Subcultures Books

I love this series. It's one of my favorites & takes a place of honor of being on the shelf that is closest to my bed & therefore the most often read.

However, the one thing I have to complain about is that at times the plot tends to jump around & many key elements are either skipped (like the scene where Lex finally agrees to go out with Damion) or randomly introduced (like a certain character in the 4th volume who starts a war) without any previous mention. The artwork tends to change per volume, but even though I have my artist preferences the artwork is still fun & fits the tone of the storyline.

I recommend this series heartily, I just wish that Valentino could have fleshed it out just a wee bit more so the storyline was a bit smoother (and so we could have more Gloom Cookie).

of course the story is excellent... darkly sweet and endearing. what really made me sad was the art however... you can SEE it deteriorate from the first story to the last... i absolutely adore gloomcookie. but i have to say, john gebbia made this volume a bit of a shame with his eventual careless and POOR art. and i say this as an artist. ;)

still... if you love gloomcookie, you need to have it.

I had to get Gloomcookie's Vol II, after I read the first volume. The storyline was still as great as ever. Only this time, a different artist was used. I was alittle disappointed that the original artist wasn't used, only because Ted's art was more vibrant and eye catching. Don't get me wrong, the new artist is cool, just not the same. I definately recommend this second volume. If you read the first volume, you have to read the second.

I absolutely love gloomcookie! From the moment I accidently discovered the first book in a cartoon shop I was captivated. And although the artwork in the second volume is not as smashing as in the first, the story is so wonderfully fascinating and addictive it does not really matter much. The complexity AND simplicity of it is incredible.
Highly recommended!

I'm not too fond of John Gebbia style. The illustrations seem rushed and sketchy. I don't think I'd have ever picked Gloom Cookie up if he'd been the original illustrator. What's with the blobs for hands? It's not THAT hard to draw a hand!
Other than that this still a cute series. The story is interesting, the characters are fun, and the setting is gloomy. The artwork is the only reason this didn't get 5 stars.

"Little Boy: The Arts of Japan's Exploding Subculture" is far and away the most beautifully-designed and edgiest book ever issued by the Japan Society in New York. At the same time, it is the most significant. That the bilingual "Little Boy" catalogue is so stunningly beautiful and up-to-the minute reflects the fact that it was edited and produced in Japan by the graphics artists driving the trends it documents. The art it examines is, as Alexandra Monroe of the Japan Society puts it, a superflat "cartoon imagery of exploding mushroom clouds, fantastic mutant monsters, and baby-faced cyborg heroines." This art bears some resemblance to that of Andy Warhol and Roy Lichtenstein, but even the art of these two icons cannot begin to hint at the revolution in graphic design that has occurred in Japan. Nor can their art prepare us for the revolution of meaning that this graphic art has assumed for the Japanese of the late 20th and early 21st centuries.

And it is this last point that brings us to the seminal importance of "Little Boy" as both a book and exhibition.
To return to Munroe's essay, with which readers may prefer to begin the book, in countries other than Japan animated films, cartoon-like graphics, and comic books are typically associated with children alone. In Japan, in contrast, these art forms have been appropriated by adults as well as the art mainstream. Of greatest importance, they have become a major means by which the Japanese are attempting to deal with the dual traumas of the 1945 atomic bombings of Hiroshima and Nagasaki and the postwar dependency that a US-written constitution imposed on Japan as a player on the world stage. If such traumas were being reflected in the graphic arts alone, this phenomenon would be perhaps no more than an interesting oddity. Nearly everyday, however, attempts to grapple with the same issues are being played out on the political stage, be it in the context of a prime ministerial visit to the Yasukuni Shrine for the war dead or Japan's agonizing over how to respond to the apparent nuclearization of the Korean peninsula. It is tempting to ascribe these political developments to a renascent right-wing fringe. "Little Boy" is, however, a wake-up call telling us that the population as a whole is wrestling with issues of how their nation should be defined.

I attended the show in New york and wished to have a catalog. They were all sold out but reccomended that I go to amazon. I was quite pleased. Very visual and informative. Be for warned not a product for children. It is true to form of Japense culutre in animation and graphics. If you have a chance I highly reccomend you go to the exhibit.

