1970's Punk Fashion Sex Pistols 1970

Mode of punk subculture

Characteristic fashion of the punk culture

Punk manner is the clothing, hairstyles, cosmetics, jewellery, and body modifications of the punk counterculture. Punk fashion varies widely, ranging from Vivienne Westwood designs to styles modeled on bands like The Exploited to the dressed-down look of North American hardcore. The singled-out social wearing apparel of other subcultures and fine art movements, including glam rock, skinheads, rude boys, greasers, and mods take influenced punk fashion. Punk mode has likewise influenced the styles of these groups, every bit well as those of pop culture. Many punks use clothing as a mode of making a statement.^[1]

Punk fashion has been commercialized, and well-established style designers – such equally Anna Sui,^{[two] [three]} Vivienne Westwood and Jean Paul Gaultier – take used punk elements in their production.

History [edit]

1970s [edit]

A punk wearing a customized blazer, every bit was popular in the early punk scene

Punk stone was an intentional rebuttal of the perceived backlog and pretension found in mainstream music (or even mainstream culture every bit a whole), and early on punk artists' fashion was defiantly anti-materialistic. More often than not unkempt, often short hairstyles replaced the long-pilus hippie look and the usually elaborate 1970s stone and disco styles. In the United States, dingy, simple clothes – ranging from the T-shirt/jeans/leather jacket Ramones look to the low-form, second-hand "apparel" clothes of acts like Television or Patti Smith – were preferred over the expensive or colorful clothing popular in the disco scene.^[four] With her designs for The Rocky Horror Testify and The Rocky Horror Movie Show, Sue Blane is credited with creating the await that became the template for punk rock fashion.^[v]

In the United Kingdom, 1970s punk fashion influenced the designs of Vivienne Westwood and Malcolm McLaren^[half-dozen] and the Bromley Contingent. Mainstream punk style was influenced by dress sold in Malcolm McLaren'southward shop,^[vii] artdesigncafe. McLaren has credited this mode to his first impressions of Richard Hell, while McLaren was in New York City working with New York Dolls. Deliberately offensive T-shirts were popular in the early punk scene, such as the DESTROY T-shirt sold at Sexual activity, which featured an inverted crucifix and a Nazi Swastika. Another offensive T-shirt that is notwithstanding occasionally seen in punk is called Snowfall White and the Sir Punks, and features Snow White being held downward and raped by five of the 7 dwarfs, whilst the other two engage in anal sexual practice. The image'southward origin is as part of The Realist mag'southward Disneyland Memorial Orgy poster in May 1967, although the T-shirts made the scene more than explicit.^[8] These T-shirts, similar other punk clothing items, were ofttimes torn on purpose. Other items in early British punk fashion included: leather jackets; customised blazers; and dress shirts randomly covered in slogans (such every bit "Only Anarchists are pretty"), blood, patches and controversial images.

Other accoutrements worn by some punks included: BDSM fashions; fishnet stockings (sometimes ripped); spike bands and other studded or spiked jewelry; safety pins (in clothes and as body piercings); silverish bracelets and heavy eyeliner worn by both men and women. Many female punks rebelled against the stereotypical image of a woman past combining clothes that were fragile or pretty with apparel that were considered masculine, such as combining a Ballet tutu with big, clunky boots.^{[ commendation needed ]}

Punk clothing sometimes incorporated everyday objects for aesthetic effect. Purposely ripped clothes were held together by prophylactic pins or wrapped with record; black bin liners (garbage bags) became dresses, shirts and skirts. Other items added to wearable or as jewellery included razor blades and chains. Leather, rubber and vinyl vesture have been common, mayhap due to their connection with transgressive sexual practices, such as chains and S&M.

Preferred footwear included military machine boots, motorcycle boots, brothel creepers, Puma Clydes (suede), Chuck Taylor All-Stars and later, Dr. Martens boots. Tapered jeans, tight leather pants, trousers with leopard patterns and chains pants were pop choices. Other early on punks (most notably The Adicts) imitated the Droogs from A Clockwork Orangish by wearing bowler hats and braces. Pilus was cropped and deliberately made to look messy, and was often dyed bright unnatural colours. Although provocative, these hairstyles were non as extreme equally subsequently punk hairstyle.

