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Subculture : The Meaning of Style
Abstract
Repr Bibliogr. na s. 169 - 177
... Authoritarian regimes in the digital age constantly update their strategies for information manipulation. Subculture has long been seen as a subversion to normalcy that can bring together like-minded individuals who feel overlooked by societal norms, enabling them to cultivate a sense of identity and resist the dominant ideology [22]. Therefore, subculture can be seen as a rebel against mainstream culture [19,24,70] and thus a form of political resistance in authoritarian regimes [30,68]. 1 However, authoritarian regimes still leverage online subculture in political propaganda [1,7,66,72]. ...
... 2 Why do authoritarian regimes leverage online subcultures that are inconsistent with their mainstream ideology in their propaganda? Since subculture involves explicit messages of resisting and challenging mainstream ideology [22], is subculture propaganda effective at promoting mainstream ideology? More broadly, can a subversion of mainstream culture be used as a tool to promote mainstream culture in autocracies? ...
... Subculture manifests resistance to mainstream socially and politically through unique styles of expression. By subverting and challenging the dominant culture, subculture forges its own identities and communities [22] and is often able to achieve a certain level of autonomy [19,24,70]. Although subcultures tend to be incorporated into and consumed by mainstream culture as time progresses [23], resistance remains a core theme among both subcultural participants and the scholars who study them. ...
Why do authoritarian regimes utilize online subcultures that contradict mainstream ideology in their propaganda? This paper argues that subcultural discourse is employed by these regimes to persuade younger generations to increase their support (persuasion proposition). Additionally, it can be used to mobilize supporters to provide favorable comments, countering criticism (mobilization proposition). To test these theories, a survey experiment with over 2800 respondents in China was conducted, supplemented by content analysis of government-run Weibo posts from January 2019 to March 2022. The survey experiment supports the persuasion proposition, as subculture-oriented propaganda strengthens pro-regime attitudes through emotional triggers. However, it does not encourage pro-regime behaviors. Content analysis confirms that subcultural discourse fails to mobilize a larger number of comments and reposts. These findings reveal the impact of subcultural propaganda, a relatively new form of propaganda that has gained popularity in recent years. This finding indicates that even subculture, which is typically seen as subversive and challenging to the regime's authority, can be utilized as a tool to reinforce the regime's control.
... The Hippie movement -which derived from some previous subcultures including the Beatniks, the Folkies and the Psychedelics (Polhemus, 1994), and above all from the "soft" wing of the Mod movement (Hebdige, 1979) -developed its own style in coherence with a broader political project, which therefore determined the passage from the subcultural dimension to the more properly countercultural one. Their vision of the world was fundamentally neo-archaic (Morin, 1962), denouncing the dysfunctions of the average lifestyle in Western societies. ...
... The labeling procedures activated by the media are, in fact, a process of symbolizing certain traits of subcultures, which are emphasized in order to redefine the global form (gestalt) in a negative value sense (the popular demon). This is similar to the seizure of Jean Jenet's belt and Vaseline recounted by Hebdige (1979), around which a power struggle is hinged between the writer's tormentors and his "tactical" possibility of defining a space of freedom through deviance from the norm. As Cohen emphasizes, quoting Becker: "The deviant is a subject to whom the moral label has been successfully applied: deviant behavior is the behavior so labeled by people" (Cohen, 2002. ...
The media have played a central role not only in defining identities but also in managing the conflicts they trigger. This is particularly evident in the 1960s, when the generational conflict supported by the modernization of society and consumption was clearly delineated, but it persists today in a completely different era. Not only because of the considerable transition from a vertical to a horizontal society, from the centrality of institutions and of the “father” to an inclusive and in its own way problematic democratization. Our era is also crossed by a general feeling defined as retromania (Reynolds, 2011), capable of pervading every area of daily life, communication, consumption and fashion. For this reason it may make sense to “unfreeze” from the past a book that aimed to take stock of the issue of youth subcultures, beyond the brakes and inhibitions of a more institutional sociology. Herein lies the value of a reflection that manages to avoid in- volvement in the same panic that it studies, such as the excessive enthusiasm of some exponents of Cultural Studies for youth cultures. This study deals with the new youth formations of the Sixties, namely the epic of the Mods and the Rockers, whose epic clash on the English beaches is explained for the first time within a more general framework. Against the banal description of media as “mirrors” or “shapers” (Hodkinson, 2016) of social phenomena, a more complex interpretation suggests that they are circular and adductive means where a specific social identity can be manufactured according to social trends.
... As part of popular culture, video games have an impact on social change. In this case, video games can cause significant changes in people's values and lifestyle patterns (Hebdige, 1979). This means that, practically, video games have various impacts related to their form as a tool for social policy criticism. ...
... This means that video games as a medium are capable of carrying out what is called social criticism. The way to do this is by making a firm statement ideologically by channeling it through the media of everyday discourse (Hebdige, 1979). How to instill ideology through anti-corruption themed games is an effort by activists to form an anti-corruption movement among the younger generation, considering that the majority of game users/gamers come from the younger generation. ...
