Punk subculture
The punk subculture includes a diverse and widely known array of music, ideologies, fashion, and other forms of expression, visual art, dance, literature, and film.
The punk ethos is primarily made up of beliefs such as non-conformity, anti-capitalism anti-authoritarianism, anti-corporatism, a do-it-yourself ethic, anti-consumerist, anti-corporate greed, direct action, and not "selling out".
There is a wide range of punk fashion, including T-shirts, leather jackets, Dr. Martens boots, hairstyles such as brightly coloured hair and spiked mohawks, cosmetics, tattoos, jewellery, and body modification.
The New York City punk rock scene arose from a subcultural underground promoted by artists, reporters, musicians, and a wide variety of non-mainstream enthusiasts.
The Velvet Underground's harsh and experimental yet often melodic sound in the mid to late-1960s, much of it relating to transgressive media work by visual artist Andy Warhol, is credited for influencing 1970s bands such as the New York Dolls, the Stooges, and the Ramones.
Common punk viewpoints include anti-capitalism individual liberty, anti-authoritarianism, a DIY ethic, non-conformity, anti-corporatism, anti-government, direct action, and not "selling out".
[23] Early British punks expressed nihilistic and anarchist views with the slogan No Future, which came from the Sex Pistols song "God Save the Queen".
[25] Early punk fashion adapted everyday objects for aesthetic effect: ripped clothing was held together by safety pins or wrapped with tape; ordinary clothing was customised by embellishing it with marker or adorning it with paint; a black bin liner became a dress, shirt or skirt; safety pins and razor blades were used as jewellery.
[26] A designer associated with early UK punk fashion was Vivienne Westwood, who made clothes for Malcolm McLaren's boutique in the King's Road, which became famous as "SEX".
Many punks wear tight "drainpipe" jeans, plaid/tartan trousers, kilts or skirts, T-shirts, leather jackets (often decorated with painted band logos, pins and buttons, and metal studs, chains or spikes), and footwear such as high-cut Chuck Taylors, trainers, skate shoes, brothel creepers, Dr. Martens boots, and army boots.
[28] This is most common in the post-1980s US hardcore punk scene, where members of the subculture often dressed in plain T-shirts and jeans, rather than the more elaborate outfits and spiked, dyed hair of their British counterparts.
[32] Yet another punk scholar describes the look that was common in the San Francisco hardcore scene as consisting of biker-style leather jackets, chains, studded wristbands, pierced noses and multiple piercings, painted or tattooed statements (e.g. an anarchy symbol), and hairstyles ranging from military-style haircuts dyed black or blonde to mohawks and shaved heads.
"[37] This participation played a role in the historical development of punk music, especially in the US and UK at that time, and continues to influence and enable future generations.
[38] Rock historian Helen Reddington states that the popular image of young punk women musicians as focused on the fashion aspects of the scene (fishnet stockings, spiky blond hair, etc.)
Psychobillies prefer to "wreck", a form of slam dancing that involves people punching each other in the chest and arms as they move around the circle pit.
[57] We Got Power described the LA scene from 1981 to 1984, and included show reviews of and interviews with such bands as Vancouver's D.O.A., the Misfits, Black Flag, Suicidal Tendencies, and the Circle Jerks.
Punk poets include: Richard Hell, Jim Carroll, Patti Smith, John Cooper Clarke, Seething Wells, Raegan Butcher, and Attila the Stockbroker.
Originally used experimentally and as a cheap high, adult disgust and hostility encouraged punks to use glue sniffing as a way of shocking society.
[70] While the commonly expressed aspects of the straight edge subculture have been abstinence from alcohol, nicotine, and illegal drugs, there have been considerable variations on how far to take the interpretations of "abstaining from intoxicants" or "living drug-free".
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.
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.
Punks were, however, not the only youth sub-culture to be considered 'negative decadent'[108] and a threat to the stability of communist society: heavy metallers, skinheads, and goths were also targeted.
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.
[117] 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.
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.
[118] 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.
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.
[123] Like many punk subcultures, subtes explicitly oppose the Peruvian state and advocate instead an anarchic resistance that challenges the political and mainstream cultural establishment.
[125] 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.
[129] Dionisio Arce, lead vocalist of Cuban heavy metal band Zeus spent six years in prison due to his part in the Frikis.
