Girls, Girls, Girls

The essay “Girls and subcultures”, by Angela McRobbie and Jenny Garber, reviews general instances in which girls are associated with subculture. According to this essay, “when girls do appear [in subcultures], it is either in ways in which uncritically reinforce the stereotype image of women with which are now so familiar… or else they are fleeting and marginally presented” (103). However, concluding that girls do not have significant roles in subculture as a whole is slightly ambiguous. Perhaps, saying that girls are not heavily involved in deviant subcultures would be more effective. Yet, even this statement excludes a number of girls who take part in subcultural mischief.

            According to McRobbie and Garber, girls take a more passive role in subcultures. They are frequently not involved in the violent aspects of that gain the attention of the press and concern of society (107). Since “parents tend to be more protective of their daughters than they are of their sons” (111), girls are often left to experience the world of subcultures from the comfort of home. With the misconception that subcultural girls are sexually promiscuous, they are putting themselves at risk by participating in street culture (107). Perhaps this is the reason why a girl may obtain subcultural capital based “on whose girlfriend she was” (109). By having a close tie with “one of the guys”, a girl is able to participate in the subculture without putting herself at risk. Perhaps we could consider that there is a sense of security involved rather than hastily assume that she is just another appropriated accessory. Judging by these statements alone, it can be said that the way girls participate in subculture differs from the way that boys participate in subculture. Consequently, judging by that statement, we could also say that the way each person participates in subculture differs from the next, regardless of gender.

            Furthermore, though McRobbie and Garber question the existence of girls within subcultures, they make note of a number of subcultures in which thrive on the participation of girls. Two of these subcultures include hippy culture and ‘teenybopper’ culture. As hippy culture “represented an empowering space for women” (111) and ‘teenybopper’ culture allowed for a risk-free venture into the realm of pop icons, these subcultures continue to be significant social outlets for females.

Images courtesy of: lifeofanarchitect.com & scottymoore.net

To say that girls are excluded from subculture would be inaccurate. Just because we often associate the word subculture in a context of masculine deviance (106), does not mean that all subcultures operate under these constraints. In fact, many subcultures can be quite innocent and harmless. It is just a rare occasion that these groups are presented in a subcultural context.

Work Cited

McRobbie, Angela, and Jenny Garber. “Girls and subcultures.” The Subcultures

       Reader. 2nd ed. Ken Gelder. London: Routledge, 2005. 105-112. Print.

Heavy Metal vs. Classical Music: A Distorted Concerto

“The classical influence on heavy metal marks a merger of what are generally regarded as the most and least prestigious musical discourses of our time” (Walser 460).

            Where classical music is popularly perceived as an important art form of high-class genius, heavy metal is often boiled down to anger, noisy guitars and an overdose of homoeroticism. So, how can heavy metal possibly reflect the artistic and social realm of classical music? For the dominant culture, the answer is simple: it cannot. For a subculture of dedicated metal-heads, however, the evidence of this comparison is seen through the misunderstood virtuosity of its players and the overarching impact the music has in a social context.

 

Images courtesy of: coolchaser.com and ranker.com

Although I wish I could begin with a universal statement like ‘heavy metal is more than just a distorted mess’; however this is not always the case. There is a clear distinction between the more developed players and the downright noisemakers. Nevertheless, it can be said that heavy metal is more than just a genre of music. Heavy metal is a look, a lifestyle, a method of escape, a career, a language, a synonym of the word hardcore and a subculture in itself.

Robert Walser’s essay “Eruptions: Heavy metal appropriation of classical virtuosity” outlines how classical music has inspired the sound and structure of heavy metal songs: “Their appropriation and adaptation of classical models sparked the development of a new kind of guitar virtuosity, changes in the harmonic and melodic language of heavy metal, and new modes of musical pedagogy and analysis” (460). Virtuosity plays a significant role in heavy metal music.  It is an extremely competitive genre that banks on the hours of practice its musicians invest in their craft. Similar to the formal training of classical musicians, heavy metal guitarists have been known to study music theory in an extensive manner. However,

Historians and critics of popular music have so far failed to take seriously the musical accomplishments of heavy metal musicians. The prevailing stereotype portrays metal guitarists as primitive and noisy; virtuosity, if it is noticed at all, is usually dismissed as ‘pyrotechnics.’

