Out of Step with the World: Minor Threat and “Normal as Abnormal” Dress in Representation of Alterity and Authenticity

Photo by Glen E. Friedman [E]ven though it seems like Minor Threat looks kind of normal in its clothing, sitting on the front porch our last record, Salad Days, […] that was shocking. That revolutionary within punk scene, to be dressing down. -Jeff Nelson Punk upended music and fashion when burst onto popular culture landscape mid-1970s. Its provocative visual aesthetic—from album artwork fanzines clothing—channeled scorn, boredom, desire for change churned subculture's participants. By 1979, certain elements attire emerged from London New York, such as vintage clothes, Dr. Martens boots, leather, tartan plaids, metal studs chains, Converse All Stars, distressed t-shirts jeans, became synonymous with subculture. Washington, DC's community surfaced 1976 arrival bands Overkill Slickee Boys. DC an outlier 1970s American compared larger scenes Los Angeles, San Francisco, but city's relatively limited industry infrastructure extended time during which community's style a freer space explore. The Boys' flamboyant farrago Urban Verbs' muted, arty, prep look equally embodied early style. If anything, increasingly rote British viewed askance first-wave punks, especially surge new arrivals, most them teenagers, infiltrated scene throughout 1979 1980. Many newcomers—including Teen Idles Untouchables—wore leather jackets, combat recalling appearance they learned about enchiridia Caroline Coon's book 1988: Wave Rock Explosion, Generation X Clash. Idles—vocalist Nathan Strejcek, guitarist Geordie Grindle, bassist Ian MacKaye, drummer Jeff Nelson—quickly carved out place their brash, speedy brand punk. Following transformative tour California summer 1980, played few shows around before disbanding November. A month later, Dischord Records, label MacKaye operated, released group's debut EP, Disturbance. would emerge almost immediately punk's flagship record label. More than 40 years remains business has issued genre-defining records Fugazi, Rites Spring, Dag Nasty. Threat—MacKaye Nelson's band Lyle Preslar Brian Baker—debuted just weeks after Idles' demise. differences were subtle, significant readily apparent, members donned fewer stereotypical accouterments. Their fast authoritative, while band's spartan dress aimed serve notice serious approach reshape subgenre, hardcore, tumultuous existence through end 1983. time, mostly dressed “average” incorporating nods skate cultures wearing thrift store clothing strategically diverge mainstream. sartorial simplicity delivered message matching music's resolute core, understated portrait cover final indelibly expressed. Few hardcore appeared covers albums at this point, unless images concert performance. Typically, featured name emblazoned large letters across top cover, bleak, satirical, or sophomoric image—coffins draped flags, disturbing related war, horror-themed drawings—underneath express intentions. For used Friedman's black white photo porch, staring directly camera, everyday clothes. Devoid text elaborate staging, cover's confident purpose clear. Now one iconic images, fans continually reaffirm pop-cultural impact Internet memes projecting likes Bernie Sanders, Black Sabbath, Beatles, cast Golden Girls, characters Simpsons plain meaningful canvas. Building off ragged some Flag Circle Jerks employed, Threat's de-emphasis previous pushed back against norms subculture, aggressive music, societal critiques, pugnacious mien put odds mainstream born into. In culture, more “normal” rendered “abnormal” previously either outré styles primary way authenticity alterity. increasing number down represented eschewed excess. When sang he “out step world” (Minor Threat, 1981), could have easily been referring society. This article evaluates how not known inverted two cycles—mainstream punk—to create impact. rejected machinery perpetuating expressions mass market trends flaunted class lifestyle, well packaging boutiques media. Using interviews archival research, investigates influences motivations drove aesthetic lasting punk, subculture had osmotic influence nearly since inception. Importantly, relevant part because ability evolve versions itself. considering subtly subversive approach, analyzes ways subcultural participants negotiate symbols commodified goods all contexts participate. Furthermore, documents influential aspects history adding further insight into songs, social variables shaped style, including endemic life, other regional skateboarding subcultures, trends. Idles, emerged, concerned identity. manifested identity via raw, rapidly developing sense song lyrics. Band frequently socialized shopping district wealthy Georgetown neighborhood, where exposed panorama rebel against. They particularly averse young preppies aspiring convey wealth prestige wave emulating theatricality kitsch bands. Some songs criticized wider (“Fiorucci Nightmare,” “Sneakers”), whereas others assailed felt no longer (Teen 1980). late 1980s, America embraced aspirational exude power, confidence, status. Women power suits, historically male workplace entered workforce substantial numbers. This, along fitness craze exemplified new, purposeful dress. Additionally, 1977 York City, Studio 54 nightclub opened. ebulliently creative ostentatious displays sexualized bodies, patrons' rampant drug use, designer clothes made hedonistic disco era. Materials metallics, Spandex, sequins, work designers Halston Elio Fiorucci, ubiquitous. Fiorucci his contemporaries Calvin Klein Diane von