The Second World War Essays

The Second World War Essays The Second World War Essay The Second World War Essay In the years following the Second World War, there was a significant change in the way society was constructed, from changes in class structure to an era of mass production and mass consumption. Two particular features have been produced from this change, namely the massive growth in the consumption of what has been labelled as popular music, and also the existence of specific subcultures within society. The rise in popular music after the war can be attributed to changes in technology, mass media and mass communication that brought about the mass consumption of music, while subcultures seemingly coincided with the rise of popular music in general. The possible link between the rise in popular music and the existence of subcultures is an obvious one since they both seem to have risen and existed simultaneously, and indeed many argue that music is the medium to which subcultural expression is at its greatest. The first apparent and significant subculture that existed after the Second World War became termed as the teddy boy or the more frequent reference of the Teds. This particular group, who sported extravagant quaffs in their hair, drape jackets, suede shoes and drainpipe trousers, were often criticised by the media and parents and viewed as a symbol of the decline in standards amongst the growing youth culture. The manner in which the teds wore their clothes and acted was seen as an act of defiance or bricolage against the existing values and norms that existed within society at that time. In this way the Teddy boys theft and transformation of the Edwardian style revived in the early 1950s by Saville Row for wealthy young men about town can be construed as an act of bricolage. (1) The rise of this subculture coincided with the rise in popularity of music figures such as Eddie Cochran, Buddy Holly and in particular the gigantic rise of Elvis Presley, who all sported the Teddy boy image. These artists provided the Teddy boy subculture with the mass appeal and legitimacy that inevitably caused the growth in this particular style. While the styles that these musicians wore tended to cause controversy, the content of their music also did. Rock and Roll was seen as a rebellious form of music, and while its lyrics and dancing movements may seem tame by todays standards, the genres aggressive and sexually implicit nature caused outrage amongst many parents and members of society. Yet while the controversy and protests against the image of the Teddy boy and rock and roll mounted, the popularity of this style and genre of music grew vastly. The subculture of the Teddy boy found a voice in its rock and roll heroes to which it could assimilate into their style, which was certainly a style that went against the basic hegemonic values and norms that existed in the fifties. The Teddy boy subculture can also been seen as an example where music has popularised an already existing subculture by bringing it to a larger audience, through the mass consumption of music and the popularity of its musical exponents. Perhaps the most prominent example of a subculture that is cited is that of the so-called hippie movement. The hippie movement began the mid-sixties, and in a rather simplistic sense, consisted predominantly of middle class young students. The hippie culture had a massive impact upon life in the sixties, particularly in America where it protested against the norms of sixties society, particularly the war in Vietnam and the civil rights movement. The movement, similar to other subcultures, had a strong assimilation with music. The music most associated with the movement tended to be progressive rock orientated, and was mostly concerned with albums rather than single releases. The movement was closely associated with the values of free love, peace and tended to be very open in its use of drugs as a recreational pastime. The music it was associated with tended to reinforce these values and ideas, with much of the music consisting of anti-war sentiments or references to drug use. Among the many musicians that were associated with this protest and anti-war ideals of the hippie subculture was Bob Dylan, who was frequently branded the voice of a generation. Although Dylan was not a hippie himself and openly objected to his tag, the anti-war stance within his music was adopted among the hippie movement who felt they related to his songs of protest. Songs such as Masters of War were adopted by the anti-war movement who felt that it outlined perfectly their grievances against the current war in Vietnam. Dylans songs frequently questioned the values and norms that existed in America at the time, with a poignant example being the song With God on Our Side. The song is sung from the stance of an average American from the mid-west, and talks about how all the previous wars that America has waged can be justified because America has God on its side. The song questions the strong conservative Christian ethos that exists in America, an ethos which was also a grievance for the hippie movement. Dylan is a prominent example that although he didnt purport to the ideals within the hippie movement, his music was adopted by the movement as a way of questioning the hegemonic values of America in the sixties. To this extent the hippie subculture could be described as the symbolic fit between the values and lifestyles of a group, its subjective experience and the musical forms it uses to express or reinforce its focal concerns (2). The focal concerns of this particular subculture were fiercely liberal and anti-war, which is why they chose musicians such as Dylan as their voice.