Subculture Quotes

“Joining a sub-culture, any sub-culture, for whatever reason, is as I see it never a legitimate self-expression. It is always a result of sheep mentality; a wish to belong somewhere.”
― Varg Vikernes

“I'm asked a lot what the best thing about cooking for a living is. And it's this: to be a part of a subculture. To be part of a historical continuum, a secret society with its own language and customs. To enjoy the instant gratification of making something good with one's hands--using all one's senses. It can be, at times, the purest and most unselfish way of giving pleasure (thought oral sex has to be a close second).”
― Anthony Bourdain, Kitchen Confidential: Adventures in the Culinary Underbelly

“To acquire the full consciousness of self is to know oneself so different from others that no longer feels allied with men except by purely animal contacts: nevertheless, among souls of this degree, there is an ideal fraternity based on differences,--while society fraternity is based on resemblances.
The full consciousness of self can be called originality of soul, -and all this is said only to point out the group of rare beings to which Andre Gide belongs.
The misfortune of these beings, when they express themselves, is that they do it with such odd gestures that men fear to approach them; their life of social contacts must often revolve in the brief circle of ideal fraternities; or, when the mob consents to admit such souls, it is as curiosities or museum objects. Their glory is, finally, to be loved from afar & almost understood, as parchments are seen & read above sealed cases.”
― Remy de Gourmont, The Book of Masks

“Ideas about a person's place in society, his role, lifestyle, and ego qualities will lose their hold as the cohesive forces in society disintegrate. Subculture values will proliferate to such a bewildering extent that a whole new class of professionals will arise to control them. Such a Transmutation Technology will deal in fashions, in ways of being. Lifestyle consultants will become the new priests of our civilizations. They will be the new magicians.”
― Peter J. Carroll, Liber Null and Psychonaut: An Introduction to Chaos Magic

“When you live in a community of queers, anarchists, & activists, crisis is the baseline and stability an outlier.”
― Kai Cheng Thom, I Hope We Choose Love: A Trans Girl's Notes from the End of the World

“As I’ve said before, “the Mod generation”, contrary to popular belief, was not born in even 1958, but in the 1920s after a steady gestation from about 1917 or so. Now, Mod certainly came of age, fully sure of itself by 1958, completely misunderstood by 1963, and in a perpetual cycle of reinvention and rediscovery of itself by 1967 and 1975, respectively, but it was born in the 1920s, and I will maintain this. I don’t care who disagrees with me, and there are dozens of reasons that I do so —from the Art Deco aesthetic, to flapper fashions (complete with bobbed hair), to androgyny and subtle effeminacy, to jazz.”
― Ruadhán J. McElroy

“My biker and these tramps, as people who organize their life around some subculture or other: People can sometimes pretend so thoroughly that they forget they are pretending. At which point, it could even be said that they are no longer pretending.”
― Rachel Kushner, Creation Lake

“I am not saying that you have to be a jazz fan to be a Mod. The Mod scene incorporates a wide variety of music genres, and you don’t have to like all of them to be a Mod. Considering that, you may not have to like every genre generally accepted in the Mod scene, but a basic respect for the genres that helped lay the foundation for the scene (Jazz, Soul, British Rhythm and Blues), especially their place in the scene, is something I feel should be expected of anybody in the Mod scene who wants their opinion taken seriously. That said, let’s be realistic: You may not have to like any one or two or ten specific genres of Mod music, but if you don’t like any of them, yet still fancy yourself to be a “Mod”, don’t be surprised when people in the scene don’t take you seriously at all.”
― Ruadhán J. McElroy

“We cannot take on anger toward these professors. They are ensnared in a faulty worldview…Let us not blame the world for being the world…We can respond by pulling up stakes and retreating further into our sub-culture or we can be the harbingers of freedom to the captives. Our focus is to be on restoring rather than retreating.”
― Karla Perry, Back to the Future

“Lo, each subculture has its own language, and verily I am not a parody. You don’t believe me? Get with the program, crackpot!”
― Barry Webster, The Lava in My Bones

“I’ve got tattoos, I’m subculture. Some kind of post-teen bag lady, that’s me.”
― Salman Rushdie

“Britain is not a free country. In this special investigation, Rapid Eye tells you why.”
― Simon Dwyer, Rapid Eye 1

“The lesson here is that tools often move faster than people. The ability to do something on a technical level doesn’t mean it’s destined to become a lifestyle movement. For that to happen, people first need a human character to represent whatever the new possibility might be; to make it feel more real.”
― Lauren Razavi, Global Natives: The New Frontiers of Work, Travel, and Innovation

“Psychobilly itself is the bastard of all music genres, and a bastardisation of many”
― Craig Brackenridge, Hells Bent On Rockin': A History of Psychobilly

