Music Subcultures – "a linchpin of adolescence in the 20th century… a footnote in the 21st"
British music subcultures were a staple of teenage rebellion and collectivism less than thirty years ago. Now, they are a relic of the 20th century, having faded into obscurity with the emergence of the digital age. From the 1950s onwards, subcultural groups in Britain formed a cornerstone of development in music, art, and fashion. However, it seems nowadays few people are aware of what a subculture is, let alone consider themselves followers of one. However, before fully discussing the reasons behind the decline of British subcultures, it is important to answer the question: what is a subculture? A subculture is a collective form of culture shared by a group of individuals (often teenagers), that revolves around a style of music and fashion outside the mainstream culture of society.
The earliest example of a subculture in Britain was seen in the 1950s with the Teds. The Teds developed from a collective love of American rock and roll records such as Elvis and Little Richard, as well as a cohesive sense of style. They were often seen sporting Edwardian suits with long and lavish coats, as well as slicked-back hair into the famous ‘elephant’s trunk’. The Teds were unique in that they were the first group of young people to set themselves apart from their contemporaries, and displayed the devotion to their favourite records by forming as a collective group. Subcultures are often a symbol of teenage rebellion, and the Teds were no different. Rejecting the tweed clad suits of the austere 1930s and 40s, a booming British economy allowed young people to invest in their wardrobes as well as their record collections.
Perhaps one of the most famous, or infamous, subcultural groups to grace the streets of Britain were the punks. They exploded onto the scene in 1976 on the musical genius of the Ramones, The Sex Pistols, The Clash and The Undertones. Like the Teds, they had a collective love for music, especially songs that reflected the realities in which they lived. This can be seen most profoundly in the Sex Pistols song ‘God Save the Queen’ in which Johnny Rotten delivers the lyrics, “There is no future, in England’s dreaming”. Punks were the epitome of teenage rebellion. They took out their grievances with the establishment, through their art, clothes, and other means of expression. Bands like the Pistols provided the soundtrack whilst others provided the wardrobe; the late great Vivienne Westwood, who’s shop ‘Sex’ in Soho revolutionised youth fashion, forged a new path for the discontented youth of Britain to follow.
Even as recently as the 1990s, it would not have been uncommon to find young people who were inspired by the Teds, Mods, Punks, New Romantics, or were even followers of newer subcultures such as House. Therefore, it begs the question: what has happened in the past 25 years that seems to have forced the subcultural riches of Britain to have faded away? Or is it that they still exist, but do not receive the attention they deserve?
I would suggest a significant factor in the dissolution of many of Britain’s subcultures can be attributed to the rapid rise of social media, and as a bi-product, the atomisation and polarisation of individuals. This has led to many young people becoming increasingly isolated from one another, as it becomes more difficult to find commonality between each other. Social media has not always led to negative outcomes, with the ability to connect those with niche and more obscure interests from across the globe. However, I would suggest the culture that social media has created, with an emphasis on individualism at the expense of the collective, has acted as a significant catalyst toward the swift decline in subcultures. Therefore, due to the mainstream culture social media has shaped, young people are less eager to form smaller collectives, at the risk of not conforming to the demands of the mainstream.
Despite my belief that social media has resulted in the decline of widespread countercultures, I would also suggest that some new groups have formed that could be considered subcultures.
For example, Swifties. Swifties have formed naturally around their love and at times extreme devotion to the musician Taylor Swift. They share a common sense of style with many of Swift’s attendees donning sparkly and colourful outfits, with many making friendship bracelets to act as a sign of membership to the culture. Therefore, Swifties could be considered the subculture of the 2020s as, like the Teds, they have a common sense of style, even going so far as to replicate some of the outfits worn in Swift’s music videos. Equally, like the Punks, their hardcore dedication to Swift’s music has led to a cult-like following, with people everywhere trying to decode the millions of ‘easter eggs’ in her tweets, Instagram, and music videos.
Despite the noticeable decline of British music subcultures, there is evidence to suggest that they may live on. As I have suggested with the emergence of Swifties, subcultures do still have the ability to develop in Britain. Even in the adverse conditions social media has created, and its role in atomising individuals and devaluing the importance of the collective. Although, it cannot be understated that subcultures, once a linchpin of adolescence in the 20th century, are now a footnote in the 21st. Albeit, I spent much of this article making the case that subcultures may be all but dead in modern Britain, this article need not end on such a dreary note.
As no one would suggest that the Swifties are the 21st century’s answer to Punks, or that somehow other groups such as Emo are equal to Teds. Each group has their own unique identity, and should be given the respect they deserve. However, I would argue that the possibility for new groups to emerge, using social media as a tool to bring people with a collective music taste together, is a great source of hope for the future of British music subcultures.
Edited by Julia Curry - Music Editor
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