This thesis scrutinizes whit the concept of urbanity, the urban city and social relations in it. In the context of subcultural theory and the post-subcultural paradigm, the creation of communities and the functioning of music scenes are observed. The processes which collective and individual identity are developed within social groups are also at the center of observation. At the very beginning, the methodological tools that were used during the writing of the paper and during the independent ethnomusicological research of the queer feminist collective POSSY are presented. Ethnomusicological research supports the thesis that real, lived experiences in the social humanities prove time and time again the importance of stories through which society and cultural functioning are described in a certain period of time. Then, the sociological discourse focuses on urban music and musical representations as reactions to social inequalities. Marginalized social groups are conceptually elevated throughout the work as essential. The critical study of the functioning of the individual in society, the assessment of his needs and the questioning of the socioeconomic and political structures that inevitably affect his life are presented through various examples of underground scenes. The history and position of FLINT* people of color subcultures and underground music scenes from punk to the rave generation help to understand the constant changes in the understanding of social change.