1980s [edit]

In the 1980s, new mode styles developed as parallel resurgences occurred in the United States and United Kingdom. What many recognize as typical punk fashions today emerged from the 1980s British scene, when punk underwent its Oi!/street punk, and UK82 renaissance. The The states scene was exemplified by hardcore bands such as Black Flag, Small Threat, and Fear. The 1980s American scene spawned a utilitarian anti-fashion that was yet raw, aroused, and intimidating. However, elements of the 1970s punk look never fully died away.

Some of the post-obit clothing items were common on both sides of the Atlantic Sea, and some were unique to certain geographic areas. Footwear that was mutual in the 1980s punk scene included Dr. Martens boots, motorcycle boots and combat boots; sometimes adorned with bandanas, chains or studded leather bands. Jeans (sometimes dirty, torn or splattered with bleach) and tartan kilts or skirts were usually worn. Leather skirts became a pop particular for female punks. Heavy bondage were sometimes used as belts. Bullet belts, and studded belts (sometimes more than than one worn at a time) also became common.

Some punks bought T-shirts or plaid flannel shirts and wrote political slogans, band names or other punk-related phrases on them with marking pens. While this was not without precedent in the 1970s, the depth and detail of these slogans were not fully developed until the 1980s. Silkscreened T-shirts with ring logos or other punk-related logos or slogans were also popular. Studded, painted and otherwise customised leather jackets or denim vests became more than popular during this era, as the popularity of the earlier customized blazers waned, somewhat.

Hair was either shaved, spiked or in a crew cut or Mohawk hairstyle. Tall mohawks and spiked hair, either bleached or in bright colors, took on a more extreme graphic symbol than in the 1970s. Charged pilus, in which all of one'southward hair stands on end but is not styled into singled-out spikes, also emerged. A hairstyle similar to The Misfits' devilocks was popular. This involved cutting a mohawk but leaving a longer tuft of hair at the front end of the head. It is nonetheless pop to this day in the Horror-Punk scene. Torso piercings and extensive tattoos became very popular during this era, as did fasten bands and studded in chokers. Some hardcore punk women reacted to the earlier 1970s movement'due south coquettish vibe by adopting an androgynous style.

Hardcore punk fans adopted a dressed-downward style of T-shirts, jeans, combat boots or sneakers and crewcut-fashion haircuts. Women in the hardcore scene typically wore army pants, band T-shirts, and hooded sweatshirts.^{[9] [10]}

The style of the 1980s hardcore scene assorted with the more provocative fashion styles of late 1970s punk rockers (elaborate hairdos, torn clothes, patches, prophylactic pins, studs, spikes, etc.). Circumvolve Jerks frontman Keith Morris described early hardcore fashion every bit "the...punk scene was basically based on English fashion. But we had zippo to do with that. Blackness Flag and the Circle Jerks were and then far from that. We looked like the kid who worked at the gas station or submarine shop."^[11] Henry Rollins echoes Morris' bespeak, stating that for him getting dressed up meant putting on a blackness shirt and some nighttime pants; Rollins viewed an interest in fashion as being a lark.^[12]

Jimmy Gestapo from Murphy's Law describes his own transition from dressing in a punk way (spiked hair and a bondage belt) to adopting a hardcore style (shaved head and boots) as being based on needing more functional clothing.^[10] A scholarly source states that "hardcore kids do non look like punks", since hardcore scene members wore basic clothing and short haircuts, in contrast to the "embellished leather jackets and pants" worn in the punk scene.^[xiii] In contrast to Morris' and Rollins' views, one scholarly source claims that the standard hardcore punk article of clothing and styles included torn jeans, leather jackets, spiked armbands and dog collars and mohawk hairstyles and DIY ornament of clothes with studs, painted band names, political statements, and patches.^[14] Another scholarly source describes the look that was mutual in the San Francisco hardcore scene as consisting of biker-fashion leather jackets, chains, studded wristbands, pierced noses and multiple piercings, painted or tattooed statements (due east.g. an chaos symbol) and hairstyles ranging from military-manner haircuts dyed blackness or blonde, mohawks, and shaved heads.^[15]

Different styles [edit]

Various factions of the punk subculture accept different fashion styles, although there is often crossover between the subgroups. The following are descriptions of some of the near common punk styles, categorized alphabetically.

