ABSTRACT
This chapter investigates the idea of a local sound in Christiania and the 'authenticity' of the music. It also asks whether music in Christiania sounds different compared to music in other places in Denmark and explores the role of tourism in this. The chapter explores which musical culture, if any, is seen by Christianites as the most 'authentic' and true to their values, whether it is possible to trace a hierarchical structure through Christiania's cultural practices, and how people act within the community. The counterculture movement spread to Europe, where London, Amsterdam, Paris and Berlin became centres of countercultural space. The musical practice shows that the old values are still important to many, but at the same time there is a struggle within this society to determine which direction should be taken for the future of Christiania. The theoretical framework of the chapter is drawn mainly from the works of two scholars, Adam Krims and Sara Cohen.
