Are youth subcultures genuine signs of revolt or simply the manifestation of style?

Most people can be found present in youth subculture through the desire to be original. Style plays a natural part in this hormonal identity crisis as a simple and dramatic exploration of this. Clothing is also used to feel included in a subculture in an uniform-like fashion, but is also used by the “other” by way of identifying a threat. Hebdige explains "Subcultural youth, as the social Other to the parent culture, produce new codes and means of signification, new meanings and ways of meaning, which "take on a symbolic dimension, becoming a form of stigmata, tokens of self-imposed exile" (Hebdige, 1979).

Uniform subcultural style is easily found through industry cashing in. Today you can walk into “alternative” stores and pick up your ready made safety pinned skirt or torn jeans. This is often criticised as causing the death of subcultural style; however even at the beginning of Punk Vivianne Westwood and her “Sex” shop was already creating this trend of marketing subcultures.

It appears through a persistent cycle of trends that youth subcultures are neither simply a revolt or manifestation of style- just the simple exploration of the self.

Does the emergence of the digital download signal the end of the music industry?

The end of the music industry will strike when people stop listening and stop spending their money. Many argue that the digital downloads' transferable ease is the industry's biggest threat, despite the previous piracy lurking in copied CD's and cassette recordings. There will always be an industry for product, however. The come back of the vinyl is evidence enough for this; people like to be able to physically hold music in their hands and not have the treat of an accidental deletion.

It has also been argued that the end of the industry is threatened by the solitary selection that people are now encouraged to make; through one track downloads, portable headsets and most dramatically silent discos.

What people should really looking at, however, is not the end of the industry but the development. The less people are paying out on recorded music, the more they are paying out on live performance. If anything this saves the industry as it brings us back to the community based way of listening that recorded music has forgotten.

Can popular music ever really be unplugged?

Today the word unplugged is most often used to promote a “stripped down” performance by an artist who usually exploits the wonderful world of technology. When watching such performances look at what is used; the instruments, recording equipments, promotion, transmission; they may be stripped of their mass of pedals and knobs but there is always an electrical air surrounding this unplugged state.

The problem that lies within this question is where the line of unplugged is drawn. Through the invention of the microphone to enhance sound recording and radio industry, to the invention of the amplifier allowing us to fill music venues and share the sound; the music we listen to and how it reaches us is shaped.

Arguably a true unplugged state would be a bunch of hippies jamming around a camp fire, or even possibly Opera performances, but in reality there is a reason why this technology has advanced; to give us the high quality sound and experiences that we demand. Whether that content is acoustic or being beat out on a Gibson SG even to be unplugged depends on being plugged in occasionally.

World Music

When you enter a music shop the term “World Music” is used loosely to describe the other; whether that be foreign language, national beats or even western style music from another country. The confusion is extended further when trying to explain the context of such music; would you call a traditional African based tribal band Local or Global? And would this change depending on their worldwide success?

There has been great suspicion around the market of mass organizations picking up “Local” imitations and making money out of the “real deal”. Another criticism is with the cultural imperialism aspect of moving western trends into more traditional countries; relating to the death of “Local” sounds.

The main question, however, is is there such a thing as an indigenous sound? Does the term “Local” even exist with every culture being built up over time through influence of other countries? I believe this development of music is simply that; look at the Beatles positive use and exposure of the sitar on their record.

Is Popular Music a mass produced commodity or a genuine Art form?

Adorno's piece focuses heavily on the comparison of popular and serious music. He argues that “Popular” music is to blame for a decay within art and, through it's simplicity and mass produced nature, it has led to music becoming standardized.

He counters this by praising classical, or “Serious” music, for its ability to be appreciated within the art circle and it's creative complexity.
The trend of manufactured artists within the popular music industry supports Adorno's theory through their replicated construction, leading to the industry becoming predigested.

However, due to the competitiveness of the genre more artists are being forced to play their own instruments to compete and be original, therefore making it unfair to judge the genre as a whole.

Adorno links music with individualism, freedom and happiness and the fight against capitalism, making it even more understandable for his criticism of popular music with its nature being so heavily influenced by modern culture and industry.