Video games are often viewed as part of tertiary activities in human life. As a tertiary activity, video games are then considered to have no function in carrying out meaningful activities in society, including social criticism activities. This article then aims to explain that video games can conceptually and practically be used as a tool for social policy criticism. This article was written using a qualitative descriptive approach supported by a data collection process through a literature study. From the results of the study, it is clear that video games are capable of producing and reproducing culture and ideology in people's minds through participatory elements so that they can be created and used as a tool for social criticism of a policy. Conceptually, video games become cultural agents that have their own power in terms of generating open meaning from them. Practically, the form and function of video games as a tool for social criticism has led to the presence of video games as an alternative way of conveying criticism creatively.
... Actualmente, esta relación identitaria resulta menos evidente debido a la gran expansión y distribución de la música, así como por el mestizaje de los estilos musicales. No obstante, el interés científico por la relación entre músicas o subculturas musicales e identidad colectiva ha sido prolongado en el tiempo, con contribuciones significativas como las efectuadas por muchos autores (Frith, 2004;Hall & Du Gay, 1996;Hebdige, 1995;Hesmondhalgh, 2007). ...
... Integridad-honestidad (Inh), analiza la capacidad para actuar como una persona responsable, seria y cumplidora de su deber, de sus obligaciones y de su trabajo. 15. Liderazgo (Lid), aprecia la capacidad para dirigir grupos, asociaciones y equipos, organizar las actividades y el trabajo y conseguir objetivos y metas." ...
Las plataformas de música en streaming, como Spotify, mantienen una lucha soterrada permanente contra la dispersión. Dicho en otras palabras, la intención de no convertirse en “cajones de sastre” musicales. Para ello, practican una estrategia constante y exploratoria de sistemas de clasificación: por actividades del oyente, por emociones, por estilos de vida, por el momento del día, por géneros musicales, etc. Esa labor clasificatoria y sus resultados en términos de audición facilitan una información muy relevante sobre la música y sus usos en la vida cotidiana. La categorización, en sus desarrollos, ha llegado a la identidad de género. La lista de LGBT+, reúne canciones y música que, en la opinión de su diseñador, pertenecen a la subcultura LGBT+. Esta investigación indaga en los criterios que, aparentemente, clasifican las canciones incluidas como parte de la identidad LGBT+, así como en las características específicas de sus letras. | Streaming music platforms, such as Spotify, maintain a fight against permanent suturing against dispersal. In other words, the intention not to become "multi-purpose drawers" of music. For this, a constant strategy and an exploration of classification systems are practiced: by listener activities, by emotions, by lifestyles, by the moment of the day, by musical genres, etc. This classification work and its results in terms of listening facilitates a very relevant information about music and its uses in daily life. Categorization, in its development, has reached gender identity. The list of LGBT +, brings together songs and music that, in the opinion of its designer, belong to the subculture LGBT +. This research investigates the criteria that, apparently, classify songs included as part of the LGBT + identity, as well as in the specific characteristics of their lyrics.
... A proposta desse artigo é compreender como uma festa de rua carioca se configura como um território agenciador de sociabilidades alternativas e de processos de identificação tensivos, utilizando conceitos como estilo (Hebdige, 1979) e cena musical (Straw, 2006). Para isso, foi realizado o estudo de caso do Baile Black Bom, evento musical realizado periodicamente na zona portuária do Rio de Janeiro. ...
A proposta desse artigo é compreender como uma festa de rua carioca se configura como um território agenciador de sociabilidades alternativas e de processos de identificação tensivos, utilizando conceitos como estilo (Hebdige, 1979) e cena musical (Straw, 2006). Para isso, foi realizado o estudo de caso do Baile Black Bom, evento musical realizado periodicamente na zona portuária do Rio de Janeiro. A partir dessa análise, busca-se compreender o estabelecimento de novas territorialidades em um espaço em disputa na cidade, diante da formação de alianças em torno do consumo coletivo da música e de formulações identitárias negras que configuram diferentes estratégias político-culturais e estabelecem territorialidades alternativas no espaço urbano.
... Youth consumption has been framed either as an expression of rebellion and resistance against the dominant culture (Hebdige, 1979(Hebdige, , 1988 or as a manifestation of young people's manipulation and exploitation by leisure and media industries (Côté and Allahar, 1994). These framings of "disadvantaged" youth and "spectacular" or "rebellious" subcultures reflect a conceptual polarisation between a cultural and structural approach in youth studies in general (Miles, 2000(Miles, , 2002b(Miles, , 2003. ...
... Initially my motive was critical. Many studies of rock and pop culture emphasise resistance-that is, the ways in which they can provide alternatives to dominant social values (subcultural studies; for example, Hebdige, 1979). In my view, NZ rock culture was remarkable mainly for the ways it conformed-from pub rock with its boozy camaraderie and suspicion or objectification of women, through to punk and alternative rock, which claimed a kind of political correctness through their allegiance to groups like university students, or fashionable causes like Rock Against Racism and Rock Against Sexism, but were in fact as intolerant and homophobic as any travelling rugby team. ...
