At one point in his memoir, Brown explains how the hippie counterculture stemmed from black roots, specifically revolving around music. She notes that at the time, "ordinary Americans were titillated by the sounds of new music, originating in darkest Africa." Even though it seemed like the styles of music that were so crucial to hippie culture were fresh, new, and unique, they had a certain lineage: not only did it go back to the Beats, but it also continued, as Brown writes, up to black musical styles. roots. In this sense, the hippie is the result of a sort of process of reappropriation and aestheticization of black culture. If this is true, it is understandable that the notion of a black hippie simply did not make much sense in the context of the 1960s. The civil rights movement and groups like the Black Panther Party existed in a space in which Black Americans were, fundamentally, trying to integrate into white American culture to achieve some sort of status quo in terms of racial equality. If this is true, then the galvanization of American societal norms sought by civil rights leaders in the 1960s was not necessarily an entirely new concept, but rather a matter of inclusion and access above most other notions. Furthermore, this would mean that it simply would not make sense for a black man or woman to want to join the hippie counterculture, which was attempting to disassociate itself from American society as a whole through the dissolution of the post-war consumer culture, rather than wanting to join the hippie counterculture. than trying to create access for those who may not have the same opportunities within this existing structure based on a person's unchanging qualities