This article may relate to a different subject or has undue weight on an aspect of the subject.Specifically, punk musicians who advocated certain social and political beliefs rather than the DIY ethic and back-to-basics music methodologies quintessential to punk. (February 2018)
This article's lead section contains information that is not included elsewhere in the article. (February 2018)
Punk ideologies are usually expressed through punk rock music and lyrics, punk literature such as amateur fanzines, spoken word performances or recordings, punk fashion, or punk visual art. Some punks have participated in direct action, such as protest or demonstration disruption, political violence, ecotage, street barricades, squatting, pirate radio, off-grid energy, graffiti, vandalism and public and business property destruction, and indirect action through counter-propaganda, protests or boycotts. They support and squat in urban and rural collective houses, with group funds held in common. Punk fashion was originally an expression of nonconformity, as well as opposition to both mainstream culture and the status quo. Punk fashion often displays aggression, rebellion, and individualism. Some punks wear accessories, clothing or have tattoos that express sociopolitical messages. They stage Punk Rock Food Drives, such as D.O.A's Unity for Freedom. Punk visual art also often includes political messages. Many punks wear secondhand clothing, partly as an anti-consumerist statement.
An attitude common in the punk subculture is the opposition to selling out, which refers to abandoning of one's values and/or a change in musical style toward pop (e.g. electropop) and embracing mainstream culture or more radio-friendly rock (e.g. pop rock) in exchange for wealth, status, or power. The issue of authenticity is important in the punk subculture—the pejorative term poseur is applied to those who try to associate with punk and adopt its stylistic attributes but are deemed not to share or understand the underlying core values or philosophy.
Because anti-establishment attitudes are such an important part of the punk subculture, a network of independent record labels, venues and distributors has developed. Some punk bands have chosen to break from this independent system and work within the established system of major labels. The do it yourself (DIY) ideal is common in the punk scene, especially in terms of music recording and distribution, concert promotion, and photocopying magazines, posters and flyers. The expression DIY was coined by commentators after the fact.
Specific ideologies and philosophies
The following include some of the most common ideologies and philosophies within the punk subculture (in alphabetical order).
There is a complex and worldwide underground of punks committed to anarchism as a serious political ideology, sometimes termed "peace punks" or "anarcho-punks." While some well-known punk bands such as the Sex Pistols and The Exploited had songs about anarchy, notably the Pistols' "Anarchy in the UK", they did not embrace anarchism as a disciplined ideology. As such, these bands are not considered part of the anarcho-punk scene.[6]
In the 1980s, both straight edge hardcore punk in the United States[7][8] and anarcho-punk in the United Kingdom[9] started to become associated with animal rights. This association was made possible through activism by bands such as Napalm Death, Icons of Filth, Conflict, and Electro Hippies. Some musicians in these bands were vegans and vegetarians themselves and publicly advocated for these ideologies. In addition to this, bands at the forefront of this movement included lyrical themes pertaining to animal rights, vegetarianism and veganism.[10] Consequently, these ideas became a feature of the punk subculture and this association continues on into the 21st century.[9][11] A notable example is Jack McGarry of the band SX-70 citing messages of animal rights in lyrics of music he listened to as an influence in becoming vegan.[12] It is additionally evidenced by the prominence of vegan punk events such as Fluff Fest in Europe.[13][14]
Nazi punks have a white nationalist ideology that is closely related to that of white power skinheads. Ian Stuart Donaldson and his band Skrewdriver are credited with popularizing white power rock and hatecore (for its hateful lyrical themes), or Rock Against Communism. Nazi punks are different from early punks such as Sid Vicious and Siouxsie Sioux, who are believed to have incorporated Nazi imagery such as swastikas for shock or comedy value. "Nazi Punks Fuck Off" is a song by the Dead Kennedys, an American punk rock band, and is often considered the most famous song regarding nazi punk. The song was released in 1981 and was written in response to the rise of neo-Nazi and far-right punks that had started attending Dead Kennedy shows in response to their satirical song "Kill the Poor". The lyrics of "Nazi Punks Fuck Off" condemn the presence of far-right and fascist punks attending their shows, calling out individuals who espouse racist, sexist, and homophobic beliefs. The song's chorus is a direct call to action, urging punk fans to reject and expel these hateful elements from their community.[45]
Nihilism
Centering on a belief in the abject lack of meaning and value to life, nihilism was a fixture in some early punk rock and protopunk.[46] The Sex Pistols were central to the association of punk and nihilism, with the Trouser Press Record Guide writing that their "confrontational, nihilistic public image and rabidly nihilistic socio-political lyrics set the tone that continues to guide punk bands."[47] However, researcher Neil Eriksen argues that though "much of the critical realism [of punk rock] expresses cynicism and nihilism, it does serve to question existing relations in such a way that listeners are forced to think about what is being said",[48] so that overt rejection of meaning is primarily concerned with challenging existing values.
Situationism
The Situationist International (SI) was an early influence on punk subculture in the United Kingdom.[49] Started in continental Europe in the 1950s, the SI was an avant-garde political movement that sought to recapture the ideals of surrealist art and use them to construct new and radical social situations. Malcolm McLaren introduced situationist ideas to punk through his management of the band Sex Pistols.[49]Vivienne Westwood, McLaren's partner and the band's designer/stylist, expressed situationist ideals through fashion that was intended to provoke a specific social response. 15% Pus and DUST, subversive 1990s Manchester bands, staged psycho-geographic walks around Hulme and created human collages from road signs as part of what became known as 'psycho-spectre'. Jamie Reid's distinctive album cover artwork was openly situationist.
Straight edge originated in the Washington, D.C. hardcore punk scene with the Minor Threat song "Straight Edge" written by frontman Ian MacKaye and guitarist Brian Baker. Straight edge involves abstaining from alcohol, tobacco, and recreational drug use. Some who claim the title straight edge also abstain from caffeine, casual sex and meat. Those more strict individuals may be considered part of the hardline subculture. Unlike the shunning of meat and caffeine, refraining from casual sex was without question a practice in the original straight edge lifestyle, but it has been overlooked in many of the later reincarnations of straight edge. For some, straight edge is a simple lifestyle preference, but for others it is a political stance. In many cases, it is a rejection of the perceived self-destructive qualities of punk and hardcore culture. MacKaye has often spoken out against others labeling themselves as being Straight edge, which was never his intentions for it being a label but it became a movement one which he became annoyed with. Notable straight edgers: Tim McIlrath, CM Punk and Davey Havok.
Wood, Robert T. (1999). "Nailed to the X: A Lyrical History of Straightedge". Journal of Youth Studies. 2 (2): 133–151. doi:10.1080/13676261.1999.10593032.
Mattson, Kevin (6 August 2020). We're Not Here to Entertain: Punk Rock, Ronald Reagan, and the Real Culture War of 1980s America. Oxford University Press. pp.14–15. ISBN978-0190908232.
Sinker, Daniel, We Owe You Nothing, Punk Planet: The Collected Interviews, Akashic Books, 2001 ISBN1-888451-14-9
Taylor, Steven, False Prophet: Fieldnotes from the Punk Underground, Wesleyan University Press, 2003 ISBN0-8195-6667-5
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