(Redirected from Punk culture)
Punks at a music festival
The 'punk subculture' is a
subculture that is based around
punk rock music. Since emerging from the larger
rock 'n' roll scene in the mid-to-late-1970s in the
United Kingdom, the
United States and
Australia, the punk movement has spread around the globe and developed into a number of different forms.
Punk culture encompasses distinct styles of music, ideology, and fashion, as well as visual art, dance, literature, and film. Punk also lays claim to a
lifestyle and community.
[1] The punk scene is composed of an assortment of smaller subcultures, such as
hardcore punk and
streetpunk. These subcultures distinguish themselves through unique expressions of punk culture. Several subcultures have developed out of punk to become distinct in their own right, including
goth and
psychobilly. The punk movement has had a tumultuous relationship with
popular culture and struggles to resist
commercialization and
appropriation.
History
UK Punks, circa 1986
The punk subculture emerged in the United States, United Kingdom and Australia in the mid-to-late-1970s, and has since undergone several developments.
[2][3][4][5][6][7] The punk subculture originated from a number of antecedents and influences. Various
philosophical and
artistic movements influenced and preceded to the punk movement. In particular, several strains of
modern art anticipated and affected punk. Various writers, books, and literary movements were important to the formation of the punk aesthetic. Punk rock has a variety of musical origins in the
rock and roll genre. Previous youth subcultures also had major influences on punk.
The earliest form of punk, retroactively named
protopunk, arose in the north-eastern United States in the early-to-mid-1970s. The first ongoing music scene that was assigned the punk label appeared in New York City between 1974 and 1976. Around that same time, a punk scene developed in London. Soon after, Los Angeles became home to the third major punk scene. These three cities formed the backbone of the burgeoning movement, but there were also other scenes in cities such as
Brisbane, and
Boston.
Starting in 1977, the subculture diversified, and factions such as 2 tone and anarcho-punk came into their own. As the punk movement began to lose steam, post-punk, New Wave, and No Wave gained the media's attention. Sometime around the early 1980s, punk underwent a renaissance in the form of the hardcore punk subculture. Hardcore proved fertile in much the same way as the original punk subculture, producing several new groups. These subcultures stand alongside the older subcultures under the punk banner.
The underground punk movement in the United States in the 1980s produced scenes that either evolved from punk or claimed to apply its spirit and DIY ethics to a completely different music, securing punk's legacy in the
alternative rock and
indie scenes. The commercial success of alternative rock gave way to another style that the mainstream media dubbed
pop punk. A new movement in America became visible in the early and mid-1990s, claiming to be a revival of punk.
Music
Crass performs in concert
Music is the most important aspect of punk. Punk music is called ''punk rock'', sometimes shortened to ''punk''. Most punk rock is a specific style of the
rock music genre, though
punk musicians sometimes incorporate elements from other genres. Punk subcultures often distinguish themselves by having a unique style of punk rock, though not every style of punk rock has its own associated subculture. Most punk rock involves simple arrangements, short
songs and
lyrics that espouse punk values. Punk rock is usually played in bands, as opposed to solo artists.
Ideology
Main articles: Punk ideologies
Punk ideology is concerned with the individual's intrinsic right to freedom, and a less restricted lifestyle. Punk ethics espouse the role of personal choice in the development of, and pursuit of, greater freedom. Common punk ethics include a radical rejection of
conformity, the
DIY (Do It Yourself) ethic,
direct action for political change, and not
selling out to mainstream interests for personal gain.
Punk politics cover the entire
political spectrum, although most punks find themselves categorized into
left-wing or
progressive views. Punks often participate in
political protests for local, national or global change. Some common trends in recent punk politics include
anarchism,
anti-authoritarianism,
anti-militarism,
anti-capitalism,
anti-racism, anti-
sexism,
anti-nationalism, anti-
homophobia,
environmentalism,
vegetarianism,
veganism, and
animal rights. Some individuals within the subculture hold
right-wing views (see
Conservative punk) or other political views conflicting with the aforementioned, though these comprise a minority. Well-known punks with conservative values include
Michale Graves and
Johnny Ramone. There are also some punks in openly white racist groups like Blood and Honour which embrace the Nazi ideology.
Fashion
Main articles: Punk fashion
Punks seek to outrage propriety with the highly theatrical use of
clothing,
hairstyles,
cosmetics,
tattoos,
jewelry and
body modification. Early punk fashion adapted existing objects for aesthetic effect: ripped clothing is held together by safety pins or wrapped with tape; ordinary clothing is customized by embellishing it with marker or adorning it with paint; a black
bin liner becomes a dress, shirt or skirt; safety pins and razor blades are used as jewelry.
