Are subcultures a sign of revolt or an expression of style?

Hebdige noted that Punks presented themselves as de-generates, declaring they were expressing genuine aggression, frustration and anxiety. This backs up the idea that subcultures are a sign of revolt. The Punk movement emerged in 1976 amidst high unemployment, widespread violence, (most notably at the nottinghill carnival), and frustration. The movement was predominantly working class based.

Britains youth used the Punk movement as a way of declaring themselves different. they used evryday household items such as safety pins and toilent chains mixed with cheap clothing. this bricolage created different meanings for the items used, creating a sense of poverty being used to ones advantage as a method of standing out from the crowd. The use of these items could be percieved as an expression of style but ultimately i belive it was their meaning as well as their look that was being expressed for effect.

Can popular music be a genuine force for political change?

It is difficult to determine how much of an effect popular music has on political change. It is evident that popular music has been used for decades in an effort to influence awareness and change politically and in the masses. This stems from the release of 'strange fruit' by Billie Holliday. The song recounted the lynching of two blackmen and at the time it was renounced by Time magazine as propaganda. Later Time magazine declared 'strange fruit' to be the song of the century. This was decades later, so it is difficult to determine the effect this song had on political change in terms of recognizing and attacking the problem of racism.

In 1985 Red Wedge was launched by Paul Weller and other artists. The band was used to promote the labour parties general election campaign. The labour party later lost the election. This is perhaps an example of popular music having no effect on political change.

Is Digital Rights Management, (DRM), the best way to save the music industry?

Due to the invention of digital technology the music industry has been hit with a catch-22 situation. On the one hand, digital availability of music allows record companies to promote artists on a larger scale. On the other hand, peer-to-peer sharing networks such as limewire and torrent sites have allowed for the illegal download of music by the masses.

It is very difficult to control the downloading of music illegally due to the fact that more peer-to-peer networks are created everytime one is shut down. this means that although DRM exists, it is difficult to determine the impact, if any, it will have on the music industry and protecting the rights of record companies and recording artists.

Can popular music ever truly be unplugged?

Popular music can never truly be unplugged as it requires a method of broadcasting to make it mainstream and thus popular. For a song or type of music to become popular it relies on distribution on a broad scale to a large audience. This could be through digital downloads, CD's or live performances.

The only time i believe music can be unplugged is perhaps when at live performances, where an artist sings acapella. This however, would be to a limited audience and therefore i would have to argue that it doesnt qualify as popular music.

What is World music and does it exist?

Shuker stated that global and local music are different perspectives on the same process. I feel that world music is categorised differently by different people and there fore it does become a matter of perspective. Stores which sell music throw all kinds of music into the generalised category of 'world music', from folk to tribal. Western music adopted aspects of world music to include in their own musical creativity.

I feel that what was once secluded to a particular region has been adopted by mainstream music. This has led to world music transending from local to global. prime examples of this are The Beatles using the Sitar and Paul Simon collaberating with Ladysmith Black Mumbaso on an album greatly influenced by local African sounds.

Is pop music a commodity or is it art?

Adorno primarily criticised popular music on the grounds that it was a means of making money, a device which churned out mass produced, inferior commodities and was symptomatic of the destructive nature of the capitalist mode of production. I feel Adornos theories of pseudo individualization are very generalised and unfair to an ever changing market.

It would be impossible for an artist to be completely unique as we are influenced by many things which have been done previously and therefore an artists work will always contain similarities to work which is past and present. I also feel that comparing popular music to other mass produced products is unfair as it is comsumed in a different way. We buy a single or album once, not many times like other products which we like. For this reason i feel a popular music artists work is art as it is a form of expression, even if it is ultimately as a means of making money.

What are the strengths and weaknesses of Peterson's production of culture approach to the birth of Rock and Roll?

Peterson's argument that Rock and Roll exploded onto the music scene in the mid 50's due to a number of influencial factors definitely holds alot of weight. On a personal level, having weighed up both sides of the argument, I believe that the "Baby-boom", one of the theories behind the rise of Rock is irrelevant due to the reasonable argument that these children weren't even early teens at the time of the rock explosion. I also disagree with the theory that the emergence of free thinking, creative artists like Elvis was accountable for the rise of Rock due to the fact that free thinking, creativeness is nothing new and didn't just appear out of the blue in the mid 50's. I do believe that factors raised by Peterson as possible reasons for the rise of Rock are very valued points and need to be addressed by anyone looking for a definitive answer to why Rock exploded in the mid 50's. Most notably the introduction of the cheaper, more durable vinyl record, the allowance of permits to small independent radio stations and the introduction of radios to cars. These factors I believe greatly contributed to the explosion of Rock and Roll.