the best-sellers of the Sixties include healthy dollops of yodelling, crooning and clarinet-tootling among the recordings that are now part of the rock canon.Among the 1960s biggest-selling recording artists in the UK were easy-listening crooners like Ken Dodd, Engelbert Humperdinck and Frank Ifield (who not only crooned and didn't rock but also yodelled; completely unironically, of course) and wobbleboard maestro Rolf Harris. As far as I know, none of them ever ended up on a Ben Sherman T-shirt.
Of course, the 1960s and "the 1960s" are completely different things and shouldn't be confused with each other. The former is a stretch of ten solar years, starting and finishing at arbitrary points, whereas the latter is a cultural construct created in retrospect by observing what happened in the former, filtering out inconveniently outlying points and making up stories about it until a narrative emerges. And as the narrative emerges, often events that happened get subsumed into the background. So, while in the 1960s, groovy youth culture flourished in reaction against a more square status quo, and this status quo was the backdrop; "the 1960s", however, were a riot of psychedelic colour and stylish coolness; everybody was a Mod or a Rocker or else taking acid and listening to the Beatles. Much like everybody in the 1970s was a punk, a disco dancer or a super-smooth yacht rocker, and the 1980s were all about new-wave synthpop, fluorescent colours and the odd bit of hair metal.
It's like a cultural equivalent of the psychoacoustic audio compression used in MP3 files. When a sound recording is encoded to a MP3 file, the algorithm analyses it and discards the frequencies that a human listener wouldn't notice. A MP3 file is essentially a caricature of the original recording made up of the more salient frequencies; your brain fills in the gaps and you don't notice the difference. In a similar way, the historical process of interpreting a decade involves thrashing out its salient characteristics and discarding the rest. It's an ongoing process, and "the 1960s" (and "the 1970s" and "the 1980s" and onward) keep evolving in line with contemporary tastes; "the 1960s" which The Bangles and Lenny Kravitz referenced in the 1980s is not the same as the more rockist, geezerish "the 1960s" of post-Britpop lad-indie Britain. Neither, however, featured Rolf Harris.
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