Politics Of 1960s

Politics Of 1960s

As the nineteen fifties turned into the early sixties, the United States
remained the same patriotic, harmonious society of the previous decade; often a
teen's most difficult decision was choosing what color lipstick to wear to the
prom. Yet after 1963, a dramatic change slowly developed in the cultural,
social, and political beliefs of America, particularly the youth. The death of

President Kennedy, the new music, the quest for civil rights, the popularity of
mind-altering drugs, the senselessness of the Vietnam War, and the invention of
the birth control pill reacted like an imbalanced chemical equation to formulate
a new American counterculture: the hippie. Contrasting with ever-dominant
mainstream society, the "layed back" hippie nobly tried to change the
world not by force, but through peace and love. Though not entirely successful,
the hippie movement clearly marked the mid- to late-nineteen sixties and early
seventies as a mixture of peace and brotherly love with "sex, drugs, and
rock and roll." The formal definition of a hippie is "one who does not
conform to social standards, advocating a liberal attitude and lifestyle."

However, the true definition of a "hippie" in unclear; no
interpretation could categorize every person who fits into the ambiguous
category of a hippie. According to Phoebe Thompson's definition, being a hippie
is "a choice of philosophy." Hippies are generally
"antithetical" to structured hierarchies, such as church, government,
and social castes. The ultimate goal of the hippie movement is peace, attainable
only through love and toleration of the earth and each other. Finally, a hippie
needs freedom, both physical freedom to experience life and mental freeness to
remain open-minded (12-13). In the view of some historians, thus, Thoreau and

Ghandi were hippies, and hippies continue to exist today (25). Yet what unique
qualities characterized the American hippies of the nineteen sixties, and how
did this movement gain enough power to influence millions of teenagers? The
nineteen fifties was one of America's most prosperous (and dull) decades.

Conformity and nationalism swept the nation; television sitcoms reinforced
old-fashioned family values; the typical teenager aspired for the
"all-American" look and personality. Yet music had already planted the
seeds of rebellion; Rock and Roll began to sweep the nation. Kids wore leather
jackets, violated curfews, and considered themselves rebels, though oddly with
no cause. The rebellion craze was epitomized by Marlon Brado's role in the film

The Wild One. When asked: "What are you rebelling against," he
responded: "Whatta you got?" The music of Elvis and other rock bands
caused the rebellion; all the teens needed was a cause (Manning 32-34). The

Vietnam War began as President Kennedy's effort to protect the "free
world" from Communism. Kennedy, a well-liked president, received little war
opposition from the people. He was young and supported free-spiritedness,
open-mindedness, and equality; at his assassination in 1963 only 15,000 troops
were in Vietnam. Under Lyndon Johnson the number of soldiers skyrocketed,
however, reaching 500,000 in 1966. Television broadcasts from overseas became
more gruesome and the deaths more tragic. The nightly news counted the dead and
described compiling destruction, and many political and literary figures began
to speak out publicly against keeping US troops in Vietnam (Harding 56-9).

Though Johnson continually promised a swift end to the war, the Tet Offensive of

1968 finally proved otherwise. A surprise attack on American soldiers caused a
significant loss of land and life; the Communists were apparently nowhere near
defeat (Buchholz 861)! Shiploads of American boys came too and from Vietnam,
only too many of those returning home were riding in a coffin. The hippie
movement germinated in San Francisco, with the Vietnam War at its core. The
movement eventually spread to the East Coast as well, centralized in New York's

East Village in addition to the Haight-Asbury district of San Francisco and

Sunset Strip of Los Angeles (Buchholz 858). Disgusted by conformity, culture,
and politics, some hippies abandoned society to live in isolated communes; by

1970 over 200 communes existed, maintaining 40,000 youths. However, many hippies
also took a political stance against the war. The Vietnam War conflicted
directly with the hippie belief in peace and love, so the counterculture
protested the war throughout the nation. The "flower children" held
"love-ins" to celebrate their rights, spoke out publicly, formed
protest groups with the slogan: "Hell no, we won't go!", burned flags,
and tore up draft slips (858). To avoid the Vietnam draft, some pacifists took
extraordinary measures. Many claimed insanity, lied about homosexuality,
pretended to be physically unfit, or fled to Canada (19). Yet far too many
peace-loving hippies were sent to jail for refusing the draft call, maintaining
their principles and integrity (Gottlieb 55). "Faced with family dejection,
exile, arrest, and imprisonment, they nevertheless continued to stay firm to the
opposition to that war" (Tollefson 4). While the government drafted their
"brothers," the remaining hippies protest the war at home. Considering
most hippies were under thirty, the greatest concentration of them was in
colleges throughout America. Protests began in Columbia University and Berkley

