The Beats, hippies, and punks are evidence that behind the white picket fence of suburbia lay an America that wanted more out of life than the sugar coated portrayals of domesticity and patriotism it received from pop culture. The unfortunate side of authenticity often lead to the conclusion that autonomy was an impossible dream and that just mere existence required an individual to compromise his integrity. The post-war generation developed an interesting love-hate relationship with the mass culture of it’s time. Some, like Andy Warhol, embraced the inevitability of mass culturalization in order to control the beast (yes, this is a reference to Revelations). While others recognized the American Dream as being a hypocrisy and so chose the Golden Eternity instead.The Beat generation and early hippies sought to separate themselves from mainstream society where they believed they could start anew and fully experience life, liberty, and the pursuit of happiness. The flower child philosophy was in fact very Transcendental, minus the stuffy New England mentality.
The sexual, spiritual, and intellectual freedom and autonomy that characterized the Haight-Ashberry scene were closer to the Whitmanesque ideal than anything achieved during his life time. Postwar America was extremely prosperous from the stand point of the middle class white suburbanite. The only problem was that not everyone fit that mold. And even those who were born into that environment often found it’s conventions limiting and unfufilling. At home the issues facing minorities went, for the most part, ignored. Jim Crow laws were allowed to stand in the south until major Supreme Court decisions like Brown v.
Board of Education declared segregation to be unconstitutional. But even still that did not solve the problem of good old fashioned prejudice, which was as rampant as ever. And not every woman was delighted to once again be her husband’s hous...
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...ller: Rock and Roll in the Age of Celebrity. New York: St.Martins Press.1990Bessman, Jim. Ramones: An American Band. New York: St.Martins Press. 1993Doyle, Jennifer, Jonathan Flatley, and Jose Munoz. Pop Out: Queer Warhol. Durham and London: Duke University Press.1996Banes, Sally. Greenich Village 1963. Durham and London: Duke University Press.1993Lippard, Lucy R. Pop Art. London: Thames and Hudson.1985Milbank, Caroline. New York Fashion: The Evolution of American Style. New York: Harry N. Abrams, Inc. Publishers.1989All Other SourcesAli, Tariq, Susan Watkins.1968: Marching in the Streets. New York: Free Press.1998Allen, Donald M.ed. The New American Poetry. New York: Groves Press.1960Burgess, Anthony.A Clockwork Orange. New York: Ballatine Books.1963De Castelbajac, Kate. The Face of a Century:100 Years of Makeup and Style. New York: Rizzoli.1995Dodd, David. The Annotated Grateful Dead Lyrics: A Web Site. <a href="http://arts.ucsc.edu/gdead/agdl/#songs">http://arts.ucsc.edu/gdead/agdl/#songs. June 1, 1999Piccoli, Sean. The Grateful Dead. Philidelphia: Chelsea House Publishers.1997Thompson, Hunter S.Fear and Loathing in Las Vegas. New York: Vintage Books, a Division
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