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Punk rock

December 26, 2022

For the 1960s genre also known as "punk rock", see Garage rock. For the play, see Punk Rock (play).

Punk rock (also known as simply punk) is a music genre that emerged in the mid-1970s. Rooted in 1960s garage rock, punk bands rejected the perceived excesses of mainstream 1970s rock music. They typically produced short, fast-paced songs with hard-edged melodies and singing styles, stripped-down instrumentation, and often shouted political, anti-establishment lyrics. Punk embraces a DIY ethic; many bands self-produce recordings and distribute them through independent record labels.

Punk rock
Other namesPunk
Stylistic origins
Cultural originsMid-1970s, United States, United Kingdom, and Australia
Derivative forms
Subgenres
Fusion genres
Regional scenes
Local scenes
Other topics

The term "punk rock" was previously used by American rock critics in the early 1970s to describe the mid-1960s garage bands. Certain late 1960s and early 1970s Detroit acts, such as MC5 and Iggy and the Stooges, and other bands from elsewhere created out-of-the-mainstream music that became highly influential on what was to come. Glam rock in the UK and the New York Dolls from New York have also been cited as key influences. When the movement now bearing the name developed from 1974 to 1976, prominent acts included Television, Patti Smith, and the Ramones in New York City; the Saints in Brisbane; and the Sex Pistols, the Clash, and the Damned in London, and the Buzzcocks in Manchester. By late 1976, punk became a major cultural phenomenon in the UK. It led to a punk subculture expressing youthful rebellion through distinctive styles of clothing, such as deliberately offensive T-shirts, leather jackets, studded or spiked bands and jewellery, safety pins, and bondage and S&M clothes.

In 1977, the influence of the music and subculture spread worldwide. It took root in a wide range of local scenes that often rejected affiliation with the mainstream. In the late 1970s, punk experienced a second wave when new acts that were not active during its formative years adopted the style. By the early 1980s, faster and more aggressive subgenres such as hardcore punk (e.g. Minor Threat), Oi! (e.g. the Exploited) and anarcho-punk (e.g. Crass) became the predominant modes of punk rock. Many musicians identifying with or inspired by punk went on to pursue other musical directions, giving rise to movements such as post-punk, new wave, and alternative rock. Following alternative rock's mainstream breakthrough in the 1990s with Nirvana, punk rock saw renewed major label interest and mainstream appeal with the rise of the California bands Green Day, Social Distortion, Rancid, the Offspring, Bad Religion, and NOFX.

Characteristics

See also: Punk subculture and List of punk artists and styles

Outlook

The first wave of punk rock was "aggressively modern" and differed from what came before.[2] According to Ramones drummer Tommy Ramone, "In its initial form, a lot of [1960s] stuff was innovative and exciting. Unfortunately, what happens is that people who could not hold a candle to the likes of Hendrix started noodling away. Soon you had endless solos that went nowhere. By 1973, I knew that what was needed was some pure, stripped down, no bullshit rock 'n' roll."[3] John Holmstrom, founding editor of Punk magazine, recalls feeling "punk rock had to come along because the rock scene had become so tame that [acts] like Billy Joel and Simon and Garfunkel were being called rock and roll, when to me and other fans, rock and roll meant this wild and rebellious music."[4] According to Robert Christgau, punk "scornfully rejected the political idealism and Californian flower-power silliness of hippie myth."[5]

Hippies were rainbow extremists; punks are romantics of black-and-white. Hippies forced warmth; punks cultivate cool. Hippies kidded themselves about free love; punks pretend that s&m is our condition. As symbols of protest, swastikas are no less fatuous than flowers.

—Robert Christgau in Christgau's Record Guide (1981)[6]

Technical accessibility and a do it yourself (DIY) spirit are prized in punk rock. UK pub rock from 1972 to 1975 contributed to the emergence of punk rock by developing a network of small venues, such as pubs, where non-mainstream bands could play.[7] Pub rock also introduced the idea of independent record labels, such as Stiff Records, which put out basic, low-cost records.[7] Pub rock bands organized their own small venue tours and put out small pressings of their records. In the early days of punk rock, this DIY ethic stood in marked contrast to what those in the scene regarded as the ostentatious musical effects and technological demands of many mainstream rock bands.[8] Musical virtuosity was often looked on with suspicion. According to Holmstrom, punk rock was "rock and roll by people who didn't have very many skills as musicians but still felt the need to express themselves through music".[4] In December 1976, the English fanzine Sideburns published a now-famous illustration of three chords, captioned "This is a chord, this is another, this is a third. Now form a band".[9]

British punk rejected contemporary mainstream rock, the broader culture it represented, and their music predecessors: "No Elvis, Beatles or the Rolling Stones in 1977", declared the Clash song "1977".[10] 1976, when the punk revolution began in Britain, became a musical and a cultural "Year Zero".[11] As nostalgia was discarded, many in the scene adopted a nihilistic attitude summed up by the Sex Pistols slogan "No Future";[2] in the later words of one observer, amid the unemployment and social unrest in 1977, "punk's nihilistic swagger was the most thrilling thing in England."[12] While "self-imposed alienation" was common among "drunk punks" and "gutter punks", there was always a tension between their nihilistic outlook and the "radical leftist utopianism"[13] of bands such as Crass, who found positive, liberating meaning in the movement. As a Clash associate describes singer Joe Strummer's outlook, "Punk rock is meant to be our freedom. We're meant to be able to do what we want to do."[14]

Authenticity has always been important in the punk subculture—the pejorative term "poseur" is applied to those who adopt its stylistic attributes but do not to share or understand its underlying values and philosophy. Scholar Daniel S. Traber argues that "attaining authenticity in the punk identity can be difficult"; as the punk scene matured, he observes, eventually "everyone got called a poseur".[15]

Musical and lyrical elements

 
Vocalist Johnny Rotten and guitarist Steve Jones of the Sex Pistols

The early punk bands emulated the minimal musical arrangements of 1960s garage rock.[16] Typical punk rock instrumentation is stripped down to one or two guitars, bass, drums and vocals. Songs tend to be shorter than those of other rock genres, and played at fast tempos.[17] Most early punk rock songs retained a traditional rock 'n' roll verse-chorus form and 4/4 time signature. However, later bands often broke from this format.[18]

The vocals are sometimes nasal,[19] and the lyrics often shouted in an "arrogant snarl", rather than conventionally sung.[20][21] Complicated guitar solos were considered self-indulgent, although basic guitar breaks were common.[22] Guitar parts tend to include highly distorted power chords or barre chords, creating a characteristic sound described by Christgau as a "buzzsaw drone".[23] Some punk rock bands take a surf rock approach with a lighter, twangier guitar tone. Others, such as Robert Quine, lead guitarist of the Voidoids, have employed a wild, "gonzo" attack, a style that stretches back through the Velvet Underground to the 1950s' recordings of Ike Turner.[24] Bass guitar lines are often uncomplicated; the quintessential approach is a relentless, repetitive "forced rhythm",[25] although some punk rock bass players—such as Mike Watt of the Minutemen and Firehose—emphasize more technical bass lines. Bassists often use a pick due to the rapid succession of notes, making fingerpicking impractical. Drums typically sound heavy and dry, and often have a minimal set-up. Compared to other forms of rock, syncopation is much less the rule.[26] Hardcore drumming tends to be especially fast.[20] Production tends to be minimalistic, with tracks sometimes laid down on home tape recorders[27] or four-track portastudios.[28]

Punk rock lyrics are typically blunt and confrontational; compared to the lyrics of other popular music genres, they often focus on social and political issues.[29] Trend-setting songs such as the Clash's "Career Opportunities" and Chelsea's "Right to Work" deal with unemployment and the grim realities of urban life.[30] Especially in early British punk, a central goal was to outrage and shock the mainstream.[31] The Sex Pistols' "Anarchy in the U.K." and "God Save the Queen" openly disparaged the British political system and social mores. Anti-sentimental depictions of relationships and sex are common, as in "Love Comes in Spurts", recorded by the Voidoids. Anomie, variously expressed in the poetic terms of Hell's "Blank Generation" and the bluntness of the Ramones' "Now I Wanna Sniff Some Glue", is a common theme.[32] The controversial content of punk lyrics led to some punk records being banned by radio stations and refused shelf space in major chain stores.[33] Christgau said that "Punk is so tied up with the disillusions of growing up that punks do often age poorly."[34]

Visual and other elements

Further information: Punk fashion
 
1980s punks with leather jackets and dyed mohawk hairstyles

The classic punk rock look among male American musicians harkens back to the T-shirt, motorcycle jacket, and jeans ensemble favored by American greasers of the 1950s associated with the rockabilly scene and by British rockers of the 1960s. In addition to the T-shirt, and leather jackets they wore ripped jeans and boots, typically Doc Martens. The punk look was inspired to shock people. Richard Hell's more androgynous, ragamuffin look—and reputed invention of the safety-pin aesthetic—was a major influence on Sex Pistols impresario Malcolm McLaren and, in turn, British punk style.[35][36] (John D Morton of Cleveland's Electric Eels may have been the first rock musician to wear a safety-pin-covered jacket.)[37] McLaren's partner, fashion designer Vivienne Westwood, credits Johnny Rotten as the first British punk to rip his shirt, and Sex Pistols bassist Sid Vicious as the first to use safety pins,[38] although few of those following punk could afford to buy McLaren and Westwood's designs so famously worn by the Pistols, so they made their own, diversifying the 'look' with various different styles based on these designs.

Young women in punk demolished the typical female types in rock of either "coy sex kittens or wronged blues belters" in their fashion.[39] Early female punk musicians displayed styles ranging from Siouxsie Sioux's bondage gear to Patti Smith's "straight-from-the-gutter androgyny".[40] The former proved much more influential on female fan styles.[41] Over time, tattoos, piercings, and metal-studded and -spiked accessories became increasingly common elements of punk fashion among both musicians and fans, a "style of adornment calculated to disturb and outrage".[42] Among the other facets of the punk rock scene, a punk's hair is an important way of showing their freedom of expression.[43] The typical male punk haircut was originally short and choppy; the mohawk later emerged as a characteristic style.[44] Along with the mohawk, long spikes have been associated with the punk rock genre.[43]

Precursors

Garage rock and beat

See also: Garage rock, Proto-punk, Mod (subculture), and Beat music

The early to mid-1960s garage rock bands in the United States and elsewhere are often recognized as punk rock's progenitors. The Kingsmen's "Louie, Louie" is often cited as punk rock's defining "ur-text".[45][nb 1] After the success of the British Invasion, the garage phenomenon gathered momentum around the US.[48] By 1965, the harder-edged sound of British acts, such as the Rolling Stones, the Kinks, and the Who, became increasingly influential with American garage bands.[49] The raw sound of U.S. groups such as the Sonics and the Seeds predicted the style of later acts.[49] In the early 1970s some rock critics used the term "punk rock" to refer to the mid-1960s garage genre,[21] as well as for subsequent acts perceived to be in that stylistic tradition, such as the Stooges and others.[50]

In England, largely under the influence of the mod movement and beat groups, the Kinks' 1964 hit singles "You Really Got Me" and "All Day and All of the Night", were both influenced by "Louie, Louie".[51][nb 2] In 1965, the Who released the mod anthem "My Generation", which according to John Reed, anticipated the kind of "cerebral mix of musical ferocity and rebellious posture" that would characterize much of the later British punk rock of the 1970s.[53][nb 3] The garage/beat phenomenon extended beyond North America and Britain.[55]

Proto-punk

In August 1969, the Stooges, from Ann Arbor, premiered with a self-titled album. According to critic Greil Marcus, the band, led by singer Iggy Pop, created "the sound of Chuck Berry's Airmobile—after thieves stripped it for parts".[56] The album was produced by John Cale, a former member of New York's experimental rock group the Velvet Underground, who inspired many of those involved in the creation of punk rock.[57] The New York Dolls updated 1950s' rock 'n' roll in a fashion that later became known as glam punk.[58] The New York duo Suicide played spare, experimental music with a confrontational stage act inspired by that of the Stooges.[59] In Boston, the Modern Lovers, led by Jonathan Richman, minimalistic style gained attention. In 1974, as well, the Detroit band Death—made up of three African-American brothers—recorded "scorching blasts of feral ur-punk", but could not arrange a release deal.[60] In Ohio, a small but influential underground rock scene emerged, led by Devo in Akron[61] and Kent and by Cleveland's Electric Eels, Mirrors and Rocket from the Tombs.

Bands anticipating the forthcoming movement were appearing as far afield as Düsseldorf, West Germany, where "punk before punk" band Neu! formed in 1971, building on the Krautrock tradition of groups such as Can.[62] In Japan, the anti-establishment Zunō Keisatsu [ja] (Brain Police) mixed garage-psych and folk. The combo regularly faced censorship challenges, their live act at least once including onstage masturbation.[63] A new generation of Australian garage rock bands, inspired mainly by the Stooges and MC5, was coming closer to the sound that would soon be called "punk": In Brisbane, the Saints evoked the live sound of the British Pretty Things, who had toured Australia and New Zealand in 1975.[64]

Etymology

Between the late 16th and the 18th centuries, punk was a common, coarse synonym for prostitute; William Shakespeare used it with that meaning in The Merry Wives of Windsor (1602) and Measure for Measure (1603-4).[65] The term eventually came to describe "a young male hustler, a gangster, a hoodlum, or a ruffian".[66]

The first known use of the phrase "punk rock" appeared in the Chicago Tribune on March 22, 1970, when Ed Sanders, cofounder of New York's anarcho-prankster band the Fugs described his first solo album as "punk rock – redneck sentimentality".[67][68] In 1969 Sanders recorded a song for album called "Street Punk" but it was only released in 2008.[67] In the December 1970 issue of Creem, Lester Bangs, mocking more mainstream rock musicians, ironically referred to Iggy Pop as "that Stooge punk".[69] Suicide's Alan Vega credits this usage with inspiring his duo to bill its gigs as "punk music" or a "punk mass" for the next couple of years.[70]

In the March 1971 issue of Creem, critic Greg Shaw wrote about the Shadows of Knight’s “hard-edge punk sound”. In an April 1971 issue of Rolling Stone, he referred to a track by the Guess Who as "good, not too imaginative, punk rock and roll". The same month John Medelsohn described Alice Cooper's album Love It To Death as "nicely wrought mainstream punk raunch".[71] Dave Marsh used the term in the May 1971 issue of Creem, where he described ? and the Mysterians as giving a "landmark exposition of punk rock".[72] Later in 1971, in his fanzine Who Put the Bomp, Greg Shaw wrote about "what I have chosen to call "punkrock" bands—white teenage hard rock of '64–66 (Standells, Kingsmen, Shadows of Knight, etc.)".[73][nb 4] Lester Bangs used the term "punk rock" in several articles written in the early 1970s to refer to mid-1960s garage acts.[75]

In the liner notes of the 1972 anthology LP, Nuggets, musician and rock journalist Lenny Kaye, later a member of the Patti Smith Group, used the term "punk rock" to describe the genre of 1960s garage bands and "garage-punk", to describe a song recorded in 1966 by the Shadows of Knight.[76] Nick Kent referred to Iggy Pop as the "Punk Messiah of the Teenage Wasteland" in his review of the Stooges July, 1972 performance at King’s Cross Cinema in London for a British magazine called Cream (no relation to the more famous US publication).[77] In the January 1973 Rolling Stone review of Nuggets, Greg Shaw commented "Punk rock is a fascinating genre... Punk rock at its best is the closest we came in the '60s to the original rockabilly spirit of Rock 'n Roll."[78] In February 1973, Terry Atkinson of the Los Angeles Times, reviewing the debut album by a hard rock band, Aerosmith, declared that it "achieves all that punk-rock bands strive for but most miss."[79] A March 1973 review of an Iggy and the Stooges show in the Detroit Free Press dismissively referred to Pop as "the apothesis of Detroit punk music".[80] In May 1973, Billy Altman launched the short-lived punk magazine in Buffalo, NY which was largely devoted to discussion of 1960s garage and psychedelic acts. [81][82]

 
Iggy Pop, the "godfather of punk"[83]

In May 1974, Los Angeles Times critic Robert Hilburn reviewed the second New York Dolls album, Too Much Too Soon. "I told ya the New York Dolls were the real thing," he wrote, describing the album as "perhaps the best example of raw, thumb-your-nose-at-the-world, punk rock since the Rolling Stones' Exile on Main Street."[84] In a 1974 interview for his fanzine Heavy Metal Digest Danny Sugerman told Iggy Pop "You went on record as saying you never were a punk" and Iggy replied "...well I ain't. I never was a punk."[85]

