Punk rock
Punk rock | |
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Other names | Punk |
Stylistic origins | |
Cultural origins | Mid-1970s, United States, United Kingdom, and Australia |
Derivative forms | |
Subgenres | |
Fusion genres | |
Regional scenes | |
Local scenes | |
Other topics | |
Part of a series on |
Anarchism |
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Punk rock (also known as simply punk) is a
The term "punk rock" was previously used by American
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 had not been 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., Sham 69), street punk (e.g., the Exploited), and anarcho-punk (e.g., Crass), became some of the predominant modes of punk rock, while bands more similar in form to the first wave (e.g., X, the Adicts) also flourished. Many musicians who identified with punk or were inspired by it went on to pursue other musical directions, giving rise to movements such as post-punk, new wave, thrash metal, and alternative rock. Following alternative rock's mainstream breakthrough in the 1990s with Nirvana, punk rock saw renewed major-label interest and mainstream appeal exemplified by the rise of the California bands Green Day, Social Distortion, Rancid, the Offspring, Bad Religion, and NOFX.
Characteristics
Outlook
The first wave of punk rock was "aggressively modern" and differed from what came before.
Hippies were rainbow extremists; punks are romantics of black-and-white. Hippies forced warmth; punks cultivate
s&mis our condition. As symbols of protest, swastikas are no less fatuous than flowers.
—Robert Christgau in Christgau's Record Guide (1981)[9]
Technical accessibility and a
British punk rejected contemporary mainstream rock, the broader culture it represented, and their musical predecessors: "No Elvis, Beatles or the Rolling Stones in 1977", declared the Clash song "1977".[13] 1976, when the punk revolution began in Britain, became a musical and a cultural "Year Zero".[14] As nostalgia was discarded, many in the scene adopted a nihilistic attitude summed up by the Sex Pistols' slogan "No Future";[5] 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."[15] 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"[16] 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."[17]
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 actually 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".[18]
Musical and lyrical elements
The early punk bands emulated the minimal musical arrangements of 1960s
The vocals are sometimes nasal,
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.
Visual and other elements
The classic punk rock look among male American musicians harkens back to the T-shirt, motorcycle jacket, and jeans ensemble favored by American
Young women in punk demolished the typical female types in rock of either "coy sex kittens or wronged blues belters" in their fashion.[42] Early female punk musicians displayed styles ranging from Siouxsie Sioux's bondage gear to Patti Smith's "straight-from-the-gutter androgyny".[43] The former proved much more influential on female fan styles.[44] 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".[45] Among the other facets of the punk rock scene, a punk's hair is an important way of showing their freedom of expression.[46] The typical male punk haircut was originally short and choppy; the mohawk later emerged as a characteristic style.[47] Along with the mohawk, long spikes have been associated with the punk rock genre.[46]
1960s–1973: Precursors
Garage rock and beat
The early to mid-1960s garage rock bands in the United States and elsewhere are often recognized as punk rock's progenitors.
In Britain, largely under the influence of the
Proto-punk
In August 1969,
Bands anticipating the forthcoming movement were appearing as far afield as
Etymology
Between the late 16th and the 18th centuries, punk was a common, coarse synonym for
The first known use of the phrase "punk rock" appeared in the Chicago Tribune on March 22, 1970, when Ed Sanders, co-founder of New York's anarcho-prankster band the Fugs described his first solo album as "punk rock – redneck sentimentality".[72][73] In 1969 Sanders recorded a song for an album called "Street Punk" but it was only released in 2008.[72] In the December 1970 issue of Creem, Lester Bangs, mocking more mainstream rock musicians, ironically referred to Iggy Pop as "that Stooge punk".[74] 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.[75]
In the March 1971 issue of Creem, critic
In the liner notes of the 1972 anthology LP,
In May 1974, Los Angeles Times critic
By 1975, punk was being used to describe acts as diverse as the
1974–1976: First wave
North America
New York City
The origins of New York's punk rock scene can be traced back to such sources as the late 1960s
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."[100] The band played its first show at CBGB in August 1974.[101] By the end of the year, the Ramones had performed seventy-four shows, each about seventeen minutes long.[102] "When I first saw the Ramones", critic Mary Harron later remembered, "I couldn't believe people were doing this. The dumb brattiness."[103]
That spring, Smith and Television shared a two-month-long weekend residency at CBGB that significantly raised the club's profile.[106] The Television sets included Richard Hell's "Blank Generation", which became the scene's emblematic anthem.[107] 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.[38] 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".[95]
Early in 1976, Hell left the Heartbreakers to form
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.[111]
United Kingdom
After a brief period unofficially managing the New York Dolls, Briton
Some new bands, such as London's
In October 1976, the Damned released the first UK punk rock band single, "New Rose".[129] 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".[130] Jamie Reid's "anarchy flag" poster and his other design work for the Sex Pistols helped establish a distinctive punk visual aesthetic.[131]
