Ruch, Jennifer E.2019-09-092019-09-092018-011535-7104https://hdl.handle.net/10877/8628This article is intended to highlight the ways in which collective public memory of 1960s-1970s counterculture forged contemporary applications of cultural heritage both in fact and in myth. Specifically, it explores the development of countercultural music scenes from the 1960s through the 1970s within the regional context of Austin, Texas. According to Dirk Spenneman, cultural heritage is the "result of human interaction with the environment and one another." Since the value that groups and communities assign to both tangible and intangible forms of culture cannot be systematically predicted, cultural heritage is a human construct.Text30 pages1 file (.pdf)enCountercultural soundCultural heritage1960s1970sArticle