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