Editing Punk subculture (section)

==Gender and gender expression==
{{Main|Women in punk}}
[[File:Louise Distras AWOD.jpg|thumb|right|upright|[[Louise Distras]], advocate of crowdfunding, performing]]
In the United Kingdom, the advent of [[Punk rock|punk]] in the late 1970s with its "anyone can do it" ethos led to women making significant contributions.<ref>{{cite book|last1=Coon|first1=Caroline|title=1988: The New Wave Punk Rock Explosion|date=1977|publisher=Omnibus/Hawthorne Books|location=London|isbn=978-0801561290}}</ref><ref>{{cite web|last1=Berman|first1=Judy|title=15 Essential Women Punk Rock Icons|url=http://flavorwire.com/199630/15-essential-women-punk-icons|website=Flavorwire|access-date=25 November 2015|date=8 August 2011|archive-date=1 August 2016|archive-url=https://web.archive.org/web/20160801053612/http://flavorwire.com/199630/15-essential-women-punk-icons|url-status=live}}</ref> In contrast to the rock music and [[heavy metal music|heavy metal]] scenes of the 1970s, which were dominated by men, the anarchic, counter-cultural mindset of the punk scene in mid- and late 1970s encouraged women to participate. "That was the beauty of the punk thing," [[Chrissie Hynde]] later said. "[Sexual] discrimination didn't exist in that scene."<ref>{{cite web |title=Women of Punk and Post-Punk Music |url=http://www.biography.com/people/groups/women-of-punk-and-post-punk-music |url-status=dead |archive-url=https://web.archive.org/web/20151126114541/http://www.biography.com/people/groups/women-of-punk-and-post-punk-music |archive-date=26 November 2015 |access-date=26 November 2015 |website=Biography.com}}</ref> This participation played a role in the historical development of punk music, especially in the US and UK at that time, and continues to influence and enable future generations.<ref>{{cite web|title=Why Women in Punk?|url=http://www.punk77.co.uk/groups/whywomeninpunk.htm|website=Punk77.co.uk|access-date=26 November 2015|archive-date=12 March 2019|archive-url=https://web.archive.org/web/20190312065350/http://punk77.co.uk/groups/whywomeninpunk.htm|url-status=live}}</ref>

Rock historian Helen Reddington states that the popular image of young punk women musicians as focused on the fashion aspects of the scene (fishnet stockings, spiky blond hair, etc.) was stereotypical. She states that many, if not most women punks were more interested in the ideology and socio-political implications, rather than the fashion.<ref>{{cite book|last1=Reddington|first1=Helen|title=The Lost Women of Rock Music: Female Musicians of the Punk Era|date=2012|publisher=Ashgate/Equinox Publishing|isbn=978-1845539573|url=http://www.ashgate.com/default.aspx?page=637&calcTitle=1&isbn=9780754657736&lang=cy-GB|access-date=26 November 2015|archive-url=https://web.archive.org/web/20151127075127/http://www.ashgate.com/default.aspx?page=637&calcTitle=1&isbn=9780754657736&lang=cy-GB|archive-date=27 November 2015|url-status=dead}}</ref><ref>{{cite web|last1=Woronzoff|first1=Elizabeth|title=The Lost Women of Rock Music' Is an Important Work, But a Replay of the Same Old Themes|url=http://www.popmatters.com/review/161962-the-lost-women-of-rock-music...-by-helen-reddington/|website=Pop Matters|access-date=26 November 2015|archive-date=8 December 2015|archive-url=https://web.archive.org/web/20151208003125/http://www.popmatters.com/review/161962-the-lost-women-of-rock-music...-by-helen-reddington/|url-status=live}}</ref> Music historian Caroline Coon contends that before punk, women in rock music were virtually invisible; in contrast, in punk, she argues "[i]t would be possible to write the whole history of punk music without mentioning any male bands at all – and I think a lot of [people] would find that very surprising."<ref>{{cite news|last1=Conference proceedings (September 2001)|title=No Future?|publisher=University of Wolverhampton}}</ref><ref>{{cite book|last1=Reddington|first1=Helen|title=Introduction: The Lost Women of Rock Music|date=1977|publisher=Ashgate|location=London|isbn=9780754657736|url=http://www.ashgate.com/pdf/SamplePages/Lost_Women_of_Rock_Music_Intro.pdf|access-date=16 March 2016|archive-url=https://web.archive.org/web/20151207223300/http://www.ashgate.com/pdf/SamplePages/Lost_Women_of_Rock_Music_Intro.pdf|archive-date=7 December 2015|url-status=dead}}</ref> [[Johnny Rotten]] wrote that 'During the Pistols era, women were out there playing with the men, taking us on in equal terms ... It wasn't combative, but compatible.'<ref>{{cite book|last1=Lydon|first1=John|title=Rotten: No Irish, No Blacks, No Dogs|date=1995|publisher=Coronet|location=London|isbn=978-0312428136|page=378}}</ref> Women were involved in bands such as [[The Runaways]], [[The Slits]], [[The Raincoats]], [[Mo-dettes]], [[Dolly Mixture (band)|Dolly Mixture]], and [[The Innocents (UK punk band)|The Innocents]].