(466)

Although the complexity of heavy metal arrangements is often underappreciated in the dominant culture, there are dedicated members of the subculture who beam with excitement when they can decode the time signatures in a Dream Theater song or follow the notation of an Yngwie Malmsteen solo.

Furthermore, heavy metal and classical music have similar social structures. From musicians acting as mentors to one another, to the expectations that the listeners will have a thorough understanding of the music, we can see a continuing pattern. Walser writes:

Heavy metal and classical music exist in the same social contexts: they are subject to similar structures of marketing and mediation, and they ‘belong to’ and serve the needs of competing social groups whose power is linked to the prestige of their culture… Since heavy metal and classical music are markers of social difference and enactments of social experience, their intersection affects the complex relations among those who depend on these musics to legitimate their values.

 (465)

The social relations surrounding certain kinds of music are what separate genres from cultures. Regardless of whether the culture consists of the socially elite or the socially awkward, music acts as a catalyst for a lasting conversation (and trust me, classical and metal musicians love to talk about music).

Image courtesy of: en.metalship.org

In conclusion, though often “assumed to be worlds apart” (469), Walser’s reference to heavy metal as “the dark ‘Other’ of classical music” (466) sparks the following question:  is classical music the parent culture to a subculture of metal-heads?

Work Cited

Walser, Robert. “Eruptions: Heavy metal appropriations of classical virtuosity.”
      The Subcultures Reader. 1st ed. Ken Gelder and Sarah Thornton. London:
      Routledge, 1997. 459-470. Print.

Subcultures Want Change

So far, we have looked at subcultures as groups of excluded individuals who band together with shared perspectives, opinions, interests, goals, et cetera, to create their own “social world” (Irwin 74). We have learned that many subcultures long to have their art seen and their voices heard by the dominant culture. But what happens when subcultures are formed specifically to invoke change on the dominant culture? Using subcultural tactics, such as deviance, postmodern art and appropriation, the concept of media activism is made possible for these social groups.

In this online universe, it has never been easier to become a regular content producer and media activist. The ability to access and broadcast information is as simple as a click of a button. The Web gives subcultures a platform for anonymous expression and action. Activist groups, like the Yes Men, use this anonymity to become deviants in a capitalist society. Watch the trailer for The Yes Men Fix the World below to gain a better understanding for what the Yes Men are capable of doing.

In a corporate setting, it is clear that the Yes Men are the underdogs. The devious nature of the Yes Men’s schemes adheres to the subcultural notion of presenting shock value to an audience. Though the Yes Men aim to fit into the dominant culture by appearing inconspicuous, they still aim to gain attention. This attention is meant to inspire action on the part of the spectators and corporate victims of each scheme.

Corporate and government entities seem to be the “central target[s] of [subcultural] anger” (Crimp & Rolston 358). Where the Yes Men are sneaky in their approaches to “fix the world” created by these powerful enemies, other activist groups, like ACT UP, use intensely noticeable tactics. ACT UP is an AIDS activist movement in New York that uses mass media, postmodern art and appropriation to deliver their messages to the public and government. By demonstrating on the busy streets of New York and relaying powerful and recognizable images to mass audiences, this oppressed subculture hopes to create change by creating awareness. From its beginning, the ACT UP community has made very clear their message through visual elements. Douglas Crimp and Adam Rolston write in their essay “AIDS Activist Graphics”:

The graphics not only reflect that knowledge, but actively contribute to its articulation as well. They codify concrete, specific issues of importance to the movement as a whole or to particular interests within it. They function as an organizing tool, but conveying, in compressed form, information and political positions to others affected by the epidemic, to onlookers and demonstrations, and to the dominant media.

