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.

Image courtesy of: canadiandesignresource.ca

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.

Image courtesy of: newsfox.in

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.

Victims, Criminals and Observation

When looking at the basic workings of human and sex trafficking, we see two conflicting subcultures: the victims and the exploiters. Both groups have entirely different roles and motives, yet we cannot have one without the other. Unlike many of subcultures we have studied so far, the subcultural world of trafficking is not meant to be seen. Again, I will quote Ken Gelder: “not every subculture is spectacular, or even ‘visible’” (11). In fact, Julian Sher’s Globe and Mail article “Sex trafficking: a national disgrace” reviews Benjamin Perrin’s book, entitled Invisible Chains. The article explains how sex trafficking is not only an issue in third-world countries, but also an issue right under our noses in Canada. Though we may not easily see this subculture, it is important to know that it exists.

However, bringing such awareness requires talking about issues that may be uncomfortable or unpleasant to talk about. Just as Perrin’s book brings these issues to the forefront in Canada, Michael Winterbottom’s film, In This World, attempts to show the desperation and malevolence behind human trafficking in the Middle East. The film is often seen as a documentary depicting the journey of two young Afghan refugees who rely on human trafficking to get them safely to England. However, the film is not a documentary, but a staged depiction of real people in inevitable circumstances. 

Though I hesitate to call In This World a mockumentary to avoid its comparison to the likes of This is Spinal Tap and Borat, this genre is likely the most suitable for the film. One cannot help but to think that there are risks in filming such a tragic reality in this way, but the question arises: would anyone ever be able to make a true documentary about human trafficking and remain completely passive and objective?

There has been quite the ethical debate about conducting research among subcultural or marginalized groups without growing emotionally involved. Laud Humphreys describes his process of becoming a deviant in order to closely observe a subculture in his essay “The Sociologist as a Voyeur”. Though Humphreys emerges himself in an underground subculture of homosexual promiscuity, his concerns and methods could easily pertain to an outsider’s study of sex and human trafficking. He writes: “there is only one way to watch highly discreditable behaviour and that is to pretend to be in the same boat with those engaging in it” (350). I cannot even begin to imagine how difficult it would be to immerse oneself among the exploiters of this subculture. Not only would it be difficult to be accepted into the culture, but also to maintain composure as to not “distort the real world” (348).

Image courtesy of: artsandopinion.com

 There are moments during In This World that the viewer may forget that they are not watching a documentary and begin to wonder how the camera crew is able to follow the refugees without being questioned. Humphreys explains that “observation us made doubly difficult when the observer is an object of suspicion” (350). With this obstacle in mind, the possibility of making a documentary about human trafficking becomes seemingly impossible.

Nevertheless, the activist nature behind the works of Perrin and Winterbottom encourages much needed discussion about this invisible subculture of hungry criminals and innocent victims. Suddenly, the apparent conflict between mainstream society and the skater subculture seems insignificant.

Works Cited

Gelder, Ken. “The Field of Subcultural Studies.” The Subcultures Reader. 2nd ed.      Ken Gelder. London: Routledge, 2005. 1-15. Print.

Humphreys, Laud. “The Sociologist as Voyeur.” The Subcultures Reader. 2nd ed.      Ken Gelder. London: Routledge, 2005. 347-357. Print.

Sher, Julian. “Sex trafficking: a national disgrace.” The Globe and Mail. The Globe      and Mail Inc., 15 October 2010. Web. 8 February 2012.

Media Influence and Deceptive Symbols: “Things are not what they seem"

As a student of media, I have been taught not to accept what I see and hear at face value. The media plays a large role in determining our perspective of subcultures. Since we may not encounter many distinct subcultures in our day-to-day lives, we must rely on various media to give us accurate and objective depictions. However, in many cases, we see exaggerations of subcultures, either glorifying them, or criticizing them. In his article “The Subterranean World of Play”, Jock Young writes:

The juvenile delinquent then… takes up the subterranean values of society: hedonism, disdain for work, aggressive and violent notions of masculinity, and accentuates them to the exclusion of formal or official values. Moreover, he is encouraged in this process by the fictional portrayal in the mass media (for example, Westerns, crime stories, war adventures) of heroes who epitomize these values.

