Billy Idol has shared his insights on the early adoption of the swastika within the punk rock movement, referring to it as a form of performance art. This controversial symbol was used not to glorify its historical context but to challenge societal norms and provoke thought among audiences. Over his illustrious career spanning nearly five decades, Idol has cemented his place as a punk icon, first gaining recognition with his band Generation X during the vibrant 1970s. In a recent episode of the Turned Out a Punk podcast, he reminisced about his experiences with an early version of Siouxsie and the Banshees when they opened for the legendary Sex Pistols in Paris, highlighting the unique atmosphere of that era.
“It was quite surreal because it was during a reflection on the aftermath of the Second World War in France [at the time],” Idol recounted. “At that time, Siouxsie donned her iconic night porter outfit, which prominently featured the swastika. This drove the left-wing French audience into a frenzy, as they failed to grasp that it was meant to convey a message rooted in performance art. They interpreted her choice as a political statement, misunderstanding its context entirely, as many were staunchly communist and believed she was expressing anti-communist sentiments, missing the essence of what punk was truly about.”
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Idol observed that the audience was “really upset” with Siouxsie’s provocative attire, leading the band to make a hasty exit after their performance. The tension in the air was palpable, showcasing how polarizing punk rock could be during those formative years.
“We managed to escape discreetly across the stage,” Idol admitted. “The Sex Pistols had made their way across the stage, and we took our chance to slip backstage to evade the increasingly agitated audience. Their discontent was evident, and we knew it was best to get out of there quickly.”
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Siouxsie wasn’t the only punk legend to embrace the swastika; many artists of that period employed the symbol as a tool for rebellion, intentionally distancing it from its connection to the atrocities of Nazism. While this approach was meant to provoke and challenge the status quo, it understandably stirred controversy, and Idol recognized that the deeper meanings were often lost on certain audiences.
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“They simply could not grasp the London fashion and performance art aspects of punk,” he explained further. “We were essentially holding a mirror to British society, showcasing how they were treating us by donning these political symbols. For instance, Vivienne Westwood would often merge the swastika with communistic imagery, including references to Karl Marx. This fusion served as a bold statement against the conservative elements we felt were creeping towards fascism in England. Our message was clear: if you want us to conform to a fascist ideal, then we’ll reflect that back at you through our fashion choices.”
“Our approach was rooted in performance art, a concept that many people struggle to comprehend today,” Idol continued. “The punk rock style was a direct response to the authority figures and societal expectations. ‘This is what you want us to become? You desire a fascist culture? Well, we’ll dress in ways that challenge and frighten you,’ and indeed, it had the intended effect.”
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