HARUSNYA AKU YANG LAYAK DIKASIHANI

Dari tadi pagi hujan mengguyur kota tanpa henti, udara yang biasanya sangat panas, hari ini terasa sangat dingin. Di jalanan hanya sesekali mobil yang lewat, hari ini hari libur membuat orang kota malas untuk keluar rumah. Di perempatan jalan, Umar,seorang anak kecil berlari-lari menghampiri mobil yang berhenti di lampu merah, dia membiarkan tubuhnya terguyur air hujan, hanya saja dia begitu erat melindungi koran dagangannya dengan lembaran plastik.

“Korannya bu !”seru Umar berusaha mengalahkan suara air hujan.

Dari balik kaca mobil si ibu menatap dengan kasihan, dalam hatinya dia merenung anak sekecil ini harus berhujan-hujan untuk menjual koran. Dikeluarkannya satu lembar dua puluh ribuan dari lipatan dompet dan membuka sedikit kaca mobil untuk mengulurkan lembaran uang.

“Mau koran yang mana bu?, tanya Umar dengan riang.

”Nggak usah, ini buat kamu makan, kalau koran tadi pagi aku juga sudah baca”, jawab si ibu.

Si Umar kecil itu tampak terpaku, lalu diulurkan kembali uang dua puluh ribu yang dia terima, ”Terima kasih bu, saya menjual koran, kalau ibu mau beli koran silakan, tetapi kalau ibu memberikan secara cuma-cuma, mohon maaf saya tidak bisa menerimanya”, Umar berkata dengan muka penuh ketulusan.

Dengan geram si ibu menerima kembali pemberiannya, raut mukanya tampak kesal, dengan cepat dinaikkannya kaca mobil. Dari dalam mobil dia menggerutu ”Udah miskin sombong!”. Kakinya menginjak pedal gas karena lampu menunjukkan warna hijau. Meninggalkan Umar yang termenung penuh tanda tanya.

Umar berlari lagi kepinggir, dia mencoba merapatkan tubuhnya dengan dinding ruko tempatnya berteduh. Tangan kecilnya sesekali mengusap muka untuk menghilangkan butir-butir air yang masih menempel. Sambil termenung dia menatap nanar rintik-rintik hujan didepannya,

”Ya Tuhan, hari ini belum satupun koranku yang laku”, gumamnya lemah.

Hari beranjak sore namun hujan belum juga reda, Umar masih saja duduk berteduh di emperan ruko, sesekali tampak tangannya memegangi perut yang sudah mulai lapar. Tiba-tiba didepannya sebuah mobil berhenti, seorang bapak dengan bersungut-sungut turun dari mobil menuju tempat sampah,

”Tukang gorengan sialan, minyak kaya gini bisa bikin batuk”, dengan penuh kebencian dicampakkannya satu plastik gorengan ke dalam tong sampah, dan beranjak kembali masuk ke mobil.

Umar dengan langkah cepat menghampiri laki-laki yang ada di mobil.

”Mohon maaf pak, bolehkah saya mengambil makanan yang baru saja bapak buang untuk saya makan”, pinta Umar dengan penuh harap.

Pria itu tertegun, luar biasa anak kecil didepannya. Harusnya dia bisa saja mengambilnya dari tong sampah tanpa harus meminta ijin. Muncul perasaan belas kasihan dari dalam hatinya.

“Nak, bapak bisa membelikan kamu makanan yang baru, kalau kamu mau”

”Terima kasih pak, satu kantong gorengan itu rasanya sudah cukup bagi saya, boleh khan pak?, tanya Umar sekali lagi.

”Bbbbbooolehh”, jawab pria tersebut dengan tertegun.

Umar berlari riang menuju tong sampah, dengan wajah sangat bahagia dia mulai makan gorengan, sesekali dia tersenyum melihat laki-laki yang dari tadi masih memandanginya.

Dari dalam mobil sang bapak memandangi terus Umar yang sedang makan. Dengan perasaan berkecamuk didekatinya Umar.

