Burlesque, Surf Culture, Hot Rods, Mexican Wrestling, etc. (pick one) in Tiki Culture - General Tiki

T Thomas Member Lake Mojave Joined: Mar 15, 2005 Posts: 372	T Thomas Posted posted on Thu, Aug 26, 2010 7:05 PM On 2010-08-26 18:44, Club Nouméa wrote: ...that taboo you refer to goes back a long way, as I guess the original post-war tiki lounge crowd were not necessarily all that impressed with the love generation and their psychedelic music. Likewise, my impression is that, generally speaking, the hippies of the late 60s thought the whole tiki lounge thing was "square" - a facet of mid 20th-century culture on the wrong side of the generation gap. Agreed, and very well put. But then, divisions fade over time. How many 18-year-olds think they have irreconcilable differences with their parents, then years later see how much they are, in fact, like their parents? Similarly, while folks like the Strawberry Alarm Clock probably reckoned they were making a radical musical departure at the time, perhaps they look back and see that some of their efforts echo (derive from, extend upon...) much of the classical, lounge, and pop-exotica they saw themselves as rebelling against at the time? So, the question then arises, why should we, in 2010, retain this notion of opposition and exclusion? What end does it serve?

On 2010-08-26 18:44, Club Nouméa wrote:
...that taboo you refer to goes back a long way, as I guess the original post-war tiki lounge crowd were not necessarily all that impressed with the love generation and their psychedelic music. Likewise, my impression is that, generally speaking, the hippies of the late 60s thought the whole tiki lounge thing was "square" - a facet of mid 20th-century culture on the wrong side of the generation gap.

Agreed, and very well put. But then, divisions fade over time. How many 18-year-olds think they have irreconcilable differences with their parents, then years later see how much they are, in fact, like their parents? Similarly, while folks like the Strawberry Alarm Clock probably reckoned they were making a radical musical departure at the time, perhaps they look back and see that some of their efforts echo (derive from, extend upon...) much of the classical, lounge, and pop-exotica they saw themselves as rebelling against at the time?

So, the question then arises, why should we, in 2010, retain this notion of opposition and exclusion? What end does it serve?

Post #550420 by Thomas on Thu, Aug 26, 2010 7:05 PM