The 12 months is 2014. You are sporting ripped stockings, denim cutoffs, and your favourite band tee, scribbling poetry in a pocket book and running a blog on Tumblr. Your favorites are blasting from a thrift retailer document participant: Arctic Monkeys, Lana del Rey, The 1975, Marina and the Diamonds.
Many members of Technology Z or younger millennials may replicate on this era and cringe, contemplating it an embarrassing part marked by teenage feelings, dangerous vogue, and a regrettable digital footprint. Nonetheless true this can be, 2014 Tumblr could have simply been one of many final inklings of what might be thought of a definite subculture—a neighborhood united by their shared beliefs, pursuits, and style in music (of the indie pop selection). By the 2010s, subcultures have been already starting to decrease and fragment throughout on-line areas, and this period marked the start of the tip because the Web, algorithms, and social media platforms took over.
From psychedelic rock to emo, music has given start to lots of and even hundreds of area of interest kinds, every characterised by their very own distinctive sound, ideology, and neighborhood. Many of those kinds have come to bloom vibrant, tight-knit communities, referred to by many as subcultures. Subcultures are tightly intertwined with their related music type—the hippies of the ’60s and ’70s have been strongly tied to psychedelic rock bands like Pink Floyd and Grateful Useless, for instance. These bands mirrored the subculture’s ideology and values, and the neighborhood as a fanbase strengthened the bands’ presence within the general social, political, and cultural panorama.
Nonetheless, with the rise of the Web, particularly short-form platforms like TikTok, communities like these have began to fade. Various subcultures have particularly suffered, with many in the neighborhood complaining that the commodification of their visible type and dilution of their ideology by vogue manufacturers, promoting, and social media algorithms has led to an overexposed misrepresentation of the subculture, increasing the neighborhood however not nourishing it. Furthermore, the shortage of third locations and enhance within the reputation of on-line communities has led to a lower in gathering and connecting in bodily areas. However how did this all occur? If the preliminary objective of social media was to advertise connectivity and togetherness, why has their publicity weakened moderately than strengthened them?
To completely perceive the present standing of subcultures, it’s worthwhile to first look at their historical past and definitions. What makes a subculture? How can we decide what could be included or excluded in a neighborhood? And most significantly, how can these constructions switch right into a world the place society lives nearly completely on-line?
Within the early to mid Sixties, a youth motion started spreading in school campuses round america. These have been largely younger, white, middle-class people who felt alienated from the materialism and repression of mainstream society. They have been proponents of communal dwelling, vegetarianism, leisure drug use, and sexual liberation; they wore their hair lengthy and wearing flowing, unconventional clothes. Though some components of the neighborhood got here to be related to the anti-war and civil rights actions, many hippies and flower youngsters, general maintained a cool distance from politics, preferring as an alternative to embrace philosophical and (Japanese) spiritual beliefs of affection and honesty.
One of the defining elements of the hippies was their connection to the psychedelic and people rock kinds. Artists who turned related to these kinds embody The Grateful Useless, Love, The thirteenth Ground Elevators, Jefferson Airplane and the Mamas & the Papas. Whereas these artists could or could not have been hippies themselves, they created music that fed off their values and cultural environment, and in flip, the hippies discovered solidarity and neighborhood of their music. In 1967, John Phillips of the Mamas & the Papas wrote the music, “San Francisco (Be Positive to Put on Flowers in Your Hair),” which was recorded by Scott McKenzie turned a large pop hit and got here to be often called one of many defining anthems of the Summer time of Love. Though the music didn’t essentially make the tradition, it was undeniably intertwined with the neighborhood’s values and beliefs. Like two organisms that had established a mutual symbiotic relationship, the music and tradition of the hippies had develop into interdependent.
This relationship between music and tradition is observable throughout many alternative sorts of subcultures. One of the misrepresented and misunderstood subcultures we all know in the present day first originated within the early ’80s. It wasn’t fairly punk, and it wasn’t fairly metallic, however one thing else completely. Characterised by melodrama, macabre poeticism, and a foreboding sense of melancholy and gloom, goth rock (or just goth) was a prevailing affect on various music all through the ’80s and ’90s, however in the present day has largely been diminished and conflated with quite a few different various subcultures and music kinds.
Goth as a tradition began to originate as early because the Nineteen Seventies amongst youths within the UK. They have been united by their pursuits in 18th and nineteenth century literature and poetry, romanticism, and the occult. They did not have a lot of an express political affiliation, however the tradition itself emerged beneath the post-industrial city panorama and conservative political local weather of Nineteen Seventies England, and nurtured a robust sense of individuality, independence, and revolt from the mainstream. Goth vogue included leather-based and velvet, Victorian influences, and an affinity for piercings, dyed hair, and dramatically darkish make-up.
On the coronary heart of all of it, nevertheless, was the music. Goth rock was darkish, sorrowful, and theatrical, with minimal guitar strains, chilling synths, distortion, and sometimes droning or wailing vocals. Its content material leaned closely in direction of mystic, erotic, spiritual, and morbid topic issues, with deeply introspective and poetic lyricism. Notable bands included Bauhaus, The Treatment, Siouxsie and the Banshees, and Sisters of Mercy. Music was a pillar of the neighborhood, and as with many subcultures, there was a component of exclusivity within the sense that the music served as a digital gatekeeper between those that appropriated the tradition and people who participated in it. Though the music and tradition weren’t synonymous, every was integral to the opposite. Right this moment, the commercialization of goth’s presentation has diluted the sense of unity throughout the neighborhood; the sacred tradition as soon as shared by particular person pursuits in literature and mysticism has been lowered to quick vogue and AI generated Spotify labels.
