Punk subculture

History

History of the punk subculture

Music

Punk rock

Ideologies

Punk ideologies
The punk subculture is often associated with a do-it-yourself (DIY) ethic; however, some critics suggest that the DIY image often placed on punk is partly a delayed interpretation rather than an accurate reflection of early punk. During the subculture's infancy, many members were from a working-class background and expressed dissatisfaction with the affluence that was associated with popular rock music at the time. In response, some punks published their own music or sign with small independent labels, in hopes to combat what they saw as a dominant commercial music industry. Although punk is now closely linked to DIY, British punk scenes rarely used the term "DIY" explicitly. Punk bands are often described as promoting anti-establishment stances. However, some scholars argue this was inconsistent in practice. In some cases, punk bands signed with major record labels after achieving success. Critics have also noted that punk bands advertised their music through mainstream outlets, such as BBC radio 1, and relied on factories to press their records. In spite of the criticism, the DIY ethic is still popular with punks.

Fashion

Punk fashion

Gender and gender expression

Women in punk

Body and appearance

For some punks, the body was a symbol of opposition, a political statement expressing disgust of all that was "normal" and socially accepted. The idea was to make others outside of the subculture question their own views, which made gender presentation and gender identity a popular factor to be played with. In some ways, punk helped to tear apart the normalised view of gender as a dichotomy. There was a notable amount of cross-dressing in the punk scene; it was not unusual to see men wearing ripped-up skirts, fishnet tights, and excessive makeup, or to see women with shaved heads wearing oversized plaid shirts and jean jackets and heavy combat boots. Punk created a new cultural space for androgyny and all kinds of gender expression.

In trying to reject societal norms, punk embraced one societal norm by deciding that strength and anger was best expressed through masculinity, defining masculine as the "default", where gender did not exist or had no meaning. However, the main reasoning behind this argument equates femininity with popular conceptions of beauty. Everything that was normally supposed to be hidden was brought to the front, both literally and figuratively. This could mean anything from wearing bras and underwear on top of clothing to wearing nothing but a bra and underwear. Although that act can seem sexualised, to punks it was just a way of self-expression.

The nature of punk allowed many to create a non-gender-conforming style. Punks could be free to use femininity or masculinity to make what they were doing even more shocking to their audience. It became popular for some punks to accentuate societal norms. At one concert, Donita Sparks, lead singer of the band L7, pulled out her tampon and threw it into the audience.

Riot grrrl

Riot grrrl
Riot grrrl is an underground feminist hardcore punk movement that originated in the early 1990s in Washington, D.C., and the Pacific Northwest, especially Olympia, Washington. It is often associated with third-wave feminism, which is sometimes seen as its starting point. It has also been described as a musical genre that came out of indie rock, with the punk scene serving as an inspiration for a musical movement in which women could express themselves in the same way men had been doing for the past several years.

Queercore

Queercore
Queercore is a punk movement that focuses on LGBT issues. Queercore is an anti-establishment subculture based around a rejection of heteronormativity. This rejection extends beyond mainstream society and resists homophobia in the larger punk scene. Queercore is an offshoot of the hardcore punk scene and draws its name from a combination of the words "queer" and "hardcore." As in the larger punk scene, DIY is an integral component of the queercore subculture. Many zines that came out of the riot grrrl movement explored issues of queer identity, contributing to the queercore subculture. The queercore and riot grrrl subcultures are often considered to be connected. These two punk scenes are intertwined, with many bands being both queercore and riot grrrl.

Visual art

Punk visual art
Punk aesthetics determine the type of art punks enjoy, usually with underground, minimalistic, iconoclastic, and satirical sensibilities. Punk artwork graces album covers, flyers for concerts, and punk zines. Usually straightforward with clear messages, punk art is often concerned with political issues such as social injustice and economic disparity. The use of images of suffering to shock and create feelings of empathy in the viewer is common.

