Teenage: The Creation of Youth Culture (Hardcover)

by Jon Savage (Author)

Editorial Reviews

From Publishers Weekly
Although popular assumption might place the birth of teenage culture alongside the rise of rock 'n' roll in the 1950s, Savage (England's Dreaming) traces a more elaborate backstory that extends into the late 19th century. His catalogue of influences and indicators bounces from Goethe and Rimbaud to teenage girls' diaries, but the account only begins to pick up steam at the end of the First World War, as a generation of British youth reject the values of the elders who sent them into battle. Later, in the U.S., Prohibition not only taught booze-loving college students disrespect for the law, it put them in contact with a criminal underground that strengthened their subversive tendencies. The analysis of teen culture during the Second World War is particularly strong, moving from the Hitler Youth and rebellious " swing kids" in Germany to the Zoot Suit riots of Los Angeles and the "Zazou" movement of occupied Paris. Savage weaves his disparate sources into a convincing narrative of how adolescents were molded by political and cultural pressures into the consumer-friendly category of " teenager" by the end of WWII, but while individual anecdotes carry some verve, the writing never fully sheds its dry academic tone. (Apr.)
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From Booklist
Savage's highly acclaimed history of the English punk movement (England's Dreaming, 1991)won praise for its enthusiastic yet penetrating portrayal of the anarchic Sex Pistols and the culture of frustration that fueled them. His latest book searches for the sources of youth culture, the "living in the now, pleasure-seeking, product-hungry" global phenomenon that both defines and is defined by consumerism. Reminding us that youth culture existed long before the 1950s--as demonstrated by Rimbaud, Wilde, and Goethe's Sorrows of Young Werther, as well as Barrie's Peter Pan--Savage chronicles the fitful evolution of our understanding of adolescence as well as the changing (and unchanging) activities of teenagers in the early twentieth century. As with his previous work, the author adeptly situates pop-culture trends within broader cultural shifts: the relationship between youth-icon Rudolph Valentino and changing sexual mores, for example. In doing so, however, Savage pays particular and lengthy attention to war's ability to separate generations as well as to crush and/or heighten the manic impulses of youth. The result is an enlightening and serious analysis of modernity itself, as nuanced as it is ambitious. Brendan Driscoll
Copyright © American Library Association. All rights reserved

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Product Details

• Hardcover: 576 pages
• Publisher: Viking Adult (April 19, 2007)
• Language: English
• ISBN-10: 0670038377
• ISBN-13: 978-0670038374
• Product Dimensions: 9.3 x 6.4 x 1.5 inches
• Shipping Weight: 1.2 pounds
• Average Customer Review: 4.6 out of 5 stars See all reviews (5 customer reviews)
• Amazon.com Sales Rank: #173,102 in Books (See Bestsellers in Books)

Customer Reviews

Most Helpful Customer Reviews

4 of 4 people found the following review helpful:

5.0 out of 5 stars "Time to Murder and Create", August 13, 2007

By	Clary Antome "www.literature-for-aliens.net" - See all my reviews

This book is much more than a mere enquiry into the origins of youth culture - it is actually an absorbing historical account of what young people (in Western Europe and the USA) have experienced as the world underwent two big wars, a great economic crash, and several ideological experiments (from communism to fascism to "consumerism").

