The Society of the Spectacle, developed by Guy Debord, is a Situationist critique of consumer and capitalistic culture. In The Society of the Spectacle, “the commodities rule the workers and the consumers instead of being ruled by them.” It is often forgotten that some of the foundations of Situationism were derived from the artistic avant-garde. The situationists called for “a radical renewal of the relations between art and social struggle” and they rejected all art that separated itself from politics. In many ways, the American counterculture and the psychedelic-infused rock music of the 1960’s were anti-spectacular. Nick Bromell characterizes 1960’s rock music in his book “Tomorrow Never Knows” as a mode of life, a realm of experience, and a place to dwell. The use of psychedelic drugs in relation to rock music provided an escape from habit and the confines of the five-day work week. It was more of a new lifestyle than a different style of music and many of the songs of the sixties that were influenced by psychedelic …show more content…
Even with this so-called “escape” that psychedelics created for producing music, the production of capitalism still controlled it. Everything is still consumed into the time and space that is capitalism. Despite the new experience and way of life that coincides with the music of the 1960’s, the Situationists would critique it with the notion that sales numbers were still the measure of worth for artistic merit. It is still an industry controlled by capitalism through the market of concert sales, record sales, and advertising. Music was more or less judged by whether it was a best seller or its status on the rating charts, therefore abandoning the ideals of true
“A Spectacle in Color: The Lesbian and Gay Subculture of Jazz Age Harlem” by Eric Garber discusses how the Great Migration to Harlem was not only significant for blacks but for gays and lesbians as well. Garber argues that Harlem’s gay subculture was at its peak in the 1920’s and declined to shell of its previous self after the Stock Market crash in 1929. He goes on to discuss how in black communities, specifically Harlem, there were troubles of segregation, racism, and economic despair, but that being gay in Harlem added new troubles.
The 1960’s was a radical decade filled with political tensions, social strife, and overall cultural intrigue. The beginning of the decade allowed for the transition from President Eisenhower to President Kennedy, the youngest President to take office, and the first Roman Catholic. The move represented a shift from a Republican to Democratic administration in the Oval Office. Kennedy became a symbol for the young vibrancy of the American populous, as he was quickly accepted by the grand majority. After Kennedy was assassinated and Lyndon B. Johnson took office, the nation was further engulfed in the war that would come to define America for years to come. The Republican Party regained office as Richard Nixon was elected in his second attempt to run as the decade came to a close. Activists such as Martin Luther King Jr. and Malcom X paved the way for the civil rights movement that swept the nation and captivated the spirit of not only black Americans, but white Americans as well. The race between the United States of America and The Union of Soviet Socialist Republics for domination of space escalated as Kennedy pushed for a man on the moon by the close of the decade, achieved in 1969. The possibility of nuclear war became all too real in 1962 as the launch of nuclear missiles became an abundantly clear possibility. The drug culture emerged in the 1960’s in large part due to the newfound accessibility of illegal drugs, such as marijuana and Lysergic Acid Diethylamide, or LSD. American society was entrenched in the chaotic desire for new, improved highs. The profound ascent of the drug culture was truly realized when the 3-day music festival, Woodstock, took place in 1969, as “sex, drugs and rock n’ roll” symbolized America’s...
Despite the negative portrayal in mainstream 1960s media, justifications expressed by counterculture activists for further investigation, education and experimentation under government control of LSD were rational and valid arguments. Sex, drugs, protests, war, political upheaval, cultural chaos, and social rebellion; the many comforts TV dinner eating, republican voting, church going, suburbia conformists tried to escape through conservative ideals, town meetings, and The Andy Williams Family Hour. National consciousness in 1960s United States was alive, but existed differently in every mind it dwelled, and stirred uninterrupted in every life to which it was introduced. A dream of money, success, and a house with a white picket fence still existed within the pandemonium of the nation and many still relished in the idea of “Americanism.” Television was a base for a magnitude of world news and national information. Television situation comedies created ideal families and contenting distractions from unsettling national realities. Mainstream media, both fact and fiction, influenced the nation’s minds resulting in the effect of political change and further media influence over the government. The new decade, along with the effects of the Vietnam War and the strong influence of television, began to leak from the cracks of the nation a new counterculture of rebellious teenagers, unfamiliar narcotics, and a wave of promiscuity. Among the many issues and events molding our nation into a new decade, came the question of government and mind control. For some it was the next step into human evolution, a potential tool for mind control, a liberator of human kind, but for most LSD helped define 1960s counterculture, in which it was deeply rooted.
It could be argued that ‘In-A-Gadda-Da-Vida’ served exemplary as testament to the changing attitudes towards rock music and psychedelic acid rock of the time. The prevalence of the genre was tangible, even the AFVN (American Forces Vietnam Network) added a special channel in 1968 for those soldiers serving overseas who had reported an interest in the musical style (Kramer, 2006). Perhaps this song was indeed the natural progression of music in a time of so much uncertainty for an entire generation fraught with equal parts revolutionary ideals and Cold War paranoia. The track’s tone, ambiance were defined by an eerily dark otherworldliness unheard of up until that point in rock music and arguably not replicated again until Black Sabbath’s NIB
A movement arose among the artists of 1950s America as a reaction to the time's prevailing conformity and affluence whose members attempted to extract all they could from life, often in a strikingly self-destructive way. Specifically, the Beat writers and jazz musicians of the era found escape from society in drugs and fast living. But what exactly led so many to this dangerous path? Why did they choose drugs and speed to implement their rebellion? A preliminary look at the contradictions that prevailed in 1950s American society may give some insight into these artists' world.
