Punk rock Uit Wikipedia, de vrije encyclopedie Dit artikel gaat over de muziek genre.

Voor het toneelstuk met dezelfde naam, zi e Punk Rock (afspelen) . Punk rock Stilistische oorsprong Rock and roll folk rockabilly surf rock garage rock glam rock pub rock protopunk Culturele afkomst Mid- jaren 1970 , Verenigde Staten, het Verenigd Koninkr ijk en Australi Typische instrumenten Zang elektrische gitaar bass drums occasioneel gebruik v an andere instrumenten Mainstream populariteit Bijgevuld grafieken in het Verenigd Koninkrijk t ijdens de late jaren 1970. Internationale commercile succes voor pop-punk en ska punk , halverwege de jaren 1990-2000s. Afgeleide vormen New Wave post-punk alternatieve rock grunge Subgenres Anarcho-punk art punk christelijke punk korst punk garage punk gothic rock glam punk hardcore punk screamo oi! Riot Grrrl skate punk (Volledige lijst) Fusion genres 2 Tone anti-folk avant-punk Keltische punk Chicano punk cowpunk deathrock fol unk Gaelic punk Gypsy punk pop-punk psychobilly punk blues punk jazz ska punk Regionale scnes Argentini Australi Baskenland Belgi Brazili California Frankrijk Duitslan uguay Joegoslavi Lokale scnes Brisbane Toronto Andere onderwerpen

Protopunk DIY ethiek Eerste golf punk Queercore Punk mode Punk voorlopers Punk deologien Punk films Punk fanzines Punk subcultuur Punk tijdlijn Tweede golf pun Straight Edge Lijst van punkbands Punk rock subgenres Gezien praat bewerken Punk rock is een rock genre dat 1976 ontwikkeld tussen 1974 en in de Verenigde S taten, het Verenigd Koninkrijk en Australi. Geworteld in garage rock en andere vo rmen van wat nu bekend staat als protopunk muziek, punk rock bands geschuwd de v ermeende uitwassen van mainstream rock 1970. Ze creerden een snelle, harde randen muziek, meestal met korte songs, uitgeklede instrumentatie, en vaak politieke, anti-establishment teksten. Punk omarmt een DIY ethiek , met vele bands zelfprod ucerende hun opnames en de verdeling ervan via informele kanalen. Tegen het einde van 1976, bands zoals de Ramones , in New York City, en de Sex P istols en The Clash in Londen, werden, erkend als de voorhoede van een nieuwe mu zikale beweging. Het volgende jaar zag punk rock spreiden over de hele wereld, e n het werd een belangrijk cultureel fenomeen in het Verenigd Koninkrijk. Voor he t grootste deel, punk vond zijn wortels in de lokale scnes die de neiging tot ver eniging af te wijzen met de mainstream. Een bijbehorende punk subcultuur ontstaa n, uiten jeugdige rebellie en kenmerkt zich door onderscheidende stijlen van kle ding en versiering en een verscheidenheid aan anti-autoritaire ideologien . Aan het begin van de jaren 1980, sneller, meer agressieve stijlen zoals hardcore en Oi! was geworden de overheersende mode van punk rock. Muzikanten te identifi ceren met of genspireerd door punk ook nagestreefd een breed scala van andere var iaties, die aanleiding geven tot punk post- en de alternatieve rock beweging. Do or de draai van de eeuw, pop-punk was goedgekeurd door de mainstream, met bands zoals Green Day en The Offspring bracht het genre wijdverspreide populariteit. Inhoud [hide]

1 Kenmerken 1,1 Filosofie 1,2 muzikale en lyrische elementen 1.3 Visuele en andere elementen 2 Pre-history 2,1 Garage rock en mod 2,2 Protopunk 2,3 Etymologie 3 Vroege geschiedenis 3.1 Noord-Amerika 3.1.1 New York City 3.1.2 Andere steden in de VS 3,2 Australi 3,3 Verenigd Koninkrijk 4 Tweede golf 4.1 Noord-Amerika 4,2 Verenigd Koninkrijk 4,3 Australi 4,4 Rest van de wereld 5 Schisma en diversificatie 5.1 Nieuwe Wave 5.2 Post-punk 5,3 Hardcore 5,4 Oi! 5,5 Anarcho-punk 5.6 Pop Punk 5.7 Overige fusies en richtingen 6 Legacy en latere ontwikkelingen 6.1 Alternatieve rock 6,2 Emo 6,3 Queercore en ME Grrrl 7 Revival 8 In de mainstream 9 Zie ook 10 Referenties 11 bronnen 12 Externe links Kenmerken Filosofie De Ramones van 1976 debuutalbum vastgelegd de musical "blauwdruk voor punk", [1] , terwijl de cover image had een soortgelijke vormende invloed op punk visuele stijl. [2] De eerste golf van de punk rock gericht te worden agressief modern, distantieert zich van de bombast en sentiment van de vroege jaren 1970 rock. [3] Volgens The Ramones drummer Tommy Ramone , "In de oorspronkelijke vorm, veel van [1960] spu l was innovatief en spannend. Helaas, wat er gebeurt is dat mensen die konden ee n kaars niet vasthouden aan de wil van Hendrix begon gepiel weg. Binnenkort kunt u had eindeloze solo's die nergens ging. In 1973, wist ik dat wat nodig was een aantal zuiver, gestript, geen bullshit rock 'n' roll. " [4] John Holmstrom , op richter en redacteur van Punk magazine, herinnert gevoel "punk rock had om langs te komen, omdat de rock scene was zo tam geworden dat [handelingen] als Billy J oel en Simon and Garfunkel waren riep rock en roll, toen voor mij en andere fans , rock and roll betekende dit wilde en rebelse muziek. " [5] In criticus Robert Christgau s 'beschrijving, "Het was ook een subcultuur die smalend afgewezen de politieke idealisme en Californische bloemen- macht gekkigheid van hippies mythe . " [6] Patti Smith , daarentegen, stelt in de documentaire 25 Jaar van Punk dat de hippies en de punkrockers waren verbonden door een gemeenschappelijke anti-e stablishment mentaliteit.

Hele punk rock geschiedenis, technische toegankelijkheid en een DIY geest zijn g ewaardeerd. In de begindagen van de punk rock, deze ethiek stond in schril contr ast met wat die in de scene beschouwd als de ostentatieve muzikale effecten en t echnologische eisen van vele mainstream rock bands. [7] muzikale virtuositeit we rd vaak keek met argwaan bekeken. Volgens Holmstrom, punk rock was "Rock and Rol l door mensen die niet hebben heel veel vaardigheden als muzikanten, maar nog st eeds de behoefte gevoeld om zich te uiten door middel van muziek." [5] In decemb er 1976 heeft de Engels fanzine Bakkebaard publiceerde een nu- beroemde afbeeldi ng van drie akkoorden, onderschrift: "Dit is een akkoord, dit is een ander, is d it een derde. vormen nu een band." [8] De titel van een 1980 single van New York punk band The Stimulators, "Loud Fast Rules! ", ingeschreven een slagzin voor d e basisbehoeften van punk muzikale benadering. [9] Sommige van punk rock toonaangevende Britse cijfers maakte een show van afwijzin g niet alleen hedendaagse mainstream rock en de bredere cultuur werd geassocieer d met, maar hun eigen meest gevierde voorgangers: "Geen Elvis , The Beatles of d e Rolling Stones in 1977 ", verklaarde The Clash song "1977". [10] De vorige jaa r, toen de punk rock revolutie begon in Groot-Brittanni, was zowel een musical en een culturele "Year Zero". [11] Zelfs als nostalgie werd weggegooid, veel in de scene heeft een nihilistische houding samengevat met de Sex Pistols slogan "No Future", [3] in 1977, "punk nihilistische branie was het meest spannende ding in Engeland." later in woorden van een waarnemer, te midden van de werkloosheid en sociale onrust [12] terwijl "zelfopgelegde vervreemding "is gebruikelijk bij" d ronken punks "en" dakgoot punks ", was er altijd een spanning tussen hun nihilis tische vooruitzichten en de" radicale linkse utopisme " [13] van bands als Crass , die positief bevonden, bevrijdende betekenis in de beweging. Als een botsing associate beschrijft zanger Joe Strummer 's vooruitzichten, "Punk rock is bedoel d om onze vrijheid. We zijn bedoeld om te kunnen doen wat we willen doen." [14] De kwestie van authenticiteit belangrijk is in de punk subcultuur-de pejoratieve term " poseur "wordt toegepast op degenen die associren met punk en stelt zijn s tilistische kenmerken, maar worden geacht niet te delen of filosofie te begrijpe n van de onderliggende waarden en. Geleerde Daniel S. Traber stelt dat "het bere iken van authenticiteit in de punk identiteit kan moeilijk zijn", de punk gerijp t, scene merkt hij op, uiteindelijk "[e] en ieder kreeg wel een aansteller." Als [15] Muzikale en lyrische elementen Punk rock bands vaak emuleren de kale muzikale structuren en regelingen van 1960 garage rock . [16] Typisch punk rock instrumentatie omvat een of twee elektrisc he gitaren, een elektrische bas en een drumstel, samen met zang. Punk rock songs zijn doorgaans korter dan die van andere populaire genres-op de Ramones ' debuu talbum , bijvoorbeeld, de helft van de veertien tracks zijn in twee minuten lang . De meeste vroege punk rock nummers behouden een traditionele rock 'n' roll ver s-refrein vorm en 4 / 4 maatsoort . Hebben echter punk rock bands in de tweede v an de beweging golf en daarna vaak gebroken van dit formaat. In Steven Blush 'be schrijving criticus, "The Sex Pistols nog steeds rock' n roll ... zoals de gekst e versie van Chuck Berry . Hardcore was een radicaal afscheid van dat. Het was n iet vers-refrein rock. Het weggenomen elke notie van wat songwriting wordt veron dersteld te worden. Het is zijn eigen vorm. " [17] Punk rock zang soms klinken nasaal, [18] teksten zijn en vaak van plaats schreeu wde gezongen in een conventionele zin, met name in hardcore stijlen. [19] De voc ale benadering wordt gekenmerkt door een gebrek aan variatie; verschuivingen in toonhoogte, volume, of intonatie stijl zijn relatief zeldzaam. [20] Gecompliceer de gitaarsolo's worden beschouwd als genotzuchtig en onnodig, hoewel nog steeds fundamentele gitaar breekt zijn gemeenschappelijk. [21] Guitar onderdelen hebben de neiging om vervalst sterk power chords en barre akkoorden , het creren van ee n kenmerkend geluid beschreven door Christgau als een "Buzzsaw drone". [22] Somm

ige punk rock bands nemen een surf rock benadering met een lichtere, twangier gi taargeluid. Anderen, zoals Robert Quine , leadgitarist van The Voidoids , hebben werknemers een wilde, " gonzo "-aanval, een stijl die teruggaat strekt zich uit over The Velvet Underground tot de jaren 1950 opnamen van Ike Turner . [23] Bas s guitar lijnen zijn vaak ongecompliceerd; de typische aanpak is een meedogenloz e, repetitieve "gedwongen ritme", [24] , hoewel sommige punk rock bassisten-zoal s Mike Watt van de Minutemen en Firehose benadrukken meer technische baslijnen. Bassisten gebruiken vaak een pick gevolg van de snelle opeenvolging van noten, w aardoor fingerpicking onpraktisch. Drums typische geluid zwaar en droog, en hebb en vaak een minimale set-up. Vergeleken met andere vormen van rock, syncopen is veel minder de regel. [25] Hardcore drummen heeft de neiging om vooral snel. [19 ] De productie is vaak minimalistisch, met tracks soms vastgelegd op de startpag ina van bandrecorders [26] of eenvoudige vier- track portastudios. De typische d oelstelling is om de opname te hebben van de ongemanipuleerde geluid en "echte", als gevolg van de inzet en "authenticiteit" van een live performance. [27] Punk opnames dus vaak een lo-fi kwaliteit, met het geluid links relatief ongepolijst e in de mastering proces; opnames kan bevatten dialoog tussen de bandleden, vals e starts, en achtergrondgeluiden. The Clash , het uitvoeren van in 1980 Punk rock teksten zijn meestal eerlijk en confronterend, in vergelijking met de teksten van andere populaire muziekgenres, ze vaak commentaar op maatschappelijk e en politieke kwesties. [28] Toonaangevend songs zoals The Clash " Carriremogeli jkheden "en Chelsea "Recht op werk" omgaan met werkloosheid en de grimmige reali teit van het stedelijk leven. [29] Vooral in het begin van de Britse punk, een c entrale doel was om verontwaardiging en de schok van de mainstream. [30] The Sex Pistols klassiekers " Anarchy in the UK 'en' God Save the Queen "openlijk in di skrediet het Britse politieke systeem en de maatschappelijke omgeving. Er is ook een kenmerk stam van anti-sentimentele voorstellingen van relaties en seks, wor dt gellustreerd door "Love Comes met horten en stoten", geschreven door Richard H ell en geregistreerd door hem met The Voidoids. Anomie , afwisselend uitgedrukt in de potische termen van de "Hel Blank Generation "en de botheid van de Ramones" Nu wil ik Snif wat lijm ", is een gemeenschappelijk thema. Het identificeren va n punk met dergelijke onderwerpen is uitgelijnd met de mening van V. Vale , de s tichter van San Francisco fanzine Search and Destroy : "Punk was een totale cult urele revolte gedaan. Het was een hardcore confrontatie met de zwarte kant van d e geschiedenis en cultuur, rechtse beelden, seksuele taboes, een verdiepen in ha d dat nooit geweest door een generatie in een dergelijke grondige manier. before " [31] Echter, veel punk rock teksten handelen in de traditionele rock 'n' roll meer thema's van het hof, liefdesverdriet, en opknoping uit; de aanpak varieert van het laconieke, agressieve eenvoud van Ramones normen, zoals "I Wanna Be You r Boyfriend" [32] aan de meer eenduidig ??oprechte stijl van veel latere pop-pun k groepen. Visuele en andere elementen De klassieke punk rock look onder mannelijke Amerikaanse muzikanten harkens teru g naar het T-shirt, motor jas, en een spijkerbroek ensemble begunstigd door de A merikaanse smeernippels van de jaren 1950 in verband met de rockabilly scene en door de Britse rockers van de jaren 1960. De cover van de Ramones van 1976 debuu talbum, met een shot van de band door Punk fotograaf Roberta Bayley, vermeldt de basiselementen van een stijl die werd al snel op grote schaal navolging door ro ck muzikanten zowel punk en nonpunk. [2] Richard Hell's meer androgyne , lomperd look-and gereputeerde uitvinding van de veiligheidsspeld esthetische -was een g rote invloed op Sex Pistols impresario Malcolm McLaren , en op zijn beurt, de Br itse punk stijl. [33] [34] (John Morton van Cleveland's Electric Eels kan zijn g eweest van de eerste rock muzikant jas dragen van een veiligheids-pin-gedekt.) [ 35] McLaren's partner, modeontwerpster Vivienne Westwood , credits Johnny Rotten als de eerste Britse punk te scheuren zijn hemd, en Sex Pistols bassist Sid Vic ious als de eerste om de veiligheid te gebruiken pinnen. [36] Vroege vrouwelijke punk muzikanten tonen stijlen, varirend van Siouxsie Sioux 's bondage vistuig Pa