Others take issue with the notion of equal recognition, such as guitarist [[Viv Albertine]], who stated that "the A&R men, the bouncers, the sound mixers, no one took us seriously. So, no, we got no respect anywhere we went. People just didn't want us around."<ref>{{cite news|last1=Petridis|first1=Alexis|title=The Slits' Viv Albertine on punk, violence and doomed domesticity|url=https://www.theguardian.com/music/2014/jun/01/the-slits-viv-albertine-punk-violence-domesticity|newspaper=The Guardian|access-date=27 November 2015|archive-date=8 December 2015|archive-url=https://web.archive.org/web/20151208080939/http://www.theguardian.com/music/2014/jun/01/the-slits-viv-albertine-punk-violence-domesticity|url-status=live}}</ref><ref>{{cite news|last1=Andrews|first1=Charlotte Richardson|title=Punk has a problem with women. Why?|url=https://www.theguardian.com/music/musicblog/2014/jul/03/punk-has-a-problem-with-women-why|access-date=27 November 2015|newspaper=The Guardian|date=3 July 2014|archive-date=8 December 2015|archive-url=https://web.archive.org/web/20151208070812/http://www.theguardian.com/music/musicblog/2014/jul/03/punk-has-a-problem-with-women-why|url-status=live}}</ref> The anti-establishment stance of punk opened the space for women who were treated like outsiders in a male-dominated industry. [[Sonic Youth]]'s [[Kim Gordon]] states, "I think women are natural anarchists, because you're always operating in a male framework."<ref>{{cite web|last1=Hall|first1=Rock|title=Women Who Rock: 10 Essential Punk Songs|url=http://rockhall.com/blog/post/7234_women-who-rock--10-essential-punk-songs/|publisher=The Rock & Roll Hall of Fame Museum|access-date=27 November 2015|archive-date=8 December 2015|archive-url=https://web.archive.org/web/20151208074553/http://rockhall.com/blog/post/7234_women-who-rock--10-essential-punk-songs/|url-status=dead}}</ref>

===Body and appearance===
For some punks, the body was a symbol of opposition, a political statement expressing disgust of all that was "normal" and socially accepted.<ref>{{cite book|last=Dale|first=Pete|title=Anyone Can Do It: Empowerment, Tradition and the Punk Underground|year=2012|url=https://archive.org/details/anyonecandoitemp0000dale|url-access=registration|publisher=Ashgate Publishing Limited}}</ref> The idea was to make others outside of the subculture question their own views, which made gender presentation and gender identity a popular factor to be played with. In some ways, punk helped to tear apart the normalised view of gender as a dichotomy. There was a notable amount of cross-dressing in the punk scene; it was not unusual to see men wearing ripped-up skirts, fishnet tights, and excessive makeup, or to see women with shaved heads wearing oversized plaid shirts and jean jackets and heavy combat boots. Punk created a new cultural space for androgyny and all kinds of gender expression.<ref>{{cite book|last=Young|first=Tricia Henry|title=Break All Rules! Punk Rock and the Making of a Style|date=1998|publisher=UMI Research Press|isbn=978-0-8357-1980-3}}</ref>

In trying to reject societal norms, punk embraced one societal norm by deciding that strength and anger was best expressed through masculinity, defining masculine as the "default", where gender did not exist or had no meaning.<ref name="LeBlanc 1999">{{cite book|last=LeBlanc|first=Lauraine|title=Pretty in Punk: Girls' Gender Resistance in a Boys' Subculture|url=https://archive.org/details/prettyinpunkgirl0000lebl|url-access=registration|date=1999|publisher=Rutgers University Press|isbn=978-0-8135-2651-5}}</ref> However, the main reasoning behind this argument equates femininity with popular conceptions of beauty. Everything that was normally supposed to be hidden was brought to the front, both literally and figuratively. This could mean anything from wearing bras and underwear on top of clothing to wearing nothing but a bra and underwear. Although that act can seem sexualised, to punks it was just a way of self-expression.<ref name="LeBlanc 1999"/> Punk seemed to allow people to sexualise themselves and still be taken seriously.