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 Steven Severin, filled a vacancy for Queen on the early evening Thames Television London television show Today to be interviewed by host Bill Grundy. When Grundy asked Siouxsie how she was doing, she made fun of him saying, "I've always wanted to meet you, Bill". Grundy who was drunk, told her on the air; "we shall meet afterwards then". This instantly generated a reaction from Sex Pistols guitarist Steve Jones who pronounced a series of terms inappropriate for prime-time television.[132] Jones proceeded to call Grundy a "dirty bastard", a "dirty fucker", and a "fucking rotter", triggering a media controversy.[133] The episode had a major impact on the history of the scene and the punk term became a household name in 24 hours thanks to the press coverage, and several front covers of newspapers.[132]
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.[134]
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.[135]
In Perth, the Cheap Nasties formed in August.[136] 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.[137] "(I'm) Stranded" had limited impact at home, but the British music press recognized it as groundbreaking.[138]
1977–1978: Second wave
A second wave of punk rock emerged in 1977. These bands often sounded very different from each other.[139] While punk remained largely an underground phenomenon in the US, in the UK it had become a major sensation.[140][141] During this period punk music also spread beyond the English speaking world, inspiring local scenes in other countries.
North America
The
The Dead Boys' debut LP, Young, Loud and Snotty, was released at the end of August.[147] 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.[148] 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.[149] (During the Heartbreakers' 1976 and 1977 tours of Britain, Thunders played a central role in popularizing heroin among the punk crowd there, as well.)[150] The Ramones' third album, Rocket to Russia, appeared in November 1977.[151]
United Kingdom
The
Scores of new punk groups formed around the United Kingdom, as far from London as
Alongside thirteen original songs that would define classic punk rock, the Clash's debut had included a cover of the recent Jamaican
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.[165] The BBC banned "Oh Bondage Up Yours!" due to its controversial lyrics.[166] 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.[nb 5]
Australia
In February 1977, EMI released
1979–1984: Schism and diversification
By 1979, the
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."[171] 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.[172]
By the turn of the decade, the punk rock movement had split deeply along cultural and musical lines. The "Great Schism" of punk occurred right as the 1980s were approaching, when melodic
New wave
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.[177] 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.[178] 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.[179]
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.
Post-punk
During 1976–1977, 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;[184] 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.[185] 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.[186]
Television's debut album
Hardcore
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.[193] The movement soon spread around North America and internationally.[194][195] 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".[21] In 1981, hardcore punk was exposed to mainstream television audiences following a live performance from Fear on Saturday Night Live, which prompted a live-broadcast riot and mosh pit, which included members of the emerging hardcore scene such as Ian MacKaye, Harley Flanagan, Tesco Vee, and John Brannon.[196][197]
Among the earliest hardcore bands, regarded as having made the first recordings in the style, were Southern California's
Skate punk innovators pointed in other directions: including
1985–present: Legacy and revival
Alternative rock
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.[205] 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.[206] 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".[207]
In 1985,
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.[210] 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.[211] "Punk is musical freedom", wrote frontman Kurt Cobain. "It's saying, doing, and playing what you want."[212] 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.[209][213]
Metal-rap-punk fusion
During the early 1990s, 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:[214]
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
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.[215]
Riot grrrl
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.[216][217]
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.[218] The riot grrrl movement foregrounded feminist concerns and progressive politics in general; the DIY ethic and fanzines were also central elements of the scene.[219] This movement relied on media and technology to spread their ideas and messages, creating a cultural-technological space for feminism to voice their concerns.[216] 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.[217] Tammy Rae Carbund, from Mr. Lady Records, explains that without riot grrrl bands, "[women] would have all starved to death culturally."[220]
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.[221]
Punk revival and mainstream success
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".[222]
In 1993, California's
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.[226] ...And Out Come the Wolves, the 1995 album by Rancid became the first record in the ska revival to be certified gold;[nb 6] Sublime's self-titled 1996 album was certified platinum early in 1997.[223] In Australia, two popular groups, skatecore band Frenzal Rhomb and pop-punk act Bodyjar, also established followings in Japan.[227]
Green Day and Dookie's enormous sales paved the way for a host of bankable North American pop-punk bands in the following decade.[228] With punk rock's renewed visibility came concerns among some in the punk community that the music was being co-opted by the mainstream.[225] 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.[229] 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.[230] The Vans Warped Tour and the mall chain store Hot Topic brought punk even further into the U.S. mainstream.[231]
The Offspring's 1998 album
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".[236] Elsewhere around the world, "punkabilly" band the Living End became major stars in Australia with their self-titled 1998 debut.[237]
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.[238]
Other influential subgenres
Oi!
