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Contemporary youth culture
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Youth culture of the 1950
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The well-known riff of Deep Purple’s “Smoke on the Water” opens Andreas Dresen’s movie Changing Skins (Raus aus der Haut, 1997). The film opens in a crowded music club where young people are dancing ecstatically, turned on by pulsing rock and roll. This could be a trite depiction of youth culture if it were not located in a country that suppressed this kind of music: the German Democratic Republic (GDR). It is therefore worth reflecting on the social and political controversy in the former East Germany that, finally in the 1970s, permitted the performance of rock music and even imports from the capitalist part of the world. By the late 1970s, different kinds of rock music were not only an integral part of Western youth culture but also commonly heard but not always accepted in the GDR and the Eastern Bloc.
In terms of youth culture and rock music in the East, Kaspar Maase summarizes the 1960s as a “hot phase of conflict-ridden enforcement” (15). In 1965, the SED’s Eleventh Party Plenum banned the “escalation of the beat rhythms” along with nearly an entire year’s film production. Erich Honecker, later party leader and head of state, pointed out that rock music and the “decadent” lifestyle of the beatniks was not in accordance with the goals of the socialist worldview. Adolescents would be hopped up by the music and driven to an excessive way of life. The possibility for bands to perform in public was drastically constrained; young beatniks were forced to cut their hair. The situation escalated when in October 1965 the so-called “beat riot” took place in Leipzig against the stage ban of amateur music groups. The participants were beaten by police and arrested.
In the same year on the other hand, the first Beatles-LP was relea...
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...astern Bloc. As Mikhail Safonov claims: “It was [John] Lennon who murdered the Soviet Union” (LaFontana).
Works cited:
Dettmann, Lutz. Die Beatles in der DDR.
Faktor, Jan. "Knockin’ im Untergrund." Jungle World, July 16, 2003.
LaFontana, Dave. You say you want a Velvet Revolution? John Lennon and the Fall of the Soviet Union.
Maase, Kaspar. Körper, Konsum Genuss – Jugendkultur und mentaler Wandel. Bpb 45 (2003).
Ryback, Timothy. Rock around the Bloc: A History of Rock Music in Eastern Europe. New York: Oxford UP, 1990.
Unterberger, Richie. The Plastic People of the Universe
Yanosik, Joseph. The Plastic People of the Universe
A number of other genres, throughout the decade, maintained a significant following. One genre that was slow to start was Hip-Hop, while it emerged in the 1970’s it didn’t become significant until the late 1980’s. Although Classical music began to lose impetus, it gave way to a new generation of composers through invention and theoretical development. The decade was also distinguished for its assistance to electronic music, which rose in reco...
Rock n’ roll gave people the voice they did not have in the early years. As the genre of music became more wide spread, people actually began to speak out. Altschuler touches on the exploration of how the rock n' roll culture roughly integrated with replaced and conflicted with preceding cultural values. Many of these values were very touch topics. Besides black civil rights, sexuality were one of the most sensitive t...
The 1960s formed one of the most culturally complex periods in America’s history, and the analysis of this era is just as problematic. During this time, American society experienced an outpouring of filmic, literary and musical texts that challenged traditional institutions such as the Christian church, the government and the family unit. It would be naïve to argue that this period witnessed the first or the last instance of subversive propaganda targeted at young people, for the many dissenting voices herein did not emerge by random chance. The formulation of a more politically aware youth culture in America and, to a lesser but still important extent, Great Britain, was a gradual process that had been taking hold for considerable time, not one that exploded into being when Bob Dylan or John Lennon began writing protest songs.
Edmunds, Neil. Soviet Music and Society Under Lenin and Stalin: The Baton and Sickle. New York, NY: Routledge, 2009. Print.
Rock ‘n’ roll and 20th Century Culture According to Philip Ennis, rock ‘n’ roll emerged from the convergence of social transformations which resulted from World War II (Ryan 927). Despite its pop culture origins, rock music is arguably one of the strongest cultural factors to develop in this century. Artists such as Lennon, McCartney and Dylan defined the emotions of a generation and, in the last decade, it as even been acknowledged by members of the establishment which it hoped to change as a major influence in the country. In order to understand how rock went from a sign of rebellion to a cultural icon, it is necessary to understand where it came from.
The ‘60s were the age of youth, as millions of children’s from post World War II became teenagers and rebelled against the conservative fifties. Denying civil rights to African-Americans and liberation to teenagers in previous decades and Vietnam War, created a vortexes which lead to massive rebellion against the status qua. Music of the 1960s was characteristic of the revolution that was going on during the decade. It was a time of rebellion and counter-culture in which the teenagers and college students were critical of government, business, religious institution and other various aspects of life. Era marked by civil rights movement, Vietnam War, environment of drug abuse and sexual freedom formed new music like: folk rock, soul and psychedelic rock. These genres starkly contrast the teen idol music of ‘50s pop mainstream. Writes John Covach; “World was exploding, and rock musicians were listening more closely than ever.”(Covach, 152) Such stark contrast in pop music directly relay to changing social culture in America, which further echo’s the relationship between music and culture.
