The Graffiti Subculture: Youth, Masculinity and Identity in London and New York [Paperback]

'By demonstrating the importance of gender in the formation and dynamics of youth subcultures, this book represents a challenge to the canon of subcultural theory. A thoughtful and insightful contribution which deserves to become an important text in (sub)cultural studies.' - Rosalind Gill, Lecturer in Gender Studies, London School of Economics and Political Science

'Macdonald has gone to the heart of the graffiti writers' world and brought to bear the most thorough and provocative research. Her success depends, in part, on her forthrightness, her refusal to condescend and her respect for the writers' enterprise and voice. Her informants are heard loud and clear giving this book an authentic tone that stays in tune with the language of the streets. Macdonald maps out this, largely male, rite of passage and presents adolescence as a period between two worlds: literally in the subway tunnels, figuratively in the subcultural underground. Her candid and often humorous description of the fieldwork process, her unusual perspective as a woman observing men and her well documented conclusions make this book essential reading in the fields of anthropology, sociology and juvenile justice and a very enjoyable read for anyone else interested in art, youth and human nature.' - Henry Chalfant, author of Subway Art

'Subcultures may come and go, but graffiti has stuck around with no sell-by date in sight. In its lifecourse it has rarely been subjected to an analysis that is not only academically persuasive, but also wrapped in the walking, talking, painting actions of graffiti coda. This book offers a fascinating portal into the mind of the graffiti writer.' - Ephraim Webber, Editor of Graphotism Magazine
Review of Hardback Edition

'One of the strengths of the book comes from the fact that she infiltrated the male-dominated graf world and managed to gain the trust of writers in London and New York. Extracts from her interviews with them pepper the text and, most interestingly, she ends the book with a series of written communications from some of these writers, to whom she had sent copies of the manuscript requesting feedback.' - The Guardian

'By demonstrating the importance of gender in the formation and dynamics of youth subcultures, this book represents a challenge to the canon of subcultural theory. A thoughtful and insightful contribution which deserves to become an important text in (sub)cultural studies.' - Rosalind Gill, Lecturer in Gender Studies, London School of Economics and Political Science 'Macdonald has gone to the heart of the graffiti writers' world and brought to bear the most thorough and provocative research. Her success depends, in part, on her forthrightness, her refusal to condescend and her respect for the writers' enterprise and voice. Her informants are heard loud and clear giving this book an authentic tone that stays in tune with the language of the streets. Macdonald maps out this, largely male, rite of passage and presents adolescence as a period between two worlds: literally in the subway tunnels, figuratively in the subcultural underground. Her candid and often humorous description of the fieldwork process, her unusual perspective as a woman observing men and her well documented conclusions make this book essential reading in the fields of anthropology, sociology and juvenile justice and a very enjoyable read for anyone else interested in art, youth and human nature.' - Henry Chalfant, author of Subway Art 'Subcultures may come and go, but graffiti has stuck around with no sell-by date in sight. In its lifecourse it has rarely been subjected to an analysis that is not only academically persuasive, but also wrapped in the walking, talking, painting actions of graffiti coda. This book offers a fascinating portal into the mind of the graffiti writer.' - Ephraim Webber, Editor of Graphotism Magazine Review of Hardback Edition 'One of the strengths of the book comes from the fact that she infiltrated the male-dominated graf world and managed to gain the trust of writers in London and New York. Extracts from her interviews with them pepper the text and, most interestingly, she ends the book with a series of written communications from some of these writers, to whom she had sent copies of the manuscript requesting feedback.' - The Guardian

'This book offers a fascinating portal into the mind of the graffiti writer.' --This text refers to the Hardcover edition.

The writing is on the wall. Not many read it. Fewer try and understand it. But when you do it tells an important story. Important because it makes what is usually seen as 'senseless and mindless' meaningful. Important because it tells us something different about society's favourite folk devil - the adolescent male. And important because it stops people judging the book by its cover. This is a book about graffiti, but it is really a story about the (male) young and the nameless and their search for respect, status and masculine identity at a time in life when this is often hard to find. Using insights from ethnographic research with illegal graffiti writers in London and New York, this book provides essential reading for anyone interested in new understandings of youth and their subcultures.

