The terminology of narrative theory, some of the artists

The Who’s Quadrophenia
album was developed around the 1970s and it was produced by the band The Who
and an artist named Kit Lambert. The recorded material is mainly individual
song tracks they are like seventeen tracks for Quadrophenia some of
these are linked while others are instrumental (Nicholls, 2007). Nicholls
(2007, p.309) states that, ‘in the terminology of narrative theory, some of the
artists album has a story behind it. As for the Quadrophenia album has a
basic story behind its album which is focused on a single male protagonist’.
This essay will look at the representation of gender relations in subcultures
with reference to The Who’s Quadrophenia. It will use the work of the theorists
Stuart Hall who discusses the theory of representation as an example and how
does representation of gender relations in subcultures like the mods and
rockers are portrayed in The Who’s Quadrophenia album.

The songs that both the band
named The Who and an artist called Kit Lambert produced in the Quadrophenia album
each of their lyrics provide a meaning behind it about a single male who is a
mod. The album was called Quadrophenia because the songs that The Who
have produced in the album has a story behind each lyrics of the songs that
relates to the film Quadrophenia which is about a young boy named Jimmy
who is a Mod, the opera protagonist who suffers from quadruple schizophrenia
where each of his personalities represent one of the bands members. The way the
songs on The Who’s album Quadrophenia relate to the narrative events is by
discussing each song in the album about Jimmy’s life. For instance, Thurschwell
(2017) states that “the narratives were offered by both the film and The Who’s
album Quadrophenia diverge, however, suggesting different relationships
to a propulsion toward death- Jimmy’s real symbolic suicide and the end of his
identity as a mod”. At the end of the Quadrophenia film shows that Jimmy
is heading towards the beach with his scooter that he stole to the cliff before
flinging it flinging it into the air. In contrast, Thurschwell (2007, p.219)
mentions that “the ending of Townshend’s liner notes to the album leave Jimmy
stranded on a rock in the sea, having exchanged the speed and flash of the Mod
for a kind of slowness: “I’m stuck here in the pissing rain with my life
flashing before me. Only it isn’t flashing, its crawling”. By contrast to the
beginning of the film showing Jimmy walking to the beach suggest being
“drowned” can be temporary condition something that can be returned from the
way in which a pop song might allow you to experience death for three and a
half minutes and then move onto the next song”. On the other hand, The Who’s
Quadrophenia album ends with a kind of existence like being simultaneously
desperate or hopeful. For example, the song “Love Reign O’er Me” recommends
that something might be learned that we haven’t been taught about, after all.

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The method of each of the
songs on The Who’s Quadrophenia album it discusses about Jimmy’s life
and the lyrics for each of the songs which are related to his story life and
how it describes it. For instance, one of the song in the album called “Cut My
Hair” discusses about Jimmy’s narrative in one of the scenes on the Quadrophenia
film where he is recalling his arguments that he had with his parents which
made him leave the house for good. Each subculture especially the mods are a
sequence of subcultures which all correspond to similar parent culture and
which seek to labour out through a structure of modification, basic issues, or
even contradictions that is placed in the subculture by the parent culture that
can be differentiated into three levels in the analysis of subcultures which
are firstly is the historical analysis in which it distinguishes the specific
issues of a particular class fraction, secondly is structural or a semiotic
analysis of the subsystems it is a way in which they transform from one
subculture to another and last but not least is the phenomenological analysis is
the way subculture is tolerated by those who are the supporters of the
subculture (Gelder, 2007). This leads to whatever style, music, characteristics
or even the way they dress have changed you to sill belong to the same parent

Jost (2016, p.6) states that “the
songs of a concept album are organized in a cyclical manner, with its lyrics
following a specific topic or discourse. In this context, the term rock opera
enhances the idea of the theatrical within the musical realization. Above all,
this refers to the presence of a more or less complex storyline”. As mentioned
above, antecedent to Quadrophenia The Who album has been involved in the
production of sophisticated rock music. The songs that are listed in The Who’s Quadrophenia
album it is mainly a narrative event about Jimmy’s life that relates to the
film in the mid-1960s as he has been caught up in the confrontation between
both subcultures the Mods and the Rockers on the Brighton Seafront. While the
battle occurred at that time between both groups the mod and the rockers the
mods began the battle by marching towards the rockers chanting out “We are the
Mods! We are the Mods! We are, We are, We are the Mods!” which represents as a
bold affirmation of both individual and collective identity towards the film. Feldman
(2009) states that “The mods were dressed as a dapper attire and they had their
Vespas with them, which they believed they were truly modern that they alone
personified the future and change”.