counterculture

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a culture with lifestyles and values opposed to those of the established culture

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A counterculture is a subculture whose values, ethos, and aspirations differ substantially from those of the mainstream.
Usually, this means seeking out the innovation counterculture at the last stage, incorporating external players as subcontractors or support staff for company-generated solutions.
But this approach misses a critical point: members of the innovation counterculture are the ones creating the means to enable the next wave of megatrends.
Pulitzer-Prize winning cartoonist Tony Auth, who began his work in the underground American publications of the '60s, told NPR's Fresh Air program in 1988 that it was easier working for mainstream than counterculture newspapers because the "underground editors tended to think they knew the truth." Many of the earlier Kesey interviews are also drawn from the small underground press of the time and, as one might suspect, they carry its bias.
A prime example is the 1971 interview published in The Realist and conducted by fellow counterculture giant Paul Krassner.
Starting with the Knox-Quinn interview, we see a much changed Kesey, and by 1999, Robert Elder, in Salon, was able to suggest that Kesey, the last surviving member of "the pantheon of '60s counterculture icons," had become something of a spiritual relic (173).
Countercultures have multiplied and flourished, through fashion, without advancing any unified political or philosophical message.
Coupland's work depicts a counterculture ironically, yet without any indication that he sees countercultures as a cumulative phenomenon to critique.
Like Crews, Palahniuk depicts the conflation of material and self, and like Coupland, Palahniuk's work problematizes mass and countercultures. As Ruben Montiel writes, "Palahniuk has made a career of social satire that, despite its heavy dependence on shock value, seems to hit on some fundamental truth.
The philosophy and practice of revolutionary personalism emerged from the most radical, politicised edge of the counterculture of the 1960s, as well as from anarchist-inclined strains of pacifism, anti-racism, radical feminism and ecologism.
Some twenty-five years later, however, Bookchin characterised the personalist legacy of the Euro-American counterculture in much less sympathetic terms.
What church, what political movement, what counterculture was she supposed to join in order to keep faith with her own best self?
From environmental writer Edward Abbey, author of The Monkey Wrench Gang, which helped inspire the radical environmental group Earth First!, to the zoot-suiters, a youth counter-culture that emerged among predominately African American and Mexican American youths during the late 1930s, this three-volume encyclopedia contains some 500 entries describing a broad array of topics associated with religious, political, identity, artistic, and lifestyle countercultures across American history.
Jennie Skerl's anthology, Reconstructing the Beats, and Manuel Luis Martinez's Countering the Counterculture: Rereading Postwar American Dissent from Jack Kerouac to Tomas Rivera both contribute to this Beat revival by attempting to map "new directions for criticism and teaching at the beginning of the twenty-first century" (Skerl 2004, 2).
On the surface, Martinez's Countering the Counterculture seems to pursue a similar critical agenda with its first half analyzing how the major Beat writers responded to the "advent of conformist and corporate culture in the United States," while its second half explores how Chicano and Mexican American migrant writers "participate[d] equally and fully in the production" of post World War II American culture (2003, 14-15, 18).