in promotions for the Olympics on NBC (Matula 19). Or, it can be seen by simply going to
one’s local Hot Topic where tattered ‘Punk” clothes can be purchased at exorbitantly marked
up prices (Punk’s Not Dead). Punk is no longer deviant. It is cool and accepted. It fails to meet
the very definitions of the word. And it certainly fails to promote social betterment as a jingle in
a shampoo commercial. This is not Punk as a subculture. It is vanity packaged as something
accessible for everyone. It is high fashion that ignores political issues in order to sell a product.
And that is what is being embraced by audiences and is dissolving subculture.
“So What?”: Conclusion
Society simply needs to remember that the impetus of Punk as a lifestyle is possible.
Again, one can simply examine the aftermath of Crass’ breakup to support this. Artist, Gee
Vaucher, has written two books about anarchy, feminism, and animal rights. She currently
continues to make art for record sleeves and her artwork has been displayed in numerous
galleries. Drummer, Penny Rimbaud, has written over fifteen books largely about his
philosophy. He also performs jazz and spoken word poetry regularly. Vocalist, Eve Libertine,
maintains working with various bands and creating art for galleries and record sleeves.
Bassist, Pete Wright, went on to form the performance art duo Judas 2. Vocalist, Steve
Ignorant, has also written several books about his time with Crass and sporadically performs
Crass material without the original members. Most of Crass’ other members have also
remained politically active and continue to create new art and sporadically perform music.
Punk can be more than a night out and a strange costume. It can be a way to fight for
people's right to simply have rights (Butler). Punk and subculture as a whole represented a
deviation from norms that avoided change at the expense of society’s members. Subculture
fostered this opportunity to be understood, unoppressed and satisfied. People may have
entered into a world that is beyond subcultures; however, that does not mean that they are
precluded from expressing subcultural ideals. Individuals can form their own philosophies and
grow through socialization rather than consumption. By doing so, they will create a structure
stronger than any large scale institution. But, when this idea is co-opted and perverted to
simply become entertainment and a product of exploited youth, then how can a subculture
survive? The problem with this shift of values is that it allows society to tolerate apathy and
incompetence. Without having subcultures of value, there is no way to represent the ills that
plague society. Society then enters into a state of stagnation. People need subcultures like
87