the underground - cassandra engineer

As this course is called Subcultures in the Mainstream Media, I think it is important to point to Angela McRobbie and Jenny Garber's, Girls and Subcultures, that uncovers what it means to be a girl in a subcultural group to researchers and journalists. They explain that the image of girls in films and written accounts is often skewed and exaggerated, "when girls do appear, 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” (McRobbie et Garber, 105).

The pair believe that where girls do exist in subculture, they are depicted as either completely invisible or as sexual objects in recorded accounts. In looking to the biker subculture, press releases showcased the 'motor-bike girl' as "a sort of subcultural pin-up heralding...a new and threatening sort of sexuality," McRobbie et Garber, 108). Furthermore, these women were very rarely shown as important figures, never having hold of the handlebars of these burly bikes. Instead, females were placed behind the males, sitting as more of accessories rather than individual beings of the subculture. As history progressed, this image was forever stamped as a reference to the sexuality of the 1960s, (McRobbie et Garber, 109). Throughout the media, most subculture stories are told with a male forefront, where women either went completely unnoticed or their participation is noted with gender stereotypes. "With the possible exception of sexual deviance, women constituted an uncelebrated social category, for radical and critical theorists," a reality that seems unfairly biased (McRobbie et Garber, 107).

McRobbie and Garber are exclusively speaking about what is depicted in the press and mass media and their work is not to point out what these girls are to a subcultural group but what the media portrays them as. If we were to take these theories and apply them to all previously explored films, we could envision what both McRobbie and Garber are attempting to expose. In Kids, for example, we see Jenny as a sheltered and separate entity of the street subculture and her engagement within the subculture is limited or seen as less important. She is depicted as a character with little to no voice within the group. Although she has intentions of warning other girls of Telly's disease, she never gets to actually speak up and in this she is invisible. In fact, during all violent scenes of Kids, there is no female participation. As the group sits in the park, the girls are merely on display for them. Furthermore, in the film This is England, the females are not illustrated as significant parts of the subculture but accessories to it. Just as Jenny was, the women are silenced and never verbally speak up for the group or against others. As McRobbie and Garber explain, because sociological work is male dominated, so are the depicted views. Although, Persepolis tells a story of a female's strong inclusion in subculture, the film was written by a woman. And so we see the troubles of male domination and gender biases exposed.

Lyrics fromNo Doubt's I'm Just a Girl:

Don't you think I know exactly where I stand This world is forcing me to hold your hand 'Cause I'm just a girl, little 'ol me, don't let me out of your sight I'm just a girl, all pretty and petite, so don't let me have any rights

I'm Just A Girl - No Doubt

Howard Reingold's essay, Introduction to the Virtual Community, explores the realm of internet crazed communities. He explains that within these communities,"an ecosystem of subcultures," can be found. He states that within this virtual world, we can, "do just about everything people do in real life, but we leave our bodies behind," (Rheingold, 520). Rheingold makes note of the usefulness of the internet but also stresses the possible threat it can pose.

We see in today's social networking domination, that these technologies have created communities where people of like interests can gather. Just as typical, real world, subcultures have done, virtually dominated communities follow the same model for creating spaces that harbour like minded individuals. Rheingold argues that, "[t]he technology that makes virtual communities possible has the potential to bring enormous leverage to ordinary citizens at relatively little cost - intellectual levereage, social leverage, commercial leverage, and most important, political levereage." He goes on further to suggest that, "the odds are always good that big power and big money will find a way to control access to virtual communities," (Rheingold, 520).

Rheingold does suggest, however, that there is a danger within online communities. He explains, "[w]e temporarily have access to a tool that could bring conviviality and understanding into our lives and might help revitalize the public sphere. The same tool, improperly controlled and wielded, could become an instrument of tyranny," (Rheingold, 528). The Matrix of 1999, brought to the fore, the dilemma of this abuse of power. The film showcased a world in which a malevolent artificial intelligence had overturned the human world, creating a convincingly real simulated world.

The essay also points out the issue of surveillance within virtual communities. Rheingold makes reference to Jeremy Bentham's Panopticon which propelled the movement of asymmetrical visibility in that the guards could always view their prisoners but the guards went unseen. Rheingold suggests that the same can be seen in online communities. The ease of internet access and the ability to store information online, could be threatened by the same Panoptic machinery. This totalitarian view, could also disturb our trust in internet forums.

Rheingold proposes we must brainstorm ways in which we can rebel against the push for technological advancements and reject it much like Neo's character did, take back what is rightfully ours. We need to be weary of the distopian world that could arise and the ways in which this medium can potential change us as humans. "We need to think together here...if we hope to understand and thus perhaps regain control of the way human communities are being transformed by communication technologies," (Rheingold, 529). In order to prevent the Matrix from taking over, we must possess the upper hand.