tti Smith's "straight-van-de-goot androgynie". [37] De voormalige invloedrijke b leek veel meer op vrouwelijke fan stijlen. [38] Na verloop van tijd, tatoeages, piercings , en metaal-bezaaid en verrijkte toebehoren van steeds meer gemeenscha ppelijke elementen punk fashion bij zowel muzikanten en fans, een "stijl van de versiering berekend te verstoren en verontwaardiging". [39] De typische mannelij ke punk kapsel was oorspronkelijk kort en schokkerig, de Mohawk later ontpopt al s een karakteristieke stijl. [40] Degenen die in hardcore scnes vaak neemt een sk inhead look. Britse punks, circa 1986 De karakteristieke toneelvoorstelling stijl van mannelijke punk muzikanten niet aanzienlijk afwijken niet uit de macho-houdingen klassiek geassocieerd met rock muziek. [41] Man punk muzikanten brak duidelijker uit eerdere stijlen. Geleerde John Strohm suggereert dat zij dit deden door het creren van personas van een typ e conventioneel gezien als mannelijk: "Ze heeft een taaie, niet damesachtig pose die geleend meer van de macho branie van sixties garage bands dan van de bereke nde stoute-meisjes-imago van bands als De weglopers . " [37] Scholar Dave Laing beschrijft hoe bassist Gaye advertentie aangenomen mode elementen die verband ho uden met mannelijke muzikanten alleen als het genereren van een podium persona g emakkelijk verteerd "sexy". [42] Laing richt zich op meer innovatieve en uitdage nde performance stijlen, gezien in de verschillende erotisch destabiliserende be naderingen van Siouxsie Sioux, The Slits ' Ari Up , en X-Ray Spex ' Poly Styreen . [43] Het ontbreken van nadrukkelijke syncopen geleid punk dansen op 'afwijkende' vorm en. De karakteristieke stijl was oorspronkelijk de pogo . [44] Sid Vicious, voor dat hij de Sex Pistols 'bassist, wordt gecrediteerd met de inleiding van de pogo in Groot-Brittanni als een deelnemer aan een van hun concerten. [45] Moshing is typisch bij hardcore shows. Het gebrek aan conventionele dansritmes was een cent rale factor in het beperken van de punk mainstream commercile impact. [46] Het afbreken van de afstand tussen performer en publiek staat centraal in de pun k ethiek. [47] Fan deelname aan concerten is dus belangrijk; tijdens de beweging de eerste de hoogtijdagen, was het vaak uitgelokt in een vijandige wijze-kennel ijk pervers, maar de passende naam "punk". Eerste golf Britse punk bands als de Sex Pistols en The Damned beledigd en anders geprikkeld het publiek in intense r eacties. Laing heeft drie primaire vormen van publiek lichamelijke respons op go ading: kan gooien, podium invasie, en spugen of "gobbing". [48] in de hardcore w ereld, podium invasie is vaak een prelude op stage diving . In aanvulling op de vele fans die zijn gestart of zich punk bands, leden van het publiek ook belangr ijk geworden deelnemers via de scne van de vele amateur-tijdschriften-in Engeland , volgens Laing, punk "was het eerste muzikale genre fanzines paaien in signific ante aantallen". [49] Pre-historie Garage rock en mod Voor meer details over dit onderwerp, zie Garage rock en Mod (subcultuur) . In het begin en medio 1960, garage rock bands die kwam te worden erkend als punk rock's voorouders begon schieten er in vele verschillende locaties rond Noord-A merika. De Kingsmen , een garage band uit Portland, Oregon, had een breakout hit met hun 1963 te dekken van " Louie, Louie ', aangehaald als "rock & roll definir en punk ur-text ". [50] De minimalistische geluid van de vele garage rock bands werd benvloed door de hardere kanten vleugel van de British Invasion . The Kinks 'hit singles van 1964, " You Really Got Me "en" de hele dag en van de Nacht ", z ijn beschreven als 'voorlopers van de hele drie-akkoorden-genre van de Ramones' 1978 'I Don't Want You', bijvoorbeeld, was pure Kinks -by-proxy. " [51] In 1965, The Who snel vorderde van hun debuut single, " I Can't Explain ", een virtuele kloon Kinks, naar" My Generation ". Hoewel het weinig effect gehad op de Amerika anse hitlijsten, The Who's mod volkslied presaged een meer cerebrale mix van muz ikale woestheid en rebelse houding die veel vroege Britse punk rock gekenmerkt:

John Reed beschrijft The Clash is ontstaan ??als een "strakke bal van energie me t zowel een beeld en retoriek doet denken aan een jonge Pete Townshend -speed ob sessie, pop-art kleding, kunst school ambitie ". [52] The Who en collega-mods Th e Small Faces behoorden tot de weinige rock ouderlingen erkend door de Sex Pisto ls. [53] In 1966 , mod was al in verval. Amerikaanse garage rock begon te stomen verliezen binnen een paar jaar, maar de rauwe geluid en outsider houding van "g arage psych "bands als The Seeds presaged de stijl van bands die bekend zou word en als de archetypische figuren van protopunk. [54] van de instrement gebruikt i n punk rock zijn de stem, drums, gitaar: bas en elektrische, het toetsenbord en piano worden gebruikt, maar somtimes rarly. Protopunk Voor meer details over dit onderwerp, zie Protopunk . In 1969, debuutalbums door twee Michigan gevestigde bands bleek dat zijn algemee n beschouwd als de centrale protopunk records. In januari, Detroit MC5 vrijgegev en Kick Out the Jams . "Muzikaal is de groep opzettelijk grof en agressief rauw" , schreef criticus Lester Bangs in Rolling Stone : Het merendeel van de nummers zijn nauwelijks te onderscheiden van elkaar in hun primitieve twee-akkoord structuren. Je hebt gehoord dat alles reeds van nota belen zoals de zaden, Blue Cheer , Question Mark en de Mysterians , en de Kingsm en. Het verschil hier ... is in de hype, de dikke overlay van tiener-revolutie e n de totale energie-ding waarin deze sloperij vergezichten van cliches en lelijk e ruis verbergt. ... "I Want You Right Now" klinkt precies (tot op de teksten) a ls een lied genaamd "I Want You" van The Troggs , een Britse groep die op kwam m et een soortgelijke sex-en-raw-geluidsbeeld een paar jaar geleden (herinner " Wi ld Thing "?) [55] Iggy Pop , de "peetvader van de punk" In augustus, The Stooges , uit Ann Arbor , in premire met een self-titled album . Volgens criticus Greil Marcus , de band, onder leiding van zanger Iggy Pop , ge schapen "het geluid van Chuck Berry 's Luchtmobiele -na dieven uitgekleed voor o nderdelen. " [56] Het album werd geproduceerd door John Cale , een voormalig lid van New experimentele rock York's groep The Velvet Underground . Na verdiende e en "reputatie als de eerste ondergrondse rock band", The Velvet Underground gensp ireerde, direct of indirect, veel van degenen die betrokken zijn bij de totstand koming van punk rock. [57] In de vroege jaren 1970, de New York Dolls bijgewerkt op de oorspronkelijke wild heid van rock 'n' roll 1950 op een manier die later bekend werd als glam punk . [58] The New York duo Zelfmoord muziek gespeeld sparen, experimenteel met een co nfronterende handeling genspireerd fase door die van The Stooges. Op de Coventry club in de New York City wijk Queens , The Dictators die rocken als een voertuig voor de wise-ass attitude en humor. [59] In Boston, The Modern Lovers , geleid door Velvet Underground toegewijde Jonathan Richman , kreeg aandacht met een min imalistische stijl. In 1974, een geactualiseerde garage rock scene begon te smel ten samen rond de nieuw geopende Rathskeller club in Kenmore Square . Onder de l eidende handelingen waren de Real Kids , opgericht door voormalig Modern Lover J ohn Felice , Willie Alexander en de Boom Boom Band , waarvan de frontman was een lid van de Velvet Underground voor een paar maanden in 1971; Mickey schoon en d e Mezz. en [ 60] In 1974, evenals, de Detroit band Death -samengesteld uit drie Afro-Amerikaanse broers opgenomen "verschroeiende ontploffing van wilde ur-punk" , maar kon het niet regelen een release deal. [61] In Ohio, een kleine maar invl oedrijke ondergrondse rockscene kwam, onder leiding van Devo in Akron en Kent en door Cleveland The Electric Eels , spiegels en Rocket van de Graven . In 1975, Rocket van de Graven gesplitst in Pere Ubu en Frankenstein . De Electric Eels en Spiegels zowel brak, en De Styrenen voortgekomen uit de fall-out. [62] Groot-Brittanni devianten , in de late jaren 1960, speelde in een reeks van psych

edelische stijlen met een satirische, anarchistische rand en een voorliefde voor situationistische -stijl spektakel voorboden van de Sex Pistols met bijna een d ecennium. [63] In 1970, het besluit evolueerde in de Roze Fairies , die op uitge voerd in een soortgelijke ader. [64] Met zijn Ziggy Stardust personage, David Bo wie gemaakt kunstgrepen en overdrijving centrale elementen, nogmaals, die werden opgepikt door de Sex Pistols en bepaalde andere handelingen punk. [65] De Docto rs van de waanzin gebouwd op de presentatie van Bowie concepten, terwijl u muzik aal in de richting die zou worden gedentificeerd met punk. Bands in de Londense p ub rock scene ontdaan van de muziek terug naar de basics, spelen hard, R & B-inv loeden rock 'n' roll. In 1974, de scne top-act, Dr Feelgood , was de weg vrijmaak t voor anderen, zoals The Stranglers en Cock Sparrer die een rol zou spelen in d e punk explosie. Onder de pub rock bands die gevormd dat jaar werd De 101'ers , waarvan de leadzangeres al snel vast te stellen zou de naam Joe Strummer. [66] Bands te anticiperen op de komende beweging werden opgenomen zo ver weg als Dssel dorf , West-Duitsland, waar "punk voordat punk" band NEU! in 1971 opgericht, voo rtbouwend op de Krautrock traditie van groepen zoals Can . [67] In Japan, de ant i-establishment Zuno Keisatsu (Brain Police) gemengd garage psych en folk. De co mbo regelmatig geconfronteerd met censuur uitdagingen, hun live-act ten minste e enmaal op het podium waaronder masturbatie. [68] Een nieuwe generatie van de Aus tralische garage rock bands, vooral genspireerd door The Stooges en MC5, werd gel uid nog dichter bij de die binnenkort zou worden genoemd " punk ": In Brisbane , The Saints herinnerde ook aan de rauwe live-geluid van de Britse Pretty Things , die had een beruchte Tour van Australi en Nieuw-Zeeland in 1965. [69] Radio Bir dman , mede opgericht door Detroit expatriate Deniz Tek in 1974, werd spelen opt redens bij een kleine maar fanatieke volgende in Sydney . Etymologie Vanaf de late 16e tot de 18e eeuw, punk was een veel voorkomende, grof synoniem voor prostituee, William Shakespeare gebruikte het met die betekenis in The Merr y Wives of Windsor (1602) en Measure for Measure (1623). [70] De term kwam uitei ndelijk te beschrijven "een jonge mannelijke hustler, een gangster, een gangster , of een schurk." [71] Zoals Legs McNeil legt uit: "Op de televisie, als je keek cop shows, Kojak , Baretta , toen de politie uiteindelijk moordenaar te vangen van de massa, zeiden ze, 'je vuile Punk.' Het was wat je leraren zou je bellen. Het betekende dat je de laagste. " [72] De eerste bekende gebruik van de uitdruk king punk rock de verscheen in Chicago Tribune op 22 maart 1970, toegeschreven a an Ed Sanders , mede-oprichter van New York anarcho-grappenmaker band De Fugs . Sanders werd geciteerd beschrijven van een solo-album van zijn als 'punk rock-re dneck sentimentaliteit ". [73] In het december 1970 nummer van Creem , Lester Ba ngs, spottende meer mainstream rock muzikanten, ironisch bedoeld Iggy Pop als "d at Stooge punk". [74] Suicide Alan Vega credits dit gebruik met inspirerende zij n duo met optredens wetsvoorstel zijn als een "punk massa" voor de komende paar jaar. [75] Patti Smith , en die in 1976 Dave Marsh was de eerste muziek criticus rock maken gebruik van de term punk: In het mei 1971 nummer van Creem, beschreef hij ? en de Mysterians , een van de me est populaire 1960 garage rock-acts, zoals het geven van een "landmark expositie van punk rock". [76] Later in 1971, in zijn fanzine Who Put The Bomp , Greg Sha w schreef over "wat ik heb ervoor gekozen om gesprek 'punk rock' bands-wit tiene r hard rock van de '64-66 ( Standells , Kingsmen, Schaduwen van Knight , enz.) " . [77] Lenny Kaye gebruikte de term "klassieke garage-punk," in een verwijzing n aar een lied opgenomen in 1966 door The Shadows van Knight, in de liner notes va n de bloemlezing album Nuggets , uitgebracht in 1972. [78] In juni 1972, het fan zine Flash omvatte een "Punk Top Tien" van 1960 albums. [79] Door dat december , was de term in omloop in de mate dat The New Yorker 's Ellen Willis , contraste rende haar eigen smaak met die van Flash en collega-criticus Nick Tosches , schr eef: "Punk-rock is uitgegroeid tot de gewenste termijn van vertedering." [80] In februari 1973, Terry Atkinson van de Los Angeles Times , de herziening van het

debuut album van een hardrock band, Aerosmith , verklaard dat zij "bereikt dat a lles punk-rock bands te streven naar, maar de meeste missen." [81] Drie maanden later, Billy Altman lanceerde de kortstondige punk magazine. [82] In mei 1974, Los Angeles Times criticus Robert Hilburn beoordeelde de tweede New York Dolls album Too Much Too Soon . "Ik vertelde ya de New York Dolls waren de real thing", schreef hij, beschrijft het album als "misschien wel het beste voo rbeeld van rauwe, duim-je-neus-op-de-wereld-, punk rock, aangezien de Rolling St ones ' Exile on Main Street . '" [83] Bassist Jeff Jensen van Boston's Real Kids verslagen van een show dat jaar, "Een reviewer voor een van de gratis entertain ment magazines van de tijd gevangen te handelen en gaf ons een geweldige recensi e, roept ons een 'punk band. ' ... [W] e allerlei keken elkaar aan en zeiden: 'W at is punk? " [84] In 1975, punk werd gebruikt om het te beschrijven fungeert als divers als Patti Smith Group , de Bay City Rollers , en Bruce Springsteen . [85] Zoals de scene i n New York's CBGB club mededeling aangetrokken, de naam was een veel gevraagd vo or de ontwikkeling van geluid. Clubeigenaar Hilly Kristal genaamd de beweging "S treet Rock"; John Holmstrom credits Waterman magazine met behulp van punk "om te beschrijven wat er gaande was op CBGBs". [86] Holmstrom, McNeil, en Ged Dunn's magazine Punk , die debuteerde op het einde van 1975, was cruciaal in de codific atie van de termijn. [87] "Het was vrij duidelijk dat het woord kreeg erg popula ir", Holmstrom merkte later. "We dachten dat we zouden nemen de naam voordat iem and anders beweerde. We wilden ontdoen van de onzin, het strippen tot 'n' roll r ock. We wilden het plezier en de levendigheid terug." [85] Vroege geschiedenis Noord-Amerika New York City "Blank Generation" De oorspronkelijke hymne van de punk scene, live uitgevoerd door televisie in 19 74 of 1975, met Richard Hell op zang. Het vers, beschreven door Gary Valentine L achman als tarten melodie, de opbrengst naar het refrein, "is ingesteld op een d alende patroon doet denken aan Peggy Lee 's " Fever ". [88] Tom Verlaine 's virt uoze gitaarspel zou leiden dat de band uit de buurt van wat werd de typische pun k benadering. [89] Problemen te luisteren naar dit bestand? Zie media helpen . De oorsprong van York punk Nieuwe rock scene kan worden getraceerd tot bronnen z oals late jaren 1960 trash cultuur en een vroege jaren 1970 ondergrondse rock be weging gecentreerd op de Mercer Arts Center in Greenwich Village , waar de New Y ork Dolls uitgevoerd. [90] In het begin van 1974 , een nieuwe scne begon te ontwi kkelen rond de CBGB club, ook in Lower Manhattan . In de kern was Televisie , be schreven door criticus John Walker als "de ultieme garage band met pretenties." [91] Hun invloeden Underground varieerden van de Velvet aan de staccato gitaar w erk van Dr Feelgood 's Wilko Johnson . [92] De band bassist / zanger, Richard He ll , creerde een look met bijgesneden, haveloos haar, gescheurde T-shirts en zwar te lederen jackets gecrediteerd als basis voor de punk rock visuele stijl. [93] In april 1974, Patti Smith , een lid van de Mercer Arts Center menigte en een vr iend van Hell's, kwam CBGB voor het eerst te zien de band uit te voeren. [94] Ee n veteraan van onafhankelijk theater en performance pozie, was Smith de ontwikkel ing van een intellectueel , feministische nemen over rock 'n roll'. Op 5 juni na m ze de single " Hey Joe "/" Piss Factory ", met televisie gitarist Tom Verlaine ; uitgebracht op haar eigen Mer Records label, het luidde de scne doe het zelf ( DIY) ethiek en is vaak aangehaald als de eerste punk rock record. [95] In august us, Smith en televisie waren samen gigging op een ander downtown New Yorkse club , Max's Kansas City . [93] Gevel van de legendarische muziekclub CBGB in New York In Forest Hills, Queens , enkele mijlen van Lower Manhattan, de leden van een ni