Murakami's latest curatorial effort has gained nearly universal acclaim amongst the art world. His "Little Boy" exhibition attempts to understand the origins of contemporary Japanese art's affinity for both the horrifically violent and the frightfully cute (kawaii). Ultimately, Murakami argues that these images are spawned from the atomic bombings of Hiroshima and Nagasaki combined with postwar US domination. Violent imagery becomes a sign for a fascination with the kind of power that postwar Japan lacked. Kawaii imagery is then seen as stemming from Japan's status as a protectorate of the US. This relationship was not unlike that of a parent and child (the child/adolecent becomes a prevalent theme in Japanese art from postwar era forward.)
This effort is faithfully documented in this beautiful catalogue which includes works by contemporary Japanese artists, artists of Murakami's Kaikai Kiki, and popular anime and manga such as Neon Genesis Evangelion and Doraemon. A must for anyone interested in the origin of Japan's unique hyper-contemporary aesthetic.

Here's an email I sent to a friend about the Little Boy exhibition and this book:

I spent Friday afternoon at the Japan Society viewing the Little Boy exhibition, curated by Takashi Murakami - and I purchased the handsome exhibit catalogue, Little Boy: The Arts of Japan's Exploding Subculture (edited by Murakami, with commentary and essays in English and Japanese).

The exhibition title, of course, is the name of the atom bomb dropped on Hiroshima and that event is a recurrent theme and background for the exhibit. But it also points toward the apparent childlike drift of Japanese pop culture as evidenced by the kawaii craze. Murakami has two essays in the catalogue, the first of which is "Earth in my Window" (pp. 98-149). The essay has an image from "Howl's Moving Castle" as its frontispiece, opens by talking of the historic Little Boy, moves through the assertion that "everyone who lives in Japan knows-something is wrong" and quickly arrives at "Kawaii (cute) culture has become a living entity that pervades everything. With a population heedless of the cost of embracing immaturity, the nation is in the throes of a dilemma: a preoccupation with anti-aging may conquer not only the human heart, but also the body. It is a utopian society as fully regulated as the science-fiction world George Orwell envisioned in 1984: comfortable, happy, fashionable-a world nearly devoid of discriminatory impulses" (p. 100). I've not read the essay in full.

The exhibition was quite interesting, steeped in manga and anime. One wall was covered in original hand-drawn Doraemon panels, another wall of Hello Kitty art and merchandise, Mobile Suit Gundam was well represented, while a bench of foot-high Godzilla sculptures was placed in front of a black well on which the 9th article of the Japanese constitution was written, in English and Japanese. That's the article in which Japan renounces the right to wage war. And lots more, more than I can even mention, much less comment on, in this brief note.

The overall effect - of both the exhibition and the catalog - is that of manga and anime themselves. We have worlds colliding and intersecting, intermingling and cross-breeding. Who knows what it will toss up, hopeful monsters and all.

I was most taken by the (acrylic) paintings of Aya Takano. Midori Matsui remarks of her art (p. 232):

"The interpenetration of the future and the past, the outer and inner space is captured dreamily in Takano's paintings, in habited by supple, nude teenagers and half-human creatures drawn with tentative lines and painted in a vapory spread of acrylic. Her retro-futuristic vision is inspired by the science-fiction novels of Brian B. Aldis, Cordweiner Smith, James Tiptree, Jr. and the comics of Osamu Tezuka, the father of postwar Japanese narrative manga. The mixture of hippie hallucination and space-age fantasy gives Takano's erotic nudes a mythical flavor. Coyly taunting the "Lolita complex" of an otaku erotic comic, she conveys a different sort of eroticism derived from the androgyny of the adolescent body."

Yes. Her work is very delicate, but substantial. Moderately painterly as well. You can see the brush strokes, but the paint is thin and Matsui's phrase "vapory spread" is apt. The heads are rounded, as are the large eyes. The eyes are also heavily lined, as though these wiry and delicate creatures are made up with kohl around their eyes. The images are haunting.

If I were a collector, I would collect Takano. But I would have to hang those paintings in a gallery. I wouldn't want them in a living room, a library, a hallway, nor a bedroom. The images are too intrusive to be background. They demand your attention; they are jealous.

I saw lots of images like that in this exhibition. I wish I could see it again.