”Nak, bolehkah bapak bertanya, kenapa kamu harus meminta ijinku untuk mengambil makanan yang sudah aku buang?, dengan lembut pria itu bertanya dan menatap wajah anak kecil didepannya dengan penuh perasaan kasihan.

”Karena saya melihat bapak yang membuangnya, saya akan merasakan enaknya makanan halal ini kalau saya bisa meminta ijin kepada pemiliknya, meskipun buat bapak mungkin sudah tidak berharga, tapi bagi saya makanan ini sangat berharga, dan saya pantas untuk meminta ijin memakannya ”, jawab si anak sambil membersihkan bibirnya dari sisa minyak goreng.

Pria itu sejenak terdiam, dalam batinnya berkata, anak ini sangat luar biasa.
”Satu lagi nak, aku kasihan melihatmu, aku lihat kamu basah dan kedinginan, aku ingin membelikanmu makanan lain yang lebih layak, tetapi mengapa kamu menolaknya”.

Si anak kecil tersenyum dengan manis,
”Maaf pak, bukan maksud saya menolak rejeki dari Bapak. Buat saya makan sekantong gorengan hari ini sudah lebih dari cukup. Kalau saya mencampakkan gorengan ini dan menerima tawaran makanan yang lain yang menurut Bapak lebih layak, maka sekantong gorengan itu menjadi mubazir, basah oleh air hujan dan hanya akan jadi makanan tikus.”

”Tapi bukankah kamu mensia-siakan peluang untuk mendapatkan yang lebih baik dan lebih nikmat dengan makan di restoran dimana aku yang akan mentraktirnya”, ujar sang laki-laki dengan nada agak tinggi karena merasa anak didepannya berfikir keliru.
Umar menatap wajah laki-laki didepannya dengan tatapan yang sangat teduh,

”Bapak !, saya sudah sangat bersyukur atas berkah sekantong gorengan hari ini. Saya lapar dan bapak mengijinkan saya memakannya”, Umar memperbaiki posisi duduknya dan berkata kembali,

” Dan saya merasa berbahagia, bukankah bahagia adalah bersyukur dan merasa cukup atas anugerah hari ini, bukan menikmati sesuatu yang nikmat dan hebat hari ini tetapi menimbulkan keinginan dan kedahagaan untuk mendapatkannya kembali dikemudian hari.”
Umar berhenti berbicara sebentar, lalu diciumnya tangan laki-laki didepannya untuk berpamitan. Dengan suara lirih dan tulus Umar melanjutkan kembali,

”Kalau hari ini saya makan di restoran dan menikmati kelezatannya dan keesokan harinya saya menginginkannya kembali sementara bapak tidak lagi mentraktir saya, maka saya sangat khawatir apakah saya masih bisa merasakan kebahagiaannya”.

Pria tersebut masih saja terpana, dia mengamati anak kecil didepannya yang sedang sibuk merapikan koran dan kemudian berpamitan pergi.

”Ternyata bukan dia yang harus dikasihani, Harusnya aku yang layak dikasihani, karena aku jarang bisa berdamai dengan hari ini”


Selamat Menjalani Hari Dengan Penuh Rahmat

Marhaban yaa Ramadhan

Selamat datang wahai ramadhan, selamat datang wahai bulan ibadah

Selamat datang wahai ramadhan, selamat datang wahai bulan kebahagiaan

Selamat datang wahai yang tiba dengan cahaya dalam kegelapan bertambahnya anugerah

Bagi para kekasih Allah engkau adalah kesayangan mereka wahai bulan yang penuh dengan keberuntungan

Padamu tersingkir segala kehinaan dan dosa, saat terbentangnya kesempatan untuk menyungkur sujud

Selamat datang sebaik2 yang mengunjungi usia kami, bulan kita ini adalah baginda bagi bulan lainnya

Engkaulah pemimpin bagi setiap saat, dan kepala mutiara bagi kalung kehidupan

Selamat datang bulan kemuliaan, kesucian dan terbukanya kesempatan mengambil manfaat

Selamat datang kuucapkan tanpa terhitung, hingga tak terhingga banyaknya

Segenap masjid terindahkan dengan kedatanganmu, tuhan segenap masjid menambahkan cahaya pada masjid masjid dengan kedatanganmu