Acting as a catalytic reaction, the Beatnik Riot put in motion for a new modernized America. Greenwich Village’s Washington Square Park in Manhattan, New York was previously occupied by young protestors driven by anti-war and racial aspects. “In the spring of 1961, the Washington Square Association, a community group of homeowners around the square, appealed to New York City’s Department of Parks and Recreation to do something about the hundreds of ‘roving troubadours and their followers’ playing music around the square’s turned off fountain on Sunday afternoons “ (Straughsbaugh 1). “The parks commission began issuing permits to limit the number of musicians, allowing them to ‘sing and play from two until five as long as they had no drums,’ Van Ronk writes” ( Straughsbaugh 1). Permitting the number of musicians provoked the traditionalist to become active protestors. The community around the square complained about the ruckus caused by these hippies, racial mixture, cultured young folks. In Greenwich Village an old historical dilemma was of the racial ideas having this heritage people were not in favor of t...
1 Gass, Bryan "A History of Rock Music: The Rock and Roll Era" World Book. Ed. 6. 1994.
During the turbulent era of the 1960s, youth excelled boundaries and expectations to adequately improve the world. Throughout this time, many individuals were trying to juggle the conflicts between racism, sexism, and the turning point in the Vietnam War, the Tet Offensive. This battle occurred in 1968, and was a watershed moment in the Vietnam War that ultimately turned many Americans against bloodshed. “The total casualties – dead, wounded, and missing in action – had grown from 2,500 in 1965 and would top 80,000 by the end of 1967” (Willbanks 6). Destruction from the poignant fighting convinced rising numbers of Americans that the expense of United States’ commitment was too immense. The Anti-War movement gained momentum as student protesters and countercultural hippies condemned this kind of violence. As a result, many American citizens attended a three-day concert, Woodstock, because they desperately needed a place to be rescued from the brutality and turmoil. A young member of “The Beatles,” John Lennon, created music that was essential for the success of antiwar uprisings, as well as Woodstock attendees who justify the purpose of attending. Woodstock abruptly became a compelling icon; a turn of events where even all of the world’s calamities could not conquer the notions of peace, harmony, and cultural expression driven by young Americans to assert their voices as a generation, by genuine music and proclaims made by Woodstock celebrators.
Music has helped provided us with ways to express human emotion and take us to another place. As time has progressed music has evolved, changing styles of music and creating a wide range of genres. Transforming for many decades, music has been able to speak the language of generations from generations. Aside from their music, dress and fashion, parental and social expectations were different in fifties teen lives as well. In this essay I will discuss the decade of a teen from the fifties as compared to modern day teens, and the message they both deliver on society.
Beginning with the late 1960’s counterculture in San Francisco, music and drugs will forever be inter-linked. Hippie bands such as the Grateful Dead, the Allman Brothers, and Phish are associated with marijuana, mushrooms, and LSD. Modern electronic “rave” , or club music is associated with MDMA or Ecstasy. When one thinks of rock and roll, sex and drugs immediately come to mind. While the use of drugs is not essential for the creation or performance of all new music, it was certainly in important factor for the counterculture music of the late 1960’s. While some of the most important and influential music was made with the help of psychoactive drugs, it was often to the detriment of the artist. Janis Joplin, Jimi Hendrix, Jim Morrison, and countless other tremendously talented artists had their lives cut short due to drug use. Drugs were most often good for the music, but deadly for the music makers.
In the 1950’s and early 1960’s, a subculture that is later named the “Beat Generation”, arose in popularity amongst young people. What started as a small group of young writers turned into a national movement that questioned social norms and explored individuality. The original “Beats” had no intention of starting a movement. They were a close-knit group of college friends with similar beliefs
One of the defining characteristics of rock was the principle of desmadre, a challenge of traditional social hierarchies and family values that placed the mother in charge of instilling morals in her children and the father as the authority figure (Zolov 27). This was one of the principal reasons rock generated so much controversy, especially among older generations: it defied the established social order, and inspired others to do the same (Zolov 28). In imitating the international rock style, the youth not only aimed to belong to a global movement, but also to rebel against a government that was restricting access to foreign rock (Zolov 95). With Mexican counterculture, youth began to use the music to express their cynicism towards the prohibition of democratic expression and freedoms (Zolov 132). In rejecting the nationalism promoted by the government, the youth presented a new notion of national consciousness that was rooted in a fusion of US and Mexican
Colonialism by Another Name? The U.S. Government’s Ideological War Against Communism Resulted in Western Propaganda and Colonialism During the Cold War, the U.S. government’s persistent campaign of westernization, in an effort to impede the proliferation of communism, influenced the John F. Kennedy administration’s decision to deploy the Peace Corps in Ghana; in addition, mainstream cinema adopted both subtle and overt anti-communism and pro-western stances. The U.S. government posited the domino theory, the theory posing if a country becomes communistic, the surrounding countries will adopt communism, to justify colonial practices. In the context of western propaganda against communism, Christina Klein’s “Musical Modernization: The King
The. Schwartz, Richard A. & Co. The "Beat movement" - "The 'Beat movement'" Cold War Culture: Media and the Arts, 1945–1990. New York: Facts On File, Inc., 2000. American History Online -. Facts On File, Inc. Web.