This paper addresses how the experience of emigrating from the UK and settling in New Zealand stimulated my interest in masculinity, and how the comparative study of masculinities in different social and cultural contexts can enrich and broaden understanding of Pakeha masculinities and their complex association with national identity. [ABSTRACT FROM AUTHOR] Copyright of New Zealand Journal of Counselling is the property of New Zealand Association of Counsellors and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
... The established connection between different style systems, i.e. between the linguistic practices and social practices (Irvine & Gal 2000), is also called a persona style (Eckert 2008:456). In turn, persona styles emerge from a process of bricolage (Hebdige 1979), 'in which individual resources (in this case variables) can be interpreted and combined with other resources to construct a more complex meaningful entity' (Eckert 2008:456-457). Therefore, one might wonder whether it is methodologically possible to isolate the gender suffix from other features relevant to the style in question. ...
This paper discusses the social meaning of variation in adnominal gender marking in the Dutch dialect of North Brabant. Previous studies reveal that the masculine gender suffix gains social meaning at the expense of grammatical function. However, it remains unclear what kinds of meanings the suffix can have, and how it becomes part of a Brabantish speech style. Therefore, we present statements from ten focus group interviews featuring 50 younger and older speakers. In these sessions, participants were asked to reflect on hyperdialectal usages of the gender suffix. We argue that the indexicalization of the suffix does not yield one fixed social meaning but rather a range of potential meanings, i.e. indexical field, that can be called upon by individual speakers depending on the context. However, the ranges of potential meanings clearly differ between both age groups, unraveling the different norms associated with the suffix.
... He admits that writers might only be able be in a position to work 'towards a modest relevance' (Corballis, 2004). As such, interpretive communities are also fortified by being part of a subculture that flourishes through a status of social marginality (Hebdige, 1979), especially if creative talent combines a self proclaimed 'modest relevance' in the field of cultural production with the a general sense of opposition to brandscapes (Thompson & Arsel, 2004). ...
This is a reverie of a disruptive art collaboration with New Zealand’s best poets at the beginning of the 21st century. It echoes an Odyssey in marketing theory as a Rimbaldian act of lyrical idea behaviour. The core story has been analogically confined since 2008 in an institutional library storage room as a vintage relic. 2024 is the first time it is publicly available and shared with next gen academic poetic researchers and creative talents in agencies. In the intimacy of its materiality it is made in the imagination in the elegiac transversality of nature and culture. The visceral embodiment in a second 4-month journey by a team across the North and South Island of Aotearoa was evoked in a prelapsarian age before industrial tourism. It owns the experiential physicality of books and trees, musical instruments and birds, roads and rivers as a mesh-worked uni-verse. It is the home-schooling of youngsters and never grown-ups to in tangible dwellings and B/W Kodak 400 film rolls. This has triggered the organic rhythmattering of a humble creative portfolio in poetic agency, autopoiesis, idea behaviour, material poetics and lyricism. In this bohemian re-presentation of sensual reasoning, it also offers the recordings of the original contributions by the poets in voice on www.poeticbrandscapes.art.
... Tattooing, with a history spanning centuries, has been used as a medium of personal expression and cultural communication. The research will delve into how tattoos, once seen as taboo or associated with deviant behavior, have evolved into recognized art forms, especially in Western culture where tattoos transitioned from symbols of rebellion to markers of subculture and personal identity Hebdige, 1979). The study will examine the role of tattooing in various cultures, looking at its function as a symbol of social status, rites of passage, and communication, particularly in tribal and ancient societies. ...
Tattoo art, once considered a taboo in many parts of Malaysia, is increasingly being recognized as a form of personal expression and artistic appreciation. This paper explores the evolving perceptions of tattoos within Malaysian society, emphasizing the factors contributing to their growing acceptance. Historically, tattoos were often linked to indigenous rituals, gang affiliations, or negative stereotypes. However, globalization, exposure to different cultures, and the rise of social media have shifted these perceptions, fostering a more nuanced appreciation of tattoo artistry. Through interviews, surveys, and analysis of tattoo-related media content, this study investigates the diverse motivations behind Malaysians’ decisions to get tattoos, including self-expression, cultural identity, and aesthetic appeal. The findings suggest that while conservative views persist, particularly among older generations and certain religious communities, a significant portion of younger Malaysians view tattoos as a legitimate art form. This demographic shift is influenced by the increasing visibility of tattoo artists, both local and international, who highlight the skill and creativity involved in tattooing. Furthermore, the study discusses the role of tattoo conventions and exhibitions in fostering a community of appreciation and learning. These events provide platforms for Malaysians to explore tattoo designs that resonate with their personal and cultural narratives, challenging traditional stigmas associated with body art. The paper concludes by suggesting that as societal norms continue to evolve, the appreciation of tattoo art in Malaysia will likely expand, reflecting broader global trends toward the normalization of body art as a personal and artistic choice.