By 1975, punk was being used to describe acts as diverse as the Patti Smith Group, the Bay City Rollers, and Bruce Springsteen.[86] As the scene at New York's CBGB club attracted notice, a name was sought for the developing sound. Club owner Hilly Kristal called the movement "Street rock"; John Holmstrom credits Aquarian magazine with using punk "to describe what was going on at CBGBs".[87] Holmstrom, Legs McNeil, and Ged Dunn's magazine Punk, which debuted at the end of 1975, was crucial in codifying the term.[88] "It was pretty obvious that the word was getting very popular", Holmstrom later remarked. "We figured we'd take the name before anyone else claimed it. We wanted to get rid of the bullshit, strip it down to rock 'n' roll. We wanted the fun and liveliness back."[86]

1974–1976: Early history

North America

New York City

The origins of New York's punk rock scene can be traced back to such sources as late 1960s trash culture and an early 1970s underground rock movement centered on the Mercer Arts Center in Greenwich Village, where the New York Dolls performed.[89] In early 1974, a new scene began to develop around the CBGB club, also in Lower Manhattan. At its core was Television, described by critic John Walker as "the ultimate garage band with pretensions".[90] Their influences ranged from the Velvet Underground to the staccato guitar work of Dr. Feelgood's Wilko Johnson.[91] The band's bassist/singer, Richard Hell, created a look with cropped, ragged hair, ripped T-shirts, and black leather jackets credited as the basis for punk rock visual style.[92] In April 1974, Patti Smith came to CBGB for the first time to see the band perform.[93] A veteran of independent theater and performance poetry, Smith was developing an intellectual, feminist take on rock 'n' roll. On June 5, she recorded the single "Hey Joe"/"Piss Factory", featuring Television guitarist Tom Verlaine; released on her own Mer Records label, it heralded the scene's DIY ethic and has often been cited as the first punk rock record.[94] By August, Smith and Television were gigging together at Max's Kansas City.[92]

 
Facade of legendary music club CBGB, New York

In Forest Hills, Queens, the Ramones drew on sources ranging from the Stooges to the Beatles and the Beach Boys to Herman's Hermits and 1960s girl groups, and condensed rock 'n' roll to its primal level: "'1-2-3-4!' bass-player Dee Dee Ramone shouted at the start of every song, as if the group could barely master the rudiments of rhythm."[95] The band played its first show at CBGB in August 1974.[96] By the end of the year, the Ramones had performed seventy-four shows, each about seventeen minutes long.[97] "When I first saw the Ramones", critic Mary Harron later remembered, "I couldn't believe people were doing this. The dumb brattiness."[98]

That spring, Smith and Television shared a two-month-long weekend residency at CBGB that significantly raised the club's profile.[99] The Television sets included Richard Hell's "Blank Generation", which became the scene's emblematic anthem.[100] Soon after, Hell left Television and founded a band featuring a more stripped-down sound, the Heartbreakers, with former New York Dolls Johnny Thunders and Jerry Nolan.[35] In August, Television recorded a single, "Little Johnny Jewel". In the words of John Walker, the record was "a turning point for the whole New York scene" if not quite for the punk rock sound itself—Hell's departure had left the band "significantly reduced in fringe aggression".[90]

Early in 1976, Hell left the Heartbreakers to form the Voidoids, described as "one of the most harshly uncompromising [punk] bands".[101] That April, the Ramones' debut album was released by Sire Records; the first single was "Blitzkrieg Bop", opening with the rally cry "Hey! Ho! Let's go!" According to a later description, "Like all cultural watersheds, Ramones was embraced by a discerning few and slagged off as a bad joke by the uncomprehending majority."[102] The Cramps, whose core members were from Sacramento, California and Akron, Ohio, had debuted at CBGB in November 1976, opening for the Dead Boys. They were soon playing regularly at Max's Kansas City and CBGB.[103]

At this early stage, the term punk applied to the scene in general, not necessarily a particular stylistic approach as it would later—the early New York punk bands represented a broad variety of influences. Among them, the Ramones, the Heartbreakers, Richard Hell and the Voidoids, and the Dead Boys were establishing a distinct musical style. Even where they diverged most clearly, in lyrical approach—the Ramones' apparent guilelessness at one extreme, Hell's conscious craft at the other—there was an abrasive attitude in common. Their shared attributes of minimalism and speed, however, had not yet come to define punk rock.[104]

United Kingdom

 
"Anarchy in the U.K."
With its "inflammatory, venomous lyrics [and] crude energy", the Sex Pistols' debut single "Anarchy in the U.K." "established punk's modus operandi".[105] Producer Chris Thomas layered multiple tracks of Steve Jones's guitar to create a "searing wall of sound",[106] while Johnny Rotten spewed the vocals "as if his teeth had been ground down to points."[107]
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After a brief period unofficially managing the New York Dolls, Briton Malcolm McLaren returned to London in May 1975, inspired by the new scene he had witnessed at CBGB. The King's Road clothing store he co-owned, recently renamed Sex, was building a reputation with its outrageous "anti-fashion".[108] Among those who frequented the shop were members of a band called the Strand, which McLaren had also been managing. In August, the group was seeking a new lead singer. Another Sex habitué, Johnny Rotten, auditioned for and won the job. Adopting a new name, the group played its first gig as the Sex Pistols on 6 November 1975, at Saint Martin's School of Art, and soon attracted a small but dedicated following.[109] In February 1976, the band received its first significant press coverage; guitarist Steve Jones declared that the Sex Pistols were not so much into music as they were "chaos".[110] The band often provoked its crowds into near-riots. Rotten announced to one audience, "Bet you don't hate us as much as we hate you!"[111] McLaren envisioned the Sex Pistols as central players in a new youth movement, "hard and tough".[112] As described by critic Jon Savage, the band members "embodied an attitude into which McLaren fed a new set of references: late-sixties radical politics, sexual fetish material, pop history, ... youth sociology".[113]

 
The Clash performing in 1980

Bernard Rhodes, an associate of McLaren, similarly aimed to make stars of the band London SS, who became the Clash, which was joined by Joe Strummer.[114] On 4 June 1976, the Sex Pistols played Manchester's Lesser Free Trade Hall in what became one of the most influential rock shows ever. Among the approximately forty audience members were the two locals who organised the gig—they had formed Buzzcocks after seeing the Sex Pistols in February. Others in the small crowd went on to form Joy Division, the Fall, and—in the 1980s—the Smiths.[115] In July, the Ramones played two London shows that helped spark the nascent UK punk scene.[116] Over the next several months, many new punk rock bands formed, often directly inspired by the Sex Pistols.[117] In London, women were near the center of the scene—among the initial wave of bands were the female-fronted Siouxsie and the Banshees and X-Ray Spex and the all-female the Slits. There were female bassists Gaye Advert in the Adverts and Shanne Bradley in the Nipple Erectors, while Sex store frontwoman Jordan not only managed Adam and the Ants but also performed screaming vocals on their song "Lou". Other groups included Subway Sect, Alternative TV, Wire, the Stranglers, Eater and Generation X. Farther afield, Sham 69 began practicing in the southeastern town of Hersham. In Durham, there was Penetration, with lead singer Pauline Murray. On September 20–21, the 100 Club Punk Festival in London featured the Sex Pistols, Clash, Damned and Buzzcocks, as well as Paris's female-lead Stinky Toys. Siouxsie and the Banshees and Subway Sect debuted on the festival's first night. On the festival's second night, audience member Sid Vicious was arrested having thrown a glass at the Damned that shattered and destroyed a girl's eye. Press coverage of the incident reinforced punk's reputation as a social menace.[118]

Some new bands, such as London's Ultravox!, Edinburgh's Rezillos, Manchester's the Fall, and Leamington's the Shapes, identified with the scene even as they pursued more experimental music. Others of a comparatively traditional rock 'n' roll bent were also swept up by the movement: the Vibrators, formed as a pub rock–style act in February 1976, soon adopted a punk look and sound.[119] A few even longer-active bands including Surrey neo-mods the Jam and pub rockers Eddie and the Hot Rods, the Stranglers and Cock Sparrer also became associated with the punk rock scene. Alongside the musical roots shared with their American counterparts and the calculated confrontationalism of the early Who, the British punks also reflected the influence of glam rock and related artists and bands such as David Bowie, Slade, T.Rex, and Roxy Music.[120]

In October 1976, the Damned released the first UK punk rock band single, "New Rose".[121] The Vibrators followed the next month with "We Vibrate". On 26 November 1976, the Sex Pistols' released their debut single "Anarchy in the U.K.", which succeeded in its goal of becoming a "national scandal".[122] Jamie Reid's "anarchy flag" poster and his other design work for the Sex Pistols helped establish a distinctive punk visual aesthetic.[123] On 1 December 1976, an incident took place that sealed punk rock's notorious reputation, when the Sex Pistols and several members of the Bromley Contingent, including Siouxsie Sioux and Steve Severin, filled a vacancy for Queen on the early evening Thames Television London television show Today to be interviewed by host Bill Grundy. When Sex Pistols guitarist Steve Jones was goaded by Grundy to "say something outrageous", Jones proceeded to call Grundy a "dirty bastard", a "dirty fucker" and a "fucking rotter" on live television, triggering a media controversy.[124] Two days later, the Sex Pistols, the Clash, the Damned, and the Heartbreakers set out on the Anarchy Tour, a series of gigs throughout the UK. Many of the shows were cancelled by venue owners in response to the media outrage following the Grundy interview.[125]

Australia

A punk subculture began in Australia around the same time, centered around Radio Birdman and the Oxford Tavern in Sydney's Darlinghurst suburb. By 1976, the Saints were hiring Brisbane local halls to use as venues, or playing in "Club 76", their shared house in the inner suburb of Petrie Terrace. The band soon discovered that musicians were exploring similar paths in other parts of the world. Ed Kuepper, co-founder of the Saints, later recalled:

One thing I remember having had a really depressing effect on me was the first Ramones album. When I heard it [in 1976], I mean it was a great record ... but I hated it because I knew we'd been doing this sort of stuff for years. There was even a chord progression on that album that we used ... and I thought, "Fuck. We're going to be labeled as influenced by the Ramones", when nothing could have been further from the truth.[126]

In Perth, the Cheap Nasties formed in August.[127] In September 1976, the Saints became the first punk rock band outside the U.S. to release a recording, the single "(I'm) Stranded". The band self-financed, packaged, and distributed the single.[128] "(I'm) Stranded" had limited impact at home, but the British music press recognized it as groundbreaking.[129]

1977–1978: Second wave

A second wave of punk rock emerged in 1977. These bands often sounded very different from each other.[130] While punk remained largely an underground phenomenon in the US, in the UK it had become a major sensation.[131][132]

North America

The California punk scene was fully developed by early 1977. In Los Angeles, there were: the Weirdos, the Zeros, the Bags, Black Randy and the Metrosquad, the Germs, Fear, The Go-Go's, X, the Dickies, and the relocated Tupperwares, now dubbed the Screamers.[133] Black Flag, then-Panic, formed in Hermosa Beach in 1976. They developed a hardcore punk sound and played their debut public performance in a garage in Redondo Beach in December 1977.[134] San Francisco's second wave included the Avengers, The Nuns, Negative Trend, the Mutants, and the Sleepers.[135] By mid-1977 in downtown New York, bands such as Teenage Jesus and the Jerks led what became known as no wave.[136] The Misfits formed in nearby New Jersey. Still developing what would become their signature B movie–inspired style, later dubbed horror punk, they made their first appearance at CBGB in April 1977.[137]

 
The Misfits developed a "horror punk" style in New Jersey.

The Dead Boys' debut LP, Young, Loud and Snotty, was released at the end of August.[138] October saw two more debut albums from the scene: Richard Hell and the Voidoids' first full-length, Blank Generation, and the Heartbreakers' L.A.M.F.{[139] One track on the latter exemplified both the scene's close-knit character and the popularity of heroin within it: "Chinese Rocks"—the title refers to a strong form of the drug—was written by Dee Dee Ramone and Hell, both users, as were the Heartbreakers' Thunders and Nolan.[140] (During the Heartbreakers' 1976 and 1977 tours of Britain, Thunders played a central role in popularizing heroin among the punk crowd there, as well.)[141] The Ramones' third album, Rocket to Russia, appeared in November 1977.[142]

United Kingdom

The Sex Pistols' live TV skirmish with Bill Grundy on December 1, 1976, was the signal moment in British punk's transformation into a major media phenomenon, even as some stores refused to stock the records and radio airplay was hard to come by.[143] Press coverage of punk misbehavior grew intense: On January 4, 1977, The Evening News of London ran a front-page story on how the Sex Pistols "vomited and spat their way to an Amsterdam flight".[144] In February 1977, the first album by a British punk band appeared: Damned Damned Damned (by the Damned) reached number thirty-six on the UK chart. The EP Spiral Scratch, self-released by Manchester's Buzzcocks, was a benchmark for both the DIY ethic and regionalism in the country's punk movement.[145] The Clash's self-titled debut album came out two months later and rose to number twelve; the single "White Riot" entered the top forty. In May, the Sex Pistols achieved new heights of controversy (and number two on the singles chart) with "God Save the Queen". The band had recently acquired a new bassist, Sid Vicious, who was seen as exemplifying the punk persona.[146] The swearing during the Grundy interview and the controversy over "God Save the Queen" led to a moral panic.[147]

Scores of new punk groups formed around the United Kingdom, as far from London as Belfast's Stiff Little Fingers and Dunfermline, Scotland's the Skids. Though most survived only briefly, perhaps recording a small-label single or two, others set off new trends. Crass, from Essex, merged a vehement, straight-ahead punk rock style with a committed anarchist mission, and played a major role in the emerging anarcho-punk movement.[148] Sham 69, London's Menace, and the Angelic Upstarts from South Shields in the Northeast combined a similarly stripped-down sound with populist lyrics, a style that became known as street punk. These expressly working-class bands contrasted with others in the second wave that presaged the post-punk phenomenon. Liverpool's first punk group, Big in Japan, moved in a glam, theatrical direction.[149] The band did not survive long, but it spun off several well-known post-punk acts.[150] The songs of London's Wire were characterized by sophisticated lyrics, minimalist arrangements, and extreme brevity.[151]

Alongside thirteen original songs that would define classic punk rock, the Clash's debut had included a cover of the recent Jamaican reggae hit "Police and Thieves".[152] Other first wave bands such as the Slits and new entrants to the scene like the Ruts and the Police interacted with the reggae and ska subcultures, incorporating their rhythms and production styles. The punk rock phenomenon helped spark a full-fledged ska revival movement known as 2 Tone, centered on bands such as the Specials, the Beat, Madness and the Selecter.[153] In July, the Sex Pistols' third single, "Pretty Vacant", reached number six and Australia's the Saints had a top-forty hit with "This Perfect Day".[154]

In September, Generation X and the Clash reached the top forty with, respectively, "Your Generation" and "Complete Control". X-Ray Spex's "Oh Bondage Up Yours!" did not chart, but it became a requisite item for punk fans.[155] The BBC banned "Oh Bondage Up Yours!" due to its controversial lyrics.[156] In October, the Sex Pistols hit number eight with "Holidays in the Sun", followed by the release of their first and only "official" album, Never Mind the Bollocks, Here's the Sex Pistols. Inspiring yet another round of controversy, it topped the British charts. In December, one of the first books about punk rock was published: The Boy Looked at Johnny, by Julie Burchill and Tony Parsons.[157]

Australia

In February 1977, EMI released the Saints' debut album, (I'm) Stranded, which the band recorded in two days.[158] The Saints had relocated to Sydney; in April, they and Radio Birdman united for a major gig at Paddington Town Hall.[159] Last Words had also formed in the city. The following month, the Saints relocated again, to Great Britain. In June, Radio Birdman released the album Radios Appear on its own Trafalgar label.[160]

1979–1984: Schism and diversification

 
Flipper, performing in 1984

By 1979, the hardcore punk movement was emerging in Southern California. A rivalry developed between adherents of the new sound and the older punk rock crowd. Hardcore, appealing to a younger, more suburban audience, was perceived by some as anti-intellectual, overly violent, and musically limited. In Los Angeles, the opposing factions were often described as "Hollywood punks" and "beach punks", referring to Hollywood's central position in the original L.A. punk rock scene and to hardcore's popularity in the shoreline communities of South Bay and Orange County.[161]

In contrast to North America, more of the bands from the original British punk movement remained active, sustaining extended careers even as their styles evolved and diverged. Meanwhile, the Oi! and anarcho-punk movements were emerging. Musically in the same aggressive vein as American hardcore, they addressed different constituencies with overlapping but distinct anti-establishment messages. As described by Dave Laing, "The model for self-proclaimed punk after 1978 derived from the Ramones via the eight-to-the-bar rhythms most characteristic of the Vibrators and Clash. ... It became essential to sound one particular way to be recognized as a 'punk band' now."[162] In February 1979, former Sex Pistols bassist Sid Vicious died of a heroin overdose in New York. If the Sex Pistols' breakup the previous year had marked the end of the original UK punk scene and its promise of cultural transformation, for many the death of Vicious signified that it had been doomed from the start.[163]

