Ally Levine

Lesson #4 Coursework

4A.

AIDS has enlisted fear into the notion of sexuality in the forms of “shame, stigma, and
moralism.” Far beyond its initial taboos as a strictly private and sacred act, AIDS brought sex
and sexuality abruptly into the face of all society. As Janice Irvine explains in her book
Disorders of Desire, a collapse of private and public divides has occurred, particularly when
sexuality has been concentrated into the heart of many domains of our world, such as its impact
on media and consumerism. However, there is no specific or correct, nor “sacred,” method for
conducting a discourse of sexuality. Technologies and media simply cannot create a consistent
representation for sexuality either, as the film industry widely collides and butts heads with the
government’s portrayal, or lack thereof. Ultimately, AIDS allowed the sexuality discourse to
instill and rely on fear, and consequently, abstinence because the public discussion turned
towards the form of warding off a disease, not sexuality as it is actually defined.

Our world inevitably did not react to the AIDS crisis as was necessary in developing a strong
understanding and language for the disease, and “sexology,” as Irving calls it. Only the gay
community really attempted and constructed a sound forum for comprehending and
communicating around the issue of sex. According to Irvine, “public health and medicine, not
typically noted for expertise in sexual issues, provided the major professional players in AIDS
research and education… led by public and health officials.” Essentially, when our world
experienced a foreign concept and threat such as the AIDS virus, they didn’t know how to react.
Historically, sexuality had been limited to the private sides of people; it was not enlisted in
behavior or norms of the “normal curve,” until the 90s and more recently—also when AIDS
emerged. Authorities, such as those in those in political and government professions and
domains, were chosen to normalize and put a social standard around AIDS. But they did so
without addressing the entirety of the disease because authorities did not possess the right
language to discuss sexuality even, since it does not exist!

And so people remain muddled, even today, about sexuality because of its lack of established
language in its domain. Irving writes about the social condition of people in response to this void
of social direction from the individual and social levels. Individually, “people search for answers
and for the reassurance that they are ‘normal.’ [Socially,] the values and meanings of sexuality
are hotly contested.” Though sex is present in much of the public arena today, there are still
stipulations to its uses in the market and media. Irving attributes the rifts in public sexual
discourse to “shame, stigma, and moralism about sex, which underpin cultural ambivalence over
public discussion of sexuality.” This is the mainstream and “normal curve” for the field of
sexuality, however, as Irving suggests, with the emergence of more multi-perspectives on
sexuality, it could gain and be classified as a more normal and acceptable reputation for society.
This concept is congruent with the perspective in the article Reflections on the construction of
beauty in the West, where “today people are from other backgrounds are made to fit the dominant
canon” and representations of ideal beauty. An integral and multi-faced perspective is necessary
to establish a language and domain without stigma and instead open communication.
4B. RITUALS: Inker and Deadhead Rituals

“Becoming a Deadhead,” Jennings

Various elements unify Deadhead subculture by providing attractions ranging from location to
activities to interactions which all combine to produce a familial type subculture with strong
values and beliefs. Such elements are illustrated within the music itself, clothing, touring, the
shows, and drugs, and ignore many of the conventions and norms of mainstream culture. Each
offer an opportunity to further embrace and commit to this specific deviant lifestyle that society
largely outcasts. Jennings utilizes various existing theories to explore the innards of Deadhead
subculture, and how participants even become involved and progress as a full-fledged member.
Essentially she pins the process down to a learn-recognition-enjoy type development.

Jennings notes the subjective way that the media and our general society views Deadheads in this
stereotypical, skewed perspective, which attributes to how the subculture becomes labeled as
deviant. On page 205, the “stringy-haired, patchouli-scented crazies” wearing tie-dyed overalls
all too closely correlates with the generalization tattooed people have acquired. Instead, the
media depicts those with tattoos as violent, law-breaking, motorcycle-driving, mohawked
“crazies” without legitimate jobs, willing to “scar and mutilate” their bodies. More specifically, it
boils down to association with a version of The Freak which society so strongly criticizes. At
least, these are the misconceptions I’ve encountered, from being branded a bitch right off the bat
to being irresponsible. Yet, the tattooed population is increasingly growing, just as the vast
Deadhead subculture did, despite its own stigma.