 (Young 148)

Image courtesy of: newspaper.li/clint-eastwood/

In other words, a troubled individual sees a deviant subculture glorified on the television, and as a result, longs to adopt the lifestyle for his or herself, regardless of its consequences in reality. Due to the influential powers of media, we must keep in mind that “advertising [as a function of the media] stimulates and creates desires in order to ensure a secure market for future production” (Young 153). The mass media is a very money-driven business: nearly everything that we see or hear is meant to sell us something. So, of course certain profitable subcultures are going to be promoted in a positive, sometimes deceptive, light in order for us to buy into the trends.

            This deception, however, can work both ways. Although, in the media, “things are not what they seem… what is going on in the streets and terraces is not always what it appears to be [either]” (Cohen 163).

The use of symbols plays a significant role in the deception of subcultures. Just because a person wears a symbol of a particular subculture, does not mean that they belong to that subculture. Perhaps said person has taken an interest in a certain aspect of a subculture on his or her own terms, or perhaps said person is unaware of the symbol’s appropriated meaning. According to Stanley Cohen in his essay “Symbols of Trouble”, “for many of the kids walking around with swastikas on their jackets, the dominant context is simple conformity, blind ignorance or knee jerk racism” (166).

Image courtesy of: dailyhitler.blogspot.com

Cohen also notes that perhaps society takes subcultural symbolism too literally: “the symbolic baggage the kids are being asked to carry is just too heavy, that the interrogations are just a little forced. This is especially so when appearances are, to say the least, ambiguous or (alternatively) when they are simple, but taken to point to just their opposite” (165). Individuals who bear symbols associated with subcultures are expected to be a part of some kid of radical resistance, whether or not they simply bear the symbol because they think it is aesthetically pleasing.

An example of this assumption can be found in the graphic novel and film Persepolis. Persepolis tells the autobiographical coming-of-age story of Iranian animator, Marjane Sartori. As Sartori grows up in an era of political and religious revolution, we witness how the symbolism of subcultures can be deceptive to outsiders. In the scene depicted below, Sartori is confronted about her “punk” clothing.

This young girl is not a member of punk subculture; she merely enjoys the music and the style, hence why she incorporates them into her own life, without fully adopting the ideologies the subculture suggests. Therefore, it can be said, “these lives, selves and identities do not always coincide with what they are supposed to stand for” (Cohen 167).

            I find that I can personally relate to this example. From the time I was eleven until I was about fourteen, I incorporated a mixture of subcultural symbols into my everyday attire: skulls (as a result of my fascinating with pirates), chains (because they made me look “cool”), blue hair (in an effort to stand out), the works. I certainly did not consider myself to be a member of any subculture: I did not even know anyone who was. In fact, most of my friends were as mainstream as they come. As for my behaviour, I certainly did not fit the subcultural bill. I never exuded any rebellious attitudes; in fact, I was elected Valedictorian of my eighth-grade class. However, when confronted by strangers, I was often asked if I was “punk” or “goth”, and, of course, my answer was “no”. Cohen clearly explains the assumptions that outsiders make when he mentions that there is a “constant impulse to decode the style in terms only of opposition and resistance” (163).

            Despite all the manipulation, deception and confusion, Cohen says: “symbols are necessary… but the danger is of getting lost in a ‘forest of symbols’” (165). Be that as it may, we can use what we have learned about not taking what the media tells us at face value and apply it to the analysis of subcultural symbols. Just because we see something on television does not mean that it is true. Consequently, just because we see someone wearing studded leather does not mean that person is a biker.

[Note: I would be willing to bet the model pictured below is not a real biker...]

Image courtesy of: highsnobeity.com

References:

Cohen, Stanley. “Symbols of Trouble.” The Subcultures Reader. 2nd ed. Ken

          Gelder. London: Routledge, 2005. 157-168. Print.

