Term
| Attributes of a subculture |
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Definition
The Traditional Conceptualization
· Subcultures possess three main characteristics
· 1. Exclusivity:
o Interactions frequently or exclusively within the group.
· 2. A Shared Worldview:
o Shares a common worldview (Weltanschauung) that has at its center that characteristic that defines the group most thoroughly
· 3. Incomplete Assimilation:
o Remains unwilling or unable to assimilate into the larger, dominant culture. |
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Term
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Definition
A Social World refers to a distinctive way of life that develops around a particular activity.
· Unlike subcultures, people who engage in a particular social world blend easily into the wider culture and participate in the wider, common culture.
· Social worlds will, however, include some distinctive elements, including a particular jargon and an in-depth familiarity with a particular activity.
· This activity will be the central focus not just of one particular social group but of a loose network of social groups, including occupations, professions, organizations, and institutions.
Examples of Social Worlds.
· the social world of academia
· the social world of high school debate
· the social world of beauty contests
·the social world of farming
· the social world of professional politics
· the social world of mountain biking
· the social world of country music |
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Term
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Definition
· Idioculture:
o The local customs, practices, or habits of a group, particularly a group with an associated setting, such as a particular work group, organization, family, friendship group, and so on.
o Usually associated with a specific kind of setting
o Examples:
Gary Alan Fine’s study of Little League teams
Times and themes in Donald Roy’s study of a factory
Couples with unique names for one another
Family traditions |
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Term
| What research methods do the British use and what methods do the Americans use in subculture studies |
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Definition
The American Tradition sought to go out and "do sociology". The key was to submerse yourself within the culture to completely understand each one.
British Tradition-Marxism:Viewed culture as an expression of class conflict, subcultures always involve working class youth |
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Term
| How does the American tradition and the British tradition explain why young people participate in subcultures? |
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Definition
British Tradition-Subcultures were a magical solution to contradictions. It also displaces real conflicts and problems onto a symbolic meaning.
American- |
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Term
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Definition
| Anomie is a sense of normlessness, meaninglessness, and purposelessness. It generally results from two conditions: An absence of social norms and values, and a mismatch between individual circumstances and societal mores and values. |
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Term
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Definition
Strain Theory: Subcultures represents rebellion adaptions to anomie
Participants feel alienated from reigning cultural goals and standards for achieving them.
They develop new goals and standards for achievement through the subculture
The experience of stress and frustration by a group motivates collective action.
Strain results in deviance
Groups develop unique cultures to accomodate their problems and obstacles. |
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Term
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Definition
| Ideology-While class refers to the objective way in which two groups of people economically relate to one another, ideology refers to the lived experience of that relationship.Marxists often use it to describe the way in which one groups conceals or distorts the way in which it exploits another group. Ideology is often built into the physical and social fabric of society.(ex. the structure of a classroom, the eminence of government buildings) |
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Term
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Definition
| The process through which subordinate classes actively consent to domination by super-ordinate classes.The dominant classes accomplish this by exerting moral and philosophical leadership over society and by representing their interests as the interests of all society. |
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Term
| Critiques against british tradition |
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Definition
- exclusion of women from subcultures (or their view is marginalized/trivialized)
CCCS focused almost primarily on males. Subcultures may have predominantly been male, but there were still girls involved. Many women were busy in their families, but McRobbie & Garber argue that they still participated in subcultures within their domestic environments.
- assumption that subcultures come from working class youth; they looked at subcultures from a Marxist standpoint
CCCS focused on consumerism too much as a definition of resistance. This constrains most of the studies to looking at working-class youth, who would be struggling with a very low purchasing power.
- intention
People could be participating in subcultures for "fun" instead of as active resistance or as a method of coping.
- theories are not applicable globally
Fails to consider the local variations to music and style; treats subcultures as a methodical response to particular class strain. Does not explain why there are regional subcultures and not just one uniform "punk."