Anarcho-punk [edit]

Anarcho-punk fashion unremarkably features all-black militaristic clothing, a manner that was pioneered by the English punk band Crass.^[16] A prominent feature is the heavy utilize of agitator symbols and slogans on clothing items. Some who define themselves as anarcho-punks opt to wear wearable similar to traditional punk fashions or that of crust punks, but non ofttimes to the farthermost of either subculture. Mohawk hairstyles and liberty spikes are seen. Tight trousers, bands T-shirts and boots are common. Hairstyling products often are used only if the company that manufactures it did not test them on animals. Leather often avoided due to veganism, may be replaced with imitation leather or cloth in a similar design every bit leather products.

Celtic punk [edit]

Fans of Celtic punk often mix hardcore, street punk, Oi! and skinhead fashions with traditional Irish or Scottish wearable styles, including elements of highland dress.^[17] Mutual items include boots, sneakers, jeans, work trousers, kilts, grandpa shirts, T-shirts, hoodies, braces, black leather jackets, peacoats, ass jackets, football shirts, apartment caps, tuques, Tam O'Shanter caps and Trilby hats. Hair is usually cut relatively short.^[17]

Cowpunk [edit]

Crust punk [edit]

A grouping of crust punk fans or "crusties"

Crust punk can be traced back to Bristol (UK). In the late 1970s and early on 1980s, Bristol bands like Disorder, Chaos UK, Lunatic Fringe, Amebix, broke from the usual punk fashion confines, creating a disheveled DIY look originating in squatting and poverty. Typical crust punk fashion includes black or cover-up trousers or shorts (heavy work pants are popular for their durability), torn band T-shirts or hoodies, skin tight blackness jeans, vests and jackets (normally black denim), bullet belts, jewellery fabricated from hemp or plant objects, and sometimes bum flaps. Many items of clothing are covered in patches and/or metal studs. Often, the patches display a political message. Wear tends to exist unsanitary by conventional standards, and dreadlocks are pop.^[18]

Crust punks sometimes sew articles of article of clothing with institute or cheaply bought materials, such as dental floss. Pants are sometimes held upwardly with cord, hemp, or vegan-friendly imitation leather. This way has also been used past Folk Punk fans and musicians, notably Days North Daze, Blackbird Raum, and The Psalters.^[18]

Trip the light fantastic-punk [edit]

Dance-punk fashions include day-glo colors, phat pants, glowsticks, leather studded jackets, chains and gainsay boots. Typical haircuts include spiky hair bleached blond, brusk mohawks and synthetic dreadlocks.^{[ citation needed ]}

Night cabaret and Gypsy punk [edit]

Fans of nighttime cabaret and Gypsy punk oftentimes imitate the costumes of 1920s music hall, sideshow or burlesque performers, pejoratively referred to by some mod critics equally "one time stylish trash."^{[19] [ self-published source? ]} Women such equally Amanda Palmer of the Dresden Dolls sometimes combine fetish wear such as garter belts, fishnet stockings or corsets with dress clothing, such as a meridian hat and tailcoat, or traditional Romani dress such equally shawls,^[20] hoop earrings or colorful skirts. Men oft article of clothing vintage Bowler hats, battered fedoras, tweed textile vests with more than typical street punk fashions such every bit drainpipe trousers or heavy boots. Some artists, including Martyn Jacques of the Tiger Lillies, wear white makeup inspired by French mime artists and the Emcee from Cabaret.^[21]

Garage punk [edit]

Garage punk bands of the 1970s like MC5, Iggy and the Stooges, the Flamin' Groovies and the Ramones oftentimes wore secondhand clothing from the mid-late 1960s, such every bit velvet jackets, slim-plumbing equipment grey suits, black leather jackets, winklepickers and drainpipe jeans, in reaction to the flared trousers worn past hippies and disco fans.^[22] Their pilus was by and large worn long, as was then fashionable in the 1970s, but some fans opted for buzzcuts or Caesar cuts, previously associated with hard mods and bootboys. Following the 1980s garage rock revival, garage punk bands tended to dress more than casually, with less overtly 1960s vesture. However, the original garage punk look remained a big influence amongst British indie stone groups during the mid and tardily-2000s.^{[23] [24]}