Leather,
rubber, and
vinyl clothing are also popular, possibly due in part to the fact that the general public associates it with
transgressive sexual practices like
bondage and
S&M. Punks also sometimes wear tight "drainpipe" jeans,
T-shirts with risqué images,
rocker jackets (which are often decorated by painting on band logos, adorning the lapels and pocket flaps with pins and buttons, and covering sections of the jacket, especially the back and sleeves of the jacket, in large numbers of carefully placed studs or spikes), and footwear such as
Converse sneakers,
skate shoes,
brothel creepers, or
Dr. Martens boots.
Some punks style their hair to stand in spikes, cut it into
Mohawks or other dramatic shapes, often coloring it with vibrant, unnatural hues. Punks tend to adorn their favorite jacket or vest with pin-back buttons and patches of bands they love and ideas they believe in, telling the world around them a little bit about who they are. They sometimes flaunt taboo symbols such as the
Iron Cross. Some early punks occasionally wore clothes displaying a
Nazi swastika for shock-value, but most modern punks are staunchly anti-racist and are more likely to wear a crossed-out swastika symbol.
In contrast to punks who regularly walk the streets wearing skin-tight plaid pants, a sleeveless band t-shirt, a leather jacket (with the cover of their favorite album hand painted on the back, the paint-free area of the back and both the sleeves coated by a precise grid of studs, and the lapels invisible beneath all the buttons), and combat boots with eighteen eyeholes, there are some punks who are decidedly "anti-fashion," arguing that music should define punk, not fashion. This is most common in
hardcore punk.
Visual art
Main articles: 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. Alternatively, punk artwork may contain images of selfishness, stupidity, or apathy to provoke contempt in the viewer.
Much of the earlier artwork was in black and white, because it was distributed in
zines reproduced 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, particularity that of the
Sex Pistols. Punk art often utilizes
collage, exemplified by the art of Crass,
Jamie Reid, and
Winston Smith.
John Holmstrom was a punk
cartoonist who created work for the
Ramones and
Punk Magazine. The
Stuckism art movement had its origin in punk, and titled its first major show ''
The Stuckists Punk Victorian'' at the
Walker Art Gallery during the 2004
Liverpool Biennial.
Charles Thomson, co-founder of the group, described punk as "a major breakthrough" in his art.
[8]
Dance
Main articles: Punk dance
The punk subculture has developed a variety of dancing styles, some which appear chaotic and violent. This has led some punk concerts to look like small-scale
riots. The dance styles most associated with punk rock are
pogo dancing and
moshing (similar to the
slam dancing associated with hardcore music).
Stage diving and
crowd surfing were originally associated with
protopunk bands such as
The Stooges, and continued to appear at punk, metal and rock concerts.
Ska punk promoted an updated version of
skanking.
Hardcore dancing is a later development influenced by all of these styles.
Literature
A selection of British and American
punk zines, 1994-2004
Punk has generated a considerable amount of
poetry and
prose. Punk has its own
underground press in the form of
punk zines, which feature news, gossip, cultural criticism, and interviews. Some zines take the form of
perzines. Important punk zines include ''
Maximum RocknRoll'', ''
Punk Planet'', and ''
Cometbus''. Several novels, biographies, autobiographies, and comic books have been written about punk. ''
Love and Rockets'' is a notable comic with a plot involving the
Los Angeles punk scene.
Examples of punk poets include:
Jim Carroll,
Patti Smith,
John Cooper Clarke,
Seething Wells and
Attila the Stockbroker.
The Medway Poets performance group included punk musician
Billy Childish and had an influence on
Tracey Emin. Jim Carroll's autobiographical works are among the first known examples of punk literature. The punk subculture has inspired the
cyberpunk and
steampunk literature genres.
Film
Main articles: Punk film
Many
punk films have been made, and punk rock
music videos and punk
skate videos are common. The use of
stock footage typifies punk film. Several famous groups have participated in movies, such as the Ramones in ''
Rock 'n' Roll High School'' and the Sex Pistols in ''
The Great Rock 'n' Roll Swindle''. Some well-known punks have even had
biopics made about them, such as ''
Sid and Nancy'', which tells the story of
Sid Vicious (portrayed by
Gary Oldman) and
Nancy Spungen (portrayed by
Chloe Webb).