- subcultures are about consumerism
- doesn't consider media's role in creating subcultural identity
- views youth as a concrete age vs. a state of mind;
-emphasizes spectacular aspects to the detriments of the mundane aspects
CCCS focuses on theatrical/spectacular rituals instead of the things people do day-to-day to distinguish themselves. |
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Term
| Why do those in British tradition feel that "subculture" is no longer a useful concept |
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Definition
- idea of tightly bound and specifically defined subcultures is not useful in their opinion
- their goal was to define the "space" subculture occurs in
- study the lifestyle; group individuals together based on how they make/remake their own authentic identities; fluid and temporal view
- scene: geographical subcultural space; carry out subcultural production and consumption; cohere around music and styles |
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Term
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Definition
| The liminal zone gives messengers the freedom to maneuver quickly through the city. They flamboyantly disregarded traffic laws, so others perceived the messengers as outlaws. They relish their liminal position, which places them outside the bounds of ordinary society, so they avoid bike lanes. |
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Term
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Definition
| “the linchpin of an alternative hierarchy in which the axes of age, gender, sexuality, and race are all employed in order to keep the determinations of class, income, and occupation at bay.” It confers status the same way that it does for adults. 2 forms: objectified and embodied. |
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Term
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Definition
| A metaphysical concern with “being” vs. “doing” in relation to one’s self-concept |
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Term
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Definition
| The need to impose "facticity" upon the lived world; our grip on reality has loosened-- the line between fact and fiction has blurred |
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Term
Lloyd-Glamour as Grit
How did capital flows shape the landscape of Wicker Park? |
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Definition
| the block shifted from a blighted stretch of postindustrial decay to a hipster haven |
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Term
Lloyd-Glamour as Grit
What drew young people to Wicker Park? Why did such a downtrodden neighborhood appeal to upper-middle class suburbanites? |
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Definition
-In part, artists' interest in locating in marginal neighborhoods whose majority population is poor and nonwhite involves the desire to occupy inexpensive space adequate to their needs. They are a transient population, breaking ground in marginal urban areas that may be targeted for redevelopment.
-Sharing the streets with working-class and nonwhite residents, even if personal interaction remains superficial, is part of their image of an authentic urban experience. |
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Term
Lloyd-Glamour as Grit
What is "heroin chic"? |
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Definition
-A physical appearance associated with drug use is considered cool
-Does not merely reflect reckless hedonism. It is part of the bohemian tradition
-Artists use drugs and alcohol to free up inspiration and insulate their sensitive souls from ordinary life
-The self-destructive artist is glorified as too honest and delicate for this world.
-It nurtures a profoundly blasé outlook, which epitomizes the “cool” disposition. |
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Term
Valentine—Creating Transgressive Space
What three processes of consuming music does Valentine identify? How does each create “transgressive space? |
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Definition
-consumption of live music at public venues- the act of consumption is intentional and all the senses are engaged, not just hearing
-music forms a backdrop to our everyday activities (soundscape)- often heard or “overheard” (in that the act of consumption is not deliberate) in ‘public’ places
-consciously listening to music- commonly takes place in ‘private’ space and often involves using music as a vehicle to transport the listener to an imaginary or fantasy world |
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Term
Valentine-Creating Transgressive Space
What does she mean by transgressive space? |
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Definition
-We are effectively surrounded by invisible musical wallpaper but just as different wallpaper can change the feel of a space so can different music. The power of the fluid dynamism of music in the street is its ability aurally to conjure up or to suggest something or somewhere that goes beyond the here and now.
-As middle-of-the-road music, lang's tracks are frequently played as part of this musicscape and, as such, they have the potential to transgress or destabilize hetero-sexual space through their ability to express something about lesbian culture in everyday en-vironments that the dominant heterosexual culture does not want to hear or even recognize that it is hearing. Her music is 'inside' but also 'outside'. |
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Term
MacDonald—The Graffiti Subculture
How does graffiti subculture create liminal space? |
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Definition
-By soundproofing itself against the influences of the outside world, the subculture functions as a 'liminal' sphere.
-This is 'a transitional place in which normal expectations of behavior are suspended, allowing participants to take on new roles'. Here, real life and the issues that may divide and influence it, are put on pause. |
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Term
MacDonald—The Graffiti Subculture
What is the significance of the names that those within the subculture choose for themselves? |
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Definition
| -Effectively, it stands 'as a communication to the world about how one is feeling about oneself and what it is about oneself one would like to advertise' |
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Term
Macdonald-The Graffiti Subculture
What is the significance of the locations and objects that those within the subculture tag (e.g. trains)? |
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Definition
-A name on a piece of paper sits inside, safe in its sheltered environment. A name on a wall or train, however, enjoys none of this protection: 'It can be destroyed within hours and you're doing something that moves as well ... it moves around and then it gets killed'
-Names help tame the powerful. Giving something a name or label offers the illusion of controlling or limiting it. The subway's powerful machines are tamed by placing one's name on them; the name celebrates victory and possession, like one's brand on a wild steer. |
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Term
Borden—Performing the City
Know the difference between use value and exchange value |
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Definition
-Capitalist space is produced for the purpose of exchange
· Skating produces use values rather than exchange values
· Skaters reorganize space according to use values by using it without paying for it.
