uimastitega nullilähedane kokkupuude, on loonud olukorra, kus tavainimene ei kaalugi võimalust, et seesama narkomaan on tegelikult ilusa naeratuse ja suure südamega inimene. Kasutatud materjalid: Anderson, Tammy L., Kavanaugh, Philip R. A „Rave“ Review: Conceptual Interests and Analytical Shifts in Research on Rave Culture. University of Delaware. 2007. Gourley, Michelle. A subcultural study of recreational ecstasy use. Journal of Sociology, Vol. 40, No. 1. Märts. 2004: 59-73. http://www.hawaii.edu/hivandaids/A_Subcultural_Study_of_Recreational_Ecstasy_Use.pdf Kasutatud: 28.05.2015
York. The impact of this subversive culture was extraordinarily felt in the 1970s and 1980s. This cultural movement was recorded in the book The History of American Graffiti, by Roger Gastman and Caleb Neelon. These decades were a significant turning point in the history of street art – it was a time when young people, by responding to their socio-political environment, started creating a movement, taking the ‘battle for meaning’ into their own hands. Soon, this subcultural phenomenon gained the attention and respect in the ‘grown-up’ world. From the fingers and cans of teenagers, it had taken a form of true artistic expression. Although still subversive, and in its large part an illegal movement, through art enthusiasts and professionals, street art earned its place in the contemporary art world. Thus, street art gave birth to artists who create breathtaking murals, and those who have
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