Much of the earlier artwork was black and white, because it was distributed in zines and reproduced by photocopying at work, school, or at copy shops. Punk art also uses the mass production aesthetic of Andy Warhol's Factory studio. Punk played a hand in the revival of stencil art, spearheaded by Crass. The Situationists also influenced the look of punk art, particularly that of the Sex Pistols created by Jamie Reid. Punk art often uses collage, exemplified by the art of Jamie Reid, Crass, The Clash, Dead Kennedys, and Winston Smith. John Holmstrom was a punk cartoonist who created work for the Ramones and Punk.

Dance

Literature

Punk literature

Film

List of punk films

Perspectives on drugs and alcohol

Inhalable solvents

The "cheap high" of glue sniffing was adopted by punks, encouraged by the disgusted and shocked reactions they received from society. Model aeroplane glue and contact cement were among the numerous solvents and inhalants used by punks to achieve euphoria and intoxication. Glue was typically inhaled by placing a quantity in a plastic bag and "huffing" (inhaling) the vapour. Liquid solvents were typically inhaled by soaking a rag with the solvent and inhaling the vapour. While users inhale solvents for the intoxicating effects, the practice can be harmful or fatal.

The Ramones sing about the practice in their 1976 song, "Now I Wanna Sniff Some Glue".

Straight edge

Straight edge

Lifestyle and community

Authenticity

In the punk and hardcore subcultures, members of the scene are often evaluated in terms of the authenticity of their commitment to the values or philosophies of the scene, which may range from political beliefs to lifestyle practices. In the punk subculture, the epithet poseur (or "poser") is used to describe "a person who habitually pretends to be something are not." The term is used to refer to a person who adopts the dress, speech, and/or mannerisms of a particular subculture, yet who is deemed to not share or understand the values or philosophy of the subculture.

Never one to shy away from criticising the music industry and even punk culture, in Chickenshit Conformist Dead Kennedys opined that "Punk's not dead It just deserves to die When it becomes another stale cartoon...Ideas don't matter, it's who you know.", saying punk was in danger of becoming a "meaningless fad" because people had stopped caring about what they saw as the core values of punk ("Change and caring are what's real"). In particular, metal bands, which were seen as an offshoot, they saw as not only as a sell-out, but as morally repugnant to the core values of punk saying labels were making money by signing "the most racist queerbashing bands they can find."

While this perceived inauthenticity is viewed with scorn and contempt by members of the subculture, the definition of the term and to whom it should be applied is subjective. An article in Drowned in Sound argues that 1980s-era "hardcore is the true spirit of punk", because "after all the poseurs and fashionistas fucked off to the next trend of skinny pink ties with New Romantic haircuts, singing wimpy lyrics", the punk scene consisted only of people "completely dedicated to the DIY ethics".

Proto-punk bands such as the Who, the Stooges, the Velvet Underground, Pink Fairies, the Deviants, and Edgar Broughton Band came out of garage-rock during the late 1960s. Usually, white working-class boys are credited for pioneering the genre, however, there were many women (Patti Smith, Siouxsie Sioux) and people of colour (the Specials member) who contributed to the original punk sound and aesthetic. Because the original subculture meant to challenge to the mainstream, and punk movement became major it was brought to the mainstream. If punk is commercialised, it is far from street culture. This is the paradox of punk; as a subculture, it must always be evolving to stay out of the mainstream.

Punk Girls written by Liz Ham is a photo-book featuring 100 portraits of Australian women in the punk subculture, and it was published in 2017 by Manuscript Daily. Discrimination against punk subculture is explored with her photographs in the book; these girls who are not mainstream, but "beautiful and talented".

Interactions with other subcultures

Some of the first hip hop MCs called themselves punk rockers, and some punk fashions have found their way into hip hop dress and vice versa. Malcolm McLaren played roles in introducing both punk and hip hop to the United Kingdom. Hip hop later influenced some punk and hardcore bands, such as the Beastie Boys, Hed PE, Blaggers I.T.A., Biohazard, E.Town Concrete, The Transplants, and Refused. Other rappers and hip-hop acts were influenced by the subcultures of crust punk and hardcore such as City Morgue.

