome to the Sixties!? --$t2. Artisans of the Realm --$t3. ?Shakespeare, He?s in the Alley? --$t4. ?A Place to Be Out? --$t5. ?Every Day Is Gay Day Here? --$t6. Hard Day?s Knight --$tNotes --$tWorks Cited --$tIndex --$tAbout the Author 330 $aThe Renaissance Faire?a 50 year-long party, communal ritual, political challenge and cultural wellspring?receives its first sustained historical attention with Well Met. Beginning with the chaotic communal moment of its founding and early development in the 1960s through its incorporation as a major ?family friendly? leisure site in the 2000s, Well Met tells the story of the thinkers, artists, clowns, mimes, and others performers who make the Faire. Well Met approaches the Faire from the perspective of labor, education, aesthetics, business, the opposition it faced, and the key figures involved. Drawing upon vibrant interview material and deep archival research, Rachel Lee Rubin reveals the way the faires established themselves as a pioneering and highly visible counter cultural referendum on how we live now?our family and sexual arrangements, our relationship to consumer goods, and our corporate entertainments. In order to understand the meaning of the faire to its devoted participants, both workers and visitors, Rubin has compiled a dazzling array of testimony, from extensive conversations with Faire founder Phyllis Patterson to interviews regarding the contemporary scene with performers, crafters, booth workers and ?playtrons.? Well Met pays equal attention what came out of the faire?the transforming gifts bestowed by the faire?s innovations and experiments upon the broader American culture: the underground press of the 1960's and 1970's, experimentation with ?ethnic? musical instruments and styles in popular music, the craft revival, and various forms of immersive theater are all connected back to their roots in the faire. Original, intrepid, and richly illustrated, Well Met puts the Renaissance Faire back at the historical center of the American counterculture. 517 3 $aRenaissance faires and the American counterculture 606 $aRenaissance fairs$zUnited States$xHistory$y20th century 606 $aCounterculture$zUnited States$xHistory$y20th century 615 0$aRenaissance fairs$xHistory 615 0$aCounterculture$xHistory 676 $a394/.609730904 700 $aRubin$b Rachel$f1964-$01386964 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910818455503321 996 $aWell Met$93967022 997 $aUNINA