Engkau cahaya kemegahan bagi segalanya, beruntunglah barangsiapa yang taqwanya bertambah

Setiap muslim giat di hari harimu dalam semangat beribadah

Dan mereka (dibulan ramadhan) malas berbuat dosa, dan bagi mereka ketaatan pada Allah menjadi adat kebiasaan

Dalam salat tarawih dan Alqur'an, telah sirna kantuk orang yang malas shalat malam

Selamat datang wahai pemilik derajat yang mulia, yang tiada henti hentinya gambaran keindahan dan kerinduan atasnya

Dan shalawat dari Yang Maha Tunggal dalam segala anugerah, Yang Maha Memberi kenikmatan dalam beribadah

Selalu terlimpah pada sang kebanggaan keturunan Adnan (Sayyidina Muhammad saw), dan pula segenap keluarga yang mulia, serta sehabat dan merekalah para saudara, semulia mulia para syuhada

Seterang benderangnya cahaya ramadhan, maka sirnalah kesempitan hati orang yang dalam kebodohan

Saya memohon dibukakan pintu maaf yang sebesar-besarnya atas segala kesalahan dan khilaf, lisan maupun tulisan, disengaja ataupun tidak. Insya Allah saya juga sudah memaafkan segala ganjalan, berat hati dan kesalahan yang dilakukan kepada saya. Mudah-mudahan kita semua memasuki bulan Ramadhan ini dengan hati bersih, lapang dan ikhlas.

Marhaban ya Ramadhan
Selamat menjalankan ibadah puasa Ramadhan 1429 H

INDONESIA

Pancasila (politics)

From Wikipedia, the free encyclopedia

Pancasila, (pronounced IPA: [panʧaˈsila]), is the official philosophical foundation of the Indonesian

state. Pancasila consists of two Sanskrit words, "panca" meaning five, and "sila" meaning principles. It comprises five principles held to be inseparable and interrelated:

History

In 1945, facing the need to pull together the diverse archipelago, the future President Sukarno promulgated Pancasila as "Dasar Negara" (philosophical foundation/political philosophy of Indonesian state). The ideology was announced in a speech known as "The Birth of the Pancasila", in which Sukarno gave to the Independence Preparatory Committee on 1 June 1945 . He thus helped solve the conflict between Muslims, nationalists and Christians. The 1945 Constitution then set forth the Pancasila as the embodiment of basic principles of an independent Indonesian state^{[2] [3]}.

The Five Principles

(1) Belief in the one and only God (Ketuhanan yang Maha Esa)

This principle reaffirms the Indonesian people’s belief that God does exist. It also implies that the Indonesian people believe in life after death. It emphasizes that the pursuit of sacred values will lead the people to a better life in the hereafter. The principle is embodied in the 1945 Constitution and reads: "The state shall be based on the belief in the one and only God". It is represented by the star in the center of the shield of the Garuda Pancasila.

(2) Just and civilized humanity (Kemanusiaan yang Adil dan Beradab)

This principle requires that human beings be treated with due regard to their dignity as God’s creatures. It emphasizes that the Indonesian people do not tolerate physical or spiritual oppression of human beings by their own people or by any other nation. The chain at the lower right of the shield symbolizes successive generations of humanity.

(3) The unity of Indonesia (Persatuan Indonesia)

This principle embodies the concept of nationalism, of love for one’s nation and motherland. It envisages the need to always foster national unity and integrity. Pancasila nationalism demands that Indonesians avoid feelings of superiority on the grounds of ethnicity, for reasons of ancestry and skin color. In 1928 Indonesian youth pledged to have one country, one nation and one language, while the Indonesian coat of arms enshrines the symbol of "Bhinneka Tunggal Ika" which means "unity in diversity". This is represented on the shield by the banyan tree at top right.