Furstenberg credited immense popularity harem pants, leopard wrap dresses, correlated era (Reed 72). Fiorucci's eponymous boutique repellant sight believed those fashions reduced odious, status-based commodity: “I think stuff struck us so weird cult-like,” said (2021). “Fiorucci nightmare, asshole's dream,” Strejcek sang. “Spend your money machine” While loathed industry, also often directed ire women who, perspective, method establishing maturity desirability. Nightmare” assumes excoriates are “down race / guys see high you rate,” “Sneakers” implores teenage girl who is “sixteen going thirty-two” whose “cigarette dangles painted lips” to, instead, “put sneakers kid Why don't try fun?” 1980) Reflecting lyrics decades acknowledged that, despite constructive intent, “[s]urely, there's juvenile [and] misogynistic, probably, components comments girls tight pants trying get older guys. It's teenager's view society rebelling seeing stupid” Much milieu driven Lisa Birnbach's Official Preppy Handbook. Published satirized, elevated, “a generation urban professionals willing illusion associated preppy upbringing, purchasing perpetuated desired lifestyle company's brand” (Risinger 27). Preps—students collegiate preparatory schools higher economic statuses education lifestyles—and yuppies, elite sporting wear, subdued color palettes evoked corporate executives' corner offices Ivy League schools' privilege. As historian, Jose F. Blanco observed, “[t]he dominant concept here personal grooming management practices conducive success upward mobility important actual skills needed job” (330). less elitist 1960s 1980s promoted varying reactions subcultures. Punk's rooted countercultural concepts—a contrarian core antiauthoritarianism, boundless art, fervent activism, striving authentic expression. Early punks freely explored themes fashion, building design shifts pop art Yves Saint Laurent, Pierre Cardin's space-age silhouettes, Mary Quant's youth-centric miniskirts plastics. subcultures predating there stylistic choices tie-dye, patched denim, hippie crochet, glam's scintillant dandyism. Women's LGBTQ+ movements critiqued gender roles, grappled. Vivienne Westwood Malcolm McLaren captured essence revolt ideals fabrics, bondage references, taboo graphics, appropriating emblazoning Situationist-style slogans “Be reasonable demand impossible [sic]” clothing. included facial piercings, heavy cosmetics, exaggerated hairstyles (shaved, spiked, garishly colored), blending do-it-yourself (DIY) designs ensembles. expansion York's prepunk period, particularly, transgressive glam stalwarts Dolls, earliest displayed comparatively subtler stripped-down (Sklar). Ramones' uniform, comprised shoes, jeans did Richard Hell's ripped t-shirts, safety pins, choppy hair. however, skeptical whether established genuinely signaled rebellion subversion anymore. Taking aim slogans, felt, proved hollow, group composed “Fleeting Fury,” declaring “the wear lost sting So's fury sing 1980).” Cracks unity second First Boys Nurses ardently supported regarded younger regressive loutish. second-wave punks' congregation tony evidence first wavers newcomers privileged dilettantes or, dismissed them, “Georgetown Punks.” insult, chanting tag concerts proudly proclaim presence. “[W]e took Wite-Out we letter “G” boots wrote G jackets,” recalled. “[W]e're like, ‘Yeah, we're fuckin’ punks'” (MacKaye, “Interview,” 2018). response continued traditions inverting language subvert, pride, gain ownership over one's (Galinsky et al.), act redefinition heart (Rombes 199). form inversion characteristic ongoing development. June 1980 issue Descenes, scene's fanzines, needled review. Writer Levey 1 yet another deprecating nickname–“teeny punks”—to describe friends, conveying general disrelish felt. opined pack mentality “makes seem greater keeps sad truth ‘punk’ modes behavior ‘out’ years.” To her, arrivals “behind times,” imitators, instead innovators. “Undeterred, emulate working-class snarl,” she wrote. “Maybe that's why it's hard take seriously” (Levey friends read review stung criticism, motivation. challenge,” “All right, go” Throughout performed frequently, jackets dotted colorful badges bearing faces Sex Pistols' Johnny Rotten local rockabilly musician Tex Rubinowitz, weathered well-worn Chuck Taylor Stars. wore military coat plucked trash outside German legation (Nelson), détourned studs, badges, patch cross (Nedorostek Pappalardo). Like masculinity drew upon experimented identities (Maskell 186). However, alterations garments broadcast disruptive ambitions. reflected rumble stood among crowd fully found unique voice. Bad Brains transform rock radically faster tempos vocal delivery, profoundly influencing (Pearson 13). Brains, Boys, Market Baby, Trenchmouth, drifted too far music. Intrigued vanguard sounds there, ventured cross-country bus perform handful August journey informed appearance, sound, perspectives violence remaining months together. Personal between members, led disband, occurring November 6, band, debuted house show December 13, appearances undergone subtle undeniable shift. Meanwhile, rivalry earlier essentially fizzled. “By came irrelevant me,” recalled (“Interview,” once accused presenting dually contrary approach—challenging necessity visuals simultaneously apparel retooling suit own identities—would broaden meaning qualitative study relies data collected IRB-approved semi-structured in-person videoconference participants, merchandising professionals. Interviews transcribed manually coded themes. content reviewing materials University Maryland's Special Collections Performing Arts Public Library archive, both include fliers, oral interviews, investigate background aesthetics period. Members mid-to-late teens, age range growth experimentation, engendered swift evolution surged members' identities. many peers families, MacKaye's parents transition. shock my piss off,” up amount eye rolling Dad—I probably mohawk least, very spiky, bleached blonde hair boots. [My mother] loved her son proud him” (Nelson, 2021). let him use informal hub. “[W]hen got rock, people keen it,” remembered. His home 3819 Beecher Street NW, Records' mailing address, “was really safe hang kids always congregating here” (Weiss 25). spent youth California, connected thriving culture. He initially considered “completely incompatible.” 