The skinhead subculture of the United Kingdom in the late 1960s – which had almost disappeared in the early 1970s – was revived in the late 1970s, partly because of the influence of punk rock, especially the Oi! punk subgenre. Conversely, ska and reggae, popular among traditionalist skinheads, has influenced several punk musicians. Punks and skinheads have had both antagonistic and friendly relationships, depending on the social circumstances, time period, and geographic location.

The punk and heavy metal subcultures have shared some similarities since punk's inception. The early 1970s protopunk scene had an influence on the development of heavy metal. Alice Cooper was a forerunner of the fashion and music of both the punk and metal subcultures. Motörhead, since their first album release in 1977, have enjoyed continued popularity in the punk scene, and their now-deceased frontman Lemmy was a fan of punk rock. Genres such as metalcore, grindcore, crossover thrash, riot grrl, and emo were greatly influenced by punk rock and heavy metal. Hardcore emerged as a response to the supposed commercialisation of early punk music. Most hardcore music was produced independently to reject the mainstream music industry. The emergence of hardcore resulted in the fused creation of many genres, such as metalcore, grindcore, and crossover thrash. Emo was inspired by punk, but added more emotional and lyrical themes. It is not considered to be as musically heavy as its punk predecessor. The new wave of British heavy metal influenced the UK 82-style of bands like Discharge, and hardcore was a primary influence on thrash metal bands such as Metallica and Slayer. The early 1990s grunge subculture was a fusion of punk anti-fashion ideals and metal-influenced guitar sounds. However, hardcore punk and grunge developed in part as reactions against the heavy metal music that was popular during the 1980s.

In punk's heyday, punks faced harassment and attacks from the general public and from members of other subcultures. In the 1980s in the UK, punks were sometimes involved in brawls with Teddy Boys, greasers, bikers, mods, and members of other subcultures. There was also considerable enmity between Positive punks (known today as goths) and the glamorously dressed New Romantics.

In the late 1970s, punks were known to have had confrontations with hippies due to the contrasting ideologies and backlash of the hippie culture. Nevertheless, Penny Rimbaud of the English anarcho-punk band Crass said that Crass was formed in memory of his friend, the hippie Wally Hope. Rimbaud also said that Crass were heavily involved with the hippie movement throughout the 1960s and 1970s, with Dial House being established in 1967. Many punks were often critical of Crass for their involvement in the hippie movement. Like Crass, Jello Biafra was influenced by the hippie movement and cited the yippies as a key influence on his political activism and thinking, though he did write songs critical of hippies.

The industrial and rivethead subcultures have had several ties to punk, in terms of music, fashion, and attitude.

Power pop music (as defined by groups such as Badfinger, Cheap Trick, The Knack, and The Romantics) emerged in mostly the same time frame and geographical area as punk rock, and they shared a great deal musically in terms of playing short songs loud and fast while trying to emphasise catchy feelings. More melodic and pop-influenced punk music has also often been wrapped alongside power pop bands under the general "new wave music" label. A good example of a genre-straddling "power pop punk" band is the popular Northern Ireland group Protex. However, stylistically and lyrically, power pop bands have tended to have a very "not-punk" top 40 commercial pop music influence and a flashier, heavily teen-pop sense of fashion, especially modern power pop groups such as Stereo Skyline and All Time Low.

Persecution

East Germany

The punk scene began to emerge in communist East Germany in the late 1970s. It shared many similarities with that of the West and was considered by the ruling authorities to be a spread of an international youth sub-culture which had its roots in the US and Western Europe. Indeed, this was an assessment many East German punks shared themselves. According to one, Mario Schulz, "The start was that I liked the music. I did not quite understand the English texts, but this ostentatious experience as an outsider, this capacity to shock, that pleased me. I was already – someone else would probably express it differently- an awkward sod."

