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Punk rock Stylistic origins Rock and roll folk rockabilly ska surf rock garage rock glam rock pub rock protopunk Cultural origins Mid-1970s, United States, United Kingdom, and Australia Typical instruments Vocals electric guitar bass drums Derivative forms New wave post-punk gothic rock alternative rock emo Subgenres Anarcho-punk art punk Christian punk crust punk garage punk glam punk hardcore punk oi! Riot Grrrl skate punk (complete list) Fusion genres

2 Tone anti-folk avant-punk Celtic punk Chicano punk cowpunk deathrock folk punk Gaelic punk Gypsy punk pop punk psychobilly punk blues punk cabaret punk jazz ska punk synthpunk Regional scenes Argentina Australia Basque Country Belgium Brazil California Canada France Germany Peru Spain Uruguay Yugoslavia Local scenes Brisbane Toronto Other topics Protopunk DIY ethic First wave punk Queercore Punk fashion Punk ideologies Punk movies Punk fanzines Punk subculture Punk timeline Second wave punk Straight Edge List of punk bands Punk rock subgenres

Punk rock is a rock music genre that developed between 1974 and 1976 in the Unit ed States, United Kingdom, and Australia. Rooted in garage rock and other forms of what is now known as protopunk music, punk rock bands eschewed perceived exce sses of mainstream 1970s rock. Punk bands created fast, hard-edged music, typica lly with short songs, stripped-down instrumentation, and often political, anti-e stablishment lyrics. Punk embraces a DIY ethic; many bands self-produced recordi ngs and distributed them through informal channels. The term "punk" was first used in relation to rock music by some American critic s in the early 1970s, to describe garage bands and their devotees. By late 1976, bands such as Television and the Ramones in New York City and the Sex Pistols a nd The Clash in London were recognized as the vanguard of a new musical movement . The following year saw punk rock spreading around the world, and it became a m ajor cultural phenomenon in the United Kingdom. For the most part, punk took roo t in local scenes that tended to reject association with the mainstream. An asso ciated punk subculture emerged, expressing youthful rebellion and characterized by distinctive styles of clothing and adornment and a variety of anti-authoritar ian ideologies. By the beginning of the 1980s, faster, more aggressive styles such as hardcore a nd Oi! had become the predominant mode of punk rock. Musicians identifying with or inspired by punk also pursued a broad range of other variations, giving rise to post-punk and the alternative rock movement. By the start of the 21st century , pop punk had been adopted by the mainstream, as bands such as Green Day and Th e Offspring brought the genre widespread popularity.

Contents [hide] 1 Characteristics 1.1 Philosophy 1.2 Musical and lyrical elements 1.3 Visual and other elements 2 Pre-history 2.1 Garage rock and mod 2.2 Protopunk 2.3 Etymology 3 Early history 3.1 North America 3.1.1 New York City 3.1.2 Other U.S. cities 3.2 Australia 3.3 United Kingdom 4 Second wave 4.1 North America 4.2 United Kingdom 4.3 Australia 4.4 Rest of the world 5 Schism and diversification 5.1 New wave 5.2 Post-punk 5.3 Hardcore 5.4 Oi! 5.5 Anarcho-punk 5.6 Pop punk 5.7 Other fusions and directions 6 Legacy and later developments 6.1 Alternative rock 6.2 Emo 6.3 Queercore and riot grrrl

7 Revival 8 In the mainstream 9 See also 10 References 11 Sources 12 External links Characteristics[edit] Philosophy[edit]

