Cory Gross' A History of Steampunk: Part V - Putting the Punk into Steampunk
Jake von Slatt — Thu, 08/28/2008 - 00:59

In a brilliant cap to his series "A History of Steampunk" Cory Gross over at Voyages Extraordinaires has posted this cogent analysis of the coming course of Steampunk sub-culture. Boy that guy can write!
I am immensely flattered that he's credited me with initiating the controversy on the Brass Goggles Forum (I always thought it had been Johnny Payphone myself.) that set Steampunk on it's present course. He quotes a portion of a 2007 Wired interview I did where I said that DIY wasn't originally a quality of Steampunk and he responds:
This admitted co-option led to a debate between older and newer fans over the extent to which a DIY and Punk ethos was necessary, required or even wanted of Steampunk. The view that they were, championed by "makers" such as Jake von Slatt and Datamancer and media such as Steampunk Magazine, won out in short order and the dynamics of Steampunk as a subcultural movement were regimented.
Cory goes on to quote the eloquent manifesto written by the Catastrophone Orchestra and Arts Collective in the premier issue of Steampunk Magazine as further sealing Steampunk sub-culture's fate.
Steampunk may indeed progress exactly as Cory predicts. However, the important thing (and this is clearly true with respect to music and subculture) is not so much the style but the underlying ideas and ideals that people who are attracted to the style are ultimately exposed to. Steampunk will introduce a whole new generation to DIY and Punk political thought. I know for a fact that it has me re-visiting the music and philosophies of my youth.
I fear Cory will not be pleased at all with some of the conclusions I've come to with respect to the direction the sub-culture should take as I've recently become quite enamored of the books I acquired from the the folks at CrimethInc.
Regardless, those of us who love Steampunk so will still be wearing our top hats long after the trend is dead.
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Greetings and thanks for the
Cory Gross — Thu, 08/28/2008 - 03:57Greetings and thanks for the link!
Some clarification may be in order. It wasn't intending to specifically blame you for the upstart mess of debate that happened: the "Wired" interview was notable for being the earliest quote by the most respected voice of the Steampunk subculture acknowledging that the DIY Punk ethos was an apropriation of the preexisting Steampunk genre, even to the point of taking some responsibility for it. I've generally found you to be the most pleasant and respectful prophet of the movement who, probably quite unexpectedly, tapped into a fermenting undercurrent that brought on such mainstream popularity. Sadly, many of those whose sentiments you articulated weren't as pleasant and respectful as yourself (nor, shamefully, was I as pleasant and respectful in responding to them).
With the massive changeover in what Steampunk means - from fans of Retro-Victorian Sci-Fi to adherents of a particular set of hyphenated poli-techno-socio-artistic ideals - my fears and pleasures on where it goes are probably of little worth, most of all to myself. As I noted from the outset of my weblog's "Steampunk Month", I can no longer reasonably consider myself "a Steampunk" nor would I really wish to. The whole experience left me admittedly embittered by what Punk stands for, compounded by books like "The Rebel Sell: Why the Culture Can't be Jammed" which developed in me a healthy suspicion of the power of bohemian, "counter-culture" artistic movements to create the same kind of lasting, positive change that criminal, social, economic and environmental justice movements have. My history essay was something of a swan song and I wish you all the best of luck in whatever you may hope that Steampunk accomplishes.
Hi Cory!LOL! yeah well maybe
Jake von Slatt — Thu, 08/28/2008 - 09:30Hi Cory!
LOL! yeah well maybe I'm just claiming credit for something I really didn't do! ;-) The Wired piece was written by John Brownlee (who's now blogging for BoingBoing) and he definitely pushed me to dig deep for radical sentiment in the interview. Fact was, I was a bit surprised to find how much of it was there when I went looking for it.
You are spot on that 'movements' never result in much change themselves - they really are more like marketing campaigns for ideas. Punk brought a lot of kids to environmentalism, gender equality, and political involvement in the '80s, kids who originally showed up just for the party. While those folks today no longer sport 'hawks and studded leather gloves, they do buy Priuses and are one of the reasons we had our first serious female presidential contender. It's actually something of a blessing that change takes so much time - too rapid change is often really dangerous.
Thanks for the kind words and good wishes!
PS: Just read the Amazon description for The Rebel Sell: Why the Culture Can't be Jammed
and it does sound like an interesting read, the reviews are certainly all over the map which is intriguing.
RE: The Rebel Sell
Cory Gross — Thu, 08/28/2008 - 13:24For my own unsolicited review of "The Rebel Sell", it is an interesting read indeed. I had actually done so years ago and didn't quite know what to make of it at the time. I was going through my own bout of radicalism, finding some of their arguments a bit pedantic but their overarching theme provocative... Basically that all the Burning Mans and Critical Masses in the world won't "raise" the kind of "consciousness" required to change things like real political activity does and, on the contrary, are part of the same paradigm of individualism and materialism that drives modern capitalism. The line that stuck with me the most, oddly enough (or perhaps not) was their example of "Star Trek: The Next Generation". They note that aboard the Enterprise everybody wears what amounts to pyjammas, begging the question of whether they are all mindless drones (the counter-cultural response) or if they have developed a sense of personal identity that doesn't require them to act out with a gimmick.
Though provocative, it didn't make much of an impact on me at the time. I even resold my hardcover copy, which in retrospect I wish I hadn't. A few experiences since then worked to convince me more of their thesis. I grew weary of a group of Christian anarchists I fell in with because it seemed more important for them to be "pure" and "radical" than to be Christian. I admitted to myself that I actually liked some of the movies and things produced by Disney, which led me around to reading Walt's opinions about respecting the everyman, everywoman and especially everychild, not worrying too much about the cynical "sophisticates" (an interesting contrast to the Catastrophone Orchestra manifesto's apparent contempt for Disney and grandparents, the two surefire markers of hiplessness). An understanding that "average", "normal" people are far more interesting, diverse and complex than the dialectics of alternative culture suggested started to impress itself upon me. And then along came Steampunk redefined... I don't doubt that in a future edition of "The Rebel Sell", the authours would find a fertile example in it.