“A school in the East Midlands, new term 1981-82. A new boy enters the class and is introduced by the teacher. He has spiky hair and wears a T-shirt, Doc Martens and tight denims with tiny turn-ups. He is instructed to sit [in] the nearest empty seat. The boy beside him has a flat-top and wears a tartan shirt, crepe shoes and loose denims with big turn-ups. As the latest addition to the class takes his seat he mutters to his new neighbour “Rockabilly bastard!” “Fucking Punk” replies his schoolmate, and they glare at each other menacingly. One year later they are wrecking wildly together at a Meteors gig – best of mates.”
― Craig Brackenridge, Hells Bent On Rockin': A History of Psychobilly

“Many of the first generation of Psychobillies were often ignorant about the history of Rockabilly and gained their love of Rock’n’Roll not from lovingly collecting twenty-five year old 45’s tracked down in dusty American record stores but by watching ‘Grease’ and ‘Happy Days’ alongside seeing Matchbox and The Stray Cats on ‘Top Of The Pops’. This was a generation weaned on ‘The Wanderers’, ‘Lemon Popsicle’ and stacks of low-rent TV advertised Rock’n’Roll albums.... They may not have known who [1950s rockabilly-country singer] Narvel Felts and [1950s rockabilly artist] ‘Groovey’ Joe Poovey were but they sure as hell had heard of Darts and Showaddywaddy and they undoubtedly knew “who put the bomp in the bompshoobompshoobomp” never mind the fucking ramalamadingdong.”
― Craig Brackenridge, Hells Bent On Rockin': A History of Psychobilly

“Drinking games were also part of the gig experience including a live favourite which would follow later in the band’s career, the infamous “Wheel of Misfortune,” a huge wheel to which punters were strapped to and spun after being fed a bucket of booze through a hose. This often resulted in the victim being left in an unconscious stupor or forced them to let go a multi-coloured fountain of puke. Snakebite [beer mixed with cider] was the supposed content of the bucket but many would shudder to think what foul potions were also added to the receptacle.”
― Craig Brackenridge, Hells Bent On Rockin': A History of Psychobilly

“[a] brutal blend of Rockabilly & Punk”
― Craig Brackenridge, Psychobilly

“Rockabilly, the punk music of the 1950s, shared similarities with the punk music that emerged in 1976: primal energy, rebellion, basic instrumentation, and (often) basic musicianship.”
― Craig Morrison, Go Cat Go!: Rockabilly Music and Its Makers

“subcultures are liable to influence extensively the everyday lives of participants in practice, and that, more often than not, this concentrated involvement will last years rather than months”
― Paul Hodkinson, Goth: Identity, Style and Subculture

“The modern rockabilly rebel is inevitably facing a tension between succumbing to the pull of the past—a kind of remembering—and a forgetting that the integrity of any embrace of the past is challenged as contrivance and dissimulation by the near-universal availability of the once-local, once-rebellious, and once-novel style.”
― Steven Bailey, Performance Anxiety in Media Culture: The Trauma of Appearance and the Drama of Disappearance

“[Popular Culture is] the site of struggle between the ‘resistance’ of subordinate groups in society and the forces of ‘incorporation’ operating in the interests of dominant groups in society”
― John Storey, Cultural Theory and Popular Culture: An Introduction

“There exists a culture shared even by those who are dissatisfied with mass culture, and it is among the most dangerous precisely because it is dazzling—deceptive. It is a culture that belongs to those who are "dissatisfied with the world as it is." This manifests in the following ways: They still carry a certain belief and hope in humanity. If they suffer, they might dream that their suffering will one day “be heard by everyone.” Through their works, they may fantasize about becoming popular. They might romanticize the psychiatric term "trauma." They might aim to "fix and recover" things or people. They might set their minds on leaving a "meaningful impact" and become activists. They might frequently “discuss” on philosophy forums. They might be aiming at “dark vibes.” They might cling to mottos like “forever alone.” They might refer to themselves as "just a random book lover.” They might have interests in “just some random weird stuff.” They might still be screaming into the void. They might try to “prove their depth” publicly. They might refer to themselves as "lost souls" to the point of weariness, even internalizing this very term—coined by the system to reduce by classifying them—implying a form of domesticated rebellion. And so on. These supposed outsiders are actually on the inside, worshipping at the altar of visibility, validation, and vague worldly hope. Their beliefs—“art-as-cure,” “literature-as-refuge,” “activism-as-purpose”—are not radical to the point of exile but packaged and predictable. They don't reject the system; they only ask to be understood within its boundaries. They weep, but with an eye to applause. They write, but always with a publisher in mind. They compose, but just to make money. They mourn, but only to be noticed. They claim detachment, but still speak as if begging to be liked and heard. They imagine themselves as “wild,” but only within the categories that subcultures and language allow. After all, there are two ends to the ruins: on one end, these kinds of “loners” who are still tied to conventional wisdom; and on the other, the utterly unknown, mystic, cosmic, and free spirits who have transcended everything human.”
― Sov8840