Murakostabi (Murakami + Mark Kostabi) This grating exhibition and premise mines the discards of Japanese art history (Okamoto) and gloms on to the earlier actual historical greats. At the hilarious symposium Murakami was reduced to being called Little boy himself! it was hilarious to watch and hear. Finally he is moving out and away from the artworld like Peter Max and yesterday's news. The exhibition is calculating (the use of mushrooms- halucinogens- and Mushroom clouds, Article 9 - predictable) The big black mushroom cloud painting was really conceived by one of his under-paid assistants Mariko Suzuki and he tries to take credit. It is a cloying show with very little merit. Seeing Superflat in Tokyo and being suspicious of it then this new incarnation of it reeks of the same stunts that troubled sitcoms use. It is begging for substance. The works of Makoto Aida or Tenmyouya hisashi or even the toys and magazines by dehara have much more substance. Think I am pissed? well search these out and you might be surprised at the rich depth of REAL JAPANESE ART, not thie silly misinformation of murakostabi.

Being 20 and never have tasted anything alocholic, smoked, used drugs, etc. I can say I'm taking the lifelong commimtment called straight edge. Curious by what this book holds, I bought it. If you are straight edge you might find some new ideals in this book. If you aren't this is a great jump off book. There are some interesting things I learned from reading this book, like how other scenes are in different states. Also just learning about how someone else became straight edge is interesting. Overall the book takes a sociology approach to defining straight edge and does a great job. I'll admit though the only bad part about this book is finding out some of the interviewees "sell out".

I can't tell you how disappointed I was in this book. Being straightedge for 11 years, I was initially excited that someone had finally written an academic book on the subject. This book however, not only falls terribly short of anything that could remotely be called academic (not well written at all), it also fails to really look at straightedge in an in depth way. From discussing fashion trends to dancing/moshing styles, the book strays into irrelevancy over and over again. I would have loved to read some intelligent quotes from "scenesters" as well instead of the usual "how can I trust a sellout" and "true till death" stuff you can hear at any hardcore show.

As a woman, I especially found the chapter on women within straightedge to be awful. Instead of attempting to examine the role of women in shaping the local/national scene or discussing those women who've been in the forefront, the author talks about "coatracks" and girls attending shows just to find favor with the men.

Thumbs down.

The title gets the idea wrong from the begining. Clean living. I saw the guys from Earth Crisis chase a punk down the street in Birmingham, AL because he was wearing a leather jacket.Clean living? Bourgeois politics. Mainline and straight-edge are or should be considered two different takes on an idea. The idea that you shouldnt put all you life's importance on drinking,sex, and smoking. That allowing brands to create your lifestyle culture isn't rebellion. Its supporting the system of corporate abuse some of us see. You can have a drink, you can have sex, and still be straight edge. Being a drunk and a screwing everyone and everything you see isnt being straight-edge. This is exactly why a second version of Out Of Step had to be recorded.
Oldy Moldy JOke: How many straight-edge people does it take to drink a 12 pack? One if nobody else is around! ehhhhh!

Ross really did a wonderful job with this book. He analyzed the Straight Edge subculture from both a sociological point of view, as well as from a fan perspective. Ross has been part of the Straight Edge scene since the late 80's, and has witnessed a lot during this time. This gave him the ability to truly analyze the scene. The book reads great, and I recommend it to anyone that is interested in learning more about this subculture.

I was stoked on this book when I first heard about it, but having read it over the summer I can safely say that I'd not recommend it to anyone. It fails both in its depiction of the straight edge scene and as an academic text.

If you want to read a book that attempts to analyze straight edge by trying to fit it into the contours of some pretty dubious social theory be my guest, but since the author doesn't offer ANY ARGUMENTS for the social theory (which is basically just cribbed from standard sources...Judith Butler...seriously?...this is the kind of thing that makes Choke cry) part I have no reason to believe any of it is true.

The author makes large scale social constructivist assumptions about masculinity/femininity but doesn't really attempt to justify or provide reasons for his theoretical apparatus, he just lists some sources.

Maybe they don't demand rigorous argumentation in sociology departments or maybe there's something I'm missing, but it seems like the author's expectation was that readers would share some common set of theoretical underpinnings thus making the need to argue for his theoretical apparatus beside the point.

The end result of all this is this: we learn that straight edge boys are generally "progressive" young men who need to be a little nicer to the girls. If we just made more "protected space" for them at shows they'd be there in droves waiting in line to join us in a rousing chorus of cumbayah.