By the turn of the decade, the punk rock movement had split deeply along cultural and musical lines, leaving a variety of derivative scenes and forms. On one side were new wave and post-punk artists; some adopted more accessible musical styles and gained broad popularity, while some turned in more experimental, less commercial directions. On the other side, hardcore punk, Oi!, and anarcho-punk bands became closely linked with underground cultures and spun off an array of subgenres.[164] Somewhere in between, pop-punk groups created blends like that of the ideal record, as defined by Mekons cofounder Kevin Lycett: "a cross between Abba and the Sex Pistols".[165] A range of other styles emerged, many of them fusions with long-established genres. The Clash album London Calling, released in December 1979, exemplified the breadth of classic punk's legacy. Combining punk rock with reggae, ska, R&B, and rockabilly, it went on to be acclaimed as one of the best rock records ever.[166] At the same time, as observed by Flipper singer Bruce Loose, the relatively restrictive hardcore scenes diminished the variety of music that could once be heard at many punk gigs.[130] If early punk, like most rock scenes, was ultimately male-oriented, the hardcore and Oi! scenes were significantly more so, marked in part by the slam dancing and moshing with which they became identified.[167]

New wave

Main article: New wave music
 
Debbie Harry performing in Toronto in 1977

In 1976—first in London, then in the United States—"New Wave" was introduced as a complementary label for the formative scenes and groups also known as "punk"; the two terms were essentially interchangeable.[168] NME journalist Roy Carr is credited with proposing the term's use (adopted from the cinematic French New Wave of the 1960s) in this context.[169] Over time, "new wave" acquired a distinct meaning: bands such as Blondie and Talking Heads from the CBGB scene; the Cars, who emerged from the Rat in Boston; the Go-Go's in Los Angeles; and the Police in London that were broadening their instrumental palette, incorporating dance-oriented rhythms, and working with more polished production were specifically designated "new wave" and no longer called "punk". Dave Laing suggests that some punk-identified British acts pursued the new wave label in order to avoid radio censorship and make themselves more palatable to concert bookers.[170]

Bringing elements of punk rock music and fashion into more pop-oriented, less "dangerous" styles, new wave artists became very popular on both sides of the Atlantic.[171] New wave became a catch-all term,[172] encompassing disparate styles such as 2 Tone ska, the mod revival inspired by the Jam, the sophisticated pop-rock of Elvis Costello and XTC, the New Romantic phenomenon typified by Ultravox, synthpop groups like Tubeway Army (which had started out as a straight-ahead punk band) and Human League, and the sui generis subversions of Devo, who had gone "beyond punk before punk even properly existed".[173] New wave crossed into the mainstream with the debut of the cable television network MTV in 1981, which put many new wave videos into regular rotation.[174]

Post-punk

Main article: Post-punk

During 1976–77, in the midst of the original UK punk movement, bands emerged such as Manchester's Joy Division, the Fall, and Magazine, Leeds' Gang of Four, and London's the Raincoats that became central post-punk figures. Some bands classified as post-punk, such as Throbbing Gristle and Cabaret Voltaire, had been active well before the punk scene coalesced;[175] others, such as Siouxsie and the Banshees and the Slits, transitioned from punk rock into post-punk. A few months after the Sex Pistols' breakup, John Lydon (no longer "Rotten") cofounded Public Image Ltd. Lora Logic, formerly of X-Ray Spex, founded Essential Logic. Killing Joke formed in 1979. These bands were often musically experimental; the term "post-punk" is used to describe sounds that were more dark and abrasive—sometimes verging on the atonal, as with Subway Sect and Wire. The bands incorporated a range of influences ranging from Syd Barrett, Captain Beefheart, David Bowie to Roxy Music to Krautrock.

Post-punk brought together a new fraternity of musicians, journalists, managers, and entrepreneurs; the latter, notably Geoff Travis of Rough Trade and Tony Wilson of Factory, helped to develop the production and distribution infrastructure of the indie music scene that blossomed in the mid-1980s.[176] Smoothing the edges of their style in the direction of new wave, several post-punk bands such as New Order and The Cure crossed over to a mainstream U.S. audience. Others, like Gang of Four, the Raincoats and Throbbing Gristle, who had little more than cult followings at the time, are seen in retrospect as significant influences on modern popular culture.[177]

Television's debut album Marquee Moon, released in 1977, is frequently cited as a seminal album in the field.[178] The no wave movement that developed in New York in the late 1970s, with artists such as Lydia Lunch and James Chance, is often treated as the phenomenon's U.S. parallel.[179] The later work of Ohio protopunk pioneers Pere Ubu is also commonly described as post-punk.[180] One of the most influential American post-punk bands was Boston's Mission of Burma, who brought abrupt rhythmic shifts derived from hardcore into a highly experimental musical context.[181] In 1980, Australia's Boys Next Door moved to London and changed their name to the Birthday Party, which evolved into Nick Cave and the Bad Seeds. Led by the Primitive Calculators, Melbourne's Little Band scene further explored the possibilities of post-punk.[182] The original post-punk bands were highly influential on 1990s and 2000s alternative rock musicians.[183]

Hardcore

Main article: Hardcore punk
 
Bad Brains at 9:30 Club, Washington, D.C., 1983

A distinctive style of punk, characterized by superfast, aggressive beats, screaming vocals, and often politically aware lyrics, began to emerge in 1978 among bands scattered around the United States and Canada. The first major scene of what came to be known as hardcore punk developed in Southern California in 1978–79, initially around such punk bands as the Germs and Fear.[184] The movement soon spread around North America and internationally.[185][186] According to author Steven Blush, "Hardcore comes from the bleak suburbs of America. Parents moved their kids out of the cities to these horrible suburbs to save them from the 'reality' of the cities and what they ended up with was this new breed of monster".[18]

Among the earliest hardcore bands, regarded as having made the first recordings in the style, were Southern California's Middle Class and Black Flag.[186] Bad Brains — all of whom were black, a rarity in punk of any era — launched the D.C. scene with their rapid-paced single "Pay to Cum" in 1980.[185] Austin, Texas's Big Boys, San Francisco's Dead Kennedys, and Vancouver's D.O.A. and were among the other initial hardcore groups.[citation needed] They were soon joined by bands such as the Minutemen, Descendents, and Circle Jerks in Southern California; D.C.'s Minor Threat and State of Alert; and Austin's MDC. By 1981, hardcore was the dominant punk rock style not only in California, but much of the rest of North America as well.[187] A New York hardcore scene grew, including the relocated Bad Brains, New Jersey's Misfits and Adrenalin O.D., and local acts such as the Mob, Reagan Youth, and Agnostic Front. Beastie Boys, who would become famous as a hip-hop group, debuted that year as a hardcore band. They were followed by the Cro-Mags, Murphy's Law, and Leeway.[188] By 1983, St. Paul's Hüsker Dü, Willful Neglect, Chicago's Naked Raygun, Indianapolis's Zero Boys, and D.C.'s the Faith were taking the hardcore sound in experimental and ultimately more melodic directions.[189] Hardcore would constitute the American punk rock standard throughout the decade.[190] The lyrical content of hardcore songs is often critical of commercial culture and middle-class values, as in Dead Kennedys' celebrated "Holiday in Cambodia" (1980).[191]

Straight edge bands like Minor Threat, Boston's SS Decontrol, and Reno, Nevada's 7 Seconds rejected the self-destructive lifestyles of their peers, and built a movement based on positivity and abstinence from cigarettes, alcohol, drugs, and casual sex.[192]

Skate punk innovators pointed in other directions: including Venice, California's Suicidal Tendencies who had a formative effect on the heavy metal–influenced crossover thrash style. Toward the middle of the decade, D.R.I spawned the superfast thrashcore genre.[193]

Oi!

Main article: Oi!
 
"Punks Not Dead"
The title track of the Exploited's debut, Punks Not Dead, the top independent UK album of 1981.[194] The song exemplifies the Oi! sound as "harsher, darker, and cruder" than first wave punk.[195]
Problems playing this file? See media help.

Following the lead of first-wave British punk bands Cock Sparrer and Sham 69, in the late 1970s second-wave groups like Cockney Rejects, Angelic Upstarts, the Exploited, and the 4-Skins sought to realign punk rock with a working class, street-level following.[196][197] They believed the music needed to stay "accessible and unpretentious", in the words of music historian Simon Reynolds.[198] Their style was originally called "real punk" or street punk; Sounds journalist Garry Bushell is credited with labelling the genre Oi! in 1980. The name is partly derived from the Cockney Rejects' habit of shouting "Oi! Oi! Oi!" before each song, instead of the time-honored "1,2,3,4!"[199]

The Oi! movement was fueled by a sense that many participants in the early punk rock scene were, in the words of the Business guitarist Steve Kent, "trendy university people using long words, trying to be artistic ... and losing touch".[200] According to Bushell, "Punk was meant to be of the voice of the dole queue, and in reality most of them were not. But Oi was the reality of the punk mythology. In the places where [these bands] came from, it was harder and more aggressive and it produced just as much quality music."[201] Lester Bangs described Oi! as "politicized football chants for unemployed louts".[202] One song in particular, the Exploited's "Punks Not Dead", spoke to an international constituency. It was adopted as an anthem by the groups of disaffected Mexican urban youth known in the 1980s as bandas; one banda named itself PND, after the song's initials.[203]

Although most Oi! bands in the initial wave were apolitical or left wing, many of them began to attract a white power skinhead following. Racist skinheads sometimes disrupted Oi! concerts by shouting fascist slogans and starting fights, but some Oi! bands were reluctant to endorse criticism of their fans from what they perceived as the "middle-class establishment".[204] In the popular imagination, the movement thus became linked to the far right.[205] Strength Thru Oi!, an album compiled by Bushell and released in May 1981, stirred controversy, especially when it was revealed that the belligerent figure on the cover was a neo-Nazi jailed for racist violence (Bushell claimed ignorance).[206] On July 3, a concert at Hamborough Tavern in Southall featuring the Business, the 4-Skins, and the Last Resort was firebombed by local Asian youths who believed that the event was a neo-Nazi gathering.[207] Following the Southall riot, press coverage increasingly associated Oi! with the extreme right, and the movement soon began to lose momentum.[208]

Anarcho-punk

Main article: Anarcho-punk
 
Crass were the originators of anarcho-punk.[209] Spurning the "cult of rock star personality", their plain, all-black dress became a staple of the genre.[210]

Anarcho-punk developed alongside the Oi! and American hardcore movements. Inspired by Crass, its Dial House commune, and its independent Crass Records label, a scene developed around British bands such as Subhumans, Flux of Pink Indians, Conflict, Poison Girls, and the Apostles that was as concerned with anarchist and DIY principles as it was with music. The acts featured ranting vocals, discordant instrumental sounds, primitive production values, and lyrics filled with political and social content, often addressing issues such as class inequalities and military violence.[211] Anarcho-punk disdained the older punk scene from which theirs had evolved. In historian Tim Gosling's description, they saw "safety pins and Mohicans as little more than ineffectual fashion posturing stimulated by the mainstream media and industry. ... Whereas the Sex Pistols would proudly display bad manners and opportunism in their dealings with 'the establishment,' the anarcho-punks kept clear of 'the establishment' altogether".[212]

The movement spun off several subgenres of a similar political bent. Discharge, founded back in 1977, established D-beat in the early 1980s. Other groups in the movement, led by Amebix and Antisect, developed the extreme style known as crust punk. Several of these bands rooted in anarcho-punk such as the Varukers, Discharge, and Amebix, along with former Oi! groups such as the Exploited and bands from farther afield like Birmingham's Charged GBH, became the leading figures in the UK 82 hardcore movement. The anarcho-punk scene also spawned bands such as Napalm Death, Carcass, and Extreme Noise Terror that in the mid-1980s defined grindcore, incorporating extremely fast tempos and death metal–style guitarwork.[213] Led by Dead Kennedys, a U.S. anarcho-punk scene developed around such bands as Austin's MDC and Southern California's Another Destructive System.[214]

Pop punk

Main article: Pop-punk
 
Ben Weasel of pop punk band Screeching Weasel

With their love of the Beach Boys and late 1960s bubblegum pop, the Ramones paved the way to what became known as pop punk.[215] In the late 1970s, UK bands such as Buzzcocks and the Undertones combined pop-style tunes and lyrical themes with punk's speed and chaotic edge.[216] In the early 1980s, some of the leading bands in Southern California's hardcore punk rock scene emphasized a more melodic approach than was typical of their peers. According to music journalist Ben Myers, Bad Religion "layered their pissed off, politicized sound with the smoothest of harmonies"; Descendents "wrote almost surfy, Beach Boys-inspired songs about girls and food and being young(ish)".[217] Epitaph Records, founded by Brett Gurewitz of Bad Religion, was the base for many future pop punk bands. The mainstream pop punk of latter-day bands such as Blink-182 is criticized by many punk rock fans; in critic Christine Di Bella's words, "It's punk taken to its most accessible point, a point where it barely reflects its lineage at all, except in the three-chord song structures."[218]

Other fusions and directions

See also: Punk rock subgenres

From 1977 on, punk rock crossed lines with many other popular music genres. Los Angeles punk rock bands laid the groundwork for a wide variety of styles: the Flesh Eaters with deathrock; the Plugz with Chicano punk; and Gun Club with punk blues. The Meteors, from South London, and the Cramps were innovators in the psychobilly fusion style.[219] Milwaukee's Violent Femmes jumpstarted the American folk punk scene, while the Pogues did the same on the other side of the Atlantic.[220] Other artists to fuse elements of folk music into punk included R.E.M. and the Proclaimers.[221]

Legacy and later developments

Alternative rock

Main article: Alternative rock
 
Dave Grohl, later of Nirvana, in 1989

The underground punk rock movement inspired countless bands that either evolved from a punk rock sound or brought its outsider spirit to very different kinds of music. The original punk explosion also had a long-term effect on the music industry, spurring the growth of the independent sector.[222] During the early 1980s, British bands like New Order and the Cure that straddled the lines of post-punk and new wave developed both new musical styles and a distinctive industrial niche. Though commercially successful over an extended period, they maintained an underground-style, subcultural identity.[223] In the United States, bands such as Hüsker Dü and their Minneapolis protégés the Replacements bridged the gap between punk rock genres like hardcore and the more melodic, explorative realm of what was then called "college rock".[224]

In 1985, Rolling Stone declared that "Primal punk is passé. The best of the American punk rockers have moved on. They have learned how to play their instruments. They have discovered melody, guitar solos and lyrics that are more than shouted political slogans. Some of them have even discovered the Grateful Dead."[225] By the mid-to-late 1980s, these bands, who had largely eclipsed their punk rock and post-punk forebears in popularity, were classified broadly as alternative rock. Alternative rock encompasses a diverse set of styles—including indie rock, gothic rock, dream pop, shoegaze, and grunge, among others—unified by their debt to punk rock and their origins outside of the musical mainstream.[226]

As American alternative bands like Sonic Youth, which had grown out of the no wave scene, and Boston's Pixies started to gain larger audiences, major labels sought to capitalize on the underground market.[227] In 1991, Nirvana emerged from Washington State's underground, DIY grunge scene; after recording their first album, Bleach in 1989 for about $600, the band achieved huge (and unexpected) commercial success with its second album, Nevermind. The band's members cited punk rock as a key influence on their style.[228] "Punk is musical freedom", wrote frontman Kurt Cobain. "It's saying, doing, and playing what you want."[229] Nirvana's success opened the door to mainstream popularity for a wide range of other "left-of-the-dial" acts, such as Pearl Jam and Red Hot Chili Peppers, and fueled the alternative rock boom of the early and mid-1990s.[226][230]

During the early 1990's, new alternative forms of punk rock began to fuse with heavy metal and hip hop music. Rage Against the Machine released their eponymous debut studio album Rage Against the Machine in November 1992, to commercial and critical acclaim. The band presented itself with politically-themed, revolutionary lyrical content, accompanied by the aggressive vocal delivery of lead singer Zack de la Rocha. Rage Against the Machine would go on to achieve back-to-back number 1 debuts on the Billboard 200, with their second studio album, Evil Empire (1996), and their third studio album, The Battle of Los Angeles (1999).

In a 2016 interview with Audio Ink Radio, Rage Against the Machine bassist Tim Commerford was asked about the band's status as a punk band:[231]

Rage is a punk band. We were a punk band and our ethics were punk. We didn’t do anything that anyone wanted us to do. We only did what we wanted to do and that is the essence of punk rock.