... Są jednak czynniki podważające siłę wspólnoty i jej sprzeciwu realnego i symbolicznego (Haenfler 2014;Hebdige 1979;Hall, Jefferson 1976) ponad podziałami etnicznymi wobec systemowo podtrzymywanego wykluczenia mieszkańców i mieszkanek kilku budynków na rozwijającym się osiedlu. Pomimo terytorialnej solidarności rysuje się oś podziału zbieżna z różnicami etnicznymi, które prowadzą do niesnasek i sporów. ...
In the text, the author, analyzing the processes of alienation and exclusion of residents of a fragment of a gentrified neighborhood, considers what role class and race play in this process. In addition to economic and class exclusion, the key terms for the author are alienation (othering) and
racialization (racialization), together they set the conceptual framework for the analysis. Based on
six months of ethnographic research, the author confronts perceptions about the ghetto with the
relations found inside. He describes the formation of a local identity based on shared exclusion and
opposition to denunciation and cooperation with state officials. Analyzing the role of local identity
juxtaposed with Polishness and Romaniness, the author shows how these imagined communities
are negotiated and how their role changes depending on the contexts. Following Marianne Gullestad, the author considers the influence of strongly rhetorical terms, e.g. Gypsy, Roma, on the processes analyzed. At the same time, he recognizes secondary exclusion resulting from targeting aid
programs along ethnic lines rather than on the basis of community needs. The text also presents
examples of positive, partly grassroots, actions to reduce the scale of exclusion, which include the
problem of inadequate redistribution to local conditions.
... Семиология стала рассматриваться как все более значимый инструмент для понимания того, как в повседневной жизни осуществляется выражение смыслов, и породила богатую традицию семиотического анализа. Многие из этих работ фокусировались на том, как низкостатусные группы используют невербальные формы символического выражения [см.: Hebdige 1979], а также на способности языка формировать социальную реальность [см. : Ricoeur 1978] 1 . ...
... A fenti célkitűzések jegyében áttekintjüka főbb amerikai fordulatokat, így az oldschool és a newschool váltását a hetvenes évek végén, majd a kereskedelmiesedés diktálta mainstreamesedést a '90-es évek elejétől (Hebdige 1981;Croteau és Hoynes 2018;Robinson Smith 2019;Orejuala 2015: 4). E folyamattal karöltve a fősodor "bulizóssá", illetve a társadalompolitikai mondanivalóból materiális mintázatúvá lényegült át, miközben a mindezzel egybecsengő, kritikai irányultságú alkotói reflexiók is teret nyertek. ...
A rap a műfaj afroamerikai kezdeteitől mára egy, az egyes társadalmi összefüggésektől függő, többszólamú jelentéstartalmakkal bíró kulturális univerzummá vált. Elemzésünk azt mutatja meg, hogy Amerikában, a posztszocialista térségben és hazánkban milyen nagyobb fordulatok határozták meg a műfaj történetét, irányzatokra bomlását, illetve milyen társadalmi és alműfaji rétegződés figyelhető meg. Fontos tapasztalat az „oldchool” / „newschool” distinkció mellett a kereskedelmi érdekek motiválta „mainstreamesedés”, melynek következtében a műfaj szélesebb közönségre, majd globális jelentőségre tett szert. A posztszocialista térségben – beleértve a magyar színteret is – sajátos korszakváltásoknak és irányzatoknak lehetünk tanúi. Ebből a perspekítvából fontos tanulság, hogy mind a lengyel, mind a szlovák, mind a szerb rap nyitott a társadalom szélesebb spektruma felé, miközben tematikusan be is szűkült. Megfigyelhető, hogy a magyar rap is erősen differenciált társadalmi mezőként jelenik meg a 2000-es évek elejére, ahol számos habitus és értékrendszer feszül egymásnak. Ez az elkülöníthetőség tetten érhető a műfaj sokféle variációjában, illetve az eltérő tematikus preferenciáikban is. A kutatás során ekképp az is kiemelt fontosságú, hogy e társadalmi és műfaji rétegződésben mi a fogyasztáskultusz szerepe.
... Artinya kemudian, video game sebagai medium kritik sosial mampu melakukan apa yang disebut dengan kritik sosial itu sendiri. Caranya adalah dengan membuat pernyataan tegas secara ideologis dengan menyalurkannya melalui media wacana sehari-hari (Hebdige, 1979). Cara menanamkan ideologi melalui permainan bertema anti korupsi merupakan upaya para aktivis untuk membentuk gerakan anti korupsi kepada generasi muda, mengingat mayoritas para pengguna game/gamer berasal dari kalangan generasi muda. ...