Deadheads and tattooed people also share this life-consuming, allegiance to their passion,
whether it is primarily music or body modifications. Deadheads travel and tour endlessly in
support and pursuance of the Deadhead concerts and the connotations that come with those as
the actual experience. Tattooed people willing and eagerly receive painful and permanent tattoos
in exchange for a similar type of pride and dedication, continually looking to add more to their
collection. In both cases, frequency and devotion implies a not only a higher level of
participation, but a more respected status within the subculture.

“Identity and Status Stratification in Deadhead Subculture,” Sardiello/“Secular Rituals in

Popular Culture: A Case for Grateful Dead Concerts and Dead Head Identity,” Sardiello

Sardiello refers to subcultures like the Deadheads in regards to a circle analogy. He assigns the
mainstream society as a whole to a larger more encompassing circle, with smaller “subcultural”
circles within, entirely outside of, or partially in and out of the circle. He bases the small circles’
locations on whether or not the subculture’s small circle evades or adheres to society’s
expectations.

Just as Sardiello explains that the Deadheads would be considered completely outside of the
main circle of society, tattoo culture also lacks any overlay of consistency with social norms.
While the reasoning behind the Deadheads’ taboo social reputation weighs heavily on their drug
usage and common “touring” lifestyle that has little to do with a nine-to-five job, tattooed people
carry their deviance for other characteristics unacceptable to society. Tattooed people are taboo
more on the basis that tattoos are viewed as a scarlet letter which prohibits one from getting a
Wall-Street job and are tied with rough and tough mentalities.

Sardiello places emphasis on the concert as imperative to the Deadhead identity because is
provides a venue for their “ritual” of partaking in Deadhead behavior, whether that be taking
drugs to personally enhance a performances or the huge vending environment that surrounds the
shows. This is reminiscent of tattoo conventions to the body modification subculture. Both
utilize their atmosphere as a means of sharing the important factors of the subculture in one
place. Tattooed people can walk around from booth to booth at conventions, checking out shop
artwork and artists, as well as participate in tattoo contests. Deadheads use the shows as a
gathering place to share their own musical interests and the subsequent elements that go along
with that, such as crystal and gem booths or tie-dye clothing on sale by vendors. These activities
help formulate and maintain the accompanying identities that go with the subculture’s very
name.

<= TATTOO CONVENTION

<= FESTIVAL

Sardiello decribes different levels of Deadheads based on not only commitment, but also
“personal and social dimensions.” Essentially, I interpreted this as separating one’s individual
view of themself in relation the big picture of the scene, and one’s view of themself in relation to
other participants or members. He had them ordered from new to stable to hardcore, with the
hardcore ultimately being the ideal Deadhead, who lives for and by the scene. Such an extreme
example within the subculture reminds me of someone like the Lizard Man in tattoo culture. The
Lizard Man is tattooed entirely in green and blue shades of scales, has a split tongue, and bumps
on his head where “horns” might be considered. He’s showcased at almost every tattoo
convention, and has assumed tattoo culture as his life.

The Deadhead subculture is more of a bonded community than a mere group of people with
matched interests. The welcoming feeling of family reverberates through these ritual concerts
and allows individuals to grab onto the comfort of fitting in. The concerts supply guaranteed,
continued, and repeated contact with the same groups of people, strengthening the Deadhead
bond.

Tattoo subculture has little room for belonging for all. There are many, many smaller scale
subcultures even within the larger subculture that separate tattooed people by class which may be
founded in number and girth of tattoos, preferred tattoo style, or dress (psychobilly, punk, or
metal, etc.) There is an underlying sense of competition throughout tattoo culture, and much less
of a connected feeling. Let alone, tattoo conventions hold contests which judge one tattoo against
another, there is a consistent elitist and hypercritical mentality. There is always the search for the
best artwork, best tattoo artist, and best tattoo shops.

