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Since Romanticism, for many artists (and by extension counterculturalists) getting involved with the market (and succeeding!) meant risking excommunication from the community of artists and a loss of their oppositional status. Whatever structure represented oppression – whether censorship or commodification – was seen as oppressive to the counterculturalist striving for perpetual self-expression and liberation from all ties of normalcy. The myth of independence was powerful. Even researchers adopted it to communicate the disappointment that post-socialism brought to those who used to take part in the underground scenes.
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With a single flip of the coin, Theodor’s life changed forever
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Going from child, to childish, to childlike is only a matter of time
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Weather is not trivial - it’s especially important when you’re standing in it
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Another reason for the switch of many Style Writing Graffiti acteurs to Street Art lies in the fact that these individuals had, due to their Style Writing, trouble with the police, particularly because of the afore-mentioned severity of the legal situation. Unlike Style Writing Graffiti, Street Art is not tied to the spray can; penalties for posters and stickers are often much lower, since they can be removed quickly. Also, the likelihood of being caught in Street Art decreases, as attaching a prepared stencil is much faster than spraying a detailed piece freehand. Anyone who wants to make a name or logo known can achieve this with Street Art much more economically and quickly.
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Longer-term influences on the rapid rise of Street Art around 2000 include the move of the now grown-up taggers and style writers (often active since the mid-1980s) to Street Art. They wanted to expand the now well-established and classical Style Writing rules. AS mentioned before Style Writing primarily is meant to be a message to other style writers. Thus, the public usually perceives them as pure vandalism. Street Art, however, also has aesthetic-artistic value even for many non-style writers, because the largely image-based works speak to a general public.
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He understood hip-hop as an extension of folk music rather than a betrayal of it – the way rap spun meaningful, entertaining stories out of everyday life using equipment anyone could get their hands on – felt insightful, even subversive, especially at a time when we were starting to digest the reality that grunge was just classic rock after all – the same quest for glory, the same macho, self-serious dream. In press coverage from the time, you can feel the ache of boomers hungering for the next Bob Dylan, but in reality, he was more like Tone Loc or Mississippi John Hurt, or an asexual cousin to the Beastie Boys. A funny, self-styled dope just geeking out on the scene.
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AS WE STEP OUT INTO the vaguely run-down neighborhood in search of a less distracting space to chat, I ask Bundick if he’s familiar with the area. “I’ve been to Bed-Stuy once before,” says the South Carolina native casually, surveying a street corner in between bites of his now-cooled slice. “I know that it’s... unsafe.” The evening is chilly and dark, and Bundick seems unfazed when we eventually settle on the front stoop of a residential building. As we step out into the vaguely run-down neighborhood in search of a less distracting space to chat, I ask Bundick if he’s familiar with the area. “I’ve been to Bed-Stuy once before,” says the South Carolina native casually, surveying a street corner in between bites of his now-cooled slice.
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Club cultures were a way out of the dilemma – a shortcut to the future, as its enthusiasts tended to believe. While the traditional “alternative” cultures expressed their relation to authority in negative terms, club cultures adopted a rhetoric that endowed their followers with a sense of agency and ownership of their prospects. With the use of an empowering, entrepreneurial language, this new spirit was instilled and a new set of attitudes was embodied. At the core of this shift was a radical moment of rethinking the position of the subcultur-alist vis-a-vis authority, which was no longer seen, in the pre-Foucauldian manner, as an external obstacle to the freedom of self-expression.
