| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "SLANG YOUTH SUBCULTURES ROCK MUSIC": |
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Slang,Youth Subcultures and Rock Music, 2001.
An in-depth look at slang, its origins and rock and roll.
22,900 words (approx. 91.6 pages), 16 sources, $ 249.95
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Abstract
This is an intensive paper looking at both slang and rock music. The two have much in common and the author goes to great lengths to divulge their common threads. It's an 'All you need to know' paper looking at the history of slang, its many uses, youth subcultures and rock subcultures of the 20th - 21st century. The author includes a handy dictionary of slang terms.
From the Paper
"Slang fills a necessary niche in all languages, occupying a middle ground between the standard and informal words accepted by the general public and the special words and expressions known only to comparatively small social subgroups. It can serve as a bridge or a barrier, either helping both old and new words that have been used as "insiders' " terms by a specific group of people to enter the language of the general public or, on the other hand, preventing them from doing so. Thus, for many words, slang is a testing ground that finally proves them to be generally useful, appealing, and acceptable enough to become standard or informal. For many other words, slang is a testing ground that shows them to be too restricted in use, not as appealing as standard synonyms, or unnecessary, frivolous, faddish, or unacceptable for standard or informal speech."
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Minority Working-Class Youth Subcultures, 1995.
Compares portrayals of gangs in Michael Brake's "Comparative Youth Culture", Martin Jankowski's "Islands in the Street" and Donna Gaines' "Teenage Wasteland".
1,350 words (approx. 5.4 pages), 3 sources, $ 47.95
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From the Paper
"This study will compare and contrast minority working-class youth subcultures described by Michael Brake in Comparative Youth Culture and Martin Sanchez Jankowski in Islands in the Street, and the white youth subculture described by Donna Gaines in Teenage Wasteland. The study will consider the structural conditions these youth groups are facing, their cultural responses to these conditions, the nature of the groups with respect to their hegemony, and the reasons why, in Gaines' view, white youth kill themselves while black youth kill each other.
The different youth subcultures in the three books face prevailing social, economic, cultural, political, and racial structures which, if they are not designed to disempower and alienate youth, nevertheless have that effect. The basic reason that youth form gangs, or "subcultures," is that they do not feel ..."
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Youth Culture v. Youth Market, 2005.
An analysis of the youth culture versus the youth market in the music and clothing industries.
2,025 words (approx. 8.1 pages), 2 sources, $ 80.95
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Abstract
This paper discusses the youth market and the youth culture as a separate entity within the overall demographic of the U.S. The paper pays particular attention to the integration of the music and clothing industry and who these industries have become associated in the minds of the youth as being consistent with their culture and self expression.
From the Paper
" Youth Culture v. Youth Market The concept of youth culture as a separate entity within the broader demographic of the U.S. population is tenuous at best because it shifts constantly from one point to another. At times various groups co-opt what they perceive to be youth culture for their own unique and idiosyncratic purposes: "Through magazines, music, sit-com style videos, cartoons, and other media, Focus strives to construct an alternative Christian youth culture that mirrors secular culture's style and consumption habits" (Hendershot, 1995, para.5). Just as likely is the current trend in Hip-Hop to turn its primary audience; a grand collage of youth from across the various demographics making up the U.S. population, into one conceptual body comprising a unique youth culture all its own (Taylor & Taylor, 2004)."
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Roles Played In American Subcultures, 2002.
Discusses two plays on how people cope with their roles in a subculture.
1,575 words (approx. 6.3 pages), 2 sources, $ 55.95
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Abstract
Discusses two plays on how people cope with their roles in a subculture. JOE TURNER'S COME AND GONE by August Wilson, and AND THE SOUL SHALL DANCE by Wakako Yamauchi. How each playwright develops a strong sense of the importance of the family bond. A sense of alienation as a divisive force.
From the Paper
"In the plays Joe Turner's Come and Gone by August Wilson and And The Soul Shall Dance by Wakako Yamauchi, the playwright in each case develops a strong sense of the importance of the family bond as each explores the way people cope with their roles in a subculture within a larger, dominant culture that generally does not value them or their cultural background. In each case, the characters aspire to something better than they have already achieved, defined usually as economic success in the American society of which they are a part. In Wilson's play, these aspirations are found in the black community among people whose ancestors were slaves and who themselves do not feel fully part of American society. In Yamauchi's play, the characters are Japanese immigrants cut off from their homeland and from much of their own culture by great distance as well as ..."
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Black Youth in Postwar Britain, 2002.
Examines the different types of black youth cultures in Britain and the destructive consequences of these cultures.
