magazine article released from 200 days in Sing-Sing No.2
Antonio Alay has devoted part of his photographic work to portray the intricacies of English rock & roll, their aesthetics and attitudes. His eyes, close to ethnographic detail, so prevalent in the lighting necessary (color and expressive forms) to show the subject in action or in studio portraits. Youth subcultures, connected to the rock & roll and contemporary revival available to offer a variant of social vitality exposed from a stylistic hybrid that attempts to perpetuate a pattern of behavior that, as of nonconformity and rebellion, of the deceptions that contradict any rule clarification, explaining the environmental situation of a group in the minority. Alay has traveled with his camera, the length and breadth of the English, all kinds of gatherings and festivals in which the rocker movement makes an appearance. The starting point of the photographer seems to calibrate a typology that has apparently been stopped in time, and, in turn, adds contemporary vagaries, a currency in the wake of the sartorial tradition.
The rock & roll, from its origins, has perpetuated their communal identity in the setting of a defined stereotype. However, their aesthetic evolution has operated from what could be called a hybrid situation brought different aesthetic standards to the same sub-cultural corpus. This evolution can be studied historically from the achievement of the reference model and beautician's revival gains. Arguably, there were two decisive moments in the history of the subculture rocker and his Anglo-Saxon variant patterns poured into class teddy boy. If the 50 comes on a representation of the liberalization of certain segments youth regarding the statutes generations of parents and their rules, the 70 account for an alternative culture in tune with other subcultures and explores providential aesthetic emerged in these same limits of marginalization. At the end of that decade, the revival of rockabilly adds new elements to the rock culture, which allows to define from their potential intertextual visual expectations related to the global context of American youth in the 50's and some residual spaces that had been obscured by the puritanism of the middle class.
On the one hand, rocker revitalized culture (in recent years) from the visual model of the emerging culture in the early rock & roll arpeggios possible to link the social imaginary of style with a particular time, as a whole. Alternatively, the linkages between culture and aesthetics rocker voluptuous pin-up of the 40 and 50 embodied in figures like Betty Page or Jackie Miller expressed a rhetoric of exclusion and transgression that simultaneously clarifies the means by which the distinctive identity of the group (of motion) explores his opposition to the world. In reality it is a paradox that seeks a solution acceptable to the amalgamation of style while representing a temporary response to the construction of a specific stereotype. Today
rocker culture in its broad recognition of expressive forms, diversifies the detriment of a specific type. A substantial part of their identity is held under that assumption, as the original sources are, if not put into question, at least returned as a modifiable range of style that additions, regardless of reference is to enrich the scene. But this visual mythology, full of racing shoes, brothel creepers, motorcycles, tattoos, leather jackets, pin-ups, toupees and hairstyles to quiff, pompadour or flattop, high school girls and tough guys that border crime, has also been built from the packaging of the film and photogenic, so that films like Wild (1953), Blackboard Jungle (1955) and Rebel Without a Cause (1955), have an influence on a transfer which goes fi social expectations interpreted by specific audiences. successive revivals that have proliferated as a restricted fashion show the importance of reinterpretation. Many youth movements in history have lived at some time or another or removing a revival ad hoc, or recovery of its aesthetics and ideological parameters and vital way out of context, which does not detract from its value within the group offers a bulwark to organize the experience of its members. While the 50 open a general discussion on youth as a generational enclave mass consumption, referring to the formulation sociological categories that make possible the definition of new models of youth behavior, the decades following the opening show of a channel of expression that is objectified in cultural industries. Rocker culture not needed now as much of a social context that legitimizes such an industry which supports it in its musical and aesthetic development.
Antonio Alay highlights the development and accumulation of rocker styles that have settled in modern society, where the purity of tradition has left a residue rather balmy in relation to all the styles that have been incorporated into this subculture over time. His photographs show the iconography of the mix, but here the main reference remains a seminal period, the 50, or more indiscriminately the synthesis of different cultural layers produced during that period and later collected by the subculture as an extension of aesthetics. The synthesis provides a new aesthetic status fueled not only by the attitude to life but also all over the field tour of the style in art form life and commerce. This means that the construction of a style (and evolution) does not occur spontaneously. Rather it is a consequence of an action that we find in the streets or alleys, but also in the windows.
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