PRINT September 2000


Steal This Movie!

I DON'T REMEMBER precisely when I first learned to equate Grateful Dead fandom with class privilege, when I finally figured out that those hokey dancing bears glued to the rear window of a Saab signaled that you were tailgating a pleasure-loving scion of American entitlement, but it must have been around the same time that Abbie Hoffman, having resurfaced after a decade underground, was beginning to dabble in the hopeless leftist causes of the '80s. This unhappy coincidence was no doubt what provoked my first glimmers of doubt concerning the '60s counterculture.

Yes, there was something genuinely inspiring about Hoffman's deeds in the '60s, though I only knew about his exploits later, through books and old TV footage. And yes, I wanted deeply to believe, as Hoffman had, that rock music harbored some profound revolutionary potential, that youth culture represented something more than the

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