And this is where roszak in turn fails to grasp the

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“hip consumerism.” And this is where Roszak, in turn, fails to grasp the long-reaching nature of his technocracy. Roszak highlighted the disconnect behind the traditional blue-collar American dream and the disenchantment of those in the 1960s who sought meaning and purpose (like the generations before them) in art and experimentation. Roszak points out this disconnect seems to come from the applicability; what does a miner or a factory worker care about the intricacy of a Beatles album when they are worried about their own middle-class status quo? This is a Gordian knot that Roszak fails to untangle while Frank reconciles it with his term “hip consumerism” and his argument that it was business that sustained the ideals of the 60s in their marketing appeals to the counterculture youth demographic. A perfect example of this is in Frank’s dismissal of Woodstock II as “a simple act of exploitation, a degraded carnival of corporate logos, endorsements, and product-placement while the 1969 festival was sentimentally recalled as an event of youthful innocence and idealistic glory” (pg. 6). He goes on to note that, inevitably, the oppressed become the oppressors, willingly or not. With the rise of new media – the primary breakthrough in this period being the television – he
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  • Spring '13
  • KevinMattson
  • Thomas Frank, Theodore Roszak, Roszak, Prof. Kevin Mattson

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