Original footage of punk bands is also often used in music documentaries. Recently, numerous documentaries about specific punk bands have been made, such as ''
Westway to the World'' about The Clash, by punk filmmaker
Don Letts. The seminal punk documentary is ''
The Filth and the Fury'', detailing the rise of the Sex Pistols. In addition to the members of that band and its affiliates (
Malcolm McLaren,
Vivienne Westwood,
Nancy Spungen, etc.) it also features archival footage of
Billy Idol,
Sting,
Shane McGowan, and a young teenaged girl who would grow up to be
Siouxsie Sioux, among others. One of the highlights of the movie is footage of the Sex Pistols playing "God Save the Queen" on a barge in the middle of the Thames during the
Silver Jubilee of Elizabeth II, and their subsequent arrest.
The
No Wave Cinema movement owes much to punk aesthetics.
Derek Jarman and
Don Letts are notable punk filmmakers. Many other films are associated with punk, such as ''
24 Hour Party People'', which presents the evolution of punk rock into
New Wave and
Madchester, and ''
Threat'', which focuses on militant
Straight edge punks in the
New York hardcore scene.
Lifestyle
Punks are genereally people from
working class, or
underclass backgrounds. Some
homeless punks rely on
squatting,
panhandling, or
dumpster diving to survive.
Gutter punks and
squeegee punks vary in their direct involvement with the punk subculture. Typically, a punk enters the subculture during the first few years of
secondary school. Many punks continue playing a role in the subculture for several years, and some make their involvement a lifelong commitment. Although adolescents are the main age group in punk, there are many adults who have the punk mentality but do not necessarily dress the part.
Although punk generally decries overt
sexism, the subculture is largely male-dominated, with the except of the
riot grrrl movement. Since its inception, female punks have played important roles in the punk subculture, but numerically speaking, they are vastly underrepresented. Compared to some alternative cultures, punk is much closer to being
gender equalist in terms of its ideology.
[9] Although the punk subculture is mostly
anti-racist, it is vastly white (at least in predominantly-white countries). However, members of other groups (such as
Blacks,
Latinos, and
Asians) have also contributed to the development of the subculture.
Substance abuse has sometimes been a part of the punk scene, with the notable exception of the
straight edge movement. Violence has also sometime appeared in the punk subculture, but has been opposed by some subsets of the subculture, such as the pacifist strain of
anarcho-punk.
Community
Punks often form a local
scene, which can have as few as half a dozen, or as many as thousands of members.
A typical punk scene is made up of
bands,
fans, and
music venues,
as well as
independent record labels,
zine publishers, visual
artists, and clothing makers. A local scene usually has a small group of dedicated punks surrounded by a more casual periphery.
Squatting plays a role in some punk communities, providing shelter and other forms of support. Punk squats and other
punk houses sometimes provide bands a place to stay while on tour. There are some punk
communes, such as the
Dial House. The
Internet has been playing an increasingly larger role in punk, specifically in the form of
virtual communities and
file sharing programs.
Subcultures within punk
The punk subculture is made up of a diverse assortment of subgroups that distinguish themselves from one another through different attitudes, music, and clothing styles. Some of these groups are antagonistic towards one another, and there is widespread disagreement within punk whether or not some are even part of the larger subculture. An individual punk may identify with several of these factions, or none in particular.
