Week 8: Are subcultures a sign of revolt or an expression of style?

According to Hebdige, (1988) ‘…sub-cultural and sub-cultural style does not represent commercial exploitation or genuine revolt but the creation of an independent, insubordinate identity, if only as an ephemeral phase.’
On the one hand, the subculture of Punk was seen to be a mixture of communities in which the style of the working class was adopted, with long coats, Doc Martin boots, smart Ben Sherman T-shirts and short hair cuts in response to the wider economical issues at the time, the declining industrial professions and other marginalised groups. These young adults were responding to the work situation of their parents and the country and in their own demeanours promoted it through an expression of style and attitudes.
It could be said that in actual fact subcultures are both a sign of revolt and an expression of style. For example, by using shocking imagery and symbols of such horrific figures as Adolph Hitler, ‘punks’ were not only generating coverage of their rebellious spirit but questioning society and its downfalls.
However, it could then be questioned that subcultures do not necessary concentrate on style but rather content. Therefore it could be said that subcultures revolted against the status quo in society through music and a peculiar lifestyle in order to ‘…construct identities within a social order dominated by class, generational difference and work.’ (S. During: The cultural studies reader.) Therefore, subcultures are a sign of revolt towards society demonstrated through the expression of style.

Week 7: Can popular music be a genuine force for political change?

In one manner of speaking music is an interesting forum for ideas, beliefs and issues, with its ever increasing fan base it is clearly visible how popular music contributes towards political change.
On one hand, this idea rests solely on an individual and just how influenced they are by such mediums. A strong, political song may change the mind of a few yet, one must question it whether it changes the core of ‘real’ issues?
Awareness concerts may be viewed as a successful means of displaying a message to the masses; yet they only reflect that time period. It could possibly be said that many have forgotten the issues concerned in such concerts thus the effect is not ever lasting.
Effectively, the artists who make such stands as a consequence have their song banned, the media attention surrounding them paves the way for them to comment politically to a large audience. If the artists were not as popular or well-known would their ideals be taken seriously or even listened to?
On the other hand, music is a form of expression and binds us all together. No matter how much publicity these artists receive, the provocative visual imagery used makes a difference no matter how small and this is what it is all about.
Popular music in politics above all creates an awareness of world issues at large, it may not force a genuine change but they educate people of all ages to certain issues in the world and therefore creates something positive in order to create change.

Week 6: Is DRM the best way to save the music industry?

The fact of the matter is that the DRM or to give it is full name Digital rights management, could be said to help save the music industry, yet it could be said to be too late to limit online download sales. Industry attorney Peter Paterno as quoted in Rolling Stones magazine has said, ‘…the record business is over. The labels have wonderful assets; they just can’t make money off them.’
Supported by this claim in the article are the figures for the top ten albums in the US in 2000 where artists combined sold 60 million copies. Astonishingly, 2006 saw that album sells had plummeted to 25 million with digital sales increasing, music labels are struggling due to online downloading sales.
Subsequently, one of the major music labels EMI are the only label offering music in an unencrypted format.
This leads one to believe that DRM is possibly not the best way to save the business the point of the matter is that there will always be a way of downloading free songs as long as there is a market. EMI are offering variation to consumers through different mediums such as iTunes, Amazon, Snocap and HMV’s newly launched online music store at lower prices. Perhaps the other major music labels should follow suit?
In conclusion, possibly the best way to save the music industry would be by examining why people download in the first place. Thus illustrating what the music industry could do in order to ‘tap’ into what the free service does not offer in order to compete. Most importantly consumers are looking for one thing, that they can acquire music or tracks they want at a low cost. It is whether or not the music industry can adapt to this that will save them.