Counterculture and the Visible Aura of Rock Music
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Abstract
Rock music, which emerged in the mid-20th century, has always been surrounded by a spirit of rebellion and
scandals. The manifestation of a protest language required a special graphical language transgressing the rules of
typography in the formatting of albums, posters, fliers and magazines, fashion photographs and concerts of musicians.
General recurring rules have emerged: inscribing the material into the main artistic trends and the specific peculiarities
dictated by the ideas of designers and musicians. Among the trends of “classical rock” the greatest graphical effect
was obtained by the psychedelic style with rainbow colors and arabesques. The different rock groups created their own
personal images and virtualized their shows with lighting effects. By the mid-1970s the graphics of the psychedelic
style generated a strata of the underground which withstood the mass culture: punk graphics, grunge, underground press
and underground comics. At the end of the 20th century the mainstream began prevailing in rock music, presenting
a faceless tendency without vividly expressed stylistic peculiarities. In graphic design there appeared heterogeneous
and fragmentary tendencies, which were expressed in the formatting of posters and musical albums. In general, the
graphic language of rock culture is connected not as much with the directions in rock music as with the image-related
and semantic notions of the rebellious spirit.
Keywords: rock music, counterculture, psychedelics, funzins, punk graphics, concert poster, album cover, dress
code.
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