Glam punk [edit]

Contemporary to the garage bands of the early 1970s, glam punk manner, pioneered by bands similar the New York Dolls,^[25] includes glitter, androgynous brand-upward, brightly dyed pilus, drainpipe jeans, bright colours like electrical blue, elements of leather fetish wear, and unusual costumes like leopard print, spandex, or satin shirts. Leftover bizarre pop article of clothing like ruffled pirate shirts or brocade were also worn, together with more typical glam rock fashions like platform boots, tartan, kipper ties, and metallic silverish habiliment like jumpsuits.^[26]

Hardcore punk [edit]

There are several styles of apparel within the hardcore scene, and styles have changed since the genre started as hardcore punk in the late 1970s. What is fashionable in one co-operative of the hardcore scene may be frowned upon in another; however, generally, personal comfort and the ability to mosh during the heavily physical, corybantic, and energetic live hardcore punk shows are highly influential in this way. For this reason, jewellery, spikes, bondage and spiky hair are more uncommon and discouraged in hardcore fashion. Ultimately, hardcore punk fashion is ordinarily more than understated, working class, and casual compared to some more elaborate punk styles, in part as a response to the physical demands of hardcore punk shows and in part as a working class or more "authentic" backlash response against the perceived increasingly way-oriented or pretentious developments inside the established punk scene.

Plainly working class dress and short hair^[27] (with the exception of dreadlocks) are unremarkably associated with hardcore punk. Mute colors and minimal adornment are usually common. Elements of hardcore clothing include amorphous jeans or piece of work pants (such equally Dickies), khakis or cargo pants, athletic vesture, tracksuits, cargo or armed forces shorts, band T-shirts, plain T-shirts, muscle shirts, flannel or plaid shirts, and band hoodies. The leather jackets and denim jackets associated with punk manner remain common in hardcore punk, though hardcore punk as well prominently features bomber jackets and rail jackets unlike other punk fashions. Mutual sneakers include archetype Adidas Originals, Asics, Antipodal, New Rest, Nike, Pony, Puma, Reebok, Saucony and Vans. Boots are as well somewhat mutual, especially Dr. Martens.

Hardcore skinheads, sometimes known as "American punk skinheads," are characterised by some of the same items as British skinhead fashion, simply hardcore skinhead wearing apparel is considerably less strict than traditional skinhead or oi! skinhead style.^{[ commendation needed ]}

Horror punk and deathrock [edit]

Horror punk and deathrock fashions are similar to goth fashion. Black is the predominant shade. Deathrock and horror punk incorporate "sexy" items such equally fishnet stockings, corsets and elaborate make-up for men and women. The use of occult and horror imagery is prevalent on T-shirts, buttons, patches and jewellery. Other common adornments include band names painted on jackets or bleached into clothes, as well as buttons or patches indicating cities. The initials D and R (for Death Rock) is sometimes function of a crossbones logo, accompanied by other initials, such as C and A for California, N and Y for New York, or One thousand and R for Frg. Hair may exist in a deathhawk style (a wider teased-out variant of the mohawk hairstyle), an angled bangs style, or a devilock style.^{[ citation needed ]}

Pop punk [edit]

Pop punk fashion, sometimes overlaps with skater punk fashion. Originally this consisted of black or tartan baggy pants (sometimes fitted with studs and eyelets), ring hoodies, wristbands, patrol caps, pyramid stud belts, apparel shirts with sparse ties or scarves, blazers and spiky hair or fauxhawks. In the mid-2000s, pop-punk fashion, influenced by indie rock, hip hop and emo fashions, evolved to include cartoon impress hoodies, Converse shoes, keffiyehs and skinny jeans. Spiky hair was gradually replaced by skater styles with long fringes or bangs. In the 2010s, popular punk fans took on a more hardcore look, with shorter hair (including Liberty spikes and a wide Mohawk combined with a fringe), patently hoodies and directly-leg jeans.^{[ citation needed ]}

Psychobilly [edit]