1,150 words (approx. 4.6 pages), 8 sources, $ 44.95
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Abstract
The following discussion focuses on black youth subcultures. It identifies their predominant types focusing on links to popular music and finds their source in the experience of unemployment and racism. Their inherent male chauvinism is also examined. Their ultimately destructive consequences and their interference with life course are also outlined.
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Slang, 2001.
Results of brief research project to determine whether teen-age slang can be understood by non-adolescents. Key features of slang. How slang words & expressions change meanings over the years.
1,800 words (approx. 7.2 pages), 6 sources, $ 63.95
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From the Paper
"Slang is a term that refers to words and phrases that deviate dramatically from the style and uses of the standardized language. Because slang is an unconventional language that reverberates with irreverence and rebellion against mainstream perceptions, it has been appropriated by adolescents for many generations (?What is Slang,? pp. 1-2). In fact, teenagers have contributed significantly to slang by creating their own version, teenage slang, which prevents adults in their lives from understanding their communication with their adolescent counterparts.
The focus of the research project in this paper is to determine whether teenage slang is a distinctive language that cannot be understood by non-adolescents. Furthermore, the specific features of the changes in teenage slang throughout the years..."
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Classical Rock and Popular Prophecy, 2005.
A paper discussing the influence of classical music on rock music and why rock music is the classical music of the future.
2,873 words (approx. 11.5 pages), 10 sources, MLA, $ 85.95
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Abstract
This paper discusses the contention that pop music is tomorrow's classical music within the context of rock/classical music collaborations since the early 1950s. The paper makes the point that pop is as certainly the classical music of tomorrow as classical music is the spirit of rock today.
From the Paper
"Long before the official birth of Rock and Roll, the incorporation of old classics into a new sound was a common practice among trendsetters and musical rebels alike. Classical music is certainly not the only genre of music to be reinvented in meaning and sound, but the choice of Classical pieces is a popular one because of the impact on listeners. Classical pieces are almost universally recognized as familiar to an audience, whether they are able to make a distinct identification of the piece, or if it is simply a vague sense of deja vu influenced by the historical music. "Thus even the early days of ragtime and vaudeville produced their own variations on the classics, though we have few recordings. From the 1920s through the 1940s, James Price Johnson, Jelly Roll Morton, and Fats Waller 'jazzed up' the classics, alongside the Big Band versions of Paul Whiteman, Duke Ellington, Harry James, Tommy Dorsey, Glenn Miller, Les Brown... Many composers of Broadway shows also appropriated classical melodies." (Duxberry, "Nexus...") Pre-Rock Classical interpretations did not stir nearly the amount of controversy that would be seen in later years. The fervent nature of Rock and the moral/political rebellion associated with the genre, perhaps coupled with the passionate dedication of Rock musicians that equals that of the greatest Classical virtuosos, has been fuel for the fires of disapproval."
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An Examination of the Development of Rock and Roll Music in America, 2002.
This paper examines the forgotten black roots of rock music in America, its influence on rebelling youth, and the evolution of new popular musical genres.
3,508 words (approx. 14.0 pages), 4 sources, APA, $ 98.95
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Abstract
Rock and Roll music was both influenced by and influenced the youth movement of the 1960s. The beginnings of Rock music during the 1950s were actually quite rebellious and controversial. This paper puts the development of rock music into a cultural and historical context, drawing on examples such as Wynonnie Harris, Elvis Presley, the Beatles and Bob Dylan. The paper also mentions beatniks and the psychadelic counterculture.
From the Paper
"Rock and Roll music broke into the forefront of American culture as the baby boomer generation came of age. During the 1950s, the new musical style helped young people begin to rebel against their parents? generation in a stylistic, subtle, and symbolic way, generating more differences and encouraging a widening of the generation gap. Popular culture tends to disregard the 1950s as a sterile and orderly decade, however, the youth of the 1950s were beginning to rebel much more drastically and blatantly than we are led to believe, and more so than what remains as the lasting image in the historical memory of Americans who were alive at that time. While this music that we now call ?oldies? seems so boring and unhip by today?s standards, the earliest Rock and Roll music contained sexual implications and a gift of immediate gratification that spoke to the so-called juvenile delinquents of the time. By the early Sixties and the beginnings of the ?movement,? Rock and Roll music had already established itself as a successful form of cultural radicalism, that is, an individuality of spirit and expressive form of defiance against the norm. (The ?movement? collectively refers a shift to the ?New Left? which supported the Civil Rights Movement, was against the Vietnam War, and opposed the Old Left Liberal methods of working within the system to end poverty and racism by means of a technocracy.) The more the youth rebelled, the more the music changed to suit this rebellion. The lyrics became more overtly political and explicit, and Rock and Roll music began to ?evolve out of artistic necessity,? when new ways to rebel were necessary, in order to keep on rebelling, as it were. Folk musicians began to blend their lyrics and style with Rock music, and wrote songs that were true reflections and reactions to the times and responded to the changing world. By the mid 60s, a youth ?counterculture? hit the scene, and Rock and Roll had split into two breeds of music: one which served an industry and popular culture, and another type of music for political activism, which eventually infused itself in the drug-laden hippie subculture."
