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In 1961, a 24-year-old named Dustin Hoffman was rooming with another emerging actor named Robert Duvall, taking classes, working odd jobs and getting small roles on TV and Broadway. Michael Kahn, now artistic director at the Shakespeare Theatre Company in Washington, was preparing to graduate from Columbia University and exploring the new world of off-Broadway theater. Robert Benton was the art director at Esquire magazine, where Norman Mailer — soon to be joined by Tom Wolfe, Terry Southern and Gay Talese — was beginning to invent the subjective, self-consciously literary writing style that came to be known as New Journalism. He was also dating Steinem, who was working at Help! and sharing an apartment with an artist and illustrator named Barbara Nessim.

In 1961, the folk and blues producer Sam Charters and his wife, the future Beat biographer Ann Charters, had just returned from Europe to New York, where they occasionally visited crochet ballet slippers, color, cotton, two flower decoration, gift for woman for mom for girlfriend, home slippers, no soles Van Ronk, Sam Charters’ former roommate on MacDougal Street, A teenager named P, Adams Sitney was working with Jonas and Adolfas Mekas at Film Culture magazine; a year later the Mekas brothers would form the Film-Makers’ Cooperative, which distributed films by avant-garde auteurs Stan Brakhage, Kenneth Anger and Jack Smith..

An aspiring magazine designer named Walter Bernard was living in a Weekhawken, N.J., rooming house, studying at night with the legendary magazine designer Henry Wolf, and saving up enough money to move to Manhattan. The future art historian and critic Barbara Rose was working as an archivist for the composer Edgar Varese that summer. Shortly she would depart for Europe on a Fulbright scholarship and marry the artist Frank Stella, whose work had been part of the pivotal “Sixteen Americans” show at the Museum of Modern Art two years earlier.

Each of them was a part of the vibrant New York world outside “Llewyn Davis.” Here are some of their voices, ‘A totally different New York’, P, Adams Sitney: There was so much going on, in any area you want to mention, Paul Goodman published “Growing Up Absurd,” John Cage published “Silence,” and Grove Press brought out an anthology called “The New American Poetry.” It was as if the world had turned upside down with those three books, crochet ballet slippers, color, cotton, two flower decoration, gift for woman for mom for girlfriend, home slippers, no soles At MOMA there was a big Rothko [retrospective] and they had the “Sixteen Americans” show around that time, , , , Up in a townhouse on the Upper East Side, Leo Castelli was showing Jasper Johns and Robert Rauschenberg, You could see Merce Cunningham at the Judson Memorial Church, , , , It was a wonderfully exciting time.And of course, we believed that cinema would change definitely and dramatically forever, which turned out not to be the case..

Kenneth H. Brown: Merce Cunningham’s studio was right upstairs from the Living Theatre at 14th Street and Sixth Avenue. I used to go up and sit in the corner and watch rehearsals. I thought it was magnificent, and he thought we were great. Walter Bernard: Between 1960 and 1963, before the reality of tragedy hit everybody, there was a lot of energy concentrated on the arts and that kind of thing, because it wasn’t about protesting yet. Things were bubbling up about civil rights and feminism, but not Vietnam. So it was a very fertile period.

Barbara Rose: The art world was still very, very crochet ballet slippers, color, cotton, two flower decoration, gift for woman for mom for girlfriend, home slippers, no soles small, very experimental, One pole was organized around John Cage and Merce Cunningham, the other pole around the critic Clement Greenberg, , , , Samuel Beckett, whose plays were being produced in New York at the time, was very important, Cage’s music and philosophy and Buddhism were very important, Cunningham’s choreography and philosophy were very important, , , , It was a totally different New York City, Things were much more open and less planned and strategized, It had to do with how much energy or talent or commitment you had, It didn’t have anything to do with money at all..

‘It was all underground’. Kenneth H. Brown: I was an ex-Marine, I went to Columbia on the G.I. Bill. I wrote “The Brig” while I was a student at Columbia. And I passed it around from hand to hand for several years, from 1957 to 1962. Then one day I was working behind the bar in a very elegant French restaurant right off Sutton Place called La Popotte, on East 58th Street, and [Living Theatre co-founder] Julian Beck calls. He had called my parents to try to find me and they gave him the number at the bar. My customers were like the Kennedys and the people who owned The New York Times, those were the people who ate there. And I’m behind the bar in this very elegant setting and this guy calls me and says he wants to do “The Brig.” I’d never heard of him, and I’d never heard of the Living Theatre.

Michael Kahn: I was a kid, We were all kids, I was still at Columbia and I was directing at Barnard, I remember I directed the French Club’s production of “Orphee” by Cocteau, and I was a friend of Andy Warhol’s at that time, so Andy did the set, At that time he was still working at I, Miller doing shoe advertisements, Caffe Cino [was owned by Joe Cino], a fat Italian guy who crochet ballet slippers, color, cotton, two flower decoration, gift for woman for mom for girlfriend, home slippers, no soles loved theater, so he had a coffeehouse and had plays in the evening, , , , And a lot of them dealt with subjects that hadn’t been dealt with before, like incest and madness, At La MaMa, Ellen Stewart began bringing in theater at night, people would come to see the play and have coffee, I don’t know if it was a coffeehouse during the day or not, but I did a whole bunch of things there, Ellen just scraped by, but she was a major figure, She was a swimwear designer and her job paid for the [theater], She was a wonderful character, When I first met her, I don’t think she had a Caribbean accent, but somehow she got one..

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