Youth, Popular Culture and Moral Panics: Penny Gaffs to by John Springhall

By John Springhall

This e-book units out to teach that modern day fears concerning the meant ethical chance posed to the younger by means of violent videos or interactive desktop video games have their roots in nineteenth-century anxieties in regards to the sick results of well known different types of leisure at the "children of the reduce classes." those issues stretch in a virtually unbroken line via successive "moral panics" in either Britain and the USA, as all through heritage there were makes an attempt to shift the blame for social breakdown onto the leisure varieties of the age: penny theatres, "penny dreadfuls," dime novels, gangster movies, horror comics. a majority of these are mentioned, evaluated, and positioned in context. A postscript refers to "video nasties," violence on tv, "gangsta rap," and machine video games, every one in flip taking part in the position of "folk devils" which needs to be inflicting delinquency. The booklet argues that for the reason that "moral panics" over pop culture are perennial, this tells us greatly extra approximately grownup anxieties--fear of the long run, technological switch, and the erosion of ethical absolutes--than in regards to the nature of teenage misbehavior.

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Additional info for Youth, Popular Culture and Moral Panics: Penny Gaffs to Gangsta-Rap, 1830–1996

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There was a rush from the lower house when the drama was over, several boys being carried on the shoulders of others. Then the journalist moved on to a gaff in the New Cut, Lambeth, where he paid twopence for a box and sat among a slightly better audience of 'the labouring and lower classes'. A comic ballet was followed by 'out of tune and harsh' singers, applause, then an 'improper' comic song sung by 'a lean, shabbily dressed young man' for a few pennies thrown onto the stage. The principal performance was another mimed version of Jack 28 Youth, Popular Culture and Moral Pan ics Sheppard' which, as always, drew crowded houses.

This gave a patchy look to the page and a certain jerkiness to the narrative which was not assisted by each weekly part running on directly, sometimes in mid-paragraph, from where it had left off in the previous issue. 'As long as the paragraphs are short, the incidents sensational, the conversation high-flown, and the end of all things a marriage, the grammar may be bad, the plot preposterous, the characters wooden, and the anticlimax persistent', according to Talbot Baines Reed, the boys' school-story author.

A police report was requested which gave the persons attending as about 400 nightl y, chiefly bo ys of th e poorer class, many from 10 to 12 years of age. Ther e were two evening shows, the first one finishing about nine and consisting of melodramas such as The Crock of Golda nd ThePilot'sGrave, together with comic, sentimental and negro singing, acrobats on the flying trapeze, performing dogs , and clog and hornpipe dancing. BianchardJerrold and Gustave Dore visited the Garrick a few years later, in 1872, when it seem s to have resumed its former elevated status, despite losing audiences to th e Standard Theatre at Shoreditch.

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