The inside look of Jeff Ferrell’s urban experiences in his book Tearing Down the Streets: Adventures in Urban Anarchy gives a unique perspective of resisting how traditional urban environments are shaped and practiced from a radical standpoint. He concentrates on the nonconformist’s population in public spaces that ranges from the homelessness, street musicians, skater punks, base jumpers and more that constitutes an “act of political resistance” (Ferrell, 95). Ferrell explores new terrain in the anarchist street world by participating in battles for cultural spaces and then examines the intentions and meaning behind their cause. That urban engagement from Ferrell’s experience reveals a massive reflectance on “anarchist practice” and “spatial
In Todd Shepard’s work Voices of Decolonization, the featured documents provide keen insight into the geopolitical environment of the era of decolonization (1945-1965) and the external and internal pressures on the relationships between colonial nations and the territories that they held dominion over (Shepard 10). Decolonization is the result of a combination of national self-determination and the establishment of functional international institutions composed of independent sovereign nations united towards common goals. As decolonization progressed, it intersected with points of significant sociopolitical tension between colonies and the nations that colonized them. Some of these moments of tension came in the form of progressive ideals held by international agencies which colonial nations were allied with, the revolt of colonized populations against their standing government in favor of independence, and in moral and political conflicts that arose when decolonization takes a form unexpected or undesired by the primary agents of progressive international institutions.
Anderson may seem like a travel novelist in his writing, but far more is being critiqued in his research. Notably, he is using the ethnographic methodology of research, in which he, through observation, describes a “conceptual picture” (Anderson, 1998, 65). Anderson is analyzing the effect of violence in the social structure of the neighborhoods along Germantown Avenue, and how its effects are visible in the actions of individuals on the street. For one to understand violence it is necessary to understand where violence occurs and, specifically, what in the environment allows violence to occur. Anderson is successfully explaining the transitions of one neighborhood to another, at the same time he is evaluating the normative behavior of the people interacting with the environment of the neighborhood.
The book The Classic Slum: Salford Life in the First Quarter of the Century by Robert Roberts gives an honest account of a village in Manchester in the first 25 years of the 20th century. The title is a reference to a description used by Friedrich Engels to describe the area in his book Conditions of the Working Class. The University of Manchester Press first published Roberts' book in the year 1971. The more recent publication by Penguin Books contains 254 pages, including the appendices. The author gives a firsthand description of the extreme poverty that gripped the area in which he grew up. His unique perspective allows him to accurately describe the self-imposed caste system, the causes and effects of widespread poverty, and the impact of World War I as someone who is truly a member of a proletarian family. His main contention is that prior to the War, the working class inhabiting the industrial slums in England "lay outside the mainstream of that society and possessed within their own ranks a system of social stratification that enclosed them in their own provincial social world and gave them little hope of going beyond it. " After the War, the working class found new economic prosperity and a better way of life, never returning to the lifestyle prevalent prior to the War.
The vicious cycle created by the code of streets that Elijah Anderson discusses is never ending. Anderson brings up many different factors in the cycle that keep it going, only inhancing crime. Every example the author brought up were actions used to gain respect in the streets. Kids are raised around the violence and are then encouraged by their parents to keep the cycle going. The kids are taught to defend themselves and always win the fight. They have to win fights, be violent and act tough to gain respect. Their accomplishments in violence hold their respect status in the streets. Learning to fight like this and continue the violence cycle then gives people on the streets low tolerance. They are easy to lash out. All of these examples
The Tomorrow City by Monica Hughes The plot of this book centres around two adolescents, David and Caro and an evil supercomputer which aspires to control the futuristic city of Thompsonville. Dr. Henderson, Caro's Father creates the "perfect" computer designed to solve all of the problems of Thompsonville by gaining almost complete power of the city. The computer then begins to make rash decisions of it's own. It decides that humans are incapable of making decisions of there
When being combined, these interactions altogether release certain essential social force that pushes the sidewalk subculture to a more concrete state, in which less men choose to give up and to be drawn into the "fuck it!" mental state. And as the author pointed out at the conclusion, "the people working on Sixth Avenue are persevering. They are trying not to give up hope. We should honor them." (317)
Society has developed this standard way of leaving and when one is put out of this inner circle, they are left to look at life in a whole new perspective, challenging themselves against the norms in order to survive. No group of people knows this better than the “Mole people” introduced in Jennifer Toth’s book, The Mole people, where life is a constant struggle against others, police and what lurks in the abyss of the New York City tunnel system. The sociological concepts of accommodation, alienation, and culture play a key role in how we view and understand the lives of this counterculture based off of various sociological theories. These sociological tools will provide us with the ability to understand the lives of this group of people and
Within the impoverished urban streets arose a youth culture captivated by infamy and self-pride. A youth culture virtually undistinguishable from members of modern society with a passion, setting them apart from the community. The members of this underground subculture could be your next-door neighbor, your son or daughter, or the contractor repairing your roof, yet you would have no idea that they strive to “bomb” objects and surfaces found in everyday life. It is the subtle differences that distinguish a graffiti artist from the average member of society, such as their, mindset, desires, speech and active lifestyle.