By the authorities, punk was seen as representing a way of life which was contrary in nature to existing social conventions and values. Punks were, however, not the only youth sub-culture to be considered 'negative decadent' and a threat to the stability of communist society: heavy metallers, skinheads, and goths were also targeted. While it is hard to ascertain an exact figure, the punk scene in East Germany in the early 1980s was still relatively small. For example, 'In 1981, the Stasi (secret police) identified 1,000 punks and a broader group of 10,000 sympathisers.' Punks, whether considered as individuals or as groups, were persecuted by both the regular police and the Stasi. More overt methods of persecution by the regular police – such as enforced haircutting, arrest, and physical beatings – were combined unofficially with the more insidious and far-reaching decomposition methods (trans. Zersetzung) of the Stasi: these involved various forms of infiltration, false flag type acts, framing, psychological harassment methods designed to cause mental health problems, and incarceration on the basis of mental health legislation or on the basis of crimes ostensibly committed.

As the methods of the Stasi were difficult to detect and even harder to prove, it allowed them to circumvent international condemnation in regard to the persecution of their own citizens. Aside from being designed to harm people, the methods were also designed to discredit and isolate individuals and break up the various bands and groupings. They relied heavily on the hiring of collaborators who were of a similar disposition to those who were being targeted. According to Stasi officers, this was a task which was harder to achieve with punks due to their 'feeling of belonging together.' Nonetheless, the Stasi did have notable success in the repression and decomposition of the punk scene. Former member of the band Namenlos, Jana Schlosser, stated in 1984 when she came out of jail, that "The Stasi had pretty well managed to smash punk."

Global perspectives

The punk subculture has spread to many countries around the world. The fluidity of musical expression in particular makes it an ideal medium for this cross-cultural interpretation.

Mexico

In Mexico, punk culture is primarily a phenomenon among the upper-middle class, many of whom were first exposed to punk music through travel to England, but rapidly shifted to the lower-class youth. Because of low fees at public universities in Mexico, a significant majority of Mexican punks are university students. It is estimated approximately 5,000 young people are active punks in Mexico City, hosting two or three underground shows a week. These young people often form chavos banda — youth gangs — that organise subculture activity by creating formal meeting spaces and rituals and practices.

Oral nicknames are a distinguishing feature of Mexican punk, where the tradition of oral culture has influenced the development of nicknames for almost all Mexican punks. Patches are widely used as an inexpensive way to alter clothing and express identity. Though English-language bands like the Dead Kennedys are well known in Mexico, punks there prefer Spanish-language music or covers translated into Spanish. The slam dance style common in the California punk scene of the early 1980s is thoroughly adopted as part of the movement and continues to be the most popular dancing style among punks.

Performance and ideology practices often reflect the socioeconomic circumstances of Mexican punks. Live shows, called "tocadas", are generally held in public spaces like basketball courts or community centers instead of places of business like venues, bars, and restaurants, as is more common in the United States and Europe. They usually take place in the afternoon and end early to accommodate the two or three hours it takes many punks to return home by public transit. Mexican punk groups rarely release vinyl or CD recordings, usually cassettes are the preferred format.

Though Mexican punk itself does not have an explicit political agenda, Mexican punks have been active in the Zapatista, Anarcho-punk, and anti-globalisation movements.

South Africa

Punk arrived slowly in South Africa during the 1970s when waves of British tradesmen welcomed by the then-apartheid government brought cultural influences like the popular British music magazine NME, sold in South Africa six weeks after publication.

South African punk developed separately in Johannesburg, Durban, and Cape Town and relied on live performances in townships and streets as the multi-racial composition of bands and fan bases challenged the legal and social conventions of the apartheid regime.

