Thursday 14 April 2011

Subculture Bibliography

Hispster
  • Stevegarvey (2008) hipster documentary, online video, accessed on 30/3/2011 http://www.youtube.com/watch?v=tr77efMavEY&feature=related

  • What Was the Hipster? By Mark Greif, http://nymag.com/news/features/69129/ published 24/10/10 accessed on 5/4/2011

  • Meet the global scenester: He's hip. He's cool. He's everywhere by Tim Walker

  • http://www.belfasttelegraph.co.uk/woman/fashion-beauty/meet-the-global-scenesters-hip-cool-and-everywhere-13941921.html

  • Thursday, 14 August 2008 accessed on 30/3/2011

  • Hipster: The Dead End of Western Civilization, Douglas Haddow , 29 Jul 2008 accessed 30/3/2011

  • So What is Hipster By: Marsha Polovets

  • February 16, 2009 – 11:41 pm accessed on the 30/03/2011

  • The hipster in the mirror by Mark Greif for the New York Times Book Review; 11/14/2010, p27, 0p

  • What was the hipster: a social investigation, Alyx Vesey Bitch Magazine Feminist Response to Pop Culture Spring 2011 Issue 50 p63-63 2-3p


Punk
  • John Holmstrom (extract) 2002 - outsiderzine.tripod.com

  • Subculture : The Meaning of Style - Dick Mebdige – 1979

  • Inside Subculture : The Postmodern Meaning of Style - David Muggleton - 2000

  • Punk Fanzine Design



Rave
  • SexDrugzTechno (2007), 'RAVE Act and the War on Ecstacy', Online video, Available at (Accessed; 10/04/2011)

  • BDDAVE (2007), '(Part 1) DUNE II Desert Rave Part 1997', Online video, Available at (Accessed; 10/04/2011)

  • BDDAVE (2007), '(Part 2) DUNE II Desert Rave Part 1997', Online video, Available at (Accessed; 10/04/2011)

  • BDDAVE (2007), '(Part 3) DUNE II Desert Rave Part 1997', Online video, Available at (Accessed; 10/04/2011)

  • BDDAVE (2007), '(Part 4) DUNE II Desert Rave Part 1997', Online video, Available at (Accessed; 10/04/2011)

  • WarehouseDayZ (2010), 'DOCUMENTARY ON RAVE CULTURE 1991, Online video, Available at (Accessed; 10/04/2011)

  • GlowstickingDotCom (2007), 'Glowsticking.com Stringing: Furinax Overview 9/9/06', Online video, Available at (Accessed; 10/04/2011)

  • fabul0uz5 (2009), 'Rave Shuffle', Online video, Available at (Accessed; 10/04/2011)

  • gnsec (2007), 'New York Subway Break Dance (better quality)', Online video, Available at (Accessed; 10/04/2011)

  • raid123hero (2011), 'Tiesto Plays 'One' by Sweedish House Mafia (Live at Sterosonic 2010 Brisbane)', Online video, Available at (Accessed; 10/04/2011)

  • Hutson, S (1999), ‘Popular Music & Society’, Technoshamanism; Spiritual Healing in the Rave Subculture, Vol 23. p53-72, 'Quest/EBSCOhost Discovery Service' Available at : http://ehis.ebscohost.com/eds/pdfviewer/pdfviewer?vid=3&hid=115&sid=d4b17f7f-f290-488b-9c6f-51bfab271ff1%40sessionmgr114 (Accessed: 01/04/2011)

  • Hyperreal (2004), Techno Music and Raves FAQ, Available at :http://hyperreal.org/~mike/pub/altraveFAQ.html (Accessed; 6/04/2011)

  • McCall, T (2003), ‘Continuum Encyclopedia of Popular Music of the World' Part I Social and Cultural Dimensions 3. Social Phenomena: Rave Culture, Vol 1. p333-335, 'Quest/EBSCOhost Discovery Service' Available at : http://ehis.ebscohost.com/eds/pdfviewer/pdfviewer?sid=32a349df-cca5-472c-9905-a3a1f7492485%40sessionmgr113&vid=1&hid=101 (Accessed: 29/03/2011)




Riot Grrrl
  • Frey, Hillary. Nation; 1/13/2003, Vol. 276 Issue 2, p27-28. Accessed by the Academic Search Complete database on the 13 April 2011

