How a bunch of San Francisco longhairs pulled a psychedelic stick-up in which Warner Brothers (""the Dow Chemical of media"") footed the bill for a cross-country bash featuring unlimited dope and booze and good-timey screwing and coast-to-coast ""Son of Woodstock"" rock concerts. Or did they? Grissim, who enjoyed the festivities as much as anyone, rotates his Alice-in-Wonderland looking glass from the freaks to the Hollywood entrepreneurs who thought they were making the ultimate movie on hippie life-styles and gently insinuates the question: Who ripped off whom? Could, would, the caravan of 150 students, drop-outs, street people, musicians, free spirits, self-employed craftsmen, and hangers-on enacting on camera the ultimate tripster fantasy become a legitimate social entity despite its essentially greedy profit-making raison d'etre? In the cast are a New Mexico commune called Hog Farm, Bit T, a Frisco underground DJ, a Mephistophelean White Panther, and a French director and crew out to capture ""this famous American minority,"" while the caravan advances on Placitas (New Mexico), Ft. Kearney (Nebraska), and the rest of square America bearing the awesome tidings: WE HAVE COME FOR YOUR DAUGHTERS. Grissim tells you ""what went down"" from the tie-dyed tepees to the problematic moment-of-truth at Antioch when the Caravan of Love pulled a knife, and finally to the fuck-up in the final frame when the film was assembled and edited (thus far the film has been an underground bomb in L.A. and New York). Funny and frenetic and spiked with real insights on the weird symbiotic relationship between ""the freaks"" and the media.