(4) Democracy guided by the inner wisdom in the unanimity arising out of deliberations amongst representatives (Kerakyatan yang Dipimpin oleh Hikmat Kebijaksanaan dalam Permusyawaratan/Perwakilan)

Pancasila democracy calls for decision-making through deliberations, or musyawarah, to reach a consensus, or mufakat. It is democracy that lives up to the principles of Pancasila. This implies that democratic right must always be exercised with a deep sense of responsibility to God according to one’s own conviction and religious belief, with respect for humanitarian values of man’s dignity and integrity, and with a view to preserving and strengthening national unity and the pursuit of social justice. The head of the wild bull at top left stands for this sila.

(5) Social justice for the whole of the people of Indonesia (Keadilan Sosial bagi Seluruh Rakyat Indonesia)

This principle calls for the equitable spread of welfare to the entire population, not in a static but in a dynamic and progressive way. This means that all of the country’s natural resources and the national potentials should be utilized for the greatest possible good and happiness of the people. Social justice implies protection of the weak. But protection should not deny them work. On the contrary, they should work according to their abilities and fields of activity. Protection should prevent willful treatment by the strong and ensure the rule of justice. This is symbolized by the paddy and cotton ears on the shield. ^[4]

References

• Department of Information, Republic of Indonesia (1999) Indonesia 1999: An Official Handbook (No ISBN)
• Saafroedin Bahar et al (eds) (1995), Risalah Sidang Badan Penyelidik Usaha-usaha Persiapan Kemerdekaan Indonesia (BPUPKI) Panitia Persiapan Kemerdekaan Indonesia (PPKI). Sekretariat Negara Republik Indonesia ISBN 979-8300-00-9
• Riklefs (1982), A History of Modern Indonesia, Macmillan Southeast Asian reprint, ISBN 0-333-24380-3
• RMAB Kusuma (2004), "Lahirnya Undang Undang Dasar 1945". Badan Penerbit Fakultas Hukum Universitas Indonesia. ISBN 979-8972-28-7

Punk fashion

From Wikipedia, the free encyclopedia

Punk fashion is the styles of clothing, hairstyles, cosmetics, jewelry, and body modifications of the punk subculture. Punk fashion varies widely from Vivienne Westwood styles to styles modeled on bands like The Exploited. The distinct social dress of other subcultures and art movements, including glam rock, skinheads, rude boys, greasers, and mods have influenced punk fashion. Punk fashion has likewise influenced the styles of these groups, as well as those of popular culture.

Historical

Original styles

The original punk fashions of the 1970s were intended to appear as confrontational, shocking and rebellious as possible. This style of punk dress was significantly different from what would later be considered the basic punk look. Many items that were commonly worn by punks in the 1970s became less common later on, and new elements were constantly added to the punk image. A great deal of punk fashion from the 1970s was based on the designs of Vivienne Westwood and Malcolm McLaren, as well as the dress styles of punk role models such as the Ramones, Richard Hell, Patti Smith and the Bromley Contingent. Punk style was influenced by clothes sold in Malcolm McLaren's shop SEX. McLaren has credited this style to his first impressions of Richard Hell while McLaren was in New York City, supposedly managing the The New York Dolls (Note: In the documentary Punk: Attitude, David Johansen said McLaren was never their manager, and that he only designed clothes for them and booked them one concert; the Red Show.)

Deliberately offensive T-shirts were popular in the early punk scene, such as the infamous DESTROY T-shirt sold at SEX, which featured an inverted crucifix and a Nazi Swastika. These T-shirts, like other punk clothing items, were often intentionally torn. Other items in early British punk fashion included: Anarchy symbols; brightly-colored or white and black dress shirts randomly covered in slogans (such as "Only Anarchists are pretty"); fake blood; patches; and deliberately controversial images (such as portraits of Marx, Stalin and Mussolini) were popular. Leather rocker jackets and customised blazers were early, and are still a common fixture of punk fashion.

Preferred footwear included military boots, motorcycle boots, Brothel creepers, Chuck Taylor All-Stars, and (later on) Dr. Martens boots. Tapered jeans, tight leather pants, pants with leopard patterns, and bondage trousers were popular choices. Hair was cropped and deliberately made to look messy; in reaction to the long smooth hairstyles that were common in the 1960s and early 1970s. Hair was often dyed bright unnatural colors. Although provocative, these hairstyles were not as extreme as later punk hairstyles, such as liberty spikes or the Mohawk hairstyle.

