Commercial Recuperation
Essentially what Hebdige is saying with his statement is that
eventually a subcultures generic trademarks will cross over into the
mainstream. This will in tern render the original intentions of
subversion diluted pastiches of there former representations.
The validity of this statement is interesting in two ways. Firstly are
subcultures subversive qualities diluted through popularisation? And
secondly and perhaps more importantly in terms of more contemporary
subcultural representations; how valid is the statement that what
might be considered subcultures are actually subversive in terms of
attempted displacement of a dominant ideology.
It is these two areas with particular reference to the Punk movement
of the nineteen seventies which I intend to discuss within this
Essay/Exam. Looking at the work of Hebdige himself and other writers
and theorists in comparison, and also contrasting areas.
Punk is perhaps the most obvious musical form which has been linked to
subculture. Even Hebdige himself is of the opinion that music and
subcultures are part of the same “expressive circle” (Quoted in
Middleton, 1990:165). It is for many the archetypal musical subculture
as Jeff Pike writes with reference to The Sex Pistols in ‘the death of
rock and roll’ “the fury was undeniable, and so was the vision”
(1993:268).
The punk movement was spawned in and around 1976. It was a reaction
initially against the what many saw as the grandiose ageing hippies
who then dominated the charts under the banner of ‘progressive rock’
Which highlights a point made by Ted Polhemus that one of the key
aspects of musical subcu...
... middle of paper ...
...as ‘Girl Power’ or Grunge where either to superficial or self
referential respectively to be considered subcultures adequate enough
for idealistic subversion.
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Jameson, F. 1991. Postmodernism or, The Cultural Logic Of Capitalism.
Verso:London.
Middleton, R. 1990. Studying Popular Music. Open University Press.
Buckingham.
Pike, J. 1993. The Death Of Rock ‘n’Roll: Untimely Demises, Morbid
Preoccupations, and Premature Forecasts of Doom in Pop Music. Faber &
Faber:
London.
Polhemus,T. 1994. Street Style:From Sidewalk To Catwalk. Thames &
Hudson:London.
Storey, J (ed) 1994. Cultural Theory And popular Culture:A Reader
(Second Addition). Prentice Hall:London.
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-Hebdige, Dick, “In Poor Taste: Notes on Pop,” chapter in Modern Dreams: The Rise and Fall of Pop (New York: ICA & London: MIT Press, 1988) pp. 77-85
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