On the more general SEHC history/exegesis, dude basically shows his true colors. He grew up in South Dakota and didn't go to many shows. He didn't really get involved in HC on a serious level until after he was in grad school in the mid 90s. Even then it was in Colorado, which we all know is not exactly a paradigmatic representation of what's generally been a very coastal phenomena. So we get a history lesson from a dude who spent his formative years listening to STRAIGHT FROM THE HEART and the rest of his time in a relatively small, isolated, young scene.

Beyond that, there's a lot of quotations culled from an interview with officially retired homosexual activist Duncan Barlow (the names are changed but it's pretty clear who's who in some cases) who manages to make clear in print just how much of a pretentious prick he can be. Anyone who has doubts about whether he should have been punched by Marc Porter should peruse some of the pedantic b.s. Duncan cooks up for this interview.

All of this suggests that he may not've been in the best position to offer insight into straight edge as a general phenomena. Imagine a guy attempting to write a social history of baseball who grew up in Japan and visited the US for a week a few years ago. I think you'd get a similar effect.


As both a straight edge kid and an academic this book struck me as a disaster.

being a deadhead for many years i find this book to be useless and borderline silly. who cares what one lady who became a deadhead in 86' has to say and tries to figure out.
if you want to learn about deadheads then read A LONG STRANGE TRIP or the many others available!!

Why didn't I think of a way to go on tour and get paid for the ride? Lot better than "sp-ang-in'"

Everyone who has attended a number of Grateful Dead shows has become aware that something "magical" is going on. Those who "get it" are changed for a lifetime. This book is a compliation of social science research - usually as part of a Masters or Doctorate project - into that phenomena. I highly recommend this book to anyone who is looking for an academic approach to this magical and mystical experience. Be aware that the format is not in traditional narrative, but more the way scientific papers are presented - nevertheless, anyone who has been "on the bus" should put this in their library and those who are not on the bus, might finally get some understanding of why the Grateful Dead experience is truly transforming.

As a Deadhead, this is one of the things I've been waiting for. This is a wonderful collection of papers concerning one of the most influential "bands" in American culture. I recommend this to any Deadhead, and I recommend it to anyone who has ever wondered why we saw as many shows as we did, why we traveled across the country every season, and why we still continue to listen to their music. This should be read by anyone who never understood their sister's, brother's, or child's (make that parent's as well) need to see the shows and be among other Deadheads. This book covers so many facets of the Dead and their fanbase, and each paper is a scholarly piece of academia. Rebecca had such forsight to begin when she did, and I am thankful that she has found so many dedicated Deadheads who have written University thesis papers on the band. Joseph campbell and Jerry Garcia would both be very happy with this work, and I am again very pleased that a book covering this "long, strange trip" has been so wonderfully put together. A true sociological work, this should be considered by any sociology class in every University across the country. Thank you for a real good time.

It is history. Two of the four communities portrayed have changed. One has become extinct, and one, San Francisco, has changed radically. Jerry Falwell's has survived, but it now seems less significant these days. Age-restricted communities have grown in numbers and scope. Frances FitzGerald is right to see the development of all four as peculiar. She stresses the role of life-style and religion. All of the communities are totalizing, meaning all-encompassing, experiences. All of them represent changes from former lives and so are explicable in terms of liminal states and rites of passage research. All require extreme commitment on the part of the participants. All are sheltered from the world in certain respects, or could be said to represent new versions of reality. Perhaps only the homeschooling movement of today requires similar exertions of will.

Reviewing history, it is noted that the Castro in San Francisco in the 1970's became part of a vast redevelopment project. Harvey Milk, though, and others were powerless to overcome the forces of gentrification. On November 27, 1978, Harvey Milk and George Moscone were shot and killed. This was eight days after the mass suicide at Jonestown. AIDS hit the Castro hard by 1984.

The next section bears the title, "Liberty Baptist--1981." Television evangelists came at the time of a change in American religious life in the 1970's. Conservative evangelists were attracted to television as a medium. The patriotism was no surprise, but the launch into electoral politics was surprising, even to their audiences. By 1980 Bakker and Robinson retreated. The risks of political involvement involvement were too great. Only two superstars, Robison and Falwell, remained. Robison was a Southern Baptist. Falwell was a pastor of an independent Baptist church. Falwell was head of the Moral Majority. Falwell was most characteristically an organizer and a promoter. Fundamentalist pastors had been identified as part of a new coalition, the New Right. Falwell was leading a radical movement.