· Skaters also insert use values into places where there are supposed to be none, thus redefining commercial and governmental space
· Skaters offer a utopian conception of the city as use, not exchange, which explains why skaters take to the streets rather than pay skate park charges |
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Term
Borden-Performing the City
difference between dead and living labor |
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Definition
-Skateboarding is born from the architectural wealth of the city, which is composed of “dead labor.”
· Skateboarding gives people agency over city structures
· Rather than confronting them as a hostile force over which they have no control, skaters can master the built environment with their boards |
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Term
Borden-Performing the City
How does skateboarding “critique” the way in which cities are organized? |
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Definition
-Skateboarding consumes architecture without participating in its productive activity
-Skateboarding produces neither things nor services; it simply generates pleasure
-Skateboarding transforms the spatial organization of the city, which is designed for efficiency and productivity: “Irrationality pervades its practices.”
-Skateboarding reminds us that the city does not exist solely for the benefit of global forces and capital flows. It brings attention to the local. |
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Term
Schilt—I’ll Resist with Every Inch…
Why do girls “lose their voices” as they enter their adolescent years |
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Definition
•Society devalues the “relational style” of girls
•Girls tend to lack “authentic friendships”
•Parents and teachers socialize girls to be quiet, docile and submissive
•Puberty presents unique challenges for girls
•Normative outlets for their anger and frustration are not provided |
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Term
Schilt-I'll Resist with Every Inch...
What problem does Schilt identify with prior research about adolescent girls? How does her research method overcome it? |
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Definition
| Schilt argues that most research puts girls into the position of research subject, which potentially distorts our image of their self-concepts. She studies zines because they offer unfiltered access into the inner lives of girls |
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Term
Schilt—I’ll Resist with Every Inch…
How do zines countermand hegemonic understandings of gender? |
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Definition
•Hegemonic Understandings: American culture degrades femininity and the female body and Many girls feel like they have no control over their sexuality or sexual encounters
• Zines: Zines bring girls’ sexuality into the open, normalizing their experiences and debunking the notion that sexually active females are morally hollow. Zines also support the choice to not comply with the sexual desires of boys |
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Term
Haenfler—Masculinity in Contradiction
What is hegemonic masculinity? What attributes are associated with it? |
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Definition
•The most dominant, most valued expressions of masculinity
–Competition, hierarchy, individualism, sexual prowess, physical toughness, rationality, emotional distance, dominance, aggression, and risk taking
•Most often describes the masculinity of white, heterosexual, middle-class men
•Pays a patriarchal dividend that entrenches men’s domination over women |
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Term
Haenfler—Masculinity in Contradiction
Why does Haenfler argue that masculinity is in crisis? How does SxE respond to that crisis? |
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Definition
•Masculinity in crisis: Men struggle with what it means to be a man in the post-industrial, post-feminist world.
–Many versions of masculinity
–Gender roles have become destabilized
–The traditional proving grounds of masculinity have eroded.