— Tim Commerford

Queercore

 
Queercore band Pansy Division performing in 2016
Further information: Queercore

In the 1990s, the queercore movement developed around a number of punk bands with gay, lesbian, bisexual, or genderqueer members such as God Is My Co-Pilot, Pansy Division, Team Dresch, and Sister George. Inspired by openly gay punk musicians of an earlier generation such as Jayne County, Phranc, and Randy Turner, and bands like Nervous Gender, the Screamers, and Coil, queercore embraces a variety of punk and other alternative music styles. Queercore lyrics often treat the themes of prejudice, sexual identity, gender identity, and individual rights. The movement has continued into the 21st century, supported by festivals such as Queeruption.[232]

Riot grrrl

Further information: Riot grrrl
 
Riot grrrl band Bratmobile in 1994

The riot grrrl movement, a significant aspect in the formation of the Third Wave feminist movement, was organized by taking the values and rhetoric of punk and using it to convey feminist messages.[233][234] In 1991, a concert of female-led bands at the International Pop Underground Convention in Olympia, Washington, heralded the emerging riot grrrl phenomenon. Billed as "Love Rock Revolution Girl Style Now", the concert's lineup included Bikini Kill, Bratmobile, Heavens to Betsy, L7, and Mecca Normal.[235] The riot grrrl movement foregrounded feminist concerns and progressive politics in general; the DIY ethic and fanzines were also central elements of the scene.[236] This movement relied on media and technology to spread their ideas and messages, creating a cultural-technological space for feminism to voice their concerns.[233] They embodied the punk perspective, taking the anger and emotions and creating a separate culture from it. With riot grrrl, they were grounded in girl punk past, but also rooted in modern feminism.[234] Tammy Rae Carbund, from Mr. Lady Records, explains that without riot grrrl bands, "[women] would have all starved to death culturally."[237]

Singer-guitarists Corin Tucker of Heavens to Betsy and Carrie Brownstein of Excuse 17, bands active in both the queercore and riot grrrl scenes, cofounded the indie/punk band Sleater-Kinney in 1994. Bikini Kill's lead singer, Kathleen Hanna, the iconic figure of riot grrrl, moved on to form the art punk group Le Tigre in 1998.[238]

Punk revival and mainstream success

 
Green Day singer/guitarist Billie Joe Armstrong, with bassist Mike Dirnt to the right
 
Fat Mike of NOFX at Bizarre festival in cologne germany in 1995

Late 1970s punk music was anti-conformity and anti-mainstream, and achieved limited commercial success. By the 1990s, punk rock was sufficiently ingrained in Western culture that punk trappings were often used to market highly commercial bands as "rebels". Marketers capitalized on the style and hipness of punk rock to such an extent that a 1993 ad campaign for an automobile, the Subaru Impreza, claimed that the car was "like punk rock".[239]

In 1993, California's Green Day and Bad Religion were both signed to major labels. The next year, Green Day put out Dookie, which sold nine million albums in the United States in just over two years.[240] Bad Religion's Stranger Than Fiction was certified gold.[241] Other California punk bands on the independent label Epitaph, run by Bad Religion guitarist Brett Gurewitz, also began achieving mainstream popularity. In 1994, Epitaph released Let's Go by Rancid, Punk in Drublic by NOFX, and Smash by the Offspring, each eventually certified gold or better. That June, Green Day's "Longview" reached number one on Billboard's Modern Rock Tracks chart and became a top forty airplay hit, arguably the first ever American punk song to do so; just one month later, the Offspring's "Come Out and Play" followed suit. MTV and radio stations such as Los Angeles' KROQ-FM played a major role in these bands' crossover success, though NOFX refused to let MTV air its videos.[242]

Following the lead Boston's Mighty Mighty Bosstones and Anaheim's No Doubt, ska punk and ska-core became widely popular in the mid-1990s.[243] ...And Out Come the Wolves, the 1995 album by Rancid became the first record in the ska revival to be certified gold;[244] Sublime's self-titled 1996 album was certified platinum early in 1997.[240] In Australia, two popular groups, skatecore band Frenzal Rhomb and pop punk act Bodyjar, also established followings in Japan.[245]

Green Day and Dookie's enormous sales paved the way for a host of bankable North American pop punk bands in the following decade.[246] With punk rock's renewed visibility came concerns among some in the punk community that the music was being co-opted by the mainstream.[242] They argued that by signing to major labels and appearing on MTV, punk bands like Green Day were buying into a system that punk was created to challenge.[247] Such controversies have been part of the punk culture since 1977, when the Clash were widely accused of "selling out" for signing with CBS Records.[248] The Vans Warped Tour and the mall chain store Hot Topic brought punk even further into the U.S. mainstream.[249]

The Offspring's 1998 album Americana, released by the major Columbia label, debuted at number two on the album chart. A bootleg MP3 of Americana's first single, "Pretty Fly (for a White Guy)", made it onto the Internet and was downloaded a record 22 million times—illegally.[250] The following year, Enema of the State, the first major-label release by pop punk band Blink-182, reached the top ten and sold four million copies in under twelve months.[240] On February 19, 2000, the album's second single, "All the Small Things", peaked at number 6 on the Billboard Hot 100. While they were viewed as Green Day "acolytes",[251] critics also found teen pop acts such as Britney Spears, the Backstreet Boys, and 'N Sync suitable points of comparison for Blink-182's sound and market niche.[252] The band's Take Off Your Pants and Jacket (2001) and Untitled (2003) respectively rose to numbers one and three on the album chart. In November 2003, The New Yorker described how the "giddily puerile" act had "become massively popular with the mainstream audience, a demographic formerly considered untouchable by punk-rock purists."[253]

Other new North American pop punk bands, though often critically dismissed, also achieved major sales in the first decade of the 2000s. Ontario's Sum 41 reached the Canadian top ten with its 2001 debut album, All Killer No Filler, which eventually went platinum in the United States. The record included the number one U.S. Alternative hit "Fat Lip", which incorporated verses of what one critic called "brat rap".[254] Elsewhere around the world, "punkabilly" band the Living End became major stars in Australia with their self-titled 1998 debut.[255]

The effect of commercialization on the music became an increasingly contentious issue. As observed by scholar Ross Haenfler, many punk fans "despise corporate punk rock", typified by bands Sum 41 and Blink 182.[256]

See also

Suggested viewing

Notes

  1. ^ In the Kingsmen's version, the song's "El Loco Cha-Cha" riffs were pared down to a more simple and primitive rock arrangement providing a stylistic model for countless garage rock bands.[46][47]
  2. ^ The Ramones' 1978 'I Don't Want You,' was largely Kinks-influenced.[52]
  3. ^ Reed describes the Clash's emergence as a "tight ball of energy with both an image and rhetoric reminiscent of a young Pete Townshend—speed obsession, pop-art clothing, art school ambition."[53] The Who and the Small Faces were among the few rock elders acknowledged by the Sex Pistols.[54]
  4. ^ Robert Christgau writing for the Village Voice in October 1971 refers to "mid-60s punk" as a historical period of rock-and-roll.[74]

References

  1. ^ "Grunge". AllMusic. from the original on January 18, 2017. Retrieved August 24, 2012.
  2. ^ a b Robb (2006), p. xi.
  3. ^ Ramone, Tommy, "Fight Club", Uncut, January 2007.
  4. ^ a b McLaren, Malcolm, "Punk Celebrates 30 Years of Subversion" January 15, 2020, at the Wayback Machine, BBC News, August 18, 2006. Retrieved on January 17, 2006.
  5. ^ Christgau, Robert, "Please Kill Me: The Uncensored Oral History of Punk, by Legs McNeil and Gillian McCain" (review) October 20, 2019, at the Wayback Machine, New York Times Book Review, 1996. Retrieved on January 17, 2007.
  6. ^ Christgau, Robert (1981). "Consumer Guide '70s: S". Christgau's Record Guide: Rock Albums of the Seventies. Ticknor & Fields. ISBN 978-0899190266. from the original on April 13, 2019. Retrieved February 21, 2019.
  7. ^ a b Laing, Dave. One Chord Wonders: Power and Meaning in Punk Rock. PM Press, 2015. p. 18
  8. ^ Rodel (2004), p. 237; Bennett (2001), pp. 49–50.
  9. ^ Savage (1992), pp. 280–281, including reproduction of the original image. Several sources incorrectly ascribe the illustration to the leading fanzine of the London punk scene, Sniffin' Glue (e.g., Wells [2004], p. 5; Sabin [1999], p. 111). Robb (2006) ascribes it to the Stranglers' in-house fanzine, Strangled (p. 311).
  10. ^ Harris (2004), p. 202.
  11. ^ Reynolds (2005), p. 4.
  12. ^ Jeffries, Stuart. "A Right Royal Knees-Up". The Guardian. July 20, 2007.
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External links

 
Wikimedia Commons has media related to Punk rock.
 
Look up punk rock in Wiktionary, the free dictionary.
 
Wikiquote has quotations related to Punk rock.
  • Fales Library of NYU Downtown Collection archival collection with the personal papers of NYC punk figures.
  • 1990 essay by rock critic A.S. Van Dorston
  • , by Robert Christgau, The Village Voice, January 9, 1978
  • Southend Punk Rock History 1976 - 1986, a detailed site containing information on the Punk Rock explosion as experienced by Southend-on-Sea, Essex, UK
  • Schmock Fanzine, 1984 Germany's first english-language punk rock fanzine from Wildberg, West Germany