University, California. A demonstration against Nixon's decision to invade

Cambodia led to violence at Kent State University; the National Guard killed
four students. Finally, the University of Virginia, founded by America's
forefather of freedom Thomas Jefferson, was raided by two hundred baton-waving
policemen who arrested sixty-eight students (Thompson 66-8). The greatest
expression of the hippie belief, whether pro-peace or pro-pot, was their music.

Rock and roll was their voice. Led by Bob Dylan, the Grateful Dead, Jefferson

Airplane, and the Beatles, rock and folk music overtook the airwaves. (Manning

102) Bob Dylan used the lyrics of folk music to convey a social commentary and
protest. In a civil rights march in 1963, he sang the following lyrics: How many
years can some people exist Before their allowed to be free? The answer, my
friend, is blowin' in the wind The answer is blowin' in the wind (102) Folk
artists did not sing simply to sound pleasant, but more importantly to convey a
message. Most song lyrics addressed the wart or the civil rights movement, and
the crowd would sing along in a chorus. Existing in harmony with folk music was
rock, which adopted a style known as psychedelia, or "mind expansion."

Rock's lyrics were less important, with the overall sound dominating as an
expression of the soul. And with many band members high on marijuana or LSD,
hardcore "acid rock" became a means of escaping the world-for both the
band and the audience (102-103). The "ultimate orgy" of rock and folk
music occurred at "Woodstock" in August of 1969. Located in New York

State, Woodstock the concert was a three-day long event in which 400,000 people
got high, had sex, and listened to some very beautiful and psychedelic music.

The roster included some of the most famous rock bands on earth, as well
talented amateurs looking for a start. An attendee described it as: "Three
days of love, peace, and rock!" (Thompson 89). The concert epitomized the
music and, indirectly, the hippie lifestyle of the sixties, and paved the way
for the more diverse, "drugged-up" musical style of the early
seventies. Illicit drugs were a prominent influence on hippie lifestyle and
culture. By the mid-sixties, LSD and marijuana had overtaken America overnight.

These hallucinogens were a social activity at least experimented with by
virtually every "groovy" teenager in America. Numerous books were
written both condemning and justifying the new drug phenomena. Drug proponents
referred to Native Americans religious ceremony, spiritual and medical
references in ancient texts, and Aldous Huxley's book The Doors of Perception to
defend their drug use. Eventually more toxic drugs such as cocaine, heroin,
barbiturates, and amphetamines followed, used for recreation and often leading
to fatal consequences. Drugs became incorporated into the music industry as
well; most musical artists used narcotics, often writing and performing songs
while "high" (Harding 29, 31). The hippies' social status as
nonconformist, doped-up outcasts was paralleled by their fashion and lifestyle.

Devout hippies lived modestly in communes and were strict vegetarians,
respecting not only human but also animal rights. Modest living also applied to
clothing. Hippies in the sixties did not consider fashion important enough to
spend much time on, and on the contrary tried to look "bad" according
to society's standards. Women dressed like "peasants and wore psychedelic
colors;" makeup and perfume were almost sinful, and clothing was loose,
comfortable, and unique (Michaels 328). Bright, swirling patterns for both sexes
paralleled the "acid rock" style of their music. Both men and women
grew long, unkempt hair and the men often grew beards as well. To outsiders, the
hippies seemed "dirty, drugged, and disrespectful to their elders;" it
was exactly what they wanted (329). The hippie philosophy preached peace and
toleration. Thus, they were supportive of all civil rights movements, supporting
females, blacks, homosexuals, and foreigners on attaining rights and equal
treatment. Hippie women wanted to be free. To relieve themselves of society's
burdens, many stopped shaving their arm and leg hairs. Further women's
liberation came with the invention of the birth control pill in 1960 and its
perfection in 1963; women were finally sexually free. Female philosophy changed
overnight; instead of waiting till marriage for intercourse, many women now
making love to the first guy she saw. Dating virtually vanished; hippies had sex
first and got to know each other afterwards. With increased sexual freedom and
the lack of widespread sexually transmitted diseases, promiscuous sex flourished
during the 1960s (Thompson 44). Having gained sexual freedom, women were now
fighting for rights outside the bedroom. Betty Friedan forms The National

Organization for Women (NOW) in 1966 to gain women the same rights as men.