euw gevormde groep heeft een gemeenschappelijk achternaam. Op basis van bronnen, varirend van de Stooges tot The Beatles en The Beach Boys op Herman's Hermits en 1960 meisje groepen , de Ramones gecondenseerde rock 'n' roll naar zijn oorspro nkelijke niveau: "'1 -2-3-4 '! bassist Dee Dee Ramone riep aan het begin van elk e song, alsof de groep nauwelijks konden ritme beheerst de beginselen van. " [96 ] De band CBGB speelde zijn eerste concert in op 16 augustus 1974. Een andere ni euwe wet, Blondie , ook debuteerde op de club die maand. Tegen het einde van het jaar, Ramones hadden de uitgevoerde vierenzeventig shows, elk zo'n zeventien mi nuten lang. [97] "Toen ik voor het eerst zag de Ramones", criticus Mary Harron h erinnerde zich later, "Ik kon niet geloven dat mensen dit deden . Het stomme bra ttiness. " [98] The Dictators, met een soortgelijke "domme"-concept, werden de o pnames voor hun debuutalbum. The Dictators Go Girl Crazy! kwam uit in maart 1975 , het mengen van absurdistische originelen, zoals "Master Race Rock" en luid, re chte geconfronteerd covers van kaas pop als Sonny & Cher en ' I Got You Babe ". [99] Dat voorjaar, Smith en televisie deelden een twee maanden lang weekend residenti e in CBGB, dat aanzienlijk verhoogd de club profiel. [100] De Televisietoestelle n opgenomen Richard Hell's "Blank Generation", die werd de scne emblematische vol kslied. [101] Kort na , hel linker Televisie en richtte een band met een meer ui tgeklede sound, The Heartbreakers , met de voormalige New York Dolls Johnny Thun ders en Jerry Nolan . Het koppelen van de hel en Donders, in een kritische beoor deling, 'injecteren [red.] een potische intelligentie in Mindless Self-destructio n ". [33] Een festival in juli CBGB met meer dan dertig nieuwe groepen brachten de scne zijn eerste grote media-aandacht. [ 102 ] In August, Television with Fred S mith, former Blondie bassist, replacing Hell recorded a single, "Little Johnny Jew el", for the tiny Ork label. In the words of John Walker, the record was "a turn ing point for the whole New York scene" if not quite for the punk rock sound its elf Hell's departure had left the band "significantly reduced in fringe aggression ". [ 91 ] "Blitzkrieg Bop" The chorus of the Ramones ' first single "is a primer on the punk take on rock r hythm...everyone pumps out the rock rhythmic layer on a drum, on a single note, on a single chord", according to scholar Michael Campbell. "This is as pure, and a s energetic, as rock rhythm gets." [ 103 ] Problemen te luisteren naar dit bestand? Zie media helpen . Other bands were becoming regulars at CBGB, such as Mink DeVille and Talking Hea ds , which moved down from Rhode Island. More closely associated with Max's Kans as City were Suicide and the band led by drag queen Wayne County , another Merce r Arts Center alumna. The first album to come out of this downtown scene was rel eased in November 1975: Smith's debut, Horses , produced by John Cale for the ma jor Arista label. [ 104 ] The inaugural issue of Punk appeared in December. [ 10 5 ] The new magazine tied together earlier artists such as Velvet Underground le ad singer Lou Reed , the Stooges, and the New York Dolls with the editors' favor ite band, The Dictators, and the array of new acts centered around CBGB and Max' s. [ 106 ] That winter, Pere Ubu came in from Cleveland and played at both spots . [ 107 ] Early in 1976, Hell left The Heartbreakers; he soon formed a new group that woul d become known as The Voidoids , "one of the most harshly uncompromising bands" on the scene. [ 108 ] That April, the Ramones' debut album was released by Sire Records ; the first single was " Blitzkrieg Bop ", opening with the rally cry "H ey! Ho! Let's go!" According to a later description, "Like all cultural watershe ds, Ramones was embraced by a discerning few and slagged off as a bad joke by th e uncomprehending majority." [ 109 ] At the instigation of Ramones lead singer J oey Ramone , the members of Cleveland's Frankenstein moved east to join the New York scene. Reconstituted as the Dead Boys , they played their first CBGB gig in late July. [ 110 ] In August, Ork put out an EP recorded by Hell with his new b

and that included the first released version of "Blank Generation". [ 111 ] The term punk initially referred to the scene in general, than the sound itself th e early New York punk bands represented a broad variety of influences. Among the m, the Ramones, The Heartbreakers, Richard Hell and The Voidoids, and the Dead B oys were establishing a distinct musical style. Even where they diverged most cl early, in lyrical approach the Ramones' apparent guilelessness at one extreme, Hel l's conscious craft at the other there was an abrasive attitude in common. Their s hared attributes of minimalism and speed, however, had not yet come to define pu nk rock. [ 112 ] Other US cities "Hot Wire My Heart" With what music historian Clinton Heylin described as the "most und this side of The Stooges ", [ 113 ] Crime self-released the a West Coast punk band, two songs (the B-side was "Baby, You're n a style likened to "revved up, distorted Chuck Berry ". [ 114 Problemen te luisteren naar dit bestand? Zie media helpen . brutal guitar so first single by So Repulsive") i ]

In 1975, the Suicide Commandos formed in Minneapolis. They were one of the first US bands outside of New York to play in the Ramones-style harder-louder-faster mode that would define punk rock. [ 115 ] Detroit's Death self-released one of t heir 1974 recordings, "Politicians in My Eyes", in 1976. [ 61 ] As the punk move ment expanded rapidly in the United Kingdom that year, a few bands with similar tastes and attitude appeared around the United States. The first West Coast punk scenes emerged in San Francisco, with the bands Crime and The Nuns , [ 116 ] an d Seattle, where the Telepaths, Meyce, and The Tupperwares played a groundbreaki ng show on May 1. [ 117 ] Rock critic Richard Meltzer cofounded VOM (short for " vomit") in Los Angeles. In Washington, DC, raucous roots-rockers The Razz helped along a nascent punk scene featuring Overkill, the Slickee Boys , and The Look. Around the turn of the year, White Boy began giving notoriously crazed performa nces. [ 118 ] In Boston, the scene at the Rathskeller affectionately known as the Rat was also turning toward punk, though the defining sound retained a distinct ga rage rock orientation. Among the city's first new acts to be identified with pun k rock was DMZ . [ 119 ] In Bloomington, Indiana, The Gizmos played in a jokey, raunchy, Dictators-inspired style later referred to as "frat punk". [ 120 ] Like their garage rock predecessors, these local scenes were facilitated by enth usiastic impresarios who operated nightclubs or organized concerts in venues suc h as schools, garages, or warehouses, advertised via inexpensively printed flyer s and fanzines. In some cases, punk's do it yourself ethic reflected an aversion to commercial success, as well as a desire to maintain creative and financial a utonomy. [ 121 ] As Joe Harvard, a participant in the Boston scene, describes, i t was often a simple necessity the absence of a local recording industry and welldistributed music magazines left little recourse but DIY. [ 122 ] Australi "(I'm) Stranded" Sounds magazine in Britain found " (I'm) Stranded " "so bloody incredible" it pr ovided readers the Australian address from which they could mail order it. [ 123 ] Ed Kuepper 's "sheet-metal guitar sets the breakneck tempo", while lead singe r Chris Bailey "howl[s] into the gale." [ 124 ] Its DIY sound was later describe d as "crud-encrusted", praise in the punk milieu. [ 125 ] Problemen te luisteren naar dit bestand? Zie media helpen . At the same time, a similar music-based subculture was beginning to take shape i n various parts of Australia. A scene was developing around Radio Birdman and it s main performance venue, the Oxford Tavern (later the Oxford Funhouse), located in Sydney's Darlinghurst suburb. In December 1975, the group won the RAM (Rock Australia Magazine) /Levi's Punk Band Thriller competition. [ 126 ] By 1976, The

Saints were hiring Brisbane local halls to use as venues, or playing in "Club 7 6", their shared house in the inner suburb of Petrie Terrace . The band soon dis covered that musicians were exploring similar paths in other parts of the world. Ed Kuepper , coleader of The Saints, later recalled: One thing I remember having had a really depressing effect on me was the fir st Ramones album. When I heard it [in 1976], I mean it was a great record ... bu t 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 ha ve been further from the truth. [ 127 ] On the other side of Australia, in Perth , germinal punk rock act the Cheap Nast ies , featuring singer-guitarist Kim Salmon , formed in August. [ 128 ] In Septe mber 1976, The Saints became the first punk rock band outside the US to release a recording, the single " (I'm) Stranded ". As with Patti Smith's debut, the ban d self-financed, packaged, and distributed the single. [ 129 ] "(I'm) Stranded" had limited impact at home, but the British music press recognized it as a groun dbreaking record. [ 130 ] At the insistence of their superiors in the UK, EMI Au stralia signed The Saints. Meanwhile, Radio Birdman came out with a self-finance d EP, Burn My Eye , in October. [ 131 ] Trouser Press critic Ian McCaleb later d escribed the record as the "archetype for the musical explosion that was about t o occur". [ 132 ] Verenigd Koninkrijk "Anarchy in the UK" With its "inflammatory, venemous lyrics [and] crude energy", the Sex Pistols ' d ebut single "established punk's modus operandi". [ 133 ] Producer Chris Thomas l ayered multiple tracks of Steve Jones 's guitar to create a "searing wall of sou nd", [ 134 ] while Johnny Rotten spewed the vocals "as if his teeth had been gro und down to points." [ 135 ] Problemen te luisteren naar dit bestand? Zie media helpen . After a brief period unofficially managing the New York Dolls, Englishman Malcol m McLaren returned to London in May 1975, inspired by the new scene he had witne ssed at CBGB. The Kings Road clothing store he co-owned, recently renamed Sex , was building a reputation with its outrageous "anti-fashion". [ 136 ] Among thos e who frequented the shop were members of a band called The Strand, which McLare n had also been managing. In August, the group was seeking a new lead singer. An other Sex habitu, Johnny Rotten , auditioned for and won the job. Adopting a new name, the group played its first gig as the Sex Pistols on November 6, 1975, at St. Martin's School of Art [ 137 ] and soon attracted a small but ardent followi ng. [ 138 ] In February 1976, the band received its first significant press cove rage; guitarist Steve Jones declared that the Sex Pistols were not so much into music as they were "chaos". [ 139 ] The band often provoked its crowds into near -riots. Rotten announced to one audience, "Bet you don't hate us as much as we h ate you!" [ 140 ] McLaren envisioned the Sex Pistols as central players in a new youth movement, "hard and tough". [ 141 ] As described by critic Jon Savage, th e band members "embodied an attitude into which McLaren fed a new set of referen ces: late-sixties radical politics, sexual fetish material, pop history,...youth sociology". [ 142 ] Bernard Rhodes , a sometime associate of McLaren's and friend of the Sex Pistols ', was similarly aiming to make stars of the band London SS . Early in 1976, Lon don SS broke up before ever performing publicly, spinning off two new bands: The Damned and The Clash , which was joined by Joe Strummer , former lead singer of The 101'ers. [ 143 ] On June 4, 1976, the Sex Pistols played Manchester's Lesse r Free Trade Hall in what came to be regarded as one of the most influential roc k shows ever. Among the approximately forty audience members were the two locals who organized the gig they had formed the 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 . [ 144 ] In July, the Ramones crossed the Atlantic for two London shows that helped spark the nascent UK punk scene and affected its musical style "instantly nearly every band speeded up". [ 145 ] On July 4, they played with the Flamin' Groovies and T he Stranglers before a crowd of 2,000 at the Roundhouse . [ 146 ] That same nigh t, The Clash debuted, opening for the Sex Pistols in Sheffield . On July 5, memb ers of both bands attended a Ramones club gig. [ 147 ] The following night, The Damned played their first show, as a Pistols opening act in London. In critic Ku rt Loder 's description, the Sex Pistols purveyed a "calculated, arty nihilism, [while] the Clash were unabashed idealists, proponents of a radical left-wing so cial critique of a sort that reached back at least to ... Woody Guthrie in the 1 940s". [ 148 ] The Damned built a reputation as "punk's party boys". [ 149 ] Thi s London scene's first fanzine appeared a week later. Its title, Sniffin' Glue , derived from a Ramones song. Its subtitle affirmed the connection with what was happening in New York: "+ Other Rock 'n' Roll Habits for Punks!" [ 150 ] Another Sex Pistols gig in Manchester on July 20, with a reorganized version of the Buzzcocks debuting in support, gave further impetus to the scene there. [ 15 1 ] In August, the self-described "First European Punk Rock Festival" was held i n Mont de Marsan in the southwest of France. Eddie and the Hot Rods , a London p ub rock group, headlined. The Sex Pistols, originally scheduled to play, were dr opped by the organizers who said the band had gone "too far" in demanding top bi lling and certain amenities; The Clash backed out in solidarity. The only band f rom the new punk movement to appear was The Damned. [ 152 ] Over the next several months, many new punk rock bands formed, often directly in spired by the Sex Pistols. [ 153 ] In London, women were near the center of the scene among the initial wave of bands were the female-fronted Siouxsie and the Ban shees and X-Ray Spex and the all-female The Slits . There were female bassists G aye Advert in The Adverts and Shanne Bradley in The Nipple Erectors . Other grou ps included Subway Sect , Eater , The Subversives , the aptly named London , and Chelsea , which soon spun off Generation X . Farther afield, Sham 69 began prac ticing 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 four primary British groups (London's big three and the B uzzcocks), as well as Paris's female-fronted Stinky Toys , arguably the first pu nk rock band from a non- Anglophone country. Siouxsie and the Banshees and Subwa y Sect debuted on the festival's first night; that same evening, Eater debuted i n Manchester. [ 154 ] On the festival's second night, audience member Sid Viciou s was arrested, charged with throwing a glass at The Damned that shattered and d estroyed a girl's eye. Press coverage of the incident fueled punk's reputation a s a social menace. [ 155 ] The Sex Pistols ' " Anarchy in the UK " poster a ripped and safety-pinned Union Fl ag . [ 156 ] Jamie Reid 's work had a major influence on punk style and contempo rary graphic design in general. [ 157 ] Some new bands, such as London's Alternative TV and Edinburgh's Rezillos , ident ified with the scene even as they pursued more experimental music. Others of a c omparatively 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 pu nk look and sound. [ 158 ] A few even longer-active bands including Surrey neo-m ods The Jam and pub rockers The Stranglers and Cock Sparrer also became associat ed with the punk rock scene. Alongside the musical roots shared with their Ameri can counterparts and the calculated confrontationalism of the early Who, the Bri tish punks also reflected the influence of glam rock and related bands such as S lade , T.Rex , and Roxy Music . [ 159 ] One of the groups openly acknowledging t hat influence were The Undertones , from Derry in Northern Ireland. [ 160 ] Anot her punk band formed to the south, Dublin's The Radiators From Space .

In October, The Damned became the first UK punk rock band to release a single, t he romance-themed " New Rose ". [ 161 ] The Vibrators followed the next month wi th "We Vibrate" and, backing long-time rocker Chris Spedding , "Pogo Dancing". T he latter was hardly a punk song by any stretch, but it was perhaps the first so ng about punk rock. On 26 November, the Sex Pistols' " Anarchy in the UK " came out with its debut single the band succeeded in its goal of becoming a "national s candal". [ 162 ] Jamie Reid 's "anarchy flag" poster and his other design work f or the Sex Pistols helped establish a distinctive punk visual aesthetic . [ 157 ] On December 1, an incident took place that sealed punk rock's notorious reputa tion: On Thames Today , an early evening London TV show, Sex Pistols guitarist S teve Jones was goaded into a verbal altercation by the host, Bill Grundy . Jones called Grundy a "dirty fucker" on live television, triggering a media controver sy. [ 163 ] Two days later, the Sex Pistols, The Clash, The Damned, and The Hear tbreakers 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 fol lowing the Grundy confrontation. [ 164 ] Tweede golf By 1977, a second wave of the punk rock movement was breaking in the three count ries where it had emerged, as well as in many other places. Bands from the same scenes often sounded very different from each other, reflecting the eclectic sta te of punk music during the era. [ 165 ] While punk rock remained largely an und erground phenomenon in North America, Australia, and the new spots where it was emerging, in the UK it briefly became a major sensation. [ 166 ] Noord-Amerika "Forming" As inchoate as its name suggests, The Germs ' " Forming " was the first LA punk record [ 167 ] and pointed directly toward the hardcore sound that would soon em erge. [ 168 ] The teenagers' performance has been described both as a signal exa mple of punk incompetence [ 169 ] and as "bringing monotony to new heights". [ 1 70 ] Problemen te luisteren naar dit bestand? Zie media helpen . The California punk scene was in full swing by early 1977. In Los Angeles, there were The Weirdos , The Zeros , The Germs , X , The Dickies , The Bags , and the relocated Tupperwares, now dubbed The Screamers . [ 171 ] San Francisco's secon d wave included The Avengers , Negative Trend , The Mutants , and The Sleepers. [ 172 ] The Dils , from Carlsbad , moved between the two major cities. [ 173 ] T he Wipers formed in Portland, Oregon. In Seattle, there was The Lewd. [ 174 ] Of ten sharing gigs with the Seattle punks were bands from across the Canadian bord er. A major scene developed in Vancouver, spearheaded by the Furies and Victoria 's all-female Dee Dee and the Dishrags. [ 174 ] The Skulls spun off into DOA and The Subhumans . The K-Tels (later known as the Young Canadians ) and Pointed St icks were among the area's other leading punk acts. [ 175 ] In eastern Canada, the Toronto protopunk band Dishes had laid the groundwork for another sizable scene, [ 176 ] and a September 1976 concert by the touring Ramo nes had catalyzed the movement. Early Ontario punk bands included The Diodes , T he Viletones , The Battered Wives , The Demics , Forgotten Rebels , Teenage Head , The Poles, and The Ugly. Along with the Dishrags, Toronto's The Curse and B G irls were North America's first all-female punk acts. [ 177 ] In July 1977, the Viletones, Diodes, Curse, and Teenage Head headed down to New York City to play "Canada night" at CBGB. [ 178 ] By mid-1977 in downtown New York, punk rock was already ceding its cutting-edge status to the anarchic sound of Teenage Jesus and the Jerks and Mars , spearhead s of what became known as No Wave , [ 179 ] although several original punk bands continued to perform and new ones emerged on the scene. The Cramps , whose core

