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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. ... 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. ... 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. At instances of profound transformation, however, youth¡¯s potential capacity has become powerfully extended.
Popular music as an important symbol, or element of youth culture is now familiar of everyday life in a range of global diffuse social settings. Initially restricted to the developed industrial regions where the musical and stylistic innovations had the greatest cultural impact on youth, music and style have gradually become important cultural resources for young people all over the world.
Approximate Word count = 1331
Approximate Pages = 5.3
(250 words per page double spaced)
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