–The opportunity to serve as breadwinner has diminished, but culture has lagged behind. |
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Term
Haenfler—Masculinity in Contradiction
the progressive and hegemonic faces of straight edge. |
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Definition
Progressive
•Promotes pro-feminist ideals like egalitarianism and prevention of sexual assault
•Aims to include and empower women
–Allows them to reject the negative, disempowering aspects of femininity
–Passivity, submissiveness, constant concern with impressing men, and appearance
•It is questionable how well scene members enact these beliefs
Hegemonic
•Despises weakness, promotes toughness, exhibits physical and mental strength, and strives toward domination
•Has the effect of marginalizing and excluding women
•Responds to societal contradictions in masculinity |
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Term
Haenfler—Masculinity in Contradiction
How do members of SxE engage in “reactive exclusion?” |
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Definition
•While men may not intentionally exclude women, they do not intentionally include them either
•The scene is left segregated, with mostly men
•Men also occupy most of the important positions
–Very few women in bands
–Almost no all women’s bands
•Men hold women to higher standards
–Fashion and make up on women are denigrated
–Women are criticized for simply mimicking their boyfriends
–Women are assumed to participate in scenes because of their boyfriends, or because they’re looking for men
•The whole scene possesses masculine connotations
–“hardcore,” “brotherhood,” “strength, honor and discipline”
•Aggressive dancing at shows often pushes women to the back |
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Term
McLeod—Authenticity within Hip Hop
Under what conditions did hip hop develop? |
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Definition
| •Hip-hop culture developed under conditions of isolation and joblessness in NYC, much of which was born by African American communities in the Bronx |
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Term
McLeod—Authenticity within Hip Hop
What are hip hop's four elements? |
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Definition
•Breaking (Break dancing)
•Tagging or bombing (graffiti)
•DJ-ing
•MC-ing
–Often expressed and protested the socio-economic conditions of the urban life world
–Also often emphasized the politics of race |
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Term
McLeod—Authenticity within Hip Hop
What are the dimensions of authenticity within hip hop? (just list them) |
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Definition
| Social-psychological, Racial, Political/Economic, Gender/ Sexual, Social/ Location, and Cultural |
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Term
McLeod—Authenticity within Hip Hop
Social-psychological dimension |
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Definition
•Staying true to yourself vs. following mass trends (individualism vs. conformity)
•Reflexivity—allowing your behavior to flow from your inner being as opposed to engaging in contrived performance |
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Term
McLeod—Authenticity within Hip Hop
Racial dimension |
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Definition
•Black vs. white
•Hip hop remains tied to black cultural expression
•Yet explicit anti-white statements are rarely made in hip hop—instead, pro-black statements are typical
•Black traits and black themes are considered authentic |
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Term
McLeod—Authenticity within Hip Hop
Political/Economic dimension |
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Definition
•Underground/street credibility vs. commercial success
•Radio and MTV represent the commercial sphere, while 12” singles and hip-hop clubs represent the underground
•Community members despise popular award shows |
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Term
McLeod—Authenticity within Hip Hop
Gender/Sexual dimension |
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Definition
•Soft
–Represents feminine attributes
–Rapping about love; having female fans; delivering music through a pop format; being homosexual; weak appearance
–Terms like “faggot” and “pussy” demarcate the hard from the soft
•Hard
–Represents male attributes
–Hip-hop tends to be male dominated
–Some community members exhibit homophobic views |
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Term
McLeod—Authenticity within Hip Hop
Social/Location dimension |
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Definition
•Refers to the community with which hip-hop community members identify themselves
•Involves emphasizing one’s connection to the community from which one came and not dissociating oneself from it
•Much discourse about one’s neighborhood
•Selling out involves distancing oneself from one’s community and selling album to white suburban kids
•The inner city (street) vs. the suburbs
–The former is an idealized black community
–Emphasis on organic community in lieu of corporate culture |
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Term
McLeod—Authenticity within Hip Hop
Cultural dimension |
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Definition
•Old school vs. mainstream; past vs. present
•Construes hip hop as a culture with deep, resonant traditions rather than a commodity
•Old school refers to a desirable past, in which tighter community exited among DJs, breakers, MCs, and graffiti artists before hip-hop became popular
•Belief that hip-hop must be understood as a cultural traditional rather than as a packaged product |
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Term
McLeod—Authenticity within Hip Hop
Why do participants in the subculture exhibit such concern with authenticity? |
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Definition
•Threat of assimilation for hip-hop and Black culture more generally
•Misrepresentation by outsiders poses the prospect of cultural erasure
•Authenticity claims establish in-group/out-group distinctions
•Commercial success makes important insiders into outsiders
•Concern with how the dominant culture constructs Black-identified cultural forms |
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Term
AfroPunk and Nguyen
Know the challenges and obstacles that people of color face in punk subculture |
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Definition
| Being ostracized by other people of color (family, friends), “acting white”, being the only black person at a show, interactions with other afro-punks, white people not understanding lyrics (Matt Davis) and trying to communicate a message, tokenism, being assumed to be a “safe black,” racist punks, dating, getting other people of color to understand |
