Punk Subculture History

The New Romantics was a subculture born out of dissatisfaction with the way ‘punk had become a parody of itself’ (Cole, 2000) that, once adopted by the mainstream, began to alienate ‘many of those who were at first attracted to it’s embracing of difference and individuality’ (Cole, 2000). Where punk had once been about a very ‘DIY’ ethic and energy, it evolved into something uniform and hyper-masculinised. In doing so, the punk scene became much less of a welcoming space for LGBTQ+ youth, such as George O’Dowd (better known today as cultural icon, Boy George) and the Bromley Contingent (which included Siouxsie Sioux and Billy Idol) who ‘spent more time hanging out at gay clubs’ (Rimmer, 2003).

Consequently, those who didn’t fit that masculine mould but had thrived on the rebellion of early punk, found new outlets. Ones which allowed them
Huge hair lacquered and heels high, as they danced to Kraftwerk they discovered a world away from their usual suburbia. One where clothing signified sexuality. This community was a life line ‘because clothing, along with adornment and demeanour’ is ‘a primary method of identification for and of gay men’ (Cole, 2000). Bridging a gap between alternative and gay club culture, it was the answer for boys like Richard who ‘wanted to get dressed up in my most outrageous, shocking clothes and dance to the music of Siouxsie and the Banshees’ and ‘meet a boyfriend’ (Cole, 2000).

Throughout his writing, Cole recognises the importance of having his work be informed by the experiences of actual gay men. This is especially useful when looking at minority groups (in this case, the queer community) because their history is often excluded from primary sources. Whilst memories can become distorted or embellished over time, at their core is an emotional authenticity which historical texts may