members were from Sacramento by way of Akron, had debuted at CBGB in November 1 976, opening for the Dead Boys. They were soon playing regularly at Max's Kansas City. [ 180 ] The Misfits formed in nearby New Jersey. Still developing what wo uld become their signature B movie inspired style, later dubbed horror punk , the y made their first appearance at CBGB in April 1977. [ 181 ] Leave Home , the Ramones' second album, had come out in January. [ 182 ] The Dea d Boys' debut LP, Young, Loud and Snotty , was released at the end of August. [ 183 ] October saw two more debut albums from the scene: Richard Hell and The Voi doids' first full-length, Blank Generation , and the Heartbreakers' LAMF [ 184 ] One track on the latter exemplified both the scene's close-knit character and t he 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 H eartbreakers' Thunders and Nolan. [ 185 ] (During the Heartbreakers' 1976 and 19 77 tours of Britain, Thunders played a central role in popularizing heroin among the punk crowd there, as well.) [ 186 ] The Ramones' third album, Rocket to Rus sia , appeared in November 1977. [ 187 ] The Ohio protopunk bands were joined by Cleveland's The Pagans , [ 188 ] Akron's Bizarros and Rubber City Rebels , and Kent's Human Switchboard . Bloomington, I ndiana, had MX-80 Sound and Detroit had The Sillies . The Suburbs came together in the Twin Cities scene sparked by the Suicide Commandos. The Feederz formed in Arizona. Atlanta had The Fans. In North Carolina, there was Chapel Hill's H-Bom bs and Raleigh's Th' Cigaretz. [ 189 ] The Chicago scene began not with a band b ut with a group of DJs transforming a gay bar, La Mere Vipere, into what became known as America's first punk dance club. Tutu and the Pirates and Silver Abuse were among the city's first punk bands. [ 190 ] In Boston, the scene at the Rat was joined by the Nervous Eaters , Thrills, and Human Sexual Response . [ 189 ] [ 191 ] In Washington, DC, the Controls played their first gig in spring 1977, b ut the city's second wave really broke the following year with acts such as Urba n Verbs, Half Japanese , D'Chumps, Rudements and Shirkers. [ 192 ] By early 1978 , the DC jazz-fusion group Mind Power had transformed into Bad Brains , one of t he first bands to be identified with hardcore punk . [ 189 ] [ 193 ] Verenigd Koninkrijk "Oh Bondage Up Yours!" X-Ray Spex ' debut single, an antimaterialistic anthem considered "one of punk r ock's defining moments." [ 194 ] As Lora Logic 's saxophone "serrate[s] right th rough the ubiquitous guitar-buzzsaw", [ 195 ] Poly Styrene sings "in a voice som ewhere between that of a wailing baby and that of a banshee". [ 196 ] Problemen te luisteren naar dit bestand? Zie media helpen . The Sex Pistols' live TV skirmish with Bill Grundy was the signal moment in Brit ish punk's transformation into a major media phenomenon, even as some stores ref used to stock the records and radio airplay was hard to come by. [ 197 ] Press c overage of punk misbehavior grew intense: On January 4, 1977, the Evening News o f London ran a front-page story on how the Sex Pistols "vomited and spat their w ay to an Amsterdam flight". [ 198 ] In February 1977, the first album by a Briti sh punk band appeared: Damned Damned Damned (by the Damned) reached number thirt y-six on the UK chart. The EP Spiral Scratch , self-released by Manchester's Buz zcocks, was a benchmark for both the DIY ethic and regionalism in the country's punk movement. [ 199 ] The Clash's self-titled debut album came out two months l ater 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. [ 200 ] Scores of new punk groups formed around the United Kingdom, as far from London a s Belfast 's Stiff Little Fingers and Dunfermline , Scotland's The Skids . Thoug

h most survived only briefly, perhaps recording a small-label single or two, oth ers set off new trends. Crass , from Essex , merged a vehement, straight-ahead p unk rock style with a committed anarchist mission. Sham 69, London's Menace, and the Angelic Upstarts from South Shields in the Northeast combined a similarly s tripped-down sound with populist lyrics, a style that became known as streetpunk . 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 Ja pan , moved in a glam, theatrical direction. [ 201 ] The band didn't survive lon g, but it spun off several well-known post-punk acts. [ 202 ] The songs of Londo n's Wire were characterized by sophisticated lyrics, minimalist arrangements, an d extreme brevity. [ 203 ] By the end of 1977, according to music historian Clin ton Heylin , they were "England's arch-exponents of New Musick, and the true her alds of what came next." [ 204 ] The stark cover design of Wire 's debut LP, Pink Flag , symbolized the evolution of punk style. [ 205 ] 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 Thi eves ". [ 206 ] 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 subcultur es, incorporating their rhythms and production styles. The punk rock phenomenon helped spark a full-fledged ska revival movement known as 2 Tone , centered arou nd bands such as The Specials , The Beat , Madness , and The Selecter . [ 207 ] June 1977 saw the release of another charting punk album: The Vibrators' Pure Ma nia . In July, the Sex Pistols' third single, " Pretty Vacant ", reached number six and The Saints had a top-forty hit with " This Perfect Day ". Recently arriv ed from Australia, the band was now considered insufficiently "cool" to qualify as punk by much of the British media, though they had been playing a similar bra nd of music for years. [ 208 ] In August, The Adverts entered the top twenty wit h "Gary Gilmore's Eyes". As punk became a broad-based national phenomenon in the summer of 1977, punk musicians and fans were increasingly subject to violent as saults by Teddy boys , football yobbos , and others. A Ted-aligned band recorded "The Punk Bashing Boogie". [ 209 ] In September, Generation X and The Clash reached the top forty with, respectivel y, "Your Generation" and " Complete Control ". X-Ray Spex' " Oh Bondage Up Yours ! " didn't chart, but it became a requisite item for punk fans. [ 210 ] In Octob er, the Sex Pistols hit number eight with " Holidays in the Sun ", followed by t he release of their first and only "official" album, Never Mind the Bollocks, He re'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 publish ed: The Boy Looked at Johnny , by Julie Burchill and Tony Parsons . [ 211 ] Decl aring the punk rock movement to be already over, it was subtitled The Obituary o f Rock and Roll . In January 1978, the Sex Pistols broke up while on American to ur. Australi In February 1977, EMI released The Saints' debut album, (I'm) Stranded , which t he band recorded in two days. [ 212 ] The Saints had relocated to Sydney; in Apr il, they and Radio Birdman united for a major gig at Paddington Town Hall . [ 21 3 ] Last Words had also formed in the city. The following month, The Saints relo cated again, to Great Britain. In June, Radio Birdman released the album Radios Appear on its own Trafalgar label. [ 131 ] The Victims became a short-lived leader of the Perth scene, self-releasing the c lassic " Television Addict ". They were joined by The Scientists , Kim Salmon 's successor band to the Cheap Nasties. Among the other bands constituting Austral ia's second wave were Johnny Dole & The Scabs , the Hellcats, and Psychosurgeons (later known as the Lipstick Killers) in Sydney; [ 214 ] The Leftovers , The Su

rvivors , and Razar in Brisbane; [ 215 ] and La Femme, The Negatives, and The Ba beez (later known as The News) in Melbourne . [ 216 ] Melbourne's art rock influe nced Boys Next Door featured singer Nick Cave , who would become one of the worl d's best-known post-punk artists. [ 217 ] Rest van de wereld "Panik" With its "near motorik beat ... gruff guitar riffs, shouted lyrics, and the occa sionally swooping synth line", Mtal Urbain 's debut single is one of the earliest examples anywhere of a style that would become identified with post-punk. [ 218 ] Problemen te luisteren naar dit bestand? Zie media helpen . Meanwhile, punk rock scenes were emerging around the globe. In France, les punks , a Parisian subculture of Lou Reed fans, had already been around for years. [ 219 ] Following the lead of Stinky Toys , Mtal Urbain played its first concert in December 1976. [ 220 ] In August 1977, Asphalt Jungle played at the second Mont de Marsan punk festival. [ 221 ] Stinky Toys' debut single, "Boozy Creed", came out in September. It was perhaps the first non-English-language punk rock recor d, though as music historian George Gimarc notes, the punk enunciation made that distinction somewhat moot. [ 222 ] The following month, Mtal Urbain's first 45, "Panik", appeared. [ 223 ] After the release of their minimalist punk debut, "Ri en dire", Marie et les Garons became involved in New York's mutant disco scene. [ 224 ] Asphalt Jungle's "Deconnection", Gasoline's "Killer Man", and Factory's " Flesh" also came out before the end of the year, and other French punk acts such as Oberkampf and Starshooter soon formed. [ 225 ] Nineteen seventy-seven also saw the debut album from Hamburg's Big Balls and the Great White Idiot , arguably West Germany's first punk band. [ 226 ] Other earl y German punk acts included the Fred Banana Combo and Pack. Bands primarily insp ired by British punk sparked what became known as the Neue Deutsche Welle (NDW) movement. Vanguard NDW acts such as the Nina Hagen Band and SYPH featured stride nt vocals and an emphasis on provocation. [ 227 ] Before turning in a mainstream direction in the 1980s, NDW attracted a politically conscious and diverse audie nce, including both participants of the left-wing alternative scene and neo-Nazi skinheads . These opposing factions were mutually attracted by a view of punk r ock as "politically as well as musically...'against the system'." [ 227 ] Briard jump-started Finnish punk with its 1977 single "I Really Hate Ya"/"I Want Ya Back"; [ 228 ] other early Finnish punk acts included Eppu Normaali and sing er Pelle Miljoona . In Yugoslavia, punk rock acts emerged in Croatia ( Paraf ), Slovenia ( Pankrti ), and Serbia ( Pekin ka patka ). In Japan, a punk movement dev eloped around bands playing in an art/noise style such as Friction , and "psych punk" acts like Gaseneta and Kadotani Michio. [ 229 ] In New Zealand, Auckland's Scavengers and Suburban Reptiles were followed by The Enemy of Dunedin. [ 189 ] In Brazil, punk first came to prominence in Braslia, the capital, with the bands Aborto Eltrico and Dado eo Reino Animal. [ 230 ] Punk rock scenes also grew in o ther countries such as Belgium ( The Kids , Chainsaw ), [ 231 ] the Netherlands (The Suzannes, The Ex ), [ 232 ] Spain (La Banda Trapera Del Ro, Kaka De Luxe), [ 233 ] Sweden ( Ebba Grn , KSMB ), [ 234 ] and Switzerland (Nasal Boys, Kleenex ) . [ 235 ] Schism and diversification Flipper , performing in 1984 By 1979, the hardcore punk movement was emerging in Southern California . A riva lry 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 LA punk rock scene and

to hardcore's popularity in the shoreline communities of South Bay and Orange C ounty . [ 236 ] As hardcore became the dominant punk rock style, many bands of the older Califor nia punk rock movement split up, although X went on to mainstream success and Th e Go-Go's , part of the Hollywood punk scene when they formed in 1978, adopted a pop sound and became major stars. [ 237 ] Across North America, many other firs t and second wave punk bands also dissolved, while younger musicians inspired by the movement explored new variations on punk. Some early punk bands transformed into hardcore acts. A few, most notably the Ramones, Richard Hell and The Voido ids, and Johnny Thunders and The Heartbreakers, continued to pursue the style th ey had helped create. Crossing the lines between "classic" punk, post-punk , and hardcore, San Francisco's Flipper was founded in 1979 by former members of Nega tive Trend and The Sleepers. [ 238 ] They became "the reigning kings of American underground rock, for a few years". [ 239 ] Radio Birdman broke up in June 1978 while touring the UK, [ 131 ] where the earl y unity between bohemian , middle-class punks (many with art school backgrounds) and working-class punks had disintegrated. [ 240 ] In contrast to North America , more of the bands from the original British punk movement remained active, sus taining extended careers even as their styles evolved and diverged. Meanwhile, t he Oi! and anarcho-punk movements were emerging. Musically in the same aggressiv e vein as American hardcore, they addressed different constituencies with overla pping but distinct anti-establishment messages. As described by Dave Laing, "The model for self-proclaimed punk after 1978 derived from the Ramones via the eigh t-to-the-bar rhythms most characteristic of The Vibrators and Clash. ... It beca me essential to sound one particular way to be recognized as a 'punk band' now." [ 241 ] In February 1979, former Sex Pistols bassist Sid Vicious died of a hero in overdose in New York. If the Sex Pistols' breakup the previous year had marke d the end of the original UK punk scene and its promise of cultural transformati on, for many the death of Vicious signified that it had been doomed from the sta rt. [ 242 ] "London Calling" The title track of The Clash 's 1979 double album was the band's biggest UK hit on first release. [ 243 ] The atmospheric production gives it a "grandeur rarely heard on punk records." [ 244 ] Joe Strummer wanted it mixed to "sound like a f oggy morning on the River Thames." [ 245 ] The guitar chords on the second and f ourth beats in the verse nod toward reggae . [ 244 ] Problemen te luisteren naar dit bestand? Zie media helpen . By the turn of the decade, the punk rock movement had split deeply along cultura l and musical lines, leaving a variety of derivative scenes and forms. On one si de were New Wave and post-punk artists; some adopted more accessible musical sty les and gained broad popularity, while some turned in more experimental, less co mmercial directions. On the other side, hardcore punk, Oi!, and anarcho-punk ban ds became closely linked with underground cultures and spun off an array of subg enres . [ 246 ] Somewhere in between, pop punk groups created blends like that o f the ideal record, as defined by Mekons cofounder Kevin Lycett: "a cross betwee n Abba and the Sex Pistols". [ 247 ] A range of other styles emerged, many of th em fusions with long-established genres. The Clash album London Calling , releas ed 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. [ 248 ] At the same time, as observed by Flip per singer Bruce Loose, the relatively restrictive hardcore scenes diminished th e variety of music that could once be heard at many punk gigs. [ 165 ] 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 moshin g with which they became identified. [ 249 ] New Wave

For more details on this topic, see New Wave music . In 1976 first in London, then in the United States "New Wave" was introduced as a co mplementary label for the formative scenes and groups also known as "punk"; the two terms were essentially interchangeable. [ 250 ] NME journalist Roy Carr is c redited with proposing the term's use (adopted from the cinematic French New Wav e of the 1960s) in this context. [ 251 ] Over time, "New Wave" acquired a distin ct meaning: Bands such as Blondie and Talking Heads from the CBGB scene; The Car s , who emerged from the Rat in Boston; The Go-Go's in Los Angeles; and The Poli ce in London that were broadening their instrumental palette, incorporating danc e-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. [ 252 ] Bringing elements of punk rock music and fashion into more pop-oriented, less "d angerous" styles, New Wave artists became very popular on both sides of the Atla ntic. [ 253 ] New Wave became a catch-all term, [ 254 ] encompassing disparate s tyles such as 2 Tone ska, the mod revival inspired by The Jam , the sophisticate d pop-rock of Elvis Costello and XTC , the New Romantic phenomenon typified by U ltravox , 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, wh o had gone "beyond punk before punk even properly existed". [ 255 ] New Wave bec ame a pop culture sensation with the debut of the cable television network MTV i n 1981, which put many New Wave videos into regular rotation. However, the music was often derided at the time as being silly and disposable. [ 256 ] Post-punk For more details on this topic, see Post-punk . "Totally Wired" The Fall 's 1980 ode to amphetamines . [ 257 ] With its "taut, twitchy, dissonan t music and Mark E. Smith tunelessly screaming", writes Toby Creswell , it "most ly resembles the Legendary Stardust Cowboy 's ' Paralysed ' for its live feel an d sense of abandon...like a New Wave record played badly rather than a punk reco rd played well." [ 258 ] Problemen te luisteren naar dit bestand? Zie media helpen . 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 , a nd London's The Raincoats that became central post-punk figures. Some bands clas sified as post-punk, such as Throbbing Gristle and Cabaret Voltaire , had been a ctive well before the punk scene coalesced; [ 259 ] others, such as The Slits an d Siouxsie and the Banshees , 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, l ike certain New Wave acts; defining them as "post-punk" was a sound that tended to be less pop and more dark and abrasive sometimes verging on the atonal , as wit h Subway Sect and Wire and an anti-establishment posture directly related to punk' s. Post-punk reflected a range of art rock influences from Captain Beefheart to David Bowie and Roxy Music to Krautrock and, once again, the Velvet Underground. [ 11 ] Siouxsie Sioux , lead singer of Siouxsie and the Banshees , performing in 1980 Post-punk brought together a new fraternity of musicians, journalists, managers, and entrepreneurs; the latter, notably Geoff Travis of Rough Trade and Tony Wil son of Factory , helped to develop the production and distribution infrastructur e of the indie music scene that blossomed in the mid-1980s. [ 260 ] Smoothing th e edges of their style in the direction of New Wave, several post-punk bands suc h as New Order (descended from Joy Division), The Cure , and U2 crossed over to