  • http://fuckyeahriotgrrrl.tumblr.com

  • - Lisa. B. Rundle. 2005. Herizons Vol. 19 Issue 1 p31. Accessed by the Academic Search Complete database on the 13 April 2011

  • - Rosenberg, Jessica. Garofalo, Gitana. 1998. Signs: Journal of Women in Culture & Society. Spring98, Vol. 23 Issue 3. Available through SocINDEX with Full Text Database. Accessed 12 April 2011

  • -BIKINI KILL ZINE 2

  • -Lauraine Leblanc. 1999. Pretty in Punk: Girl's gender resistance in a boy's subculture. Rutgers University Press

  • -Cherie Turner. 2001. Everything you need to know about the Riot Grrrl Movement. Rosen Publishing Group

  • Ken Gelder. 2007. Subcultures: Cultural Histories and Social Practices. Routledge

  • Ken Gelder (Editor) 1997. The Subcultures Reader. Routledge



Skater
  • http://www.angelfire.com/ca2/dtown/articles.html

  • http://www.angelfire.com/ca2/dtown/aspects.html

  • Documentary film (2001), An AOP Production
    Director: Starcy Peralta, also did movies: Lords of Dogtown, Riding Giant,

  • Yen.Yi-Wyn (2004), ‘Taking It to the Street”, sport Illustrated, Vol.101 Issue 22, page 12, Available at: http://ehis.ebscohost.com/eds/detail?hid=115&sid=898ed610-0619-4248-a4f33a830520249c%40sessionmgr104&vid=1&bdata=JkF1dGhUeXBlPXNoaWImc2l0ZT1lZHMtbGl2ZQ%3d%3d#db=a9h&AN=15236887, (Accessed: 24th /march 2011) 

  • Beal, B (2005), ‘Skateboarding’, Berkshire encyclopaedia of world sport, Vol4., Full Text (online). Available at : http://ehis.ebscohost.com/eds/detail?hid=115&sid=03725f80-9409-4394-a26326593e1c3552%40sessionmgr114&vid=1&bdata=JkF1dGhUeXBlPXNoaWImc2l0ZT1lZHMtbGl2ZQ%3d%3d#db=s3h&AN=22912026 (Accessed: 22nd March 2011

Wednesday 13 April 2011










A few examples of Riot Grrrl art, zines and Kathleen hanna from Bikini Kill at the bottom.

All sourced from http://fuckyeahriotgrrrl.tumblr.com

By Sarah Gill

Kathleen Hanna's Fire


“I’ve always felt frustrated listening to a band and dancing, and there’s some knucklehead who comes up and says, ‘Oh, hey, I love how you dance,’” ex- plains the 33-year-old Hanna, who’s been the reigning feminist of the indie-rock scene since it exploded ten years ago. “I think, ‘Did I ask for that because I was stand- ing in front having such a good time?’ And then, ‘Maybe I’ll stand in the back and dance,’ or ‘Maybe I’ll stay home and lis- ten to the record and dance in my room by myself.’... It’s that sort of feeling that even in leisure time you’re still on the clock and being looked at through the male gaze—to turn a little Femi- nist 101 phrase on you,” she adds with a laugh.”

“A short time later, in 1991, Hanna started
Bikini Kill, just as the Riot Grrrl movement was attracting young women across America. In interviews, Hanna has denied being a Riot Grrrl “founder,” but the feminism espoused by that movement is very much in sync with her own—one that builds awareness from the personal experiences of oppression and unfairness that every young woman goes through and turns that awareness into action. In a way, Riot Grrrl meetings were like consciousness-raising sessions updated for the 1990s—and so were Bikini Kill shows. “I always saw performing as an advertise- ment for feminist activity,” Hanna explains. Concerts didn’t erupt into rallies, exactly, but following Hanna’s example of what a young woman can be—loud, smart, political and sexy—girls and young women started to speak out.”

- Frey, Hillary. Nation; 1/13/2003, Vol. 276 Issue 2, p27-28. Accessed by the Academic Search Complete database on the 13 April 2011

By Sarah Gill

Out of Bounds


“The riot girl movement embodies much of what is key about the third wave. The Riot Grrrl movement was in-your-face, pull-no-punches, do-something-about-it, space-claiming, brutally honest, anti-all-kids-of-oppression and, as if you needed more bang for your feminist buck, a screming-out-loud kind of fun. And it used cultural change to, like, change our culture.”

