Poser

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The following article contains and discusses content that may be distressing to some readers.
Reason for Warning: This page discusses the presence and rejection of Nazism, right-wing extremism, and racism within certain subcultures like Gabber, Goth, and Punk. While these ideologies are generally rejected within these scenes, this content may still be upsetting to some readers.

Example of a meme satirizing the "metal poser" stereotype. From the "Metallica is the only real metal" crowd to the Hot Topic warriors rocking Slayer shirts they've never heard, the meme reads "we all know one."

Poser or Poseur is a pejorative term that refers to an individual who adopts the appearance, behaviors, or affectations of a particular subculture or group, without genuinely understanding or embracing its underlying values or principles. It implies an inauthenticity, a superficial imitation undertaken to gain acceptance, status, or perceived coolness within that group, or from outside observers. The term suggests a disconnect between outward presentation and inner conviction, a fakeness. The individual labelled a poser may adopt specific clothing styles, language, or musical preferences associated with a subculture but lack the deeper connection, experience, or commitment that defines genuine membership.

Etymology

The etymology of the term derives from the French word "poseur," stemming from the verb "poser," meaning "to put," "to place," or "to set." The French term "poseur" emerged in the late 19th century, referring to a person who affects a particular attitude or behavior, usually to impress others. The English usage of "poser" and the more affected, French-spelled "poseur," retaining the critical implications of artificiality and pretension of its origin, became adopted into different subcultures over time.

By Subculture

Punk

In the punk scene, "poser" has been used to describe those who adopt the punk look without embracing its DIY ethic and anti-establishment values, including those who espouse hateful ideologies incongruent with punk's ethos, such as the Nazi Punk/Hatecore scene. These individuals are rejected by the broader punk subculture. David Marsh referenced "poseurs" as a favored epithet amongst early London punks. Ross Buncle described individuals in the Australian punk scene who prioritized UK-punk fashion over the music itself. A New Republic article described early punk as militantly exclusive, deriding part-time participants as "poseurs." Critics used the term regarding The Clash's film Rude Boy, suggesting a "sellout." Lester Bangs contrasted Richard Hell's authentic rock and roll with the "arty poseur." Late-1970s punk was described as devolving into "pure pose." Please Kill Me contains interviews with punks disparaging English punks as "sissified poseurs."

The term is featured in songs like X-Ray Spex's "I Am a Poseur" ("I am a poseur and I don't care/I like to make people stare") and Television Personalities' "Part-Time Punks," which critiqued the notion of punk authenticity. A Drowned in Sound article contrasted 1980s hardcore punk's DIY dedication with later trends embraced by "poseurs and fashionistas." The Oi! band Combat 84's song "Poseur" depicts an individual shifting between subcultural styles. MTV aired "Punks and Poseurs: A Journey Through the Los Angeles Underground" in 1985.

The emergence of pop-punk in the 1990s and its subsequent mainstream success sparked a debate within the punk community about authenticity and "selling out." Many traditional punks criticized pop-punk bands for being "too soft, too fake, too derivative, and too corporate," arguing that they prioritized commercial success over punk's original values of anti-establishment rebellion and DIY ethics. This criticism stemmed from the perception that pop-punk bands were appropriating the aesthetics and sounds of punk without genuinely embracing its underlying philosophy. Bands like Green Day and Blink-182, while undeniably influential, were accused of watering down punk's social commentary to appeal to a wider audience. This led to accusations of these bands being "poseurs" – mimicking the style of punk without truly understanding or embodying its spirit.

In the 1990s and 2000s, Dave Rimmer connected grunge's authenticity demands with the "poseur" label. Dennis Lyxzén (Refused) and Brett Gurewitz (Bad Religion) criticized early 2000s pop-punk fans as "poseurs." A writer described the Los Angeles punk scene being disrupted by "suburban poseurs." The Gauntlet praised the US Bombs' authenticity against a "sea of slick poseur sewage." Daniel S. Traber noted the difficulty of attaining authenticity, with "everyone" being called a poseur. Joe Keithley (D.O.A.) stated that older punks view those misusing anarchy symbols as poseurs. MDC's song "Poseur Punk" criticized pretenders, visually associating the band Good Charlotte with the term. NOFX's "Decom-poseur" and Fat Mike's interviews critique perceived inauthenticity in contemporary punk.