Other accoutrements worn by some punks included: BDSM fashions; fishnet stockings (sometimes ripped); spike bands and other studded or spiked jewelry; safety pins (in clothes and as body piercings); silver bracelets and heavy eyeliner worn by both men and women. Many female punks rebelled against the stereotypical image of a woman by combining clothes that were delicate or pretty with clothes that were considered masculine, such as combining a Ballet tutu with big, clunky boots. Many punks did not wear leather or fur because they were vegetarian or vegan.

Punk clothing sometimes incorporated everyday objects for aesthetic effect. Purposely-ripped clothes were held together by safety pins or wrapped with tape; black bin liners (garbage bags) became dresses, shirts and skirts. Other items added to clothing or as jewelry included razor blades and chains. Leather, rubber and vinyl clothing have been common, possibly due to their connection with transgressive sexual practices, such as bondage and S&M.

Punks in the 1970s sometimes flaunted taboo symbols such as the Nazi Swastika or Iron Cross for shock effect. However, following Rock Against Racism, this sharply declined. To this day, most punks are staunchly anti-fascist, and many punks in the 2000s wear a crossed out Swastika patch (pictured left) or other anti-racist symbols.

1980s

When punk underwent its 1980s hardcore, Oi!/streetpunk, and UK82 renaissance, new fashion styles developed as parallel resurgences occurred in the United States and United Kingdom. The US scene was exemplified by bands such as Black Flag, Minor Threat, and Fear. The 1980s American scene spawned a utilitarian anti-fashion that was nonetheless raw, angry, and intimidating. In the UK, much of the punk music and fashion in the 1980s was influenced by heavy metal and the Oi! scene. However, elements of the 1970s punk look never fully died away. What many recognize as typical punk fashions today emerged from the 1980s British scene, exemplified by bands such as The Exploited, Subhumans, Charged GBH, and The Partisans. Some of the following clothing items were common on both sides of the Atlantic Ocean, and some were unique to certain geographic areas.

Footwear that was common in the 1980s punk scene included Dr. Martens boots, motorcycle boots and steel-toed combat boots; sometimes adorned with bandanas, chains or studded leather bands. Jeans (sometimes dirty, torn or splattered with bleach) and tartan kilts or skirts were commonly worn. Leather skirts became a popular item for female punks. Heavy chains were sometimes used as belts. Bullet belts, and studded belts (sometimes more than one worn at a time) became common.

Some punks bought T-shirts or plaid flannel shirts and wrote political slogans, band names or other punk-related phrases on them with marker pens. While this was not without precedent in the 1970s, the depth and detail of these slogans were not fully developed until the 1980s. Silkscreened T-shirts with band logos or other punk-related logos or slogans were also popular. Studded, painted and otherwise customised leather rocker jackets or denim vests became more popular during this era, as the popularity of the earlier customized blazers waned. Hair was either shaved, spiked or in a crew cut or Mohawk hairstyle. Tall mohawks and spiked hair, either bleached or in bright colors, took on a more extreme character than in the 1970s. Charged hair, in which all of one's hair stands on end but is not styled into distinct spikes, also emerged. Amongst female punks, a hairstyle similar to The Misfits' devilocks was popular. This involved shaving the entire head except for a tuft at the front. Body piercings and extensive tattoos became very popular during this era, as did spike bands and studded chokers. Sometimes bandana were worn to indicate gang affiliation. Some hardcore punk women reacted to the earlier 1970s movement's coquettish vibe by adopting an asexual style.

Contemporary

Punks at a music festival

Current factions of the punk subculture have different clothing habits, although there's often crossover between the different subgroups in terms of style.

Standard punk

In general, modern punks wear leather, denim, spikes, chains, and combat boots. They often wear elements of early punk fashion, such as kutten vests, bondage pants (often plaid) and torn clothing. There is a large influence by DIY-created and modified clothing, such as ripped or stitched-together pants or shirts. Hair is typically dyed in bright colors such as red, blue, green, pink or orange and arranged into a mohawk or liberty spikes. Hair could also be cut very short or shaved. Belts with metal studs, and bullet belts, are popular. Leather or denim jackets and vests often have patches or are painted with logos that express musical tastes or political views. Pants are usually tapered tightly. Metal spikes or studs are often added to jackets and vests.