“We Were Given This Dance: Music and Meaning in the Early Unlimited Devotion
Family,” Hartley

Hartley refers to the Deadhead subculture as “The Family.” This close-knit subculture is founded
not only on experiences at shows, but the spirituality that the music creates for them, which is
why Hartley compares the shows to a sort of religious musical event. There are all kinds of show
norms or “conduct” as she calls it, in which the Family partakes in behaviors like “spinning”
during a performance, meditating, shared drug use.

<=SPINNERS
 <= TATTOOING PROCESS

Jerry Garcia, the perceived front-man of the Grateful Dead, is held in a certain special place in
many Deadheads’ hearts. He is the face of the experience in a way, as well as an inspiration
within the band. I can relate Jerry to someone like Sailor Jerry, who has set standards on
traditional tattoos since the 1900s, I believe. Today, there is great conflict over whether
traditional tattoo is the truest, “best” style in comparison with new school flares or Japanese
style. Japanese style encompasses much of Eastern-inspired art such as koi fish and cherry
blossoms, while new school flares on the old school (traditional) are more pop-y, cartoon-like
versions of old school styles.

<=Sailor Jerry <=

Jerry Garcia

There is a definite deeper meaning to the shows which the tattoo culture lacks within the tattoo
conventions and even some of the values. The tattoo culture is much more dependant on the
importance of aesthetics than any type of family bond.

5. Exotic dancing and pornography have posed the question of whether the participants
performing sexuality for others’ enjoyment and offering their bodies as such still maintain the
dominant role and power. However, though it might seem as if professions in the escort services
or exotic dancing assign the girls, or guys, performing sexuality the power of desire and lust,
they are actually trapped, powerless in the larger social infrastructure. Many of the participants
make their bodies available for reasons of income. This is the only way they can make enough
money to survive, or it is the only occupation they know how to do. Ultimately, they are
powerless in the situation, as they are generally forced, rather than actually wanting to,
participate in the act, strip, offer sex, etc.

At the gynecologist’s office, a woman’s body is essentially available for the doctor’s
examination. A woman often feels powerless and even uncomfortable during the process. The
doctor touches and inspects parts of the body that rarely anybody has access to, particularly not
in the public sphere. However, a gynecologist’s profession enlists him with the authority.

Body modifications such as tattoos make bodies available the public realm. Just like clothing,
tattoos are a form of representation. Tattoos bring attention, whether desired or not, to an
individual’s body. However, they are commonly misunderstood, judged, and even villainized or
stigmatized because their tattooed bodies are available for the public to critique. BUT, at tattoo
conventions, the dynamic of one’s available, presented body as powerless is reversed.
Participants choose to enter their bodies in contests for the best tattoo pieces. To win any
category at a tattoo convention, especially best over-all tattoo, is a great honor. Participants must
get on stage and present their tattoos to the audience for review. It is a positive experience of
social and cultural honoring, where tattoos are appreciated rather than judged within its own
tattoo subculture.

6.

They are playing a game. They are playing at not

playing a game. If I show them I see they are, I

shall break the rules and they will punish me.

I must play their game, of not seeing I see the game.

--Laing

“Knots” appear to be the messes that create difficulties and hindrances in one’s ability to accept
social infrastructure and conform to it as their own.

For me, my knot was always body image. I must be thin in order to appear beautiful by normal
conventions, yet my body does not want to be naturally slender. My knot became a tangled ball
of yarn, and ultimately lead me to illness, mentally and physically.

The beauty game is composed of precise rules and image confinements. Our implicit
understanding of beauty is a certain representation. It is congruent with the Western ideal. Social
interaction supports this construction of beauty and displays it in media like fashion magazines
and social exchanges such as the dating field.