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CULTURE Role of Subculture The post-war mainstream was characterised by social and political conformity.  Community fears were contained within narrowly defined, domesticated roles.  Secure families in Levittown were a stark contrast to the image of drugged-out black Beboppers, playing excitable music in Harlem nightclubs.  A subculture had developed around Bebop, whose white and African American members flouted the social norms of lifestyle; use of space, language and dress.  The emerging teen culture of the 1950s intersected with this ‘hip’ subculture.  A youthful attitude of rebellion throughout this disparate group was perceived by the public.      INTERPRETATIONS QUESTIONS OTHER SOURCES INTERPRETATIONS DeVeaux: Beboppers such as Charlie Parker and Dizzy Gillespie actively created the musical subculture.  It gave them degree of autonomy and recognition.  The isolation from mainstream culture was the result of forging an area in which African American musicians could succeed.  White and White:   Lifestyle choices and attitudes brought unsegregated youth groups together with African American musicians.  The emerging perception amongst the public of these groups was one of "juvenile delinquency".  This somewhat accurately reflected the attitude of resistance within this subculture.  Belgrad: Bebop artists were opposed to the corporate system behind the music industry.  Their emphasis was on a particular philosophy concerning the social meaning of their music, in its  production rather than reception. Mailer :  The hipster was the American existentialist.  They were reacting against the stifled creativity and social conformity of the Cold War era. Baraka:  White beboppers took part in the alienating culture voluntarily.  In contrast, for African Americans there was no choice to be removed from mainstream society in some way.  The Bebop culture had a social meaning of nonconformity, which was a conscious attitude on the part of the members to be different and separate.  This attempt to relocate themselves outside of the mainstream corresponded with the new role of Bebop musicians as artists rather than performers.  This attitude of nonconformity appealed to youth of white and African American backgrounds.   Linking Issues Jazz History: Audience and the Performer Jazz History:  Popular forms Culture Race: Segregation Race: Civil Rights QUESTIONS In which areas did membership of the subculture seem to provide autonomy? Does there seem to be a 'stance of alienation' in the views or behaviours held by the Bebop subculture? If so, is its role political, economic or artistic? How did social attitudes held by the Beboppers relate to the new style of playing?    See "The Cult of Bebop" Intro  Lie One     Lie Three      Lie Four    Lie Six      Lie Six     Lie Six Lie Six  Lie Six     Lie Seven     Lie Seven    Lie Eight    Lie Eight   Lie Nine Lie Tenie Eleven   OTHER SOURCES & DISCUSSIONS Reflections by Amiri Baraka on Bebop and the Hip culture and his own personal reaction to 'Diz'.