“You can’t talk about Riot Grrrl without mentioning Kathleen Hanna, then of the band Bikini Kill, now of Le Tigre. She was key to the movement’s kickoff and growth. Hanna, talking about bikini kill, says a lot about Riot Grrrl generally: “(We are) radical not just because (we) challenge standard business practices, media expectations, and hierarchical bullshit, but also because (we) are feminist thrill-seekers.” Right on.
The music and the movement also spawned a new kind of zine culture and harnessed that energy for an explosion in political expression and DIY culture, creating a whole new mechanism for dancing past the by then well-understood dangers of participating in corporatized mass media.”

“But maybe one of the most important things to remember is that Riot Grrrls didn’t start with the Riot Grrrls; that movement was build on the feminist influences, idols and ideas of all the grrrls who came before. Think about the Guerilla Girls, around since the mid-80s, who expose sexism and racism in the art world and culture at large.”

- Lisa. B. Rundle. 2005. Herizons Vol. 19 Issue 1 p31. Accessed by the Academic Search Complete database on the 13 April 2011

By Sarah Gill

Riot Grrrrl: Revolutions from within



“Very few self proclaimed Riot Grrrls would, if asked, like to explain exactly what the term means. Many call is punk rock feminism, even though Riot Grrrl has moved beyond punk circles. When a groupd of girls in Washington, D.C., started Riot Grrrl in the summer of 1991, their intent was to make girls and women more involved in D.C.’s predominantly white, male punk scene, in which girls participated mostly as girlfriends of the boys. In the late 1970’s, punk initially had been very pro-feminist (the ideals of feminism fit in with punk’s do-it-yourself (DIY) ethic of self-empowerment and independence from authority, but as it became commercialized around 1977, its ideals became assimilated into the mainstream patriarchal belief system.”

“In the summer of 1991, K Records of Olympia help the International Pop Underground Festival, and the first night was designated Girls’ Night. As the zine Girl Germs noted, “The idea was formulated by several Olympians, who saw an opportunity to demarginalize the role of women in the convention and in punk rock.” Let by bands such as Bikini Kill, Bratmobile and Heavens to Betsy and zines such as Girl Germs, Jigsaw and Chainsaw, more bands and more zines came into being and a network of Riot Grrrls was created, based largely on those zines.”

“Perhaps because it was based on the punk scene, Riot Grrrl is much angrier than was the second wave of feminism of the 1970s. Riot Grrrls are loud and, through zines, music and spoken word, express themselves honestly and straightforwardly. Riot Grrrl does not shy away from difficult issues and often addresses painful topics such as rape and abuse. Riot Grrl is a call to action, to “revolution Girl-Style now” At the time in their lives when girls are taught to be silent, Riot Grrrl demands that they scream.”

“More recently, Riot Grrrl has formed a community on the Internet. Although discussion topics range from racism to music, from zine promotion to company boycotts and legislative politics, girls write most often about their days – something small that has upset them or something great that has happened. In that environment, what they create is genuine and accessible.  Because the feminism of Riot Grrrl is self-determined and grassroots, its greatest power is that it gives girls room to decide for themselves who they are. It provides a viable alternative to the skinny white girls in Seventeen and YM (Young and Modern) magazines.”

“Lailah: The goals of Riot Grrrl are really wide. They’re not really concentrated. It’s very widespread. It’s important to be really widespread (and include) people from different walks of life. I’d been involved in different movements, some socialist youth organizations, an organization that worked with kids internationally through the United Nations, a group of youth from a progressive summer camp I used to attend, and a few clubs at my former high school, that weren’t really doing it for me.”

