If you were a counterculture in the past, you were in all the way, it was unthinkable to be part of another. Today, it isn’t unusual to be a part of several countercultures to form an identity.  Many things suggest that future countercultures will become more complex in a future where globalization plays the omnipresent because of the internet and virtual worlds.

Warhol in particular, was fascinated with the subject of celebrity and the ordinary in mass culture and it was in this graphical context that he forced viewers to see the mechanical reproductions of this same likeness in items of common goods.

The interaction between mainstream ideology and the underground is conflict, this runway further morphs the punk styles with popular culture into high fashion absorbing the core signifiers of anarchy and angst the punk culture identifies with.

“Corporate America has stolen, repackaged, and sold it back to popular culture. Our children have grown to become consumers of a bastardized variety of hip hop that is devoid of its roots, rather than creators of their own self-expression.” (Khafreg 2013)

The poverty, the homelessness, the drug addiction and the personal tragedies all became part of the commodity. Reminiscent of the same pathway that absorbed the hippie movement and the significance of the kind of culture that it represented entirely.

The historical succession of these youth countercultures and the synthesis of evolution is considered by observing the endless conflict between these systems and the meaning behind this. Has this conflict created a system in which the dominate culture has dictated its own ideology to popular culture based on consumerism?

Consequently, sales increased during the prohibition period due to strategies linking pleasure and the representation of gendered activity. Benson and Hedges began a Surrealist campaign in 1977 taking into consideration the first Surrealist Manifesto. In 1978, the campaign won the Design Council award for best adverts.