Did punk rock change British society? (2000 word essay)

Did punk rock change British society? Reflect on the extent of the influence of punk culture on the mainstream of culture, music and politics today.

Punk rock influence on mainstream culture, music and politics can be examined from a number of perspectives. Jon Savage described punk culture as a "bricolage" of almost every previous youth culture that existed in the West since the Second World War "stuck together with safety pins" (Savage, 2007). The entry in the English Dictionary defines “punk rock as a fast, abrasive style of rock music of the late 1970s, characterised by aggressive or offensive lyrics and performance”. Pete Shelley, from Buzzcocks, described punk rock as: “[Punk] was something which brought people together, so they realised something was possible” This academic essay will reflect to what extent these influences have had on today’s British society by briefly describing the history, the ideology of the punk movement and the effect on society as a whole.

Punk has morphed over the years, sometimes randomly, sometimes purposely and it continues to do so. Punk rock got its name from John Sinclair, who coined the phrase in describing the aggressive militancy and White Panther politics of the MC5 (Eriksen, Punk Rock As A Cultural Phenomenon, 1980). However, it was a number of years before the name accompanied the music. Punk rock musical style emerged in the United States, Australia and United Kingdom during the mid-1970s. It was driven by British and American musicians, bored with current styles of music. Punk is made up of an assortment of smaller musical styles the earliest form of punk rock was described as garage rock in the United States in the late 1960s. Groups of teenagers got together in garages just to play music, usually on instruments they could barely play.

According to John Holmstrom, punk rock was "rock and roll by people who didn't have very much skill as musicians but still felt the need to express themselves through music" (BBC, 2006). Although this concept seems odd, the lack of musical knowledge resulted in long-established musical limits and rules to be broken. This is what made punk music different, new and exciting. Later in New York City between 1974 and 1976 the punk tag was given. Running in tandem a punk scene was also developing in London. Other cities followed including Los Angeles, Brisbane and Boston. Bands like Iggy and the Stooges, MC5, and the Velvet Underground were being signed by record labels eager to be part of this new unfolding music scene. According to some critics the punk movement was dead in late 1977, “fractured along the lines of its own internal contradictions” (Laing, 1978). However punk rock continued through the 80s mutating into different directions including Post-Punk, Grunge, New Wave, Hardcore and many others (Majewski & Bernstein, 2014). Several subcultures to Punk across the world have evolved into a number of different forms in their own right, such as Goth, Psychobilly and Emo. Whatever the form, they all have a common thread which is based around music, ideology, fashion, visual art, dance, literature and film which are distinct from those of popular culture.

The ideology of the punk culture is based on a set of concepts, values and feelings that affects a broad range of issues, such as anti-establishment, equality, freedom, anti-authoritarianism, individualism, direct action, free thought and non-conformity. The Sex Pistols disrespect for Queen Elizabeth II and her Royal institutions epitomised the ideology of the punk culture. To perpetuate the anti-establishment ideology independent record labels were established, supported by alternative venues and distributors to break the monopoly of the giants in the music industry.

Punk’s backlash on the music industry resulted from the reluctance of record labels to sign up new and un-proven talent as a result of the slump in the record industry. Using independent labels new groups had a chance to record songs and be heard by more than their local fans. In England punk developed as a militant working class sub-culture, adopted by sections of disenfranchised youths across the UK in response to the political and economic situation at the time. The Clash lyrics "Career Opportunities”, attacks the establishment, citing the lack of jobs available, the dreariness and lack of appeal of what was available. The adoption of punk by unemployed youths would have given them a focus and a belonging to a culture that appeared to understand their frustrations. (Baumeister, 1995) Empirical literature review suggests that belonging was a powerful, fundamental and extremely pervasive motivation for humans. Kurt Cobain, Nirvana (1987 – 1994), once said: “Punk rock made me so much more aware... It reminded me that I've had an identity all along”.

Marxist theory suggests that under capitalism people must find pleasure and relax in their leisure time in order to prepare their bodies and minds for work. Punk rock developed as an alternative sub-culture for the working class where they couldn’t afford other luxuries such as art, crafts or holidays to entertain themselves during their ‘leisure time’. (Eriksen, Subcultures and Counter-Cultures, 1980) The working class’s life was generally structured by the “dominating alternative rhythms” (Clarke, 1989) of weekend relaxation and then the back to work Monday blues. There was a need for a counter-culture to provide a type of entertainment that the working class needed and there was a space and opportunity for another section of society to explore alternatives that consciously ignored the dominant culture and so punk rock became a viable art form for the working class to enjoy.

The ‘establishments’ reaction to punk demonstrated that there was force in play that was effectively impacting and eroding the bedrock of society. Fundamental rules of society were blatantly being questioned, ignored and exposed. (Nehring, 1997) Commented that Punk was the last time that pop music of any kind or time had a “genuine radical impact". The general public were exposed to Punk through the intense media reporting of this new style of music. (Guillain, 2010) Observed that “The media focussed on some musicians’ outrageous behaviour and reactions to punk. One central idea of punk had been to shock people, and it seemed to be working”. A renowned example of this was the shocking antics of the Sex Pistols, and their disrespect for royalty. The lyrics to the song “God save the Queen” 1 is a prime example of the ideology of Punk. It could also be argued that it was a dazzling cash cow for the group as a result of the publicity it received and was contradictory to punk ideology against capitalism. In 1977 the song was banned from all radio stations and retail stores and the Sex Pistols were banned from performing in the UK and were exiled to Amsterdam. The song was in the top five of the hits, and the Labour MP’s swore to “destroy New Wave before it destroys the nation”. (Duncombe & Tremblay, 2011). Interestingly there has been an acceptance of the band and this was publically demonstrated when they were asked to play at the 2012 Olympics. The group declined but it could be assumed that if they accepted the group would be conforming to the mainstream which is against punk ideology.