 (365)

Image courtesy of: hivmsmblog.files.wordpress.com

            It is clear that “the subculture has become a concrete action system” (Irwin 75). While providing the basis for rebellion and action, subcultures are already established within society. By bending the rules and making themselves known, subcultures are the perfect catalyst “to get [society] to pay attention” (Crimp & Rolston 361). When it comes to media activism, subcultures are able to make their political statements on a bigger scale, to reach a bigger audience and to create a bigger change.

Works Cited

Crimp, Douglas and Adam Rolston. “AIDs Activist Graphics: A Demonstration.”

      The Subcultures Reader. 2nd ed. Ken Gelder. London: Routledge, 2005. 358-

      366. Print.

Irwin, John. “Notes on the Status of the Concept Subculture.” The Subcultures

      Reader. 2nd ed. Ken Gelder. London: Routledge, 2005. 73-77. Print.

Playing Dress-Up - The Subcultural Way

            There is no denying that fashion is a valuable factor in self-expression from head to toe. How we choose to present ourselves has just as much to do with personal preference as it does social relations. This is especially the case for many subcultures that are defined by their unorthodox choices in fashion and aesthetics.

            From Mohawks to mullets, hair is our very own raw material to reflect who we are and where we stand in society, according to Kobena Mercer’s essay “Black Hair/Style Politics”. Though Mercer’s essay focuses on the cultural significance of African-American hairstyles, his theories can also be applied to subcultural patterns. He writes: “caught on the cusp between self and society, nature and culture, the malleability of hair makes it a sensitive area of expression” (300). Hair can be appropriated to reflect a number of social and political statements.

In the world of hair today, all kinds of gadgets and potions can be found to distort or enhance one’s natural hair texture, structure and colour. The possibilities are endless – as long as one has a full head of hair. The accessibility of these gadgets and potions, however, has made cultural appropriation even easier for hairstyling. For some, cultural appropriation is seen as beneficial, as it allows different cultures to explore and appreciate one another. Unfortunately, for others, it is seen as a threat to the authentic culture. Mercer analyzes the cultural appropriation of the popular Afro hairstyle: “once commercialized in the marketplace the Afro lost its specific signification as ‘black’ cultural-political statement. Cut off from its original political contexts, it becomes just another fashion: with an Afro wig anyone could wear the style” (304). As previously mentioned in this blog, once something exclusive to a subculture becomes a part of the mainstream market, it loses its subcultural value and no longer renders the intended statement.

Image courtesy of: newhaircolors.net

When it comes to hair, the perceived statement is key. Mercer discusses how certain hairstyles, like the conk, are meant to turn heads and exaggerate beyond society’s expectation of normality (308). Dying one’s hair an unnatural colour suggests the same attention-seeking mentality. Mercer believes that hair dye is a “means of defying the ‘natural’ color codes of conventionality in order to highlight artifice, and hence exaggerate a sense of difference” (309).

Though hair is our own raw material for conspicuous self-expression, clothes are equally as telling. T.R. Fyvel’s essay “Fashion and Revolt” tells us that England’s Teddy boys were known “to swagger along their drab streets in their exaggerated costume” (285) of old-fashioned coats, bowler hats and tight pants. They “looked at first like music-hall caricatures – and at the same time somewhat ominous” (284). As we learn from subcultures like the Teddy boys and the Black Panthers (as mentioned in Mercer’s essay), brightly coloured clothing is not necessary to stand out in a crowd. Black seems to be the shade of choice for many subcultural fashion statements. Mercer explains: “dark, somber colors… suggest mystery, ‘cool’, outsider status, anything to alienate the normative values of ‘square society’” (304). When a subcultural group wearing dark, exaggerated clothing appears in public, an excess of negative attention is often expected and, in many cases, intended.