Although considered the day Rock ‘n’ Roll was born, many other events in American history have given foundation to this much loved idea. Rock ‘n’ Roll is much more than just music, rather it is the movement which underlines cultural imperialism. Rock had been promoting a culture of comfort and freedom from social constraints as well. Although the style of ‘Rock music’ is easily adaptable into many different sounds, it is still thoroughly identified by its definingly amplified rhythm. The sudden worldwide popularity of rock and roll resulted in an unparalleled social impact. Rock ‘n’ Roll influenced lifestyles, fashion, attitudes, and language in a way few other social developments have equaled. The social impact is so large that rock stars are worshipped worldwide. In its early years, many adults condemned the style of music, placing a stigma on its name, and forbid their children from listening and following its ways. Many considered Rock ‘n’ Roll culture as a bad influence to all people, but as the genre aged and the now not-so-young crowds had matured, Rock was respected and
I believe that the west coast psychedelic music, such as Jimi Hendrix’s "Voodoo Child (Slight Return)" in 1968, played a huge part in the Counter Culture movement. This musical piece by Jimi Hendrix embodies the West Coas...
By far DebordÕs most famous work, Society of the Spectacle lies somewhere between a provocative manifesto and a scholarly analysis of modern politics. It remains among those books which fall under the rubric of "oft quoted, rarely read"Ñexcept that few ca
Beginning with the late 1960’s counterculture in San Francisco, music and drugs will forever be inter-linked. Hippie bands such as the Grateful Dead, the Allman Brothers, and Phish are associated with marijuana, mushrooms, and LSD. Modern electronic “rave” , or club music is associated with MDMA or Ecstasy. When one thinks of rock and roll, sex and drugs immediately come to mind. While the use of drugs is not essential for the creation or performance of all new music, it was certainly in important factor for the counterculture music of the late 1960’s. While some of the most important and influential music was made with the help of psychoactive drugs, it was often to the detriment of the artist. Janis Joplin, Jimi Hendrix, Jim Morrison, and countless other tremendously talented artists had their lives cut short due to drug use. Drugs were most often good for the music, but deadly for the music makers.
The ‘60s were the age of youth, as millions of children’s from post World War II became teenagers and rebelled against the conservative fifties. Denying civil rights to African-Americans and liberation to teenagers in previous decades and Vietnam War, created a vortexes which lead to massive rebellion against the status qua. Music of the 1960s was characteristic of the revolution that was going on during the decade. It was a time of rebellion and counter-culture in which the teenagers and college students were critical of government, business, religious institution and other various aspects of life. Era marked by civil rights movement, Vietnam War, environment of drug abuse and sexual freedom formed new music like: folk rock, soul and psychedelic rock. These genres starkly contrast the teen idol music of ‘50s pop mainstream. Writes John Covach; “World was exploding, and rock musicians were listening more closely than ever.”(Covach, 152) Such stark contrast in pop music directly relay to changing social culture in America, which further echo’s the relationship between music and culture.
Being on the cutting edge of bizarre, alternative music is an elite privilege, complete with buzz words to exclude the mainstream. The music makes or breaks the scene. One rave deejay explains to Rosen and Flick (1992), "A great rave or techno record is like a religious experience. A bad one will give you a headache
This book report is on the society of the spectacle by guy Debord. It is a theory that our society is dominated by images and characterizes and drives our consumer society. The images we see are seen through various methods such as Advertisements, television and other media outlets along with banners and signs. People in consumerism see images of things for them to buy and they go and but things and the reality that the world makes becomes what they are about. Regardless if the people have the money or not they can get credit and pay for it with money they don’t have. This idea of credit for everyone helps the people with power to attain more money and power. The more technology progresses the easier it becomes to enhance the consumer society and move into new market areas and continue to move forward with the new way of life in American and the world.
Along with the peak of several movements music began to reach a point of climax. Rock specifically began to flourish in the 1960’s, while expressing the voice of the liberated generation. It is the power of such trends that overall lead to what is known as the greatest music festival of all time: Woodstock Music and Art Fair. The festival started on August 15, 1969 on Max Yasgur’s farm in Bethel, New York. Appealing to the time period, Woodstock was designed to be Three Days of Peace and Music. However, many argue that it was more than just a musical art fair of peace, but a historically significant event that shifted American culture. While some regard Woodstock as the beginning of a cultural advancement and the end of a naïve era, others view it as ridiculous hippy festival infested with illegal drug usage. Woodstock cost over $2.4 million and attracted over 450,000 people (Tiber, 1). Despite the debate of whether Woodstock produced a positive or negative effect, it is clear that a note worthy impact was made. When discussing the overall impact of Woodstock it is important to look at the influences and creative plan and the positive and negative effects produced from the festival.
There was once a time when there were more simplistic views on life; where truth and justice prevailed above all and the main concerns of society were much more primitive. However, those times have long vanished and have now been strategically replaced by the commodity that celebrity culture fully encompasses. Guy Debord writes in The Society of the Spectacle, that the “spectacle is not a collection of images, but a social relation amongst people, mediated by images” (Debord, 4). By this, he simply means that the spectacle is constructed by the daily images devised by celebrities, reality television, and pseudo-events. And those images have altered and strongly influenced the way people perceive themselves and others, as well as the social
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).