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Pages in category "Counterculture of the 1970s" The following 111 pages are in this category, out of 111 total. This list may not reflect recent changes. 0–9.
This list includes periodically appearing papers of general countercultural interest printed in a newspaper format, and specific to a particular locale. Australia [ edit ]
Underground newspapers sprang up in most cities and college towns, serving to define and communicate the range of phenomena that defined the counterculture: radical political opposition to "The Establishment", colorful experimental (and often explicitly drug-influenced) approaches to art, music and cinema, and uninhibited indulgence in sex and ...
First gathering of member papers, the Underground Press Syndicate, Stinson Beach, CA, March 1967. The Underground Press Syndicate was initially formed by the publishers of five early underground papers: the East Village Other (New York City), the Los Angeles Free Press, the Berkeley Barb, The Paper (East Lansing, Michigan), and Fifth Estate (Detroit, Michigan).
John Milton Yinger originated the term "contraculture" in his 1960 article in American Sociological Review.Yinger suggested the use of the term contraculture "wherever the normative system of a group contains, as a primary element, a theme of conflict with the values of the total society, where personality variables are directly involved in the development and maintenance of the group's values ...
The British counter-culture or underground scene developed during the mid-1960s, [1] and was linked to the hippie subculture of the United States. Its primary focus was around Ladbroke Grove and Notting Hill in London .
Drop City was a counterculture artists' community that formed near the town of Trinidad in southern Colorado in 1960. Abandoned by 1979, Drop City became known as the first rural "hippie commune". [1] The Ultimate Painting, by Drop Artists, 1966, acrylic on panel, 60" × 60" Pythagorean Tree, by Drop Artists, 1967, acrylic on panel, 48" diam.
The Human Be-In took its name from a chance remark by the artist Michael Bowen made at the Love Pageant Rally. [6] The playful name combined humanist values with the scores of sit-ins that had been reforming college and university practices and eroding the vestiges of entrenched segregation, starting with the lunch counter sit-ins of 1960 in Greensboro, North Carolina, and Nashville, Tennessee.