The Ramones' 1976 debut album laid down the musical "blueprint for punk,"[1] wh ile its cover image had a similarly formative influence on punk visual style.[2] The first wave of punk rock aimed to be aggressively modern, distancing itself f rom the bombast and sentimentality of early 1970s rock.[3] According to Ramones drummer Tommy Ramone, "In its initial form, a lot of [1960s] stuff was innovativ e and exciting. Unfortunately, what happens is that people who could not hold a candle to the likes of Hendrix started noodling away. Soon you had endless solos that went nowhere. By 1973, I knew that what was needed was some pure, stripped down, no bullshit rock 'n' roll."[4] John Holmstrom, founding editor of Punk ma gazine, recalls feeling "punk rock had to come along because the rock scene had become so tame that [acts] like Billy Joel and Simon and Garfunkel were being ca lled rock and roll, when to me and other fans, rock and roll meant this wild and rebellious music."[5] In critic Robert Christgau's description, "It was also a subculture that scornfully rejected the political idealism and Californian flowe r-power silliness of hippie myth."[6] Patti Smith, in contrast, suggests in the documentary 25 Years of Punk that the hippies and the punk rockers were linked b y a common anti-establishment mentality. Throughout punk rock history, technical accessibility and a DIY spirit have been prized. In the early days of punk rock, this ethic stood in marked contrast to what those in the scene regarded as the ostentatious musical effects and technol ogical demands of many mainstream rock bands.[7] Musical virtuosity was often lo oked on with suspicion. According to Holmstrom, punk rock was "rock and roll by people who didn't have very much skills as musicians but still felt the need to express themselves through music".[5] In December 1976, the English fanzine Side burns published a now-famous illustration of three chords, captioned "This is a chord, this is another, this is a third. Now form a band."[8] The title of a 198 0 single by the New York punk band Stimulators, "Loud Fast Rules!" inscribed a c atchphrase for punk's basic musical approach.[9] Some of British punk rock's leading figures made a show of rejecting not only co ntemporary mainstream rock and the broader culture it was associated with, but t heir own most celebrated predecessors: "No Elvis, Beatles or the Rolling Stones in 1977," declared The Clash song "1977".[10] The previous year, when the punk r ock revolution began in Great Britain, was to be both a musical and a cultural " Year Zero".[11] Even as nostalgia was discarded, many in the scene adopted a nih ilistic attitude summed up by the Sex Pistols slogan "No Future";[3] in the late r words of one observer, amid the unemployment and social unrest in 1977, "punk' s nihilistic swagger was the most thrilling thing in England."[12] While "self-i mposed alienation" was common among "drunk punks" and "gutter punks," there was always a tension between their nihilistic outlook and the "radical leftist utopi anism"[13] of bands such as Crass, who found positive, liberating meaning in the movement. As a Clash associate describes singer Joe Strummer's outlook, "Punk r

ock is meant to be our freedom. We're meant to be able to do what we want to do. "[14] The issue of authenticity is important in the punk subculture the pejorative term "poseur" is applied to those who associate with punk and adopt its stylistic att ributes but are deemed not to share or understand the underlying values and phil osophy. Scholar Daniel S. Traber argues that "attaining authenticity in the punk identity can be difficult"; as the punk scene matured, he observes, eventually "everyone got called a poseur".[15] Musical and lyrical elements[edit] Punk rock bands often emulate the bare musical structures and arrangements of 19 60s garage rock.[16] Typical punk rock instrumentation includes one or two elect ric guitars, an electric bass, and a drum kit, along with vocals. Punk rock song s tend to be shorter than those of other popular genres on the Ramones' debut albu m, for instance, half of the fourteen tracks are under two minutes long. Most ea rly punk rock songs retained a traditional rock 'n' roll verse-chorus form and 4 /4 time signature. However, punk rock bands in the movement's second wave and af terward have often broken from this format. In critic Steven Blush's description , "The Sex Pistols were still rock'n'roll...like the craziest version of Chuck B erry. Hardcore was a radical departure from that. It wasn't verse-chorus rock. I t dispelled any notion of what songwriting is supposed to be. It's its own form. "[17] Punk rock vocals sometimes sound nasal,[18] and lyrics are often shouted instead of sung in a conventional sense, particularly in hardcore styles.[19] The vocal approach is characterized by a lack of variety; shifts in pitch, volume, or int onational style are relatively infrequent.[20] Complicated guitar solos are cons idered self-indulgent and unnecessary, although basic guitar breaks are common.[ 21] Guitar parts tend to include highly distorted power chords or barre chords, creating a characteristic sound described by Christgau as a "buzzsaw drone".[22] Some punk rock bands take a surf rock approach with a lighter, twangier guitar tone. Others, such as Robert Quine, lead guitarist of The Voidoids, have employe d a wild, "gonzo" attack, a style that stretches back through The Velvet Undergr ound to the 1950s recordings of Ike Turner.[23] Bass guitar lines are often unco mplicated; the quintessential approach is a relentless, repetitive "forced rhyth m,"[24] although some punk rock bass players such as Mike Watt of The Minutemen an d Firehose emphasize more technical bass lines. Bassists often use a pick due to t he rapid succession of notes, which makes fingerpicking impractical. Drums typic ally sound heavy and dry, and often have a minimal set-up. Compared to other for ms of rock, syncopation is much less the rule.[25] Hardcore drumming tends to be especially fast.[19] Production tends to be minimalistic, with tracks sometimes laid down on home tape recorders[26] or simple four-track portastudios. The typ ical objective is to have the recording sound unmanipulated and "real," reflecti ng the commitment and "authenticity" of a live performance.[27] Punk recordings thus often have a lo-fi quality, with the sound left relatively unpolished in th e mastering process; recordings may contain dialogue between band members, false starts, and background noise.