The emergence of Nazi Punk in the US hardcore punk scene in the early-1980s was met with strong opposition. The Dead Kennedys' 1981 single "Nazi Punks Fuck Off" directly addressed this issue.

Heavy Metal

Jeffrey Arnett described metal's binary classification: "authentic metalhead" or "poseur." A 1993 study noted "poseurs" as those pretending to belong to the subculture. SPIN magazine used the term "poseur metal" in 1986. Stewart Taylor wrote that Bay Area thrash metal fans in the 1980s considered fans of "hair metal" bands to be poseurs. Some viewed that "[t]rue [metal] fans separate themselves from the posers through devotion to the history of the genre". Paul Baloff (Exodus) reportedly tore "hair metal" band shirts off fans at shows, sometimes having the audience "sacrifice a poseur" by throwing them onstage.

Marduk, despite using Nazi imagery, was called "poseurs" by neo-Nazi black metal bands. Critics use "poseur" for overly commercial bands. Thrash metal fans called pop metal bands "metal poseurs." Nu-metal is controversial, receiving derogatory labels like "mallcore." Jonathan Davis (Korn) rejected the "metal" label, stating Korn was always an "ever-evolving" "black sheep". Ron Quintana noted Metallica's early struggles in an LA scene where "poseurs ruled." David Rocher described Damian Montgomery (Ritual Carnage) as an "authentic, no-frills, poseur-bashing" metalhead. Josh Wood argued that "Mall Core" groups were destroying metal's credibility. Axl Rose, reflecting on heavy metal posturing, admitted to being a "stupid little white-boy poseur." The Alestorm song "Heavy Metal Pirates" includes the line "No quarter for the poseurs". The Manowar song "Metal Warriors" states, "whimps and posers leave the hall."

Hip-Hop

Street credibility is important in hip-hop. The term "wigger" is used to refer to white people mimicking black hip-hop culture. Larry Nager stated that 50 Cent "earned the right" to use gangsta rap trappings, not being a "poseur." A review criticized rapper Rob Aston's "fake-gangsta posturing." An article claimed Ol' Dirty Bastard was a "hip-hop poseur," his background fabricated. Lichelle "Boss" Laws was similarly exposed as having a fabricated "gangsta" persona.

"Prep-School Gangsters," well-off white hip-hop fans, were criticized for appropriating the culture. "Hipster Rap," characterized by unconventional hip-hop fashion, has been criticized by some as "poseurs" co-opting metrosexual styles. Azealia Banks criticized Iggy Azalea, a white rapper, for appropriating African American culture, calling her a "wigger."

