The threat of communism and atomic war inadvertently effected the development of American youth culture for some time, and it brought fourth this constant paranoia in American society. As for many Americans this struggle against communism was seen as a fight between good and evil, which brought censorship as the older generation of Americans believed that this new form of artistic expression being introduced to the popular culture at the time would erode the values of young people. Rock proved to be a formidable force that moved American youth into a totally new existence. This new form of music ran opposed to everything that the television had deemed acceptable. Weirdness was embraced through such people as Little Richard, and its black origins in words; style and implications threatened white parental society. Through the Beatles and Rock and Roll, the rebellion against suburbia was started.

The 1960s also enabled folk to be recognised in musical mainstream of America. The acceptance of this sometimes sparse and almost always politically potent music was a complete turn around from the previous decade’s sound, style and content. American folk of the 60s championed the causes of the left, thus promoting change, justice and equality. Many of the days popular folk artists, were black listed, because of their so-called threat to national security. These songs would put the establishment on trial, and articulate the feelings of millions. Many of the people who helped elevate folk in the 60s have become names of immense prominence in music history.

Bob Dylan (born Robert Zimmerman) became the single most important figure that embodied the 60s folk music. By 1965, Dylan’s music resembled the loud rock and roll that was being produced at the time. This may have been because of traditional folk’s decline, and the need for commercial exceptance. This transition for Dylan proved costly as through out contemporary music history he was confronted with the label of ‘’sell out’’, as he deviated and abandoned the purist form of folk, which undoubtedly created his prolific career. But perhaps in the larger unnoticeable sense this could have been a part on Dylan’s behalf for the continuation of folk as a music and social force. With his sometimes-psychedelic sound, many more people were in tune to his sound and messages.

The guitar driven by electric rock provided a respite from thoughts of the world’s ills. It was music that allowed, promoted and produced dancing. It was seen as a different sort of energy and it appealed to the young to move.

In the 60s performers like Dylan started to use music as a form of protest. The coffee house culture was born, with white students beginning to interact with black students, new values were created, and prejudices disassembled.

Deep questions began to form in American society and institutions of control began to be questioned. There was a feeling that there was something radically wrong with the country. Vietnam was beginning to divide the nation, combined with the civil rights struggle, which pushed the counter culture revolution in to effect. Folk and the messages it conveyed were reflective of society ills and as a voice it alienated many within the country and in a smaller scale the counter culture. The 60s were seen as an emotionally draining time. There were very real problems, and folk reminded its listeners of everyday evils could only move so far forward. This inevitably led to the need for an infusion of disposable culture that can be seen as the go ahead for change and experimentation in society, especially in regard to popular music and youth culture.