Image courtesy of: 91peachykeen.blogspot.com

Of course, there are other subcultures that take the opposite approach to colour choices and still receive a similar critical reaction from the conservative public. Many of these flamboyant subcultures are highlighted in the documentary Bill Cunningham New York. The film follows the day-to-day life of Bill Cunningham, an elderly street fashion photographer for the New York Times, and features an exuberant cast of characters who Cunningham has met throughout his career.

Though the mundane society may frown at the everyday attire of a dandy like Patrick McDonald, or snicker at the unusual suits worn by Shail Upadhya, it is clear that these fashion statements are appreciated within a subcultural context.

 

Images courtesy of: fashionwindows.net & caviardujour.com

Evidently, subcultures are not looking to be accepted in the everyday realm of hair and fashion. This is especially clear with the constant coming and going of subcultures as they fight to keep their styles shocking and extraordinary to the public eye. Unlike the cycling mainstream fashion that is tailored to remain invisible in a crowd, subcultural fashion actively seeks to disturb the norm. These are the hairstyles and fashion statements people will remember.

Works Cited

Fyvel, T.R. “Fashion and Revolt.” The Subcultures Reader. 2nd ed. Ken Gelder.

      London: Routledge, 2005. 284-287. Print.

Mercer, Kobena. “Black Hair/Style Politics.” The Subcultures Reader. 2nd ed.

      Ken Gelder. London: Routledge, 2005. 420-435. Print.

The Unexpected: Street art and Skateboarding

If you could create an entirely new, hip and anonymous persona, would you?

As a highly secretive subculture, street artists are able to create new identities for themselves that are solely reflected in their style of art. Nancy MacDonald calls this new identity the “virtual self” (325) in her essay, “The Graffiti Subculture: Making a world of difference”: “When you step into this subculture, you are expected to leave all traces of ‘real life’ on its doorstep. This includes your background, your identities and the baggage that may come with that” (312).

MacDonald gives praise to this subculture as an outlet for self-expression that means much more than just scribbles of nonsense on a wall: “Individuals who are shy and unconfident find a voice through graffiti because they do not have to speak” (325). In other words, the art speaks for the artist.

Image courtesy of: static.panoramio.com

Of course, not all street art you are likely to encounter will have a profound message about life and the universe, but “as with any other art form, graffiti art has its masters and its hacks” (Lovell). It can be said that recreational, profane vandalism spoils the appreciation and credibility that some street art should receive. However, if street art were to receive too much recognition as a legitimate art form, would the subculture survive as a subculture?

“It can’t be denied that part of the attraction of the art form (for some at least) must be the unlawfulness” (Lovell). In knowing that their art is going to attract attention for being against the law and in knowing that their art will likely disappear in the blink of an eye, street artists continue to thrive on this buzz. As each piece is erased, the artist must think of something bigger and better to replace it. However, if street artists were provided the opportunity to legally present their work, the unexpectedness of the art would be gone and, with it, the message.

Art by: Banksy / Image courtesy of: glorycharles.blogspot.com

In the documentary film, Exit Through the Gift Shop, the aspiring street artist known as “Mr. Brainwash” got so carried away with the mass production of his art that he seemed to lose sight of the message. He had spent so long observing the work of best street artists in the world, yet, in the end, he did not see the true value of unexpectedness within his own work. Street art that is presented in a predictable (and profitable) gallery setting is no longer street art as is does not negotiate the use of public space.

Another subculture that is known to negotiate public and urban space is the subculture of skateboarding. As a “pleasure-driven activity of its own” (Borden 257), skateboarding redefines the use-value of everyday architecture. Just as street art relies on specialized skill as well as risk, skateboarding does this in a more physical way. In both cases, however, the gratification one receives for their craft is relatively short-lived. In skateboarding, the thrill could last “no more than a second” (260). It is in this way that skateboarding is “rhythmically out-of-step with the dominant routines of the city” (263). Therefore, skateboarding also thrives on the unexpectedness of the sport in such a mundane, urban setting.