“Jessica R: What are the politics of Riot Grrrl?
Erin: The basic underlying one (is) be who you want to be, regardless of sex, race, class. (Riot Grrrls are) not limited. They’re typically very liberal, but a Riot Grrrl can be a Christian antiabortionist. The main thing is don’t compromise others’ beliefs. Think strong for yourself even if you don’t agree with other Riot Grrrls. Opinions about abortion is a good example of this. I’ve come across Riot Grrrls who are like, “No, this is who I am and you can’t hold it against me.”
“Jessica R: What is Riot Grrrl saying?
Jake: Talking about the unfair advantage people have over others – the social commentary… Society in general is messed up. People who have power and people who don’t. This is about opening their eyes to what is going on – dieting, the fashion industry. There’s a lack of knowledge about others – Racism, anti-Semitism, homophobia – for no reason. It pisses me off. It’s frustrating. It’s not getting through. The whole supposed liberation movement – women are still being raped, sexually harassed, earning seventy-five cents for every dollar a man earns. There’s still a lot of ignorance and bigotry. Riot Grrrl is speaking out against this, (saying), “This is wrong. Change it.”

“Jessica R: Why is it important that Riot Grrrl has become a community?
Jamie: A lot of girls feel the same way. Before Riot Grrrl they thought they were the only ones. And then, after Riot Grrrl, they’re writing zines and singing about the same problems these girls have. It gives them hope that, if these girls can do it, why can’t they?”

“Jake: Riot Grrrl basically says, “We’re here for you. If there’s something bad, we want to help stop it too. Whatever you need.” The whole concept of girl-love. There are other people who’re being discriminated against. Necessarily there’s the concept that people are going through the same thing. It’s easier to talk with strangers or people who have been there – to stand by and really support you. I don’t know why. Girls support and stand by each other.” 

- Rosenberg, Jessica. Garofalo, Gitana. 1998. Signs: Journal of Women in Culture & Society. Spring98, Vol. 23 Issue 3. Available through SocINDEX with Full Text Database. Accessed 12 April 2011



By Sarah Gill

Tuesday 12 April 2011

John Holmstrom's Punk Artwork


The cartoonist John Holmstrom, was at the centre of american punk, in the 70s; being a co-founder of "Punk Magazine", and the illustrator behind the Ramones albums - Rocket to Russia, and Road to Ruin.




Above are two covers of "Punk Magazine" and an internal page of the magazine, which once again follow the punk ideology of being very self created, showing a disregard for any mass productive techniques at least on a visual aesthetic level.


Interview with John Holmstrom (extract) 2002 - outsiderzine.tripod.com

there's been alot of books coming out in the last few years about
"the history of punk" and what not. in most of em they make it sound
like punk ended in 79 and the movement destroyed itself. in alot of ways
maybe this is true, but the movement did go on... it just changed.
throughout the last 25 years though, there have always been bands who
kept the same spirit alive as they had in the 70's. what's your
opinion...? do you think punk died and had a revival in the 90's or do
you think it just wasn't in the public eye?

I am ambivalent about ending the story in 1979, but then again, it was an
end. When hardcore started, I rarely got the idea that those kids felt they
were carrying on the punk rock thing. It was a separate movement. I never
felt that grunge was a punk rock revival either.
Punk was definitely considered dead and finished with in 1979 by most of the
civilized world--even though I knew it wasn't. You had to read some of the
stuff in the media: "Punk's rotting corpse" "Punk Rock RIP" etc. Writers and
editors were sharpening their pencils to write "Punk is dead!" as soon as it
began. There was always a reaction against it, and when there was no
commercial success after a while, and then Blondie had a hit with a disco
record, well, it certainly seemed dead at the time. I remember Joey Ramone
saying in late 1979/early 1980 that he felt like the Ramones were the last
rock 'n' roll band in the world because they would never, ever make a disco
record at a time when every other punk band from the Clash to Lou Reed was
going disco. It was F'N scary.

- This extrct again points out the fact that there is initial opposition and denial of the worth of a subculture.