Hardcore

There are several styles of dress within the hardcore scene, and styles have changed since the genre started as hardcore punk in the late 1970s. What is fashionable in one branch of the hardcore scene may be frowned upon in another. Clothing styles are often chosen to make moshing easier to perform. Plain working class dress and short hair (with the exception of dreadlocks) are usually associated with hardcore punk. Mute colors and minimal adornment are usually common. Some elements of hardcore clothing are baggy jeans or work pants, athletic wear, cargo or military shorts, band T-shirts, plain T-shirts, and band hoodies. Personal comfort and the ability to mosh are highly influential in this style (Jewellery, spikes, tight clothes, flashy hair and chains are highly uncommon and discouraged in hardcore fashion, Although baggier skinny jeans are becoming popular.)

Anarcho-Punk

Anarcho-punk fashion is a politicised adaptation of traditional punk fashion. This all black militaristic fashion was pioneered by Crass in the United Kingdom and by T.S.O.L. in the United States. A prominent feature is the heavy use of anarchist symbols and slogans. Some whom define themselves as Anarcho-Punks may opt to wear clothing similar to traditionalist punks or crust punks, but not often to the extreme of either subculture. Mohawks, and liberty spikes are rarely seen, but can still be worn. Tight pants, bands shirts and boots are common. Hair styling products are often used only on the basis that the company who manufactures it did not test it on animals. Leather, often avoided as part of Veganism, may be replaced with imitation leather or cloth in a similar design as leather products.

Crust punk

Crust punk fashion is an extreme evolution of traditional punk fashion, and is heavily influenced by bands such as Doom, Amebix and Antisect. Typical crust punk fashion includes black or camouflage trousers or shorts covered in patches (heavy work pants are popular for their durability), torn band T-shirts or hoodies covered in patches, studded vests and jackets (commonly black denim), bullet belts, jewelry made from hemp and other natural/found objects, and sometimes bum flaps. Patches, even band patches, are often of a political nature. Clothing tends to be unwashed and unsanitary by conventional standards, and dreadlocks are popular. Crust punks sometimes sew articles of clothing with found or cheaply-bought materials, such as dental floss. Baseball caps with patches sewn on or studs implanted are popular headgear. Pants are often held up with string, hemp, or vegan-friendly imitation leather (sometimes avoided due to the style's connection with animal cruelty).

Gothic rock/Deathrock and Horror punk

Deathrock and Horror punk fashion is similar to goth fashion. Black is the predominant shade. (Since black is not considered a colour). Deathrock and horror punk incorporates a sexier image, incorporating fishnets, corsets and elaborate make-up for men and women. The use of occult and horror imagery is prevalent on T-shirts, buttons, patches and jewellery. The Misfits' "Fiend Skull" emblem is often hand-stencilled onto articles of clothing or worn as a cloth patch. Other common adornments include band names painted on jackets or bleached into clothes, as well as buttons or patches indicating cities. The initials D and R (for Death Rock) may part of a crossbone logo, accompanied by other initials, such as C and A for California, N and Y for New York, or G and R for Germany. Hair may be in deathhawk style (a wider teased-out variant of the mohawk hairstyle), an angled bangs style, or in a devilock style. The traditional 80's Gothic Rock gave birth to the teased mohawk, unlike the Punk mohawk which was often fanned or spiked the Goth mohawk which is often referred to as the Death Hawk was slightly wider and teased, often crimped as well.

Skate punk

A skate punk is a skateboarder that listens to punk rock. Many wear clothing such as band tees, baggy shorts or semi-tight jeans (often black.) They also may wear cheap generic clothes and patches on their back pockets They often carry a bandana (folded or messed up) in their right or left back pocket.Some have also been influenced by the Cholo/gang style.The most worn hairstyle is long and messed up. skate brands are common to wear such as Baker, Emerica, Fallen, Toy Machine, and Zero. The Baker and Deathwish teams are the best examples of skate punks.

