Vespa community is known for its solidarity value and S.U.U.A.L Malang is no exception. The application of this value can be observed from the activities or experiences by the group members. In this research, the touring experience of the community is taken as the data since during the trip, there are some inconvenient moments and unexpected accidents that happen. The concept of solidarity can be traced through how the group members face those moments. In this research, the data are divided into five categories based on the situation: natural obstacles, technical problems, resource limitations, the unexpected accident, and the inconvenient situation. To uncover the solidarity concept of the community, Critical Discourse Analysis (CDA) is applied to the narratives of three narrators which are the group members of S.U.U.A.L. The result shows that among five types of solidarity (cooperation, fairness, altruism, trustworthiness, and considerateness), there are two types that are found in the touring experiences by the group members, namely, fairness and altruism.

As globally sprung up, punk subculture is an evidence how American influence has been penetrated in many life facets, including through youth culture. Indonesia becomes one of many countries that accept and practice the subculture. The discussion of punk subculture in Indonesia can reveal the relation between both countries, in which America becomes the powerful party while Indonesia is the submissive ones. To find out American influence in the spread of punk subculture in Indonesia, Representation theory by Stuart Hall is applied in the research. The theory is used in observing punk community both of Indonesia and America in Instagram platforms, particularly some posts that containing of punk elements. By using qualitative method, the result of the research uncovers that Indonesia absorbs American punk elements in two ways: By assimilating it without adding other elements outside of punk and by integrating it to Indonesian context. Both ways show the submissiveness of Indonesia in absorbing the foreign subculture. Yet, especially for the latter, it shows how Indonesia still has a power of resistance in accepting punk subculture by still maintaining mother cultural elements in practicing it, and in the end, it adds a new different color in the global punk scene.