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As I wrote in in The Space Between the Notes, вЂInitially there appears to be an underlying tension between the political activism of the student New Left and the вЂњFuck the SystemвЂќ bohemianism of the hippies and the yippies. While the previous lack of attention given to the 1960s counterculture accounts for our timely intervention, it is also apparent that there have always been certain issues that have, as yet, to be fully explored, not least demographic diversity and identity politics within вЂthe underlying unity of the countercultural varietyвЂ™ (Roszak, 1970: 66). вЂIt was an entity with a significant degree of fluidity such that it could incorporate diverse groupings and, thus, manifest itself differently at specific times and within specific places depending on local socio-economic, cultural and demographic circumstancesвЂ™. As Andy Bennett writes in our Introductory article, вЂReappraising CountercultureвЂ™, while вЂissues such as the essentially diverse, heterogeneous nature of both individuals and socio-political and cultural ideologiesвЂ™ have been thoroughly explored in relation to вЂsubcultureвЂ™, there has been far less engagement with the counterculture and, as such, it remains a problematic concept.ДўWhat has emerged, from the 21 articles published in our three editions of Countercultures and Popular Music is its non-specificity. 1 Further discussions of Counterculture( s) and Popular Music are also being published by Ashgate in collaboration with Г‰ditions MГ©lanie Seteun, so confirming its significance as a vital moment in the continuing history of popular music. As Simon Frith knowingly observed, вЂrock canвЂ™t just be consumed, but must be responded to like any other form of art вЂ“ its tensions and contradictions engaged and reinterpreted into the listenerвЂ™s experienceвЂ™.

In December, our sister edition, вЂњUtopias, Dystopias, AnarchyвЂќ explores utopias and dystopias and sonic anarchy and freaks, focussing on the ways in which the 1960s counterculture embraced both an idealistic frame of reference and one where its emphasis on freedom and beat-hip bohemianism resulted in a bacchanalian orgy of rape and murder. It also provides an insight into the ways in which it emerged and took shape internationally in scenes that embraced its challenge to the dominant culture.

Radical Philosophy Group, Mathemat (.)ДЎ Our first edition of Counterculture( s) and Popular Music offers readers the opportunity to explore its history and how it has been theorised. 1 Simon Frith, вЂRock and Popular CultureвЂ™ Radical Philosophy, 103.

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Since the 1960s, blackjack has been a high profile target of advantage players, particularly card counters, who track the profile of cards yet to be dealt, and adapt their wager and playing strategy accordingly. The player is dealt an initial two card hand with the option of drawing cards to bring the total value to 21 or less without exceeding it, so that the dealer will lose by having a lesser hand than the player or by exceeding 21. Blackjack is a comparing card game between a player and dealer and played with one or more French decks of 52 cards. Blackjack, also known as Twenty-one or Vingt-et-un (French: 'twenty-one'), is the most widely played casino banking game in the world.