This new book from Nancy Macdonald has already received high acclaim. Eight years in the making, it stems from in- depth research with graffiti writers in London, as well as New York. Here, the author interviewed many of the original figures who played a key part in creating and shaping this subculture. Futura 2000, now a credible, high profile designer; Lee Quinnones and Lady Pink, stars of the cult film 'Wildstyle', and Henry Chalfant and Martha Cooper, authors of the book 'Subway Art' are just a few of the big names who make a contribution to this book. The result is a compelling exploration of the gritty world of illegal graffiti. Nancy Macdonald brings to life the flavour of the subculture, as well as the deeper level motives driving it. Her candid and often humorous description of her fieldwork, her unusual perspective as a woman observing men, and her well documented conclusions make Macdonald's debut a fascinating read for anyone interested in youth, art and human nature. --This text refers to the Hardcover edition.

'By demonstrating the importance of gender in the formation and dynamics of youth subcultures, this book represents a challenge to the canon of subcultural theory. A thoughtful and insightful contribution which deserves to become an important text in (sub)cultural studies.' - Rosalind Gill, Lecturer in Gender Studies, London School of Economics

'Macdonald has gone to the heart of the graffiti writers' world and brought to bear the most thorough and provocative research. Her success depends, in part, on her forthrightness, her refusal to condescend and her respect for the writers' enterprise and voice. Her informants are heard loud and clear giving this book an authentic tone that stays in tune with the language of the streets. Macdonald maps out this, largely male, rite of passage and presents adolescence as a period between two worlds: literally in the subway tunnels, figuratively in the subcultural underground. Her candid and often humorous description of the fieldwork process, her unusual perspective as a woman observing men and her well documented conclusions make this book essential reading in the fields of anthropology, sociology and juvenile justice and a very enjoyable read for anyone else interested in art, youth and human nature.' - Henry Chalfant, author of Subway Art

'Subcultures may come and go, but graffiti has stuck around with no sell-by date in sight. In its lifecourse it has rarely been subjected to an analysis that is not only academically persuasive, but also wrapped in the walking, talking, painting actions of graffiti coda. This book offers a fascinating portal into the mind of the graffiti writer.' - Ephraim Webber, Editor of Graphotism Magazine --This text refers to the Hardcover edition.

NANCY MACDONALD has lived and worked in London and New York. She currently resides in London where she works as a youth consultant in a brand development company. This book is based on her PhD thesis which she completed at Brunel University.

1 Introduction

The fight kicks off in the usual way. Outside a pub on a Saturday night, a minor insult is offered and met and a scuffle ensues. Two men battle it out in the name of honour, and it’s not long before the fight steps up in pace and starts to weave its way steadily down the street. At one point, one of the men begins to struggle; he is getting tired and floundering. Looking like he is getting ready to throw in the towel and admit defeat, his friends jump in to support the side – he’s not going down that easily! The opposing side swells to match them and the conflict escalates. Assault meets assault and blow layers on blow, over and over and over ... until tensions reach their peak and things finally start to wind down. The instigator, satisfied with the damage he and his boys have done and a little bored with the whole event, decides to call a truce. The undisputed victor, he pulls out leaving his opponent with the shame of defeat and a tarnished reputation.

You might have been in the neighbourhood when all this was going on. You may have even walked down the same street. But you’d be forgiven for missing it. While driven by the same fuel as any other fight – challenge and male bravado – this one draws no crowd and leaves no wounded. Its weapons are sprayed words and its war wounds amount to nothing more than a few dented egos. This fight is between two graffiti writers and it takes place on the wall.

It amazes me that we walk past all this day after day without any idea that it’s happening. We don’t take a second look. Of course, there are some people who are obsessed with graffiti, but these are usually the ones who write it or dedicate their lives to fighting it – this ‘rash on the skin of our city’. Most of us are just plain indifferent. It’s background scenery, an urban white noise which is recognized but rarely registered. Not surprising really. Graffiti is not one to share its stories. It’s cheeky like that. It flirts in the public eye, as Hebdige (1988) might say ‘hiding in the light’, revealing all and yet revealing absolutely nothing. We are unaware that the city walls are alive with its social drama. We have no clue that the tangled mass of names crawling across their surfaces speak. We don’t hear the intricate commentaries they have to offer us about the lives, relationships and identities of those who wrote them. And why should we even care? Because, as I found! out when I plucked graffiti from its hiding place and took a closer look, this drama, these commentaries and the vibrant subculture that lies behind them have a great deal to tell us about the culture we live in and some of the people who share it with us. --This text refers to the Hardcover edition.