By Sheila Whiteley, Jedediah Sklower
'Counterculture' emerged as a time period within the overdue Sixties and has been re-deployed in additional fresh many years with regards to different kinds of cultural and socio-political phenomena. This quantity offers a vital new educational scrutiny of the idea that of 'counterculture' and a severe exam of the interval and its background. contemporary advancements in sociological thought complicate and problematize theories built within the Sixties, with electronic know-how, for instance, supplying an impetus for brand new understandings of counterculture. tune performed an important half within the approach that the counterculture authored area relating to articulations of neighborhood via delivering a shared experience of collective id. now not least, the heady mix of genres supplied a socio-cultural-political backdrop for specified musical practices and thoughts which, in terms of counterculture ideology, supplied a wealthy experiential atmosphere within which assorted teams outlined their dating either to the neighborhood and overseas dimensions of the flow, so offering a feeling of locality, neighborhood and collective id.
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Extra resources for Countercultures and Popular Music
From the point of view of post-1960s generations, counterculture has become part of a received, mediated memory (van Dijck 2007; Bennett 2010) that bespeaks a reaction to a series of pathological issues still very much at large in today’s world. Whereas subculture is held to represent small-scale, perhaps underground or quasidevious solutions to social problems, counterculture connotes something larger in scale – a movement or series of movements directed towards and orientated to address large, globally dispersed socio-economic problems and issues.
The chapter begins by looking at the emergence of the term ‘counterculture’ in the late 1960s, and its associations with the hippie movement. This is followed by a consideration of how more recent developments in sociological theory complicate and problematise the 1960s definition of counterculture, and also the way in which this definition has been redeployed in more recent decades in relation to other forms of cultural and socio-political phenomena. This is followed by an investigation of how new social trends and associated developments – notably in digital technology – provide an impetus for new understandings of counterculture.
Hall’s research into Christiania’s musical venues and genres provides a detailed reading of contrasting and contesting scenes, including the traditional Danish practice of communal singing, and ‘slagsange’ [protest songs], which reflect the constant battle for independence. Both contrast with the newer practice of supporting records by non-political inhabitants, which have gradually shifted towards a more localised and atmospheric depiction of Christiania as idyllic, and the cover band culture of the drop-outs.
Countercultures and Popular Music by Sheila Whiteley, Jedediah Sklower