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Youth Gangs in Schools, 2002.
This paper is a literature review of youth gangs in schools, focusing on a historical overview, characteristics and traits of youth gang members and prevention of youth gang membership and activity.
6,020 words (approx. 24.1 pages), 15 sources, APA, $ 142.95
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Abstract
This paper explains that, although youth gang activities in schools continue to increase, intensify and spread to small towns and rural areas, youth gangs are not new. The author believes that,when institutions and moral visions fail, then individuals will try to manufacture structures to replace them; in the case of youth gangs, the creators of these structures are young people, with little experience of the world and little knowledge of alternatives. This paper points out that a common sign of gang activity moving into the neighborhood or into the region of the school is graffiti, which is one of the most common ways for gangs to communicate, identify their turf, issue challenges and attract other adherents.
Table of Contents
Background
Organization of Review
Historical Overview
Characteristics and Traits
Prevention
Rationale for Study
Summary and Conclusions
From the Paper
"This is an important historical development, representing the extension of gang behavior and gang culture into new regions of the country and with new styles. While the gangs may have begun in imitation of such gangs as the Crips and Bloods, and may still wear typical gang clothing and paraphernalia, they are more of an organization of those youth who are prone to violence and delinquent behavior than they are instances of ethnic turf battles. Again, another movie might be helpful in thinking about these kinds of gangs. The movie Grease portrayed a certain class of young teen-agers who had clothing, culture, and behaviors in common. Yet, they were not seen as youth gangs, but as a faction or clique within the overall high school environment. In 1999, however, these greasers are more likely to be organized into youth gangs of the type identified in Puyallup. They have borrowed some of the behavior and culture from the urban gangs, become more organized, and engaged in more conflict between groups. They tend to harass and intimidate the other students."
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Geeks and Nerds as a Subculture., 2002.
A look at subcultures in society.
900 words (approx. 3.6 pages), 4 sources, $ 35.95
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Abstract
This paper is on "Geeks and Nerds as a Subculture". It includes the subculture you plan on investigating and why it is important sociologically to address this particular kind of group, a brief history of the subculture, placing it within the context of broader dominant culture. It also states the impact this culture has had on dominant culture or popular culture, what sets this particular subculture apart from dominant culture. How to accomplish this, address the material and non-material of their culture? What type of music do they listen to and what books do they read?
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Troubled Youthful Protagonists in English Novels, 1994.
This paper examines troubled youthful protagonists as products of a destructive society and homes as illustrated by three British novelists, Graham Greene's "Brighton Rock", Alan Sillitoe's "The Loneliness of the Long Distance Runner" and Anthony Burgess
2,250 words (approx. 9.0 pages), 9 sources, $ 79.95
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From the Paper
"Writers often present characters who are out of step with their society, and often this occurs because the values of that society are seen as warped or misguided. Three British novelists have created youthful characters who show a strong reaction against society and authority. Viewed objectively, the youthful characters in Graham Greene's "Brighton Rock", Alan Sillitoe's "The Loneliness of the Long Distance Runner" and Anthony Burgess's "A Clockwork Orange" might be considered evil or psychologically troubled, but they must also be seen as products of their society, as personalities shaped by the problems of that society and by the warped values the society has come to represent. An analysis of the two novels and one short story shows how the authors address the limitations of their society and the culpability society has in the crimes committed by their youthful ... "
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Rock and Roll Film Genre, 1982.
This paper examines the Rock and Roll film genre and the correlation between movie outlaws and Rock and Roll music by looking at films: ?The Wild One?, ?Rock around the Clock?, ?Shake, Rattle and Roll? and ?Hot Rod Gang?,
1,125 words (approx. 4.5 pages), 1 source, $ 39.95
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From the Paper
"The rock and roll film came into being at the same time as the music began to make itself known. The use of "Rock Around the Clock" in The Blackboard Jungle was one of the first instances of this type of music serving as background to a film, though it was only used in the titles and was not embedded into the film itself in any significant degree. The music was popular, though, and within a short time films specifically about the music were being produced. The early films were primarily intended to assuage parental concerns, though they usually had an attitude of defiance as well. Over time, though, rock became more and more associated with the idea of the outlaw. Performers in the early films were clean-cut types trying to make a success with something new and innovative, but over time this image shifted to the musician as ... "
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"Rocking-Horse Winner", 2002.