Works Cited

Those that don't feel accepted often fall to the reins of subcultural group; when the dominant culture doesn't take them as who they are, they deviate to find a place of belonging. But very rarely do we see subcultures push the dominant culture for change. Here is where we find the media activists, those that look to shake up the dominant culture and spread awareness.

John Irwin's essay, Notes on the Status of the Concept Subculture explores a new type of subcultural group; concept subculture. He explains that concept subcultures revolve around the notion of, "significant shifts in the phenomenon to which subculture refers," (Irwin, 73). His article references the model of subculture as an action system. In subcultural groups such as these, "one's beliefs, values and cultural meaning have become explicit categories of action," (Irwin, 75). In trying to create their own "social world," these groups have goals that are based upon, "a general human concern for order," (Irwin, 75).

The Yes Men Fix the World is a documentary that explores the world of media activism through media hoaxing. The 'Yes Men' are individuals that take on issues of political significance and attempt to 'fix' them. These men cross borders and speak with unheard of courage to battle the civil disobedience of big businesses and corporations. The group does this by creating fake websites to attract news teams and conferences, and then scripting interviews and statements on behalf of large companies that have made decisions without evaluating moral implications.

Douglas Crimp and Adam Rolston speak about the group 'Act Up' in their Aid Activist Graphics essay, although the same theories can apply to all active activist groups. They state that these groups are, "united in anger and comitted to direct action," (Crimp et Rolston, 359).

For 'The Yes Men', media has allowed for them to flourish behind their computer screens and formulate plans of deviant action just as 'Act Up' relied on propaganda graphics. "They codify concrete specific issues of importance to the movement...They function as an organizing tool, by conveying, in compressed form, information and political positions to others affected by the epidemic, to onlookers at demonstrations, and to the dominant media," (Crimp et Rolston, 365).

In their public addresses, the 'Yes Men' point to the wrongdoings of companies and speak words that cannot be unheard. They act as a voice of reason, speaking about what needs to be done and instilling a hope for a brighter future. It is through such open dialogue that these activist groups are able to reach such large audiences to inspire 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.

Bonanno and Bichlbaum: The Yes Men Fix the World, 2009.

To understand and situate the political and social implications of today's fashion world, it is important to look back and take note of the historical motivations of the past.

Black Hair/Style Politics, by Kobena Mercer, situates hair as a reflection of social, political and cultural statement. Although his essay uses 'black hair' as a model, Kobena's theories can be applied to hair, clothing and fashion that present, "semiotic struggles in the forest of signs," (Mercer 305). T.R. Fyvel's essay, Fashion and Revolt, explores similar content through the Teddy Boy movement of the 1950s to illustrate the forces of influence and appropriation of fashion and style.

Mercer starts his essay with, "Hair is merely a raw material, constantly processed by cultural practices which thus invest it with meanings and value, (Mercer, 299). He explains that hair is never neutral as it is almost always groomed and shaped. Through the use of styling tools, hair products, wigs and extentions, we are granted the ability to change and distort the political meanings of hair. “Caught on the cusp between self and society, nature and culture, the malleability of hair makes it a sensitive area of expression” (300). Some view the ability to appropriate our hair, as a danger to the authenticity of our original cultural significance. In doing so, we attribute political ideals and create an outlet for revolt. As Fyvel recalls the Teddy Boys and their weird, ominous and exaggerated costume. He explains that their dress was,

We see the ideals surrounding black hair/skin translate into the views of today's fashion choices. Mercer's statement of dark colours suggest an "[alienation of] the normative values of ‘square society’,” (Mercer, 304). His statement is reminiscent of the fashion of today, as dark colours have connotations of an "outsider status," (Mercer, 304).

In the film Bill Cunningham New York, we see a very real depiction of fashion revolt. Bill is a New York based fashion photographer who looks for 'real' fashion as an objective observer. "He who seeks beauty will find it," said Bill as he accepted an award for his work. It is through hair and clothes that the subjects of Bill's work strike him. He appreciates the fashion as a political reform and a social revolt against the mainstream. Those that he photographs, take back what is rightfully theirs and push the boundaries of what society has dictated as being acceptable. As opposed to Mercers opinion of dark colours, many of Bill's subjects are flamboyantly dressed with splashes of colour from head to toe. Their outfit choices and hairstyles are shaped and formed into a political statement; a rejection of the "normative values of 'square society'," (Mercer, 304) Furthermore, his work rejects the social norms of celebrity fashion, as he let's the street speak to him. Always armed with his camera, he photographs what strikes him, what moves him and what catches his eye with little to no hesitation.