Lynchburg is a small city of sixty-seven thousand. The city stands between Appalachia and Washington D.C. In the 1950's it was still a mill town, but it was being transformed into one of the cities of the New South. Lynchburg is really a collection of suburbs. Developers are still at work at the edge of town. It is not a graceful city. There are over a hundred churches. Falwell's church on Thomas road is block away from Lynchburg College.

The Thomas Road Church is a vast and mightly institution. It includes Liberty Baptist College. It is a church advocating separation from the world. It tries to be comprehensive. Success and how to get it are main themes in Thomas Road preaching.

Jerry Falwell was an ambitious school boy. He attended Lynchburg College for two years and then made a career decision and transferred to Baptist Bible College in Springfield, Missouri. In 1956 he decided to start his own church in Lynchburg. He began broadcast activities immediately. In a year his congregation went from thirty five people to eight hundred sixty-four. His preaching style and theology are conventional. He is pithy, old-fashioned. He has organizational talent and enormous driving energy.

He built up his church's capacity for saturation evangelism. He has never had the money to complete any projects he has begun. He is always out ahead of himself. His church and college have been in financial crises. The author finds something a bit exotic about Falwell's congregation. Liberty Baptist College students refer to their school as boot camp. The Civil rights Movement showed Falwell preachers could be politically effective.

The next section is labelled, "Liberty Baptist--1986." In 1985 the college was renamed Liberty University. There is a plan to develop professional schools and a full range of graduate programs to equip church-influenced students to compete in the secular sphere.

"Sun City--1983" describes retirees. It is an age-segregated community. Sun Citians see very little of their Florida neighbors. Sun City is an island of wealth in the midst of rural poverty. There is something child-like about it. Twenty years ago couples settled in Sun City. At the present juncture there are couples and widows. The developers who built Sun City made no provision for sickness and incapacity.

Finally there is Rajneeshpuram, the attempt to build a Hindu city on an Oregon desert. The Rajneeshee came to Oregon from Poona, India via Montclair, New Jersey. The author heard of the Rajneeshee in 1983. The leader, the guru, was fighting deportation. The Rajneeshee were a major political issue in the state. Still, they remained quite mysterious to the Oregonians. The settlement, given the setting, was outlandish. Experts could not determine whether the settlers were pursuing good agricultural practices. The followers had had wordly successes. They were people of accomplishments. The ranch was awash in the Human Potential Movement. One observer thought that a traditional Oriental despotism had been created at the ranch. Through a series of miscalculations-- political, financial, public relations-- Rajneeshpuram in 1985 was a half ghost town.

There is a last chapter in the book entitled "Starting Over." It brings together strands from the previous chapters and opens up new areas of discussion in treating the matter of the Burned-over District. How such a variety of movements could arise in such a short time and in such a restricted geographical terrain of a few counties in New York State is an historical puzzle. The author suggests the Swedenborgians and Mormons and Abolitonists and the Fox sisters resemble some of the communities and movements she portrays in her book.

The author looks at four cities across the US in the 1980s. The most important chapter is on San Francisco. This was during the rise of the AIDS controversy. Nowadays, this chapter seems outdated. But at the time, it was quite interesting. I think urban studies majors or journalism majors may find this book quite useful.

Dead Boy Detectives follows two boy ghosts, one deceased in a bit before WWI, and the other deceased in the 1990s, as they run a "dectective agency". The ghosts are only visible to children and to a few adults, which comes in handy when solving mysteries. Here, they go to an all-girls academy to search for a missing best-friend of one of the girls. This involves going undercover as girls, and dealing with crushes given and received (completely crushes for some comic effect - nothing poignant or for any other purpose than comic relief).

The search for the missing girl unfolds well. Teachers' quirks are explored. Girls not in the same circle of friends fit into stereotype personalities, while the clic the boys are in gets developed. The art here was a nice touch. It's nice in the sense of flowing well and dropping detail when appropriate.

So, things are moving along nicely... and then the last maybe fifth of the book delivers the missing girl and gets the ghosts back to their home-base in London with an abrupt deus-ex-machina ending. It's very tacked on and doesn't relate to the rest of the book, so it doesn't so much solve a mystery as put things in place to start the next book.

This is a decent read if you have easy access to a copy, but it's all a bit soft, so don't go looking hard to find it.