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Term
Afropunk and Nguyen
Know how black punks construct authentic punk identities within a predominantly white social world |
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Definition
| Black punks feel more of a need to prove “punkness” than white punks. They do aesthetic things like get mohawks. They also sing about racial identity, experience and politics to white scene members. |
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Term
Afropunk and Nguyen
What does Tokenism refer to |
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Definition
| Tokenism refers to a policy or practice of limited inclusion of members of a minority group, usually creating a false appearance of inclusive practices, intentional or not. |
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Term
Rosenbaum and Prinsky—The Presumption of Innocence
Is there evidence to suggest that there is a relationship between delinquency and listening to subcultural music? |
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Definition
| The older generation views popular music with suspicion (sexually suggestive, dangerous), yet there is no evidence to suggest that there is a relationship. |
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Term
Rosenbaum and Prinsky—The Presumption of Innocence
Know the ways in which communities have regulated the ability of young people to listen to subcultural music. |
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Definition
| Treatment organizations to "depunk" your child. Programs that advocates for parents to intervene and separate their children from these subcultures. The police attempt to provide warning signs and when they should pursue treatment for their children. Neighborhood watch organizations sponsor speeches against punk and metal. Court and probation decisions: confiscate records, and prohibit behavior associated with punk behavior. |
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Term
Rosenbaum and Prinsky—The Presumption of Innocence
Be familiar with what I said about the article potentially representing a form of “incorporation.” |
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Definition
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Term
Heitzeig—Legal Control of Music
Why do rock and rap attract legal regulation? |
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Definition
| Advocacy groups redefine informal deviance as severe delinquency that threatens public order. This occurs for two reasons, youth and unconventionality. Since youth are heavily influenced by music, mostly rock and rap, it is going to be monitored more based on the lyrics that are used within the songs. They do not want the youth to become too influenced. Secondly, it is unconventional. Many times this music is associated with harder, louder, faster, more minimal, less melodic, and more predictable than pop music. It sounds more like an "assault" than "aesthetic". The styles of both genres also deviate from accepted standards of self-presentation. Deviates from pop music in the sense of "love" and "romance" and focus on forbidden content. |
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Term
Heitzeig—Legal Control of Music
Know the difference between indirect and direct legal control. Be able to identify examples of both. |
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Definition
Indirect-Subjecting participants in the subcultures to more legal scrutiny than average citizens and using laws unrelated to music in order to regulate them. Manifests mostly as heightened surveillance of rockers and rappers. There is no evidence to suggest that those associated with the genres commit more crimes than an average citizen.
Example: Being searched more at a rap or rock concert, rather than a Britney Spears concert.
Direct-The official adoption of criminal, civil and administrative laws regulating the content and performance of music. Takes four forms: threats or legal control, administrative control through the FCC, concert restrictions, legislation concerning alleged pornography in music. Government threats precipitate record companies, radio, and TV stations to censor themselves. Threats include penalties.
Example: The Senate Commerce Committee warned the RIAA to “clean up its act” or face formal regulation after holding a hearing on the themes of rock music |
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Term
Davis—Growing Up Punk
Be familiar with the relationship between socialization and aging. |
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Definition
Socialization is a life long process, and we continue to develop our identities as we age. A fully realized and enduring self never emerges because,
1) identity is cumulative,
2) We build upon and add new themes to our identities as we age. |
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Term
Davis—Growing Up Punk
Why does Davis replace the subculture concept with the scene concept? |
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Definition
| Because subculture and adulthood are incompatible. Also, a scene is a space where performers support facilities, and fans come together to collectively create music for their own enjoyment. |
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Term
Davis—Growing Up Punk
What is the difference between “successful” and “unsuccessful” punks? |
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Definition
Unsuccessful punks chose not to negotiate their identities. They abandon their scenes entirely, giving up all subcultural participation. (Go to college, get married, have careers) Usually ridiculed by members of the scene. Successful punks are those who can take jobs outside of the scene but prioritize scene involvement. They strike a healthy balance between different social worlds.
*Kind of unsure about successful punks, but I just took away from corporate incorporators. |
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Term
Hoadley—Growing Up and Out of the Rave Scene
Conclusions slide |
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Definition
| Older generations tend to view their subcultural participation as more authentic and sincere than younger generations’. The demands of conventional adulthood can interfere with scene participation. Although she no longer actively participates in the rave scene, the identity remains a part of her. She attempts to keep the ideals of the rave subculture alive in her everyday practices. |
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Term
Hoadley—Growing Up and Out of the Rave Scene
Be familiar with the critique LEWIN made about her conception of adulthood. |
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Definition
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