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Youth Sub-Cultures, Popular Music and Social Change

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Youth Sub-Cultures, Popular Music and Social Change INTRODUCTION: From the Teddy boys to the Ravers, and from the Rockabillies to the Punks, the youth culture itself has undergone a rapid succession of stylistic and aesthetic changes. Young people's social, economic and cultural life has been concerned more than any other social groups. Youth culture sometimes could lead fashion that becomes the popular debate for a continuous stream of media investigations, government reports and academic literature. Actually, the study of youth sub-cultures tells that it is the production of era, and change itself along with the evolution and change of the society. It exists in any changing society, whatever capitalist USA, or communist China. At the meantime, the focus of youth as a social problem has moved from the issues of crime and delinquency to the symbolic of the scale and dynamics of wider patterns of social change. In the years following the Second World War a proliferation of style-based youth cultures, especially in Britain, as invaluable: 'It tells us not only about the social and economic experiences of young people, but also provides us with an insight into the broader climate of social and political opinion at specific historical moments.' (Osgerby, 1998) <1> It may be inevitable that conceptions of 'youth' will prominently figure in attempts to make sense of social change. ...read more.


the processes that underlie the production and distribution of popular music are rather less important than its value as a cultural resource, that is, as a form that can be appropriated and reworked to serve particular collective purposes.' (Bennett, 2000) <2> This was an apparent change in the music industry, and also tells the evolution of society. After World War II, the international society goes into a comparatively peaceful era, so the industrialize process in developed countries come to a time period of speedup. Meanwhile, the consumer society is increasingly developed, that is, the real reason led the popular music industry become commercial. Yet, there are still something have not changed a lot within the music industry, like the role in the construction of male and female gender identities through its promotion of particular styles and images. 'If the construction of gender and sexuality in popular music continues to promote notions of male dominance and superiority, then it is also a fundamental truism that the music industry continues to be male dominated.' (Bennett, 2000) <3> It is true that women have been largely excluded from popular music making and relegated to the role of fan. Even in nowadays, the female performers have been more prominent in commercial 'pop' rather than in 'rock', and say nothing of the heavy metal music that is the male-dominated act in a post-modern western society. ...read more.


Thus, the growing linkages between international youth communities and sub-cultures also looks set to continue apace as developments in media and communications technology, combined with the growth of global marketing, popular music, images and fashions around the world with increasing rapidity. Youth sub-culture developed along with the social transformation, the influence of globalisation, and of course, young people's choice of their lifestyle. Popular music was developing very fast as an important culture resource within the time period. It informs ways of being in particular social space, and also function the individuals actively in construct those spaces. As Bennett said, 'in a very real sense, popular music not only informs the construction of the self, but also the social world in which the self operates.' (Bennett, 2000) <5> Young people all over the world has been affected by popular music, whatever their idea or behaviour, and wherever Britain or China, because it is the existing trends of their social and economic experiences of youth sub-culture. REFERENCE: <1> BILL.OSGERBY (1998) Introduction: 'All the Young Dudes', in 'Youth in Britain since 1945' (p 1) <2> ANDY.BENNETT (2000) Youth Culture and Popular Music, in 'popular music and youth culture: music, identity and place' (p 44) <3> ANDY.BENNETT (2000) Youth Culture and Popular Music, in 'popular music and youth culture: music, identity and place' (p 45) <4> ANDY.BENNETT (2000) Youth Culture and Popular Music, in 'popular music and youth culture: music, identity and place' (p 42) <5> ANDY.BENNETT (2000) Youth Culture and Popular Music, in 'popular music and youth culture: music, identity and place' (p 195) ...read more.

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