2014, “[m]any skaters I knew clique getting know riding skateboard ridiculous” (“Untitled essay”). noted prepunk, California-influenced appearance—“big beach ball hair, board shorts, ‘70s looking”—evolved abruptly passion cut short packed away shorts. dedication skating never wavered. saw connection,” “Skating taught me redefine world thus perfect training punk” Two Woodrow Wilson High School helped galvanize pair's turn Danny Ingram long-haired Aerosmith grown bored After friend introduced slate records, pair exhilarated One day, looked classroom window shocked Strejcek's transformation. “[I saw] guy walking [with] short, bright pink crazy buttons I'm ‘who fuck that?’” “He ass-length went hardcore” 2020). Later joined vocalist Idles. transformation stunning, audience's even them. occurred February 3, University's Hall Nations City psychobilly Cramps, opening set Verbs. “There freakazoids wild looking people” explained. “Kim Kane incredible. There junkies, drag queens, there. No were. bleach handprints clothes” Kane's usually collision bold stripes, psychedelic colors, movement, complemented distinctive Both offered emerging lessons possibilities expression declaration Nelson, avoided standing avoid bullies, now understood value being seen. “[Dr. Know Brains] surgical gown blood mask walk Georgetown,” spoke him. “[T]hey scariest motherfuckers ever saw” (Brookman Lukshides Cramps' electric performance make statement: “The next day—I shoulders—I off” authenticity. “That decided bands,” developed, projected notions otherness, masculinity, themselves. “In clear wanted distinguish ourselves super imperative,” declared freedom expanding obtain combing bins secondhand Classic Clothing warehouse Northeast search right garment. “It adventure go venture was, know, entirely Black,” teens obtained spiked bracelets illuminating treks Leather Rack, downtown gay men's bar called Eagle. effort obtaining accessories integral authenticity, according friends. “Punk bottle box what about,” emphasized shopped Georgetown's Commander Salamander. Wendy Ezrailson (a.k.a. Red) owned 2010 remembers “such store, can't tell you” (Ezrailson Salamander everyone various subcultures—often suburbanites hard-to-find dyes lacy tights—to tourists frequented areas (Sklar al.). Questions circles regarding shop prepackaged sparked debates continue day Donahue). apparent trip momentous. awareness distant, inspiring, grew reading Slash, Flipside, Damage, coverage strain characterized bravado menace. Henry Garfield2 Mark Sullivan, jolted harder side life witnessed California. endured police harassment encountered ferocious beat anyone crossed (Azerrad 125). attended featuring leading Dead Kennedys Francisco's Mabuhay Gardens, stunned advances musical creativity crowd's barbarity. later proclaimed Jerks' “fucking amazing. mean, incredible!” described “[a]lready pretty punked out” (2021) tour, returned edge, flaunting flourishes willingness physically confront mocked threatened streets. lot attitude. There'd fights L.A., back, started fighting time” (Blush 136). Among noticeable additions influenced H.B.'s, Huntington Beach, numbers icon, Tony Alva. “Their intense,” “They engineer straight-leg bandanas real signifier. jump audience spurs (MacKaye 2014).” referenced region's Latino street gangs (Franco 2007). told stories Beach bleaching then rubbing carbon paper give “purplish” hue. fucking mind blowing,” H.B. Strut, dance trumpeting fraternity dared challenge Participants furiously ran skipped circle pit, arms flailing bodies colliding, uninterested physicality forced move way. Strut minimized inclusive dancing, pogoing rag doll. generally towards edges stay room” drapey straps, high-heeled fanciful garbs. H.B.'s rebuked predecessors Angeles area scene. Don Bolles Germs, L.A. founding bands, cracked “like Nuremberg rally these football jocks.” Similarly, Billy Zoom pioneers, X, complained suburban thing ruined good worked create” (Spitz Mullen 222). Because undoubtedly themselves H.B.'s; reflection fun mirror image. community, totally goofy guys,” “We kids. whole joke: We do anything [objectionable]” 124). inspired begin drawing Xs hands emphatically indicate underage, thus, attending drink alcohol. borrowed technique employed spot underage patrons. Just dismissive Punks” moniker, symbolize drug-free lifestyle. recalled, “Even old enough designation sign solidarity, way, (Horgan 14). straight-edge spread internationally ensuing years, each hand person's standard signifier (Rettman Civorelli 2017). imported “sort deathblow UK look.” Bandanas, spurs, markings yet, simultaneously, days devotion intimidating “punk” already waning. start winding terribly punk,” evolution, quickly launched revised notable much was. ebbed 1981, emergence marked turning point Bands relative dominance wane