Abstract
Contemporary thinking about subcultures has entered at least its second decade in the reflection of the Czech academic debate (Heřmanský, Novotná 2011; Kuřík, Charvát 2018; Kolářová 2012; Smolík 2010). One of the key starting points for looking at subculture was its connection with music as a cultural activity determining other elements of subcultural style (Hebdige 2012) and youth as its hegemon.
The concept, burdened by its not always in all respects unambiguous translation into local realities, was then revived by a generation of sociologists, political scientists and anthropologists with formative experience in the period of reconstruction and early postsocialism.