Young, Jock. “The Subterranean World of Play.” The Subcultures Reader.

           2nd ed. Ken Gelder. London: Routledge, 2005. 147-156. Print.

Words of Wisdom

Here is an interesting interview with British actor, Stephen Fry. He has some very profound things to say about human nature and how we build relationships with one another. Within the last ten minutes of the interview, Fry makes a few remarks on contemporary subcultural ideologies that relate well with the discussion presented on this blog.

Subcultures of the Working Class

Although some youth subcultures seem to rebel against their parent culture, there are certain groups that seek to preserve and even better their parent culture. According to the article “Subcultures, Cultures and Class”, “some youth subcultures are regular and persistent features of the ‘parent’ class-culture” (Clarke et al. 94). Take, for instance, the Skinheads of nineteen-eighties England.

To gain a bit of background information, it may be helpful to view the trailer to Shane Meadow’s film about Skinhead culture, This is England:

It is evident that the whole basis of the subculture is formed upon its working class background. The youth culture is also suppressed by the hegemony of class struggle, fighting the same battle as their parents. However, it is how the Skinheads fight this battle that sets them apart from their parent culture.

First of all, the Skinheads demonstrate a stronger unity over their parent culture by the exaggeration of working class style:

The adoption by Skinheads of boots and short jeans and shaved heads was ‘meaningful’ in terms of the subculture only because these external manifestations resonated with and articulated Skinhead conceptions of masculinity, ‘hardness’ and ‘working-classness’. This meant overcoming or negotiating, or even, taking over in a positive way many of the negative meaning which, in the dominant cultural code, attached to these things: the ‘prison-crop’ image of the shaved head, the work-image, the so-called ‘outdated cloth-cap image’, and so on.

(Clarke et al. 103)

Image courtesy of: henamemishi.blogspot.com

Here we see that the working class style of Skinhead culture is not just a symbol of revolt against the dominant culture, but an act of homage toward their parent culture. Although Skinheads are seen to have great pride in their roots, they also seek an escape from the hegemony they face at work and at school. Rebellion is a common method of escape.

            In his article “Culture, Institution, Differentiation”, Paul Willis presents a testimonial from a young Skinhead. It reads:

We used to go out of nights, and carrying on from hitting each other with rulers we used to fucking chuck bottles at each other, so the major occupation was roaming around the streets, looking for bottles to lam at each other. And from that came a bit of vandalism here and there like…

(Willis 115)

These acts of rebellion help to shape the ideologies of the subculture as a whole. However, as presented in the film This is England, the rebellion of Skinhead culture goes a little deeper than just trivial violence.

 Image courtesy of: filmgrab.wordpress.com

            Historically, there was an undertone of racism behind the Skinhead subculture. Certain groups of Skinheads believed that, in lieu of the rising unemployment rate, immigrants were responsible for taking all of the jobs that were meant for Englishmen. This belief fuelled verbal and physical attacks on many individuals who appeared to be of foreign descent, whether they were direct immigrants or not.

            While becoming very territorial and protective of their culture, the Skinheads took matters into their own hands to solve their working class problems. However, their symbolic and operational attempts were merely false solutions to their problems. “When the post-war subcultures address the problematics of their class experience, they often do so in ways which reproduced the gaps and discrepancies between real negotiations and symbolically displaced ‘resolutions’” (Clarke et al. 98).

            Since Skinhead culture did not truly present the solutions to the working class problems in nineteen-eighties England, it is now among a collection of subcultures that “command the stage of public attention for a time: then they fade, disappear or are so widely diffused that they lose their distinctiveness” (Clarke et al. 94). Even so, there is no denying that the Skinhead subculture merits a major chapter in England’s history.

Image courtesy of: taxi11.blogspot.com

References:

Clarke, John, Stuart Hall, Tony Jefferson and Brian Roberts. “Subcultures,

     Cultures and Class.” The Subcultures Reader. 2nd ed. Ken Gelder. London: 

     Routledge, 2005. 94-104. Print.

