Read Ebook {PDF EPUB} Best of the Realist The 60s' Most Outrageously Irreverent Magazine by ⓘ Paul Krassner. Paul Krassner ​ fue un escritor de humor conocido por haber sido editor y contribuyente habitual de la revista librepensadora The Realist, la cual, comenzando su publicación en 1958, es un ejemplo muy temprano de la prensa contracultural en los Estados Unidos. Aunque The Realist es considerada como una publicación underground por algunos, fue una revista de tirada nacional desde 1959. 1. Vida y obras. Inicios. Fue niño violinista prodigio y fue la persona más joven que jamás tocó en el Carnegie Hall, en 1939 la edad de seis años, pero su carrera tomó un rumbo diferente en los años 50 cuando se convirtió en una figura importante en muchos aspectos en el humor de corte político y satírico en Estados Unidos. Fue un gran protector del comediante satírico , de hecho editó su autobiografía. ​ Best of the Realist: The 60s' Most Outrageously Irreverent Magazine by Paul Krassner. Radicals in the United States have lost their bite . It is sad when the nitwits of the extreme right seem wittier than most radicals, including anarchists. The problem is that damn near everyone has become overly sensitive, and among radicals and anarchists, this sensitivity has been made an ideology. So every word and action must be carefully weighed to avoid giving offense and overstepping someone's boundaries. Well, I have a little something to say about that. If you don't overstep boundaries, if you don't offend, you will never bring down any government or social system. It doesn't matter how many punk records you listen to, how many shirts advertising your anarchist ideas you own, how often you draw a circle A somewhere. Unless you are ready to break through boundaries, to offend and take offense without crying like a baby for your "safe space", unless you are ready to mercilessly mock, insult and blaspheme even the sacred cows of your own so-called comrades , you aren't going to have what it takes to challenge an entire system of authority that rests on the general acceptance of the sacred cows it has set up. I recently read Best of The Realist , an anthology of articles taken from Paul Krassner's magazine of "free thought, criticism and ". The Realist (declared on the book's cover to have been "the 60s' most outrageously irreverent magazine") was not an anarchist publication at all. When it began in the late 1950s, it seemed to represent a humorous version of Saul Alinsky-style grassroots populist radicalism. Starting in the early to mid=60s, some counter-cultural concepts got thrown into the mix, with Krassner joining forces with the Yippies for a time in the last half of the 1960s. But throughout most of its history, the magazine offered no-holds-barred satire and humor aimed not just at the institutional structures of this society, but also at the ways our every day activities upheld the most absurd values. Despite the limits of its critique, it had a forceful bite. Of course, it got started before political correctitude had really kicked in (though this unfortunate ideological tendency was in its embryonic beginnings by the mid-60s). Thus, its editor and those who wrote for it had no hesitation about expressing themselves with a fierce and hilarious straightforwardness, a willingness to call bullshit bullshit, a cunt a cunt, a cock a cock, and not try to hide which of these they found most attractive. Nowadays, it seems, we've cut off our balls or cut out our ovaries. No one has the guts to really mock with full force, because we're all afraid that we'll offend someone. I don't recall who said it, but one of the better comedians of a few decades ago said: "Comedy is not pretty", and the same surely goes for all forms of humor, sarcasm and satire. There is no place for a gentle hand or tongue in humor; you can save that for sex. depending on what you're into. Humor isn't therapy; it's not supposed to make you comfortable. Laughter farmore often springs from being unnerved for a moment than from joy (and even joyful laughter most likely springs from the fact that the intensity of joy can be unnerving). I mean, what's funny about therapy? (Okay, quite a bit. but none of it intentional) Even Freud's book on jokes ( Jokes and Their Relation to the Unconscious ) wasn't funny! In fact, my attempt to read it left me unconscious. It's true enough that we need to do away with the structures and institutions of this society, but we also need to destroy all of the cops, the priests, the moralists, the parents in our own heads. One of our most potent weapons for doing this is a relentless, unbridled, mocking sense of humor that has no respect for anything, and that is what I found throughout most of this anthology. Sadly, toward the end, Krassner and some of his contributors fell for that all too humorless trap of the leftist version of , but that only made up a tiny portion of the book and can be attributed to the weakness of the analysis behind the magazine. Or, then again, it may be part of that centuries old conspiracy to fool radicals into thinking everything can be understood as conspiracies so that they never make a deeper analysis of the social order and the role played