Video game sering dipandang sebagai suatu bagian dari kegiatan tersier dalam kehidupan manusia. Sebagai kegiatan tersier, video game kemudian dianggap tidak memiliki fungsi dalam melakukan kegiatan yang bermakna dalam masyarakat, termasuk salah satunya fungsi kritik sosial. Artikel ini kemudian bertujuan untuk menjelaskan bahwa video game secara konseptual serta praktis dapat digunakan sebagai salah satu medium kritik sosial. Artikel ini ditulis dengan pendekatan deskriptif kualitatif yang didukung oleh proses pengumpulan data melalui studi
literatur. Dari hasil telaah didapatkan gambaran bahwa video game mampu memproduksi dan mereproduksi budaya dan ideologi dalam pikiran masyarakat melalui unsur partisipatif sehingga dapat diciptakan dan dijadikan sebagai alat kritik sosial terhadap suatu kebijakan. Secara konseptual, video game menjadi agen budaya yang mempunyai kekuatan tersendiri dalam hal menghasilkan makna darinya yang terbuka. Secara praktis, bentuk dan fungsi video game sebagai alat kritik sosial berujung pada hadirnya video game sebagai alternatif cara dalam menyampaikan kritik secara kreatif.
This paper examines the influence of American cultural models on Romanian poetry during the late communist period. Using a postcolonial framework, it highlights how and why Romanian poets in the 1980s navigated the symbolic presence of the United States, adopting Westernized perspectives through “self-colonization” strategies (Kiossev in Cultural aspects of the modernization process, 1995), integrating foreign cultural models to construct hybrid poetic identities. The concept of “in-between peripherality” (Tötösy de Zepetnek in The Comparatist 23:89–110, 1999) further clarifies how peripheral cultures negotiate their identities by integrating foreign cultural models and transforming them into “intentional communication” (Hebdige in Subculture. The meaning of style, 2002) and manifestos. Thus, Romanian poetry of the era becomes a site of cross-cultural engagement, constructing “cosmoscapes” that reflect the interplay of local and global imaginaries. By examining the works of poets like Traian T. Coşovei, Romulus Bucur, Alexandru Muşina and Mircea Cărtărescu, the study reveals how American cultural influences were adapted to fit local socio-political contexts.
This composition foregrounds various conceptual and affective possibilities of punk rock as inquiring artfully. A punk rock stance carries its own implications for methods of inquiring artfully, and we offer a punk drama composition adventure to foreground wild thinking and rebellious doing of inquiry. We develop a punk composition to stimulate a punk rock ethos in the readers and artful inquirers. These ethoses encourage the listeners to live and process the political and rebellious elements of inquiry (music), utilize the years of vital energy and sarcastic commentary while representing affective and aesthetic forms of anarchy, urbanization, and potential alienation. This article should be read only while listening to punk rock.
This paper revisits the subcultural/post-subcultural debate, with Goth culture as its subject of study. Both theories and their differences are presented, as well as the need for reflection on current alternative cultures. To this end, the paper focuses on Paul Hodkinson's reformulation of the subculture concept and seeks to assess its relevance to Goth culture. This is accomplished through an empirical study with Portuguese Goths to examine its applicability in the current context and confirm or refute the presence of subcultural substance indicators in Goth culture. The conclusion acknowledges the complexity of this particular culture and asserts that it remains a subculture, but now more diverse, fragmented, and influenced by post-subcultural traits than before. This complexity led to the proposal of referring to the Goth culture with a new term, such as ambivalent subculture, acknowledging its subcultural and post-subcultural characteristics.
This study used the Chinese Youth Subcultural Participation Questionnaire (CYSPQ) and the Portrait Values Questionnaire (PVQ) to examine 1,788 college students’ participation in youth subcultures and their identification with various values. The study further applied K-cluster analysis to determine the characteristics of four distinct subcultural groups – Loyal Subcultural Participation (LG), Indifferent Subcultural Participation (IG), Fashionable Subcultural Participation (FG), and Adventure and Excitement Subculture Participation (AG) – as well as each of the four distinct subcultural participation groups’ relationships with certain values. The results showed no significant differences between the four groups in self-enhancement or conservative values. However, significant differences were found in openness and self-transcendence values. LG identified less with the value of self-transcendence than the other three groups, while both AG and LG identified more with the value of openness than FG and IG, with FG identifying stronger with openness than IG.
The following chapter will introduce the topic of street gangs; it will provide a discussion of the ongoing debate within gang research on what constitutes a gang, the evolution of gang research and the subsequent definitions that have largely emerged because of these studies.
In 2013, Sunbird Records was redesigned to investigate whether post-subcultural discourse factors in the design of an independent record label. To facilitate answering this question, the label invested in a new website, shop, studio, live music venue, and roster of artists. This study develops its primary case study, Sunbird Records, as a way of putting post-subcultural discourse into practice. Between the late 1970s and the present, there has been an important shift in the development of alternative culture. Such a shift, from subculture to post-subculture, has yet to be fully understood by cultural discourse or practically applied as a method of cultural production. The present inquiry has been designed for the purpose of critique and further reflection; its findings will be independent, distinct, and context-specific.
