Archive for the Punk Category

Sex Pistols Kubricks!

Posted in Art/Style, Punk on July 17, 2010 by lili

Via Lost At E Minor

Mixes by Wes

Posted in Mod, Music, Punk on December 25, 2009 by lili

Pictured above are  music mixes compiled by Wes. He updates and expands on these mixes from time to time, burns them onto DVD-Rs and hands them out on birthdays and xmases, and this year, the mp3s are all ONLINE.

There are 5 series. *A volume = length of an audio CD*

Click on the links to see covers and playlists . Password= huesos

1. JUNGLE MUSIC (20 volumes)
The history of black music from Duke Ellington’s Jungle band at the Cotton Club through the Jamaican Sound Systems.

2. CRACKER WAX (3 volumes)
The history of white hick music.

50’s-60’s rockabilly garage and general weirdness

4. MODDSVILLE (18 volumes)
Modern music from the dawn of the 60’s to the punk explosion of the late 70’s.

(3 volumes)
Popular vocals and standards from the 20’s – 60’s.

These mixes can be downloaded via my favorite music-searching client.  It’s free. Download, install the app and search for user directory  huesos. ENJOY!

STREET STYLE by Ted Polhemus

Posted in Art/Style, Books, fashion, hybrid culture, Mod, Punk, Rockabilly on July 17, 2009 by lili

'Ted' family

Rude Boys

Rude Boys

More at: Street Style (pages) – a set on Flickr.

The premise of this book is that the fashion on the catwalk has its origins in the street… the “bubble up” effect.

But it is more than the price tag which distinguishes the genuine article from its chic reinterpretation. It’s a question of context. And when fashion sticks its metaphorical gilt frame around a leather motorbike jacket, a Hippy kaftan, a pair of trainers, or a Ragga girl’s batty-riders, it transforms an emblem of subcultural identity into something which anyone with enough money can acquire and wear with pride.

However much street style and fashion might superficially resemble each other, they are actually poles apart.

The book is a bit outdated but still a great resource for images. I love that there is a section at the back with lists of suggested books, music and films for each subculture. (These lists need to be updated!). There is also a big subculture flowchart – click on the pic below to enlarge.

Street Style

OH –  I just found out that Mr. Polhemus has a website –

Dick Hebdige: Clubkultur

Posted in Art/Style, Dance, hybrid culture, Music, Punk on July 7, 2009 by lili

WOW!!! And YAY for YouTube!!!  So this is what Dick Hebdige looks like!  ( I am a huge fan of Hebdige who is author of  Subculture, Cut ‘N Mix, Hiding In The Light )

In these video clips taken from what appears to be a 1999 German documentary “Land of 1000 Dances: A Small History of Club Culture” –  Hebdige looks at the evolution of Club Culture from 70s Punk and Disco to  Hip Hop and the Techno Rave scene.

This video is amazing  – some really cool punk footage!!! In fact, all of the historical footage is AWESOME.

Here is part 1:

Playlist Link (3 part-video):

Two Worlds of Punk

Posted in Art/Style, Film, Music, Punk on February 2, 2006 by lili

Don Lett’s documentary “Punk: Attitude” provides some food for thought. Interestingly  the term “Punk” was very loosely thrown around in this film. Early 50’s Rock and Roll was punk. 60’s counter-culture hippies (!) were punk. The Ramones were punk. Nirvana was punk. Devo was punk. Even the internet was punk. In short, any cultural happening that fell outside mainstream culture and had some swagger or attitude was considered Punk.

I am interested in American Punk vs British Punk. (Quote Eddie: “That is like comparing 2D and CG animation. They are two very different animals. How can you compare The Sex Pistols with The Ramones?”)

Strongly tied to musical sensibility/bands. Musically, “Punk Rock” follows from blues-based rock… through to  The Velvet Underground, New York Dolls, Iggy Pop, Ramones… etc. The flowchart would look something like this: Blues/RnR –>  Glam rock –> Punk —> Hardcore Punk, Grunge.


While it certainly is true that the British version of punk rock was
intimately based along class lines, this simplistic version fails not
only to recognize that punk rock is primarily an American creation, but
also is distinctly American in its relationships with both taste and
the generation of cultural capital.

In America, taste, or liking the correct bands in the punk canon,
became the dominant signifier of punk rock. American punk was far too
geographically diverse to form the closed communities of style that
marked most European punk. If there was no set dress code, the only way
to identify fellow punks (especially in the days when school dress
codes were more rigid in most of the country) was by wearing the
correct button, scrawling the correct band names on a notebook, or
wearing the right band patch provided passwords and codes that only the
initiated understood. As American punk positioned itself intentionally
outside of the mainstream of American music, and even increasingly
outside of the major label dominated music industry, having the correct
taste in bands became a sort of cultural capital, or form of “musical
currency” that legitimized those in possession of the necessary
knowledge. (An example of this, although based on a British book, is
the movie High Fidelity, where record store employees obsess
about music and define a proper customer by their breadth of knowledge
and musical taste.) Thus, becoming a punk involved learning a canon of
“acceptable” music, and in a very real sense, becoming not just a
purist, but also a musical elitist.

…American punk rock really was always about taste, about defining
oneself as outside the mainstream, not through economic situation or a
mythologized class consciousness, but through a secret society of
musical taste where ones’ identity was validated through what one
accepted and rejected as legitimate forms of musical expression. In
many ways, this is no different than other forms of musical fanaticism,
but punk rock’s canon of authenticity was by no means a static one. The
canon was always capable of revision as endless debates of what was and
was not “punk” began to dominate the ‘zines and public discussions
about punk rock.

BRITISH PUNK: Influenced by American Punk bands but was more strongly tied to rebellion against the UK political climate, the music (disco) and fashion  of the 70s. Punk was a DIY street culture. Malcolm MacLaren, Vivienne Westwood, haircuts, safety pins, ripped clothing, individualism in fashion etc. The British Punk flowchart (according to Dick Hebdige & Ted Polhemus) might look more like: Reggae/Ska (Skinheads) —> Punk  —> New Wave, Goth, Two-Tone


The two versions of punk, the antecedent American and its British descendent,
were very different. British punk was aggressive and violent it demanded immediate
change and had no interest in working for the solution. The
Sex Pistols typified British Punk
with such songs as “Anarchy in the UK,” which did not give a thought to anarchy’s
effect. American punk seemed lazy by comparison. It was sarcastic where the
English was violent and poetic where the former was illiterate. The American
originator offered lessons for the British to copy, and the British pushed one
step further, thus gaining more recognition.”

…Britain’s success with popularizing punk came from the consistency of its musical and
visual output; years of redundant offerings eventually hit home. Names like the
Clash and
Damned, and the
Sex Pistols finally registered with
their audience, and British bands developed a uniform fashion code of
belligerence. New York’s punk was not as easy to categorize; its scene revolved
around an eclectic melting pot of influences. Whereas British punk meant
aggression and immediacy, its New York antecedents combined aspects of aggression
and immediacy with everything from bubblegum pop records to French bohemian poets
(Savage 86). New Yorkers were not dressing to shock; their aesthetic was strictly
come-as-you-are, which for Manhattan’s glamour and intrigue was statement enough.


Make The Music Go Bang!
Punk and The Imagery of Nostalgia

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