Other Examples

Appropriation of Subcultural Aesthetics

• The goth subculture values authenticity. Nancy Kilpatrick's Goth Bible defines "poseur" as goth "wannabes," often young individuals in a goth phase lacking goth sensibilities, who may attract the disparaging epithet "batbabies".
• The skateboarding subculture distinguishes between authentic skaters and pretenders. A New York Times article mentioned "poseurs" using skateboards as accessories, often employing the "mall grab." The video game Skate or Die! features a character named "Poseur Pete." As skateboarding evolved from a rebellious activity to a mainstream sport, the lines blurred, raising questions about what constitutes a 'true' skater and causing debates about commercialization and authenticity.
• SPIN referred to "poseur bikers." An obituary distinguished a genuine biker from "poseurs" based on clothing choices. Subcultures often develop intricate codes, with subtle cues like clothing choices signaling who's truly 'in' and who's merely playing dress-up.
• The Beat Generation of the 1950s faced accusations of "poseurs" who adopted the style and language without engaging with the underlying philosophy or artistic expression, labelled "Beatniks." Counterculture often attracts those who copy the aesthetics without embracing its deeper values.
• The hippie movement saw a wave of people adopting the outward appearance and some of the rhetoric without truly embracing the countercultural values. This recurring pattern shows how mainstream society tends to co-opt and sanitize rebellious movements.
• The New Rave subculture that reached mainstream popularity in the late-2000s in the United Kingdom faced criticism from people who experienced the Madchester/Rave era for its superficial appropiation of rave elements, with the music being vastly dissimilar and closer to indie than early rave music.
• In the late-2010s, a Yabi subculture emerged in China, made up by teenagers and young people who combine elements of various subcultures and aesthetics, often without giving much thought to their history and context. This shows that poseur culture is a global phenomenon, and the combination of subcultural elements can raise questions about appropriation and understanding.
• In Chile, the Pokemón youth subculture faced intense backlash during the mid-2000s for its eclectic mix of influences, including emo, scene, flaites, otaku, and punk. This led to accusations of "poserism," with members of other subcultures in Chile arguing that Pokemones were appropriating and misrepresenting established subcultural identities. The backlash against them even escalated to physical attacks, prompting the Chilean government and student leaders to launch an anti-violence campaign.

Superficial Fandom and Commodification

• A Los Angeles City Beat writer argued that dance music had a "Spinal Tap moment," with "poseurs" drawn by fame. A Slate article mentioned "fine-arts-grad poseurs" in the independent music scene. It seems that when any subculture gains popularity, it risks attracting those more interested in the image than the essence.
• In sneaker culture, "hypebeast" refers to individuals collecting items solely to impress others. Consumerism can create a breeding ground for "poseurs," where the focus shifts from appreciating the product to acquiring status symbols.
• Fanbases of specific musicians, bands, and music genres may also use the term to gatekeep and police the boundaries of their communities. It generally excludes those who display superficial fandom without genuine appreciation, such as someone who wears an AC/DC shirt without actually listening to AC/DC. Poseur accusations can be a way for fan communities to protect their identity and ensure members share a genuine passion.
• Some industrial music fandoms have actively rejected individuals who express or glorify the Columbine massacre. Fans of bands like KMFDM, for example, have often excluded "Columbiners" – those who romanticize the shooters – from their community, viewing them as poseurs who appropriate the aesthetic without understanding or respecting the music's (often anti-fascist or socially critical) messages. This can include individuals who adopt KMFDM merchandise or listen to the band simply because the shooters were known to have done so, without engaging with the music's actual content or the band's often-stated opposition to violence and extremism.

Dilution of Subcultures

• The 2020s TikTok "Yabujincore" trend, itself a gentrified version of the Xpiritualism aesthetic, features memes and edits of figures doing the Jumpstyle dance to hardstyle EDM (often by Yabujin) with overlaid Arabic/Russian text. It differs significantly from the Jumpstyle movement that originated in Belgium and the Netherlands during the 2000s. This has led to accusations of "poserism" from both original Jumpstyle fans and Yabujin fans, who argue it misrepresents both the dance subculture and the artist's music.
• The Scene subculture began as a splinter of emo. "Scene queen" was originally an insult towards preppy girls who cared more about appearance than musical substance, dressing alternative as a means of trying to attract band guys. Even within subcultures, hierarchies emerge, with some members being seen as more "authentic" than others.
• On TikTok, the term "Posercore" has been embraced by some followers of the Scenecore aesthetic. This is a recursive layer to poser culture, where a subculture that was originally based on imitation (Scene) attracts its own imitators (Scenecore).

Internal Policing and Resistance

• While a small segment of the Gabber scene became associated with right-wing extremism, particularly through the Lonsdale brand, the subculture largely rejected these elements. Those displaying racist affiliations were mocked and excluded, often labeled "wazis" (a portmanteau of "wazig," meaning "vague" in Dutch, and "Nazi"). This internal policing proved effective, significantly reducing the presence of "Lonsdalejongeren" (Lonsdale Youth) within the Gabber community.