December 26, 2022
punk, rock, 1960s, genre, also, known, punk, rock, garage, rock, play, punk, rock, play, also, known, simply, punk, music, genre, that, emerged, 1970s, rooted, 1960s, garage, rock, punk, bands, rejected, perceived, excesses, mainstream, 1970s, rock, music, the. For the 1960s genre also known as punk rock see Garage rock For the play see Punk Rock play Punk rock also known as simply punk is a music genre that emerged in the mid 1970s Rooted in 1960s garage rock punk bands rejected the perceived excesses of mainstream 1970s rock music They typically produced short fast paced songs with hard edged melodies and singing styles stripped down instrumentation and often shouted political anti establishment lyrics Punk embraces a DIY ethic many bands self produce recordings and distribute them through independent record labels Punk rockOther namesPunkStylistic originsGarage rock proto punk rock and roll rockabilly hard rock glam rock pub rockCultural originsMid 1970s United States United Kingdom and AustraliaDerivative formsAlternative rock pop punk new wave indie rock industrial no wave noise rock NWOBHM speed metal thrash metal post punk glam punkSubgenresAnarcho punk art punk hardcore punk horror punk Oi pop punk post hardcore queercore riot grrrl skate punk street punk complete list Fusion genres2 Tone anti folk cowpunk dance punk deathrock folk punk garage punk grebo grunge 1 Gypsy punk pop punk psychobilly punk blues punk jazz ska punk punk rapRegional scenesAustralia Basque Country Brazil California Cuba Canada France Germany Peru Philadelphia Scotland Spain Yugoslavia GreeceLocal scenesBirmingham Leeds New York CityOther topicsDIY ethic list of bands 0 K list of bands L Z list of festivals punk fashion History of the punk subculture punk subculture punk zine timelineThe term punk rock was previously used by American rock critics in the early 1970s to describe the mid 1960s garage bands Certain late 1960s and early 1970s Detroit acts such as MC5 and Iggy and the Stooges and other bands from elsewhere created out of the mainstream music that became highly influential on what was to come Glam rock in the UK and the New York Dolls from New York have also been cited as key influences When the movement now bearing the name developed from 1974 to 1976 prominent acts included Television Patti Smith and the Ramones in New York City the Saints in Brisbane and the Sex Pistols the Clash and the Damned in London and the Buzzcocks in Manchester By late 1976 punk became a major cultural phenomenon in the UK It led to a punk subculture expressing youthful rebellion through distinctive styles of clothing such as deliberately offensive T shirts leather jackets studded or spiked bands and jewellery safety pins and bondage and S amp M clothes In 1977 the influence of the music and subculture spread worldwide It took root in a wide range of local scenes that often rejected affiliation with the mainstream In the late 1970s punk experienced a second wave when new acts that were not active during its formative years adopted the style By the early 1980s faster and more aggressive subgenres such as hardcore punk e g Minor Threat Oi e g the Exploited and anarcho punk e g Crass became the predominant modes of punk rock Many musicians identifying with or inspired by punk went on to pursue other musical directions giving rise to movements such as post punk new wave and alternative rock Following alternative rock s mainstream breakthrough in the 1990s with Nirvana punk rock saw renewed major label interest and mainstream appeal with the rise of the California bands Green Day Social Distortion Rancid the Offspring Bad Religion and NOFX Contents 1 Characteristics 1 1 Outlook 1 2 Musical and lyrical elements 1 3 Visual and other elements 2 Precursors 2 1 Garage rock and beat 2 2 Proto punk 3 Etymology 4 1974 1976 Early history 4 1 North America 4 1 1 New York City 4 2 United Kingdom 4 3 Australia 5 1977 1978 Second wave 5 1 North America 5 2 United Kingdom 5 3 Australia 6 1979 1984 Schism and diversification 6 1 New wave 6 2 Post punk 6 3 Hardcore 6 4 Oi 6 5 Anarcho punk 6 6 Pop punk 6 7 Other fusions and directions 7 Legacy and later developments 7 1 Alternative rock 7 2 Queercore 7 3 Riot grrrl 7 4 Punk revival and mainstream success 8 See also 9 Suggested viewing 10 Notes 11 References 12 Sources 13 External linksCharacteristics EditSee also Punk subculture and List of punk artists and styles Outlook Edit The first wave of punk rock was aggressively modern and differed from what came before 2 According to Ramones drummer Tommy Ramone In its initial form a lot of 1960s stuff was innovative and exciting Unfortunately what happens is that people who could not hold a candle to the likes of Hendrix started noodling away Soon you had endless solos that went nowhere By 1973 I knew that what was needed was some pure stripped down no bullshit rock n roll 3 John Holmstrom founding editor of Punk magazine recalls feeling punk rock had to come along because the rock scene had become so tame that acts like Billy Joel and Simon and Garfunkel were being called rock and roll when to me and other fans rock and roll meant this wild and rebellious music 4 According to Robert Christgau punk scornfully rejected the political idealism and Californian flower power silliness of hippie myth 5 Hippies were rainbow extremists punks are romantics of black and white Hippies forced warmth punks cultivate cool Hippies kidded themselves about free love punks pretend that s amp m is our condition As symbols of protest swastikas are no less fatuous than flowers Robert Christgau in Christgau s Record Guide 1981 6 Technical accessibility and a do it yourself DIY spirit are prized in punk rock UK pub rock from 1972 to 1975 contributed to the emergence of punk rock by developing a network of small venues such as pubs where non mainstream bands could play 7 Pub rock also introduced the idea of independent record labels such as Stiff Records which put out basic low cost records 7 Pub rock bands organized their own small venue tours and put out small pressings of their records In the early days of punk rock this DIY ethic stood in marked contrast to what those in the scene regarded as the ostentatious musical effects and technological demands of many mainstream rock bands 8 Musical virtuosity was often looked on with suspicion According to Holmstrom punk rock was rock and roll by people who didn t have very many skills as musicians but still felt the need to express themselves through music 4 In December 1976 the English fanzine Sideburns published a now famous illustration of three chords captioned This is a chord this is another this is a third Now form a band 9 British punk rejected contemporary mainstream rock the broader culture it represented and their music predecessors No Elvis Beatles or the Rolling Stones in 1977 declared the Clash song 1977 10 1976 when the punk revolution began in Britain became a musical and a cultural Year Zero 11 As nostalgia was discarded many in the scene adopted a nihilistic attitude summed up by the Sex Pistols slogan No Future 2 in the later words of one observer amid the unemployment and social unrest in 1977 punk s nihilistic swagger was the most thrilling thing in England 12 While self imposed alienation was common among drunk punks and gutter punks there was always a tension between their nihilistic outlook and the radical leftist utopianism 13 of bands such as Crass who found positive liberating meaning in the movement As a Clash associate describes singer Joe Strummer s outlook Punk rock is meant to be our freedom We re meant to be able to do what we want to do 14 Authenticity has always been important in the punk subculture the pejorative term poseur is applied to those who adopt its stylistic attributes but do not to share or understand its underlying values and philosophy Scholar Daniel S Traber argues that attaining authenticity in the punk identity can be difficult as the punk scene matured he observes eventually everyone got called a poseur 15 Musical and lyrical elements Edit Vocalist Johnny Rotten and guitarist Steve Jones of the Sex Pistols The early punk bands emulated the minimal musical arrangements of 1960s garage rock 16 Typical punk rock instrumentation is stripped down to one or two guitars bass drums and vocals Songs tend to be shorter than those of other rock genres and played at fast tempos 17 Most early punk rock songs retained a traditional rock n roll verse chorus form and 4 4 time signature However later bands often broke from this format 18 The vocals are sometimes nasal 19 and the lyrics often shouted in an arrogant snarl rather than conventionally sung 20 21 Complicated guitar solos were considered self indulgent although basic guitar breaks were common 22 Guitar parts tend to include highly distorted power chords or barre chords creating a characteristic sound described by Christgau as a buzzsaw drone 23 Some punk rock bands take a surf rock approach with a lighter twangier guitar tone Others such as Robert Quine lead guitarist of the Voidoids have employed a wild gonzo attack a style that stretches back through the Velvet Underground to the 1950s recordings of Ike Turner 24 Bass guitar lines are often uncomplicated the quintessential approach is a relentless repetitive forced rhythm 25 although some punk rock bass players such as Mike Watt of the Minutemen and Firehose emphasize more technical bass lines Bassists often use a pick due to the rapid succession of notes making fingerpicking impractical Drums typically sound heavy and dry and often have a minimal set up Compared to other forms of rock syncopation is much less the rule 26 Hardcore drumming tends to be especially fast 20 Production tends to be minimalistic with tracks sometimes laid down on home tape recorders 27 or four track portastudios 28 Punk rock lyrics are typically blunt and confrontational compared to the lyrics of other popular music genres they often focus on social and political issues 29 Trend setting songs such as the Clash s Career Opportunities and Chelsea s Right to Work deal with unemployment and the grim realities of urban life 30 Especially in early British punk a central goal was to outrage and shock the mainstream 31 The Sex Pistols Anarchy in the U K and God Save the Queen openly disparaged the British political system and social mores Anti sentimental depictions of relationships and sex are common as in Love Comes in Spurts recorded by the Voidoids Anomie variously expressed in the poetic terms of Hell s Blank Generation and the bluntness of the Ramones Now I Wanna Sniff Some Glue is a common theme 32 The controversial content of punk lyrics led to some punk records being banned by radio stations and refused shelf space in major chain stores 33 Christgau said that Punk is so tied up with the disillusions of growing up that punks do often age poorly 34 Visual and other elements Edit Further information Punk fashion 1980s punks with leather jackets and dyed mohawk hairstyles The classic punk rock look among male American musicians harkens back to the T shirt motorcycle jacket and jeans ensemble favored by American greasers of the 1950s associated with the rockabilly scene and by British rockers of the 1960s In addition to the T shirt and leather jackets they wore ripped jeans and boots typically Doc Martens The punk look was inspired to shock people Richard Hell s more androgynous ragamuffin look and reputed invention of the safety pin aesthetic was a major influence on Sex Pistols impresario Malcolm McLaren and in turn British punk style 35 36 John D Morton of Cleveland s Electric Eels may have been the first rock musician to wear a safety pin covered jacket 37 McLaren s partner fashion designer Vivienne Westwood credits Johnny Rotten as the first British punk to rip his shirt and Sex Pistols bassist Sid Vicious as the first to use safety pins 38 although few of those following punk could afford to buy McLaren and Westwood s designs so famously worn by the Pistols so they made their own diversifying the look with various different styles based on these designs Young women in punk demolished the typical female types in rock of either coy sex kittens or wronged blues belters in their fashion 39 Early female punk musicians displayed styles ranging from Siouxsie Sioux s bondage gear to Patti Smith s straight from the gutter androgyny 40 The former proved much more influential on female fan styles 41 Over time tattoos piercings and metal studded and spiked accessories became increasingly common elements of punk fashion among both musicians and fans a style of adornment calculated to disturb and outrage 42 Among the other facets of the punk rock scene a punk s hair is an important way of showing their freedom of expression 43 The typical male punk haircut was originally short and choppy the mohawk later emerged as a characteristic style 44 Along with the mohawk long spikes have been associated with the punk rock genre 43 Precursors EditGarage rock and beat Edit See also Garage rock Proto punk Mod subculture and Beat music The early to mid 1960s garage rock bands in the United States and elsewhere are often recognized as punk rock s progenitors The Kingsmen s Louie Louie is often cited as punk rock s defining ur text 45 nb 1 After the success of the British Invasion the garage phenomenon gathered momentum around the US 48 By 1965 the harder edged sound of British acts such as the Rolling Stones the Kinks and the Who became increasingly influential with American garage bands 49 The raw sound of U S groups such as the Sonics and the Seeds predicted the style of later acts 49 In the early 1970s some rock critics used the term punk rock to refer to the mid 1960s garage genre 21 as well as for subsequent acts perceived to be in that stylistic tradition such as the Stooges and others 50 In England largely under the influence of the mod movement and beat groups the Kinks 1964 hit singles You Really Got Me and All Day and All of the Night were both influenced by Louie Louie 51 nb 2 In 1965 the Who released the mod anthem My Generation which according to John Reed anticipated the kind of cerebral mix of musical ferocity and rebellious posture that would characterize much of the later British punk rock of the 1970s 53 nb 3 The garage beat phenomenon extended beyond North America and Britain 55 Proto punk Edit In August 1969 the Stooges from Ann Arbor premiered with a self titled album According to critic Greil Marcus the band led by singer Iggy Pop created the sound of Chuck Berry s Airmobile after thieves stripped it for parts 56 The album was produced by John Cale a former member of New York s experimental rock group the Velvet Underground who inspired many of those involved in the creation of punk rock 57 The New York Dolls updated 1950s rock n roll in a fashion that later became known as glam punk 58 The New York duo Suicide played spare experimental music with a confrontational stage act inspired by that of the Stooges 59 In Boston the Modern Lovers led by Jonathan Richman minimalistic style gained attention In 1974 as well the Detroit band Death made up of three African American brothers recorded scorching blasts of feral ur punk but could not arrange a release deal 60 In Ohio a small but influential underground rock scene emerged led by Devo in Akron 61 and Kent and by Cleveland s Electric Eels Mirrors and Rocket from the Tombs Bands anticipating the forthcoming movement were appearing as far afield as Dusseldorf West Germany where punk before punk band Neu formed in 1971 building on the Krautrock tradition of groups such as Can 62 In Japan the anti establishment Zunō Keisatsu ja Brain Police mixed garage psych and folk The combo regularly faced censorship challenges their live act at least once including onstage masturbation 63 A new generation of Australian garage rock bands inspired mainly by the Stooges and MC5 was coming closer to the sound that would soon be called punk In Brisbane the Saints evoked the live sound of the British Pretty Things who had toured Australia and New Zealand in 1975 64 Etymology EditBetween the late 16th and the 18th centuries punk was a common coarse synonym for prostitute William Shakespeare used it with that meaning in The Merry Wives of Windsor 1602 and Measure for Measure 1603 4 65 The term eventually came to describe a young male hustler a gangster a hoodlum or a ruffian 66 The first known use of the phrase punk rock appeared in the Chicago Tribune on March 22 1970 when Ed Sanders cofounder of New York s anarcho prankster band the Fugs described his first solo album as punk rock redneck sentimentality 67 68 In 1969 Sanders recorded a song for album called Street Punk but it was only released in 2008 67 In the December 1970 issue of Creem Lester Bangs mocking more mainstream rock musicians ironically referred to Iggy Pop as that Stooge punk 69 Suicide s Alan Vega credits this usage with inspiring his duo to bill its gigs as punk music or a punk mass for the next couple of years 70 In the March 1971 issue of Creem critic Greg Shaw wrote about the Shadows of Knight s hard edge punk sound In an April 1971 issue of Rolling Stone he referred to a track by the Guess Who as good not too imaginative punk rock and roll The same month John Medelsohn described Alice Cooper s album Love It To Death as nicely wrought mainstream punk raunch 71 Dave Marsh used the term in the May 1971 issue of Creem where he described and the Mysterians as giving a landmark exposition of punk rock 72 Later in 1971 in his fanzine Who Put the Bomp Greg Shaw wrote about what I have chosen to call punkrock bands white teenage hard rock of 64 66 Standells Kingsmen Shadows of Knight etc 73 nb 4 Lester Bangs used the term punk rock in several articles written in the early 1970s to refer to mid 1960s garage acts 75 In the liner notes of the 1972 anthology LP Nuggets musician and rock journalist Lenny Kaye later a member of the Patti Smith Group used the term punk rock to describe the genre of 1960s garage bands and garage punk to describe a song recorded in 1966 by the Shadows of Knight 76 Nick Kent referred to Iggy Pop as the Punk Messiah of the Teenage Wasteland in his review of the Stooges July 1972 performance at King s Cross Cinema in London for a British magazine called Cream no relation to the more famous US publication 77 In the January 1973 Rolling Stone review of Nuggets Greg Shaw commented Punk rock is a fascinating genre Punk rock at its best is the closest we came in the 60s to the original rockabilly spirit of Rock n Roll 78 In February 1973 Terry Atkinson of the Los Angeles Times reviewing the debut album by a hard rock band Aerosmith declared that it achieves all that punk rock bands strive for but most miss 79 A March 1973 review of an Iggy and the Stooges show in the Detroit Free Press dismissively referred to Pop as the apothesis of Detroit punk music 80 In May 1973 Billy Altman launched the short lived punk magazine in Buffalo NY which was largely devoted to discussion of 1960s garage and psychedelic acts 81 82 Iggy Pop the godfather of punk 83 In May 1974 Los Angeles Times critic Robert Hilburn reviewed the second New York Dolls album Too Much Too Soon I told ya the New York Dolls were the real thing he wrote describing the album as perhaps the best example of raw thumb your nose at the world punk rock since the Rolling Stones Exile on Main Street 84 In a 1974 interview for his fanzine Heavy Metal Digest Danny Sugerman told Iggy Pop You went on record as saying you never were a punk and Iggy replied well I ain t I never was a punk 85 By 1975 punk was being used to describe acts as diverse as the Patti Smith Group the Bay City Rollers and Bruce Springsteen 86 As the scene at New York s CBGB club attracted notice a name was sought for the developing sound Club owner Hilly Kristal called the movement Street rock John Holmstrom credits Aquarian magazine with using punk to describe what was going on at CBGBs 87 Holmstrom Legs McNeil and Ged Dunn s magazine Punk which debuted at the end of 1975 was crucial in codifying the term 88 It was pretty obvious that the word was getting very popular Holmstrom later remarked We figured we d take the name before anyone else claimed it We wanted to get rid of the bullshit strip it down to rock n roll We wanted the fun and liveliness back 86 1974 1976 