a mainstream US audience. Bauhaus was one of the formative gothic rock bands. Ot hers, like Gang of Four, The Raincoats and Throbbing Gristle, who had little mor e than cult followings at the time, are seen in retrospect as significant influe nces on modern popular culture. [ 261 ] A number of US artists were retrospectively defined as post-punk; Television's d ebut album Marquee Moon , released in 1977, is frequently cited as a seminal alb um in the field. [ 262 ] 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 US parallel. [ 263 ] The later work of Ohio protopunk pione ers Pere Ubu is also commonly described as post-punk. [ 264 ] One of the most in fluential American post-punk bands was Boston's Mission of Burma , who brought a brupt rhythmic shifts derived from hardcore into a highly experimental musical c ontext. [ 265 ] 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 Seed s . Led by the Primitive Calculators , Melbourne's Little Band scene would furth er explore the possibilities of post-punk. [ 266 ] Later alternative rock musici ans found diverse inspiration among these post-punk predecessors, as they did am ong their New Wave contemporaries. [ 267 ] Hardcore For more details on this topic, see Hardcore punk . A distinctive style of punk, characterized by superfast, aggressive beats, screa ming 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 wh at came to be known as hardcore punk developed in Southern California in 1978 79, [ 268 ] initially around such punk bands as The Germs and Fear . [ 269 ] The mov ement soon spread around North America and internationally. [ 270 ] [ 271 ] [ 27 2 ] 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". [ 17 ] "Pay to Cum" Bad Brains ' debut single, " Pay to Cum " (1980), typifying the band's "high-spe ed playing, rapid-fire lyrics, dramatic pauses, and performance intensity," [ 27 3 ] was pivotal in hardcore's emergence as the American punk standard. [ 274 ] Problemen te luisteren naar dit bestand? Zie media helpen . Among the earliest hardcore bands, regarded as having made the first recordings in the style, were Southern California's Middle Class and Black Flag . [ 271 ] [ 272 ] Bad Brains all of whom were black, a rarity in punk of any era launched the DC scene . [ 270 ] Austin, Texas 's Big Boys , San Francisco's Dead Kennedys , a nd Vancouver 's DOA were among the other initial hardcore groups. They were soon joined by bands such as the Minutemen , Descendents , Circle Jerks , Adolescent s , and TSOL in Southern California; DC's Teen Idles , Minor Threat , and State of Alert ; and Austin's MDC and The Dicks . By 1981, hardcore was the dominant p unk rock style not only in California, but much of the rest of North America as well. [ 275 ] A New York hardcore scene grew, including the relocated Bad Brains , New Jersey's Misfits and Adrenalin OD , and local acts such as the Nihilistics , 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 follo wed by The Cro-Mags , Murphy's Law , and Leeway . [ 276 ] By 1983, St. Paul 's Hs ker D , Willful Neglect and Chicago's Naked Raygun were taking the hardcore sound in experimental and ultimately more melodic directions. Hardcore would constitu te the American punk rock standard throughout the decade. [ 277 ] The lyrical content of hardcore songs is often critical of commercial culture an d middle-class values, as in Dead Kennedys' celebrated " Holiday in Cambodia " ( 1980). [ 272 ] Straight edge bands like Minor Threat, Boston 's SS Decontrol , a

nd Reno, Nevada 's 7 Seconds rejected the self-destructive lifestyles of many of their peers, and built a movement based on positivity and abstinence from cigar ettes, alcohol, drugs, and casual sex. [ 278 ] In the early 1980s, bands from th e American southwest and California such as JFA , Agent Orange , and The Faction helped create a rhythmically distinctive style of hardcore known as skate punk . Skate punk innovators also pointed in other directions: Big Boys helped establ ish funkcore, while Venice, California 's Suicidal Tendencies had a formative ef fect on the heavy metal influenced crossover thrash style. Toward the end of the decade, crossover thrash spawned the metalcore fusion style and the superfast th rashcore subgenre developed in multiple locations. [ 279 ] Oi! For more details on this topic, see Oi! . "Punks Not Dead" The title track of The Exploited 's debut, Punks Not Dead , the top independent UK album of 1981. [ 280 ] Defying punk's disappearance from the British mainstre am, the song exemplifies the band's sound and that of Oi! groups in general: "ha rsher, darker, and cruder than their '77 forefathers." [ 281 ] Problemen te luisteren naar dit bestand? Zie media helpen . Strength Thru Oi! , with its notorious image of British Movement activist and fe lon Nicky Crane [ 282 ] Following the lead of first-wave British punk bands Cock Sparrer and Sham 69 , i n the late 1970s second-wave units like Cockney Rejects , Angelic Upstarts , The Exploited , and The 4-Skins sought to realign punk rock with a working class, s treet-level following. [ 283 ] For that purpose, they believed, the music needed to stay "accessible and unpretentious", in the words of music historian Simon R eynolds . [ 284 ] Their style was originally called "real punk" or streetpunk ; 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!" [ 285 ] Oi! band s' lyrics sought to reflect the harsh realities of living in Margaret Thatcher ' s Britain in the late 1970s and early 1980s. [ 286 ] A subgroup of Oi! bands dub bed " punk pathetique " including Splodgenessabounds , Peter and the Test Tube Bab ies , and Toy Dolls had a more humorous and absurdist bent. 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 univ ersity people using long words, trying to be artistic ... and losing touch". [ 2 87 ] 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 mythol ogy. In the places where [these bands] came from, it was harder and more aggress ive and it produced just as much quality music." [ 288 ] Lester Bangs described Oi! as "politicized football chants for unemployed louts". [ 289 ] One song in p articular, The Exploited's "Punks Not Dead", spoke to an international constitue ncy. It was adopted as an anthem by the groups of disaffected Mexican urban yout h known in the 1980s as bandas ; one banda named itself PND, after the song's in itials. [ 290 ] 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 some times disrupted Oi! concerts by shouting fascist slogans and starting fights, bu t some Oi! bands were reluctant to endorse criticism of their fans from what the y perceived as the "middle-class establishment". [ 291 ] In the popular imaginat ion, the movement thus became linked to the far right . [ 292 ] 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 n eo-Nazi jailed for racist violence (Bushell claimed ignorance). [ 282 ] On July 3, a concert at Hamborough Tavern in Southall featuring The Business, The 4-Skin s, and The Last Resort was firebombed by local Asian youths who believed that th

e event was a neo-Nazi gathering. [ 293 ] Following the Southall riot, press cov erage increasingly associated Oi! with the extreme right, and the movement soon began to lose momentum. [ 286 ] Anarcho-punk For more details on this topic, see Anarcho-punk . Crass were the originators of anarcho-punk. [ 294 ] Their all-black militaristic dress became a staple of the genre. Anarcho-punk developed alongside the Oi! and American hardcore movements. With a primitive, stripped-down musical style and ranting, shouted vocals, British ban ds such as Crass the scene's "moral leaders" Subhumans , Flux of Pink Indians , Co nflict , Poison Girls , and The Apostles attempted to transform the punk rock sc ene into a full-blown anarchist movement. Revolution and military action were pr imary lyrical topics. [ 295 ] As with straight edge, anarcho-punk is based on a set of principles, including prohibitions on wearing leather and the promotion o f a vegetarian or vegan diet. [ 294 ] 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 th e movement, led by Amebix and Antisect , developed the extreme style known as cr ust 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 ba nds from father afield like Birmingham's Charged GBH , became the leading figure s 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 defi ned grindcore , incorporating extremely fast tempos and death metal style guitarw ork. [ 296 ] Led by Dead Kennedys, a US anarcho-punk scene developed around such bands as Austin's MDC and Southern California's Another Destructive System. [ 2 97 ] Pop punk For more details on this topic, see Pop punk . With their love of the Beach Boys and late 1960s bubblegum pop , the Ramones pav ed the way to what became known as pop punk. [ 298 ] In the late 1970s, UK bands such as Buzzcocks and The Undertones combined pop -style tunes and lyrical them es with punk's speed and chaotic edge. [ 299 ] In the early 1980s, some of the l eading 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 song s about girls and food and being young(ish)". [ 300 ] Epitaph Records , founded by Brett Gurewitz of Bad Religion, was the base for many future pop punk bands, including NOFX , with their third wave ska influenced skate punk rhythms. Bands t hat fused punk with light-hearted pop melodies, such as The Queers and Screechin g Weasel , began appearing around the country, in turn influencing bands like Gr een Day and The Offspring , who brought pop punk wide popularity and major recor d sales. Bands such as The Vandals and Guttermouth developed a style blending po p melodies with humorous and offensive lyrics. The mainstream pop punk of latter -day bands such as Blink-182 is criticized by many punk rock devotees; in critic Christine Di Bella's words, "It's punk taken to its most accessible point, a po int where it barely reflects its lineage at all, except in the three-chord song structures." [ 301 ] Other fusions and directions 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 Fl esh Eaters with deathrock ; The Plugz with Chicano punk ; and Gun Club with punk blues . The Meteors , from South London , and The Cramps , who moved from New Y ork to Los Angeles in 1980, were innovators in the psychobilly fusion style. [ 3 02 ] Milwaukee's Violent Femmes jumpstarted the American folk punk scene, while

The Pogues did the same on the other side of the Atlantic, influencing many Celt ic punk bands. [ 303 ] The Mekons, from Leeds , combined their punk rock ethos w ith country music, greatly influencing the later alternative country movement. I n the United States, varieties of cowpunk played by bands such as Nashville 's J ason & the Scorchers , Arizona's Meat Puppets , and Southern California's Social Distortion had a similar effect. Other bands pointed punk rock toward future rock styles or its own foundations. New York's Suicide , LA's The Screamers and Nervous Gender , Australia's JAB , a nd Germany's DAF were pioneers of synthpunk . The Ex , from the Netherlands, wer e in the art punk vanguard. [ 304 ] Chicago's Big Black was a major influence on noise rock , math rock , and industrial rock . Garage punk bands from all over su ch as Medway 's Thee Mighty Caesars , Chicago's Dwarves , and Adelaide 's Explod ing White Mice pursued a version of punk rock that was close to its roots in 1960 s garage rock. Seattle's Mudhoney , one of the central bands in the development of grunge , has been described as "garage punk". [ 305 ] Legacy and later developments Alternative rock Main article: 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 ind ustry, spurring the growth of the independent sector. [ 306 ] During the early 1 980s, 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 industria l niche. Though commercially successful over an extended period, they maintained an underground-style, subcultural identity. [ 307 ] In the United States, bands such as Hsker D and their Minneapolis protgs The Replacements bridged the gap betwe en punk rock genres like hardcore and the more melodic, explorative realm of wha t was then called " college rock ". [ 308 ] Sonic Youth 's Kim Gordon in 1991, walking on her bass guitar A 1985 Rolling Stone feature on the Minneapolis scene and innovative California hardcore acts such as Black Flag and Minutemen declared, "Primal punk is pass. Th e 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 ar e more than shouted political slogans. Some of them have even discovered the Gra teful Dead ." [ 309 ] By the end of the 1980s, these bands, who had largely ecli psed their punk rock forebears in popularity, were classified broadly as alterna tive rock . Alternative rock encompasses a diverse set of styles including gothic rock and grunge , among others unified by their debt to punk rock and their origin s outside of the musical mainstream. [ 310 ] As American alternative bands like Sonic Youth , which had grown out of the No W ave scene, and Boston's Pixies started to gain larger audiences, major labels so ught to capitalize on the underground market that had been sustained by hardcore punk for years. [ 311 ] In 1991, Nirvana emerged from Washington State's grunge scene, achieving huge commercial success with its second album, Nevermind . The band's members cited punk rock as a key influence on their style. [ 312 ] "Punk is musical freedom", wrote singer Kurt Cobain . "It's saying, doing, and playin g what you want." [ 313 ] The widespread popularity of Nirvana and other punk-in fluenced bands such as Pearl Jam and Red Hot Chili Peppers fueled the alternativ e rock boom of the early and mid-1990s. [ 310 ] Emo Jimmy Eat World , performing in 2008 For more details on this topic, see Emo . In its original, mid-1980s incarnation, emo was a less musically restrictive sty le of punk developed by participants in the Washington, DC area hardcore scene.

It was originally referred to as "emocore", an abbreviation of "emotive hardcore ". [ 314 ] Notable early emo bands included Rites of Spring , Embrace , The Hate d , and One Last Wish . The term derived from the tendency of some of these band s' members to become strongly emotional during performances. Fugazi , formed out of the dissolution of Embrace, inspired a second, much broader based wave of em o bands beginning in the mid-1990s. Groups like San Diego's Antioch Arrow genera ted new, more intense subgenres like screamo , while others developed a more mel odic style closer to indie rock. Bands such as Seattle's Sunny Day Real Estate a nd Mesa, Arizona 's Jimmy Eat World broke out of the underground, attracting nat ional attention. Queercore and riot grrrl Carrie Brownstein , performing with Sleater-Kinney in 2005 For more details on this topic, see Queercore and Riot Grrrl . In the 1990s, the queercore movement developed around a number of punk bands wit h gay, lesbian, or bisexual 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 , Darby Crash 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 tre at the themes of prejudice, sexual identity , gender identity , and individual r ights. The movement has continued into the 21st century, supported by festivals such as Queeruption . [ 315 ] In 1991, a concert of female-led bands at the International Pop Underground Conv ention in Olympia, Washington , heralded the emerging riot grrrl phenomenon. Bil led as "Love Rock Revolution Girl Style Now", the concert's lineup included Biki ni Kill , Bratmobile , Heavens to Betsy , L7 , and Mecca Normal . [ 316 ] The ri ot grrrl movement foregrounded feminist concerns and progressive politics in gen eral; the DIY ethic and fanzines were also central elements of the scene. [ 317 ] Singer-guitarists Corin Tucker of Heavens to Betsy and Carrie Brownstein of Ex cuse 17 , bands active in both the queercore and riot grrrl scenes, cofounded th e celebrated 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. [ 318 ] Revival "Longview" The Green Day single that led the way in pop punk's rise to mainstream success. [ 319 ] Playing with the quiet-loud dynamic associated with grunge, [ 320 ] " Lo ngview " features a conversational-sounding vocal from Billie Joe Armstrong in t he verse and a lounge jazz style bass line "wired to detonate." [ 321 ] Problemen te luisteren naar dit bestand? Zie media helpen . Billie Joe Armstrong of Green Day , performing in 1994 By the 1990s, punk rock was sufficiently ingrained in Western culture that punk trappings were often used to market highly commercial bands as "rebels". Markete rs capitalized on the style and hipness of punk rock to such an extent that a 19 93 ad campaign for an automobile, the Subaru Impreza , claimed that the car was "like punk rock". [ 322 ] Along with Nirvana, many of the leading alternative ro ck artists of the early 1990s acknowledged the influence of earlier punk rock ac ts. With Nirvana's success, the major record companies once again saw punk bands as potentially profitable. [ 323 ] In 1993, California's Green Day and Bad Religion were both signed to major label s. The next year, Green Day put out Dookie , which became a huge hit, selling ni ne million albums in the United States in just over two years. [ 324 ] Bad Relig ion's Stranger Than Fiction was certified gold . [ 325 ] Other California punk b ands on the independent label Epitaph , run by Bad Religion guitarist Brett Gure witz , 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 ev entually certified gold or better. That June, Green Day's " Longview " reached n umber one on Billboard ' s Modern Rock Tracks chart and became a top forty airpl ay hit, arguably the first ever American punk song to do so; just one month late r, The Offspring's " Come Out and Play " followed suit. MTV and radio stations s uch as Los Angeles' KROQ-FM played a major role in these bands' crossover succes s, though NOFX refused to let MTV air its videos. [ 326 ] Smash went on to sell over twelve million copies worldwide, becoming the best-selling independent-labe l album of all time. [ 327 ] Following the lead of Boston's Mighty Mighty Bosstones and two California bands, Berkeley 's Operation Ivy and Long Beach 's Sublime , ska punk and ska-core bec ame widely popular in the mid-1990s. By 1996, genre acts such as Reel Big Fish a nd Less Than Jake were being signed to major labels. The original 2 Tone bands h ad emerged amid punk rock's second wave, but their music was much closer to its Jamaican roots "ska at 78 rpm ". [ 328 ] Ska punk bands in the third wave of ska c reated a true musical fusion between the genres. ...And Out Come the Wolves , th e 1995 album by Rancid which had evolved out of Operation Ivy became the first recor d in this ska revival to be certified gold; [ 329 ] Sublime's self-titled 1996 a lbum was certified platinum early in 1997. [ 324 ] In Australia, two popular groups, skatecore band Frenzal Rhomb and pop punk act Bodyjar , also established followings in Japan. [ 330 ] Green Day and Dookie' s enormous sales paved the way for a host of bankable Nort h American pop punk bands in the following decade. [ 331 ] With punk rock's rene wed visibility came concerns among some in the punk community that the music was being co-opted by the mainstream. [ 326 ] 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. [ 332 ] Such controversies have been part o f the punk culture since 1977, when The Clash was widely accused of "selling out " for signing with CBS Records . [ 333 ] The Vans Warped Tour and the mall chain store Hot Topic brought punk even further into the US mainstream. [ 334 ] In the mainstream "All the Small Things" The first US punk-identified single to reach -chant verse and na-na-na chorus". [ 335 ] " Blink-182 's "formulaic hits", in Marc Spitz inimally pulsing bass, explosive three-chord ony". [ 336 ] Problemen te luisteren naar dit bestand? Zie the top ten, built on a "schoolyard All the Small Things " exemplifies 's description: "adenoidal verse, m guitar riffs tempered by sweet harm media helpen .

