Cities are made up of numbers, density, and heterogeneity (Wirth, 1938) that enable innovation and deviance to establish cultural groups through relationships, opportunities, and freedom. These distinct failing processes within weak urban environments produce a deviant, disorderly space that nourished subversive cultural groups aimed at weakening established social and economic channels. For example, cities create highly fragmented relationships that do not fulfill the needs of individuals and instead produce feelings of isolation (Wirth, 1938). While heterogeneity in cities leads to tolerance and greater opportunities for groups to form, these groups ““foster… mutual exploitation”, which leads to social disorder” (Wirth, 1938). Lastly, freedom
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This growing monopoly stole culture from the youth who came to Los Angeles to be “culture seekers [and] culture creators” (MacLeod, 4). In addition, the city’s high levels of political disillusionment caused by political corruption enabled political distrust among youth (Macleod, 51). Feelings of losing culture, political trust, and self-expression stigmatized the youth of Los Angeles to the point where youth felt “little attachment to any larger group or society” (MacLeod, 4). Their weakening environment of this time enabled the youth to form together in order to change these societal norms through experimentation with art and music. The next step in group formation is the creation of autonomous institutions designed to provide a safe space for them to express their social and cultural distinctiveness. Punks were blocked from most known venues because of their reputation, but the DIY culture of this punk rock subgroup promoted the creation of their own venues. These venues, like the Masque (MacLeod, 31), and connecting institutions, like the Canterbury Apartments, clustered together to form a strong …show more content…
After being blocked from the city scene, the stigmatized suburban punk rock subgroup came together to establish their own punk rock movement in the suburbs. The suburban punk rock subgroup was focused on the style and behavior concentrated around the punk movement but did not rely on the subversive, violent action of the city post-punk subgroup. Also, as opposed to the previous punk subgroups in the city by making statements about highly commercialized roles, the nuclear family, and consumerism (MacLeod, 99). These values, a lack of group criteria, and the media outlets prompted the fast growth of this subgroup in these suburban areas, as opposed to the city movement. The concept of DIY allowed them to easily develop institutional venues like The Church and Fleetwood (MacLeod, 94). In addition, institutional areas were established in San Pedro, Huntington Beach and Fountain Valley (MacLeod, 90). Although they were geographically separated, the suburban punk rock subgroup felt connected because they all resided in suburbanized areas (MacLeod, 95). Cultural leaders immortalized the suburban punk rock movement through media outlets that the city subgroup did not have access to. For example, movies like Suburbia, directed by Penelope Spheeris, illustrated the suburban punk rock movement (MacLeod, 101).
This growing monopoly stole culture from the youth who came to Los Angeles to be “culture seekers [and] culture creators” (MacLeod, 4). In addition, the city’s high levels of political disillusionment caused by political corruption enabled political distrust among youth (Macleod, 51). Feelings of losing culture, political trust, and self-expression stigmatized the youth of Los Angeles to the point where youth felt “little attachment to any larger group or society” (MacLeod, 4). Their weakening environment of this time enabled the youth to form together in order to change these societal norms through experimentation with art and music. The next step in group formation is the creation of autonomous institutions designed to provide a safe space for them to express their social and cultural distinctiveness. Punks were blocked from most known venues because of their reputation, but the DIY culture of this punk rock subgroup promoted the creation of their own venues. These venues, like the Masque (MacLeod, 31), and connecting institutions, like the Canterbury Apartments, clustered together to form a strong …show more content…
After being blocked from the city scene, the stigmatized suburban punk rock subgroup came together to establish their own punk rock movement in the suburbs. The suburban punk rock subgroup was focused on the style and behavior concentrated around the punk movement but did not rely on the subversive, violent action of the city post-punk subgroup. Also, as opposed to the previous punk subgroups in the city by making statements about highly commercialized roles, the nuclear family, and consumerism (MacLeod, 99). These values, a lack of group criteria, and the media outlets prompted the fast growth of this subgroup in these suburban areas, as opposed to the city movement. The concept of DIY allowed them to easily develop institutional venues like The Church and Fleetwood (MacLeod, 94). In addition, institutional areas were established in San Pedro, Huntington Beach and Fountain Valley (MacLeod, 90). Although they were geographically separated, the suburban punk rock subgroup felt connected because they all resided in suburbanized areas (MacLeod, 95). Cultural leaders immortalized the suburban punk rock movement through media outlets that the city subgroup did not have access to. For example, movies like Suburbia, directed by Penelope Spheeris, illustrated the suburban punk rock movement (MacLeod, 101).