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The origination of punk music and culture in Britain in the 1970’s was seen by many as a cultural revolution that was to take over from the demise of Rock ’n’ Roll and experimentations of progressive rock that were prominent in the late sixties. Brightly coloured, axe-blade Mohawks and bobby-pin piercings dominated the appearance of those who subscribed to this revolution in a hope to produce a distinct style that incurred a high-shock value. Punk was seen as a renewed return to the rebellious roots, established by Rock ’n’ Roll and also as a sign that particularly, the youth of society, were fighting against the status quo and by challenging the basic look of society they were inherently challenging its morals and values (Winant, 2005). Clearly the concept of punk can be classed as a subculture because as a group they oppose the dominant culture or mainstream of society.
Punk developed into an underground movement, believed to be started by British youths who were responding to boredom and social issues such as political instability and rising unemployment. Bands such as The Sex Pistols and The Ramones incited the massive spread of punk in the late seventies and helped establish and define the subculture (Youngs, 2002).
Punk subculture is reliant on fashion and style as the predominant means of transmission of values but the role of the media, particularly in this present technologically advanced and information dependant society is of increasing relevance. Grossberg in Lewis (1992: 52) believes that the texts evident in popular media allow for specific subcultures to actively appropriate certain values and apply new, personalised ideals that are unique and relevant. He views the media as a helpful resource for subcultures as it can allow for greater interpretation and material. The media can also be viewed, however, as an opposition to the survival and distinctiveness that defines a subculture. The dominant culture gains greater knowledge of the deviant classes through the rise of mass media (e.g. television and the Internet) with expansive [http://en.wikipedia.org/wiki/Media media coverage seen as a threat to the subculture. With this, subcultures are continually reinventing themselves in an effort to remain opposed to the dominant class. Both theories could be applied to the punk subculture. While a majority of the symbols and styles that define the punk subculture have been borrowed from the media (e.g. Union Jack) and re-invented as a social commentary, media forms have also diffused certain ideals and elements into popular culture. Although movies such as SLC Punk, Sid and Nancy and The Filth and the Fury and bands such as The Sex Pistols and The Ramones spread and helped enforce punk culture it can also be viewed as a mode of destroying the ideals and seclusion of the group.
In the concept of the new economy the element of communication and the various ways through which values and information are communicated are essential. The punk subculture has been subjected to a plethora of changes throughout its short lived history but the ideals and values that were established during its origination will always remain. Communication of these specific punk values was a necessity in achieving the disassociation from mainstream society and was conducted through the vehicles of style, performance and homology - examines the way various elements such as music, fashion, politics ect, combine to form unification and identity (Brown, 2003). The use of these concepts enabled punks to express a uniform sense of identity that was easily recognised and defined as they strived to promote frustration and disrespect through the forms of degenerate clothing, angry music and a specific attitude. As for all other subcultures, the main aim for punks was to remove and show disapproval to the dominant society.
--Paul Fitzpatrick 17:50, 27 Oct 2005 (EST)