Early history EditNorth America Edit New York City Edit The origins of New York s punk rock scene can be traced back to such sources as late 1960s trash culture and an early 1970s underground rock movement centered on the Mercer Arts Center in Greenwich Village where the New York Dolls performed 89 In early 1974 a new scene began to develop around the CBGB club also in Lower Manhattan At its core was Television described by critic John Walker as the ultimate garage band with pretensions 90 Their influences ranged from the Velvet Underground to the staccato guitar work of Dr Feelgood s Wilko Johnson 91 The band s bassist singer Richard Hell created a look with cropped ragged hair ripped T shirts and black leather jackets credited as the basis for punk rock visual style 92 In April 1974 Patti Smith came to CBGB for the first time to see the band perform 93 A veteran of independent theater and performance poetry Smith was developing an intellectual feminist take on rock n roll On June 5 she recorded the single Hey Joe Piss Factory featuring Television guitarist Tom Verlaine released on her own Mer Records label it heralded the scene s DIY ethic and has often been cited as the first punk rock record 94 By August Smith and Television were gigging together at Max s Kansas City 92 Facade of legendary music club CBGB New York In Forest Hills Queens the Ramones drew on sources ranging from the Stooges to the Beatles and the Beach Boys to Herman s Hermits and 1960s girl groups and condensed rock n roll to its primal level 1 2 3 4 bass player Dee Dee Ramone shouted at the start of every song as if the group could barely master the rudiments of rhythm 95 The band played its first show at CBGB in August 1974 96 By the end of the year the Ramones had performed seventy four shows each about seventeen minutes long 97 When I first saw the Ramones critic Mary Harron later remembered I couldn t believe people were doing this The dumb brattiness 98 That spring Smith and Television shared a two month long weekend residency at CBGB that significantly raised the club s profile 99 The Television sets included Richard Hell s Blank Generation which became the scene s emblematic anthem 100 Soon after Hell left Television and founded a band featuring a more stripped down sound the Heartbreakers with former New York Dolls Johnny Thunders and Jerry Nolan 35 In August Television recorded a single Little Johnny Jewel In the words of John Walker the record was a turning point for the whole New York scene if not quite for the punk rock sound itself Hell s departure had left the band significantly reduced in fringe aggression 90 Early in 1976 Hell left the Heartbreakers to form the Voidoids described as one of the most harshly uncompromising punk bands 101 That April the Ramones debut album was released by Sire Records the first single was Blitzkrieg Bop opening with the rally cry Hey Ho Let s go According to a later description Like all cultural watersheds Ramones was embraced by a discerning few and slagged off as a bad joke by the uncomprehending majority 102 The Cramps whose core members were from Sacramento California and Akron Ohio had debuted at CBGB in November 1976 opening for the Dead Boys They were soon playing regularly at Max s Kansas City and CBGB 103 At this early stage the term punk applied to the scene in general not necessarily a particular stylistic approach as it would later the early New York punk bands represented a broad variety of influences Among them the Ramones the Heartbreakers Richard Hell and the Voidoids and the Dead Boys were establishing a distinct musical style Even where they diverged most clearly in lyrical approach the Ramones apparent guilelessness at one extreme Hell s conscious craft at the other there was an abrasive attitude in common Their shared attributes of minimalism and speed however had not yet come to define punk rock 104 United Kingdom Edit Anarchy in the U K source source With its inflammatory venomous lyrics and crude energy the Sex Pistols debut single Anarchy in the U K established punk s modus operandi 105 Producer Chris Thomas layered multiple tracks of Steve Jones s guitar to create a searing wall of sound 106 while Johnny Rotten spewed the vocals as if his teeth had been ground down to points 107 Problems playing this file See media help After a brief period unofficially managing the New York Dolls Briton Malcolm McLaren returned to London in May 1975 inspired by the new scene he had witnessed at CBGB The King s Road clothing store he co owned recently renamed Sex was building a reputation with its outrageous anti fashion 108 Among those who frequented the shop were members of a band called the Strand which McLaren had also been managing In August the group was seeking a new lead singer Another Sex habitue Johnny Rotten auditioned for and won the job Adopting a new name the group played its first gig as the Sex Pistols on 6 November 1975 at Saint Martin s School of Art and soon attracted a small but dedicated following 109 In February 1976 the band received its first significant press coverage guitarist Steve Jones declared that the Sex Pistols were not so much into music as they were chaos 110 The band often provoked its crowds into near riots Rotten announced to one audience Bet you don t hate us as much as we hate you 111 McLaren envisioned the Sex Pistols as central players in a new youth movement hard and tough 112 As described by critic Jon Savage the band members embodied an attitude into which McLaren fed a new set of references late sixties radical politics sexual fetish material pop history youth sociology 113 The Clash performing in 1980 Bernard Rhodes an associate of McLaren similarly aimed to make stars of the band London SS who became the Clash which was joined by Joe Strummer 114 On 4 June 1976 the Sex Pistols played Manchester s Lesser Free Trade Hall in what became one of the most influential rock shows ever Among the approximately forty audience members were the two locals who organised the gig they had formed Buzzcocks after seeing the Sex Pistols in February Others in the small crowd went on to form Joy Division the Fall and in the 1980s the Smiths 115 In July the Ramones played two London shows that helped spark the nascent UK punk scene 116 Over the next several months many new punk rock bands formed often directly inspired by the Sex Pistols 117 In London women were near the center of the scene among the initial wave of bands were the female fronted Siouxsie and the Banshees and X Ray Spex and the all female the Slits There were female bassists Gaye Advert in the Adverts and Shanne Bradley in the Nipple Erectors while Sex store frontwoman Jordan not only managed Adam and the Ants but also performed screaming vocals on their song Lou Other groups included Subway Sect Alternative TV Wire the Stranglers Eater and Generation X Farther afield Sham 69 began practicing in the southeastern town of Hersham In Durham there was Penetration with lead singer Pauline Murray On September 20 21 the 100 Club Punk Festival in London featured the Sex Pistols Clash Damned and Buzzcocks as well as Paris s female lead Stinky Toys Siouxsie and the Banshees and Subway Sect debuted on the festival s first night On the festival s second night audience member Sid Vicious was arrested having thrown a glass at the Damned that shattered and destroyed a girl s eye Press coverage of the incident reinforced punk s reputation as a social menace 118 Some new bands such as London s Ultravox Edinburgh s Rezillos Manchester s the Fall and Leamington s the Shapes identified with the scene even as they pursued more experimental music Others of a comparatively traditional rock n roll bent were also swept up by the movement the Vibrators formed as a pub rock style act in February 1976 soon adopted a punk look and sound 119 A few even longer active bands including Surrey neo mods the Jam and pub rockers Eddie and the Hot Rods the Stranglers and Cock Sparrer also became associated with the punk rock scene Alongside the musical roots shared with their American counterparts and the calculated confrontationalism of the early Who the British punks also reflected the influence of glam rock and related artists and bands such as David Bowie Slade T Rex and Roxy Music 120 In October 1976 the Damned released the first UK punk rock band single New Rose 121 The Vibrators followed the next month with We Vibrate On 26 November 1976 the Sex Pistols released their debut single Anarchy in the U K which succeeded in its goal of becoming a national scandal 122 Jamie Reid s anarchy flag poster and his other design work for the Sex Pistols helped establish a distinctive punk visual aesthetic 123 On 1 December 1976 an incident took place that sealed punk rock s notorious reputation when the Sex Pistols and several members of the Bromley Contingent including Siouxsie Sioux and Steve Severin filled a vacancy for Queen on the early evening Thames Television London television show Today to be interviewed by host Bill Grundy When Sex Pistols guitarist Steve Jones was goaded by Grundy to say something outrageous Jones proceeded to call Grundy a dirty bastard a dirty fucker and a fucking rotter on live television triggering a media controversy 124 Two days later the Sex Pistols the Clash the Damned and the Heartbreakers set out on the Anarchy Tour a series of gigs throughout the UK Many of the shows were cancelled by venue owners in response to the media outrage following the Grundy interview 125 Australia Edit A punk subculture began in Australia around the same time centered around Radio Birdman and the Oxford Tavern in Sydney s Darlinghurst suburb By 1976 the Saints were hiring Brisbane local halls to use as venues or playing in Club 76 their shared house in the inner suburb of Petrie Terrace The band soon discovered that musicians were exploring similar paths in other parts of the world Ed Kuepper co founder of the Saints later recalled One thing I remember having had a really depressing effect on me was the first Ramones album When I heard it in 1976 I mean it was a great record but I hated it because I knew we d been doing this sort of stuff for years There was even a chord progression on that album that we used and I thought Fuck We re going to be labeled as influenced by the Ramones when nothing could have been further from the truth 126 In Perth the Cheap Nasties formed in August 127 In September 1976 the Saints became the first punk rock band outside the U S to release a recording the single I m Stranded The band self financed packaged and distributed the single 128 I m Stranded had limited impact at home but the British music press recognized it as groundbreaking 129 1977 1978 Second wave EditA second wave of punk rock emerged in 1977 These bands often sounded very different from each other 130 While punk remained largely an underground phenomenon in the US in the UK it had become a major sensation 131 132 North America Edit The California punk scene was fully developed by early 1977 In Los Angeles there were the Weirdos the Zeros the Bags Black Randy and the Metrosquad the Germs Fear The Go Go s X the Dickies and the relocated Tupperwares now dubbed the Screamers 133 Black Flag then Panic formed in Hermosa Beach in 1976 They developed a hardcore punk sound and played their debut public performance in a garage in Redondo Beach in December 1977 134 San Francisco s second wave included the Avengers The Nuns Negative Trend the Mutants and the Sleepers 135 By mid 1977 in downtown New York bands such as Teenage Jesus and the Jerks led what became known as no wave 136 The Misfits formed in nearby New Jersey Still developing what would become their signature B movie inspired style later dubbed horror punk they made their first appearance at CBGB in April 1977 137 The Misfits developed a horror punk style in New Jersey The Dead Boys debut LP Young Loud and Snotty was released at the end of August 138 October saw two more debut albums from the scene Richard Hell and the Voidoids first full length Blank Generation and the Heartbreakers L A M F 139 One track on the latter exemplified both the scene s close knit character and the popularity of heroin within it Chinese Rocks the title refers to a strong form of the drug was written by Dee Dee Ramone and Hell both users as were the Heartbreakers Thunders and Nolan 140 During the Heartbreakers 1976 and 1977 tours of Britain Thunders played a central role in popularizing heroin among the punk crowd there as well 141 The Ramones third album Rocket to Russia appeared in November 1977 142 United Kingdom Edit The Sex Pistols live TV skirmish with Bill Grundy on December 1 1976 was the signal moment in British punk s transformation into a major media phenomenon even as some stores refused to stock the records and radio airplay was hard to come by 143 Press coverage of punk misbehavior grew intense On January 4 1977 The Evening News of London ran a front page story on how the Sex Pistols vomited and spat their way to an Amsterdam flight 144 In February 1977 the first album by a British punk band appeared Damned Damned Damned by the Damned reached number thirty six on the UK chart The EP Spiral Scratch self released by Manchester s Buzzcocks was a benchmark for both the DIY ethic and regionalism in the country s punk movement 145 The Clash s self titled debut album came out two months later and rose to number twelve the single White Riot entered the top forty In May the Sex Pistols achieved new heights of controversy and number two on the singles chart with God Save the Queen The band had recently acquired a new bassist Sid Vicious who was seen as exemplifying the punk persona 146 The swearing during the Grundy interview and the controversy over God Save the Queen led to a moral panic 147 Scores of new punk groups formed around the United Kingdom as far from London as Belfast s Stiff Little Fingers and Dunfermline Scotland s the Skids Though most survived only briefly perhaps recording a small label single or two others set off new trends Crass from Essex merged a vehement straight ahead punk rock style with a committed anarchist mission and played a major role in the emerging anarcho punk movement 148 Sham 69 London s Menace and the Angelic Upstarts from South Shields in the Northeast combined a similarly stripped down sound with populist lyrics a style that became known as street punk These expressly working class bands contrasted with others in the second wave that presaged the post punk phenomenon Liverpool s first punk group Big in Japan moved in a glam theatrical direction 149 The band did not survive long but it spun off several well known post punk acts 150 The songs of London s Wire were characterized by sophisticated lyrics minimalist arrangements and extreme brevity 151 Alongside thirteen original songs that would define classic punk rock the Clash s debut had included a cover of the recent Jamaican reggae hit Police and Thieves 152 Other first wave bands such as the Slits and new entrants to the scene like the Ruts and the Police interacted with the reggae and ska subcultures incorporating their rhythms and production styles The punk rock phenomenon helped spark a full fledged ska revival movement known as 2 Tone centered on bands such as the Specials the Beat Madness and the Selecter 153 In July the Sex Pistols third single Pretty Vacant reached number six and Australia s the Saints had a top forty hit with This Perfect Day 154 In September Generation X and the Clash reached the top forty with respectively Your Generation and Complete Control X Ray Spex s Oh Bondage Up Yours did not chart but it became a requisite item for punk fans 155 The BBC banned Oh Bondage Up Yours due to its controversial lyrics 156 In October the Sex Pistols hit number eight with Holidays in the Sun followed by the release of their first and only official album Never Mind the Bollocks Here s the Sex Pistols Inspiring yet another round of controversy it topped the British charts In December one of the first books about punk rock was published The Boy Looked at Johnny by Julie Burchill and Tony Parsons 157 Australia Edit In February 1977 EMI released the Saints debut album I m Stranded which the band recorded in two days 158 The Saints had relocated to Sydney in April they and Radio Birdman united for a major gig at Paddington Town Hall 159 Last Words had also formed in the city The following month the Saints relocated again to Great Britain In June Radio Birdman released the album Radios Appear on its own Trafalgar label 160 1979 1984 Schism and diversification Edit Flipper performing in 1984 By 1979 the hardcore punk movement was emerging in Southern California A rivalry developed between adherents of the new sound and the older punk rock crowd Hardcore appealing to a younger more suburban audience was perceived by some as anti intellectual overly violent and musically limited In Los Angeles the opposing factions were often described as Hollywood punks and beach punks referring to Hollywood s central position in the original L A punk rock scene and to hardcore s popularity in the shoreline communities of South Bay and Orange County 161 In contrast to North America more of the bands from the original British punk movement remained active sustaining extended careers even as their styles evolved and diverged Meanwhile the Oi and anarcho punk movements were emerging Musically in the same aggressive vein as American hardcore they addressed different constituencies with overlapping but distinct anti establishment messages As described by Dave Laing The model for self proclaimed punk after 1978 derived from the Ramones via the eight to the bar rhythms most characteristic of the Vibrators and Clash It became essential to sound one particular way to be recognized as a punk band now 162 In February 1979 former Sex Pistols bassist Sid Vicious died of a heroin overdose in New York If the Sex Pistols breakup the previous year had marked the end of the original UK punk scene and its promise of cultural transformation for many the death of Vicious signified that it had been doomed from the start 163 By the turn of the decade the punk rock movement had split deeply along cultural and musical lines leaving a variety of derivative scenes and forms On one side were new wave and post punk artists some adopted more accessible musical styles and gained broad popularity while some turned in more experimental less commercial directions On the other side hardcore punk Oi and anarcho punk bands became closely linked with underground cultures and spun off an array of subgenres 164 Somewhere in between pop punk groups created blends like that of the ideal record as defined by Mekons cofounder Kevin Lycett a cross between Abba and the Sex Pistols 165 A range of other styles emerged many of them fusions with long established genres The Clash album London Calling released in December 1979 exemplified the breadth of classic punk s legacy Combining punk rock with reggae ska R amp B and rockabilly it went on to be acclaimed as one of the best rock records ever 166 At the same time as observed by Flipper singer Bruce Loose the relatively restrictive hardcore scenes diminished the variety of music that could once be heard at many punk gigs 130 If early punk like most rock scenes was ultimately male oriented the hardcore and Oi scenes were significantly more so marked in part by the slam dancing and moshing with which they became identified 167 New wave Edit Main article New wave music Debbie Harry performing in Toronto in 1977 In 1976 first in London then in the United States New Wave was introduced as a complementary label for the formative scenes and groups also known as punk the two terms were essentially interchangeable 168 NME journalist Roy Carr is credited with proposing the term s use adopted from the cinematic French New Wave of the 1960s in this context 169 Over time new wave acquired a distinct meaning bands such as Blondie and Talking Heads from the CBGB scene the Cars who emerged from the Rat in Boston the Go Go s in Los Angeles and the Police in London that were broadening their instrumental palette incorporating dance oriented rhythms and working with more polished production were specifically designated new wave and no longer called punk Dave Laing suggests that some punk identified British acts pursued the