Editing Counterculture (section)

== LGBTQ ==
{{See also|Gay Shame|Gay skinhead|LGBTQ music|Queercore}}

[[Gay liberation]] (considered a [[wikt:precursor|precursor]] of various modern [[LGBTQ social movements]]) was known for its links to the counterculture of the time (e.g. groups like the [[Radical Faeries]]), and for the gay liberationists' intent to transform or abolish fundamental institutions of society such as [[gender]] and the [[nuclear family]];<ref name="HoffmanIntro">Hoffman, Amy (2007) ''An Army of Ex-Lovers: My life at the Gay Community News''. University of Massachusetts Press. pp.xi-xiii. {{ISBN|978-1558496217}}</ref> in general, the politics were radical, [[anti-racism|anti-racist]], and [[anti-capitalist]] in nature.<ref>{{cite web|url=http://www.fordham.edu/halsall/pwh/glf-london.html|title=Gay Liberation Front: Manifesto. London|orig-year=1971|year=1978|access-date=June 15, 2015|archive-date=April 30, 2012|archive-url=https://web.archive.org/web/20120430002550/http://www.fordham.edu/halsall/pwh/glf-london.html|url-status=dead}}</ref> In order to achieve such liberation, [[consciousness raising]] and [[direct action]] were employed.<ref name="HoffmanIntro" />

At the outset of the 20th century, [[homosexual]] acts were punishable offenses in these countries.<ref>See [[sodomy law]] for more information</ref> The prevailing public attitude was that homosexuality was a moral failing that should be punished, as exemplified by [[Oscar Wilde]]'s 1895 trial and imprisonment for "gross indecency". But even then, there were dissenting views. [[Sigmund Freud]] publicly expressed his opinion that homosexuality was "assuredly no advantage, but it is nothing to be ashamed of, no vice, no degradation; it cannot be classified as an illness; we consider it to be a variation of the sexual function, produced by a certain arrest of sexual development".<ref name="ErnstLFreud">Freud, S. (1905). Three essays on the theory of sexuality. In J. Strachey (Ed. and Trans.), The standard edition of the complete psychological works of Sigmund Freud. (Vol. 7, pp.&nbsp;123–245). London: Hogarth Press. (Original work published 1905) pp. 423–424</ref> According to Charles Kaiser's ''The Gay Metropolis'', there were already semi-public gay-themed gatherings by the mid-1930s in the United States (such as the annual [[Drag (clothing)|drag]] balls held during the [[Harlem Renaissance]]). There were also [[gay bar|bars]] and [[gay bathhouse|bathhouses]] that catered to gay clientele and adopted warning procedures (similar to those used by [[Prohibition]]-era [[speakeasy|speakeasies]]) to warn customers of police raids. But homosexuality was typically subsumed into [[Bohemianism|bohemian]] culture, and was not a significant movement in itself.<ref name="Gay Metro">{{cite book|last=Kaiser|first=C|year=1997|title=The Gay Metropolis|publisher=New York: Harcourt Brace|isbn=978-0-15-600617-0|url=https://archive.org/details/gaymetropolis19400kais}}</ref>

Eventually, a genuine [[gay culture]] began to take root, albeit very discreetly, with its own styles, attitudes and behaviors and industries began catering to this growing demographic group. For example, publishing houses cranked out [[pulp novel]]s like ''[[The Velvet Underground (book)|The Velvet Underground]]'' that were targeted directly at gay people. By the early 1960s, openly gay political organizations such as the [[Mattachine Society]] were formally protesting abusive treatment toward gay people, challenging the entrenched idea that homosexuality was an aberrant condition, and calling for the decriminalization of homosexuality. Despite very limited sympathy, American society began at least to acknowledge the existence of a sizable population of gays.

