Acknowledgments
Many family members, friends, and colleagues supported this journey. First and foremost, my partner, Eran Tzur, encouraged me to travel to the United States to conduct the study, read all the drafts, provided detailed feedback, and spent numerous evenings discussing the findings and insights with me without losing one ounce of curiosity along the way. Similarly, my parents, Rachel and Assaf Nimrod, and my children, Mika Tzur and Yuval Tzur, were significant partners with whom I could brainstorm and test my ideas throughout the writing process. I really cannot thank them enough.
Others who supported this project offered helpful advice whenever needed. Their names are listed in alphabetical order without details about their specific contribution. Yet, their handprints are well recognized on every page of this book. These include Hanna Adoni, Ayelet and Meiron Atias, Nir Aviely, Irit Axelrod, Liza Berdychevsky, Patrick Bunier, Avishai and Tamar Chelouche, Susan Doron, Yael Edan, Nelly Elias, Vera Gallistl, Alma Ganey-Har, Yaniv Garty, Michal Hanuka, Tal Hanuka, Noa Ilsar, Amit Kama, Dana Kivel, Douglas Kleiber, Amy Klein, Inbal Klein-Avraham, Michal Kromer-Nevo, Maya Lavie-Ajay, Sara and Michael Leitner, Dafna Lemish, Rinat Lifshitz, Lea Mandelzis, Eyal Milles, Alex and Orit Mogel, Guy Nimrod, Sarit Okun, Patrick Owen, Halleli Pinson, Hagay Ram, Yael Ram, Li-Mor Raviv, Zvi Reich, Ido Rendlich, Yael Ron, Steven Rosen, Dennis Rosenberg, Arie Rotem, Efrat Sar-Shalom, Sharon Shalev, Eyal Solomon, Gabriela Spector-Mersel, Avi Staiman, Judy Tal, John Tower, Gonen Tzur, Mor Yachin, Oded Zafrani, and Amalia Ziv.
Lastly, I would like to express special thanks to Murray Foreman, who told me about The Farm and educated me quite a bit about the 1960s counterculture, to Micaela Ziv, who copyedited the typescript, and to Janka Romero of Cambridge University Press, whose enthusiasm makes one believe that books still matter.