A discussion of the symbolism of the Rocking-Horse in D.H. Lawrence?s "Rocking-Horse Winner".
1,580 words (approx. 6.3 pages), 6 sources, MLA, $ 51.95
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Abstract
This paper reviews the novel "Rocking-Horse Winner" by D.H. Lawrence about the devastating effects that money can have on a family. In particular it looks at how Lawrence uses the rocking-horse to symbolize not only the lost innocence of childhood but also the lost innocence of a world gone mad with greed. It examines how the meanings of the rocking-horse evolve through the story. The object first emerges as a symbol of the type of monetary greed expressed by a family attempting to live beyond their means in the form of a Christmas present. Later the horse becomes the avenue for which young Paul attempts to find the luck that his mother feels she and his father are missing. Further on in the novel, images of the horses at the races become superimposed over the idea of a little boy growing too large for his new, then old and worn, rocking-horse and this is the imagery that really influences the reader into the idea of the rocking-horse as a real sweating and shackled racer. It attempts to put forward the message that people living in a corrupt environment imagining that the bridle of a horse can bring them salvation can only receive salvation at a high price.
From the Paper
"Paul steps away from innocence and embraces the faith that embodies the world of horse racing. The track representing almost a poor mans modern cathedral. His cohorts look upon the manner in which Paul receives the knowledge of the name of the winner as a mystical occurrence. When Paul?s Uncle Oscar questions the servant Basset about just how the whole betting process occurs with his young nephew, he still thinks it rather comical and is not quite sure how much to believe."
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Rock-n-Roll History, 2005.
A comparison of today's rock-n-roll with the original rock-n-roll music.
1,300 words (approx. 5.2 pages), 8 sources, MLA, $ 43.95
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Abstract
This paper compares the stars and music of today's rock-n-roll to the stars and music of yesterday's rock-n-roll. The paper points out that while early rock-n-roll music and its stars wrote and performed original music with social messages, today's rock-n-roll songs and performers are unoriginal and express no social consciousness.
From the Paper
"As a way of setting the cultural stage for the process of comparing and contrasting newer musical groups with older rock groups - since music reflects culture in the same way literature does - it is worth taking a look to see if "The Times (have been) A-Changin," (or how much they have been changing) as Bob Dylan wrote in the Sixties. The times have changed from yesterday's consistently progressive, liberal, and into social change activities, to today's more "party-oriented" young people who espouse a more conservative brand of politics and enjoy music that tends toward the predictable and bland."
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Rock Musician David Bowie, 2005.
This paper explores the music of David Bowie, especially his character Ziggy Stardust, which was a reaction to the latter half of the 1960's British rock movement.
3,330 words (approx. 13.3 pages), 4 sources, MLA, $ 95.95
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Abstract
This paper explains that the concept album "The Rise and Fall of Ziggy Stardust and the Spiders from Mars" by David Bowie, the self-made man who is famous for his fleeting construction of personas, changed the way heavy metal, hard rock, punk music, glam rock and progressive rock sounded. The author points out that David Bowie's teenage wilderness years coincided with the gold-lame era of vintage rock 'n' roll, which reached England in the late 1950s in the form of American hip-swinging, lip-curling singers giving vent to youthful frustrations in a way seen as morally threatening such as Elvis Presley's "Hound Dog", Fats Domino's "Blueberry Hill" and Little Richard. The paper states that the album represented the archetypal rise and fall of the world of pop, which recently had experienced a sense of lost with the breakup of the Beatles and, with them, the cheery innocence of the 1960's; thereby, Ziggy became for many people the missing link between American punk and tight Beatle melodies.
From the Paper
"Kenneth Pitt first entered Bowie's life when he made a suggestion to Bowie's manager that there were already too many Joneses in the entertainment world. The Bromley-raised David Jones saw the adoption of a new stage name as an opportunity to redefine his faltering career and changed his name to David Bowie, after the American Colonel James Bowie, Davy Crockett's sidekick in The Alamo. Pitt and Bowie soon paired up, and it became apparent the Bowie desired to become the "renaissance man of pop". Bowie's aspirations were to sing and dance; he wanted to be seen as an artiste rather than someone who had only just recently shed his rough and ready R&B skin."
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