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Youth Subcultures (Historical Development of Youth Subcultures (1960s -…

- - - - Later - rhythm/blues
- - - - Eisenstadt - young people turn to peers who are experiencing the same problems and anxiety they are
      - Developing a sense of community
    - - See it as playing a positive role
      - More contemporary thinkers
        
        Youth has been extended, signs of adulthood e.g. a job or living alone have disappeared
        
        Call contemporary society 'liquid modernity' - more flexible
        
        Bellman compares living in liquid modern conditions to walking in a mine field, an explosion could happen at any time - it's uncertain and unstable, relationships and jobs are uncertain and can't be taken for granted
  - - - They felt the effects of the capitalist society the most e.g. education failing, stuck in low-paid jobs or unemployment
        
        Rebellion, protest, resistance against capitalism
        
        Youth subcultures formed so young people would be facing these problems together and rebelling together
        
        In Marxist perspective, in a capitalist system there is a class conflict. Between owners (Bourgeoisie) and working class (Proletariat)
      - Semiotics: decoding (interpreting) sub cultural elements like dress/hair/music to understand their underlying meaning
        
        Case studies
        
        Teddy Boys (Hall & Jefferson 1976)
        
        Dressing in Edwardian style clothing, looking like higher classes - jackets & shoes - to show disdain and contempt towards their supposed superiors
        
        Skinheads (Phil Cohen 1972)
        
        East End, London
        
        Exaggerating working class clothing, and cropped hair. Traditional working class jobs and communities disappearing so they wanted to imitate the male, tough, respectable style and preserve a working class identity. To shock and show symbolic power.
        
        Punks (Dick Hebdige 1976)
        
        Safety pins worn by punks seen as resistance to the mainstream commercialised pop culture
        
        As a form of resistance it was short-lived, as the mass media and fashion industry commercialised it and turned it into a style of fashion and music, taming it as people embraced it
        
        ' The semiotic approach to youth subcultures..'
    - - Taught to submit, be quiet and polite and suppress impulses
      - Young people are the hardest to control because they aren't tied down with responsibilities such as jobs, mortgages and families
    - - Tends to read meanings into the behaviour and styles of young people which they themselves would not recognise (Stanley Cohen)
      - Ignores experiences of 'ordinary youth'
      - Focuses on the experiences of white working class youths at the expense of other groups (McRobbie & Garder)
  - - - They weren't able to do things such as ride motorcycles
    - - Girls had their own hidden subcultures which existed mainly in private spaces at home - they listened to music and gossiped in pairs or small groups in their bedrooms - avoiding humiliation or harassment from boys on the street
      - Sara Lincoln - still going on in the 1990s - but with TV and internet so it was less private and with more access to the outside world. They were more likely to allow boys in but it was still mostly female.
      - New bedroom culture
        
        Social media and messaging - people without smartphones are left out
    - - Role of women in subcultures underestimated, particularly in punk subculture
      - Females join to resist what society expects of them
    - - Girls allowed more freedom - parents can be in constant contact with their daughters - 'extended umbilical cord'
      - The rise of the 'ladette' is evidence that men and women are becoming more similar