The publicity transformed punk rock into a household word, and generated intense interest in this new “political” rock and roll. Making political statements were more aggressive and violent, rather than previous “peace and love,” musical protests. For example, "Give Peace a Chance" by John Lennon (1969). The Clash also denounced “Hate and War”, developing themes on London Calling album (1979). This aggression was vividly expressed in the music by Tom Robinson, a gay activist in Rock Against Racism, when he declared, “We ain’t gonna take it; NO MORE!” (1978)

By the time Margaret Thatcher came into power (1979-90) punk was well established and at the opposite ideological position to the leader of the country. This gave punk an opportunity to assassinate her and the politics she represented through songs. Examples of these songs include Elvis Costello’s Tramp the Dirt (1989) which fantasizes about stomping on Thatcher’s grave. The Specials, Ghost Town (1981) was about the effects of recession and unemployment and How Does It Feel to Be the Mother of 1,000 Dead by Crass (1986) in response to the Falklands war.

Today these tactics continue to be deployed with varying media attention, cultural acceptance and political impact. Over the years Britain’s culture has become more acceptable to diversity. Thirty five years ago a collection of punk bands in Kennington Park, south London would have caused public outcry. Today ScumFest, a non-profit urban punk festival supporting Anti-Fascist Action (ANTIFA) is not deemed a threat to the public. Dame Vivienne Westwood commenting on punk said, “Everything has changed today, it's hard to think now that punk was shocking. Now anything goes.” However, international response does vary. This has been demonstrated in Russia, The feminist Russian band Pussy Riot face prison sentences for "hooliganism" playing outside a church performing a song critical of President Vladimir Putin. (Amos, 2012). Bands like the Sex Pistols and the Velvet Underground have influenced current artists have become increasingly active in politics, for example the song “Yes We Can” produced by will.i.am supported Barack Obama’s ad campaign before his election in 2008.

Image played a major part in demonstrating non conformity, individualism and anti-establishment of punk. The fashion statements were seen as a symbol of rebellious, anti-materialistic and challenged the ‘norm’. Untidy, cropped brightly coloured hair, the iconic punk Mohawk, replaced the long-hair of the 60’s hippy period. Vivienne Westwood stated that “I was the first person to have a punk rock hairstyle”. She was clearly making a statement that she was at the leading edge of fashion. Clothing was focused on dressing down, with low-class, second-hand clothes, rather than expensive colourful outfits. Groups such as the Ramones wore simple clothes such as T-shirts, jeans and leather jackets.

In the United Kingdom mainstream punk style clothes were sold at the Malcolm McLaren shop. Breward, stated that “Westwood and partner McLaren are uniquely responsible for the visual creation of punk in the mid-1970s, much of their work captured and commodified the energy and radical tendencies of the movement.” (Breward, 1995). With the Sex Pistols in the media limelight the ‘punk look’ was a marketing success. T-shirts were designed to be offensive such as the DESTROY T-shirt sold at SEX (Vivienne Westwood’s store), which featured an inverted crucifix and a Nazi Swastika2.Accessories included fishnet stockings (sometimes ripped), spike bands and other studded or spiked jewellery, safety pins (in clothes and as body piercings), silver bracelets and heavy eyeliner worn by both men and women.3 Many female punks rebelled against the stereotypical image of a woman by combining clothes such as combining a ballet tutu, jeans, and torn T-shirts. In line with individuality within the Punk movement factions of the punk subculture have different fashion styles and objects such as bin liners were use to give aesthetic effect. Today, punk rock has continued to inspire creative industries since the 70’s and this is especially reflected in retail stores such as Topshop. In the fashion industry studs and torn t-shirts have a constant place and make regular appearances in clothing stores throughout each year.

Following the film release A Clockwork Orange, 1980s, some street punks adopted elements of the dress style from the film. On stage, bands like The Adicts often wore bowler hats, white shirts, white trousers, braces, and black combat boots in imitation of Alex De Large, the protagonist of the film and novel. Punk clothing represented rebellion and the legacy is still influences us today as demonstrated fully by The Metropolitan Museum of Art, New York spring 2013, PUNK: Chaos to Couture. The exhibition examined the punk's impact on high fashion from the movement's birth in the early 1970s through its continuing influence today. It featured approximately one hundred designs for men and women.

Overall, Punk was part of the process like early rock and roll in the 1950’s and rock music in the 60’s in challenging the system, stretching and breaking the boundaries. However, punk went further than other music genre by breaking the taboos within music, the content of their lyrics, fashion statements, challenging the establishment and questioning political mainstream ideology. The emergence of independent music labels is a prime example. The complicated actual and perceived dysfunctional development of punk makes it difficult to define the level of impact against other cultural influences in Britain such as Thatcherism, economic and social change since 1970. However the fundamentals of self-expression, independence, nonconformity, resistance, a belief in alternatives are key drivers in promoting an ever changing culture. In his classic punk history England's Dreaming, Jon Savage calls punk "an international outsider aesthetic: dark, tribal, alienated, alien, full of black humour". The phrase punk rock may not be understood, but there is a sense of what it is and as such it continues to have impact on British culture today. In late 1977 Crass, who were hugely influential on future punks bands, scrawled a resonant slogan on the wall outside the Roxy club in London: "Punk is dead. Long live punk."

Bibliography

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