[[Disco|Disco music]] in large part rose out of the New York gay club scene of the early 1970s as a reaction to the stigmatization of gays and other outside groups such as blacks by the counterculture of that era.<ref>{{Cite book |last=Sagert |first=Kelly Boyer |url=https://www.worldcat.org/oclc/232361470 |title=The 1970s |date=2007 |publisher=Greenwood Press |isbn=978-0-313-08522-2 |location=Westport, Conn. |pages=203–204 |oclc=232361470 |quote=During the late 1960s various male counterculture groups, most notably gay, but also heterosexual black and Latino, created an alternative to rock'n'roll, which was dominated by white—and presumably heterosexual—men. This alternative was disco.}}</ref><ref name="Partylikeits1975">{{Cite web |last=Voice |first=Village |date=2001-07-10 |title=Disco Double Take |url=https://www.villagevoice.com/2001/07/10/disco-double-take/ |access-date=2022-11-05 |website=The Village Voice}}</ref><ref>{{Cite web |title=What's That Sound? |url=https://digital.wwnorton.com/whatsthatsound5 |access-date=2022-11-05 |website=digital.wwnorton.com}}</ref><ref>{{Cite web |title=Discomusic.com |url=http://www.discomusic.com/clubs-more/6363_0_6_0_C/ |access-date=2022-11-05 |website=www.discomusic.com}}</ref><ref name="Traces">(2002) "Traces of the Spirit: The Religious Dimensions of Popular Music", {{ISBN|978-0-8147-9809-6}}, p.117: "New York City was the primary center of disco, and the original audience was primarily gay African Americans and Latinos."</ref><ref>(1976) "Stereo Review", University of Michigan, p.75: "[..] and the result—what has come to be called disco—was clearly the most compelling and influential form of black commercial pop music since the halcyon days of the "[[Motown]] Sound" of the middle Sixties."</ref><ref name="Italian-americans and disco">Shapiro, Peter. "Turn the Beat Around: The Rise and Fall of Disco", Macmillan, 2006. p.204–206: "'Broadly speaking, the typical New York discotheque DJ is young (between 18 and 30), Italian, and gay,' journalist Vince Aletti declared in 1975...Remarkably, almost all of the important early DJs were of Italian extraction...Italian Americans have played a significant role in America's dance music culture...While Italian Americans mostly from Brooklyn largely created disco from scratch..." [https://books.google.com/books?id=GG1jtWGU0S8C&dq=disco+and+italian+americans&pg=PA205].</ref><ref>{{Cite book |url=https://www.worldcat.org/oclc/38748136 |title=The Cambridge history of American music |date=1998 |publisher=Cambridge University Press |others=David Nicholls |isbn=0-521-45429-8 |location=Cambridge, UK |pages=372 |oclc=38748136 |quote=Initially, disco musicians and audiences alike belonged to marginalized communities: women, gay, black, and Latinos}}</ref> By later in the decade, disco was dominating the pop charts.<ref>{{Cite web|url=https://www.allmusic.com/subgenre/disco-ma0000002552|title=Disco Music Genre Overview|website=AllMusic}}</ref> The popular [[Village People]] and the critically acclaimed [[Sylvester (singer)|Sylvester]] had gay-themed lyrics and presentation.<ref>{{Cite web |title=The Village People Songs, Albums, Reviews, Bio & More |url=https://www.allmusic.com/artist/the-village-people-mn0000808201 |access-date=2022-11-05 |website=AllMusic |language=en}}</ref><ref>{{Cite web|url=https://www.allmusic.com/artist/sylvester-mn0000756291|title=Sylvester &#124; Biography, Albums, Streaming Links|website=AllMusic}}</ref>

Another element of [[LGBTQ]] counter-culture that began in the 1970s—and continues today—is the [[Womyn's land|lesbian land]], landdyke movement, or [[womyn's land]] movement.<ref>Anahita, Sine. "[https://www.tandfonline.com/doi/abs/10.1080/00918360903054186 Nestled Into Niches: Prefigurative Communities on Lesbian Land]." ''Journal of Homosexuality'', 56 (2009):719.</ref> Radical feminists inspired by the [[back-to-the-land]] initiative and migrated to rural areas to create communities that were often female-only and/or lesbian communes.<ref>Lord, A., and Zajicek, A. M. "The history of the contemporary grassroots women's movement in northwest Arkansas, 1970–2000." Fayetteville, AR</ref> "Free Spaces" are defined by Sociologist Francesca Polletta as "small-scale settings within a community or movement that are removed from the direct control of dominant groups, are voluntarily participated in, and generate the cultural challenge that precedes or accompanies political mobilization.<ref>Polletta, Francesca. "Free Spaces in Collective Action" Theory and Society, 28/1. (Feb 1999):1.</ref> Women came together in Free Spaces like music festivals, activist groups and collectives to share ideas with like-minded people and to explore the idea of the lesbian land movement. The movement is closely tied to [[eco-feminism]].<ref>Anahita, Sine. "Nestled Into Niches: Prefigurative Communities on Lesbian Land." Journal of Homosexuality, 56 (2009):720-722.</ref>