Political participation is foundational to punk subculture in South Africa. During the apartheid regime, punk was second only to rock music in its importance to multi-racial interactions in South Africa. Because of this, any involvement in the punk scene was in itself a political statement. Police harassment was common and the government often censored explicitly political lyrics. Johannesburg-based band National Wake was routinely censored and even banned for songs like "International News", which challenged the South African government's refusal to acknowledge the racial and political conflict in the country. National Wake guitarist Ivan Kadey attributes the punk scene's ability to persevere despite the legal challenges of multi-racial mixing to punk subculture's DIY ethic and anti-establishment attitude.

In post-apartheid South Africa, punk attracted a greater number of white middle-class males than the more diverse makeup of the subculture during the apartheid era. Thabo Mbeki's African Renaissance movement has complicated the position of white South Africans in contemporary society. Punk provides young white men the opportunity to explore and express their minority identity. Cape Town band Hog Hoggidy Hog sings of the strange status of white Africans:

Peru

In Peru punk traces its roots to the band Los Saicos, a Lima group that played the unique blend of garage and break dance music that would later be labelled punk as early as the 1960s. The early activity of Los Saicos has led many to claim that punk originated in Lima instead of the UK, as is typically assumed. Though their claim to be the first punk band in the world can be disputed, Los Saicos were undoubtedly the first in Latin America and released their first single in 1965. The group played to full houses and made frequent television appearances throughout the 1960s. Throughout the 1970s, the band was completely forgotten. Years later, a plaque that declares "here the global punk-rock movement was born" was placed at the corner of Miguel Iglesias and Julio C. Tello Streets in Lima.

By the 1980s the punk scene in Peru was highly active. Peruvian punks call themselves subtes and appropriate the subversive implications of the English term "underground" through the Spanish term subterraneo (literally, subterranean). In the 1980s and 1990s subtes made almost exclusive use of cassette recording as a means of circulating music without participating in formal intellectual property and musical production industries. The current scene relies on digital distribution and assumes similar anti-establishment practices. Like many punk subcultures, subtes explicitly oppose the Peruvian state and advocate instead an anarchic resistance that challenges the political and mainstream cultural establishment.

Cuba

A punk subculture originated in Cuba in the 1980s, referred to as Los Frikis. As Cuban radio stations rarely played rock music, Frikis often listened to music by picking up radio frequencies from stations in nearby Florida. While many Frikas in the early-1990s entered AIDS clinics by knowingly injecting HIV-positive blood into them, others began congregating at El patio de María, a community centre in Havana that was one of the few venues in the city that allowed rock bands to play. Some Frikis also participate in squatting as an act of political defiance.

In its beginning, the subculture was seen as a threat to the collectivism of Cuban society, leading to Frikis becoming victims of discrimination and police brutality. According to the New Times Broward-Palm Beach some Frikis were "rejected by family and often jailed or fined by the government", the 1980s Friki woman Yoandra Cardoso, however, has that argued that much of the response was verbal harassment from law enforcement. Dionisio Arce, lead vocalist of Cuban heavy metal band Zeus spent six years in prison due to his part in the Frikis. Some schools would forcibly shave the heads of young Frikis as a form of punishment.

See also

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Bibliography

• Andersen, Mark, Dance of Days: Two Decades of Punk in the Nation's Capital, 2003, Akashic Books, Jenkins, Mark
• Cogan, Brian, The Encyclopedia of Punk, 2008, Sterling, New York
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• Kuhn, Gabriel, Sober Living for the Revolution: Hardcore Punk, Straight Edge, and Radical Politics, 2010, PM Press
• Tsitsos, William, Rules of rebellion: slamdancing, moshing, and the American alternative scene, Popular Music, October 1999, 18, 3, 397–414, 10.1017/S0261143000008941, 159966036
• Wood, Robert T., Nailed to the X: A Lyrical History of Straightedge, Journal of Youth Studies, 1999, 2, 2, 133–151, 10.1080/13676261.1999.10593032

Further reading

• O'Hara, Craig, The Philosophy of Punk, 1999, AK Press, San Francisco
• Savage, Jon. England's Dreaming: The Sex Pistols and Punk Rock. Faber and Faber, 1991. isbn 0-312-28822-0

External links