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The counterculture
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For nearly half of a century, fragments of our society have continually made outward attempts to create and popularize movements that try to ‘go against’, ‘take over’ or ‘change’ popular culture; in even more far-fetched examples, ‘change’ society as a whole. This idea, as referred to by Roszak in the 1960’s, is commonly known as “counterculture”. A counterculture movement takes one or multiple social norms from established culture that it is in opposition to, and fights said norms. This idea of “culture jamming”, a term coined by the San Franciso area band Negativland, is built on a hope that a counterculture movement can reshape the norms it tries to destroy, into ones which suit its’ needs and ideologies. In the vast majority of cases, the objective of counterculture has not even remotely been reached; in fact, most attempts have failed miserably, unable to attract even the most minute amount of noteworthy attention or following.
However, not all counterculture movements have failed. Perhaps the three most cited examples of counterculture making a more than negligible impact are the rise of rock and roll music and electric guitars in the early fifties; the hippie, anti-war and free love movements of the late sixties; and the rise of grunge music, along with the attitude of rebellion and freedom of youth in the early nineties. These three movements were anything but failures: they all gave rise to icons – the Elvis Presleys, the Jimi Hendrixes, the Kurt Cobains – who are still revered today; and they all had a transformative impact on society, garnering mass media attention, massive followings, perhaps even bringing change among the masses, and creating ripples which emanated throughout society for years afterwards.
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....” ABCnews.go.com. Web. March 28, 2013. 2013.
Glazyrine, Vassili. “The Fall of the Counterculture.” Bu.Digication.com. Web. April 30, 2009. 2013.
Hatch, Bill. “In Praise of Hippies and the Counter-Culture.” CounterPunch.org. Web. Weekend Edition, April 12 – 14, 2008. 2013.
Heath, Joseph, and Andrew Potter. The Rebel Sell: Why the culture can’t be jammed. Toronto: HarperCollins, 2004. Print.
Japenga, Ann. “Grunge ‘R Us: Exploiting, Co-opting and Neutralizing the Counter Culture.” Articles.Latimes.com. Web. November 14, 1993. 2013.
Negativland. Over the Edge Vol. 1: JAMCON’84. SST, 1985. Cassette.
Roszak, Theodore. The Making of a Counter Culture: Reflections on the Technocratic Society & Its Youthful Opposition. Oakland: University of California, 1969. Print.
“Volkswagen Bus.” HowStuffWorks.com. Web. 2013.
“What is culture jamming?” InformationActivism.org. Web. 2013.
Moreover, the term “culture jamming” originated from JamCon ’84, a 1984 cassette-only release by a collage band, Negativland (Dery). According to Dery, the term was used to describe billboard alterations and other forms of sabotage. Dery expands on the concept by adding media hacking, neo-Situationist, sociopolitical satire, and guerrilla semiotics into the category. The overall purpose of the category is to form strategies for individuals to take back their own mind from society. For example, signs, such as billboards or symbols, represent an empire. There are individuals who support the empire while others try to attack the power it contains. The culture jammers, such as musicians and artists, strike against the signs to create an unintended, new meaning for the public. Culture jammers indulge in the alterations of signs for subcultural
In Justin Pearson's memoir, From the Graveyard of the arousal Industry, he recounts the events that occured from his early years of adolesence to the latter years of his adulthood telling the story of his unforgiving and candid life. Set in the late 1970s "Punk" rock era, From the Graveyard of the Arousal Industry offers a valuable perspective about the role culture takes in our lives, how we interact with it and how it differs from ideology.
Jameson, Frederick. "Postmodernism, or The Cultural Logic of Late Capitalism" New Left Review. 146 (July-August 1984) Rpt in Storming the Reality Studio. Larry McCaffrey, ed. Durham, NC: Duke UP, 1992.
Libaw, Oliver. "Hippie Culture Just Keeps Truckin' On." ABC News. ABC News Network, 23 May 2014. Web. 26 May 2014.
Although 1969, was the end of a significant decade, it held possibilities and hope for a new prosperous 10 years. Still in the midst of what was seen to many as the most pointless American war, the young generation especially was desperate to enforce a change. Change was a common theme of the 1960’s, deriving from movements such as the civil rights movements, the second feminist wave, a social revolution, and the anti-war movement. In addition, technology in America was at one of its highest peaks. Events such as the Space Race against the Sov...
...vision industry as a gold mine for money. Advertising catered directly towards the hostile youths and hippies in order to appeal to the people. The counterculture deeply influenced society today by erasing the blatant disregard of the views of youth in earlier times. The counterculture became a presence in society that could not be ignored.
During the sixties, Americans saw the rise of the counterculture. The counterculture, which was a group of movements focused on achieving personal and cultural liberation, was embraced by the decade’s young Americans. Because many Americans were members of the different movements in the counterculture, the counterculture influenced American society. As a result of the achievements the counterculture movements made, the United States in the 1960s became a more open, more tolerant, and freer country. One of the most powerful counterculture movements in the sixties was the civil rights movement.
