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Johnny Ilan

Street culture, the states of being, beliefs, and patterns of behavior associated with the most excluded urban populations, can be observed across the world in numerous varieties. Scholars of “slum” life have noted concerns that bear curious similarities over time and space, speaking to issues of exclusion, crime, and criminalization, and to expressive practices that have come to inspire a range of cultural products that are now heavily marketized. Street cultures are at the apex of different debates and studies. Are street cultures, which emphasize entrepreneurial “hustles” and fierce competition, fundamentally different from mainstream cultures of neoliberal capitalism and consumerism? Studying varieties of street culture and the extent to which individuals adhere to them in different ways highlights the complexities of the relationship between the impoverished self and contemporary social structures: new iterations of racism, patriarchy, and inequality. Examining street expressive practices, such as graffiti art, streetwear, and a variety of musical genres, is far from decorative where it reveals new ways in which the disadvantaged are criminalized while the culture industries are reinvigorated. Included populations are both fearful of and fascinated by the urban poor in a manner that simultaneously supports harsh criminal justice measures and cultural exploitation.