STYLE BITERS: THE COMMODIFICATION AND COMMERCIALIZATION OF YOUTH CULTURE Youth is the promise of possibility. It is the freedom to act on impulse. It is a time to establish identity and desire. At least that is what youth presently represents in dominant Western culture. Youth, as a concept rather than an age group, is often used as a signifier to represent freedom, efficiency, promise, possibility, rebellion, strength, endurance, potential, beauty, freshness, innocence. Youth keeps on meaning different things at different times. Youth as an age rather than a concept is a time to situate firmly the rules and expectations of consumer culture and our social world. Youth is a stage when these powerful rules and expectations are strongly dictated by communication disseminators such as advertising, music, movies, television, and magazines. These rules work through a consumerist ideology to serve corporations by producing meaning. These meanings that represent and signify youth have been engendered and mapped closely onto the understanding of the term "youth". Images in advertisements are utilized to maintain these notions of youth. Their power is very pervasive in our increasingly visually based culture. This engendering of meaning comes at a cost to the group deemed youth themselves as well as to those attempting to achieve or maintain "youth". The quest to find and capture "cool" is an integral part of youth subculture. "Coolness" is a concept that is widely accepted to mean a kind of popularity, mystique and sacredness, which inspires and motivates desire and appreciation. What is cool is evasive and elusive, both for young people and for corporations. As a subculture, youth is a site of variance. Corporations are increasingly appropriating the signifiers of cool, as produced by youth culture, to facilitate the selling of commodity goods to the masses, specifically targeting the young people with whom these meanings originated. Dick Hebdige, in his book Subculture: The Meaning of Style, discusses the origin and function of subculture as a reaction to dominant culture with a continuing (and struggling) position as opposite and counter. Corporations are consistently attempting to bridge the gap between underground youth subculture that is creating cool, and the ever-accepting mass youth culture that is consuming cool. There is an efficient system of observing, appropriating, standardizing and commercializing youth culture to the population at large. This proficient machine seeks out marketable subcultures to establish cultural ideals and maintain them, while selling commodity goods that reflect an ideology of what youth is "supposed to" be and look like, as well as how the consumer is "supposed to" participate within this paradigm. The tenets of youth culture in terms of social exchange, economic status and individual value change quickly. With the use of "cool hunting", a highly complex system of exploitative research and target marketing, corporations can closely follow these changes and capitalize on their popularity and meaning. This system of selling culture is significant in terms of the power and potential of the media, conglomerate and corporation to exploit, co-opt and appropriate the experience and expectation of what it means to be a young person in our contemporary social world. The consequences of this selling include the corporation becoming the institution that we increasingly turn to, instead of government, to exercise power, to define our communities, to build up our economy, to identify ourselves as participants and to solve our social, environmental and personal problems.

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