The Counterculture's Influence On American Music
In the early 1960s Rock ‘n Roll music was
considered mere entertainment for the mass teenage population, but with the
counterculture movement gathering momentum, Rock music became a form of
expression, a way of life, and identity.[1]
The counterculture influenced musical themes regarding anti-war, drug use, and
sexuality, by questioning the Vietnam War and the social norms in the American
society. While popular music in the fifties and
early sixties was primarily about love and yearning, such as “Runaround Sue” by
Dion and the Belmonts in 1961, the counterculture influenced far more serious
subject matter within the lyrics of popular music, which would lead to a
“guitar army”. [2]
The change in lyrics primarily would serve as a weapon of expression, where
people would question the Vietnam War, American life, and drug experimentation,
which made rock music more relevant and relatable to the young listeners.[3]
Along with rock music, Folk songs such as, “The Times They are a-Changin’” by
Bob Dylan, were heavily influenced by the counterculture and the Vietnam War,
because their lyrics dealt with civil rights, war, and change of social norms
within the American youth.[4]
Along with the activist ideals of the counterculture movement, the topic of drug experimentation became frequently correlated with the “rock and roll life style”, due to heavy drug use among musicians and lyrics regarding narcotics. The mentioning of drug use in music has been said to “espouse deviant social behavior”, therefore prompting the popularity of marijuana, cocaine, LSD, and heroine consumption throughout the United States.[5] Jimi Hendrix’s “Purple Haze”, which was released in 1967, is a primary example of a psychedelic drug song that revolves around the consumption of LSD and Hendrix’s experience “purple haze” experience.[6]
During a time of Vietnam protest, international and domestic violence, and civil rights battles, music of the counterculture would be epitomized at the 1969 Woodstock festival in White Lake, New York. With a lack of sexual and social inhibition, mass drug usage, harmony, and above all, music that was socially and politically provocative, Woodstock would influence generations by showing the power of community and culture within a music festival.[7] With the organization of a massive music festival and music that questioned American issues and life, the “Establishment” was left bewildered and unsettled by a movement that was considered by many United States citizens to be “foolish”.[8]
Music during the counterculture movement took on a new seriousness. The musician would sing about provocative information regarding civil and political issues, sexuality, and drugs, in order to get a response from the listener. The counterculture truly gave contemporary meaning to music, making it relatable and insightful, which has made the American society recognize musicians as serious artists that question important matters. Music went from being ridiculed about its meaning, such as in a 1964 article by “The Saturday Evening Post”[9], to being applauded by writers, which is highly evident in the 1968 “Life Magazine” issue, “The New Rock”.[10] The counterculture made music a weapon of communication, an outlet of speech for American people, and a serious social art.
[1] Michael Jacob Kramer, “The Civics of Rock: Sixties Countercultural Music and the Transformation of the Public Sphere”, Chapel Hill, University of North Carolina, 2006, pages 3-10
[2] David James, “The Vietnam War and American Music”, Duke University Press, Social Text, No. 23 (Autumn – Winter, 1989), pp. 122
[3] Robert A. Rosenstone, “’Times are a Changin’: The Music Protest”, Annals of the American Academy of Political and Social Science, 1969, pp. 131-141
[4] Bob Dylan, “The Times They are a-Changin”, 01/13/1964. Columbia, 45 r.p.m single
[5] John Markeret, “Sing of Song of Drug Use-Abuse: Four Decades of Drug Lyrics in Popular Music – From the Sixties through the Ninties”, Cumberland University, accessed 12/08/13, http://onlinelibrary.wiley.com/store, 2002
[6] Jimi Hendrix, “Purple Haze”, 05/191967, Track Label, Vinyl
[7] “Statement on the Historical and Cultural Significance of the 1969 Woodstock Festival Site", last modified: 09/25/2001, accessed 12/08/13, http://www.woodstockpreservation.org/SignificanceStatement.htm
[8] John Gorman, “The Counter Culture in Crisis”, Soundings: An Interdisciplinary Journal, Vol. 55, Penn State University Press, 1972, pp. 390-407
[9] Saturday Evening Post, Vol. 273, March 21, 1964, pp. 30
[10] Life, “The New Rock”, Vol. 64, June 28, 1968, pp. 51
Photos
[11]"The Woodstock Community." Woodstock. http://www.woodstock.com/ (accessed December 15, 2013).
[12]Emami, Gazelle. "Fred Milano Dead: Dion And The Belmonts Singer Dies At 72." The Huffington Post. http://www.huffingtonpost.com/2012/01/03/fred-milano-dead-dion-and-the-belmonts_n_1181844.html (accessed December 16, 2013).
[13]"Jimi Hendrix Fire: The Jimi Hendrix Collection." AllMusic. http://www.allmusic.com/album/fire-the-jimi-hendrix-collection-mw0002029452 (accessed December 16, 2013).
[14]"Peace, Love, Music and Mud: LIFE at Woodstock ." LIFE. http://life.time.com/culture/woodstock-photos-from-the-legendary-1969-rock-festival/#1 (accessed December 16, 2013).
[12]Emami, Gazelle. "Fred Milano Dead: Dion And The Belmonts Singer Dies At 72." The Huffington Post. http://www.huffingtonpost.com/2012/01/03/fred-milano-dead-dion-and-the-belmonts_n_1181844.html (accessed December 16, 2013).
[13]"Jimi Hendrix Fire: The Jimi Hendrix Collection." AllMusic. http://www.allmusic.com/album/fire-the-jimi-hendrix-collection-mw0002029452 (accessed December 16, 2013).
[14]"Peace, Love, Music and Mud: LIFE at Woodstock ." LIFE. http://life.time.com/culture/woodstock-photos-from-the-legendary-1969-rock-festival/#1 (accessed December 16, 2013).