by James 

Riot Grrrl Manifesto


RIOT GRRRL MANIFESTO
  • BECAUSE us girls crave records and books and fanzines that speak to US that WE feel included in and can understand in our own ways.
  • BECAUSE we wanna make it easier for girls to see/hear each other’s work so that we can share strategies and criticize-applaud each other.
  • BECAUSE we must take over the means of production in order to create our own moanings.
  • BECAUSE viewing our work as being connected to our girlfriends-politics-real lives is essential if we are gonna figure out how we are doing impacts, reflects, perpetuates, or DISRUPTS the status quo.
  • BECAUSE we recognize fantasies of Instant Macho Gun Revolution as impractical lies meant to keep us simply dreaming instead of becoming our dreams AND THUS seek to create revolution in our own lives every single day by envisioning and creating alternatives to the bullshit christian capitalist way of doing things.
  • BECAUSE we want and need to encourage and be encouraged in the face of all our own insecurities, in the face of beergutboyrock that tells us we can’t play our instruments, in the face of “authorities” who say our bands/zines/etc are the worst in the US and
  • BECAUSE we don’t wanna assimilate to someone else’s (boy) standards of what is or isn’t.
  • BECAUSE we are unwilling to falter under claims that we are reactionary “reverse sexists” AND NOT THE TRUEPUNKROCKSOULCRUSADERS THAT WE KNOW we really are.
  • BECAUSE we know that life is much more than physical survival and are patently aware that the punk rock “you can do anything” idea is crucial to the coming angry grrrl rock revolution which seeks to save the psychic and cultural lives of girls and women everywhere, according to their own terms, not ours.
  • BECAUSE we are interested in creating non-heirarchical ways of being AND making music, friends, and scenes based on communication + understanding, instead of competition + good/bad categorizations.
  • BECAUSE doing/reading/seeing/hearing cool things that validate and challenge us can help us gain the strength and sense of community that we need in order to figure out how bullshit like racism, able-bodieism, ageism, speciesism, classism, thinism, sexism, anti-semitism and heterosexism figures in our own lives.
  • BECAUSE we see fostering and supporting girl scenes and girl artists of all kinds as integral to this process.
  • BECAUSE we hate capitalism in all its forms and see our main goal as sharing information and staying alive, instead of making profits of being cool according to traditional standards.
  • BECAUSE we are angry at a society that tells us Girl = Dumb, Girl = Bad, Girl = Weak.
  • BECAUSE we are unwilling to let our real and valid anger be diffused and/or turned against us via the internalization of sexism as witnessed in girl/girl jealousism and self defeating girltype behaviors.
  • BECAUSE I believe with my wholeheartmindbody that girls constitute a revolutionary soul force that can, and will change the world for real.
-BIKINI KILL ZINE 2

 

By Sarah Gill

Pretty in Punk


“…was only the second girl I interviewed during my research. Like me, she felt troubled about the male-dominated gender dynamics in the punk subculture, a subculture that portrays itself as being egalitarian, and even feminist, but is actually far from being either. Yet, like me, she had found that this same sub-culture gave her a place to be assertive and aggressive, to express herself in less “feminine” ways than other girls. It is this paradox that led me to this research: on the one hand, punk gave us both a place to protest all manner of constraints; on the other, the subculture put many of the same pressures on us as girls as did the mainstream culture we strove to oppose.”

“Punk girls struggle to construct their gender within the confines of a highly male-dominated and therefore “masculinist” context. The punk subculture highly valorises the norms of adolescent masculinity, celebrating displays of toughness, coolness, rebelliousness, and aggressiveness. Girls are present in the subculture, but the masculinity of its norms problematizes their participation. Thus, gender is problematic for punk girls in a way that it is not for punk guys, because punk girls must accommodate female gender within sub cultural identities that are deliberately coded as male.”

-Lauraine Leblanc. 1999. Pretty in Punk: Girl's gender resistance in a boy's subculture. Rutgers University Press

By Sarah Gill

Everything you need to know about the riot grrrl movement


“But out of the punk rock subculture sprang a group of teen girls and young women who embraced these punk sensibilites and changed the face of popular feminism. They called themselves riot grrrl.”

“But as with most idealistic and liberating subcultures (groups that identify themselves as being outside the norm and thereby threaten established way of society), it was not long before the influences of mainstream cultures stared to make their mark on the new movement. By the mid-1980’s, men once again took over the punk music scene. The music has become “hardcore”. To quote Pretty in Punk: “Once again, girls were edged out of the burgeoning (growing) new hardcore punk scene. Never again would they occupy a central role in the punk subculture.”

“Then, states Pretty in Punk author Leblanc, “in the early 1990s, punk underwent yet another “revival”, largely due to the popularity of “grunge”…Punk had survived the conservative ‘80”s, and in the late ‘80s and early ‘90s renewed itself in a variety of offshoots such as…Riot Grrrl.” If women were no longer accepted as part of the group as they had been back in the late 1970s, they would nonw just create their own scene. The time had come for “Revolution, Grrrl-Style.”

