It concludes with a view of punk’s “cultural legacy” in the disability arts movement. The essay contains two main areas: an initial discussion of subculture and counterculture in terms of theory and of disability and a focus on the original British punk scene of the late 1970s and three major artists, varyingly disabled, from it: Ian Dury, Johnny Rotten, Ian Curtis. Here I concur with, and seek to develop, the observation by David Church that “disability has been one of the most foundational-and yet, one of the least explored-representational tropes of the punk milieu”. It aims to extend our understanding both of punk itself and of subcultural theory, adding to ideas around postsubculture by cripping it, that is, by identifying the sounds and styles and bodies of the disabled, who are the neglected already-present of punk, and whose presence disrupts subculture theory, even while such theory exists in large part to understand the disruptive potential of gesture, music, youth, fashion, attitude, and modes of walking and talking. This essay is focused on (post)subculture and disability and specifically on punk rock.
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