By early 1998, the punk revival had commercially stalled, [ 337 ] but not for lo ng. That November, The Offspring's Americana on the major Columbia label debuted at number two on the album chart. A bootleg MP3 of its first single, " Pretty F ly (For a White Guy) ", made it on to the Internet and was downloaded a record 2 2 million times illegally. [ 338 ] The following year, Enema of the State , the fi rst major-label release by pop punk band Blink-182 , reached the top ten and sol d four million copies in under twelve months. [ 324 ] In January 2000, the album 's second single, " All the Small Things ", hit the sixth spot on the Billboard Hot 100 . While they were viewed as Green Day "acolytes", [ 336 ] critics also f ound teen pop acts like Britney Spears , the Backstreet Boys , and 'N Sync suita ble points of comparison for Blink-182's sound and market niche. [ 339 ] The ban d's Take Off Your Pants and Jacket (2001) and Blink-182 (2003) respectively rose to numbers one and three on the album chart. In November 2003, The New Yorker d escribed how the "giddily puerile" act had "become massively popular with the ma instream audience, a demographic formerly considered untouchable by punk-rock pu rists." [ 340 ]

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 ev entually went platinum in the United States. The record included the number one US Alternative hit " Fat Lip ", which incorporated verses of what one critic cal led "brat rap." [ 341 ] Good Charlotte , from Maryland, had three successive top ten albums beginning with The Young and the Hopeless in 2002. Florida's Yellowc ard , which had been together since 1997, had its first hit in 2003 with its maj or-label debut, Ocean Avenue . Simple Plan , from Montral, climbed to number thre e in the United States with Still Not Getting Any... in 2004. Justin Sane and Chris#2 of Anti-Flag , performing in 2006 That same year, Green Day, which had gone through a relatively fallow period com mercially, took American Idiot to number one on both the US and UK charts; the b and matched the feat five years later with 21st Century Breakdown . Jimmy Eat Wo rld , taking emo in a radio-ready pop punk direction, [ 342 ] had top ten albums in 2004 and 2007. In a similar style, Fall Out Boy hit number one with 2007's I nfinity on High . The wave of commercial success was broad-based: AFI , with roo ts in hardcore and skate punk, had great success with 2003's Sing the Sorrow and topped the US chart with Decemberunderground in 2006. Two years later, The Offs pring had its fifth top ten album with Rise and Fall, Rage and Grace and its thi rd Modern Rock/Alternative Songs chart-topper with " You're Gonna Go Far, Kid ". Starting in 2003, Alkaline Trio had four consecutive top twenty-five albums, pe aking at number eleven with 2010's This Addiction . 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 such as Sum 41 and Blink 182". [ 343 ] At the same time, politicized and independent-label punk continued to thrive in the United States. Since 1993, Anti-Flag had been putting progressive politics at the cente r of its music. The administration of George W. Bush provided them and similarly minded acts eight years of conservative government to excoriate. Rise Against w as the most successful of these groups, registering top ten records in 2006 with The Sufferer & the Witness and two years later with Appeal to Reason . Leftist folk punk band Against Me! 's New Wave was named best album of 2007 by Spin . [ 344 ] In the realm of the US independents, Celtic punk attracted a substantial a udience. Flogging Molly and Dropkick Murphys each had top twenty albums on small labels, with the former's Float landing at number four in 2008. Elsewhere around the world, " punkabilly " band The Living End became major star s in Australia with their self-titled 1998 debut . [ 345 ] The group topped the national album chart again with State of Emergency in 2006 and White Noise in 20 08. Zie ook Wikinews has related news: Vivien Goldman: An interview with the Punk Pr ofessor List of punk bands Punk rock subgenres Timeline of punk rock Referenties ^ Erlewine, Stephen Thomas, "The Ramones: Biography" , Allmusic . Retrieved on October 11, 2007. ^ a b Bessman (1993), pp. 48, 50; Miles, Scott, and Morgan (2005), p. 136. ^ a b Robb (2006), foreword by Michael Bracewell. ^ Ramone, Tommy, "Fight Club", Uncut , January 2007. ^ a b McLaren, Malcolm, "Punk Celebrates 30 Years of Subversion" , BBC News, August 18, 2006. Retrieved on January 17, 2006.

^ Christgau, Robert, " Please Kill Me: The Uncensored Oral History of Punk , by Legs McNeil and Gillian McCain" (review) , New York Times Book Review , 1996 . Retrieved on January 17, 2007. ^ See, eg, Rodel (2004), p. 237; Bennett (2001), pp. 49 50. ^ Savage (1992), pp. 280 281, including reproduction of the original image. Se veral sources incorrectly ascribe the illustration to the leading fanzine of the London punk scene, Sniffin' Glue (eg, Wells [2004], p. 5; Sabin [1999], p. 111) . Robb (2006) ascribes it to The Stranglers ' in-house fanzine, Strangled (p. 31 1). In fact, Strangled , which only began appearing in 1977, evolved out of Side burns (see, eg, " Strangled " . Xulu Brand Comics . Retrieved 2009-03-19 . ) ^ Blush (2001), pp. 173, 175. See also The Stimulators Loud Fast Rules 7? Kill ed By Death Records (September 21, 2006). ^ Harris (2004), p. 202. ^ a b 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. Pag e 247. ^ Kosmo Vinyl, The Last Testament: The Making of London Calling (Sony Music, 2004). ^ Traber, Daniel S., "LA's 'White Minority': Punk and the Contradictions of Self-Marginalization", Cultural Critique 48 (spring 2001), pp. 30 64. ^ Murphy, Peter, "Shine On, The Lights Of The Bowery: The Blank Generation R evisited", Hot Press , July 12, 2002; Hoskyns, Barney , "Richard Hell: King Punk Remembers the [ ] Generation", Rock's Backpages , March 2002. ^ a b Blush, Steven, "Move Over My Chemical Romance: The Dynamic Beginnings of US Punk", Uncut , January 2007. ^ Wells (2004), p. 41; Reed (2005), p. 47. ^ a b Shuker (2002), p. 159. ^ Laing (1985), p. 58; Reynolds (2005), p. ix. ^ Chong, Kevin, "The Thrill Is Gone" , Canadian Broadcasting Corporation, Au gust 2006. Retrieved on December 17, 2006. ^ Quoted in Laing (1985), p. 62. ^ Palmer (1992), p. 37. ^ Laing (1985), p. 62. ^ Laing (1985), pp. 61 63. ^ Laing (1985), pp. 118 119. ^ Laing (1985), p. 53. ^ Sabin (1999), pp. 4, 226; Dalton, Stephen, "Revolution Rock", Vox , June 1 993. See also Laing (1985), pp. 27 32, for a statistical comparison of lyrical the mes. ^ Laing (1985), p. 31. ^ Laing (1985), pp. 81, 125. ^ Quoted in Savage (1991), p. 440. See also Laing (1985), pp. 27 32. ^ Segal, David (2001-04-17). "Punk's Pioneer" . Washington Post . Retrieved 2007-10-23 . ^ a b Isler, Scott; Robbins, Ira. "Richard Hell & the Voidoids" . Trouser Pr ess . Retrieved 2007-10-23 . ^ Strongman (2008), pp. 58, 63, 64; Colegrave and Sullivan (2005), p. 78. ^ See Weldon, Michael. "Electric Eels: Attendance Required" . Cleveland.com . Ontvangen 19 december 2010. ^ Young, Charles M. (October 20, 1977). "Rock Is Sick and Living in London" . Rolling Stone . Archived from the original on September 14, 2006 . Retrieved 1 0 October 2006 . ^ a b Strohm (2004), p. 188. ^ See, eg, Laing (1985), "Picture Section", p. 18. ^ Wojcik (1997), p. 122. ^ Wojcik (1995), pp. 16 19; Laing (1985), p. 109. ^ Laing (1985), pp. 89, 97 98, 125. ^ Laing (1985), p. 92, 88. ^ Laing (1985), p. 89, 92 93.

^ Laing (1985), pp. 34, 61, 63, 89 91. ^ Laing (1985), p. 90; Robb (2006), pp. 159 160. ^ Laing (1985), p. 34. ^ Laing (1985), p. 82. ^ Laing (1985), pp. 84 85. ^ Laing (1985), p. 14. ^ Sabin (1999), p. 157. ^ Harrington (2002), p. 165. ^ Reed (2005), p. 49. ^ Fletcher (2000), p. 497. ^ See Sabin (1999), p. 159. ^ MC5: Kick Out the Jams review by Lester Bangs, Rolling Stone , April 5, 19 69. Retrieved on January 16, 2007. Archived February 5, 2007 at the Wayback Mach ine . ^ Marcus (1979), p. 294. ^ Taylor (2003), p. 49. ^ Harrington (2002), p. 538. ^ Bessman (1993), pp. 9 10. ^ Andersen and Jenkins (2001), p. 12. Vaughan, Robin (June 6 12, 2003). "Reali ty Bites" . Boston Phoenix . Harvard, Joe. "Mickey Clean and the Mezz" . Boston Rock Storybook . Robbins, Ira. "Wille Alexander" . Trouser Press Guide . Retriev ed 2007-11-27 . ^ a b Rubin, Mike (2009-03-12). "This Band Was Punk Before Punk Was Punk" . New York Times . 2009-03-15 opgehaald. ^ Klimek, Jamie, "Mirrors" , Jilmar Music ; Jger, Rolf, "Styrenes A Brief Histo ry" , Rent a Dog . Both retrieved on November 27, 2007. ^ Ohtaka, Toshikazu; Akagawa, Yukiko. "Interview with Mick Farren" . Strange Days (Japan). Archived from the original on May 8, 2008 . Retrieved 2008-01-10 . "Soundwise, we wanted to be incredibly loud and violent! That says it all. The hippies wanted to be nice and gentle, but our style was the opposite of that pe aceful, natural attitude." ^ Unterberger (1998), pp. 86 91. ^ Laing (1985), pp. 24 26. ^ Robb (2006), p. 51. ^ Neate, Wilson. "NEU!" . Trouser Press . 2007-01-11 opgehaald. ^ Anderson (2002), p. 588. ^ Unterberger (2000), p. 18. ^ Dickson (1982), p. 230. ^ Leblanc (1999), p. 35. ^ Quoted in Leblanc (1999), p. 35. ^ Shapiro (2006), p. 492. ^ Bangs, Lester, "Of Pop and Pies and Fun" , Creem , December 1970. Retrieve d on November 29, 2007. ^ Nobahkt (2004), p. 38. ^ Shapiro (2006), p. 492. Note that Taylor (2003) misidentifies the year of publication as 1970 (p. 16). ^ Gendron (2002), p. 348 n. 13. ^ Houghton, Mick, "White Punks on Coke", Let It Rock . December 1975. ^ Taylor (2003), p. 16. ^ Willis, Ellen, "Into the Seventies, for Real", The New Yorker , December 1 972; reprinted in Willis's Out of the Vinyl Deeps (2001, University of Minneapol is Press), pp. 114 16. Italics in original. ^ Atkinson, Terry, "Hits and Misses", Los Angeles Times , February 17, 1973, p. B6. ^ Laing (1985), p. 13; "Punk Magazine Listening Party # 7" , Punk Magazine , July 20, 2001. Retrieved on March 4, 2008. ^ Hilburn, Robert, "Touch of Stones in Dolls' Album", Los Angeles Times , Ma y 7, 1974, p. C12. ^ Harvard, Joe, "Real Kids" , Boston Rock Storybook . Retrieved on November 27, 2007. Archived December 26, 2007 at the Wayback Machine .

^ a b Savage (1991), p. 131. ^ Savage (1991), pp. 130 131. ^ Taylor (2003), pp. 16 17. ^ Valentine (2006), p. 54. ^ Valentine (2006), pp. 52 55. ^ Savage (1991), pp. 86 90, 59 60. ^ a b Walker (1991), p. 662. ^ Strongman (2008), pp. 53, 54, 56. ^ a b Savage (1992), p. 89. ^ Bockris and Bayley (1999), p. 102. ^ "Patti Smith Biography" . Arista Records. Archived from the original on Nove mber 3, 2007 . Retrieved 2007-10-23 . Strongman (2008), p. 57; Savage (1991), p. 91; Pareles and Romanowski (1983), p. 511; Bockris and Bayley (1999), p. 106. ^ Savage (1991), pp. 90 91. ^ Bessman (1993), p. 27. ^ Savage (1991), pp. 132 133. ^ Deming, Mark. "" The Dictators Go Girl Crazy! " (review)" . Allmusic . 200 7-12-27 opgehaald. ^ Bockris and Bayley (1999), p. 119. ^ Savage (1992) claims that "Blank Generation" was written around this time (p. 90). However, the Richard Hell anthology album Spurts includes a live Televi sion recording of the song that he dates "spring 1974." ^ Strongman (2008), p. 96; Savage (1992), p. 130. ^ Campbell (2008), p. 362. ^ Walsh (2006), p. 27. ^ Savage (1991), p. 132. ^ Walsh (2006), pp. 15, 24; for Punk , Wayne County, and punk homosexuality, see McNeil and McCain (2006), pp. 272 275; Savage (1992), p. 139; for CBGB's clos ing in 2006, see, eg, Damian Fowler, "Legendary punk club CBGB closes" , BBC New s , October 16, 2006. Teruggevonden op 11 december 2006. ^ Savage (1992), p. 137. ^ Pareles and Romanowski (1983), p. 249. ^ Isler, Scott; Robbins, Ira. "Ramones" . Trouser Press . Retrieved 2007-1023 . ^ Adams (2002), p. 369; McNeil and McCain (2006), pp. 233 234. ^ "Richard Hell Another World/Blank Generation/You Gotta Lose" . Discogs . Ret rieved 2007-10-23 . Buckley (2003), p. 485. ^ Walsh (2006), p. 8. ^ Heylin (2007), p. 380. Heylin dates the "Hot Wire My Heart" single to 1976 . ^ Hannon (2009), p. 18. Hannon suggests "Hot Wire My Heart" came out in Janu ary 1977 or shortly thereafter. ^ Unterberger (1999), p. 319. ^ Unterberger (1999), p. 426. ^ Humphrey, Clark. "Rock Music Seattle" . HistoryLink.org, May 4, 2000. Retrie ved on November 26, 2007. ^ Andersen and Jenkins (2001), pp. 2 13. ^ Robbins, Ira. "DMZ" . Trouser Press . 2007-12-01 opgehaald. Donnelly, Ben. "DMZ" . Dusted . 2007-11-29 opgehaald. ^ Lovell, Paul (1978). "Interview with Kenne Gizmo" . Boston Groupie News . 2007-12-28 opgehaald. Eddy, Chuck (2005-07-15). "Eddytor's Dozen" . Village Voic e . 2007-12-28 opgehaald. ^ Ross, Alex. "Generation Exit", The New Yorker , April 25, 1994, pp. 102 104. ^ Harvard, Joe, "Willie "Loco" Alexander and the Boom Boom Band" , Boston Ro ck Storybook . Retrieved November 27, 2007. Archived October 24, 2007 at the Way back Machine . ^ Jonh Ingham , quoted in Stafford (2006), p. 63. ^ Stafford (2006), p. 62. ^ Raftery, Brian. "The 30 Essential Punk Albums of 1977". Spin . October 200 7, p. 70.