| Subculture | Origins | Music | Major bands | Ideology & Lyrics | Fashion |
|---|
| Anarcho-punk | 1970s and 1980s United Kingdom | Range of punk music styles | MDC,Crass, Conflict, Flux of Pink Indians, Subhumans | Anarchism and other political and social themes | Anarchist symbolism, often all-black militaristic dress |
| Art punk | Mid-1970s New York City | Protopunk, art rock | Television, Wire, Suicide | Bohemianism, abstract lyrics | |
| Celtic punk | 1970s Ireland and United Kingdom | Punk rock, Celtic music, Oi!, Celtic rock | Dropkick Murphys, Flogging Molly, The Real Mckenzies | Scottish, Irish or Welsh themes, various spiritual or social issues, working class pride | Includes a variety of punk and skinhead styles, as well as influences from Celtic heritage |
| Christian punk | Early 1980s American hardcore | Hardcore punk and a range of other punk styles | Headnoise, The Crucified, Crashdog, Flatfoot 56 | Various spiritual, political and social themes. Some profess as Christian Anarchists | Variety of punk styles, such as Anarcho/Crust punk, DIY, anti-fashion, and hardcore punk |
| Crack Rock Steady | 1990s-2000s Ska-core | Fast ska-influenced hardcore punk | Choking Victim, Leftover Crack, Morning Glory | Nihilism, Anti-authoritarianism | |
| Crust punk | Late 1980s to early 1990s anarcho-punk | Similar to grindcore; uses elements of d-beat; fuses anarcho-punk, heavy metal, hardcore | Amebix, Doom, Nausea, Antisect | Anarchism | Anarchist symbolism, DIY clothing |
| Deathrock | Late 1970s California punk | Punk and post-punk-influenced west coast United States Goth rock | Christian Death, 45 Grave, Cinema Strange | Horror film themes, Nihilism | Black clothing, torn fishnets, makeup, deathhawks, Doc Martins |
| Folk punk | Late 1970s United Kingdom | Fuses folk music and punk rock | The Pogues, Attila the Stockbroker, Billy Bragg, Defiance, Ohio, The Levellers | Various themes, including leftist ideologies | Various styles, usually plain |
| Glam punk | Early 1970s north-eastern United States | Protopunk, glam rock | New York Dolls, Hanoi Rocks, D Generation | Aestheticism, dandyism, narcissism, recreational drug use | Cross-dressing, cosmetics, fetish fashion |
| Hardcore punk | Early 1980s North America and United Kingdom | Faster and heavier version of punk rock | Bad Brains, Black Flag,DOA Minor Threat, Dead Kennedys | Various themes, sometimes political | Plain working class clothing, ''anti-fashion'', athletic wear; usually short hair (with the exception of dreadlocks). |
| Horror punk | Early 1980s California | Punk or hardcore punk with elements of doo-wop or rockabilly | The Misfits, The Undead, Gotham Road | Horror film and science fiction themes | Black clothing, corpse paint, devilock |
| Nazi punk & Rock Against Communism | Late 1970s punk, 1980s Oi! and hardcore | Typical punk, Oi!, hardcore and heavy metal music styles | Skrewdriver, Skullhead, Landser, RaHoWa | neo-Nazism, racism, white nationalism | Nazi symbolism with typical punk, skinhead, hardcore and metal fashions |
| Oi! | Pub rock, glam rock, football chants, late 1970s punk rock | Typical rock band instrumentation, sing-along choruses, simple melodies | Cock Sparrer, Cockney Rejects, Angelic Upstarts, The 4-Skins, The Blood, Sham 69. | Patriotism, populism, socialism, football hooliganism and other working class themes. Oi! bands that play humorous songs have been called punk pathetique.[10] | Includes styles associated with 1980s UK punks and skinheads, such as: Dr. Martens, flat caps, Levi' jeans, rocker jacket or flight jacket |
| Pop punk | Late 1970s United Kingdom and United States | Punk rock fused with various styles of pop music | Ramones, The Buzzcocks, Green Day, Blink-182, The Offspring, Sum 41, Good Charlotte | Off-color and toilet humour, relationships | Rocker jackets, Chuck Taylor All-Stars, trucker hats, neckties, elements of other punk fashions |
| Queercore | Mid 1980s American hardcore punk | Range of punk styles | God Is My Co-Pilot, The Dicks, Pansy Division, Team Dresch, Limp Wrist, | Homosexuality, gay rights, marginalized sexuality | Similar to hardcore styles |
| Riot grrrl | Early 1990s Seattle, Olympia, and Washington, D.C. hardcore punk | Alternative rock-influenced punk | Bratmobile, Bikini Kill, Free Kitten, The Donnas | Feminism, female empowerment, and some themes similar to queercore | Kinderwhore |
| Scum punk | 1990s American hardcore punk and shock rock artists like Alice Cooper | Intentionally abrasive and loud, with poor musicianship | GG Allin, The Scumfucs, Antiseen | Transgressive art, sexual and violent lyrics with taboo subjects | |
| Ska punk | 1980s North America and United Kingdom | Typical punk instrumentation plus brass instruments and other wind instruments; influenced by 2 Tone, hardcore punk, pop punk and reggae rock | Mighty Mighty Bosstones, Operation Ivy, Rancid, Goldfinger, Less Than Jake,Reel Big Fish | Anti-racism, unity, light personal themes | Styles influenced by the 2 Tone, pop punk and hardcore punk scenes |
| Skate punk | Early 1980s California skateboarding and surfing scenes | Similar to hardcore punk, sometimes with elements of ska punk and pop punk | JFA, Big Boys, Suicidal Tendencies, NOFX, Ill Repute, The Offspring | Anti-authoritarianism, extreme sports | Sagging clothes, skate shoes, trucker hats |
| Straight Edge | 1980s Washington, D.C. hardcore punk | Hardcore, heavy metal and metalcore | Minor Threat, Youth of Today, Slapshot, Earth Crisis | Abstinence from alcohol, tobacco, recreational drug use, and promiscuity | Athletic apparel, camouflage shorts, black ''X'' drawn on hand |
| Streetpunk & UK82 | 1980s United Kingdom | Elements of Oi! and hardcore; fast, angry and rough | The Exploited, Charged GBH, The Virus, Clit 45 | Working class life, inner-city themes; sometimes political | Includes styles associated with the 1980s UK punks and punk-skinheads |
| Suicidal | Early 1980s Venice Beach, California | Skate punk and crossover thrash | Suicidal Tendencies, No Mercy, Excel | Skateboarding, gangs, leftist/anarchist politics | Cholo-like dress, e.g. bandanas, flannel shirts, Baseball caps with the bill bent upward. |
Subcultures influenced by punk
Several subcultures started out closely related to the punk subculture but broke away, becoming distinct and separate cultures. Some of these groups have retained friendly and cooperative relations with punks, but others have developed a feeling of mutual animosity.
