Subcultures

A comparison of the reggae subculture with the mainstream American culture yields various results. Despite the negative image associated with the reggae subculture among the mainstream American cultures, I still consider it as my culture and I believe that the distinct norms, dressing styles, language and belief all justify this consideration of reggae as a subculture. The reggae subculture is considered satanic by most of the mainstream cultures. This is because those associated with the subculture grow dreadlocks, have a distinct coded language, are associated with the use of marijuana and put on sagging clothes. Apart from this, other characteristics of the reggae subculture such as its similarity to religious cults are also considered evil.

The mainstream cultures are supposed to bring people together. However, reggae music is considered divisive due to its ability to change people’s beliefs, separate from their families and adopt new lifestyles. People also consider reggae to be divisive due to the use of particular colors and body movement during live performances which are often associated with religious cults (Stephen 76). Although mainstream cultures associate music with entertainment, the use of reggae music in entertainment scenarios is viewed with a lot of apprehension.

Reggae music is said to be capable of giving a negative image when used in social gatherings. Employers also have a certain level of negativity associated with those belonging to the reggae subculture and can hardly hire them. Other negativities are associated with elders who do not approve of marriage to reggae associates. In neighborhoods, those who associate with reggae are also often victimized when crimes occur (Hebdige 45).  However, the love of reggae music is slowly spreading with some of the gospel musicians even adopting the subculture as their genre.

Works Cited

Hebdige, Dick. Subculture: The Meaning of Style. New York: Routledge, 2012. Print.

Stephen, King. Reggae, Rastafari, and the Rhetoric of social Control, 2002. Print

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