Counterculture
Counterculture
Counterculture
Counterculture (also written counter-culture) is a sociological term used to describe the values and norms of behavior of a cultural group, or subculture, that run counter to those of the social mainstream of the day,[1] the cultural equivalent of political opposition. It is a neologism attributed to Theodore Roszak.( The Making of a Counter Culture.1968)
Although distinct countercultural undercurrents have existed in many societies, here the term refers to a more significant, visible phenomenon that reaches critical mass, flowers, and persists for a period of time. A countercultural movement expresses the ethos, aspirations, and dreams of a specific population during an era—a social manifestation of zeitgeist. It is important to distinguish between “counterculture,” “subculture,” and “fringe culture”.
Countercultural milieux in 19th-century Europe included Romanticism, Bohemianism, and the Dandy. Another movement existed in a more fragmentary form in the 1950s, both in Europe and the United States, in the form of the Beat generation,[2] followed in the 1960s by the hippies and anti-Vietnam War protesters.
The term came to prominence in the news media, as it was used to refer to the social revolution that swept North America, Western Europe, Japan, Australia, and New Zealand during the 1960s and early 1970s.[1][2][4]
Sixties and seventies counterculture
Counterculture of the 1960s
In the United States, the counterculture of the 1960s became identified with the rejection of conventional social norms of the 1950s. Counterculture youth rejected the cultural standards of their parents, especially with respect to racial segregation and initial widespread support for the Vietnam War.[5][6]
In the United Kingdom, the counterculture of the 1960s was mainly a reaction against the social norms of the 1940s and 1950s, although “Ban the Bomb” protests centered around opposition to nuclear weaponry.
As the 1960s progressed, widespread tensions developed in American society that tended to flow along generational lines regarding the war in Vietnam, race relations, sexual mores, womens rights, traditional modes of authority, and a materialist interpretation of the American Dream. White, middle-class youth — who made up the bulk of the counterculture — had sufficient leisure time to turn their attention to social issues. These social issues included support for civil rights, womens rights, and gay rights movements, and a rejection of the Vietnam War. Hippies became the largest countercultural group in the United States. The counterculture also had access to a media eager to present their concerns to a wider public. Demonstrations for social justice created far-reaching changes affecting many aspects of society.
Rejection of mainstream culture was best embodied in the new genres of psychedelic rock music, pop-art and new explorations in spirituality. Musicians who exemplified this era include The Beatles, The Grateful Dead, Jefferson Airplane, Jimi Hendrix, The Doors, Cream, The Rolling Stones, Neil Young, Bob Dylan, and Janis Joplin.
Sentiments were expressed in song lyrics and popular sayings of the period, such as “do your own thing,” “turn on, tune in, drop out”, “whatever turns you on,” “Eight miles high”, and “light my fire.” Spiritually, the counterculture included interest in astrology, the term “Age of Aquarius” and knowing peoples signs. This led Theodore Roszak to state “A (sic) eclectic taste for mystic, occult, and magical phenomena has been a marked characteristic of our postwar youth culture since the days of the beatniks.”[4]
The counterculture in the United States reached its peak between 1966 and the early 1970s. It eventually waned for several reasons: mainstream Americas disdain for unrepentant hedonism and conspicuous drug use, and the troubles caused by these excesses; the death of many notable countercultural figures; the end of the Vietnam War; and the end of Civil Rights protests following passage of remedial legislation. The counterculture continues to influence social movements, art and society in general.
Counterculture literature
The counterculture of the 1960s and early 1970s generated its own unique brand of notable literature, including comics and cartoons, and sometimes referred to as the underground press. This includes the work of Robert Crumb and Gilbert Shelton, and includes Mr. Natural; Keep on Truckin; Fritz the Cat; Fat Freddys Cat; Fabulous Furry Freak Brothers; the album cover