There seems to be an underlying question throughout Savage's quite detailed (and carefully researched) chronicle of youth from the mid-19th century to 1945: what happens when you have a) an economic system that needs to continually develop and expand in order to keep functioning (what we can summarize as "industrial society" or "capitalism"); and b) an oversupply of individuals who have to be organized in accordance with that system's necessities/aims (what we call "the mass")? The answer: you make youth, the most volatile and vigorous social cohort, instrumental - the pivotal point around which society defines (and renews) itself.
Savage shows how from their organization around schools, factories and all kinds of diversions in times of peace, to their incorporation into armies in times of war, young people in industrial societies have been exposed to several more or less successful experiments in the complicated art of social management. Thus their energies were either channelled into productive and leisurely activities when the system of industrial production was focused on commercial expansion (developing a stunning variety of mass entertainments, fashion industries, etc) - or they were used as a violently destructive force when the system was concerned with geopolitical expansion (most clearly visible in WWI and WWII and colonialism). The main problem being that, malleable as a mass or group might seem, it often engages in pursuits that may not coincide with the industrial system's "best interests". Hence the history of the management of youth has been fraught with conflicts and clashes, as youth groups (sometimes of considerable sizes) challenged or outright rejected the roles society tried to impose on them: whether as workers/consumers or as soldiers.
It is this problem which Savage addresses in his book, following youth's attempts to define itself as "independent" from adult society and its expectations, while simultaneously being exposed to ever more sophisticated laws and social measures determining its rights and obligations. Many of the most impressive cultural innovations came out of this friction.
An interesting aspect in this conflict between young people and adult society is the generational rhetoric that became common after the French Revolution. Again and again, the "new generation" (or actually a loud minority in it) defines itself as radically different, even opposed to its predecessors, and announces a glorious future, when the young will finally take over and correct the mistakes of the past. Using countless examples (from the decadents and nihilists, through the "lost generation" and "bright young people" and Hitler Youth, to less well-known subcultures such as the Wandervogel, the zazous and the zoot-suiters), Savage makes visible how much also the generational dynamics are determined by the stunningly fast pace of industrial developments and cultural evolution, making uncertainty and anxiety the main driving force in society - which youth incorporates best, in all its (biologically determined) eagerness and energy. No wonder the young have been adopted as symbols of (a nation's or an ideology's) future.

With an astounding array of theoretical models, cultural references (literature, music, film) and biographical accounts, Savage thus presents a gripping portrait of Western culture from the perspective of its most challenging and inspiring cohort, which persistently holds the threat of annihilation as well as the promise of regeneration. All the more interesting that the term resulting from this 100 years adventure - "teenage" - put so much emphasis on pleasure and leisure, and so little on the less cheering side of being an adolescent in times of accelerated change. As the second half of the 20th century would prove, though, "teen spirit" has the potential of causing (at least a bit of) chaos. And with the uncertainties and crises of the 21st century already looming on the horizon, one can surmise that new and just as surprising "revolutionary" or "destructive" youth formations will arise as a reaction to further shifts in the (now global) industrial system.

4 of 4 people found the following review helpful:

5.0 out of 5 stars Move Over, Your Replacements Have Arrived, August 4, 2007

By	takingadayoff "takingadayoff" (Las Vegas, Nevada) - See all my reviews (TOP 500 REVIEWER)

The concept of teenagers as a group separate from children and adults is relatively new. It wasn't until World War II that the word existed and that was in response to advertisers who realized that young people had money to spend. But teenagers weren't invented during the 1940s. In writing the history of teenagers from Victorian times until World War II, author Jon Savage has shown that their history is our history. They don't govern nations or run companies, but they fight wars, earn money, commit crimes and when it comes to movies and music, it's teenagers who decide the trends.

Savage defines teenage loosely, as being from about age twelve to mid-twenties. Teenagers aren't children anymore, but they don't have the responsibilities or the experience of adults. They are like adults who haven't mastered their emotional volume control yet. Their highs are higher and their lows are lower than adults who've learned to expect disappointments and are too self conscious to enjoy with abandon. Teenagers have their lives ahead of them and anything is possible. They have little to lose and can take risks that most adults wouldn't dare.

Teenage is full of interesting stories of trend-setting teenagers such as Oscar Wilde and Arthur Rimbaud, but it's not until World War I that teenagers became really influential. With the invention of movies and radio, teenagers became the early-adopters of their times. Rudolph Valentino's fame and the reaction to his death and funeral remind me of the arrival of the Beatles in New York. Leopold and Loeb killed a child and thought they were too smart to get caught. When they were caught, they acted like celebrities during the trial, wearing stylish clothes and attracting an ardent following of young admirers. Judy Garland and Mickey Rooney were overwhelmed at first by their hysterical fans, but quickly adapted.