new wave label in order to avoid radio censorship and make themselves more palatable to concert bookers 170 Bringing elements of punk rock music and fashion into more pop oriented less dangerous styles new wave artists became very popular on both sides of the Atlantic 171 New wave became a catch all term 172 encompassing disparate styles such as 2 Tone ska the mod revival inspired by the Jam the sophisticated pop rock of Elvis Costello and XTC the New Romantic phenomenon typified by Ultravox synthpop groups like Tubeway Army which had started out as a straight ahead punk band and Human League and the sui generis subversions of Devo who had gone beyond punk before punk even properly existed 173 New wave crossed into the mainstream with the debut of the cable television network MTV in 1981 which put many new wave videos into regular rotation 174 Post punk Edit Main article Post punk During 1976 77 in the midst of the original UK punk movement bands emerged such as Manchester s Joy Division the Fall and Magazine Leeds Gang of Four and London s the Raincoats that became central post punk figures Some bands classified as post punk such as Throbbing Gristle and Cabaret Voltaire had been active well before the punk scene coalesced 175 others such as Siouxsie and the Banshees and the Slits transitioned from punk rock into post punk A few months after the Sex Pistols breakup John Lydon no longer Rotten cofounded Public Image Ltd Lora Logic formerly of X Ray Spex founded Essential Logic Killing Joke formed in 1979 These bands were often musically experimental the term post punk is used to describe sounds that were more dark and abrasive sometimes verging on the atonal as with Subway Sect and Wire The bands incorporated a range of influences ranging from Syd Barrett Captain Beefheart David Bowie to Roxy Music to Krautrock Post punk brought together a new fraternity of musicians journalists managers and entrepreneurs the latter notably Geoff Travis of Rough Trade and Tony Wilson of Factory helped to develop the production and distribution infrastructure of the indie music scene that blossomed in the mid 1980s 176 Smoothing the edges of their style in the direction of new wave several post punk bands such as New Order and The Cure crossed over to a mainstream U S audience Others like Gang of Four the Raincoats and Throbbing Gristle who had little more than cult followings at the time are seen in retrospect as significant influences on modern popular culture 177 Television s debut album Marquee Moon released in 1977 is frequently cited as a seminal album in the field 178 The no wave movement that developed in New York in the late 1970s with artists such as Lydia Lunch and James Chance is often treated as the phenomenon s U S parallel 179 The later work of Ohio protopunk pioneers Pere Ubu is also commonly described as post punk 180 One of the most influential American post punk bands was Boston s Mission of Burma who brought abrupt rhythmic shifts derived from hardcore into a highly experimental musical context 181 In 1980 Australia s Boys Next Door moved to London and changed their name to the Birthday Party which evolved into Nick Cave and the Bad Seeds Led by the Primitive Calculators Melbourne s Little Band scene further explored the possibilities of post punk 182 The original post punk bands were highly influential on 1990s and 2000s alternative rock musicians 183 Hardcore Edit Main article Hardcore punk Bad Brains at 9 30 Club Washington D C 1983 A distinctive style of punk characterized by superfast aggressive beats screaming vocals and often politically aware lyrics began to emerge in 1978 among bands scattered around the United States and Canada The first major scene of what came to be known as hardcore punk developed in Southern California in 1978 79 initially around such punk bands as the Germs and Fear 184 The movement soon spread around North America and internationally 185 186 According to author Steven Blush Hardcore comes from the bleak suburbs of America Parents moved their kids out of the cities to these horrible suburbs to save them from the reality of the cities and what they ended up with was this new breed of monster 18 Among the earliest hardcore bands regarded as having made the first recordings in the style were Southern California s Middle Class and Black Flag 186 Bad Brains all of whom were black a rarity in punk of any era launched the D C scene with their rapid paced single Pay to Cum in 1980 185 Austin Texas s Big Boys San Francisco s Dead Kennedys and Vancouver s D O A and were among the other initial hardcore groups citation needed They were soon joined by bands such as the Minutemen Descendents and Circle Jerks in Southern California D C s Minor Threat and State of Alert and Austin s MDC By 1981 hardcore was the dominant punk rock style not only in California but much of the rest of North America as well 187 A New York hardcore scene grew including the relocated Bad Brains New Jersey s Misfits and Adrenalin O D and local acts such as the Mob Reagan Youth and Agnostic Front Beastie Boys who would become famous as a hip hop group debuted that year as a hardcore band They were followed by the Cro Mags Murphy s Law and Leeway 188 By 1983 St Paul s Husker Du Willful Neglect Chicago s Naked Raygun Indianapolis s Zero Boys and D C s the Faith were taking the hardcore sound in experimental and ultimately more melodic directions 189 Hardcore would constitute the American punk rock standard throughout the decade 190 The lyrical content of hardcore songs is often critical of commercial culture and middle class values as in Dead Kennedys celebrated Holiday in Cambodia 1980 191 Straight edge bands like Minor Threat Boston s SS Decontrol and Reno Nevada s 7 Seconds rejected the self destructive lifestyles of their peers and built a movement based on positivity and abstinence from cigarettes alcohol drugs and casual sex 192 Skate punk innovators pointed in other directions including Venice California s Suicidal Tendencies who had a formative effect on the heavy metal influenced crossover thrash style Toward the middle of the decade D R I spawned the superfast thrashcore genre 193 Oi Edit Main article Oi Punks Not Dead source source The title track of the Exploited s debut Punks Not Dead the top independent UK album of 1981 194 The song exemplifies the Oi sound as harsher darker and cruder than first wave punk 195 Problems playing this file See media help Following the lead of first wave British punk bands Cock Sparrer and Sham 69 in the late 1970s second wave groups like Cockney Rejects Angelic Upstarts the Exploited and the 4 Skins sought to realign punk rock with a working class street level following 196 197 They believed the music needed to stay accessible and unpretentious in the words of music historian Simon Reynolds 198 Their style was originally called real punk or street punk Sounds journalist Garry Bushell is credited with labelling the genre Oi in 1980 The name is partly derived from the Cockney Rejects habit of shouting Oi Oi Oi before each song instead of the time honored 1 2 3 4 199 The Oi movement was fueled by a sense that many participants in the early punk rock scene were in the words of the Business guitarist Steve Kent trendy university people using long words trying to be artistic and losing touch 200 According to Bushell Punk was meant to be of the voice of the dole queue and in reality most of them were not But Oi was the reality of the punk mythology In the places where these bands came from it was harder and more aggressive and it produced just as much quality music 201 Lester Bangs described Oi as politicized football chants for unemployed louts 202 One song in particular the Exploited s Punks Not Dead spoke to an international constituency It was adopted as an anthem by the groups of disaffected Mexican urban youth known in the 1980s as bandas one banda named itself PND after the song s initials 203 Although most Oi bands in the initial wave were apolitical or left wing many of them began to attract a white power skinhead following Racist skinheads sometimes disrupted Oi concerts by shouting fascist slogans and starting fights but some Oi bands were reluctant to endorse criticism of their fans from what they perceived as the middle class establishment 204 In the popular imagination the movement thus became linked to the far right 205 Strength Thru Oi an album compiled by Bushell and released in May 1981 stirred controversy especially when it was revealed that the belligerent figure on the cover was a neo Nazi jailed for racist violence Bushell claimed ignorance 206 On July 3 a concert at Hamborough Tavern in Southall featuring the Business the 4 Skins and the Last Resort was firebombed by local Asian youths who believed that the event was a neo Nazi gathering 207 Following the Southall riot press coverage increasingly associated Oi with the extreme right and the movement soon began to lose momentum 208 Anarcho punk Edit Main article Anarcho punk Crass were the originators of anarcho punk 209 Spurning the cult of rock star personality their plain all black dress became a staple of the genre 210 Anarcho punk developed alongside the Oi and American hardcore movements Inspired by Crass its Dial House commune and its independent Crass Records label a scene developed around British bands such as Subhumans Flux of Pink Indians Conflict Poison Girls and the Apostles that was as concerned with anarchist and DIY principles as it was with music The acts featured ranting vocals discordant instrumental sounds primitive production values and lyrics filled with political and social content often addressing issues such as class inequalities and military violence 211 Anarcho punk disdained the older punk scene from which theirs had evolved In historian Tim Gosling s description they saw safety pins and Mohicans as little more than ineffectual fashion posturing stimulated by the mainstream media and industry Whereas the Sex Pistols would proudly display bad manners and opportunism in their dealings with the establishment the anarcho punks kept clear of the establishment altogether 212 The movement spun off several subgenres of a similar political bent Discharge founded back in 1977 established D beat in the early 1980s Other groups in the movement led by Amebix and Antisect developed the extreme style known as crust punk Several of these bands rooted in anarcho punk such as the Varukers Discharge and Amebix along with former Oi groups such as the Exploited and bands from farther afield like Birmingham s Charged GBH became the leading figures in the UK 82 hardcore movement The anarcho punk scene also spawned bands such as Napalm Death Carcass and Extreme Noise Terror that in the mid 1980s defined grindcore incorporating extremely fast tempos and death metal style guitarwork 213 Led by Dead Kennedys a U S anarcho punk scene developed around such bands as Austin s MDC and Southern California s Another Destructive System 214 Pop punk Edit Main article Pop punk Ben Weasel of pop punk band Screeching Weasel With their love of the Beach Boys and late 1960s bubblegum pop the Ramones paved the way to what became known as pop punk 215 In the late 1970s UK bands such as Buzzcocks and the Undertones combined pop style tunes and lyrical themes with punk s speed and chaotic edge 216 In the early 1980s some of the leading bands in Southern California s hardcore punk rock scene emphasized a more melodic approach than was typical of their peers According to music journalist Ben Myers Bad Religion layered their pissed off politicized sound with the smoothest of harmonies Descendents wrote almost surfy Beach Boys inspired songs about girls and food and being young ish 217 Epitaph Records founded by Brett Gurewitz of Bad Religion was the base for many future pop punk bands The mainstream pop punk of latter day bands such as Blink 182 is criticized by many punk rock fans in critic Christine Di Bella s words It s punk taken to its most accessible point a point where it barely reflects its lineage at all except in the three chord song structures 218 Other fusions and directions Edit See also Punk rock subgenres From 1977 on punk rock crossed lines with many other popular music genres Los Angeles punk rock bands laid the groundwork for a wide variety of styles the Flesh Eaters with deathrock the Plugz with Chicano punk and Gun Club with punk blues The Meteors from South London and the Cramps were innovators in the psychobilly fusion style 219 Milwaukee s Violent Femmes jumpstarted the American folk punk scene while the Pogues did the same on the other side of the Atlantic 220 Other artists to fuse elements of folk music into punk included R E M and the Proclaimers 221 Legacy and later developments EditAlternative rock Edit Main article Alternative rock Dave Grohl later of Nirvana in 1989 The underground punk rock movement inspired countless bands that either evolved from a punk rock sound or brought its outsider spirit to very different kinds of music The original punk explosion also had a long term effect on the music industry spurring the growth of the independent sector 222 During the early 1980s British bands like New Order and the Cure that straddled the lines of post punk and new wave developed both new musical styles and a distinctive industrial niche Though commercially successful over an extended period they maintained an underground style subcultural identity 223 In the United States bands such as Husker Du and their Minneapolis proteges the Replacements bridged the gap between punk rock genres like hardcore and the more melodic explorative realm of what was then called college rock 224 In 1985 Rolling Stone declared that Primal punk is passe The best of the American punk rockers have moved on They have learned how to play their instruments They have discovered melody guitar solos and lyrics that are more than shouted political slogans Some of them have even discovered the Grateful Dead 225 By the mid to late 1980s these bands who had largely eclipsed their punk rock and post punk forebears in popularity were classified broadly as alternative rock Alternative rock encompasses a diverse set of styles including indie rock gothic rock dream pop shoegaze and grunge among others unified by their debt to punk rock and their origins outside of the musical mainstream 226 As American alternative bands like Sonic Youth which had grown out of the no wave scene and Boston s Pixies started to gain larger audiences major labels sought to capitalize on the underground market 227 In 1991 Nirvana emerged from Washington State s underground DIY grunge scene after recording their first album Bleach in 1989 for about 600 the band achieved huge and unexpected commercial success with its second album Nevermind The band s members cited punk rock as a key influence on their style 228 Punk is musical freedom wrote frontman Kurt Cobain It s saying doing and playing what you want 229 Nirvana s success opened the door to mainstream popularity for a wide range of other left of the dial acts such as Pearl Jam and Red Hot Chili Peppers and fueled the alternative rock boom of the early and mid 1990s 226 230 During the early 1990 s new alternative forms of punk rock began to fuse with heavy metal and hip hop music Rage Against the Machine released their eponymous debut studio album Rage Against the Machine in November 1992 to commercial and critical acclaim The band presented itself with politically themed revolutionary lyrical content accompanied by the aggressive vocal delivery of lead singer Zack de la Rocha Rage Against the Machine would go on to achieve back to back number 1 debuts on the Billboard 200 with their second studio album Evil Empire 1996 and their third studio album The Battle of Los Angeles 1999 In a 2016 interview with Audio Ink Radio Rage Against the Machine bassist Tim Commerford was asked about the band s status as a punk band 231 Rage is a punk band We were a punk band and our ethics were punk We didn t do anything that anyone wanted us to do We only did what we wanted to do and that is the essence of punk rock Tim Commerford Queercore Edit Queercore band Pansy Division performing in 2016 Further information Queercore In the 1990s the queercore movement developed around a number of punk bands with gay lesbian bisexual or genderqueer members such as God Is My Co Pilot Pansy Division Team Dresch and Sister George Inspired by openly gay punk musicians of an earlier generation such as Jayne County Phranc and Randy Turner and bands like Nervous Gender the Screamers and Coil queercore embraces a variety of punk and other alternative music styles Queercore lyrics often treat the themes of prejudice sexual identity gender identity and individual rights The movement has continued into the 21st century supported by festivals such as Queeruption 232 Riot grrrl Edit Further information Riot grrrl Riot grrrl band Bratmobile in 1994 The riot grrrl movement a significant aspect in the formation of the Third Wave feminist movement was organized by taking the values and rhetoric of punk and using it to convey feminist messages 233 234 In 1991 a concert of female led bands at the International Pop Underground Convention in Olympia Washington heralded the emerging riot grrrl phenomenon Billed as Love Rock Revolution Girl Style Now the concert s lineup included Bikini Kill Bratmobile Heavens to Betsy L7 and Mecca Normal 235 The riot grrrl movement foregrounded feminist concerns and progressive politics in general the DIY ethic and fanzines were also central elements of the scene 236 This movement relied on media and technology to spread their ideas and messages creating a cultural technological space for feminism to voice their concerns 233 They embodied the punk perspective taking the anger and emotions and creating a separate culture from it With riot grrrl they were grounded in girl punk past but also rooted in modern feminism 234 Tammy Rae Carbund from Mr Lady Records explains that without riot grrrl bands women would have all starved to death culturally 237 Singer guitarists Corin Tucker of Heavens to Betsy and Carrie Brownstein of Excuse 17 bands active in both the queercore and riot grrrl scenes cofounded the indie punk band Sleater Kinney in 1994 Bikini Kill s lead singer Kathleen Hanna the iconic figure of riot grrrl moved on to form the art punk group Le Tigre in 1998 238 Punk revival and mainstream success Edit Green Day singer guitarist Billie Joe Armstrong with bassist Mike Dirnt to the right Fat Mike of NOFX at Bizarre festival in cologne germany in 1995 Late 1970s punk music was anti conformity and anti mainstream and achieved limited commercial success By the 1990s punk rock was sufficiently ingrained in Western culture that punk trappings were often used to market highly commercial bands as rebels Marketers capitalized on the style and hipness of punk rock to such an extent that a 1993 ad campaign for an automobile the Subaru Impreza claimed that the car was like punk rock 239 In 1993 California s Green Day and Bad Religion were both signed to major labels The next year Green Day put out Dookie which sold nine million albums in the United States in just over two years 240 Bad Religion s Stranger Than Fiction was certified gold 241 Other California punk bands on the independent label Epitaph run by Bad Religion guitarist Brett Gurewitz also began achieving mainstream popularity In 1994 Epitaph released Let s Go by Rancid Punk in Drublic by NOFX and Smash by the Offspring each eventually certified gold or better That June Green Day s Longview reached number one on Billboard s Modern Rock Tracks chart and became a top forty airplay hit arguably the first ever American punk song to do so just one month later the Offspring s Come Out and Play followed suit MTV and radio stations such as Los Angeles KROQ FM played a major role in these bands crossover success though NOFX refused to let MTV air its videos 242 Following the lead Boston s Mighty Mighty Bosstones and Anaheim s No Doubt ska punk and ska core became widely popular in the mid 1990s 243 And Out Come the Wolves the 1995 album by Rancid became the first record in the ska revival to be certified gold 244 Sublime s self titled 1996 album was certified platinum early in 1997 240 In Australia two popular groups skatecore band Frenzal Rhomb and pop punk act