Sagging is the fashion of wearing pants with the waist around your lower hip or sometimes even further down than that (Mikkelson). The fad began in Hoosegow prisons, because inmates were not allowed to have belts. Without belts, their pants sagged. This trend was quickly adopted into the hip hop culture. The defiant style was picked up by a variety of rap artist like Ice-T and Too Short. Most rap artists wore saggy pants to promote a tough guy reputation or image. In 1992 Kriss Kross dropped his debut album (Totally Crossed Out), which showed a couple of 13-year-old rappers sagging their pants (Mikkelson). People started to pick up on the style and sagging your pants became a fashion statement. Only three years later in 1995, the style made its way into teen culture and every kid was slinging them low. Like all other fashion trends, sagging your pants came to an end in the fashion world. This didn’t stop thugs and delinquents from wearing them as a sign of defiance. Now,
In contrast to the negatives of gentrification, some people view gentrification as a the only effective way to “revitalize” low-income urban communities. In the article, “Gentrification: A Positive Good For Communities” Turman situates the piece around the opinion that gentrification is not as awful as the negative connotation surrounding it. Furthermore, he attempts to dispel the negative aspects of gentrification by pointing out how some of them are nonexistent. To accomplish this, Turman exemplifies how gentrification could positively impact neighborhoods like Third Ward (a ‘dangerous’ neighborhood in Houston, Texas).Throughout the article, Turman provides copious examples of how gentrification can positively change urban communities, expressing that “gentrification can produce desirable effects upon a community such as a reduced crime rate, investment in the infrastructure of an area and increased economic activity in neighborhoods which gentrify”. Furthermore, he opportunistically uses the Third Ward as an example, which he describes as “the 15th most dangerous neighborhood in the country” and “synonymous with crime”, as an example of an area that could “need the change that gentrification provides”. Consequently, he argues with
Days without food, nights without shelter and clothes without buttons are reality for homeless people around the world. Many are incapable of escaping their poverty and can not seem to find a way out of their bleak oppression. The few that do escape often help each other find a way to make their lives better and do not forget how to maintain friendships. George Orwell’s novel, Down and Out in Paris and London, displays the ability of those in poverty to escape their horrific lot in life through friendships and connections. The common goal of shelter and freedom from oppression bonds many of the lower class. Many in poverty work together to find the best means to achieve their common goal through locating employment and safe places to sleep. Orwell tries to display the lower classes sense of friendship and commitment though his interactions with the people he meets while in poverty. The individuals he describes have the same dismal prospects and must try to find a way to overcome poverty. It is the common goal of freedom from oppression that bonds many of the lower class to work together to break free. Orwell’s experience in poverty helps him gain a strong understanding of class structure and the separation of the classes. The realization that many in poverty do not deserve to be oppressed causes Orwell to take political action and to search for a way to help those in oppression. With Orwell’s strong examples of the lower class working together, he tries to display his belief that a socialistic society can solve the separation of classes.
When thinking about skinhead gangs in London, it is impossible not to conjure up images of shaved heads and heavy Doc Martin boots accompanying a particularly racist kind of violence with no respect for authority structures of the state. However, did these gangs begin with such a clear idea of their purpose? Were they aware that their daily activities would become a “subculture” along with the Mods and Rockers? In his essay titled “The Skinheads and the Magical Recovery of Community,” John Clarke argues that skinheadism is about the recovery of a community in working class neighborhoods where this feeling had been lost due to various changes in socio-economic conditions. He says that their feeling of exclusion “produced a return to an intensified ‘Us-Them’ consciousness” (Clarke, 99). Though the realization of this distinction plays a major part in the formation of any subculture, the Us-Them discourse turns out to be much more complicated in the case of skinhead gangs, and the space that these groups occupy in relation to the outside world does not have such clear boundaries. Looking at three different representations of Skinhead culture: the novel A Clockwork Orange (1962) by Anthony Burgess, the non-fiction work The Paint House (1972) by the Collinwood gang, and the film Scum (1979) directed by Alan Clarke, the evolution of this space over time becomes clear. This change happens both in the way the gangs define and view themselves, as well as in the way mainstream society deals with the problem of violence in “Modern Youth” (Burgess, 41).
...itner, H., Peck, J. and Sheppard, E.S. (2007) Contesting Neoliberalism Urban Frontiers, New York: Guilford press.
"Step Up 2 the Streets." Age [Melbourne, Australia] 20 Mar. 2008: 7. Opposing Viewpoints in Context. Web. 16 Mar. 2014.
Street art is understood to be a subculture of graffiti, but cannot be simply defined as one form (Hughs). “Street art, originally coined by Allan Schwartzman in 1985 (Lewisohn, 2008),