by the daily activity of every single person in reproducing it. But mostly this book made me realize how anarchists who, at least potentially, have a far deeper critique than Krassner ever had, could use humor to marvelous effect, but only if we break from certain political baggage that has come to cling to our anti-political project. Can we rid ourselves of the stupidity of political correctitude, overcome our fear of offending the idiots among us, move beyond our fetish for boundaries* and rediscover the force of humor and mockery unchained? If not, I'm heading down to the leather bar. If I have to be chained, I want it to be hot and sexy. ______* Don't get me wrong. I got nothing against this fetish in the right place--an S&M bondage club, for instance. "The Realist" Magazine Collection, ca. 1965. GUEST: This is "The Realist." It's an underground newspaper from the '60s and the '70s published by Paul Krasner from New York, and he seemed to know a lot of the counterculture people from the, uh, era. APPRAISER: We got Lenny Bruce, , Timothy Leary. Now, how did you get this collection? Because you've got a fairly complete collection. GUEST: I originally bought them off the newsstands and then I subscribed and I sent away for the back issues. I was just fascinated by the content. APPRAISER: And were you living here in Omaha when you bought that? So you got these counterculture magazines you got on the newsstand in Omaha, Nebraska. That is so wonderful. This is the counterculture publication "The Realist." It's a famous publication, uh, and I'm glad you brought it in to show people because it's something that looks really unprepossessing. At first it looks just like, sort of, a generic magazine. You can see it's printed on fairly inexpensive paper and it doesn't really look like much. But as you say, it's published by an important figure in the counterculture, and it includes writings by some of who we think of as the most important people writing in the '60s and '70s. Some of the things we've got here are, uh, an interview with Norman Mailer. We've got an article by Lenny Bruce. This magazine features Allen Ginsberg on . I mean, it just doesn't get any bigger than that. And the other cool thing about this is what "The Realist" teaches us is how the counterculture can become mainstream. I mean, this was like the edgiest, most fly-by-night kind of a publication. They didn't know if they were going to have money issue to issue to publish, and yet it's something that collectors pursue pretty aggressively. How much did you pay 34 years ago? GUEST: Well, 35 cents. Yeah, it looks like it's about 35 cents an issue. It might have gone up to 40 later on, but 35 cents an issue. APPRAISER: Well, this Ken Kesey issue is actually quite collectible, and this can sell for $70 or $80 just for the one issue. Did you ever have it appraised? GUEST: Never appraised. It's been in the box in the closet. APPRAISER: Well, you took pretty good care of it, I have to say. Even when you read it the first time, you didn't beat it up too much. The full collection that you have, which I think is complete-- it may not be, but it's a substantial collection with about 50 to 60 issues in it-- we would appraise at auction between $1,500 and $2,000. GUEST: Oh, really? APPRAISER: Yeah, yeah, it's great. So how about that? GUEST: Far out. Yeah, I can dig it. APPRAISER: Thanks so much for bringing it in. Appraisal Details. Understanding Our Appraisals. Executive producer Marsha Bemko shares her tips for getting the most out of ANTIQUES ROADSHOW. Value can change: The value of an item is dependent upon many things, including the condition of the object itself, trends in the market for that kind of object, and the location where the item will be sold. These are just some of the reasons why the answer to the question "What's it worth?" is so often "It depends." Note the date: Take note of the date the appraisal was recorded. This information appears in the upper left corner of the page, with the label "Appraised On." Values change over time according to market forces, so the current value of the item could be higher, lower, or the same as when our expert first appraised it. Context is key: Listen carefully. Most of our experts will give appraisal values in context. For example, you'll often hear them say what an item is worth "at auction," or "retail," or "for insurance purposes" (replacement value). Retail prices are different from wholesale prices. Often an auctioneer will talk about what she knows best: the auction market. A shop owner will usually talk about what he knows best: the retail price he'd place on the object in his shop. And though there are no hard and fast rules, an object's auction price can often be half its retail value; yet for other objects, an auction price could be higher than retail. As a rule, however, retail and insurance/replacement values are about the same. 