The nature of punk allowed many to create a non-gender-conforming style. Punks could be free to use femininity or masculinity to make what they were doing even more shocking to their audience. It became popular for some punks to accentuate societal norms.<ref>{{Cite book|url=https://books.google.com/books?id=pjwlDwAAQBAJ&q=punks+and+women+and+crotch+stuffing&pg=PA27|title=Punk Rock is My Religion: Straight Edge Punk and 'Religious' Identity|last=Stewart|first=Francis|date=25 May 2017|publisher=Taylor & Francis|isbn=9781351725569|language=en|access-date=7 November 2020|archive-date=6 April 2023|archive-url=https://web.archive.org/web/20230406043142/https://books.google.com/books?id=pjwlDwAAQBAJ&q=punks+and+women+and+crotch+stuffing&pg=PA27|url-status=live}}</ref> At one concert, [[Donita Sparks]], lead singer of the band [[L7 (band)|L7]], pulled out her tampon and threw it into the audience.

===Riot grrrl===
{{Main|Riot grrrl}}
Riot grrrl is an [[underground music|underground]] [[feminist]] [[hardcore punk]] movement that originated in the early 1990s in Washington, D.C.,<ref>{{cite web|url=http://www.sheknows.com/entertainment/articles/1080646/its-riot-grrrl-day-in-boston-here-are-songs-to-rock-out-to-at-work|title=Boston wins 'Most Feminist City' with Riot Grrrl Day – we made a playlist to celebrate|date=9 April 2015|website=sheknows.com|access-date=16 March 2016|archive-date=30 June 2016|archive-url=https://web.archive.org/web/20160630053812/http://www.sheknows.com/entertainment/articles/1080646/its-riot-grrrl-day-in-boston-here-are-songs-to-rock-out-to-at-work|url-status=live}}</ref> and the [[Pacific Northwest]], especially [[Olympia, Washington]].<ref>{{cite web|last1=Feliciano|first1=Steve|title=The Riot Grrrl Movement|url=http://www.nypl.org/blog/2013/06/19/riot-grrrl-movement|publisher=New York Public Library|access-date=16 March 2016|archive-date=3 April 2019|archive-url=https://web.archive.org/web/20190403081524/https://www.nypl.org/blog/2013/06/19/riot-grrrl-movement|url-status=live}}</ref> It is often associated with [[third-wave feminism]], which is sometimes seen as its starting point. It has also been described as a musical genre that came out of indie rock, with the punk scene serving as an inspiration for a musical movement in which women could express themselves in the same way men had been doing for the past several years.<ref>Marion Leonard. "Riot grrrl." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 20 July 2014.</ref>

===Queercore===
{{main|Queercore}}Queercore is a punk movement that focuses on [[LGBT]] issues. Queercore is an anti-establishment subculture based around a rejection of [[heteronormativity]]. This rejection extends beyond mainstream society and resists [[homophobia]] in the larger punk scene. Queercore is an offshoot of the hardcore punk scene and draws its name from a combination of the words "[[queer]]" and "hardcore." As in the larger punk scene, DIY is an integral component of the queercore subculture. Many zines that came out of the riot grrrl movement explored issues of queer identity, contributing to the queercore subculture. The queercore and riot grrrl subcultures are often considered to be connected. These two punk scenes are intertwined, with many bands being both queercore and riot grrrl.<ref name=":1">{{Cite journal |last=Radway |first=Janice |date=2016 |title=Girl Zine Networks, Underground Itineraries, and Riot Grrrl History: Making Sense of the Struggle for New Social Forms in the 1990s and Beyond |url=https://www.jstor.org/stable/44162970 |journal=Journal of American Studies |volume=50 |issue=1 |pages=1–31 |doi=10.1017/S0021875815002625 |jstor=44162970 }}</ref>