Other Forms of Posing

• Salon writer Joan Walsh called politician Paul Ryan a "Randian poseurr," claiming he espoused Ayn Rand's philosophy without genuinely living by its tenets. The concept of a 'poseur' can extend beyond subcultures to any domain where beliefs and actions should align.
• The term "jazz poseur," dating back to the 1940s, refers to individuals feigning knowledge of jazz. As seen with this example, the anxieties about authenticity and "faking" within subcultures are not new.
• In Canada, alleged "military posers" wear military uniforms and medals without authorization. The appropiation of military paraphernalia goes beyond mere posturing; it is a criminal offense. It is also widely considered disrespectful to the sacrifices of those who genuinely served.
• In activist circles, the term "poseur" might be used to describe someone who claims to support a cause but doesn't actively participate in the movement. This may also be referred to as "performative activism," where the focus is more on appearing socially conscious than actually making meaningful contributions. In the context of social justice, 'poseur' accusations carry a moral weight.
• The rise of social media has created spaces where people can curate idealized versions of themselves. This can lead to "poseur" accusations when online personas don't match real-life behavior or beliefs. Social media allows for carefully constructed identities, making it easier to "fake it" and causing debates about authenticity.

Causes of "Poser" Behavior

There are various causes for poser behavior:

• Social Acceptance and Belonging: For many adolescents and young adults, the desire to fit in with a particular group or subculture can be strong. If they perceive that adopting the outward trappings of the group will lead to acceptance, they may participate in poser behavior.
• Low Self-Esteem: Persons with low self-esteem may try to compensate by associating themselves with a group or subculture they perceive as cool or desirable. They may believe that adopting the group's identity will elevate their own self-image and social status.
• Lack of Identity Formation: Adolescence and young adulthood are major periods for identity development. Persons who are still exploring their own identity may experiment with different personas and affiliations. This can sometimes lead to poser behavior as they try on different identities to see which one fits.
• Social Influence and Conformity: Social pressure and the desire to conform can also contribute to poser behavior. If an individual's peer group or social circle strongly identifies with a particular subculture, they may feel pressured to adopt its behaviors and aesthetics, even if they don't fully understand or believe in them.
• Media Influence: Media portrayals of subcultures and countercultures can sometimes glamorize or romanticize certain aspects of them. This can lead them to adopt the outward appearance of the group without fully understanding its underlying values or philosophy.
• Commercialization and Commodification: As subcultures gain mainstream popularity, they can become commercialized and commodified. This can create opportunities for people to adopt the fashion and aesthetics of the subculture without any genuine connection to its values or history.

Criticism

The concept of the "poseur" and the practice of gatekeeping within subcultures have been met with criticism. Some argue that subcultures should be welcoming to newcomers and those with varying levels of knowledge or commitment. They believe that gatekeeping creates a hostile environment and discourages people from exploring their interests.

Others contend that the definition of a "true" fan or authentic member can be subjective and vary among individuals. They argue that imposing rigid standards of authenticity can be exclusionary and stifle diversity within the subculture. Additionally, they point out that subcultures evolve and change over time as new people join and bring their own perspectives and influences. Gatekeeping, they argue, can hinder this natural evolution and lead to stagnation.

However, many people maintain that gatekeeping is necessary to preserve the core values and philosophy of a subculture, protecting it from being commodified or distorted. They believe that shared values and commitment to the subculture create a strong sense of community and belonging, and gatekeeping helps to maintain this cohesion by ensuring that members share a common understanding and purpose. Furthermore, they argue that gatekeeping can protect the subculture from being exploited by outsiders who are only interested in its aesthetics or trends, especially in the face of commercialization and mainstream attention.

Gallery

Tramp Stamps: A pop-punk band often called an "industry plant" due to the controversy concerning their fame. They faced accusations of being "poseurs" for appropriating punk aesthetics and their manufactured image.