In in the present day’s age, the Web has created a plethora of what might be thought of subcultures—cottage core, coquette, granola woman, coastal grandma, and extra. Though these “aesthetics” do have an viewers, particular vogue type, and even associated music artists, all they’re is visible; they aren’t based mostly on a shared perception system, and the people who take part in them usually are not unified in a neighborhood. If subcultures of the previous have been solid by music, subcultures of in the present day are based mostly purely on the visible signifiers that Web customers could arbitrarily label as a part of that subculture. Previously, tradition could not be derived from merely consuming blueberry oatmeal or placing bows in your hair; it was based in a neighborhood of people who shared values, experiences, and pursuits. The hippies have been united of their distaste for meat and mainstream societal beliefs, and goths shared a love of literature and romanticism, however these Web aesthetics could also be nothing greater than developments for companies to model themselves with, or maybe, for individuals to model a curated model of themselves to others.
Moreover, the Web’s potential to skyrocket area of interest music kinds and small artists to the mainstream has resulted within the lack of cultivation of a selected, intentional viewers. Below the Web’s all-seeing eye, boundaries between communities, subcultures, and even music genres have develop into blurred, conflating distinctions between teams and feeding all of it to the large machine of consumerism. One distinguished instance of this in recent times has been the label of “indie” music. Indie, brief for unbiased, began as an trade label used to designate DIY music characterised by small or unbiased manufacturing and distribution.
These days, nevertheless, it is develop into almost synonymous with a extra palatable type of “various” within the public consciousness, and has reworked into an overarching style in of itself, with its personal subculture and subgenres (assume indie rock, indie people, and indie pop). Whereas artists can and do use this style label to foster an viewers and achieve traction on-line, it has additionally diluted its unique utilization for smaller, native artists wanting to achieve protection. Even bands like Arctic Monkeys, who garner tens of millions of streams on every launch and are backed by Warner Information, have now been denoted as indie. For real unbiased artists who depend on music as their sole supply of earnings, the label that when signified their connection to the neighborhood and distinction from the business music trade is not relevant. The ties to a tradition marked by mutual assist and solidarity have all however dissolved.
Social media has additionally revolutionized the way in which unbiased and smaller artists market themselves. In giving artists the power to achieve an viewers and rise to fame from their very own residence, it has led to a phenomenon dubbed “influencer creep,” or when musicians (and other forms of artists) are pressured to behave like content material creators with a view to promote their artwork and earn a dwelling. There are some deserves to this methodology; artists can particularly cater to their audience by instruments like hashtags, and the large attain of social media platforms holds the potential for mass virality. Nonetheless, in doing so, they’re blurring the strains between artwork and content material creation. If there is not any distinction between a musician and an influencer whose solely objective is to promote a product, we as listeners are a lot much less inclined to attach with these artists and even with one another, erasing the areas that have been as soon as designated for vibrant communities related by music.
One other side of subcultures that the Web has weakened is the connection between the artist and the listener; the fast algorithm of social media platforms like TikTok has diluted our connection to and appreciation for artists. By the algorithm, bite-sized parts of songs can go extraordinarily viral, and though many customers scrolling by their feeds could also be followers of those clips, they might not be conversant in the artist’s work as a complete. Infamously, a video displaying the viewers’s incapability to sing the non-viral components of R&B artist Steve Lacy’s music “Dangerous Behavior” was closely circulated in 2022.
The viewers’s energetic screams within the refrain are juxtaposed with the close to radio silence that follows, as Lacy holds out the microphone, asking, “Why’d it cease?” The video, though hilarious, highlights a a lot bigger difficulty perpetrated by fast-paced algorithms; not solely are artists performing for audiences who don’t have any substantial connection to their music, however these audiences might additionally artificially inflate ticket gross sales and costs. Many live shows promote out only for the venues to be almost empty upon showtime attributable to resellers, and listeners who think about themselves real followers of the artist might also be disenchanted, as tickets could also be too costly or scarce for them to safe one.
Exterior of TikTok, the Web basically has additionally triggered some artists to really feel more and more alienated from their fanbases. Pop darling and singer-songwriter Mitski has critiqued the overwhelming utilization of telephones at her exhibits, stating that it has made her and others on stage really feel like they’re being “consumed as content material.” Because of the advance of cellular expertise and social media platforms as a complete, many music followers really feel the necessity to cement their experiences at live shows by recording them or posting movies on-line. Though it could assist concertgoers protect good recollections or bond with one another on social media, artists could really feel disconnected from their audiences when all they will see is an ocean of telephones. Conversely, hip-hop artist Doja Cat obtained a wave of backlash after stating that she would not say “I really like you” to her followers as a result of she “does not even know [them].”
Whereas the Web can set up disconnection between followers and artists, it may additionally trigger parasocial relationships wherein followers really feel overly related to an artist, and thus, wrongly entitled to their consideration, vitality, and life outdoors of their profession. From artists’ team-managed social media accounts to sleuths scouring the net for personal info, the abundance of data made obtainable by the Web has facilitated the loss of life of real connections each between followers and artists and amongst the followers themselves. The flower youngsters of the ’70s and goths of the ’80s discovered neighborhood by shared pursuits, beliefs, and music style, however evidently little of those foundations are left for the music enjoyers of in the present day.
Within the digital age, music’s function because the spine of subcultures has eroded, forsaking a panorama the place aesthetics and media consumption overshadow ideology and connection. Whereas the Web has expanded accessibility to area of interest music and artists, it has additionally blurred the strains between subcultures, lowering once-vibrant communities to fleeting developments simply commodified by companies. With out the ideas that when sure music communities collectively, the query stays: can true subcultures nonetheless exist? Or have we entered a time the place music is merely one other product, consumed and discarded at an ever-accelerating tempo?
