Overall, music saturates our culture as no other art form can. It accompanies us everywhere we go: as we ride public and private transportation; shop; use the internet; work in our offices; enjoy recreation at restaurants, movie theaters, health clubs, and the like; in church; and at school. Where music is absent we often bring it along, courtesy of our radios, TVs, walkmans, and musical instruments. Because of its intoxicating, even addictive properties, music has always been recognized as a powerful vehicle for change.
Whereas youth is displayed through style, music, ritual and resistance, television is less spectacular and urban, altogether more ordinary and suburban. The local youth culture is a product of interaction. It is certainly not a closed, local, culture, but neither is it an undifferentiatedly global one. And such interactions could be exemplified in a million ways. The spatial openness of youth cultures in many if not all parts of the world is clear. Across the world even the poorest of young people strive to buy into an international cultural reference system: the right trainers, a T-shirt with a Western logo, a baseball cap with the right slogan. Music draws on a host of references which are fused, rearticulated, played back. (Tracy Skelton 1997)
The youth turned to rock music since it represen ...