Well recognised as a primary cultivating force of electronic music—since the release of Artificial Intelligence in 1992—the label consequently developed a strong network of organisers, producers and consumers. Warp Records could then generate its own post-subcultural productions and convince its audience of its significance, a tipping point for independent record labels attempting to establish their position in the culture industry. This means that the development of a label’s own platform and network can facilitate the acceptability of its cultural productions, and for a label like Warp Records, ‘Rubber Johnny’ was catalytic in amassing subcultural capital, (Thornton, 1995). Trading this capital with its own audience, through its virility and polarising content, the film was a landmark graphic production which disseminated digitally far beyond the label’s primary audience.