The Clash, performing in 1980 Punk rock lyrics are typically frank and confrontational; compared to the lyrics of other popular music genres, they frequently comment on social and political issues.[28] Trend-setting songs such as The Clash's "Career Opportunities" and C helsea's "Right to Work" deal with unemployment and the grim realities of urban life.[29] Especially in early British punk, a central goal was to outrage and sh

ock the mainstream.[30] The Sex Pistols classics "Anarchy in the U.K." and "God Save the Queen" openly disparage the British political system and social mores. There is also a characteristic strain of anti-sentimental depictions of relation ships and sex, exemplified by "Love Comes in Spurts," written by Richard Hell an d recorded by him with The Voidoids. Anomie, variously expressed in the poetic t erms of Hell's "Blank Generation" and the bluntness of the Ramones' "Now I Wanna Sniff Some Glue," is a common theme. Identifying punk with such topics aligns w ith the view expressed by V. Vale, founder of San Francisco fanzine Search and D estroy: "Punk was a total cultural revolt. It was a hardcore confrontation with the black side of history and culture, right-wing imagery, sexual taboos, a delv ing into it that had never been done before by any generation in such a thorough way."[31] However, many punk rock lyrics deal in more traditional rock 'n' roll themes of courtship, heartbreak, and hanging out; the approach ranges from the deadpan, aggressive simplicity of Ramones standards such as "I Wanna Be Your Boy friend"[32] to the more unambiguously sincere style of many later pop punk group s. Visual and other elements[edit] The classic punk rock look among male American musicians harkens back to the T-s hirt, motorcycle jacket, and jeans ensemble favored by American greasers of the 1950s associated with the rockabilly scene and by British rockers of the 1960s. The cover of the Ramones' 1976 debut album, featuring a shot of the band by Punk photographer Roberta Bayley, set forth the basic elements of a style that was s oon widely emulated by rock musicians both punk and nonpunk.[2] Richard Hell's m ore androgynous, ragamuffin look and reputed invention of the safety-pin aesthetic w as a major influence on Sex Pistols impresario Malcolm McLaren and, in turn, Bri tish punk style.[33][34] (John Morton of Cleveland's Electric Eels may have been the first rock musician to wear a safety-pin-covered jacket.)[35] McLaren's par tner, fashion designer Vivienne Westwood, credits Johnny Rotten as the first Bri tish punk to rip his shirt, and Sex Pistols bassist Sid Vicious as the first to use safety pins.[36] Early female punk musicians displayed styles ranging from S iouxsie Sioux's bondage gear to Patti Smith's "straight-from-the-gutter androgyn y".[37] The former proved much more influential on female fan styles.[38] Over t ime, tattoos, piercings, and metal-studded and -spiked accessories became increa singly common elements of punk fashion among both musicians and fans, a "style o f adornment calculated to disturb and outrage".[39] The typical male punk haircu t was originally short and choppy; the Mohawk later emerged as a characteristic style.[40] Those in hardcore scenes often adopt a skinhead look.