Dolls Kill: This brand has faced numerous controversies, including accusations of cultural appropriation (e.g., selling a Native American headdress in 2014), insensitive designs (e.g., the "Goth is White" shirt in 2016), and allegations of stolen artwork. From selling a "Lolita" collection in 2018, which drew criticism for potentially sexualizing children, to the founder's perceived anti-BLM stance in 2020, the brand has faced repeated backlash.

iCarly dressed as a "punk" person.

This "Goth is White" t-shirt, designed by European brand WIA (Wear It Anywhere), sparked significant controversy when it was sold by Dolls Kill in 2016. While WIA intended the slogan to mean "goths can wear white," the phrase was interpreted by many as exclusionary and racist. This clashes with the subculture's generally anti-racist values. WIA also produced similar shirts in different colors, as well as a "Goth is Dead" design.

See also

• 2020 TikTok ─ A period on TikTok characterized by a surge in performative activism, where users participated in social justice trends without genuine participation or understanding.
• Basic Girl ─ A pejorative term for women who conform to mainstream trends and consumerism, often associated with a lack of individuality and superficiality.
• Beatnik ─ A term that emerged in the 1950s to describe those who superficially adopted the style and language of the Beat Generation without participating in its artistic and philosophical ideals. It highlights the historical roots of "poseur" accusations and how mainstream culture can distort and trivialize subcultures.
• Corporate Hippie ─ A commercial aesthetic characterized by adopting elements of hippie culture while maintaining capitalist values and consumerism, often seen as co-opting counter-cultural ideals for profit.
• Hair Metal ─ A subgenre of heavy metal popular in the 1980s, often criticized for prioritizing image and commercial success over musical substance and rebellion.
• Hipster ─ A subculture associated with indie music, vintage fashion, gentrified neighborhoods, and alternative lifestyles, often criticized for its trend-chasing and ironic detachment.
• Hypebeast ─ Individuals who obsessively follow fashion trends and collect expensive items solely for status and social media clout, seen as lacking genuine interest in the items themselves.
• Mallgoth ─ A subculture that adopts the aesthetics of goth but is criticized for lacking genuine understanding of goth music and culture, associated with Hot Topic, nu-metal, and mainstream fashion trends.
• New Rave ─ A short-lived mid-2000s trend that combined elements of electronic music, indie rock, and rave culture. It faced criticism for its perceived superficiality, commercialism, and tenuous connection to the original rave movement. Some saw it as a media-fabricated fad that prioritized fashion and image over musical substance.
• Nu-Goth ─ A contemporary fashion style influenced by goth, but incorporating elements of other styles and music genres, sometimes criticized for straying too far from traditional goth aesthetics and values.
• Nu-Metal ─ A genre of metal popular in the late 1990s and early 2000s, often criticized for being a commercialized and watered-down version of heavier metal subgenres.
• Scene Tween ─ A commercial aesthetic that emerged in children's toys the early-2010s. It's characterized by brightly colored hair, animal patterns, and excessive accessories, but with a distinctly childish and feminine twist. This commercial appropriation repackages Scene for a younger audience, potentially overlooking its original meaning.
• Scenecore ─ A contemporary online aesthetic loosely inspired by the Scene subculture, characterized by its imitative nature and lack of genuine understanding of the original subculture's values and context. It is associated with a very specific subgenre of Hyperpop.
• Succubus Chic ─ A recent TikTok microtrend that draws inspiration from goth and alternative fashion, criticized for commodifying and sexualizing elements of these subcultures for mainstream appeal. Furthermore, it has been accused of repackaging the controversial Heroin Chic trend for a new generation.
• Teenpunk ─ An aesthetic inspired by pop-punk, particularly the style of popstars such as Avril Lavigne and Skye Sweetnam. It's characterized by black, pink, and white. This commercialized style targets young teenagers with a sanitized version of punk's rebellious aesthetic.
• Yabi ─ A Chinese subculture that emerged in the late-2010s known for its eclectic mix of styles and trends. While criticized by some for being incoherent and superficial, others see it as a form of self-expression for Chinese youth who embrace the globalized "cultural supermarket" the internet offers.