| Subculture | Origins | Music | Major bands | Ideology & Lyrics | Fashion |
|---|
| 2 Tone | 1970s UK punk, ska, rocksteady, reggae, pop | Typical punk instrumentation plus brass instruments and other wind instruments | The Specials, The Selecter, The Beat, Madness | Escapism (dancing), anti-racism, working class populism | Suits, Trilby hats, & other skinhead/rude boy/mod fashion |
| Emo | Late 1980s Washington, D.C. hardcore punk | Emotional hardcore | Rites of Spring, Embrace, The Promise Ring | Personal emotional subjects | Emo fashion |
| Goth | Late 1970s UK post-punk and positive punk | Gothic rock | Bauhaus, The Sisters of Mercy, Siouxsie & the Banshees | Horror film themes, macabre outlook and fascination with dark subjects | Goth fashion |
| Grindcore | Late-1980s, US hardcore punk and UK crust punk | Grindcore and it's sub-genre's | Napalm Death, Extreme Noise Terror, Carcass, Terrorizer | Anarchist/leftist politics, gore and death, explicite sexual/pathological themes | Various, heavy metal fashion, anti-fashion etc |
| Grunger | Mid-1980s Seattle, Washington | Grunge, Post-grunge, Alternative Rock | Nirvana, Pearl Jam, Soundgarden, Alice in Chains, Mudhoney | Social alienation, angst, nihilism, anti-sexism, anti-media, Generation X | Unkempt, flannel shirts, ripped jeans, Converse and Dr. Martens boots |
| Hardline | Late 1980s/early 1990s straight edge | Hardcore, heavy metal and metalcore | Vegan Reich, Raid | Authoritarianism, anti-abortion, heterosexism, veganism, deep ecology, straight edge lifestyle. Many also have affiliation with Abrahamic religions, especially Islam and Rastafarianism. | Varies, but usually typical hardcore styles |
| Indie | Mid-1980s US and UK | Alternative rock, Garage Punk, experimental, glitch, power pop and other genres | R.E.M., The Smiths, Sonic Youth, Pavement | Independent labels, regional diversity, grassroots fanbases | Various styles |
| Mod revival | Late 1970s UK | Influences from 1960s mod-related genres; 1970s punk and pop punk; power pop | The Jam, Secret Affair, Purple Hearts | Aestheticism, narcisism, escapism (dancing), youth issues, working class populism | Suits, military parkas, Fred Perry and Ben Sherman shirts |
| New Wave | Mid-1970s New York City protopunk | New Wave (music) | Blondie, Elvis Costello, Talking Heads | More pop-oriented, but still edgy | More mainstream punk styles, suits, pop art influences |
| Psychobilly | Late 1970s US & early 1980s UK | Upright bass instead of an electric bass | The Cramps, The Meteors, Demented Are Go, Nekromantix | Rockabilly, horror film and science fiction themes | Rockabilly fashion mixed with punk fashion |
| Taqwacore | Late 1990s hardcore | Fast and heavy punk/metal | The Kominas | Islamism, progressive and more syncretic forms of Islam (such as the MKO, who follow a syncretic hybrid of Marxism and Islam, for example) | Varies, but Hardcore fashion or even traditional Islamic dress with punk influences are common |
Interactions with other subcultures
The late-1960s
skinhead subculture had largely died out by 1972 but was revived in the late 1970s, partly because of the influence of punk rock. This led to the development of
punk-skinheads and the
working class-based
Oi! movement. Conversely,
soul,
ska and reggae music, popular among traditionalist skinheads, has had an influence on punk music. Punks and skinheads have had both antagonistic and friendly relationships; depending on the social circumstances, time period and geographic location.