When studying how rock, punk, and similar cultures relate to place, scholars tend to focus on local scenes (and on concerts as constitutive events that establish the rock music community). When they do consider translocal connections, they mostly discuss non-face-to-face relations, for instance, as enacted through printed or electronic media. In this paper, by ethnographically examining the interpersonal dynamics of several case studies, I demonstrate that the music community of DIY (do-it-yourself) participants in the US is constituted in large part through face-to-face interaction, not only in local places (through the interaction of DIY participants both within and between music venues), but in translocal space (through touring, and similar traveling practices), as well. Local participants depend on translocal touring participants (who generate flows of ideas, sounds, objects, and people), and the translocal participants depend on their local compatriots (who provide places at which to play, or sleep). Local DIY places, especially DIY participants’ houses, play a significant role in this dialectic as items of reciprocal exchange within the translocal “network of friends/favors.” In addition, they also function as places of ‘intimacy,’ in the local context as sites for small and ‘intimate’ concerts, and translocally as places for hosting touring musicians as houseguests. DIY places/houses thus contribute to an experience of closeness and to the transformation of fans to friends for the DIY participants. In the first part of the paper, I examine the establishment of local and translocal DIY ‘communities’ through the social practice of touring (culture as travel). In this section, I also briefly discuss historical and geographical factors, and consider the dimensions of race, gender, and sexuality in the American DIY touring experience. In the second part, I subsequently observe the aspects and particular characteristics of DIY touring practices themselves (travel as culture), and how they reflect and generate DIY values and politics.
This chapter introduces the key themes relating to the role of social media in contemporary society. It considers the development of social media in the context of theories of techno-social change, such as diffusions of innovation and moral panics. It locates the technologies and processes of social media against its traditional media and communication background. The contrast, continuities and overlaps with mass media will form the thematic underpinning for the more recent history of social media, from the late twentieth-century Internet-based immediate antecedents to the present-day platforms. This section also maps the rest of the book and introduces some key ideas about the research and study of social media, in preparation for Chap. 2.
Ausgehend von der Hypothese, dass Abfall ein Artefakt des linearen Fort-schrittsdenkens ist, werden am Beispiel der "Anderen Avantgarde" der popu-lären Kultur Strategien zur Vermeidung kulturellen Mülls dargestellt. Einer Anti-Ästhetik folgend, die in der Umwertung von Zeichen der Hochkultur zu kulturellem Müll ebenso wie in der Umwertung von Müll zu kulturellen Signs besteht, wird der Gebrauch von Vorhandenem von jeglicher tradierten Wertung losgelöst. Dieser Lösungsprozess ist zugleich ein Prozess der Erweiterung der Wahrnehmung und darin anästhetisch; 1 er ist gekoppelt mit der Überwindung des Rationalen und der Hinwendung zum Hedonischen. Beispiele der In-Dust-, E-Grain-und Glitch-Music sollen dabei den Wandel von dem explizit politisch aufgeladenen Spiel mit Abfall hin zu einem hedonischen mit darin impliziter politischer Wirkung erfahrbar machen. Das Postulat linearer Bestimmtheit des Einmaligen und hedonisch gelebte Pluralität werden sich dabei nicht als prak-tizierte Gegensätze zeigen. Der Begriff Abfall ist assoziiert mit der Vorstellung der Moderne, dass es linearen Fortschritt gäbe. Dieser Denkweise sind Wertungen inhärent, wenn man davon ausgeht, dass Fortschritt im Dienste zu optimierender Lebensbe-wältigungsstrategien geschehe und als jeweils vorläufiger theoriegeleitet zu erreichen sei. Innerhalb empirischer Forschungsansätze bedeutet dies die Be-obachtung von solchen innerhalb der Theorie als bestimmend erachteter Parameter und die Nicht-Beobachtung jener Teilbereiche der Wirklichkeit, die sich außerhalb des Wirklichkeitsbereiches der Theorie befinden-es entsteht Ab-fall (im Sinne einer anästhetischen Haltung) insofern, als sich etwas der Wahr-nehmung entzieht. Linearität des Fortschritts bedeutet, dass das jeweils Neue das Alte ersetzt. Wiederum: Es entsteht Abfall. Was in diesem Forschungs-Paradigma kulminiert, ist grundlegend allgemeine Lebens-und Denkhaltung der Moderne und zugleich Methode der Produktion von Abfall. Gegen diese Methode der Produktion von Abfall, gegen die Logik der Mo-derne, arbeiten die klassischen Avantgarden im anästhetischen Sinne, im Sinne der Erweiterung des Wahrnehmungsbereiches. 2 Wolfgang Welsch interpretiert 201
When it comes to classifying catchy, ‘slick’ pop music as ‘very good art,’ it is not always the music alone that gets discussed—sometimes, in fact, the music is not even the articles’ focus. This is not so unusual considering that the authors of articles in pop and rock music magazines usually lack the knowledge or interest to write detailed descriptions of the songs (nor do the vast majority of readers want this). What is striking about the articles on ‘New Pop,’ however, is that explanations about the scene in which these bands operate and about the fashionable style of the musicians are no longer just used for making remarks about rebellion or commercial conformity, but now also serve for bestowing praise, such that the music’s actual merit momentarily recedes. For quite a few ‘New Pop’ protagonists, the image aspect starts coming to the fore during this period.