“The marginalization that these feminists faced only served to make them stronger, louder, and more confrontational, and purposefully united. Slowly they created a network of like-minded angry and outspoken women. Empowered by punk’s DIY philosophy, they created a place for themselves by themselves. In a 1992 article for the Chicago Reader, Emily White observes: “Riot girl (which these women would eventually call themselves) was started by a group of musicians and writers and friends who decided to aggressively co-opt the values and rhetoric of punk, fifteen years later, in the name of feminism.” 

-Cherie Turner. 2001. Everything you need to know about the Riot Grrrl Movement.  Rosen Publishing Group

By Sarah Gill

Subcultures: Cultural histories and social practises


“The best place to begin a cultural history of subcultures (although medievalists may disagree) is in mid-sixteenth-century London, with the emergence here of an “Elizabethan underworld” and the popularisation of a genre of pamphlet-writing loosely referred to as “rogue literature” devoted to chronicling of criminal types and criminal activities in and around the city. Criminal underworlds certainly existed before this time and in many other places. However, early modern London saw not only the rise of a myriad of discreet, underground criminal networks but also a proliferation of imaginative narratives about them.”

“Still they came, trampling singly or in groups along the country highways, sneaking into barns and hovels on the fringes of the towns, adapting themselves to city life to swell the ranks of the criminal classes of London…everywhere unsettling the common folk, and disturbing the conventions of an orderly regime. (Judges 1965: xv)”

“An important way of understanding subcultures is this offered here, that even as they appear disorderly to outsides they are from their own perspective “tightly organised”, their social worlds structured by rules and protocols. “

“Dionne argues that the rogue literature of the late sixteenth century played a major role in sub cultural formation, helping to “reshape the image of the hapless vagabond into the covert member of a cast criminal underground of organised guilds, complete with their own internally coherent barter economy, master-apprentice relations, secret languages and patrons” (Dionne 2004: 33)."

-  Ken Gelder. 2007. Subcultures: Cultural Histories and Social Practices. Routledge

By Sarah Gill

The Subcultures Reader


“all of our contributors would probably agree that subcultures are groups of people that have something in commone with each other (i.e they share a problem, an interest, a practise) which distinguishes them in a significant way from the members of other social groups.”

- Ken Gelder (Editor) 1997. The Subcultures Reader. Routledge

By Sarah Gill

Monday 11 April 2011

Punk's Influence on Mainstream Fashion


- The most stylistic elements of punk (the "do it yourself" style creations) such as studded jackets, torn jeans, where the easiest elements exploit.


- Vivienne Westwood's designs fed back directly into the comercial market, intergrating the punk aesthetic into the society's culture.




- All these pieces of Westwood's are now created for the world of high fashion and a worth far more than the ideology of punk would allow. This is an example of "the commodity form" of intergration.

by James

Subculture : The Meaning of Style - Dick Mebdige - 1979


- Established that subcultures can be studied using semiotics, by considering it a language. At this point it cannot be interpreted by society because there are no pre-existing points of reference.


- There are many inital reactions to subcultures generally ranging from fear, to fasination, to amusement. The elements which attract the initial media attention are the most aesthetic and stylistic, and this is the beginings of the subcultures ideology degrading it begins to be understood by the population.


- As mainstream culture begins to learn more about the subculture it diffuses, and asymilates with the mainstream. Elements are extracted and exploited for commercial success and in doing so the subculture loses it originality and often their value systems (very evident in punk's "do it yourself" image being exploited to create a "punk look" seen commonly in mainstream fashion).


- The media can also choose to simply intergrate the subcultures elements, by finding points of "sameness" in order to domesticate it in order to make sense of it.


- The quest to understand the subculture inevitably ends in that subculture being intergrated into the mainstream culture, meaning the subculture is no longer seperate and no longer exist.

by James

Inside Subculture : The Postmodern Meaning of Style - David Muggleton - 2000

"The first pair are used in an epochal sense, with postmodernity conveying the idea of a shift from, or transformation of, modernity, such that we have made, or are in the process of making, a move to a new historical period or form of society."

"This historical focus should be kept in mind throughout this chapter, for my aim is to examine what implications there might be for subcultures if we are, indeed, moving towards a postmodern society. I intend to explore this theme, as it relates to both fashion in general and subcultural style more specifically, through examining the assertions of other writers and commentators on this topic."