Works Cited

Fyvel, T.R. “Fashion and Revolt.” The Subcultures Reader. 2nd ed. Ken Gelder. London: Routledge, 2005. 284-287. Print.

Richard Press: Bill Cunningham New York, 2010.

Developed in France by David Belle, the art of Parkour has spread nationwide. Just as street artists do with their graffiti, those that practice Parkour (known as traceurs/traceuses) take street spaces and use them to their advantage.  Also referred to as physical graffiti, Parkour can be considered, quite literally, "one of those alternatives routes to fulfillment,” as Borden has considered skateboarding, (Borden, 263).

Works Cited

The streets are flooded with different artistic outlets. Those that practice their art within the cityscape and plaster their work for all to see; skateboarders and graffiti artists. 

Iain Borden and Nancy MacDonald explore the ideals of non-conformity, use over exchange models and identity; three very pertinent and important parts of street art.

Street art has been linked to the study of non-conformity; a refusal to accept public spaces as they are. Skateboarders and graffiti writers share similar goals in their lifestyles as both groups are interested in the practice of reclaiming the streets. Banksy, a renowned graffiti artist, vocalizes, "Any advert in a public space that gives you no choice whether you see it or not is yours. It's yours to take, rearrange and reuse. You can do whatever you like with it," (Banksy on Advertising). Banksy's refusal to accept advertisements in public spaces is a refusal to fall into this commodified culture. His words can be 'rearranged and reused' to define skateboarding subculture; where the skateboarders take back the public space and transform it into their artistic platform. "The opposition of this city of use to the abstract space of economic rationalism is further emphasized if we consider that society itself is being ever more organized for the purposes of the consumption of goods," (Borden, 262).

As Borden argues in his article Performing the City, skateboarders reject their street space as a place for consumerist activities in reassigning its uses and dismissing its original design. "Skateboarding...challenges the notion that space is there to be obeyed, and that we exist solely as efficient automata within the processes of exchange and accumulation" (Borden, 257). In their rejection to conform, street artists look to employ use over exchange. A skateboarder takes a railing and rejects its predesignated use and focuses his time and energy into its use as he strives for an experiential model rather than a material model. The same can be said of graffiti writers, as we see this mockery through the work of Shepard Fairey through his OBEY project, which boasts of, "manufacturing quality dissent since 1989". 

Identity, Nancy Macdonald discusses, is of great importance to street artists as it is essentially their only means of verifying their membership within this subcultural group. Through Macdonald's piece, The Graffiti Subculture,Through graffiti, "[y]ou can become 'more' than yourself in this subculture because you escape the need to represent yourself. Your graffiti...'speaks for you', freeing you from the features and factors that might normally hold you back," (Macdonald 313).Your work essentially speaks to who and how good you are, as graffiti artist Sash puts it, 'You are what you write'. "Writers use their name to build up their identities, and the images they choose to project are revealing," (Macdonald, 317). Their pseudonyms and their writing style are the making of their identity. As opposed to other subcultural groups, the person's dress or look is unimportant and, as in Banksy's case, anonymous. The real focus is on the writing, the work produced and it's overall impact in conveying their message.

Banksy's Exit Through the Gift Shop presents an exposé of the commodification of art and the almost counterfeit success of Mr. Brainwash. In his forced journey to reach the top, he misses the opportunity to evolve as an artist and create a solid identity. "Most artists spend years perfecting their craft finding their style. Thierry seems to have missed all those bits," (Exit Through the Gift Shop, 2010). Just as Borden surmised, Banksy says of his own work, "I always felt that it was all right to answer back a little bit, I suppose. That the city shouldn't just be a one-way conversation. I didn't see why you'd settle for just walls,"(Exit Through the Gift Shop, 2010). He confirms the intention of his work is to preach non-conformity and take back this space. 'Mr. Brainwash', on the other hand, becomes the poster child for what happens when fame and money supersedes these subcultural intentions. "Warhol repeated iconic images until they became meaningless, but there was still something iconic about them. Thierry really makes them meaningless," (Exit Through the Gift Shop, 2010). It can be argued that Theirry is blind to the true implications of street art, in that he doesn't understand it as a subculture. He's not in it to reclaim the streets and reject models of exchange, but to follow them in search of money and fame, or economic capital. In the end, Thierry has a great deal of success, but his triumph is a superficial account.

Works Cited

Borden, Iain. “Performing the City”. The Subcultures Reader. 2nd ed. Ken Gelder. London:  Routledge, 2005. 256-268. Print.

Banksy: Exit Through the Gift Shop, 2010.