The term “underground” is often associated with hip hop in its early and/or most authentic forms. Yet a distinct subgenre known as “underground hip hop” appeared during the second half of the 1990s, largely in response to the corporatization and commercialization of rap music in the US context. In this chapter, I outline the terms and distinct stakes surrounding underground hip hop’s late-1990s emergence and early-twenty-first-century diffusion/dissipation. Following an overview of the term “underground” and the meanings associated with it, I recount reasons for underground hip hop’s mid-to-late 1990s development through local, translocal, and virtual music scenes. This includes considering the different ways underground hip hop came to be defined and distinguished—via authenticity claims—from its commercial hip-hop music counterparts. As part of this, I also reflect on how the composition of underground hip-hop communities intersected with important axes of identification—most notably race, class, and gender—and power. The chapter closes by reflecting on the legacy of underground hip hop three decades after its initial appearance.
This chapter makes a modest introduction to one of the most pressing challenges facing society today—climate change—in the context of music industry studies. I begin by reviewing some recent projects and initiatives led by activists, industry insiders, and musicians that, in their own way, attempt to draw attention to environmental issues in the context of the music industry. This encompasses projects such as Music Declares Emergency and the Music Climate Pact, as well as climate research commissioned by artists and sustainability reporting for touring operations. I review a cross-section of academic literature to introduce some scholarly work on the topic, as a primer for students who may want to engage in these debates themselves. Finally, I offer some practical suggestions for embedding issues of climate and the environment in the classroom and beyond.
Music, as performance, as living labour, precedes and exceeds its capture as recording and therefore, of its potential ownership as capital (dead labour) to be owned (by means of intellectual property) as a form of object (generating profit from the reproduction of copies—as regulated by copyright). Most musical performance is not commercial and most income generated from music comes from live performance, not the sale of recordings (physical or purely digital). The self-presentation of the ‘recording industry’ as ‘the music industry’ let alone ‘music as such’ obscures this. Free sharing exposed these illusions, as the free circulation of recordings in fact increases the earnings of those engaged in live performance. Reduced spending on recorded copies (capital) increases spending on live performance (living labour). Returns to live performance artists are better than for recordings (where almost all revenue from recordings return to rights holders—usually record companies not artists), and freely circulating copies generate publicity even as they reduce opportunity costs to live performance. The rise of sharing networks saw the rise in live music ticket sales and ticket prices—benefiting performers. However, COVID-19 offered record companies a new ‘justification’ for music as capital, with the falling-off of live performance in 2020–2022. How performers coped during lockdowns, and the revival of live music after Covid help illustrate that any return to ‘business as usual’ (prioritizing recordings as capital over performance as living labour) is mistaken, whatever the latest excuses might be.
By the end of the 20th century, postmodernism had already started shaping culture and popular tastes in unprecedented ways. With the turn of the century came the widespread use of the internet and the rise of social media which in turn further affected the way popular culture manifested itself within the youth. This paper aims to explore the effects of social media on youth subcultures and niche aesthetics, especially those that rose to prominence alongside Web 2.0. Examples include the 'dark academia', 'cottagecore', and 'coquette' aesthetics, or trends like 'clean girl', 'VSCO girl', etc. The focus shall be on the death of monoculture and the rise of diverse taste communities on the internet, arguing that the decentralisation of culture, facilitated by the fragmentation of the digital landscape, has fostered a pluralistic environment where these niche subcultures and micro aesthetics flourish. These aesthetics and subcultures existing within a capitalist framework lead to a characterist ic sense of hyperindividualism and hyper-compartmentalization of identity, which shall be explored in the context of theories of identity formation. By exploring the concepts of the digital space, identity formation, and the commodification thereof in light of the work of theorists like Zygmunt Bauman and Jean Baudrillard, this paper aims to reach a multifocal understanding of the complex interplay between cultural democratisation and economic exploitation of self-expression in the digital era. This shall be done via analysis of pre-, transitory, and post-digital age youth subcultures to foreground the influence of social media.
This chapter is a lateral, indispensable take on the transcultural processes favoured by the global success of anime. Taking the French context as a key case study, the chapter starts from the historical fact that Japanese comics and animations are part of the local cultural landscape since the 1980s, and how all the former children who grew up during the 1980s and 1990s share common references, mainly through the televised cartoons of that time. The series were localised, with French names and dubbing, and these references are now part of the nostalgic background of most current adults. From the early 2000s, the series were broadcast whithout any changes, dubbing apart, and a new generation of children followed enthusiastically, acknowledging the second phase of the acculturation of Japanese animation in France. Looking at the French musical creations of the 2000s and 2010s, we find these common references. Musicians integrate these elements to their works, with textual, visual, or musical quotations. The chapter explores two popular genres, electronic music and hip-hop, to show that, on the one hand, all artists share a cultural background linked to the animated titles that they enjoyed as kids or teenagers, and on the other hand to examine the differences between the nostalgic homage and the current consumption of anime. The main focus is on Daft Punk (electronic music) and Orelsan (hip-hop). These cases show how anime culture was not only received but also integrated through various projects like Daft Punk’s collaboration with Leiji Matsumoto for the movie Interstella 5555 (2003) or Orelsan dubbing the main character of One Punch Man in the French version of this famous anime.