Psychobilly fashion combines elements of punk with 1950s Greaser and British Teddy Boy fashions. Brothel creepers are ofttimes worn, equally well every bit leather jackets, gas-station shirts, black or white retro T-shirts, dark-colored drapery jackets and vintage motorcycle/piece of work boots. Pilus consists of a quiff, pompadour or psychobilly wedge, usually with the sides shaved into a mohawk. Vesture is usually adorned with motifs inspired by classic American horror films or art-styles inspired by Ed "Big Daddy" Roth. This subculture is strongly associated with the Kustom Kulture movement.^{[ citation needed ]}

Ska punk [edit]

Ska punk fans typically apparel in a way that mixes typical ska- or 2 Tone-related fashions, with various types of punk fashions, including street punk, pop punk, skate punk or hardcore punk. Braces are pop, as are Harrington jackets with Royal Stewart tartan lining, thin ties, Doc Martens, mohair suits, pork pie hats, tonik suits (peculiarly in the early years of the 1980s ska revival),^[28] tank tops, Ben Sherman or Fred Perry polo shirts, hoodies, and checkerboard patterns. Pilus is cropped very short in imitation of hardcore punk bands and early on 1960s rude boys. as of 1990s and today many ska fans dressed out normally with regular or simple article of clothing.^[29]

Skate punk [edit]

Skate punk is a derivative of hardcore style and is called with comfort and practicality in mind. Common skate punk clothing items include T-shirts, flannel button-down shirts, hooded sweatshirts, webbing belts, and khaki shorts, pants or jeans. Some punks, specially in Southern California, mirror Latino gang styles, including khaki Dickies piece of work pants, white T-shirts and colored bandanas. While some skateboarders take long and messy hair, skate punks usually take short hair, often shaved into a buzzcut, and wear fiddling jewelry.^{[ citation needed ]}

Street punk and Oi! [edit]

In full general, contemporary street punks wear leather, denim, metal spikes or studs, chains and war machine-mode boots. They often wearable elements of early punk style, such every bit kutten vests, bondage trousers (often plaid) and torn clothing. DIY-created and modified habiliment, such equally ripped or stitched-together trousers or shirts, or trousers that are tightly tapered, are common. Jackets and vests often have patches or are painted with logos that express musical tastes or political views. Bullet belts and belts with metal studs are popular. Hair is often spiked and/or dyed in brilliant, unnatural colors and arranged into a mohawk or liberty spikes, only it is sometimes cutting very short or shaved.

Oi! skinheads, sometimes known as skunks or punk-skinheads, fuse traditional skinhead style with street punk fashions. The await is characterised by Dr. Martens boots (or similar boots made by a different brand), braces, and tight rolled-up jeans, sometimes splattered with bleach. Other common items are T-shirts (featuring ring names, political beliefs or other text and images relevant to skinhead culture) and denim jackets or flight jackets. These jackets are sometimes decorated with buttons or patches, and in the case of the denim jackets, sometimes splattered with bleach. Hair is typically shaved shorter than with traditional skinheads. Other items from traditional skinhead fashion (due east.g. Fred Perry and Ben Sherman shirts) and, to a lesser extent, punk mode items (due east.grand. short mohawk hairstyles, metallic studs on jackets) are also sometimes worn.^[30]

Droog [edit]

During the early 1980s, some street punks and Oi! skinheads adopted elements of the apparel style from the film A Clockwork Orange.^{[31] [32]} On stage, bands like The Adicts,^[33] or more than recently The Bolokos and Japan's Hat Trickers,^{[34] [35]} often wear bowler hats, white shirts, white trousers, braces, and black combat boots in simulated of Alex De Large, the protagonist of the film and novel.^[36] Some fans also wore fishtail coats, although more oft they wore black leather biker jackets or long black Crombie coats.^{[ citation needed ]}

Rivethead [edit]

A rivethead or rivet caput is a person associated with the industrial dance music scene.^[37] In stark contrast to the original industrial civilization, whose performers and heterogeneous audience were sometimes referred to as "industrialists", the rivethead scene is a coherent youth culture closely linked to a discernible fashion style. The scene emerged in the tardily 1980s^[38] on the footing of electro-industrial, EBM, and industrial rock music. The associated dress style draws on military way and punk aesthetics^[39] with hints of fetish habiliment, mainly inspired by the scene's musical protagonists.

