to be outwardly political to being interested in drugs and alcohol. Thus, revolutionary music shifted from revolution-related to drug-related. The Grateful Dead, the Rolling Stones, as well as Jimi Hendrix and the Doors opened America's eyes to exactly how many rights they had in this country. Young Americans realized that if they could legally pick up a gun to express their distaste for another country, they could certainly do whatever they wanted to their own body. Marijuana, cocaine, LSD, and numerous other drugs became a highway for Americans to ride if they wanted to show the rest of the country that it was no one's business besides their own how they treated themselves. It is with this frame of mind that the counter culture "revolution" lived. The counter cultural revolution is often characterized by its opponents or nonbelievers as something that did not get anything done. This is misguided. Instead of a concerted political effort from America's youth to change the world, the revolution was a group of young adults' flood of emotion in realizing their own consciousness. In the end, they did not fight for change; as illustrated by the 1960s music, the young counter culturalists fought to be recognized and respected by a government who saw no wrong in sending them off to a die in a senseless war.As an indirect response to the Civil Rights and Feminist movements of the early 1960s, many young Americans began thinking that they lived in a time where their words and actions could actually make a difference. As protests and anti-establishment literature both grew more popular, most popular music was still escapist. Elvis or a Motown group still sung about meaningless relationships or everyday issues. However, a new genre of music, folk music, led the charge in representing the youth of the time. For instance, Bob Dylan's song The Times They Are A-Changin' became, as Allen Matusow, historian, calls it, "a generational anthem...
