Well Met : Renaissance Faires and the American Counterculture

361 Pages·2012·3.956 MB·English

by  Rachel Lee Rubin

WELL MET
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Well Met
Renaissance Faires and
the American Counterculture
Rachel Lee Rubin
a
NEW YORK UNIVERSITY PRESS
New York and London
NEW YORK UNIVERSITY PRESS
New York and London
www.nyupress.org
The title of chapter 3, “Shakespeare, He’s in the Alley,” is from Bob Dylan’s “Stuck Inside of Mobile
with the Memphis Blues Again,” Blonde on Blonde, Columbia, 1966.
© 2012 by New York University
All rights reserved
References to Internet websites (URLs) were accurate at the time of writing.
Neither the author nor New York University Press is responsible for URLs
that may have expired or changed since the manuscript was prepared.
Library of Congress Cataloging-in-Publication Data
Rubin, Rachel.
Well met : renaissance faires and the American counterculture / Rachel Lee Rubin.
p. cm.
Includes bibliographical references and index.
ISBN 978-0-8147-7138-9 (cl : alk. paper) -- ISBN 978-0-8147-3810-8 (ebook) -- ISBN 978-0-8147-
6385-8 (ebook)
1.  Renaissance fairs--United States--History--20th century. 2.  Counterculture--United States--
History--20th century.  I. Title.
GT4603.R83 2012
394’.609730904--dc23
2012024955
New York University Press books are printed on acid-free paper,
and their binding materials are chosen for strength and durability.
We strive to use environmentally responsible suppliers and materials
to the greatest extent possible in publishing our books.
Manufactured in the United States of America
10 9 8 7 6 5 4 3 2 1
For Ann and Derek, with love and admiration
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Contents
Acknowledgments ix
Note on Interviews xiii
Introduction: Faire Grounds 1
1 “Welcome to the Sixties!” 9
2 Artisans of the Realm: Crafters at the Faire 80
3 “Shakespeare, He’s in the Alley”:
Performing at the Faire 111
4 “A Place to Be Out”: Playing at the Faire 191
5 “Every Day Is Gay Day Here”: Hating the Faire 236
6 Hard Day’s Knight: Faire Fictions 256
Notes 307
Works Cited 313
Index 333
About the Author 346
[ vii ]
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Acknowledgments
If I were to do a proper job of it—naming every person who helped me
with this project—the acknowledgments would likely be as long as the
book. I’ll have to be content, then, with what I can accomplish efficiently
on the page—but please know that inside, I am singing the praises of
many people at length.
My first thanks must be to the scores of faire patrons who generously
used their precious faire time, or their “mundane” time, to talk to me: in
person, on the phone, by email, or by answering a quick question or two
while they waited in line. I simply could not have understood the faire
with any kind of adequacy without your insights, analysis, and storytell-
ing. I deeply appreciate your opening your lives for me to peer at.
I cannot adequately express my gratitude to all the Rennies, past and
present—performers, crafters, boothies—who let me in, sharing their
experiences and stories (and, in some cases, their food and floor space).
I spent most of my research process floored by your talents, skills, and
knowledge. Your generosity moved me constantly and pushed me along
by making me yearn for this book to be what you deserve. I am particu-
larly grateful to Trent Anderson, Don Coviello, Ann Curtis, Deb Fisch-
bach, Ernie Fischbach, Tim Furst, Steven Gillan, Peter Jelen, Joe Kudla,
David Ossman, Will Spires, and Derek Weaver, who entertained my
phone calls, shared photographs and materials, made introductions, and
patiently brought me up to speed in their areas of expertise.
To Kevin Patterson, who was willing to act as both source and resource
from the project’s beginning to its end, this project is deeply indebted.
I am grateful to Les Blank for digitizing and sharing his footage of the
1964 Renaissance Pleasure Faire with me. Getting a glimpse of the early
faire advanced my understanding in ways both practical and ineffable.
[ ix ]