The four tenets of the Landdyke Movement are relationship with the land, liberation and transformation, living the politics, and bodily Freedoms.<ref>Anahita, Sine. "Nestled Into Niches: Prefigurative Communities on Lesbian Land." Journal of Homosexuality, 56 (2009):720-719.</ref>  Most importantly, members of these communities seek to live outside of a [[patriarchal society]] that puts emphasis on "beauty ideals that discipline the female body, compulsive heterosexuality, competitiveness with other women, and dependence".<ref name="AnahitaSine">Anahita, Sine. "Nestled Into Niches: Prefigurative Communities on Lesbian Land". Journal of Homosexuality, 56 (2009):729.</ref> Instead of adhering typical female [[gender roles]], the women of Landdyke communities value "self-sufficiency, bodily strength, autonomy from men and patriarchal systems, and the development of lesbian-centered community".<ref name="AnahitaSine" /> Members of the Landdyke movement enjoy bodily freedoms that have been deemed unacceptable in the modern Western world—such as the freedom to expose their breasts, or to go without any clothing at all.<ref>Anahita, Sine. "Nestled Into Niches: Prefigurative Communities on Lesbian Land." Journal of Homosexuality, 56 (2009):734.</ref>  An awareness of their impact on the Earth, and connection to nature is essential members of the Landdyke Movement's way of life.<ref>Anahita, Sine. "Nestled Into Niches: Prefigurative Communities on Lesbian Land". Journal of Homosexuality, 56 (2009):732.</ref>

The watershed event in the American gay rights movement was the 1969 [[Stonewall riots]] in New York City. Following this event, gays and lesbians began to adopt the militant protest tactics used by [[Opposition to the Vietnam War|anti-war]] and [[black power]] radicals to confront anti-gay ideology. Another major turning point was the 1973 decision by the [[American Psychiatric Association]] to remove homosexuality from the official list of [[mental disorder]]s.<ref>Conger, J. J. (1975) "Proceedings of the American Psychological Association, Incorporated, for the year 1974: Minutes of the Annual meeting of the Council of Representatives." ''American Psychologist'', 30, 620-651.</ref> Although gay radicals used pressure to force the decision, Kaiser notes that this had been an issue of some debate for many years in the psychiatric community, and that one of the chief obstacles to normalizing homosexuality was that therapists were profiting from offering dubious, unproven "cures".<ref name="Gay Metro" />

The [[HIV/AIDS in the United States|AIDS epidemic]] was initially an unexpected blow to the movement, especially in North America. There was speculation that the disease would permanently drive gay life underground. Ironically, the tables were turned. Many of the early victims of the disease had been openly gay only within the confines of insular "gay ghettos" such as New York City's [[Greenwich Village]] and San Francisco's [[The Castro|Castro]]; they remained closeted in their professional lives and to their families. Many heterosexuals who thought they did not know any gay people were confronted by friends and loved ones dying of "the gay plague" (which soon began to infect [[heterosexuality|heterosexual]] people also). LGBTQ communities were increasingly seen not only as victims of a disease, but as victims of ostracism and hatred. Most importantly, the disease became a rallying point for a previously complacent gay community. AIDS invigorated the community politically to fight not only for a medical response to the disease, but also for wider acceptance of homosexuality in mainstream America.

During the early 1980s what was dubbed "[[New Music (music industry)|New Music]]", [[New wave music|New wave]], "New pop"  popularized by [[MTV]] and associated with [[gender bending]] [[Second British Invasion|Second British Music Invasion]] stars such as [[Boy George]] and [[Annie Lennox]] became what was described by [[Newsweek]] at the time as an alternate mainstream to the traditional masculine/heterosexual rock music in the United States.<ref name="Sullivan">{{Cite web |title=Triumph of the New |url=https://news.google.com/newspapers?id=qQhKAAAAIBAJ&sjid=sx4NAAAAIBAJ&pg=2933,2175658&dq=new-music+new-wave&hl=en |access-date=2022-11-05 |website=news.google.com}}</ref><ref name="Reynolds">Rip it Up and Start Again Post Punk 1978-1984 by [[Simon Reynolds]] United States Edition pp. 332-352</ref><ref>Cateforis, Theo. ''Are We Not New Wave Modern Pop at the Turn of the 1980s''. The University of Michigan Press, 2011. {{ISBN|0-472-03470-7}}.</ref>

In 2003, the [[United States Supreme Court]] officially declared all [[sodomy]] laws unconstitutional in ''[[Lawrence v. Texas]]''.<ref>{{cite web|url=http://www.supremecourtus.gov/opinions/02pdf/02-102.pdf |title=LAWRENCE ET AL. v. TEXAS|date= June 26, 2003 |access-date=March 2, 2007 |url-status=dead |archive-url=https://web.archive.org/web/20070304114335/http://www.supremecourtus.gov/opinions/02pdf/02-102.pdf |archive-date=March 4, 2007 }}</ref>