’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.

’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.

Heavy metal is now over 40 years old. It emerged at the tail end of the 1960s in the work of bands including Iron Butterfly, Vanilla Fudge, Jimi Hendrix, Deep Purple, Led Zeppelin and - most importantly - Black Sabbath. In the 1970s and early 1980s, heavy metal crystallised as a genre as bands such as Judas Priest and Iron Maiden removed most of the blues influence on the genre, codifying a set of basic metal characteristics that endure to this day: distorted guitars, aggressive vocals, denim, leather and spikes. In broad terms, wherever it is found and however it is played, metal tends to be dominated by a distinctive commitment to 'transgressive' themes and musicality causing it to be frequently seen as controversial music. Controversies surrounding the alleged (and often documented) connection between heavy metal and, variously, sexual promiscuity, occultism and Satanism, subliminal messages, suicide and violence have all made heavy metal a target of moral panics over popular culture. Metal has variously embraced, rejected, played with and tried to ignore this controversy. At times, the controversy dies down and the previously transgressive becomes relatively harmless - as in the transformation of Ozzy Osbourne from public enemy to loveable dad. Still, metal remains irrevocably marked by its controversial, transgressive tendencies. Indeed, the various moral panics that metal has been subjected to are not only constitutive, at least in part, of metal scenes, but are encoded in metal's transgression itself. As with hiphop's "ghetto" roots, metal's history of extreme sonic, lyrical and visual messages continue to give it credibility with new generations of fans today. The aim of this anthology is to analyse the relationship between heavy metal and society within a global context. It provides a thorough investigation of how and why metal becomes controversial, how metal 'scenes' are formed and examines the relationship between metal and society, including how fans, musicians and the media create the culture of heavy metal. Reviews: "A powerful addition to the metal studies literature, this book is overflowing with insights into the cultural politics of heavy metal music. With lively writing, interdisciplinary approaches, and a global perspective, these chapters offer ideas that have broad implications for the study of popular music scenes and their dynamics, media scandals, the relationship between music and affect, and the role of culture in social life." -- Professor Harris M. BergerTexas A & M University "Heavy Metal: Controversies and Countercultures grants a deeper understanding of how metal's transgressive qualities have come to define how the genre is viewed from both the outside and within...its interdisciplinary and global focus, along with its often enthusiastic and engaging viewpoints, present a fascinating portrait of how the controversy surrounding metal operates within wider society." -- Craig Hayes, PopMatters "The essays...are surprisingly sophisticated conceptually and theoretically, and they demonstrate what can be accomplished by turning high-culture terms and methods on a supposedly low-culture form like heavy metal. Anthropologists have profitably studied other popular culture/music practices, like the 'rave' phenomenon or psytrance events (see for example Graham St. John's Global Tribe: Technology, Spirituality, and Psytrance, reviewed elsewhere in ARD), and I look forward to reading ethnographic studies of heavy metal concerts, performers, and scenes." -- Jack David Eller, Anthropology Review Database, 2013

Michael Kramer draws on new archival sources and interviews to explore sixties music and politics through the lens of these two generation-changing places--San Francisco and Vietnam. From the Acid Tests of Ken Kesey and the Merry Pranksters to hippie disc jockeys on strike, the military's use of rock music to "boost morale" in Vietnam, and the forgotten tale of a South Vietnamese rock band, The Republic of Rock shows how the musical connections between the City of the Summer of Love and war-torn Southeast Asia were crucial to the making of the sixties counterculture. The book also illustrates how and why the legacy of rock music in the sixties continues to matter to the meaning of citizenship in a global society today. --from publisher description

At once upholding and refuting the South's conservative image, The Countercultural South explores the politically divergent cultures of resistance created by poor white and working-class black southern men. With humor and insight, Jack Temple Kirby traces these racially and politically opposed cultures back to the antebellum encounter between the anti-capitalistic South and the capitalist individualism identified with the North. In a wide-ranging discussion encompassing the blues, sharecropping, and contemporary black intellectuals, Kirby shows how the needful practice of black labor bargaining in the South resulted in a progressive black tradition of verbal negotiation. The conservative separatism and retro-resistance of rural whites, Kirby argues, is embedded in an inherited and adversarial frontier ethos valuing self-sufficiency and access to wilderness. With the southern landscape imaginatively as well as factually linked to social class, crime--particularly forest arson--becomes the most important form of southern white countercultural expression. Kirby continues his look at white resistance in a review of "redneck" discourse, examining the public reputation of southern whites through a range of cultural phenomena, from literature to country music to the computer network known as BUBBA-L. Original, personal, and artfully written, The Countercultural South offers fresh reflections on southern exceptionalism in American political life and culture.

A cultural history of global electronic dance music countercultures, Technomad explores the pleasurable and activist trajectories of post-rave culture. The book documents an emerging network of techno-tribes, exploring their pleasure principles and cultural politics. Attending to sound system culture, electro-humanitarianism, secret sonic societies, teknivals and other gatherings, intentional parties, revitalisation movements and counter-colonial interventions, Technomad investigates how the dance party has been harnessed for transgressive and progressive ends - for manifold freedoms. Seeking freedom from moral prohibitions and standards, pleasure in rebellion, refuge from sexual and gender prejudice, exile from oppression, rupturing aesthetic boundaries, re-enchanting the world, reclaiming space, fighting for "the right to party," and responding to a host of critical concerns, electronic dance music cultures are multivalent sites of resistance. Drawing on extensive ethnographic, netographic and documentary research, Technomad details the post-rave trajectory through various local sites and global scenes, with each chapter attending to unique developments in the techno counterculture: e.g. Spiral Tribe, teknivals, psytrance, Burning Man, Reclaim the Streets, Earthdream. The book offers an original, nuanced theory of resistance to assist understanding of these developments. This cultural history of hitherto uncharted territory will be of interest to students of cultural, performance, music, media, and new social movement studies, along with enthusiasts of dance culture and popular politics.

Looks at advertising during the 1960s, focusing on the relationship between the counterculture movement and commerce.