Though it's hardly up to the epic storytelling of the Sandman series that inspired it, Jill Thompson's little spin-off title is a quirky, enjoyable, and affordable read.

Well i don't have much to say on this one. I ordered it as a help for my media assignment. Found it useful but a little long-winded and a little too specialised in terms of examples.
I'd recommend Sarah Thornton's "Club Cluture" as a good partner to this book.

Muggleton's biggest strength is that he tries to understand subjective experiences of subculturalists in their neverending conquest for differentiating themselves from the conventional. Unlike Birmingham scholars, Muggleton does not start with a pre given, dichotomous assumption about materially opressed subcultures against a totalizing dominant culture, but rather has a nominalist cultural orientation. So, if you are a materialist or structuralist, his perspective might put you off.

This book is indispensable if you are studying subcultures/youth cultures/microcultures/etc. However I suggest you read Hebdige before this, because Muggleton builds most of his arguments against his. Otherwise, it is hard to see where all this comes from.

Although it is a short text, it is quite dense and packed with references, so it might not be an enjoyable read if you are not very familiar with theories of culture.

This book covers several subjects of 'sub-culture' in/from Japan: Manga, Anime, Film, Music and Noise Music. For the veteran of any of these fields this book will be a quick review of fond memories while you comfortably nod your head to the 'nostalgia' it may raise in you. This book chronicles each subject's era it covers quite well and is a good guide for anyone with an interest in putting together a time-line of where their individual interest lie in the whole scheme of things...so being a 'veteran' of some of these subjects, I've found myself happily enjoying it's content and have passed some of it on to friends who have had questions about the wider spectrum of what has already transpired and who's who in a given subject of Manga, Anime, Film, Music or Noise Music from Japan. This book is designed well and feels like a Japanese book for full effect. I recommend this book to almost all interested in these subjects, except maybe an 'Otaku' of these subjects. However, if you're thinking this book is a 'travel guide' it is not. It is more of a contemporary history of the recent past and events. Enjoy.

I'm not a big fan of anime or other subjects of this book, but the contributors give an interest tour of Japan.

One of the contributors, Carl Horn, gives insight into his genre (anime) made me want to give it a second look. I've seen a few films, Akira and such, and of course the classic anime series like Star Blazers and Speed Racer, but Mr. Horn gives a great perspective on the genre. I was particularly charmed by the story of discovering anime in Iran, where he apparently grew up.

This is not just a genre love-piece. I didn't feel that I was being somehow excluded or that I was supposed to know something about anime (or the other Japanese subcultures covered in the book) before reading this book.

An excellent introduction to an interesting cultural pheonm.

Entelis presents an analysis of the political side of Moroccan culture that is filled with excellent insights. I found that it dove-tailed with my experiences here, and I could agree with his general points. This is a culture with many different cultures in it, or as the Saharawi of the South call it, "The Land of Many Peoples". It is a place filled with constant cultural contradiction- and somehow they make it work. What we in the West might call Schizophrenia, they call normality, and can approach life constantly code switching. One moment the conversation is about business and in French, the next moment about relationships and in Arabic, and the next moment a special mixture of Arabic and French as they talk about where they will go on vacation. Style and stance change as they talk.

While I could agree with Entelis on his ideas, I found his theoretical synthesis of the culture very cogent and helpful. I had not considered these aspects in this manner before, and found he brought everything together in a new way that helped me make greater sense of the environment here. I also saw some new ways that I can relate better to Moroccans by acting more as they act.

While his organization could be a little stronger, allowing for a clearer understanding of his sub and final points, the book as a whole gives a very clear presentation of why Morocco is ahead of other Arab and African countries in many ways. The king uses Islam, Arab culture, and Moroccan cultural symbols constantly to encourage his authority and power, and this synthesis is very aptly maintained. While Entelis proposes a few segments of society that could possibly be dangers to the kingdom, he rightfully states that none of these pose a real threat, as no other segment of the society can use as expertly all three symbols that the Moroccan people look to.

but lot of good pictures from various freak places in India, Bali, etc.

Some persons on the photos were also mentioned in the GOA FREAKS by Cleo Odzer (for example Eight Finger Edie, etc.)

Writing was very confused, written in semi-sentences, not well organized, but, nevertheless, interesting.

If you liked Goa freaks, give a try to this book ate reasonable price (less than $10).

See you at Anjuna Beach!