L. Mirskaya, V. Pigulevskiy
Contrcultural eros in rock music
Origin of counterculture in the 1960-th is connected with youth’s tendency to get free from social and cultural cliché, as well as from genius of pragmatism in society, for emancipation of personality. Counterculture’s followers used slang, called themselves hipsters, beatniks, danced rock-and-roll, wore pokey jeans. The main wish of all generations was the avoidance of those prohibitions, which are commanded by the morality of mutual relations of genders. It resulted in protest forms of youth subcultures, in particular, in the cult of free love, or Dionysian sensuality – a passionate outpouring of life, creativity, frenzy. Under the influence of protest moods and reflections of counterculture ideologists (Herbert Marcuse, Timothy Leary), music and song become guide of Dionysian sensuality – Orphism, or the principle of game and pleasure, opposing the principle of civilization. Hereby, rock music appears within the subculture of the protest beat generation, which bears a rejection of Western practicality, careerism and philistinism for the sake of sensuality. Opposing irrational feeling to the rationality of society, rock music directs the search for creative impulses into the depths of the unconscious, into the psychedelic trance. The symbol of countercultural protest associations “rock music – eros – psychedelic trance” becomes a day-glo - pink-violet, purple flower, the radiance of psychedelic light.
rock music, counterculture, eros, psychedelic, protest, hippie, fancy, sensibility, Dionysian sensuality, Orphism.