Punk as a Deviant Subculture

Paper Summary:

This paper begins with a brief look at the history of punk music and its formation as a subculture. It then addresses individual aspects of punk subculture and offers explanations as to why these characteristics may be considered 'deviant', as opposed to 'normal'. It addresses the norms, values and revolutionary nature of punk culture in light of the strain theory of deviance and the appearance, style and behaviour of punks from a labelling perspective of deviance. Through this analysis, the paper examines why punk subculture has generated a consistent social reaction for the last three decades that has led to its classification as a 'deviant' subculture.

Table of Contents:
History of Punk Music
Strain Theory
Labelling Theory
Labelling Theory and Punk Style

From the Paper:

"The labelling theory proposes that no act is inherently deviant. In applying this premise to punk fashion, it can be argued that punk fashion itself was not deviant. However, as has been explored by Becker, it is argued that things become deviant only when it is labelled as such. Whilst punk may pride itself on its values of free will and autonomy from the status quo, many theorists argue that the punk subculture could not possibly exist without the status quo (Traber 2001, p. 33). This is because if there were no status quo, there would be no one to label punk subculture as 'deviant'. Whilst the punk style was revolutionary when it first appeared, even as early as the 1980s punk style had filtered into the mainstream. Black clothes, leather, and the signature Doc Marten shoes all became integrated into the mainstream fashion (Cox 1994, p. 10). This is a clear example of the ability held by some to label and define others as deviant. When punk clothing and fashion first emerged it was generally at large classed as deviant. However, the filtering of punk fashion into mainstream culture put a whole new interpretation to punk style. This example illustrates the power of the dominant culture to change labels to suit its own needs, and as such determine what is classed as 'normal' and 'deviant'."

Sample of Sources Used:

• Brake, M 1980, The Sociology of Youth Culture and Youth Subcultures: Sex and Drugs and Rock 'n' Roll, Routledge and Kegan Paul, London.
• Cohen, S 1980, 'Symbols of Trouble' in K. Gelder (ed.) The Subcultures Reader, 2nd ed., 2005, Routledge, New York, pp. 157-168.
• Cox, P 1994, 'Australian rock music and its audience', Culture Scope, vol. 40, pp. 7-18, viewed 15 March 2007, <http://search.informit.com.au/fullText;dn=96040 3916;res=APAFT>.
• Hebdige, D 1979, Subculture: The Meaning of Style, Routledge, London.
• Hopkins, S 1997, 'Anarchy in identity: 20 years of punk (New punk celebrates maladjusted selves and makes inadequacy an art form)', Youth Studies Australia, vol. 16, no. 1, pp. 11-18, viewed 15 March 2007, <http://search. informit.com.au/fullText;dn=970808345;res=APAFT>.

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