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Paul Krassner, Comedian Who Captured The Zeitgeist Of The '60s, Dies At 87. Paul Krassner coined the term Yippie and co-founded one of the most influential magazines of the 1960s counterculture, The Realist. Krassner died Sunday at the age of 87. MARY LOUISE KELLY, HOST: Paul Krassner honed his outrageous humor as a contributor to Mad Magazine. He then refined it on the standup comedy stage and brought it to fruition in the magazine he founded called The Realist. It captured the zeitgeist of 1960s counterculture. Krassner died yesterday at his California home. He was 87. Reporter Jon Kalish has this appreciation. JON KALISH, BYLINE: To borrow a line from the Grateful Dead, Paul Krassner's life was one long, strange trip. It began as a child violin prodigy who performed at Carnegie Hall at the age of 6 and took him to an even wider audience through The Realist as he told me in 2000. (SOUNDBITE OF ARCHIVED RECORDING) PAUL KRASSNER: When I started, there was no counterculture. I felt like the only Martian on the block. And The Realist served to show that there was a Martian community. KALISH: Krassner helped define the counterculture through his own absurdist humor. He coined the term Yippie before he even co-founded the Youth International Party with Abbie Hoffman, and others. They went on to disrupt the 1968 Democratic National Convention, and Krassner went on to make comedy albums. (SOUNDBITE OF ARCHIVED RECORDING) KRASSNER: There were five black delegates at the Republican convention, and they were all played by Eddie Murphy. KALISH: The records sold poorly, but producer Danny Goldberg continued to put them out because he was a fan of The Realist. (SOUNDBITE OF ARCHIVED RECORDING) DANNY GOLDBERG: As a kid in high school, I only aspired to have the wit and cosmic insights that Krassner seemed to just effortlessly toss off. Krassner had a lot of very big names writes for The Realist over the years - and and other people - but I read The Realist for Paul Krassner. KALISH: That wit sometimes got Krassner in trouble. In 1967, he published what he claimed was an excerpt that was dropped from 's book "Death Of A President," in which John F. Kennedy's corpse was violated by his successor Lyndon Johnson. (SOUNDBITE OF ARCHIVED RECORDING) KRASSNER: The Realist has had a tradition of never labeling an article as satire or journalism because I never wanted to deprive the reader of the satisfaction of discerning for themselves whether something was true or a satirical extension of the truth. KALISH: At its height, The Realist had a circulation of 100,000 and survived on subscriptions. Krassner pointed out he ran no advertising. KRASSNER: I've been lucky because I've had no one to answer to - no advertisers, no editorial board, not even the readers in the sense that they trust me not to be concerned about offending them. KALISH: Paul Krassner described himself as an investigative satirist. And for many who were part of the 1960s counterculture, he was a man who insisted on communicating without compromise. For NPR News, I'm Jon Kalish. (SOUNDBITE OF WHITE ELEPHANT'S "SIR JOHN") Copyright © 2019 NPR. All rights reserved. Visit our website terms of use and permissions pages at www.npr.org for further information. NPR transcripts are created on a rush deadline by Verb8tm, Inc., an NPR contractor, and produced using a proprietary transcription process developed with NPR. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record. 1950s–90s "The Realist" with #1 and Paul Krassner Signed "Best of the Realist" A collection of 117 issues of the early mid-twentieth-century cultural criticism and satire magazine The Realist , edited and published by Paul Krassner. This collection features the first issue of the pioneering counterculture publication (June/July 1958) and includes issues dating between 1958 and 1992; these issues feature writing, interviews and cartoons from contributors including Lenny Bruce, Jules Feiffer, Katherine Dunn, Madalyn Murray and many others. Also included is a first edition of the anthology Best of The Realist: The 60s’ Most Outrageously Irreverent Magazine (Running Press, 1984), signed ‘Watch out for the TV camera if you’re a shoplifter! Paul Krassner’ to the inside front cover. Issues included in this assortment are: 1, 9, 14-15, 17-20, 22, 24 and 25, 27-32, 39-43, 47-48, 50, 53-55, 57-64, 66-84, six unnumbered four- page issues published between issues 1984 and 1986, 86, 86A, 86B, 87, 88, the March 1971 The Last Supplement to the Whole Earth Catalog, 90, 91 A-C, 92 A-C, 93-95, 96 A-C, 97, A-C, 98-114, 117-121, 123-126, 128-136, 143 and 146. Everything But The House does not authenticate celebrity memorabilia. Items that are consigned with Certificates or Letters of Authenticity ( COA ) are listed as such with the item’s description. Autographs without COAs are compared to authenticated examples from online sources prior to sale upload. Please note that Everything But The House regularly sells items of historical significance and, from time to time, some of these items might be considered controversial in nature. It is the role of Everything But The House to offer these items for sale as sensitively as possible, with equal respect to all. Furthermore, please know that all items sold on our website are legally obtained and offered for sale in compliance with state and federal regulations. Condition. - page yellowing; edge and spine wear; some creasing and minor tears; most issues bagged and boarded.