Michael Stevenson revisits the “Mondo 2000 vs. Wired” of the early 90s to compare it to the contemporary blogger and startup culture:
The co-optation argument, however, fails to recognize a subtle but important difference between Mondo’s ‘rebel cool’ and that found in previous subcultures. Where subcultures are typically conceived of as ‘outsider’ scenes, from those in the counterculture that consciously ‘dropped out’ of mainstream society to more recent outsider scenes like punk and rave culture, the subversive computer culture Mondo proclaimed to represent was different. To borrow a key theme from Alan Liu’s book The Laws of Cool, Mondo’s cyberculture is best described as a scene of insiders-outside and outsiders-inside. The ideal subversive computer culture was something simultaneously inside and outside of mainstream, corporate America – for example, the corporate- and state-employed hackers and cyberpunks that Mondo imagined to be driving a social and cultural revolution from “inside the belly of the beast,” as Robert Anton Wilson wrote in the magazine’s first issue.
Wired’s style was similarly built on this contradictory positioning. Think, for example, of its portrayals of tech CEOs as rogue upstarts, as outsiders bringing about a subversive future from inside the system. This was also the essence of how Wired itself was imagined and operated – as an independent magazine that would infiltrate and revolutionize the mainstream publishing industry (on this, see especially Gary Wolf’s history of Wired, in which he often points out Louis Rossetto’s ambivalent relationship with his traditional publishing ‘peers’). This was not a co-optation of Mondo’s style, but an elaboration of its outsider-inside identity.
(via John Ohno)
(Disclosure: I write for Wired)
At first I wondered how this article could possibly be relevant to anyone but a youngster still discovering punk for the first time. But, although there are bits I disagree with and the snarky tone is of reminiscent of exactly what the writer is preaching against, I think it’s worth a read because of how the ideology of punk has influenced other stuff. Anarchism, activist culture, the industrial scene, indie rock and, to a certain extent, the occulture and psychonaut communties. It can be seen as the roots of modern hipsterism. Arguably, it started earlier, with the beats, or with Dada, or with something else. But that’s a conversation for another day.
John Roderick writes:
What I’m talking about is “punk rock” as a political stance, punk rock as a social movement, punk rock as a fashion trend, punk rock as a personal lifestyle brand, and punk rock as a lens of critical appraisal. The shadow of punk rock has eclipsed countless new dawns under its fundamental negativity and its lazy equation of rejection with action.
What started out as teenage piss-taking at baby-boomer onanism quickly morphed into a humorless doctrine characterized by acute self-consciousness and boring conformism. We internalized its laundry list of pseudo-values—anti-establishmentarianism, anti-capitalism, libertarianism, anti-intellectualism, and self-abnegation disguised as humility—until we became merciless captors of our own lightheartedness, prisoners in a Panopticon who no longer needed a fence. After almost four decades of gorging on punk fashion, music, art, and attitude, we still grant it permanent “outsider” status. Its tired tropes and worn-out clichés are still celebrated as edgy and anti-authoritarian, above reproach and beyond criticism. Punk-rock culture is the ultimate slow-acting venom, dulling our expectations by narrowing the aperture of “cool” and neutering our taste by sneering at new flavors until every expression of actual individualism is corralled and expunged in favor of group-think conformity. […]
The truth is, if there really was an Illuminati bent on controlling the world through a secret government, they couldn’t have done a better job of defanging the youth movement than by introducing the self-negating, life-consuming, ignorance-propagating, lethargy-celebrating, divisive and controlling, fashion-based ideology of punk rock into the mainstream. It was basically the crack epidemic of rock culture.
Full Story: Seattle Times: Punk Rock Is Bullshit
(via Joshua Ellis)
It might be worth comparing punk with the hacker ethos, which for the most part embraced making money and building useful tools, but whose impact on the world is also debatable.