This master thesis shows the interdependence of the Mod youth culture and the rock opera Quadrophenia, originally created by The Who. The roots of the subcultural phenomenon ?Mods?, as it is depicted in Quadrophenia, are analyzed by means of a cultural-historical analysis. A short overview of the band?s history is intended to give the reader a deeper understanding of the development of the rock opera and its different versions respectively. The main topic of my thesis is the youth subculture of the Mods. Its life cycle or rise and fall is described by an analysis of its influence and representation in the rock opera Quadrophenia and at the same time the implications this specific work of art had for the definition and evolution of the entire Mod culture. The story told in Quadrophenia shows the life-situation of Mod Jimmy Parker as a prototypical representative of this entire youth cultural phenomenon. Mod culture had its apex in the 1960?s in Southern England, and subsequently fell into decline and marginalization. The adaption of Quadrophenia as a motion picture in 1979 led to a spectacular revival in the late 1970?s and early 80?s, but again Mod culture lost its appeal and was superseded by more aggressive or more romantic styles. The analysis of the plot and song texts illustrates the Mod culture, its ways of expression and rebellion. The song texts by Pete Townshend tell not only the story of the Mod Jimmy; what is more, they represent a critical assessment of this youth movement and subculture and its lack of perspective. This is shown in the psychological disunity of the protagonist Jimmy, which can be interpreted as expressing criticism of the Mod society. The basic thesis can be summarized by the assumption that the lack of political objectives, the disinterest with politics in general and the absence of a charismatic leading person prevented the Mods from becoming a real mass-movement, which Punk, the Rockers or the Skinheads were able to become.