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.[241][242] They believed the music needed to stay "accessible and unpretentious", in the words of music historian Simon Reynolds.[243] 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!"[244]
The Oi! movement was fueled by a sense that many participants in the early punk rock scene were, in the words of
Although most Oi! bands in the initial wave were apolitical or
Anarcho-punk
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. Several Crass members were of an older generation of artist and cultural provocateur and thus linked their version of punk directly back to the 1960s counterculture and early 1970s avant-gardism.[256] The acts featured ranting vocals, discordant instrumental sounds, seemingly primitive production values, and lyrics filled with political and social content, often addressing issues such as class inequalities and military violence.[257] 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".[258]
The movement spun off several subgenres of a similar political bent.
Pop-punk
With their love of
Fusions and directions
From 1977 on, punk rock crossed lines with many other
See also
Suggested viewing
- American 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
- Pistol (2022, dir. Danny Boyle) - scripted miniseries based on the memoir Lonely Boy by Steve Jones.
- 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 X
Notes
- ^ 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.[49][50]
- ^ The Ramones' 1978 'I Don't Want You,' was largely Kinks-influenced.[55]
- the Small Faces were among the few rock elders acknowledged by the Sex Pistols.[57]
- ^ Robert Christgau writing for the Village Voice in October 1971 refers to "mid-60s punk" as a historical period of rock-and-roll.[79]
- ^ The title echoes a lyric from the title track of Patti Smith's 1975 album Horses.
- ^ ... And Out Come the Wolves was certified gold in January 1996. Let's Go, Rancid's previous album, received gold certification in July 2000.
References
- ^ "Grunge". AllMusic. Archived from the original on January 18, 2017. Retrieved August 24, 2012.
- ^ "A Short History of How Punk Became Punk: From Late 50s Rockabilly and Garage Rock to The Ramones & Sex Pistols | Open Culture". Retrieved November 24, 2023.
- ^ Stegall, Tim (August 16, 2021). "10 rockers from the '50s who influenced rock 'n' roll, punk and more". Alternative Press Magazine. Retrieved November 24, 2023.
- ISSN 0362-4331. Retrieved November 24, 2023.
- ^ a b Robb (2006), p. xi.
- Uncut.
- ^ a b McLaren, Malcolm (August 18, 2006). "Punk Celebrates 30 Years of Subversion". BBC News. Archived from the original on January 15, 2020. Retrieved January 17, 2007.
- ^ Christgau, Robert (1996). ""Please Kill Me: The Uncensored Oral History of Punk by Legs McNeil and Gillian McCain" (review)". The New York Times Book Review. Archived from the original on October 20, 2019. Retrieved January 17, 2007.
- ISBN 978-0899190266. Archivedfrom the original on April 13, 2019. Retrieved February 21, 2019.
- ^ a b Laing, Dave (2015). One Chord Wonders: Power and Meaning in Punk Rock. PM Press. p. 18.
- ^ Rodel (2004), p. 237; Bennett (2001), pp. 49–50.
- ^ 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).
- ^ Harris (2004), p. 202.
- ^ Reynolds (2005), p. 4.
- ^ Jeffries, Stuart. "A Right Royal Knees-Up". The Guardian. July 20, 2007.
- ^ Washburne, Christopher, and Maiken Derno. Bad Music. Routledge, 2004. Page 247.
- ^ Kosmo Vinyl (2004). The Last Testament: The Making of London Calling. Sony Music.
- S2CID 144067070.
- ^ Murphy, Peter, "Shine On, The Lights Of The Bowery: The Blank Generation Revisited", Hot Press, July 12, 2002; Hoskyns, Barney, "Richard Hell: King Punk Remembers the [ ] Generation", Rock's Backpages, March 2002.
- ^ Laing, Dave. One Chord Wonders: Power and Meaning in Punk Rock. PM Press, 2015. p. 80
- ^ Uncut, January 2007.
- ^ Wells (2004), p. 41; Reed (2005), p. 47.
- ^ a b Shuker (2002), p. 159.
- ^ a b Laing, Dave. One Chord Wonders: Power and Meaning in Punk Rock. PM Press, 2015. p. 21
- ^ Chong, Kevin, "The Thrill Is Gone" Archived December 3, 2010, at the Wayback Machine, Canadian Broadcasting Corporation, August 2006. Retrieved on December 17, 2006.
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External links
- Punk rock at Curlie
- 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