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POPULAR CULTURE / COUNTERCULTURE: 1960-1969
KREIDLER FLORETT
49 cc, 1965,
Deutsches Zweirad-Museum,
In the 1960s, motorcycles met fashion. Co-opted by both suburbanites and flower children, bikes were as relevant to the cultural iconography of the '60s as bra-burnings, LSD, and street protests. Self-fancied rebels cruised in packs on Harleys and nuclear families puttered on Honda Super Cubs. Motorcycles became familiar on both the new American superhighways and the old, middle-American back roads. Their speed, sexiness, utility, and custom design satisfied a society bent on expending energy. But as generations, races, and genders grappled with their desires and differences, cinema and advertising made the motorcycle motif solipsistic. A rebellious image became more significant than rebellion itself, and the motorcycle lost some of its nasty edge. |
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Night after night the news ran its typical template of the
themes that preoccupied the Great Society: the Vietnam War, the Cold War,
race, women's liberation, sexual revolution, and rock 'n' roll. The
American populace revolted, but the revolution devolved into theater; in the
words of Norman Mailer, 'Conventional politics has so little to do with
the real subterranean life of |
Whatever history was being made, young people were making
much of it. Whether by dying in |
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The youth of the world managed to make nearly every public
act a political gesture, and tie-dyed shirts and long hair took their places
alongside civil rights marches and draft cards. Rebellion became fashion, and
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