stance. This stance promoted a concern with reshaping existent culture, with the substitution of more Marxian leftist values disdaining unethical governmental policies, predicated upon Capitalist or bourgeois sensibility. The 1960s were more politically motivated for the previously marginalized who drew inspiration from the American civil rights movement, asserted minoritized validity, and posited a societal organization more Gramscian or inclusive in outlook. The Cockettes made no distinction as to member’s sexuality, ethnicity, or gender orientation, viewing all as valid, and demonstrating a bourgeoning, broader acceptance of difference within American culture. Hippies, largely born before, or during, the Second World War, were the first generation to grow up with the increasing influence of American prosperity, increasing societal inclusivity, and the example of the civil rights movement. Beat dissent may be detected in Hippie countercultural values and was transmuted by later punk movement undertakings. It is currently observed in social movements such as Occupy, with its various franchises or guises promoting a more inclusive demand for populational equity in the face of perceived oppression. Hippies were more media-savvy than their predecessors and maintained events designed to capture media attention such as the frequent or San Francisco’s (1967) that ‘Love-ins’ ‘Human-be-in’ characterized the mid-to-late 1960s, both of which reveal the influence of Funk aesthetics and Bay Area humor. The nature of dissenting countercultures is beyond the scope of this project, ‘nose-thumbing’ however, the continuance of ad hoc social protest demonstrates a continuing dissent regarding perceptions of iniquitous, hierarchical social structuring and insistence that all voices in a culture be heard and valued equally. Such dissent is paralleled globally, in art produced to give voice to non-white identities. The influence of Californian art upon western cultural consciousness may be seen as denying the easy categorization of ignored ethnographic groups. Warhol’s 13 Most Wanted Men (left, created for
stance. This stance promoted a concern with reshaping existent culture, with the substitution of more Marxian leftist values disdaining unethical governmental policies, predicated upon Capitalist or bourgeois sensibility. The 1960s were more politically motivated for the previously marginalized who drew inspiration from the American civil rights movement, asserted minoritized validity, and posited a societal organization more Gramscian or inclusive in outlook. The Cockettes made no distinction as to member’s sexuality, ethnicity, or gender orientation, viewing all as valid, and demonstrating a bourgeoning, broader acceptance of difference within American culture. Hippies, largely born before, or during, the Second World War, were the first generation to grow up with the increasing influence of American prosperity, increasing societal inclusivity, and the example of the civil rights movement. Beat dissent may be detected in Hippie countercultural values and was transmuted by later punk movement undertakings. It is currently observed in social movements such as Occupy, with its various franchises or guises promoting a more inclusive demand for populational equity in the face of perceived oppression. Hippies were more media-savvy than their predecessors and maintained events designed to capture media attention such as the frequent ‘Love-ins’ or San Francisco’s ‘Human-be-in’ (1967) that characterized the mid-to-late 1960s, both of which reveal the influence of Funk aesthetics and Bay Area ‘nose-thumbing’ humor. The nature of dissenting countercultures is beyond the scope of this project, however, the continuance of ad hoc social protest demonstrates a continuing dissent regarding perceptions of iniquitous, hierarchical social structuring and insistence that all voices in a culture be heard and valued equally. Such dissent is paralleled globally, in art produced to give voice to non-white identities. The influence of Californian art upon western cultural consciousness may be seen as denying the easy categorization of ignored ethnographic groups. Warhol’s 13 Most Wanted Men (left, created for
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