Courses in women studies were instated at universities, men realized (as part of
the hippie movement) that women should be treated more fairly, and efforts were
made, unsuccessfully, to add an amendment to the Constitution to guarantee
women's equality. Though mainstream women also participated in these protests,
both hippie men and women took an active role in ensuring equality for all
(Buchholz 851-3). Another significant group, the black community, sought after
its civil rights during the 1960s. Numerous protests, both peaceful and violent,
were held by black Americans to end centuries of discrimination, branded upon
them since their ancestors arrived four hundred years earlier. Martin Luther

King Jr. and Malcolm X eloquently led the black protests, and most hippies
enthusiastically participating in peaceful demonstrations for black civil rights
(854-7). The Age of the Hippies, fortunately or unfortunately, did not last
forever. In the early 1970s, somewhere between '70 and '74, the entire movement
died almost as abruptly as it had begun. To many the entire hippie movement was
just a fad that was no longer "in." The Vietnam War, the main force
driving the social revolution, was concluding; an anti-war march on Washington
and San Francisco in 1971, accumulating over one million participants
collectively, finally persuaded the government to end the bloodshed. A protest
sign read: "The Majority is Not Silent. The Government is Deaf"
(Manning, 177-9). Yet there were other factors. The hippies were getting too old
to be hippies; almost all of the counterculture started with participants under
thirty, yet those who began the movement had been in involved for ten years.

These were the baby boomers, and the next generation was no nearly as large to
form its own "youth society." Furthermore, the music had gotten
"drugged-out;" the performers were so "stoned" that their
songs quickly became meaningless garble with no message. And what message was
there to preach without the War? Drugs had destroyed the lives of many, and
after realizing the negative effects many hippies no longer admired drugs, but
feared them. Worst of all, little had been accomplished-dreams of world peace
had failed. The Hippie Revolution lasted ten years with participation around the
world, from the USSR to Great Britain. Yet they accomplished so little. The
teens were tired of waiting (Thompson 99-107). Women shaved their legs and piled
on makeup. Men traded in their long hair and love beads for a business suit.

There were those who remained hippies and moved to isolated communes, but they
were relatively few. Life essentially returned to the days before the Hippie

Revolution. In actuality, only a minority of the youth of the sixties actually
entered the counterculture, but those who did left a lasting impression upon
society, and most of all themselves (108). The hippie movement of the mid- and
late-nineteen sixties and the early nineteen seventies attempted to create a
global society founded upon love and peace. Through nonviolent protests the
hippies helped end the Vietnam War, gain black, women's, minority, and
homosexual civil rights, and spread friendship and harmony around the globe. Not
in vain, the era lives on through their music, their peace sign, and their
memories; Woodstock was even recreated in 1994. The hippie influence is even
prevalent in America's society of 1998, which still possesses a youthful
counterculture of "sex, drugs, and rock and roll."

Bibliography

Buchholz, Ted, ed. The National Experience: A History of the United States.

New York, Harcourt Brace Jovanovich College Publishers: 1993 Gottlieb, Sherry

Gershon. Hell No, We Won't Go! New York, Viking: 1991. Harding, Ryan. The 1960s:

Politics and Pot. New York, Anchor Book: 1992. Manning, Robert. The Vietnam

Experience: A Nation Divided. Boston, Boston Publishing Company: 1984. Michaels,

Lisa. "Making a fashion statement." Glamour Magazine (May 1998).

Thompson, Phoebe. The Flower Childern. New York, Prentice Hall: 1989 Tollefson,

James W. The Strength Not to Fight. Boston, Little, Brown and Company: 1993

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