"The idea seemed to me was never to fit in . . . and if you never fitted in, then there was never going to be any competition. Malcolm McLaren on the Sex Pistols and Punk Rock: ‘Mavericks’, (BBC Radio One, Feb. 1995) Have no rules...  I don’t have many friends, but the few I still have are worth keeping because of just that. Highly individualistic. Unable to fit cozily into systems." 

"These provide the necessary conceptual clarification to enable us to assess empirically the extent to which a sample of contemporary subculturalists display a postmodern sensibility."

- Indicates a differentiation from the pre-existant culture.

"Whereas images once reflected and represented reality, or even produced an ideological mystification of reality (as in the Marxist sense), the image now serves to distract us from the fact that there is no reality to which it seems to refer."

Showing that the mass social population have no way of interpreting these subcultures, as they are intially see nothing with which they are familiar, they have nothing that they can refer back to, other than it's differentiation from their own culture.


"Certainty and absolutism must be replaced by indeterminacy and difference. Baudrillard (1983b) theorizes how ‘information networks’ and media proliferation have brought about a transition from an ‘industrial order’ of mass production to a society premised on the reproduction of signs and images (ibid.: 100). Whereas images once reflected and represented reality, or even produced an ideological mystification of reality (as in the Marxist sense), the image now serves to distract us from the fact that there is no reality to which it seems to refer. Indeed, Baudrillard goes so far as to claim that free-floating signs reach a stage in which they refer only to each other: the image ‘bears no relation to any reality whatsoever"

- Focuses on how media outlets have the power to distort ideologies by choosing the most aesthetic and stylistic of "signs", to represent these subcultures.

"On the basis that such changes are occurring we can put forward two hypotheses. First, that group identifications (such as, I’m a punk; I’m a mod) would be problematized, and that subculturalists would not regard themselves in such specific terms. Second, that the fragmentation of both conventional and subcultural style has led to a de-differentiation (Lash 1990) of the subcultural– conventional divide, meaning that subculturalists would be unable to maintain this boundary through comparisons with conventional style."

- Showing the inevitable deconstruction of the subculture as it becomes analysed and intergratedinto mainstream culture.

by James

Punk Fanzine Design




The Punk Fanzine "Flipside" - Reflects the punk ideology of creating some minimal, by hand rather than using mass productive techniques. There is a large use of found images, reused typography, hand drawn elements and typewriter body copy. This internally created media does however lead to the ultimate diffusion of subculture as all media representation does.

by James

Hipster Documentary

 Stevegarvey (2008) hipster documentary, online video, accessed on 30/3/2011 http://www.youtube.com/watch?v=tr77efMavEY&feature=related


by Toby

Subculture survey


For the project research I asked around a youth demographic of 18-22 year olds to fill out a short survey on general subculture and surprisingly the vast majority of them did.

1.     1. Britain has a rich history when it comes to youth subcultures but where do you think you fit? You could be a punk, a skater, emo or one of the many others or do you think you are a part of mainstream culture?

About half the people managed to assign themselves to a youth subculture a lot of these were varied and some assigned themselves to more than one subculture which leads me on to the people who mentioned that they didn’t want to say that they where mainstream one going as far as to just to say “I don’t want to label myself” which is probably a yearning not to be placed in the ‘boring’ mainstream in some attempt of youthful rebellion. On another interesting note one person answered with “not chav” this is him associating what he is by what he is not a clear way that subcultures are formed. The rest have reluctantly said they were mainstream and they all seemed the need to justify it as if it is an embarrassing secret.

2.     2. Would you agree that modern youth subcultures are an evolution of older ones or they are new and fresh with different ideals?

By an overwhelming majority most people believed that modern subcultures are evolutions of older ideas rather than fresh new ones, some also suggested that they were “cheap knock offs” of older ones. Most people suggest that the subcultures have changed due to change in society and technology.

3.     3. Do you think subcultures are still prevalent today?

Everybody bar two said that yes they are still prevalent in today’s world however a minority said that it is hardly compared to how it was in the past.

4.    4.  If so do you think they have the same impact as they did in the past, are you afraid of subcultures like punks or do you think they no longer threatening?