^ Buckley (2003), p. 3; McFarlane (1999), p. 507. ^ Australian Broadcasting Corporation (October 2, 2003). "Misfits and Malcon tents" . abc.net.au . Retrieved November 1, 2006 . ^ McFarlane (1999), p. 548. ^ Beaumont, Lucy (2007-08-17). ""Great Australian Albums [TV review]" " . Th e Age . 2007-09-22 opgehaald. Gook, Ben (2007-08-16). ""Great Australian Albums The Saints (I'm) Stranded [DVD review]" " . Mess+Noise . 2007-09-22 opgehaald. ^ Stafford (2006), pp. 57 76. ^ a b c McFarlane (1999), p. 507. ^ McCaleb (1991), p. 529. ^ Unterberger (2002), p. 1337. ^ Gimarc (2005), p. 41 ^ Marcus (1989), p. 8. ^ "The Sex Pistols" , Rolling Stone Encyclopedia of Rock 'n' Roll (2001). Re trieved on September 11, 2006; Robb (2006), pp. 83 87; Savage (1992), pp. 99 103. ^ Gimarc (2005), p. 22; Robb (2006), p. 114; Savage (1992), p. 129. ^ " The Bromley Contingent ", punk77.co.uk. Retrieved on December 3, 2006. ^ Savage (1992), pp. 151 152. The quote has been incorrectly ascribed to McLar en (eg, Laing [1985], pp. 97, 127) and Rotten (eg, "Punk Music in Britain" , BBC , October 7, 2002), but Savage directly cites the New Musical Express issue in w hich the quote originally appeared. Robb (2006), p. 148, also describes the NME article in some detail and ascribes the quote to Jones. ^ Quoted in Friedlander and Miller (2006), p. 252. ^ Quoted in Savage (1992), p. 163. ^ Savage (1992), p. 163. ^ Savage (1992), pp. 124, 171, 172. ^ "Sex Pistols Gig: The Truth" . BBC. 2006-06-27 . 2007-12-29 opgehaald. ^ Taylor (2003), p. 56; McNeil and McCain (2006), pp. 230 233; Robb (2006), pp . 198, 201. Quote: Robb (2006), p. 198. ^ Robb (2006), p. 198. ^ Taylor (2003), p. 56. ^ Loder, Kurt (2003-03-10). "The Clash: Ducking Bottles, Asking Questions" . MTV.com . 2007-12-20 opgehaald. ^ Taylor (2004), p. 80. ^ Laing (1985), p. 13. ^ Cummins, Kevin, "Closer to the Birth of a Music Legend", The Observer , Au gust 8, 2007, p. 12. ^ Strongman (2008), pp. 131 132; Savage (1992), p. 216. Strongman describes on e of the Sex Pistols' objectionable requests as "some entourage accommodation". Savage says they were dropped from the festival following a violent altercation between Sid Vicious , then part of the Sex Pistols' "entourage", and journalist Nick Kent at a Pistols gig. It is possible that the organizers were specifically afraid of Vicious's attendance. ^ See, eg, Marcus (1989), pp. 37, 67. ^ "Eater" . Detour Records. Archived from the original on October 15, 2007 . 2007-12-29 opgehaald. ^ Colegrave and Sullivan (2005), p. 111; Gimarc (2005), p. 39; Robb (2006), pp. 217, 224 225. ^ Savage (1992), p. 253. ^ a b Pardo (2004), p. 245. ^ Savage (1992), pp. 221, 247. ^ Heylin (1993), p. XII. ^ Robbins, Ira. "Undertones" . Trouser Press . Archived from the original on November 3, 2007 . Retrieved 2007-10-23 . Reid, Pat (May 2001). "Alive and Kick ing" . Rhythm Magazine . Undertones.net. Archived from the original on November 3, 2007 . Retrieved 2007-10-23 . ^ Griffin, Jeff, " The Damned ", BBC.co.uk. Retrieved on November 19, 2006. ^ "Anarchy in the UK" . Rolling Stone . 2004-12-09. Archived from the origin al on October 12, 2007 . 2007-10-22 opgehaald. ^ Lydon (1995), p. 127; Savage (1992), pp. 257 260; Barkham, Patrick, "Ex-Sex

Pistol Wants No Future for Swearing" , The Guardian (UK), March 1, 2005. Retriev ed on December 17, 2006. ^ Savage (1992), pp. 267 275; Lydon (1995), pp. 139 140. ^ a b Reynolds (2005), p. 211. ^ "Punk Rock" , Allmusic . Retrieved on January 7, 2007. ^ Savage (1992), p. 437; Mullen, Brendan, and Marc Spitz (May 2001). "Sit on My Face, Stevie Nicks! The Germs, Darby Crash, and the Birth of SoCal Punk", Sp in , p. 102. ^ Thompson (2000), p. 391. ^ Heylin (2007), p. 376. ^ Claude Bessy , quoted in Mullen et al. (2002), p. 67. ^ Spitz and Mullen (2001), passim. ^ Stark (2006), passim. ^ Unterberger (1999), p. 398. For examples of early California punk recordin gs, see Dangerhouse Records Part 1 BreakMyFace.com. ^ a b Keithley (2004), pp. 31 32. ^ Keithley (2004), pp. 24, 35, 29 43, 45 et seq. ^ Miller, Earl. "File Under Anarchy: A Brief History of Punk Rock's 30-Year Relationship with Toronto's Art Press" . International Contemporary Art , Decemb er 22, 2005. Retrieved on November 25, 2007 ^ Worth, Liz. "A Canadian Punk Revival" . Exclaim , June 2007. Retrieved on November 27, 2007; Keithley (2004), pp. 40 41, 87, 89. ^ O'Connor, Alan (2002), "Local Scenes and Dangerous Crossroads: Punk and Th eories of Cultural Hybridity", Popular Music 21/2, p. 229; Wagner, Vit (October 15, 2006), "Nazi Dog Set to Snarl Again" , Toronto Star . Retrieved on November 11, 2010. ^ Heylin (2007), pp. 491-494. ^ Porter (2007), pp. 48 49; Nobahkt (2004), pp. 77 78. ^ Smith (2008), pp. 120, 238 239. ^ Gimarc (2005), p. 52. ^ Gimarc (2005), p. 86. ^ Gimarc (2005), p. 92. ^ McNeil and McCain (2006), pp. 213 14. ^ Boot and Salewicz (1997), p. 99. ^ Gimarc (2005), p. 102. ^ Adams (2002), pp. 377 380. ^ a b c d Aaron, Charles, "The Spirit of '77" , Spin , September 20, 2007. R etrieved on November 27, 2007. ^ Raymer, Miles, "Chicago Punk, Vol. 1" , Chicago Reader , November 22, 2007 ; Austen, Jake, "Savage Operation" , Time Out Chicago , November 22, 2007. Both retrieved December 18, 2007. ^ "1977 Club Listings Boston Punk Scene" . Boston Groupie News . 2010-11-15 op gehaald. "1978 Club Listings Boston Punk Scene" . Boston Groupie News . 2010-11-15 opgehaald. ^ Andersen and Jenkins (2001), pp. 11 15, 23 26, 32, 35, 39, 41, 49, 59, 60, 68, 84, 91, 93 et seq. ^ Simmons, Todd, "The Wednesday the Music Died" , The Villager , October 18 24 , 2006. Retrieved on November 27, 2007; Wells (2004), p. 15. ^ Dougan (2002), p. 1250. ^ Heylin (2007), p. 201 ^ Leblanc (1999), p. 45. ^ Savage (1992), pp. 260, 263 267, 277 279; Laing (1985), pp. 35, 37, 38. ^ Savage (1992), p. 286. ^ Savage (1992), pp. 296 298; Reynolds (2005), pp. 26 27. ^ Colegrave and Sullivan (2005), p. 225. ^ Reynolds (2005), pp. 365, 378. ^ Savage (1991), p. 298. ^ Reynolds (2005), pp. 170 172. ^ Heylin (2007), p. 304. ^ Reynolds (2005), pp. 171 172; Buckley (2003), p. 1179; Strongman (2008), p.

232. ^ Shuker (2002), p. 228; Wells (2004), p. 113; Myers (2006), p. 205; "Reggae 1977: When The Two 7's Clash" . Punk77.co.uk . Retrieved December 3, 2006 . ^ Hebdige (1987), p. 107. ^ Wells (2004), p. 114. ^ Strongman (2008), pp. 182 184. ^ Gaar (2002), p. 200. ^ The title echoes a lyric from the title track of Patti Smith's 1975 album Horses ^ McFaarlane, p. 547. ^ Cameron, Keith. "Come the Revolution" . Guardian , July 20, 2007. Retrieve d on November 25, 2007. ^ Gardner, Steve. "Radio Birdman" . Noise for Heroes , summer 1990. Retrieve d on November 25, 2007. ^ Nichols (2003), pp. 44, 54. ^ Strahan, Lucinda. "The Star Who Nicked Australia's Punk Legacy" . The Age , September 3, 2002. Retrieved on November 25, 2007. ^ Erlewine (2002), p. 99. ^ Crumsho, Michael. "Dusted Reviews: Metal Urbain Anarchy in Paris! " . Duste d Magazine , February 5, 2004. Teruggevonden op 30 mei 2008. ^ Sabin (1999), p. 12. ^ "Metal Urbain" . Metalorgie . Retrieved December 5, 2010 . ^ Gimarc (2005), p. 81. ^ Gimarc (2005), p. 89. ^ Gimarc (2005), p. 97. ^ James (2003), pp. 91 93. ^ Thompson (2000), p. 445; OM. "French Punk New Wave 1975 1985" Francomix , Ja nuary 20, 2005. Retrieved on November 25, 2007. ^ Robbins, Ira (October 2007). "The Spirit of '77", Spin , p. 58. ^ a b Burns and Van Der Will (1995), p. 313. ^ Briard: "I Really Hate Ya"/"I Want Ya Back" 7" (1977) "Punk Rock from Finl and"/ This Is Punk Rock . ^ Palmer, Robert. "The Pop Life" . The New York Times , September 23, 1987; "Psychedelia in Japan" . Noise: NZ/Japan . Both retrieved on November 25, 2007. ^ McGowan and Pessanha (1998), p. 197. ^ Killings, Todd. "The Kids Headline Chaos In Tejas Fest" . Victim of Time , May 16, 2007. Retrieved on November 25, 2007. ^ Savage (1992), p. 581. ^ Schrader, Stuart. "Drogas, Sexo, Y Un Dictador Muerto: 1978 on Vinyl in Sp ain" , Shit-Fi , June 4, 2008. Retrieved on July 29, 2009. ^ "Ebba Grn" Music.com; "KSMB" Music.com. Both retrieved on November 25, 2007 . ^ Mumenthaler, Samuel "Swiss Pop & Rock Anthology from the Beginnings till 1 985: WAVE (3)" , SwissMusic ; Debored, Guy. "Kleenex" TrakMarx , October 2006. B oth retrieved on November 27, 2007. Archived December 6, 2007 at the Wayback Mac hine . ^ Blush (2001), p. 18; Reynolds (2006), p. 211; Spitz and Mullen (2001), pp. 217 232; Stark (2006), "Dissolution" (pp. 91 93); see also, "Round-Table Discussion : Hollywood Vanguard vs. Beach Punks!" (Flipsidezine.com article archive). ^ Spitz and Mullen (2001), pp. 274 279. ^ See also Reynolds (2005), pp. 208 211. ^ Dougan, John. Flipper Biography . Allmusic. Retrieved on November 26, 2007. ^ Reynolds (2005), pp. 1 2, 17; Laing (1985), p. 109; Savage (1991), p. 396. ^ Laing (1985), p. 108. ^ Savage (1992), p. 530. ^ "London Calling" hit number eleven. In 1991, after the band had broken up, a rerelease of " Should I Stay or Should I Go " reached number one. ^ a b Rooksby (2001), p. 94. ^ Gray (2005), p. 315. ^ Reynolds (2005), p. xvii.

^ Quoted in Wells (2004), p. 21. ^ See, eg, Spencer, Neil, and James Brown, "Why the Clash Are Still Rock Tit ans" , The Observer (UK), October 29, 2006. Retrieved February 28, 2006. ^ Namaste (2000), p. 87; Laing (1985), pp. 90 91. ^ Gendron (2002), pp. 269 274. ^ Strongman (2008), p. 134. ^ Laing (1985), pp. 37. ^ Wojcik (1995), p. 22. ^ Schild, Matt, "Stuck in the Future" , Aversion.com, July 11, 2005. Retriev ed on January 21, 2007. ^ Reynolds (2005), p. 79. ^ "New Wave" , Allmusic. Retrieved on January 17, 2007. ^ Reynolds (2005), p. 107. ^ Creswell (2006), p. 395. ^ Reynolds (2005), p. XXI. ^ Reynolds (2005), pp. xxvii, xxix. ^ Reynolds (2005), p. xxix. ^ See, eg, Television overview by Mike McGuirk, Rhapsody ; Marquee Moon revi ew by Stephen Thomas Erlewine, Allmusic; Television: Marquee Moon (remastered ed ition) review by Hunter Felt, PopMatters . All retrieved January 15, 2007. ^ Buckley (2003), p. 13; Reynolds (2005), pp. 1 2. ^ See. eg, Reynolds (1999), p. 336; Savage (2002), p. 487. ^ Harrington (2002), p. 388. ^ Potts, Adrian (May 2008), "Big and Ugly" , Vice . Retrieved on December 11 , 2010. ^ See Thompson (2000), p. viii. ^ Sabin (1999), p. 4. ^ Blush (2001), pp. 16 17. ^ a b Andersen and Jenkins (2001). ^ a b Blush (2001), p. 17; Coker, Matt, "Suddenly In Vogue: The Middle Class May Have Been the Most Influential Band You've Never Heard Of", OC Weekly , Dec ember 5, 2002. ^ a b c Van Dorston, AS, "A History of Punk" , fastnbulbous.com, January 199 0. Retrieved on December 30, 2006. ^ Mahon (2008), p. 50. ^ Frere-Jones (2004), p. 34; Parker, Chris, " Bad Brains ", CMJ New Music Re port , April 3, 2000, p. 30. ^ Blush (2001), pp. 12 21. ^ Andersen and Jenkins (2001), p. 89; Blush (2001), p. 173; Diamond, Mike. " Beastie Boys Biography" . Sing365.com . 2008-01-04 opgehaald. ^ Leblanc (1999), p. 59. ^ Lamacq, Steve, "x True Til Death x" , BBC Radio 1, 2003. Retrieved on Janu ary 14, 2007. ^ Weinstein (2000), p. 49. ^ Hess (2007), p. 165. ^ Lamey and Robbins (1991), p. 230. ^ a b Bushell, Garry. "Oi! The Truth" . garry-bushell.co.uk. Archived from the original on 2008-07-31 . Retrieved 2010-12-23 . ^ Sabin (1999), p. 216 n. 17; Dalton, Stephen, "Revolution Rock", Vox, June 1993. ^ Reynolds (2005), p. 1. ^ Robb (2006), p. 469. ^ a b Robb (2006), p. 511. ^ Quoted in Robb (2006), pp. 469 470. ^ Robb (2006), p. 470. ^ Bangs, Lester. "If Oi Were a Carpenter". Village Voice . April 27, 1982. ^ Berthier (2004), p. 246. ^ Fleischer, Tzvi. "Sounds of Hate" . Australia/Israel & Jewish Affairs Coun cil (AIJAC), August 2000. Retrieved on January 14, 2007. ^ Robb (2006), pp. 469, 512.

