140 Culture and Activism
The 1960s wrought enormous cultural change. The United States that entered the decade looked and sounded nothing like the one that left it. Popular culture often challenged norms from the supposedly hidebound 1950s, promoting rebellion and individualism and, in the process, bringing the counterculture into the mainstream. Native Americans, Chicanos, women, and environmentalists all participated in movements demonstrating that “rights” activism also applied to ethnicity, gender, and the nation’s natural resources. Even established religious institutions like the Catholic Church underwent transformation that reflected an emerging emphasis on freedom and tolerance. In each instance, the decade brought about substantial progress with a reminder that the activism in each cultural realm remained fluid and unfinished.
At the dawn of the 1960s, trends from the 1950s still flourished. While only half of American households owned a television in the mid-1950s, for example, nearly 90 percent of homes had a set by 1962. With the increasing popularity of rock and roll, established white musicians like Elvis Presley continued to imitate and adapt black musical genres. Newcomers also adopted this tactic: the Beatles’ first album featured two covers of popular songs by the Shirelles.
Advertisers continued to appeal to teenagers and the expanding youth market. What differed in the 1960s, perhaps, was the commodification of the counterculture. Popular culture and popular advertising in the 1950s had promoted an ethos of “fitting in” and buying products to conform. The new counterculture ethos, however, touted individuality and rebellion. Some advertisers used this ethos subtly; advertisements for Volkswagens openly acknowledged the flaws of their cars and emphasized their strange look. One ad read, “Presenting America’s slowest fastback,” which “won’t go over 72 mph even though the speedometer shows a wildly optimistic speed of 90.” Another stated, “And if you run out of gas, it’s easy to push.” By marketing the car’s flaws and reframing them as positive qualities, the advertisers commercialized young peoples’ resistance to commercialism. And it positioned the VW as a car for those who didn’t mind standing out in a crowd. A more obviously countercultural ad for the VW Bug showed two cars: one black and one painted multi-color in the hippie style; the contrasting captions read, “We do our thing,” and “You do yours.”
Companies marketed their products as countercultural in and of themselves. One of the more obvious examples was a 1968 ad from Columbia Records, a hugely successful record label since the 1920s. The counterculture had been busted, the ad states, but “the man can’t bust our music.” Merely buying records from Columbia was an act of rebellion, one that brought the buyer closer to the counterculture figures portrayed in the ad.
Even when pop culture in the 1960s was not tied to counterculture, it still stood in contrast to a more c