This question got a very inbetween answer of yes they are threatening but no ware near as much they were in the past. Some have suggested that the subculture chav has now taken the threatening role in society. Some then said that subcultures were now about fashion and hair not a political stance or the anger of youth.

5.    5.  Do you think subcultures are dying out, if so do you think this is because people are happy with society or have nothing they feel then need to rebel against?

Most people would say subcultures are not dying out however they differ on what they are doing, about half the people who agree that subcultures are not dying out and they will always have something to rebel against, some used the example of the student riots last year. The other half said they thought that it they don’t have things to rebel against and that subcultures have changed to be more of identity thing to do with the cloths they wear and their hair.

6.     6. What do you think subculture means?

To a pleasant surprise most people answered with a very accurate answer saying that they were groups of people who rebel against a mainstream culture usually with a cause on a political level. However there were a couple of people who got the answer very wrong, one even suggested that it was completely to do with music.


an example of a complete survey

By Toby

Hipster - The hipster in the mirror


What Was the Hipster? By Mark Greif, http://nymag.com/news/features/69129/ published 24/10/10 accessed on 5/4/2011

“Dov Charney, CEO of American Apparel, announced in August that “hipster is over” and “hipsters are from a certain time period.” Gawker proposed to substitute a new name for the hipster by fiat—approving, after some consideration, the term fauxhemian.”

“A key myth repeated about the hipster, by both the innocent and the underhanded, is that it has no definition.”

“The matrix from which the hipster emerged included the dimension of nineties youth culture, often called alternative or indie, that defined itself by its rejection of consumerism.”

“Un the nineties, the sociologist Richard Lloyd documented how what he called “neo-bohemia” unwittingly turned into something else: the seedbed for post-1999 hipsterism.”

“The neo-bohemian, the vegan or bicyclist or skatepunk, the would-be blue-collar or postracial twentysomething, the starving artist or graduate student—who in fact aligns himself both with rebel subculture and with the dominant class, and thus opens up a poisonous conduit between the two.”

“Hipster, in its revival, referred to an air of knowing about exclusive things before anyone else. The new young strangers acted, as people said then, “hipper than thou.””

“the White Hipster fetishized the violence, instinctiveness, and rebelliousness of lower-middle-class “white trash.” “I love being white, and I think it’s something to be proud of,” Vice founder Gavin McInnes told the Times in 2003.”

“In culture, the Hipster Primitive moment recovered the sound and symbols of pastoral innocence with an irony so fused into the artworks it was no longer visible.”

“Where the White Hipster was relentlessly male, crowding out women from public view (except as Polaroid muses or SuicideGirls), the Hipster Primitive feminized hipster markers; one spoke now of headdresses and Sally Jessy Raphael glasses, not just male facial hair.”

“Purchasing the products of authority is thus reimagined as a defiance of authority. Usually this requires a fantasized censor who doesn’t want you to have cologne, or booze, or cars. But the censor doesn’t exist, of course, and hipster culture is not a counterculture.”

“Hipsterdom at its darkest, however, is something like bohemia without the revolutionary core.”

“The most confounding element of the hipster is that, because of the geography of the gentrified city and the demography of youth, this “rebel consumer” hipster culture shares space and frequently steals motifs from truly anti-authoritarian youth countercultures.”

“Isn’t this hipsterism just youth culture? To which folks age 19 to 29 protest, No, these people are worse. But there is something in this confusion that suggests a window into the hipster’s possible mortality.”

“Over the past decade, hipsters have mixed with particular elements of anarchist, free, vegan, environmentalist, punk, and even anti-capitalist communities.”

“In the U.K., American-patterned hipsters in Hackney and Shoreditch are said to be turning more toward an ethos of androgyny, drag, the queer.”

This is another article by Mark Greif who seems to be an authority on hipster culture writing about how he feel that hipster is now dead and has been since early 2010. In it he talks about the evolution of hipsters, where they came from and what they might of stood for, talking about where they stood as a subculture and coming to the conclusion that it is for one thing not a counter culture. He refers to their influences and why they came into existence and then talking about their evolution from what he called white hipsters to the hipster primitive. Towards the end he asks if hipster can be revived like after its near death in 2003. Overall this article makes for a very interesting read and goes deep into the ethos of the hipster however the explanations where longwinded making it hard to find short and snappy quotations.

By Toby