See besides [edit]

• Alternative fashion
• Fetish fashion
• Heavy metal manner
• Gothic fashion
• PVC wear

References [edit]

• Dick Hebdige (1979). Subculture: The Meaning of Style (Routledge, March 10, 1981; softcover ISBN 0-415-03949-five). Cited in Negus, Keith (1996). Popular Music in Theory: An Introduction. Wesleyan Academy Press. ISBN 0-8195-6310-2.
• Paul Gorman (2006). The Expect: Adventures in Stone and Popular Mode (Adelita, May ten, 2006; softcover ISBN 0-9552017-0-5)

Notes [edit]

1. ^ Hudson, Alice (2016). "Understanding the Politics of Punk Clothing from 1976 to 1980 Using Surviving Objects and Oral Testimony" (PDF). Academy of Brighton (Dissertation). Archived from the original (PDF) on 2018-04-03. Retrieved 2019-02-12 .
2. ^ Nika, Colleen (September xiv, 2011). "Sectional: Anna Sui Discusses Her Leap 2012 Show and Punk Rock Heritage". rollingstone.com. Rolling Stone. Retrieved November 2, 2016.
3. ^ Bleed, Kelsey (May 13, 2016). "Opening Ceremony, Anna Sui Capsule Collection Launches; Designer'due south '90s Pieces Reissued". fashiontimes.com. Style Times. Archived from the original on November 4, 2016. Retrieved Nov 2, 2016.
4. ^ "The Disco Lifestyle". socialdance.stanford.edu . Retrieved 2020-x-14 .
5. ^ Thompson, Dave (2016-02-01). The Rocky Horror Motion-picture show Evidence FAQ: Everything Left to Know Nearly the Campy Cult Archetype. Applause Theatre & Cinema Books. p. 1785. ISBN978-1495007477.
6. ^ Kawamura, Y (2005). Mode-ology : An Introduction to Fashion Studies. Oxford: Bloomsbury Publishing. p. 102.
7. ^ Walker, John. "Malcolm McLaren & the sources of Punk".
8. ^ "Snow White & The Disneyland Memorial Orgy". Archived from the original on 2017-08-07. Retrieved 2017-08-07 .
9. ^ "80s Fashion - Vintage 80s Style and Outfits". Premium Review. 2019-01-31. Retrieved 2019-01-31 .
10. ^ ^{a b} Brockmeier, Siri C. (May 2009). 'Non Simply Boys Fun?' The Gendered Experience of American Hardcore (PDF) (Thesis). UNIVERSITETET I OSLO Press. p. 12. Retrieved half-dozen July 2016.
11. ^ "CITIZINE Interview - Circumvolve Jerks' Keith Morris (Black Flag, Diabetes)". Citizinemag.com. 2003-02-17. Archived from the original on 2011-x-06. Retrieved 2011-12-04 .
12. ^ "29 Things You Didn't Know Nigh Punk Manner - Hardcore punk of the '80s preferred simple, utilitarian style considering it was amend for moshing". Circuitous Networks . Retrieved half dozen July 2016.
13. ^ Brockmeier, Siri C. (May 2009). 'Not Just Boys Fun?' The Gendered Experience of American Hardcore (PDF) (Thesis). UNIVERSITETET I OSLO Printing. p. eleven. Retrieved 6 July 2016.
14. ^ Leblanc, Lauraine (1999). 'Pretty in Punk: Girls' Gender Resistance in a Boys' Subculture . Rutgers University Press. p. 52.
15. ^ Travis, Tiffini A.; Hardy, Perry (2012). Skinheads: A Guide to an American Subculture. From San Francisco Hardcore Punks to Skinheads. ABC-CLIO. p. 123.
16. ^ Glasper, Ian (2006). The Day the State Died: A History of Anarcho Punk 1980 to 1984. Cherry Red publishing. pp. 197–8. ISBN978-one-901447-70-5.
17. ^ ^{a b} Sweers, B (2005). Electric Folk: Changing Face up of English Traditional Music . Oxford: Oxford University Press. pp. 197–viii. ISBN978-0195174786.
18. ^ ^{a b} Stewart-Panko, Kevin (August 2008). "I Saw Disfear Three Times in Three Days". Decibel. 46: 22.
