By Elizabeth Nelson
A examine of the counter-culture in Britain from 1966-73, discussing the ambience out of which the counter-culture grew: teddy boys, mods and rockers, the anti-bomb flow and the emergence of "youth" and its tune and tradition. The underground press kinds the focal point of an exam of the aspirations of the counter-culturalists, because it used to be there that their social background used to be recorded. The sexual, musical, political and utopian issues of "International Times", "Oz", "Friends" and different magazines are tested. the writer additionally discusses the failure of the counter-culture to accomplish its goals and assesses its importance.
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Extra info for The British Counter-Culture, 1966–73: A Study of the Underground Press
The direct action, civil disobedience philosophy of the Committee of 100, with its strong anarchist influences, even if in the main of a non-theoretical nature, and its later involvement in The Precursors of the Counter-Culture 39 wider protests, most notably against the Vietnam War, prepared the ground for the counter-culture as well as for the more political left-wing groupings in the mid- to late-1960s and beyond. Nevertheless, the various forerunners are best regarded as surface manifestations of a society going through rapid change and trying to come to terms with its loss of world status: to paraphrase Dean Acheson, trying to find a role.
Such devotion to leisure and style, and the imaginative use of the latter, spelled their eventual downfall, however, as Mod style was easily commercialised and exploited by Carnaby Street entrepreneurs from around 1963. 55 The second wave of Mods retained their predecessors' devotion to style as the essence of their fashion, and neatness and fussy vanity still predominated, but the individuality which had characterised the original Mods was now eroded, massproduced clothes now being not only acceptable but sought after by this second wave.
87 'Go-getters' of the Joe Lampton type were not, of course, new to society or fiction, but as has been pointed out, the difference with the 1950s version of this type was that Lampton had no admiration for the class he was 'gatecrashing', desiring its advantages and privileges, but not its conv~ntions, and not wanting to be assimilated into it. 88 Kingsley Amis expressed this point well, his central character observing the nouveau-riche customers in the pub he frequented, and reflecting that 'there was a lot to be said for them compared with the old privileged classes.
The British Counter-Culture, 1966–73: A Study of the Underground Press by Elizabeth Nelson