Could The Allman Brothers Band be the harbingers of the fertile ground that postmodernism gives to anti-utopian thinking (Moylan, Scraps of the Untainted Sky 140)? Keep in mind that one year after “Dreams” (1969), they release “Revival” (a track now performed in churches, it seems). Unlike the latter’s politically debilitating profession of collective love and its uses, the trax in question finds us at the precipice of social collapse. Dystopias, according to Jameson, require a character/subject, and singer’s “blues” (which he “had to wake up with”) are founded on the “dreams I’ll never see” (The Seeds of Time 56). But unlike an anti-utopia’s attempt to proclaim imperfection in the name of greater (achievable) perfection, the singer can only turn to the lover who will witness the singer’s “end of me.” Dystopian praxis: the sharing of a plural “hunger”/impulse and an “us” out of join(t).