---"Seeing and Making Culture: Representing the Poor." Outlaw Culture:Resisting Representations. New York: Routledge, 1994. 431-37. Print.
Richard sennet, 2006. The culture of of the new capitalism. Yale university press. Pg 10-14
For this reading, I read the first 40 pages given to us excerpted from Ken Goffmans book “Counterculture Through the Ages.” For this reading I focussed most of my attention on chapter 12, which discussed the youth counterculture during 1960 through 1967. The chapter caught my attention from beginning as Goffman describes the how researchers at Harvard University and other Ivy League Schools have been testing and experiencing the new hip drugs of the sixties. This interested me because it showed how all parts of society were intrigued by the new hip drugs being introduced. The professors at the universities assisted in paving the way for the success of these new drugs with their writings of their experiences. This encouraged people to try these
The Hippie Movement changed the politics and the culture in America in the 1960s. When the nineteen fifties turned into the nineteen sixties, not much had changed, people were still extremely patriotic, the society of America seemed to work together, and the youth of America did not have much to worry about, except for how fast their car went or what kind of outfit they should wear to the Prom. After 1963, things started to slowly change in how America viewed its politics, culture, and social beliefs, and the group that was in charge of this change seemed to be the youth of America. The Civil Rights Movement, President Kennedy’s death, new music, the birth control pill, the growing illegal drug market, and the Vietnam War seemed to blend together to form a new counterculture in America, the hippie.
American society and culture experienced an awakening during the 1960s as a result of the diverse civil rights, economic, and political issues it was faced with. At the center of this revolution was the American hippie, the most peculiar and highly influential figure of the time period. Hippies were vital to the American counterculture, fueling a movement to expand awareness and stretch accepted values. The hippies’ solutions to the problems of institutionalized American society were to either participate in mass protests with their alternative lifestyles and radical beliefs or drop out of society completely.
Abrasive rock music has rarely been considered a potent political force in the United States. Punk is no exception to this rule. As a subculture, punk has received much more atention for its hairstyles and caustic sounds than its politics. As Daniel Rosenblat points out, punk rock “Confound[s] our conventional (western) notions of politics by [its] emphasis on maters which we consign to different domains entirely” (1). What he means i s that because punk does not express its political discourse in traditional venues or traditional terms, it is discounted as apolitical or politicaly impotent. To wit, Hebdige argues that subcultures can do litle more than provide a ‘signal of Refusal,’ and should be considered “just the darker side of sets of regulations” (3). Latino punks have countered these claims since the 1970s, with lyrical assertions that their political speech is an essential precursor to political change. In this paper I explore the ways in which contemporary Latino punk self -defines as political, in contrast to early punk bands who refused to be affiliated with politics. By explicitly aligning with political causes, Latino punk establishes a tension between punk’s historical tendencies towards ‘forgetfulness’ and ‘self -fulfilment,’ and new political agendas that push awareness and change. I conclude by asserting that the punk movement is preoccupied with individual fulfilment at the expense of political activism, a tendenc y that ultimately undermines its political import.
When people hear the term hippie, they think of men and woman in loose clothing with flowers weaved in their hair. Although these men and women did in fact wear these things, they left a significant impact on society. Hippies were a part of the Counterculture movement, which basic ideals were to reject the ideas of mainstream society. The movement itself began with the protesting of the Vietnam War. Eventually, the movement was more than just protesting the war. Hippies promoted the use of recreational drugs, religious tolerance; they also changed society’s views and attitudes about lifestyle and social behavior. The Counterculture movement was the most influential era in the 20th century because the people of this time changed society’s outlook, and broached the topics of drugs, fashion, and sexual freedom.
The sixties was a decade of liberation and revolution, a time of great change and exciting exploration for the generations to come. It was a time of anti-war protests, free love, sit-ins, naked hippie chicks and mind-altering drugs. In big cities such as San Francisco, Los Angeles, New York and Paris, there was a passionate exchange of ideas, fiery protests against the Vietnam War, and a time for love, peace and equality. The coming together of like-minded people from around the world was spontaneous and unstoppable. This group of people, which included writers, musicians, thinkers and tokers, came to be known as the popular counterculture, better known as hippies. The dawning of the Age of Aquarius in the late sixties was more than just a musical orgy. It was a time of spiritual missions to fight for change and everything they believed in. Freedom, love, justice, equality and peace were at the very forefront of this movement (West, 2008). Some wore beads. Some had long hair. Some wore tie-dye and others wore turtle-neck sweaters. The Hippie generation was a wild bunch, to say the least, that opened the cookie jar of possibilities politically, sexually, spiritually and socially to forever be known as one of the most memorable social movements of all time (Hippie Generation, 2003).