Bodyjar also established followings in Japan 245 Green Day and Dookie s enormous sales paved the way for a host of bankable North American pop punk bands in the following decade 246 With punk rock s renewed visibility came concerns among some in the punk community that the music was being co opted by the mainstream 242 They argued that by signing to major labels and appearing on MTV punk bands like Green Day were buying into a system that punk was created to challenge 247 Such controversies have been part of the punk culture since 1977 when the Clash were widely accused of selling out for signing with CBS Records 248 The Vans Warped Tour and the mall chain store Hot Topic brought punk even further into the U S mainstream 249 The Offspring s 1998 album Americana released by the major Columbia label debuted at number two on the album chart A bootleg MP3 of Americana s first single Pretty Fly for a White Guy made it onto the Internet and was downloaded a record 22 million times illegally 250 The following year Enema of the State the first major label release by pop punk band Blink 182 reached the top ten and sold four million copies in under twelve months 240 On February 19 2000 the album s second single All the Small Things peaked at number 6 on the Billboard Hot 100 While they were viewed as Green Day acolytes 251 critics also found teen pop acts such as Britney Spears the Backstreet Boys and N Sync suitable points of comparison for Blink 182 s sound and market niche 252 The band s Take Off Your Pants and Jacket 2001 and Untitled 2003 respectively rose to numbers one and three on the album chart In November 2003 The New Yorker described how the giddily puerile act had become massively popular with the mainstream audience a demographic formerly considered untouchable by punk rock purists 253 Other new North American pop punk bands though often critically dismissed also achieved major sales in the first decade of the 2000s Ontario s Sum 41 reached the Canadian top ten with its 2001 debut album All Killer No Filler which eventually went platinum in the United States The record included the number one U S Alternative hit Fat Lip which incorporated verses of what one critic called brat rap 254 Elsewhere around the world punkabilly band the Living End became major stars in Australia with their self titled 1998 debut 255 The effect of commercialization on the music became an increasingly contentious issue As observed by scholar Ross Haenfler many punk fans despise corporate punk rock typified by bands Sum 41 and Blink 182 256 See also Edit Rock music portal Women in punk rockSuggested viewing EditAmerican Hardcore 2006 dir Paul Rachman American hardcore punk scene Another State of Mind 1984 dir Adam Small Peter Stuart Social Distortion and Youth Brigade on tour also Minor Threat The Clash Westway to the World 2000 dir Don Letts Story of the Clash The Damned Don t You Wish That We Were Dead 2015 dir Wes Orshoski Story of The Damned The Decline of Western Civilization 1981 dir Penelope Spheeris Early Los Angeles punk scene D O A A Rite of Passage 2014 dir Craig DeLuz Michael Allen Origins of punk rock The Filth and the Fury 2000 dir Julien Temple Story of the Sex Pistols from the band s perspective Punk Rock Britannia Part 1 Pre Punk 1972 1976 2012 dir Andy Dunn Documentary from a three part TV series produced by the BBC Punk Rock Britannia Part 2 Punk 1976 1978 2012 dir Sam Bridger Documentary from a three part TV series produced by the BBC Punk Rock Britannia Part 3 Post Punk 1978 1981 2012 dir Benjamin Whalley Documentary from a three part TV series produced by the BBC The Punk Rock Movie 1978 dir Don Letts The early punk scene in London The Punk Rock Singer 2013 dir Sini Anderson Kathleen Hanna of Bikini Kill and riot grrrl Salad Days A Decade of Punk in Washington DC 2014 dir Scott Crawford DC punk bands and Dischord Records X The Unheard Music 1986 dir W T Morgan Los Angeles band XNotes Edit In the Kingsmen s version the song s El Loco Cha Cha riffs were pared down to a more simple and primitive rock arrangement providing a stylistic model for countless garage rock bands 46 47 The Ramones 1978 I Don t Want You was largely Kinks influenced 52 Reed describes the Clash s emergence as a tight ball of energy with both an image and rhetoric reminiscent of a young Pete Townshend speed obsession pop art clothing art school ambition 53 The Who and the Small Faces were among the few rock elders acknowledged by the Sex Pistols 54 Robert Christgau writing for the Village Voice in October 1971 refers to mid 60s punk as a historical period of rock and roll 74 References Edit Grunge AllMusic Archived from the original on January 18 2017 Retrieved 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Bennett and Kevin Dawe Oxford and New York Berg pp 45 62 ISBN 1 85973 434 0 Berthier Hector Castillo 2001 My Generation Rock and la Banda s Forced Survival Opposite the Mexican State in Rockin las Americas The Global Politics of Rock in Latin o America ed Deborah Pacini Hernandez Pittsburgh University of Pittsburgh Press pp 241 60 ISBN 0 8229 4226 7 Bessman Jim 1993 Ramones An American Band New York St Martin s Press ISBN 0 312 09369 1 Bockris Victor and Roberta Bayley 1999 Patti Smith An Unauthorized Biography New York Simon amp Schuster ISBN 0 684 82363 2 Bolton Andrew Hell Richard Lydon John Savage Jon May 15 2013 Bell Eugenia ed PUNK Chaos to Couture Metropolitan Museum of Art ISBN 978 0 300 19185 1 OCLC 813393428 Boot Adrian and Chris Salewicz 1997 Punk The Illustrated History of a Music Revolution New York Penguin ISBN 0 14 026098 6 Buckley Peter ed 2003 The Rough Guide to Rock London Rough Guides ISBN 1 84353 105 4 Burchill Julie Parsons Tony 1978 The Boy Looked at Johnny The Obituary of Rock and Roll London Pluto Press ISBN 0 86104 030 9 Burns Rob and Wilfried Van Der Will 1995 The Federal Republic 1968 to 1990 From the Industrial Society to the Culture Society in German Cultural Studies An Introduction ed Burns Oxford and New York Oxford University Press pp 257 324 ISBN 0 19 871503 X Campbell Michael with James Brody 2008 Rock and Roll An Introduction 2nd ed Belmont Calif Thomson Schirmer ISBN 0 534 64295 0 Carson Tom 1979 Rocket to Russia in Stranded Rock and Roll for a Desert Island ed Greil Marcus New York Knopf ISBN 0 394 73827 6 Catucci Nick 2004a Blink 182 in The New Rolling Stone Album Guide 4th ed ed Nathan Brackett New York Fireside Books p 85 ISBN 0 7432 0169 8 Catucci Nick 2004b Green Day in The New Rolling Stone Album Guide 4th ed ed Nathan Brackett New York Fireside Books pp 347 48 ISBN 0 7432 0169 8 Colegrave Stephen and Chris Sullivan 2005 Punk The Definitive Record of a Revolution New York Thunder s Mouth ISBN 1 56025 769 5 Coon Caroline 1977 1988 the New Wave and Punk Rock Explosion London Orbach and Chambers ISBN 0 8015 6129 9 Creswell Toby 2006 1001 Songs The Great Songs of All Time and the Artists Stories and Secrets Behind Them New York Thunder s Mouth ISBN 1 56025 915 9 Dickson Paul 1982 Words A Connoisseur s Collection of Old and New Weird and Wonderful Useful and Outlandish Words New York Delacorte ISBN 0 440 09606 5 Diehl Matt 2007 My So Called Punk Green Day Fall Out Boy the Distillers Bad Religion How Neo Punk Stage Dived into the Mainstream New York St Martin s Press ISBN 0 312 33781 7 Dougan John 2002 X Ray Spex in All Music Guide to Rock The Definitive Guide to Rock Pop and Soul 3rd ed eds Vladimir Bogdanov Chris Woodstra and Stephen Thomas Erlewine San Francisco Backbeat Books ISBN 0 87930 653 X Ellis Iain 2008 Rebels Wit Attitude Subversive Rock Humorists Berkeley Calif Soft Skull Press ISBN 1 59376 206 2 Erlewine Stephen Thomas 2002 The Birthday Party in All Music Guide to Rock The Definitive Guide to Rock Pop and Soul 3rd ed eds Vladimir Bogdanov Chris Woodstra and Stephen Thomas Erlewine San Francisco Backbeat Books ISBN 0 87930 653 X Fletcher Tony 2000 Moon The Life and Death of a Rock Legend New York HarperCollins ISBN 0 380 78827 6 Frere Jones Sasha 2004 Bad Brains in The New Rolling Stone Album Guide 4th ed ed Nathan Brackett New York Fireside Books pp 34 35 ISBN 0 7432 0169 8 Friedlander Paul with Peter Miller 2006 Rock and Roll A Social History 2nd ed Boulder Co Westview ISBN 0 8133 4306 2 Friskics Warren Bill 2005 I ll Take You There Pop Music And the Urge for Transcendence New York and London Continuum International ISBN 0 8264 1700 0 Gaar Gillian G 2002 She s a Rebel The History of Women in Rock amp Roll 2nd ed New York Seal ISBN 1 58005 078 6 Gendron Bernard 2002 Between Montmartre and the Mudd Club Popular Music and the Avant Garde Chicago and London University of Chicago Press ISBN 0 226 28735 1 Gimarc George 1997 Post Punk Diary 1980 1982 New York St Martin s Press ISBN 978 0 312 16968 8 Gimarc George 2005 Punk Diary The Ultimate Trainspotter s Guide to Underground Rock 1970 1982 San Francisco Backbeat Books ISBN 978 0 8793 0848 3 Glasper Ian 2004 Burning Britain The History of UK Punk 1980 1984 London Cherry Red Books ISBN 1 901447 24 3 Goodlad Lauren M E and Michael Bibby 2007 Introduction in Goth Undead Subculture ed Goodlad and Bibby Durham N C Duke University Press ISBN 0 8223 3921 8 Gosling Tim 2004 Not for Sale The Underground Network of Anarcho Punk in Music Scenes Local Translocal and Virtual eds Andy Bennett and Richard A Peterson Nashville Tenn Vanderbilt University Press pp 168 83 ISBN 0 8265 1450 2 Gray Marcus 2005 1995 The Clash Return of the Last Gang in Town 5th rev ed London Helter Skelter ISBN 1 905139 10 1 Greenwald Andy 2003 Nothing Feels Good Punk Rock Teenagers and Emo New York St Martin s Press ISBN 0 312 30863 9 Gross Joe 2004 Rancid in The New Rolling Stone Album Guide 4th ed ed Nathan Brackett New York Fireside Books p 677 ISBN 0 7432 0169 8 Haenfler Ross 2006 Straight Edge Hardcore Punk Clean Living Youth and Social Change New Brunswick N J Rutgers University Press ISBN 0 8135 3852 1 Hannon Sharon M 2009 Punks A Guide to an American Subculture Santa Barbara California Greenwood Press ISBN 978 0 313 36456 3 Hardman Emilie 2007 Before You Can Get Off Your Knees Profane Existence and Anarcho Punk as a Social Movement Paper presented at the annual meeting of the American Sociological Association New York City August 11 2007 available online Harrington Joe S 2002 Sonic Cool The Life amp Death of Rock n Roll Milwaukee Hal Leonard ISBN 0 634 02861 8 Harris John 2004 Britpop Cool Britannia and the Spectacular Demise of English Rock Cambridge Massachusetts Da Capo ISBN 0 306 81367 X Hebdige Dick 1987 Cut n Mix Culture Identity and Caribbean Music London Routledge ISBN 0 415 05875 9 Hess Mickey 2007 Is Hip Hop Dead The Past Present and Future of America s Most Wanted Music Westport Conn Praeger ISBN 0 275 99461 9 Heylin Clinton 1993 From the Velvets to the Voidoids The Birth of American Punk Rock Chicago A Cappella Books ISBN 1 55652 575 3 Heylin Clinton 2007 Babylon s Burning From Punk to Grunge New York Canongate ISBN 1 84195 879 4 Home Stewart 1996 Cranked Up Really High Genre Theory and Punk Rock Hove UK Codex ISBN 1 899598 01 4 Jackson Buzzy 2005 A Bad Woman Feeling Good Blues and the Women Who Sing Them New York W W Norton ISBN 0 393 05936 7 James Martin 2003 French Connections From Discotheque to Discovery London Sanctuary ISBN 1 86074 449 4 Keithley Joe 2004 I Shithead A Life in Punk Vancouver Arsenal Pulp Press ISBN 1 55152 148 2 Klein Naomi 2000 No LOGO Taking Aim at the Brand Bullies New York Picador ISBN 0 312 20343 8 Knowles Chris 2003 Clash City Showdown Otsego Mich PageFree ISBN 1 58961 138 1 Laing Dave 1985 One Chord Wonders Power and Meaning in Punk Rock Milton Keynes and Philadelphia Open University Press ISBN 978 0 335 15065 6 Lamey Charles P and Ira Robbins 1991 Exploited in The Trouser Press Record Guide 4th ed ed Ira Robbins New York Collier pp 230 31 ISBN 0 02 036361 3 Leblanc Lauraine 1999 Pretty in Punk Girls Gender Resistance in a Boys Subculture New Brunswick N J Rutgers University Press ISBN 0 8135 2651 5 Lydon John 1995 Rotten No Irish No Blacks No Dogs New York Picador ISBN 0 312 11883 X Mahon Maureen 2008 African Americans and Rock n Roll in African Americans and Popular Culture Volume 3 Music and Popular Art ed Todd Boyd Westport Conn Praeger pp 31 60 ISBN 978 0 275 98925 5 Marcus Greil ed 1979 Stranded Rock and Roll for a Desert Island New York Knopf ISBN 0 394 73827 6 Marcus Greil 1989 Lipstick Traces A Secret History of the Twentieth Century Cambridge Massachusetts Harvard University Press ISBN 0 674 53581 2 Marks Ian D McIntyre Iain 2010 Wild About You The Sixties Beat Explosion in Australia and New Zealand 1st ed Verse Chorus Press ISBN 978 1 891241 28 4 Archived from the original on May 7 2021 Retrieved March 16 2021 McCaleb Ian 1991 Radio Birdman in The Trouser Press Record Guide 4th ed ed Ira Robbins New York Collier pp 529 30 ISBN 0 02 036361 3 McFarlane Ian 1999 The Encyclopedia of Australian Rock and Pop St Leonards Aus Allen amp Unwin ISBN 1 86508 072 1 McGowan Chris and Ricardo Pessanha 1998 The Brazilian Sound Samba Bossa Nova and the Popular Music of Brazil Philadelphia Temple University Press ISBN 1 56639 545 3 McNeil Legs and Gillian McCain 2006 1997 Please Kill Me The Uncensored Oral History of Punk New York Grove ISBN 0 8021 4264 8 Lemlich Jeffrey M 1992 Savage Lost Florida Garage Bands The 60s and Beyond 1st ed Miami Florida Distinctive Punishing Corp ISBN 978 978 0 942960 Miles Barry Grant Scott and Johnny Morgan 2005 The Greatest Album Covers of All Time London Collins amp Brown ISBN 1 84340 301 3 Myers Ben 2006 Green Day American Idiots amp the New Punk Explosion New York Disinformation ISBN 1 932857 32 X Mullen Brendan with Don Bolles and Adam Parfrey 2002 Lexicon Devil The Fast Times and Short Life of Darby Crash and the Germs Los Angeles Feral House ISBN 0 922915 70 9 Nichols David 2003 The Go Betweens Portland Ore Verse Chorus Press ISBN 1 891241 16 8 Nobahkt David 2004 Suicide No Compromise London SAF ISBN 0 946719 71 3 O Hara Craig 1999 The Philosophy of Punk More Than Noise San Francisco and Edinburgh AK Press ISBN 1 873176 16 3 Palmer Robert 1992 The Church of the Sonic Guitar in Present Tense Rock amp Roll and Culture ed Anthony DeCurtis Durham N C Duke University Press pp 13 38 ISBN 0 8223 1265 4 Pardo Alona 2004 Jamie Reid in Communicate Independent British Graphic Design Since the Sixties ed Rick Poyner New Haven Conn Yale University Press p 245 ISBN 0 300 10684 X Pareles Jon and Patricia Romanowski eds 1983 The Rolling Stone Encyclopedia of Rock amp Roll New York Rolling Stone Press Summit Books ISBN 0 671 44071 3 Porter Dick 2007 The Cramps A Short History of Rock n Roll Psychosis London Plexus ISBN 0 85965 398 6 Purcell Natalie J 2003 Death Metal Music The Passion and Politics of a Subculture Jefferson N C and London McFarland ISBN 0 7864 1585 1 Raha Maria 2005 Cinderella s Big Score Women of the Punk and Indie Underground Emeryville Calif Seal ISBN 1 58005 116 2 Reed John 2005 Paul Weller My Ever Changing Moods London Omnibus Press ISBN 978 1 84449 491 0 Reynolds Simon 2005 Rip It Up and Start Again Post Punk 1978 1984 London and New York Faber and Faber ISBN 978 0 571 21569 0 Robb John 2006 Punk Rock An Oral History London Elbury Press ISBN 0 09 190511 7 Rodel Angela 2004 Extreme Noise Terror Punk Rock and the Aesthetics of Badness in Bad Music The Music We Love to Hate eds Christopher Washburne and Maiken Derno New York Routledge pp 235 56 ISBN 0 415 94365 5 Rooksby Rikky 2001 Inside Classic Rock Tracks San Francisco Backbeat ISBN 0 87930 654 8 Sabin Roger 1999 Punk Rock So What the Cultural Legacy of Punk London Routledge ISBN 978 0 415 17030 7 Savage Jon 1991 England s Dreaming The Sex Pistols and Punk Rock London Faber and Faber ISBN 978 0 312 28822 8 Savage Jon 1992 England s Dreaming Anarchy Sex Pistols Punk Rock and Beyond New York St Martin s Press ISBN 978 0 312 08774 6 Shapiro Fred R 2006 Yale Book of Quotations New Haven Conn Yale University Press ISBN 0 300 10798 6 Schmidt Axel and Klaus Neumann Braun 2004 Die Welt der Gothics Spielraume duster konnotierter Tranzendenz Wiesbaden VS Verlag ISBN 3 531 14353 0 Shuker Roy 2002 Popular Music The Key Concepts London Routledge ISBN 0 415 28425 2 Simpson Paul 2003 The Rough Guide to Cult Pop The Songs the Artists the Genres the Dubious Fashions London Rough Guides ISBN 978 1 84353 229 3 Sinagra Laura 2004 Sum 41 in The New Rolling Stone Album Guide 4th ed ed Nathan Brackett New York Fireside Books pp 791 92 ISBN 0 7432 0169 8 Smith Kerry L 2008 Encyclopedia of Indie Rock Westport Conn Greenwood ISBN 978 0 313 34119 9 Spencer Amy 2005 DIY The Rise of Lo Fi Culture London Marion Boyars ISBN 0 7145 3105 7 Spitz Marc 2006 Nobody Likes You Inside the Turbulent Life Times and Music of Green Day New York Hyperion ISBN 1 4013 0274 2 Spitz Marc and Brendan Mullen 2001 We Got the Neutron Bomb The Untold Story of L A Punk New York Three Rivers Press ISBN 0 609 80774 9 Stafford Andrew 2006 Pig City From the Saints to Savage Garden 2nd rev ed Brisbane University of Queensland Press ISBN 0 7022 3561 X Stark James 2006 Punk 77 An Inside Look at the San Francisco Rock N Roll Scene 3rd ed San Francisco RE Search Publications ISBN 1 889307 14 9 Strohm John 2004 Women Guitarists Gender Issues in Alternative Rock in The Electric Guitar A History of an American Icon ed A J Millard Baltimore Johns Hopkins University Press pp 181 200 ISBN 0 8018 7862 4 Strongman Phil 2008 Pretty Vacant A History of UK Punk Chicago Chicago Review Press ISBN 1 55652 752 7 St Thomas Kurt with Troy Smith 2002 Nirvana The Chosen Rejects New York St Martin s Press ISBN 0 312 20663 1 Taylor Steven 2003 False Prophet Field Notes from the Punk Underground Middletown Conn Wesleyan University Press ISBN 978 0 8195 6668 3 Taylor Steve 2004 The A to X of Alternative Music London and New York Continuum ISBN 978 0 8264 8217 4 True Everett 2002 Hey Ho Let s Go The Story of the Ramones Omnibus Press ISBN 978 1 8444 9413 2 Unterberger Richie 2002 British Punk in All Music Guide to Rock The Definitive Guide to Rock Pop and Soul 3rd ed eds Vladimir Bogdanov Chris Woodstra and Stephen Thomas Erlewine San Francisco Backbeat ISBN 0 87930 653 X Walker Clinton 1982 2004 Inner City Sound Portland Oregon Verse Chorus Press ISBN 1 891241 18 4 Walker Clinton 1996 Stranded Sydney Macmillan ISBN 0 7329 0883 3 Walker John 1991 Television in The Trouser Press Record Guide 4th ed ed Ira Robbins New York Collier p 662 ISBN 0 02 036361 3 Walsh Gavin 2006 Punk on 45 Revolutions on Vinyl 1976 79 London Plexus ISBN 0 85965 370 6 Weinstein Deena 2000 Heavy Metal The Music and Its Culture New York Da Capo ISBN 0 306 80970 2 Wells Steven 2004 Punk Loud Young amp Snotty The Story Behind the Songs New York and London Thunder s Mouth ISBN 1 56025 573 0 Wilkerson Mark Ian 2006 Amazing Journey The Life of Pete Townshend Louisville Bad News Press ISBN 1 4116 7700 5 Wojcik Daniel 1995 Punk and Neo Tribal Body Art Jackson University Press of Mississippi ISBN 0 87805 735 8 Wojcik Daniel 1997 The End of the World as We Know It Faith Fatalism and Apocalypse in America New York New York University Press ISBN 0 8147 9283 9 Wolf Mary Montgomery May 2008 We Accept You One of Us Punk Rock Community and Individualism in an Uncertain Era 1974 1985 Thesis Department of History College of Arts and Sciences University of North Carolina at Chapel Hill doi 10 17615 e26e 6m88 A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History External links Edit Wikimedia Commons has media related to Punk rock Look up punk rock in Wiktionary the free dictionary Wikiquote has quotations related to Punk rock Fales Library of NYU Downtown Collection archival collection with the personal papers of NYC punk figures A History of Punk 1990 essay by rock critic A S Van Dorston We Have to Deal With It Punk England Report by Robert Christgau The Village Voice January 9 1978 Black Punk Time Blacks in Punk New Wave and Hardcore 1976 1984 by James Porter and Jake Austen and many other contributors Roctober Magazine 2002 Southend Punk Rock History 1976 1986 a detailed site containing information on the Punk Rock explosion as experienced by Southend on Sea Essex UK Schmock Fanzine 1984 Germany s first english language punk rock fanzine from Wildberg West Germany Retrieved from https en wikipedia org w index php title Punk rock amp oldid 1127842143, wikipedia, wiki, book, books, library,

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