Savage's study examines teenagers in the U.S., England, France, and Germany. We see the youth who followed the rules: the Boy Scouts and the Hitler Youth. We see the ones who rebeled: the Zoot Suiters and the White Rose, an anti-Hitler German group who came to a tragic end. The dilemmas of when to treat teenagers as adults and when to treat them as children have been around as long as teenagers have. When do you try a teenage criminal as an adult? At what age should young adults be allowed to drink alcohol? Get married? Join the military? Leave school? Earn a living? Leave home? There are no answers here, but it might help to realize that we aren't the first to ask the questions. And even if it doesn't help, Teenage is an excellent social history.

1 of 1 people found the following review helpful:

4.0 out of 5 stars the social history of youth culture, October 1, 2007

By	S. Pactor "reader" (San Diego, CA United States) - See all my reviews (REAL NAME)

Author Jon Savage is best noted for writing what many consider to be the definitive history of punk rock- "England's Dreaming" (personally, I prefer Greil Marcus's "Lipstick Traces".) In "Teenage"- his new book- he gets all ambitious. Teenage is a straight forward social history of what Savage calls "the creation of youth culture." One of the facts i learned this book, was that socialologist/philosopher Talcott Parsons coined the term "youth culture" in 1943.

I think this book is a must read for professionals in the culture industries- journalists, music industry folks, etc. The 450 page length is a tad offputting, but the length is set off by the structure of the book: episodic, proceeding from the 1890s- to 1945 in chronological orders, most focusing on one specific youth cultures from the U.S., the U.K. or Germany (France is mostly absent, along with Italy, Austria and Spain).

Generally speaking, Savage explicates his (fairly non-controversial) thesis that the industrial revolution stimulated the consciousness of youth as a class (by getting them into the work force early, creating more leisure time on a society wide basis, and weakening the relationship between children and their parents) and that "Youth" emerged in the mid 1920s as the most powerful "demographic" of western market capitalism.

Not a very novel set of ideas- I think most would already "know" the above paragraph to be true at some innate level. The devil, of course, is in the details, and it is Savage's work with the primary sources of each particular era which elevates this work from tedious pop history to a must read classic.

Working with the same careful eye for detail that marked his other work, Savage mines the detrius of low and middle brow culture (with the occasional shout out to contemporary academics and artists) with the skilled eye of a grizzled prospector.

Savage starts off in the 1890s- the earliest chapters are the weakest. The apogee, as far as Savage is concerned is in the 20's:

"The youth movement of the 1920s had been all too scucesful in creating their own discrete worlds. In doing so, they had reminded manufactuers, governments, and ideologues that youth comprised a social force that was far too important to be left to be left on its own."

The next 10 chapters mainly deal with Hitler and his fondness for youth culture(!). Indeed, in Savage's analysis, Hitler's succesful appeal to youth was key in his rise to power within Germany. Hitler, it turns out was a fan of American advertising guru Bernays. Whether the goal is social control or consumer capitalism, the techniques, all too often, are the same. It's hard to read the Hitler Youth chapters without thinking a little bit about some of the common characteristics of youth culture. Specifically, the thought that youth, unburdened by experience- are quick to embrace extreme ideas and have little patience for ideas that invovle gradualness or delayed gratificiation.

One of the intriguing inferences one can draw from this book is that- because of the tight relationship of industrialism and consumer captialism to "youth culture"- it's almost fair to say "youth market" instead of "youth culture." In other words- "youth culture" effectively doesn't exist in the absence of consumer driven market capitalism. Think about it.

Savage leaves many of the bolder inferences the reader can draw from this book unstated. The lack of any kind of theoretical explication makes "Teenage" an enjoyable read.