Countercultures and Popular Music

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Introduction
Countercultures and Popular Music
Reappraising ‘Counterculture'
I: Theorising Countercultures
1: Break on Through: The Counterculture and the Climax of American Modernism
2: The Banality of Degradation: Andy Warhol, the Velvet Underground and the Trash Aesthetic
3: Were British Subcultures the Beginning of Multitude?
II: Utopias, Dystopias and the Apocalyptic
4: The Rock Counterculture from Modernist Utopianism to the Development of an Alternative Music Scene
5: ‘Helter Skelter' and Sixties Revisionism
6: Apocalyptic Music: Reflections on Countercultural Christian Influence
7: Nobody's Army: Contradictory Cultural Rhetoric in Woodstock and Gimme Shelter
III: Sonic Anarchy and Freaks
8: The Long Freak Out: Unfinished Music and Countercultural Madness in Avant-Garde Rock of the 1960s and 1970s
9: The Grateful Dead and Friedrich Nietzsche: Transformation in Music and Consciousness
10: Scream from the Heart: Yoko Ono's Rock and Roll Revolution
11: From Countercultures to Suburban Cultures: Frank Zappa after 1968
IV: Countercultural Scenes – Music and Place
12: Countercultural Space Does Not Persist: Christiania and the Role of Music
13: A Border-Crossing Soundscape of Pop: The Auditory Traces of Subcultural Practices in 1960s Berlin
14: Music and Countercultures in Italy: The Neapolitan Scene

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’Counterculture’ emerged as a term in the late 1960s and has been re-deployed in more recent decades in relation to other forms of cultural and socio-political phenomena. This volume provides an essential new academic scrutiny of the concept of ’counterculture’ and a critical examination of the period and its heritage. Recent developments in sociological theory complicate and problematise theories developed in the 1960s, with digital technology, for example, providing an impetus for new understandings of counterculture. Music played a significant part in the way that the counterculture authored space in relation to articulations of community by providing a shared sense of collective identity. Not least, the heady mixture of genres provided a socio-cultural-political backdrop for distinctive musical practices and innovations which, in relation to counterculture ideology, provided a rich experiential setting in which different groups defined their relationship both to the local and international dimensions of the movement, so providing a sense of locality, community and collective identity.

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