Willis, Paul E. “Culture, Institution, Differentiation.” The Subcultures Reader. 2nd 

     ed. Ken Gelder. London: Routledge, 2005. 113-120. Print.

Subcultural Organization

The organization of subcultures begins with the division between culture and subculture. According to Milton M. Gordon in his article “The Concept of the Sub-culture and its Application”, we look at culture in too broad a context: “we have been content to stop the concept of culture at national boundaries, and engage in our intra-national analyses in terms of the discrete units of ethnic background, social class, regional residence, religious affiliation, and so on” (46). Gordon argues that the study of subculture helps us to create a greater sense of distinction between groups. We must narrow our focus in order to truly understand one another.

The study of subculture goes beyond the obvious categorization of nationality and class. Of course, these are both factors in defining some groups, but subcultures can be classified under a number of different forms. Dick Hebdige outlines two forms of classification in his essay “Subculture: The Meaning of Style”: the commodity form and the ideological form (122-125).

Image courtesy of: zippybites.com

Within the commodity form, “such a subculture is concerned first and foremost with consumption” (Hebdige 123). Subcultures that adhere to the commodity form are heavily defined by aesthetics and taste. Though some of these subcultures are against mainstream consumerism, they still adopt the ideology of “conspicuous consumption” (Hebdige 125), where they rely on consumption of goods to define who they are in society. An example of conspicuous consumption can be seen in the punk subculture of the seventies. Although punks have rebelled against mainstream fashion by wearing unconventional items like safety pins, garbage bags and duct tape, these items remain commodities, despite their new uses and meanings.

The ideological form primarily deals with the “deviant behaviour” (Hebdige 123) of subcultures. Hebdige looks at how subcultures are defined by the dominant culture. These subcultures “are seen to contain both dangerous aliens and boisterous kids, wild animals and wayward pets” (Hebdige 123). In Larry Clark’s Kids, a film about New York’s HIV epidemic in the mid-nineties, the youth street culture represents a highly ideological form. Although the subculture depicted in the film is closely associated with the intake of indulgent commodities like drugs and alcohol, the rebellious association is seen as more of a behavioural issue. These youths come together, not because they all have Mohawks and listen to the Sex Pistols, but because they all exhibit similar behaviours and motivations.

By classifying subcultures in this way, we can see that many groups may cross over between the commodity form and the ideological form at times. Regardless of the form in question, belonging to a subculture “can be used as a means of escape, of total detachment from the surrounding terrain, or as a way of fitting back in to it and settling down after a week-end or evening spent letting off steam” (Hebdige 131).

Gordon suggests that we can break down the organization of subcultures even further by looking at how individuals are divided within subcultures. He writes: “a distinction must, of course, be made between separate sub-cultures and separate units of the same sub-culture” (48). Both Gordon and Hebdige seem to agree that there is more organization that is needed to understand the structure and function of subcultures. Of course, members of a subculture could be divided in categories of leaders and followers, or the proactive and the passive.

          Hebdige observes that there is also a “[significant] distinction between originals and hangers-on” (131). He also notes that “different youths bring different degrees of commitment to a subculture” (131), meaning we can organize members based on differing levels of engagement. For example, in the film Kids, there are some members of the group who are more concerned in the sexual aspect of the street subculture, where others are further involved in the abuse of drugs and alcohol.

Image courtesy of tumblr.com

At this rate, it seems impossible to be able to classify every aspect of every subculture. However, this attempt at organization just goes to show the importance of the role each individual plays within a subculture and importance of the role each subculture plays in society.

References:

Gordon, Milton M. “The Concept of the Sub-Culture and Its Application.” The 

     Subcultures Reader. 2nd ed. Ken Gelder. London: Routledge, 2005. 46-49.

     Print.

Hebdige, Dick. “Subcultures: The Meaning of Style.” The Subcultures Reader. 

     2nd ed. Ken Gelder. London: Routledge, 2005. 121-131. Print.