^ Gimarc (1997), p. 175; Laing (1985), p. 112. ^ a b Wells (2004), p. 35. ^ Scaruffi, Piero (2005). "Anarchists" . The History of Rock Music: 1976 1989 . 2009-08-29 opgehaald. ^ Purcell (2003), pp. 56 57. ^ News Items . SOS Records, March 12, 2007; Links Anima Mundi. Both retrieve d on November 25, 2007. Archived December 18, 2007 at the Wayback Machine . ^ Besssman (1993), p. 16; Marcus (1979), p. 114; Simpson (2003), p. 72; McNe il (1997), p. 206. ^ Cooper, Ryan. "The Buzzcocks, Founders of Pop Punk" . About.com. Retrieved on December 16, 2006. ^ Myers (2006), p. 52. ^ Di Bella, Christine. "Blink 182 + Green Day" . PopMatters.com. June 11, 20 02. Retrieved on February 4, 2007. ^ Porter (2007), p. 86. ^ Hendrickson, Tad. "Irish Pub-Rock: Boozy Punk Energy, Celtic Style" . NPR Music, March 16, 2009. Retrieved on November 12, 2010. ^ Hopper, Justin. "The Ex: 27 Years of Dutch Art-punk" . Pittsburgh City Pap er , December 7, 2006. Retrieved on November 14, 2010. ^ Simpson (2003), p. 42. ^ Laing (1985), pp. 118, 128. ^ Goodlad and Bibby (2007), p. 16. ^ Azerrad (2001), passim; for relationship of Hsker D and The Replacements, se e pp. 205 206. ^ Goldberg, Michael, "Punk Lives" , Rolling Stone , July 18 August 1, 1985. ^ a b Erlewine, Stephen Thomas. " American Alternative Rock / Post-Punk ". A llmusic. Retrieved on December 12, 2006 ^ Friedlander and Miller (2006), pp. 256, 278. ^ "Kurt Donald Cobain" , Biography Channel. Retrieved on November 19, 2006. ^ Quoted in St. Thomas (2004), p. 94. ^ Greenwald (2003), pp. 9 12. ^ Spencer (2005), pp. 279 289. ^ Raha (2005), p. 154. ^ Jackson (2005), pp. 261 62. ^ McGowen, Brice. "Eye of the Tiger" . Lamda , February/March 2005. Retrieve d on November 26, 2007. ^ Ellis (2008), p. 269; Diehl (2007), p. 59. ^ Catucci (2004b), p. 347. ^ Spitz (2006), p. 93. ^ Klein (2000), p. 300. ^ Zuel, Bernard (April 2, 2004), "Searching for Nirvana" , Sydney Morning He rald . Retrieved on September 1, 2007. ^ a b c See, eg, Searchable Database Gold and Platinum , RIAA. Retrieved on De cember 2, 2007. ^ Fucoco, Christina (November 1, 2000), "Punk Rock Politics Keep Trailing Ba d Religion" , liveDaily. Retrieved on September 1, 2008. ^ a b Gold, Jonathan. "The Year Punk Broke. SPIN . November 1994. ^ "Sound Sampler", Billboard , January 27, 2007, p. 47. ^ Hebdige (1987), p. 111. ^ ...And Out Come the Wolves was certified gold in January 1996. Let's Go , Rancid's previous album, received gold certification in July 2000. ^ Eliezer, Christie. "Trying to Take Over the World". Billboard . September 28, 1996, p. 58; Eliezer, Christie. "The Year in Australia: Parallel Worlds and Artistic Angles". Billboard . December 27, 1997 January 3, 1998, p. YE-16. ^ D'Angelo, Joe, "How Green Day's Dookie Fertilized A Punk-Rock Revival" , M TV.com, September 15, 2004. Retrieved on December 3, 2007. ^ Myers (2006), p. 120. ^ Knowles (2003), p. 44. ^ Diehl (2007), pp. 2, 145, 227. ^ Catucci (2004a), p. 85.

a b Spitz (2006), p. 144. Gross (2004), p. 677. Diehl (2003), p. 72. Blasengame, Bart. "Live: Blink-182". Spin . September 2000, p. 80; Pappade mas, Alex. "Blink-182: The Mark, Tom and Travis Show: The Enema Strikes Back ". Spin . December 2000, p. 222. ^ "Goings On About Town: Nightlife". The New Yorker . November 10, 2003, p. 24. ^ Sinagra (2004), p. 791. ^ Pierce, Carrie, "Jimmy Eat World: Futures Interscope Records" , The Battali on , November 24, 2004. Retrieved on December 2, 2007. ^ Haenfler (2006), p. 12. ^ Kandell, Steve (January 1, 2008). "Album of the Year: Against Me!" . Spin . Ontvangen 31 januari 2011. Wood, Mikael (August 1, 2007). "Against Me!: 'New W ave'" . Spin . Ontvangen 31 januari 2011. ^ Aiese, Eric (February 27, 2001). "Living End 'Rolls On' with Aussie Punkab illy Sound" . Billboard . AllBusiness.com . Aspecten 1 februari 2011. Bronnen Adams, Deanna R. (2002). Rock 'n' Roll and the Cleveland Connection (Kent, O hio: Kent State University Press). ISBN 0-87358-691-4 Andersen, Mark, and Mark Jenkins (2001). Dance of Days: Two Decades of Punk in the Nation's Capital (New York: Soft Skull Press). ISBN 1-887128-49-2 Anderson, Mark (2002). "Zuno keisatsu", in Encyclopedia of Contemporary Japa nese Culture , ed. Sandra Buckley (London and New York: Routledge), p. 588. ISBN 0-415-14344-6 Azerrad, Michael (2001). Our Band Could Be Your Life (New York: Little, Brow n). ISBN 0-316-78753-1 Bennett, Andy (2001). "'Plug in and Play!': UK Indie Guitar Culture", in Gui tar Cultures , ed. Andy Bennett and Kevin Dawe (Oxford and New York: Berg), pp. 45 62. ISBN 1-85973-434-0 Berthier, Hctor Castillo (2001). "My Generation: Rock and la Banda ' s Forced Survival Opposite the Mexican State", in Rockin' las Amricas: The Global Politic s of Rock in Latin/o America , ed. Deborah Pacini Hernandez (Pittsburgh: Univers ity of Pittsburgh Press), pp. 241 60. ISBN 0-8229-4226-7 Bessman, Jim (1993). Ramones: An American Band (New York: St. Martin's). ISB N 0-312-09369-1 Blush, Steven (2001). American Hardcore: A Tribal History (Los Angeles: Fera l House). ISBN 0-92291-571-7 Bockris, Victor, and Roberta Bayley (1999). Patti Smith: An Unauthorized Bio graphy (New York: Simon & Schuster). ISBN 0-684-82363-2 Boot, Adrian, and Chris Salewicz (1997). Punk: The Illustrated History of a Music Revolution (New York: Penguin). ISBN 0-1402-6098-6 Buckley, Peter, ed. (2003). The Rough Guide to Rock (London: Rough Guides). ISBN 1-84353-105-4 Burchill, Julie , and Tony Parsons (1978). The Boy Looked at Johnny: The Obi tuary 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 St udies: 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 , 2d ed. (Belmont, Calif.: Thomson Schirmer). ISBN 0-534-64295-0 Catucci, Nick (2004a). "Blink-182", in The New Rolling Stone Album Guide , 4 th ed., ed. Nathan Brackett (New York: Fireside/Simon & Schuster), p. 85. ISBN 0 -7432-0169-8 Catucci, Nick (2004b). "Green Day", in The New Rolling Stone Album Guide , 4 th ed., ed. Nathan Brackett (New York: Fireside/Simon & Schuster), pp. 347 48. ISB N 0-7432-0169-8

^ ^ ^ ^

Colegrave, Stephen, and Chris Sullivan (2005). Punk: The Definitive Record o f a Revolution (New York: Thunder's Mouth). ISBN 1-56025-769-5 Creswell, Toby (2006). 1001 Songs: The Great Songs of All Time and the Artis ts, Stories and Secrets Behind Them (New York: Thunder's Mouth). ISBN 1-56025-91 5-9 Dickson, Paul (1982). Words: A Connoisseur's Collection of Old and New, Weir d and Wonderful, Useful and Outlandish Words (New York: Delacorte). ISBN 0-44009606-5 Diehl, Matt (2007). My So-Called Punk: Green Day, Fall Out Boy, the Distille rs, Bad Religion How Neo-Punk Stage-Dived into the Mainstream (New York: St. Marti n's). ISBN 0-312-33781-7 Dougan, John (2002). "X-Ray Spex", in All Music Guide to Rock: The Definitiv e Guide to Rock, Pop, and Soul , 3d ed., ed. Vladimir Bogdanov, Chris Woodstra, and Stephen Thomas Erlewine (San Francisco: Backbeat). ISBN 0-879-30653-X Ellis, Iain (2008). Rebels Wit Attitude: Subversive Rock Humorists (Berkeley , Calif: Soft Skull/Counterpoint). 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 , 3d ed., ed. Vladimir Bogdan ov, Chris Woodstra, and Stephen Thomas Erlewine (San Francisco: Backbeat). ISBN 0-879-30653-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 Guid e , 4th ed., ed. Nathan Brackett (New York: Fireside/Simon & Schuster), pp. 34 35. ISBN 0-7432-0169-8 Friedlander, Paul, with Peter Miller (2006). Rock and Roll: A Social History , 2d ed. (Boulder, Co.: Westview). ISBN 0-8133-4306-2 Friskics-Warren, Bill (2005). I'll Take You There: Pop Music And the Urge fo r 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 & Roll , 2d 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 0-2 26-28735-1 Gimarc, George (1997). Post Punk Diary, 1980 1982 (New York: St. Martin's). IS BN 0-312-16968-X Gimarc, George (2005). Punk Diary: The Ultimate Trainspotter's Guide to Unde rground Rock, 1970 1982 (San Francisco: Backbeat). ISBN 0-87930-848-6 Glasper, Ian (2004). Burning Britain The History of UK Punk 1980 1984 (London: C herry Red Books). ISBN 1-901447-24-3 Goodlad, Lauren ME, and Michael Bibby (2007). "Introduction", in Goth: Undea d Subculture , ed. Goodlad and Bibby (Durham, NC: Duke University Press). ISBN 0 -8223-3921-8 Gray, Marcus (2005 [1995]). The Clash: Return of the Last Gang in Town , 5th rev. Ed. (London: Helter Skelter). ISBN 1-905-13910-1 Greenwald, Andy (2003). Nothing Feels Good: Punk Rock, Teenagers, and Emo (N ew York: St. Martin's). ISBN=0-312-30863-9 Gross, Joe (2004). "Rancid", in The New Rolling Stone Album Guide , 4th ed., ed. Nathan Brackett (New York: Fireside/Simon & Schuster), p. 677. ISBN 0-74320169-8 Haenfler, Ross (2006). Straight Edge: Hardcore Punk, Clean-Living Youth, and Social Change (New Brunswick, NJ: Rutgers University Press). ISBN 0-8135-3852-1 Hannon, Sharon M. (2009). Punks: A Guide to an American Subculture (Santa Ba rbara, Calif.: Greenwood). ISBN 978-0-313-36456-3 Harrington, Joe S. (2002). Sonic Cool: The Life & Death of Rock 'n' Roll (Mi lwaukee: Hal Leonard). ISBN 0-634-02861-8 Harris, John (2004). Britpop!: Cool Britannia and the Spectacular Demise of English Rock (Cambridge, Mass.: Da Capo) ISBN 0-306-81367-X Hebdige, Dick (1987). Cut 'n' Mix: Culture, Identity and Caribbean Music (Lo

ndon: Routledge). ISBN 0-415-05875-9 Hess, Mickey (2007). Is Hip Hop Dead?: The Past, Present, and Future of Amer ica's Most Wanted Music (Westport, Conn.: Praeger). ISBN 0-275-99461-9 Heylin, Clinton (1993). From the Velvets to the Voidoids: The Birth of Ameri can Punk Rock (Chicago: A Cappella Books). ISBN 1-55652-573-3 Heylin, Clinton (2007). Babylon's Burning: From Punk to Grunge (New York: Ca nongate). ISBN 1-84195-879-4 Home, Stewart (1996). Cranked Up Really High: Genre Theory and Punk Rock (Ho ve, UK: Codex). ISBN 1-899598-01-4 Jackson, Buzzy (2005). A Bad Woman Feeling Good: Blues and the Women Who Sin g Them (New York: WW Norton). ISBN 0-393-05936-7 James, Martin (2003). French Connections: From Discothque to Discovery (Londo n: Sanctuary). ISBN 1-86074-449-4 Keithley, Joe (2004). I, Shithead: A Life in Punk (Vancouver: Arsenal Pulp P ress). ISBN 1-55152-148-2 Klein, Naomi (2000). No LOGO: Taking Aim at the Brand Bullies (New York: Pic ador). 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 (Milto n Keynes and Philadelphia: Open University Press). ISBN 0-335-15065-9 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 0-0 2-036361-3 Leblanc, Lauraine (1999). Pretty in Punk: Girls' Gender Resistance in a Boys ' Subculture (New Brunswick, NJ: 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 Ame ricans and Popular Culture, Volume 3: Music and Popular Art , ed. Todd Boyd (Wes tport, 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 Cen tury (Cambridge, Mass.: Harvard University Press). ISBN 0-674-53581-2 McCaleb, Ian (1991). "Radio Birdman", in The Trouser Press Record Guide , 4t h 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 Leona rds, Aus.: Allen & Unwin). ISBN 1-86508-072-1 McGowan, Chris, and Ricardo Pessanha (1998). The Brazilian Sound: Samba, Bos sa 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 Uncenso red Oral History of Punk (New York: Grove). ISBN 0-8021-4264-8 Miles, Barry, Grant Scott, and Johnny Morgan (2005). The Greatest Album Cove rs of All Time (London: Collins & Brown). ISBN 1-84340-301-3 Myers, Ben (2006). Green Day: American Idiots & the New Punk Explosion (New York: Disinformation). ISBN 1-932857-32-X Mullen, Brendan , with Don Bolles and Adam Parfrey (2002). Lexicon Devil: Th e Fast Times and Short Life of Darby Crash and the Germs (Los Angeles: Feral Hou se). 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 0-946719-7 1-3 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: R ock & Roll and Culture , ed. Anthony DeCurtis (Durham, NC: Duke University Press ), pp. 13 38. ISBN 0-8223-1265-4

Pardo, Alona (2004). "Jamie Reid", in Communicate: Independent British Graph ic 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 Encyc lopedia of Rock & Roll (New York: Rolling Stone Press/Summit Books). ISBN 0-67144071-3 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, NC, and London: McFarland). ISBN 0-7864-1585-1 Raha, Maria (2005). Cinderella's Big Score: Women of the Punk and Indie Unde rground (Emeryville, Calif.: Seal). ISBN 1-58005-116-2 Reed, John (2005). Paul Weller: My Ever Changing Moods (London et al.: Omnib us Press). ISBN 1-84449-491-8 Reynolds, Simon (1999). Generation Ecstasy: Into the World of Techno and Rav e Culture (London: Routledge). ISBN 0-415-92373-5 Reynolds, Simon (2005). Rip It Up and Start Again: Post Punk 1978 1984 (London and New York: Faber and Faber). ISBN 0-571-21569-6 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 , ed. Christopher Washburne a nd 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 0-415-17030-3 . Savage, Jon (1991). England's Dreaming: The Sex Pistols and Punk Rock (Londo n: Faber and Faber). ISBN 0-312-28822-0 Savage, Jon (1992). England's Dreaming: Anarchy, Sex Pistols, Punk Rock, and Beyond (New York: St. Martin's). ISBN 0-312-08774-8 Shapiro, Fred R. (2006). Yale Book of Quotations (New Haven, Conn.: Yale Uni versity Press). ISBN 0-300-10798-6 Schmidt, Axel, and Klaus Neumann-Braun (2004). Die Welt der Gothics: Spielrum e dster konnotierter Tranzendenz (Wiesbaden: VS Verlag). ISBN 3-531-14353-0 Shuker, Roy (2002). Popular Music: The Key Concepts (London: Routledge). ISB N 0-415-28425-2 Simpson, Paul (2003). The Rough Guide to Cult Pop: The Songs, the Artists, t he Genres, the Dubious Fashions (London: Rough Guides). ISBN 1-84353-229-8 Sinagra, Laura (2004). "Sum 41", in The New Rolling Stone Album Guide , 4th ed., ed. Nathan Brackett (New York: Fireside/Simon & Schuster), pp. 791 92. ISBN 0 -7432-0169-8 Smith, Kerry L. (2008). Encyclopedia of Indie Rock (Westport, Conn.: Greenwo od). 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 LA Punk (New York: Three Rivers Press). ISBN 0-609-80774-9 Stafford, Andrew (2006). Pig City: From the Saints to Savage Garden , 2d 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' R oll Scene , 3d 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. AJ Millard (Baltimor e: Johns Hopkins University Press), pp. 181 200. ISBN 0-8018-7862-4 Strongman, Phil (2008). Pretty Vacant: A History of UK Punk (Chicago: Chicag o Review Press). ISBN 1-55652-752-7 St. Thomas, Kurt, with Troy Smith (2002). Nirvana: The Chosen Rejects (New Y

ork: St. Martin's). ISBN 0-312-20663-1 Taylor, Steven (2003). False Prophet: Field Notes from the Punk Underground (Middletown, Conn.: Wesleyan University Press). ISBN 0-8195-6668-3 Taylor, Steve (2004). The A to X of Alternative Music (London and New York: Continuum). ISBN 0-8264-8217-1 Thompson, Dave (2000). Alternative Rock (San Francisco: Miller Freeman). ISB N 0-87930-607-6 Unterberger, Richie (1998). Unknown Legends of Rock 'n' Roll: Psychedelic Un knowns, Mad Geniuses, Punk Pioneers, Lo-Fi Mavericks & More (San Francisco: Back beat). ISBN 0-87930-534-7 Unterberger, Richie (1999). Music USA: The Rough Guide (London: Rough Guides ). ISBN 1-85828-421-X Unterberger, Richie (2002). "British Punk", in All Music Guide to Rock: The Definitive Guide to Rock, Pop, and Soul , 3d ed., ed. Vladimir Bogdanov, Chris W oodstra, and Stephen Thomas Erlewine (San Francisco: Backbeat). ISBN 0-879-30653 -X Valentine, Gary (2006). New York Rocker: My Life in the Blank Generation wit h Blondie, Iggy Pop, and Others, 1974 1981 (New York: Thunder's Mouth). ISBN 1-560 25-944-2 Walker, John (1991). "Television", in The Trouser Press Record Guide , 4th e d., 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: D a Capo). ISBN 0-306-80970-2 Wells, Steven (2004). Punk: Loud, Young & 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 (Lou isville: Bad News Press). ISBN 1-4116-7700-5 Wojcik, Daniel (1995). Punk and Neo-Tribal Body Art (Jackson: University Pre ss 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 0-8147-928 3-9 Externe links Wikimedia Commons has media related to: Punk rock Fales Library of NYU Downtown Collection archival collection with the person al papers of NYC punk figures. A History of Punk 1990 essay by rock critic AS Van Dorston Punk 77 history of early UK punk "We Have to Deal With It: Punk England Report" , by Robert Christgau , Villa ge Voice , January 9, 1978