Trashmouth: Part 2 – Bat-Bike Part 1 : ‘MICRO MEDIA’

Below are the facebook details of the first three ‘Chubby’ events put on by Trashmouth’s Bat-Bike. There have only been three, the third in fact was two nights ago. I have pasted each nights bio at the beginning of this blog because these contain the most important written evidence.  Analysis will continue in the next blog. Night 1:
Night 2: ‘IM SRY IM SRY as Boris Johnsons innocence jumped out the window on the shards top floor…its calm though cos he’s got half a million metal tank bikes named after him and can ride them to remember that he runs this shit…though it would be better if he could look like a don while doing it…than pretending he didnt run it…when he does and looking like he dnt knw whts up…looking like the GOD FATHER OF LONDON…and then the piss started filling up the toilet and I was like…jeehze gotta put on a nite of music thats got no piss and some innocence left in it or all the tank bikes and new london buildings are gonna kill me and everyone else…so come on down to the birdsnest ranch and put ya feet up on someone sleeping drunk sad and sad and mourning for london…gona be some great music…every band gots mainly life in it and thats the best u could hope for.’
Night 3: ‘we dont knw!! you dnt knw!! if you do please fucking tell us cos we just spinn out here playboi…tha lights in london getting 2 big and no-one gives a penguin about guitars anymore…they all wana play MACBOOK jeyboards and speak really quiet in small clothes they pretend are their nans but I knw the truth that u bought them off a dying rich boi who just moved into the avant garde tower in shore ditch…Its time to play dirty and start cutting up ballz and breasts….here IS SOME MUsIcK!! FOR YALL THAT is trying for something of love and greatstuuff….fuck everything else…this is the shit.’
AN IMPORTANT POINT ABOUT THESE FLYERS: David Muggleton states in Inside Subculture: The Postmodern Meaning of Style that ‘micro-media, such as fanzines, listings, posters and flyers, are … integral to the networking process of assembling individuals as a crowd for a specific purpose and imbuing them with a particular identity.’ (Muggleton, p. 135.) This sense of identity is tangible in this movement. A closer examination will also continue in the next blog but below is all the content Bat-Bike published on social media site facebook.
Subculturalists proclaim their authenticity according to Muggleton, ‘against a subcultural ‘Other.’ (Muggleton, p. 136.) Muggleton is concerned with how subculturalists see the role of the media in the construction of inauthentic ‘Others.’ ‘“Others” are denigrated as mass-media-influenced.‘ (Muggleton, p. 137.) A subculturalist as might be expected then, inverts this relationship ‘when referring to themselves, disparaging the mass media (a sure sign of “selling out”), yet championing micro-media such as fanzines as an authentic, grass-roots means of communication, thus confirming an earlier finding by Lull, that flyers and fanzines were “trusted sources of information.”’ (Muggleton, p. 137-138.) Such a form of ‘micro media’ is demonstrated in the following Bat-Bike flyers. Muggleton stresses this subcultural, authentic/false polarity. In a study of the punk movement, Muggleton explains how his interviewees constantly distinguished between ‘authenticity’ and ‘falsity:’ ‘Note how Matt characterizes the visual evidence of those first gigs as “the real photographs”, thereby suggesting their authenticity, presumably in relation to the “falsity” of the mass media.’ (Mugleton, p. 138.) In this way, Bat-Bike are aligning themselves against a form of popular culture and mass media in order to preserve the authenticity that affords their subcultural movement longevity. Muggleton explains: ‘Many subculturalists fully recognized the pervasiveness of the media and the inevitability of its influence on people’s lives. But consistently with findings in the previous chapters, media effects were most usually attributed to others or retrospectively to a point in one’s own past in order to authenticate a more recent situation … one’s own heterogeneity and originality is first contrasted to the relative lack of such qualities in a subcultural or conventional “Other” or past situation. Various media are then positioned and defined as mass or otherwise on the basis of this contrast. Their relative “massness” is therefore derived from the homogenization of the “Other”, not in terms of any pre-defined formal qualities.’ (Muggleton, pp. 139-140). This is a process that Bat-Bike demonstrate.
Bat-Bike’s poster (which can be found below) of Jessie J demonstrates a playful contempt for the commercial singer who sang the supposedly anti-materialistic line ‘it’s not about the money, money, money’ in her song ‘Price tag.’ Jessie J is the ultimate ‘brand’ who showed a willingness to curtail to the rules of the music industry and the forces of the market place. The song claims that its message is about the un-importance of money and the embracing of individuality, but, the formulaic pop song structure along with the way the Jessie J brand has been marketed show that the single was obviously calculated to get the most radio plays possible and make as much money as possible. The lyric should have been, ‘it’s all about the money’ because the machine she is working in is all about generating as much profit as possible at the expense of other fringe, ‘individualistic’ artists. This is significant to us in this context  because of the flippant and symbolic way Bat-Bike expose such hypocrisy. As Muggleton suggests, the claims for authenticity that subculturalists make are ‘conditional upon the “mass-media” -influenced inauthenticity of others. Bat-Bike are using Jessie J as ‘other.’ (Muggleton, p. 140.) 10712700_730603397010431_2413782409867965578_nMore analysis of style and symbolism in next post. See micro media below:
Cover Photo

Public · Hosted by Josh Loftin and 4 others
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