We have discovered the ways in which identity, sexuality, gender and consumerism is redefined by Vice. Their section called 'Do's and Don'ts' provides yet another piece of the puzzle in how the subcultural identity is created and defined. Do's and Don'ts are a collection of street photography that captures everyday people and provides a comedic commentary on that person's outfit or public behavior. The 'Do's' reinforce and congratulate that identity, while the 'Don'ts' punish that individual. While this segment of Vice is meant fore purely comedic purposes, it provides insight in to what behaviors are 'allowed' by Vice and which are not. The Do's and Don'ts operate as modes of identity policing. The subjects of Don'ts are either people that are unaware and ignore the culture or are 'imposters.' Hills describes that impersonation within fan culture is criticized within the subculture (Hills, 169). "Cultural work therefore has to be done to represent impersonation as 'bad' (feared and feminized) if not an abject loss of self" (Hills, 168). While this concept of impersonation refers to a fan attempting to resemble or act like a famous person, the status of subculturists deemed as 'don'ts' places them within a similar framework of failing to assimilate. Most of the photos are taken on the streets of urban areas. James Heslin contends that deviant lifestyles expressed on urban streets creates great visibility to the existence of the subculture, and contributes to the public discourse of that city (Heslin, 233). Thus, the performativity of identity as seen through street-wear is made visible not only by the camera's gaze (in the case of Do's and Don'ts) but also by the subjects' status as city-dwellers. The presence of deviance in the public sphere also has the potential to attract a touristic perspective by those witnessing the subculture member (Heslin, 235). While not all of the subjects of Do's and Don'ts are subculture members, more often than not the 'Do's' are. The implications of this are such that public identity as expressed through clothing and behavior are encouraged when they meet the standards of Vice's counter-culture. The writer in the photo's caption punishes those who do not are not performing this particular public identity.

"Who are the suckers out there paying money to rent and sleep in an apartment when you've still got half a case of Grolsch at the practice space and Consecutive Norms aren't going to show up until at least ten the next morning?"

The first 'Do' is a picture of a fashionable young man with dreadlocks, cradling a beer, seemingly asleep in a plastic bucket. For this photograph, the subject is presumed to be part of the inside culture. He is presented as a die-hard alternative music fan with a superior knowledge about obscure bands. The subject is also assumed to be homeless or a squatter, thus highlighting his subcultural authenticity. For the viewer/reader, they are interpellated by the image and caption. Either the reader understands the joke and the type of person that is being communicated and is therefore part of the group, or he/she does not and is therefore excluded. While the caption appears to be making fun of the individual in question, there is an element of reaffirmation for the subject. Vice is interpreting the individual as part of the subculture and an example of its cultural capital. This picture operates in a similar way to the 'party shots' in that it is a candid picture of a person, however the caption as an anchor recontextualizes the photo to have greater meaning and implications to the viewer.

"If I knew that one day I would have a son who would grow up to be just like this, I would have let that pregnancy come to full term. I wouldn't regret every choice I'd made up to this point and book an appointment at my local Planned Parenthood. I wouldn't sit in the waiting room all by myself and wish I was dead because of what you did to me."

The response to this 'Don't' is more extreme than the pervious example. This is an example of the fear and anger that is expressed towards impersonators or 'poseurs.' The caption is violent in nature, suggesting that this individual should have been aborted. However, the writer as saying the opposite of what the reader presumes he/she means. The way the humor is constructed through thick sarcasm, which is another common technique for Vice writers. Hills' claim that the impersonator is seen as lacking in a complete loss of identity and is feminized or weakened by the fan culture is clearly seen here. Because the individual has 'failed' to perform to Vice's standard of 'cool', then he is wished to never have been born. This example highlights how exclusionary practices based on cultural elitism help to define what the subculture is by explaining what it is not. The presence of impersonators of counter-culture are met with fear because they threaten the overall public image that those at Vice are trying hard to reinforce.

"You know the scene in Cape Fear where Robert De Niro brings Illeana Douglas back home? You know the scene where he chews into her face? If you leave me, I will torture you. I will hunt you down and skin the hair off of your perfect head."

The third picture is a 'Do.' It depicts an attractive, young woman with fashionable clothes and dyed hair. Similar to the example before, there is a confrontational and violent tone to the comment. A scene from a movie that perhaps only someone with a superior knowledge of film would understand first contextualizes the comment. Similar to the first example, the reader is required to be 'in' to understand why this person is a 'Do.' Secondly, because the subject of the photo has a 'perfect [alternative] head' of hair she is met with a particular violence and desperation. The violence is threatening, and carries with it potentially misogynistic tones. The reader is invited to engage with this strange fantasy and again we see another attempt by Vice to intertwine sex with violence. The overall message seems to be that subcultural women are primarily either masculinized party-girls or sexualized objects that you want to hurt.

"I wonder how many other people missed the word "number" on his t-shirt and were like, "Yeah, we got it."

The third photo is a 'Don't' and is an example of a mainstream member of society criticized for not belonging to the subculture. The caption is referring to the rollerblader's t-shirt. Here, the subject is criticized not for being an imposter but for not caring about being 'cool' or fashionable. The rollerblader is thus made to seem childish and un-masculine. In this case, Vice attempts to define its culture by outlining what a good 'alternative' individual, what a 'bad' subculturist looks like and what an complete outsider is.

Vice's visual culture is represented in a variety of ways through their photography. The candid 'party shots' and documentary-style photos show how those within the Vice club operate within public culture. These images have power because their contextualization within the 'real' interpellates the viewer to question their own public identity as compared to the 'friend of Vice.' The fashion photography focuses on the representation of sex, gender and style within occasionally compromising contexts. These images reinforce heteronormativity yet appear to be possibly aware of this discourse. Vice could thus be playing with what we know about sex and gender within fashion. This confusion between art, sexuality and violence is further expressed within the artistic photo shoots. These images create strong associations between the female form and an intense negativity. Finally, the Do's and Don'ts take the Vice perspective to the street, where certain identities are encouraged and some are admonished. Those who fail to perform as authentic subculturists are labeled as impersonators. Individuals who are unaware of the alternative tropes are criticized for not knowing. This type of critique further defines what Vice culture is and what it is not. Their slogan, "The Definitive Guide to Enlightening Information" is indicative of the inherent hubris yet cheekiness of the corporate image. Vice subverts mainstream culture while strictly reinforcing an image that becomes almost impossible to maintain. You are either with Vice or against them and they probably hate you regardless.