19. ^ Bradshaw, James (ane January 2007). Punk; A Directory of Mod Destructive Culture. Lulu.com. ISBN9781430321545 . Retrieved half dozen July 2016 – via Google Books. ^{[ self-published source ]}
20. ^ Silverman, Carol (24 May 2012). Romani Routes: Cultural Politics and Balkan Music in Diaspora. OUP USA. ISBN9780195300949 . Retrieved half dozen July 2016 – via Google Books.
21. ^ "Home - The Tiger Lillies". Feast Creative. Retrieved 6 July 2016.
22. ^ Bovey, Seth (2006). Don't Tread on Me: The Ethos of '60s Garage Punk. Popular Music & Society. Vol. 29. Routledge. pp. 451–459.
23. ^ Simpson, P. (2003). The Crude Guide to Cult Pop . London: Rough Guides. p. 42. ISBN978-ane-84353-229-3.
24. ^ Roach, M. (2003). This Is Information technology-: the First Biography of the Strokes. London: Omnibus Press. p. 86. ISBN978-0-7119-9601-4.
25. ^ P. Auslander (2006). Performing Glam Stone: Gender and Theatricality in Popular Music. Ann Arbor, MI: University of Michigan Printing. pp. 222–223. ISBN0-7546-4057-iv.
26. ^ Strong, Martin C. (2000). The Great Stone Discography (5 ed.). Edinburgh: Mojo Books. pp. 694–695. ISBN1841950173.
27. ^ Hannon, Sharon M. (1 January 2010). Punks: A Guide to an American Subculture. ABC-CLIO. ISBN9780313364563 . Retrieved half-dozen July 2016 – via Google Books.
28. ^ "The Mighty Mighty Bosstones - Biography, Albums, & Streaming Radio - AllMusic". AllMusic . Retrieved 6 July 2016.
29. ^ "Explore: Third WaveIJS Ska Revival - AllMusic". AllMusic. 9 December 2010. Archived from the original on December 9, 2010. Retrieved six July 2016. {{cite web}}: CS1 maint: unfit URL (link)
30. ^ Petridis, Alexis (18 March 2010). "Misunderstood or hateful? Oi!'due south ascension and fall". The Guardian . Retrieved 6 July 2016.
31. ^ Rose, Steve (October 28, 2013). "A Clockwork Orange: The droog rides again". The Guardian.
32. ^ "Clockwork punk top bands". Last.FM. October 28, 2013.
33. ^ Forman, Bill (2011-03-03). "Viva la development". The Colorado Springs Contained. Archived from the original on 2016-08-xiv. Retrieved 2016-07-06 .
34. ^ Shepyer, Rob (2019-03-10). "Real Horror Show: Hat Trickers and Lower Class Brats at the Bootleg Theater". Janky Polish . Retrieved 2020-03-27 .
35. ^ "Live Report of and Interview with Hat Trickers in Tokyo". JaME. 2016-07-12. Retrieved 2020-03-27 .
36. ^ Larkin, Colin (1997). The Virgin Encyclopedia of Eighties Music. Virgin. p. 19. ISBN0753501597.
37. ^ Lauren M. E. Goodlad, Michael Bibby: Goth. Undead subculture, Knuckles University Press, 2007, ISBN 978-0822339212, p. 47
38. ^ Steele, Valerie (2008). Gothic: Dark Glamour. Yale University Press. p. 48.
39. ^ Lauren M. E. Goodlad, Michael Bibby: Goth. Undead subculture, Duke University Printing, 2007, ISBN 978-0822339212, p. 69

External links [edit]

• "DIY Punk Fashion - Photos and Instructions to brand Punk DIY clothing, accessories and jewelry".
• Pauline Weston Thomas (2007). "1970s Punk Fashion History Evolution". Manner-Era.com.
• "Swastica and Punk". Punk Scenes. geocities.com. Archived from the original on 2009-10-27. Retrieved 2009-10-27 .
• "Punk and the Swastica". SUMMER OF Detest. Punk Rock Zine. Archived from the original on 2009-10-27. Retrieved 2009-12-05 .

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