Pop punk

Pop punk fashion sometimes overlaps with skater punk fashion and emo fashion. Contemporary pop punk fans often wear items such as band T-shirts with, tie or scarf; blazers; Dickies pants, tight skinny pants, jeans or shorts; studded belts; Converse All-Stars or Vans Off The Wall,skateboarder shoes. Popular patterns include checkers and arms. Hair is usually long for women, and short and spiky for men — and is sometimes dyed black, platinum blonde, or natural hair colors with unnatural streaks.

Droog

Some punks dress similarly to the droogs in the film A Clockwork Orange. This involves white boiler suits, bowler hats, black Dr. Martens or combat boots, suspenders and sometimes black eye makeup (on one eye only). This look has been displayed by bands such as The Adicts and Lower Class Brats, The Violators and Major Accident.

Suicidals

Suicidals (and some individuals in the later hardcore scene) dress in styles associated with the Cholo gang member look. Cholo punk is another term used, but is better suited for those who are more heavily influenced by the Cholo/gang culture. This look, influenced by the California band Suicidal Tendencies, involves wearing bandanas (primarily blue in color) on one's head, Converse sneakers and other skateboard shoes, and blue plaid flannel shirts (usually worn with only the top button done up). Other commonly worn items include knee-high white socks, khaki shorts, baggy Diesel jeans and blue basketball jerseys with the number thirteen on them. Suicidal Tendencies T-shirts, as well as related band T-shirts (e.g. Beowulf, Excel and No Mercy) were popular, as well as white tank tops. This style sometimes includes a shaved head, short mohawk, crewcut or long Jay Adams-style hair. Another item associated with the Suicidals scene is a baseball cap or trucker hat with the bill upturned, and with text written or painted on it. Another associated item is a white dress shirt with hand-drawn Suicidal related iconography on the back (e.g. Skulls, satanic imagery, the number 13 or the words Suicidal, Venice or Cyco). Many such shirts were drawn by Ric Clayton.

Commercialization

Punk fashion has been extremely commercialized at various times, and many well-established fashion designers — such as Vivienne Westwood and Jean Paul Gaultier — have used punk elements in their production. Punk clothing, which was initially handmade, became mass produced and sold in record stores and some smaller specialty clothing stores by the 1980s. Many fashion magazines and other glamor-oriented media have featured classic punk hairstyles and punk-influenced clothing. These have caused controversy, as many punks view it as having sold out.

Common elements of punk fashion

• Athletic shoes
• Badges
• Bleach-stained jeans
• body piercing
• Bondage pants
• Brothel creepers
• Buttons
• Carabiner-inspired keyrings
• Chuck Taylor All-Stars shoes, or sweatshop-free alternatives such as Blackspot and No Sweat
• Dickies pants and shorts
• Dr. Martens boots
• Dyed hair (often in unnatural colors such as purple, blue, green or orange)
• Ear and/or facial piercings
• Fingerless gloves
• Fishnet stockings
• Hoodies
• Kutten
• Leopard print patterns
• Military uniform items such as combat boots, BDUs or dog tags)
• Mini-skirts
• Mohawk hairstyles and Liberty spikes
• Leather jackets
• Safety Pins
• Shorts, cut-offs, cargos or athletic
• Skate shoes Such as Vans or Converse
• Sleeveless T-shirts
• Slim-fit pants
• Spike bands and studded belts
• Spray painted clothing
• Suit jackets
• Tartan patterns
• Tattoos
• Torn clothing
• Wrist Bands
• T-Shirts or Hoodies with Band names and/or logos

References

• Dick Hebdige (1979). Subculture: The Meaning of Style (Routledge, March 10, 1981; softcover ISBN 0-415-03949-5). Cited in Negus, Keith (1996). Popular Music in Theory: An Introduction. Wesleyan University Press. ISBN 0-8195-6310-2.
• Paul Gorman (2006). The Look: Adventures in Rock and Pop Fashion (Adelita, May 10 2006; softcover ISBN 0-9552017-0-5)