 Image courtesy of: johnnycat.files.wordpress.com

Simply by painting a image on a wall or by riding through the city on a hunk of wood with four wheels, these two subcultures work in a similar fashion to make the everyday lives of the dominant culture more interesting and unexpected.

Works Cited

Borden, Iain. “Performing the City.”The Subcultures Reader. 2nd ed. Ken Gelder.

      London: Routledge, 2005. 257-267. Print.

Lovell, Jessica. “Graffiti’s shades of grey.” The Guelph Tribune 29 March 2012: 6.

      Print.

MacDonald, Nancy. “The Graffiti Subculture: Making a world of difference.” The

      Subcultures Reader. 2nd ed. Ken Gelder. London: Routledge, 2005. 312-325.

      Print. 

Art, Music and Subcultural Identification

Art and music are factors that both bring us together and set us apart. They create strong alliances and superficial enemies. We often identify ourselves in relation to the art and music we enjoy in comparison to the art and music we dislike. Subcultures, in particular, use art and music to identify themselves as collective entities. Many of these subcultures are based around comparable tastes and interests: “the crowds generally congregate on the basis of their shared taste in music, their consumption of common media and, most importantly, their preference for people with similar tastes to themselves” (Thornton 184). The congregation around art, music and the culture industry allows members of various subcultures to build personal capital, as well as acquire the motivation to become “pro-artistic” (185).

Although a subculture may not find economic capital as a common trait between members, capital or fortune is not only found within physical riches. Cultural capital, for example, is developed through one’s upbringing, education and occupation (186). Social capital is gained through one’s personal connections and contacts. Furthermore, subcultural capital can be measured by how much a person is immersed in the subculture: “being ‘in the know’, using (but not over-using) current slang and looking as if you were born to perform the latest dance styles” (186). However, this form of capital is always relative to the situation. “Hipness is not a single unified style, nor is it captured definitively by one scene” (188).

Sometimes, alternate forms of capital can lead to economic capital if they are used to acquire employment and fame. For example, in the 1983 documentary Style Wars, graffiti artists seek to find the balance between subcultural capital and getting paid for their work. Part of the lifestyle of these artists is to have their art recognized throughout New York without being caught by the authorities. In the film, when the idea of selling graffiti on canvas is brought to the table, some felt that it took away from the subcultural capital and authenticity, where others were more concerned with gaining economic capital. Some said that getting paid for one’s work is what classifies someone as being professional. Debates similar to this one often lead to the notion that certain artists “sell out” when their motives are no longer about being heard as a subcultural figure, but about making money.

Image courtest of: nirvana-sound.blogspot.com

In the realm of music, having that heroic, “amplified voice” (Laing 448) of a genre is so important for many subcultures. For punks, this is the voice of Johnny Rotten; for grunge fans, this is the voice of Kurt Cobain. Moreover, Cobain is rumoured to have taken his own life to prevent himself from being labeled a “sell-out” by his most authentic fans. After his death, the subcultural capital of this music hero has been heightened to the point that some considered him a martyr for the grunge movement. This instance shows just how important music has become in determining subcultural identity.

Music clubs and live concerts give subcultures a common location and reason to gather: for the love of music. According to Sarah Thornton, “clubs are refuges for the young where their rules hold sway” (186); and according to Dave Laing, “the only place for [total reception of the music] is the live concert” (450). These settings allow the music to become much more accessible for the people. In addition, “home-made taped music represented the virtual dissolution of the barrier between performer and audience” (456).

Image courtesy of: pankerijada.blogspot.com

As mentioned above, certain music artists become heroic figures and set an artistic example for others to follow. With the emergence of genres like punk, grunge and techno, and the advancements in recording technology, the audience was able to feel naïve identification with the artists. The mentality of “it could be me” or “anyone can do it” really appealed to these subcultures. The audience was encouraged to participate and pick up instruments of their own.

