Post War Cultural Revolution in the UK

rate warfare Cultural Revolution in the UKThe Emergence of the Teenager Consumer in the 1950sA turning point in history the post-war cultural change gave rise to one of the most interesting and bureauful phenomenon of that time the early days subculture.Supported by an uprising economic and cultural change, the puerilers of the 1950s, left their check out in history by cosmos the ones that turned a sort from usage and started their avouch culture. Influenced by American style, film and music, British puppylikesters created a military man where they could do whatsoal waysthing they wanted be make they had everything they had the silver, they had the time, and everything virtually them was built to fit their desires and pleasures. Nothing was breathing out to stop them having the time of their lives.The YouthquakeOsgerby explains that younkerquake is a phrase charged with connotations of deep-seated gen date of referencetional upheaval. It is a term coined by cultural commentators like Richard Neville, Kenneth bloodsucker or Peter Lewis in the 1970s. Apparently, the term youngquake was used to describe the seismic transformations () occurring in young throng lives during the 1950s and 1960s (Osgerby, 2004 16).Since the World struggle Two eradicateed, cultural changed divided the world into two generational build up camps (Neville, 1970 13, cited in Osgerby 2004 16) and Leech (19731) believed that the 1950s had been supremely the decade of the teenager since youth culture became such an international phenomenon through the rise in commercial messageised interest in twain the textile and recording industries.However, rather than being a total shock and break with the past, the youthquake had some early signs. The gage entertainment industry emerged in the Victorian Era, ready for the urban work class which had been stepwise ext winduping their income and leisure time (Osgerby, 2004 17). A visible consumer classify of this period were the working youngsters, who, with their spending power, laid the base for an embryonic youth leisure marketplace (Osgerby, 2004 17).Young people had a healthy income and no family responsibilities therefore there were better off than at almost any other age and could afford to go out and enjoy themselves (Springhall 1980 89 cited in Osgerby, 2004 17)An estimative study by David Fowler shows that between the wars youths money wages rose between 300% and 500%. Because of their lack of responsibilities, youngsters could have got almost 50% of their earnings which means that they enjoyed a higher beat of living than the rest of the family.A commentator in Manchester described how a nineteen year old semi-skilled youth employed in a an iron factory could earn a pound a calendar week and, afterward surrendering twelve shillings to his parents for board, was free to spend the remainder on clothes, free rein and the music halls (Osgerby, 1998 6)Of course, these things increasingly att racted the attention of entrepreneurs and manufacturers who were planning of creating a youth market (Osgerby, 2004 18).During the early 1920s and 1930s a hard-sell youth market arose and cinemas, mag publishers, dance halls and commercial music halls all started to make a gain from the spending power of the young workers (Fowler, 1995 170 in Osgerby, 2004 18).The rise of the commercial youth market has occurred well before the 1950s and 1960s. Osgerby explains that by the end of the Victorian Era, on both sides of the Atlantic, manufacturers, advertisers and media industries were already tapping into young peoples spending power, the trend picking up momentum during the 1920s and 1930s (2004 19).Mort (1997, cited in Osgerby, 2004) states that Britains development as a modern consumer deliverance was slower compared to the US. If America has an economic growth during the war, Britains economy was brought to its knees after the Second World War which meant consumer spending had a hesitant development. Consequently, compared to the US, teenage consumerism developed slower in Britain. Nevertheless, the British youth market gradually came into its own (Osgerby, 2004 26). During the 1950s and 1960s standards of living were boosted by full employ and a sustained rise in money wages. That is when everything started to come into shape.Teenagers as a consumer group SELLS LIKE TEEN SPIRITOsgerby (1998) states that the characteristics that seemed to set youth apart as a distinct group were not their bio-psychological attri scarcelyes, just now their distinctive patterns of media use and practices of commodity consumption.But how did these young people become such an beta consumer group? Firstly, the post war era saw the so called baby boom which ensured a growth in the young population. The number of people aged under twenty increase from around three million in 1951 to just over 4 million in 1966 (Department of Employment, 1971 206-207, cited in Osgerby, 2004). J ust like in the join States, education expansion also helped youth in becoming a distinct social group. Secondly, throughout the 1950s and 1960s, during the economic boost, with the expansion of the consumer industries and reconfiguration of the traditionalistic labour markets the levels of youth employment increased immensely. Consequently, with the growth of the teenagers spending power came the development of the youth market cinemas, record companies, music halls, magazines, fashion houses and so on, all saw a huge expansion. Assisted by a naked as a jaybird army of advertisers and marketers, the market started to sell products geared to the teenagers pleasures and desires. (Osgerby, 2004 9, 10)En consummate entertainment industry emerged, interested only in catering