The anarchist punk subculture started with a spirit of resistance, but unfortunately the popular culture that absorbed this subculture has caused it to lose its resistance essence. Despite its spirit, the subculture has been integrated into the very system it previously resisted. This article focuses on the ways in which young people in Makassar City consume "underground values" and their anarchic forms of expression in adopting these values through creativity, especially in the form of music. This research uses Critical Ethnography as a cultural research approach that uses a critical paradigm, which criticizes and offers solutions to cultural injustice, marginalization, exploitation, and subordination. The Cultural Studies paradigm highlights conflicts, interests, and power in culture. The informants in this article are young people who join a group that consumes "underground values" on a daily basis. The data collection techniques used in this research are through interviews and participatory observation used in the context of qualitative research because it allows researchers to directly observe the actions, attitudes, and atmosphere that exist. The informants in this study were determined by purposive sampling with reference to the following criteria: Young people who join subcultures that consume “subteterranean value” and express them in their daily lives. The results show that political norms and culture influence individual experiences, even encouraging adaptation to expectations that may conflict with personal desires. The transformation of subcultures and "underground values" that originally focused on resistance to the dominant culture, but later integrated into the structure of the dominant culture. The influence of the dominant culture creates alienation and inequality, limiting the freedom of individuals to shape their identity. "Underground values" are a form of alternative and counterculture to the dominant culture, reflecting strong values of collectivism and anti-hierarchy. Despite the transformation, the essence of underground values continues to criticize capitalism and conventional norms in society. This subculture continues to offer a space for expression, despite the pressures and changes that occur over time.
Pädagogik ist politisch! Um der vielfach diagnostizierten Krise der Demokratie zu begegnen und radikaldemokratische Gesellschaftsansätze zu stärken, fordert Katarina Schneider-Bertan eine Neuerfindung der kritischen Pädagogik. Dazu setzt sie sich erstmals im deutschsprachigen Raum mit Henry A. Giroux' Ansatz der »Critical Pedagogy« auseinander, der international als eines der bedeutendsten pädagogischen Konzepte gilt. Im Fokus stehen dessen diskursive Bezugspunkte, die im kritischen Spektrum von Philosophie, Kulturwissenschaften und der Politischen Theorie neue Handlungsräume für Demokratie und Gerechtigkeit eröffnen, aber auch zu einer Neuinterpretation der Diskurse über Migration und Feminismus einladen.
Cinema is an art connected to social reality, interacting with groups that are actors of societal transformation. Groups that cannot make their voices heard within dominant cultures can develop a resistance against the dominant culture or find a path of reconciliation with it through subcultures, thereby creating an alternative space for themselves. Therefore, although subcultures are often perceived as a form of resistance, they can sometimes be functional in the path towards reconciliation with society. As an alternative form of expression, subcultures can find an opportunity of representation in recent films produced in many different countries. This study examines how rap subculture is represented in cinema. With this aim in mind, the film Casablanca Beats (Ayouch, 2021), which is one of the noteworthy examples of Moroccan cinema in recent years, has been selected as an example. Casablanca Beats (Ayouch, 2021) addresses the emergence of a dynamic rap subculture among young characters, and how through this path, they create a lifeline for themselves by forming a resistance against normative values. In this study, the reflection of rap music subcultural practices in Casablanca Beats (Ayouch, 2021) is examined using the Descriptive Analysis method guided by Raymond Williams' framework of the “dominant”, “residual”, and “emerging” cultures. The results of the study reveal that in the film, young characters find a space of autonomous expression through subcultural practices, form group identities, challenge societal determinants, but on the other hand, they are also observed to engage in efforts to reconcile with the dominant culture by transforming it.
(Youth) scenes are often described as micro- or social subcultures that form around a specific theme, are linked to ways of acting oriented towards it and are stabilised by their own norms and values. What appears chaotic and incomprehensible from the outside is a coherent, consistent and vivid whole from the inside perspective. From this perspective, the text deals with the largely unexplored practice of bouncing in rap as a specific music-accompanying bodily practice. By means of a material analysis of the connection between rap music, the self-presentation of rappers and the music-accompanying actions of concert-goers, it is to be shown that such specific actions are by no means arbitrary, but are embedded in the scene's knowledge predecessor and can be interpreted with a view to this.
The question of the significance of the body in adolescence has so far been a marginal topic of youth and youth culture theories. In this article, the relationship between corporeality and adolescence is discussed in two respects using the example of the youthful practice of make-up: On the one hand, the intersectional dimension of this particular bodily technique and thus the particular moment of (body) representations in historical and contemporary body hegemonies is highlighted. On the other hand, the motif of the habitualisation of specific cultural techniques of representation, which is to be understood more as anthropological, is elaborated with Bourdieu using the concept of illusio. In this way, the field of tension between hegemonic representations and their varieties is conceived as a space beyond social determination and individual control. Adolescent body cultures then become thematic less in the deficiency status of the not-yet, rather they constitute spaces of working with the experience of these tensions.
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