Consequently, some may argue that subcultural music is unjustifiable and, at times, derogatory. With an aim “to shock” (455), subcultural genres often upset mainstream ideas by “confronting an audience with unexpected or unfamiliar material which invades and disturbs the discourse to which that audience is attuned” (456). On the other hand, others may argue that music provides a creative outlet for troubled, subcultural youth: learning a musical instrument teaches patience, perseverance and innovation, and enhances one’s overall cultural capital.

In the end, art, whether expressed visually or musically, is such a defining factor of certain subcultures that if it were taken away, these subcultures would simply blend into the dominant society without being seen or heard.

Works Cited

Laing, Dave. “Listening to Punk.” The Subcultures Reader. 2nd ed. Ken Gelder.

      London: Routledge, 2005. 448-459. Print.

Thornton, Sarah. “The Social Logic of Subcultural Capital.” The Subcultures

      Reader. 2nd ed. Ken Gelder. London: Routledge, 2005. 184-192. Print.

Distinction in a Capitalist Orbit

If nothing else, there is one crucial element that both subculture and consumer culture share: that element is distinction. Distinction is not only the basis of being different, but also the driving force of being cool. This blog entry will examine how distinction works in relation to subculture as well as consumer culture, and how the two often coincide.

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Subcultures would not exist if it were not for people longing to be different, either in their view, their attire or their lifestyle. Hungry subcultures feed on distinction. These same subcultures also thrive off of their critique of consumerism. Some believe that consumerism means blind conformity to whatever every other yuppie is wearing or doing. However, according to Joseph Heath and Andrew Potter in the article “The Rebel Sell”, “consumption is not about conformity, it’s about distinction”. It boils down to the ideology that people often want what others do not have. In the case of some subcultures, people can also want what others do not want period.

“People consume to set themselves apart from others. To show that they are cooler (Nike shoes), better connected (the latest nightclub), better informed (single-malt Scotch), morally superior (Guatemalan handcrafts), or just plain richer (bmws)”. Some subcultures, like that of underground hip-hop, may be more concerned with consuming the right brand of shoes in order to be cool; whereas a subculture of Bohemians may focus on the moral superiority of consuming organically produced goods. On the other hand, a high-class society may consume merely for the intention to prove their wealth. Though, in any quest for distinction, “intentions are irrelevant. It is only consequences that count”. These consequences often result in competitive consumption.

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Heath and Potter make an interesting point about how “we are often forced into competitive consumption, just to defend ourselves against the nuisances generated by other people’s consumption”. Many people (and subcultures in particular) avoid certain brand names in order to stray away from the mainstream market, but in doing so, these people become even more immersed in consumerism. Brand names are clear sources of distinction, but other unlabelled alternatives are no different since we are consuming them nonetheless. Heath and Potter also mention the concept of consuming “ironically” to defend to our mainstream consumption choices. It is almost sad to think that we need to use irony as an excuse for the things we buy. Alas, ironic consumption seems to be emerging as a trend in itself.

Subcultures of “hipsters” are often viewed as being anti-consumerist in their choices to endorse independent music and second-hand clothing. However, in avoiding and scrutinizing mainstream culture, these hipsters are simply feeding the idea that brand names uphold social significance. “Many people who are, in their own minds, opposed to consumerism nevertheless actively participate in the sort of behaviour that drives it”.

Image courtesy of: betcheslovethis.com

We live in a capitalist society, and just as “capitalism requires conformity to function correctly”; it equally needs distinction to complete the consumer cycle. In fact, distinction is at the very beginning of the cycle. We seek to find distinction from the mundane crowd, but as this distinction becomes recognized, others will conform and we must find another source of distinction to preserve our authenticity, and so it goes.

Work Cited 

Heath, Joseph, and Andrew Potter. “The Rebel Sell.” This Magazine. Red Maple

      Foundation, 1 November 2002. Web. 15 February 2012.