for the urban working youth with expanding disposable income and leisure time. Everyday habits and tastes became simply consumer goods, and markets started to endeavor them as much as they could. New products a nd services, new fashion styles, new consumer patterns emerged, suggesting the British new identities, desires and pleasure and how to live their metropolitan lives.By the tardy 1950s, youth became known for and associated with spending per se. Mark Abrams market research shows that young people, more than any other social group, has materially prospered since the war (cited in Osgerby, 1998 26)Youth subcultures adapted their styles from consumer objects, which was very shocking for critics of all political persuasions, since their cultural insubordination wasallied to a consumerism that touched a very un-British hedonism as it squandered its money on extravagant clothing, pop records, scooters, over-priced frothy coffee, take bikes, drugs, clubs and attempts to create a perpetual weekend (Chambers, 1986 42)The American influencePost War reconstruction of Britain, was influenced by the expansive image of America and its industrial and cultural power. Since America was the most cap italist society in the world, it became the centre of all Britains fears of foreign, urban and commercial forces that would destroy the English way of spirit (Chambers, 1986 36). The American way of life became an inspiration for the Brits, both culturally and in terms of material goods. The increased availability of cheap colourise magazines brought a proliferation of advertising for luxury commodities, much of it originating in America (Jackson, online resource). in spite of all the protests coming from cultural intellectuals such as Richard Hoggart (The uses of literacy, 1957) and Raymond Williams (Culture and Society, 1958) who feared that Americanization would be the end of British culture, Hollywood films, commercial television, glossy magazines and consumer goods was everything the British consumers could have ever wished for.Films portrayed the life that most British people just stargaze of. One of the most known and cited films of that time was Rebel without a cause (19 55, directed by Nicholas Ray) starring James Dean. He played the component part of a bored teenager with an affluent middle class life style. Even if he had his own car and a home alter with luxury consumer goods, Jim Stark the character of James Dean, was full of distress, anger and resentment. He quickly became a role model for most of the British teenagers.The unparalleled position of post-war teenagers, physically almost adult only excluded from adult roles and responsibilities, with respectable disposable cash, and familiar from early childhood with the products of modern mass media healthy, well-fed, and energetic, yet involved in less hard physical work than some of their ancestors this privileged, new position seemed merely to throw into sharp relief for them the terminal point of their existence and to give them the opportunity to respond in new ways to these conditions. Music-use became one of the main chosen instruments of their response. (Dick, 1992)Young Brits st arted to turn away from their parents and the British tradition, creating their own cultural expression. Inspired by the early American quiver n roll, and Hollywood films, they created a series of spectacular and distinctive British subcultures such asThe Teds working class Londoners, around 1953 with distinguishable characteristics as quiffs, Elvis, flick-knives, crepe soles, alcoholThe Mods working class Londoners, around 1963 Jamaican rudeboy / Italian style, US soul, purple hearts, The Small faces, scooters, amphetaminesYouth culture was full of contradictions they had a strong desire to express their individuality but they were wearing the equivalent clothes as their mates and they were rebelling against the capitalism that they were already slaves to. (Milestone, 1999)ConclusionBritish history and all its changes and turns was massively influenced by the two World Wars, but mostly by the Second World War which was, according to Osgerby (1998) a decisive turning point in the nations social, economic and political life. At the beginning of the 1950s Britain was still exhausted, both financially and morally after years of war and its cities were still bombsites. However, it was in the 1950s that Britain started to rise again, entering a period of increased riches and freedom, and many of the old traditional structures began to be challenged, particularly by the young (online resources).The essay shows how the phenomenon of youth subculture and consumerism started quite early but peaked around the 1950s, when economic, social and cultural developments provided the perfect environment. Influenced by American culture, the British teenagers created their own world, a world of music and motorcycles, of freedom and entertainment, where nothing was more important than being stylish and cool, and having things to show it.BibliographyChambers, Iain (1986) Popular Culture, The Metropolitan Experience, London RoutledgeOsgerby, broadsheet (1998) Youth in Britai n since 1945, Oxford Blackwell PublishersOsgerby, Bill (2004) Youth Media, Abingdon RoutledgeOnline resourcesKatie Milestone ,The Guardian, Saturday 18 declination 1999http//www.theguardian.com/theguardian/1999/dec/18/weekend7.weekend5 as accessed on 4th Jan 2015Andrew Jackson, Designing Britain 1945-1985http//www.vads.ac.uk/ larn/designingbritain/html/crd_cultrev.html as accessed on the 20th Dec 2014http//britishrock.weebly.com/1-birth-of-teenage-culture-1950s-britian.html as accessed on the 20th Dec 2014All the photos were saved from https//images.google.co.uk/?gws_rd=ssl