|The Making and Unmaking of a Counterculture
|Digital History ID 3338|
The New Left had a series of heroes, ranging from Marx, Lenin, Ho, and Mao to Fidel, Che, and other revolutionaries. It also had its own uniforms, rituals, and music. Faded-blue work shirts and jeans, wire-rimmed glasses, and work shoes were de rigueur even if the dirtiest work the wearer performed was taking notes in a college class. The proponents of the New Left emphasized their sympathy with the working class--an emotion that was seldom reciprocated--and listened to labor songs that once fired the hearts of unionists. The political protest folk music of Greenwich Village--of Phil Ochs, Bob Dylan, and their crowd--inspired the New Left.
But the New Left was only one part of youth protest during the 1960s. While the New Left labored to change the world and remake American society, other youths attempted to alter themselves and reorder consciousness. Variously labeled the counterculture, hippies, or flower children, they had their own heroes, music, dress, and approach to life.
In theory, supporters of the counterculture rejected individualism, competition, and capitalism. Adopting rather unsystematic ideas from oriental religions, they sought to become one with the universe. Rejection of monogamy and the traditional nuclear family gave way to the tribal or communal ideal, where members renounced individualism and private property and shared food, work, and sex. In such a community, love was a general abstract ideal rather than a focused emotion.
The quest for oneness with the universe led many youths to experiment with hallucinogenic drugs. LSD had a particularly powerful allure. Under its influence, poets, musicians, politicians, and thousands of other Americans claimed to have tapped into an all-powerful spiritual force. Timothy Leary, the Harvard professor who became the leading prophet of LSD, asserted that the drug would unlock the universe.
Although LSD was outlawed in 1966, the drug continued to spread. Perhaps some takers discovered profound truths, but by the late 1960s, drugs had done more harm than good. The history of the Haight-Ashbury section of San Francisco illustrated the problems caused by drugs. In 1967, Haight was the center of the counterculture, the home of the flower children. In the "city of love," hippies ingested LSD, smoked pot, listened to "acid rock," and proclaimed the dawning of a new age. Yet the area was suffering from severe problems. High levels of racial violence, venereal disease, rape, drug overdoses, and poverty ensured more bad trips than good.
Even music, which along with drugs and sex formed the counterculture trinity, failed to alter human behavior. In 1969, journalists hailed the Woodstock music festival as a symbol of love. But a few months later, a group of Hell's Angels violently interrupted the Altamont Raceway music festival. As Mick Jagger sang "Under My Thumb," an Angel stabbed a black man to death.
Like the New Left, the counterculture fell victim to its own excesses. Sex, drugs, and rock-and-roll did not solve the problems facing the United States. And by the end of the 1960s, the counterculture had lost its force.
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