Punk and
hip hop emerged around the same time in
New York City, and there has been some interaction between the two subcultures. Some of the first hip hop MCs called themselves punk rockers, and some punk fashions have found their way into hip hop dress.
Malcolm McLaren played roles in introducing both punk and hip hop to the
United Kingdom. More recently, hip hop has influenced some punk and hardcore bands, such as
Blaggers I.T.A.,
Biohazard,
The Transplants and
Refused.
The punk and the
heavy metal subcultures have shared similarities since punk's inception, and the early 1970s metal scene was instrumental in the development of
protopunk.
Glam rockers The
New York Dolls were massively influential on early punk fashion and also influenced the look of
glam 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 had continued popularity in the punk scene, and singer
Lemmy is a fan of punk rock. Punk subgenres such as
metalcore,
grindcore,
punk metal and
crossover thrash were greatly influenced by heavy metal. The
New Wave of British Heavy Metal influenced the
UK 82 style, and hardcore punk was a primary influence on
thrash metal bands such as
Metallica and
Slayer; and by proxy, was an influence on
death metal and
black metal. The grunge subculture resulted in large part from the fusion of punk and metal styles in the late 1980s. However, there have long been tensions between the two groups. In particular, metal's mainstream incarnations have proven anathema to punk. Hardcore and grunge developed in part as reactions against the metal music popular during the 1980s. The
industrial subculture also has several ties to punk, in terms of music, fashion and attitude.
In punk's heyday, punks faced harassment and violent attacks from the general public and from members of other subcultures. It has been reported that in the UK, punks were involved in brawls with
Teddy Boys,
greasers and
bikers. There was also considerable enmity between
positive punks and the
New Romantics. In the United States, punks sometimes faced abuse from
rednecks and other
right-wing groups such as
white power skinheads. In
Sweden, the
raggare have sometimes attacked punks.
Interactions with popular culture
In the years following the birth of punk, elements of the subculture have become more socially acceptable (at least in Western-style democratic countries). It many cases, punk was looked at as merely a youthful fashion statement. Some maintain that the punk scene has lost the very heart of its former nature as one of explosive creativity, rebellion, anger, and individualism, and that it has become a mere caricature of what once was. Bryn Chamberlain writes, "By the mid 1980s, the punk became publicly acceptable. The punk became intelligent, artistic and fun. This became the constructed punk: a sterilized figure, a shadow of his mindless adolescent ancestor."
[11]
Punk has influenced, and has been influenced by, popular culture in a number of ways. Since the beginning of the subculture, major label record labels,
haute couture, and the
mass media have attempted to use punk for profit. For the most part, punk has met this cultural appropriation with resistance, because of the punk ethic of musical integrity.
[12]
Footnotes
1. "Punk" Grossman, Perry
2. "Will Success Spoil The Fruit?" Marsh, Dave
3. "Grabbing Ankles" Moore, Thurston
4. The birth of punk John Robb
5. Savage, Jon. ''England's Dreaming: The Sex Pistols and Punk Rock''. Faber and Faber, 1991. ISBN 0-312-28822-0
6. "Misfits and Malcontents" Australian Broadcasting Corporation
7. "The Saints: Biography" Dougan, John
8. http://www.artistica.co.uk/2006/01/29/interview-with-charles-thomson-of-the-stuckists
9. "Oh bondage up yours! The early punk movement--and the women who made it rock" Lee, Michelle
10. http://www.garry-bushell.co.uk/oi/index.asp
11. "The Quintessential Punk" Chamberlain, Bryn
12. ""Punk" after the Pistols: American Music, Economics, and Politics in the 1980s and 1990s" Goshert, John Charles
References
★
Willoughby Sharp ''Joseph Nechvatal'', Machine Language Books, 1984, 74 pages
★ Alan Moore and Marc Miller, eds.,
ABC No Rio Dinero: The Story of a
Lower East Side Art Gallery (
Colab, i.e. Collaborative Projects, NY, 1985)
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