British punks, circa 1986 The characteristic stage performance style of male punk musicians does not devia te significantly from the macho postures classically associated with rock music. [41] Female punk musicians broke more clearly from earlier styles. Scholar John Strohm suggests that they did so by creating personas of a type conventionally s een as masculine: "They adopted a tough, unladylike pose that borrowed more from the macho swagger of sixties garage bands than from the calculated bad-girl ima ge of bands like The Runaways."[37] Scholar Dave Laing describes how bassist Gay e Advert adopted fashion elements associated with male musicians only to generat e a stage persona readily consumed as "sexy".[42] Laing focuses on more innovati ve and challenging performance styles, seen in the various erotically destabiliz ing approaches of Siouxsie Sioux, The Slits' Ari Up, and X-Ray Spex' Poly Styren e.[43] The lack of emphatic syncopation led punk dance to "deviant" forms. The characte ristic style was originally the pogo.[44] Sid Vicious, before he became the Sex

Pistols' bassist, is credited with initiating the pogo in Britain as an attendee at one of their concerts.[45] Moshing is typical at hardcore shows. The lack of conventional dance rhythms was a central factor in limiting punk's mainstream c ommercial impact.[46] Breaking down the distance between performer and audience is central to the punk ethic.[47] Fan participation at concerts is thus important; during the movement 's first heyday, it was often provoked in an adversarial manner apparently pervers e, but appropriately "punk". First-wave British punk bands such as the Sex Pisto ls and The Damned insulted and otherwise goaded the audience into intense reacti ons. Laing has identified three primary forms of audience physical response to g oading: can throwing, stage invasion, and spitting or "gobbing".[48] In the hard core realm, stage invasion is often a prelude to stage diving. In addition to th e numerous fans who have started or joined punk bands, audience members also bec ome important participants via the scene's many amateur periodicals in England, ac cording to Laing, punk "was the first musical genre to spawn fanzines in any sig nificant numbers".[49] Pre-history[edit] Garage rock and mod[edit] For more details on this topic, see Garage rock and Mod (subculture).

A poster for The Who in 1965. In the early and mid-1960s, garage rock bands that came to be recognized as punk rock's progenitors began springing up in many different locations around North America. The Kingsmen, a garage band from Portland, Oregon, had a breakout hit w ith their 1963 cover of "Louie, Louie," cited as "punk rock's defining ur-text." [50] The minimalist sound of many garage rock bands was influenced by the harder -edged wing of the British Invasion. The Kinks' hit singles of 1964, "You Really Got Me" and "All Day and All of the Night," have been described as "predecessor s of the whole three-chord genre the Ramones' 1978 'I Don't Want You,' for instanc e, was pure Kinks-by-proxy".[51] In 1965, The Who quickly progressed from their debut single, "I Can't Explain," a virtual Kinks clone, to "My Generation." Thou gh it had little impact on the American charts, The Who's mod anthem presaged a more cerebral mix of musical ferocity and rebellious posture that characterized much early British punk rock: John Reed describes The Clash's emergence as a "ti ght ball of energy with both an image and rhetoric reminiscent of a young Pete T ownshend speed obsession, pop-art clothing, art school ambition".[52] The Who and fellow mods The Small Faces were among the few rock elders acknowledged by the S ex Pistols.[53] By 1966, mod was already in decline. U.S. garage rock began to l ose steam within a couple of years, but the raw sound and outsider attitude of " garage psych" bands like The Seeds presaged the style of bands that would become known as the archetypal figures of protopunk.[54] Protopunk[edit] For more details on this topic, see Protopunk. In 1969, debut albums by two Michigan-based bands appeared that are commonly reg arded as the central protopunk records. In January, Detroit's MC5 released Kick Out the Jams. "Musically the group is intentionally crude and aggressively raw," wrote critic Lester Bangs in Rolling Stone:

Most of the songs are barely distinguishable from each other in their primitive two-chord structures. You've heard all this before from such notables as the See ds, Blue Cheer, Question Mark and the Mysterians, and the Kingsmen. The differen ce here ... is in the hype, the thick overlay of teenage-revolution and total-en ergy-thing which conceals these scrapyard vistas of clichs and ugly noise. ... "I Want You Right Now" sounds exactly (down to the lyrics) like a song called "I W ant You" by the Troggs, a British group who came on with a similar sex-and-raw-s ound image a couple of years ago (remember "Wild Thing"?)[55]

Iggy Pop, the "godfather of punk" That August, The Stooges, from Ann Arbor, premiered with a self-titled album. Ac cording to critic Greil Marcus, the band, led by singer Iggy Pop, created "the s ound of Chuck Berry's Airmobile after thieves stripped it for parts".[56] The albu m was produced by John Cale, a former member of New York's experimental rock gro up The Velvet Underground. Having earned a "reputation as the first underground rock band," The Velvet Underground inspired, directly or indirectly, many of tho se involved in the creation of punk rock.[57] In the early 1970s, the New York Dolls updated the original wildness of 1950s ro ck 'n' roll in a fashion that later became known as glam punk.[58] The New York duo Suicide played spare, experimental music with a confrontational stage act in spired by that of The Stooges. At the Coventry club in the New York City borough of Queens, The Dictators used rock as a vehicle for wise-ass attitude and humor .[59] In Boston, The Modern Lovers, led by Velvet Underground devotee Jonathan R ichman, gained attention with a minimalistic style. In 1974, an updated garage r ock scene began to coalesce around the newly opened Rathskeller club in Kenmore Square. Among the leading acts were the Real Kids, founded by former Modern Love r John Felice; Willie Alexander and the Boom Boom Band, whose frontman had been a member of the Velvet Underground for a few months in 1971; and Mickey Clean an d the Mezz.[60] In 1974, as well, the Detroit band Death made up of three AfricanAmerican brothers recorded "scorching blasts of feral ur-punk," but couldn't arran ge a release deal.[61] In Ohio, a small but influential underground rock scene e merged, led by Devo in Akron and Kent and by Cleveland's Electric Eels, Mirrors and Rocket from the Tombs. In 1975, Rocket from the Tombs split into Pere Ubu an d Frankenstein. The Electric Eels and Mirrors both broke up, and The Styrenes em erged from the fallout.[62] Britain's Deviants, in the late 1960s, played in a range of psychedelic styles w ith a satiric, anarchic edge and a penchant for situationist-style spectacle pre saging the Sex Pistols by almost a decade.[63] In 1970, the act evolved into the Pink Fairies, which carried on in a similar vein.[64] With his Ziggy Stardust p ersona, David Bowie made artifice and exaggeration central elements, again, that w ere picked up by the Sex Pistols and certain other punk acts.[65] The Doctors of Madness built on Bowie's presentation concepts, while moving musically in the d irection that would become identified with punk. Bands in London's pub rock scen e stripped the music back to its basics, playing hard, R&B-influenced rock 'n' r oll. By 1974, the scene's top act, Dr. Feelgood, was paving the way for others s uch as The Stranglers and Cock Sparrer that would play a role in the punk explos ion. Among the pub rock bands that formed that year was The 101'ers, whose lead singer would soon adopt the name Joe Strummer.[66] Bands anticipating the forthcoming movement were appearing as far afield as Dssel dorf, West Germany, where "punk before punk" band NEU! formed in 1971, building on the Krautrock tradition of groups such as Can.[67] In Japan, the anti-establi shment Zuno Keisatsu (Brain Police) mixed garage psych and folk. The combo regul arly faced censorship challenges, their live act at least once including onstage

masturbation.[68] A new generation of Australian garage rock bands, inspired ma inly by The Stooges and MC5, was coming even closer to the sound that would soon be called "punk": In Brisbane, The Saints also recalled the raw live sound of t he British Pretty Things, who had made a notorious tour of Australia and New Zea land in 1965.[69] Radio Birdman, cofounded by Detroit expatriate Deniz Tek in 19 74, was playing gigs to a small but fanatical following in Sydney. Etymology[edit] From the late 16th through the 18th century, punk was a common, coarse synonym f or prostitute; William Shakespeare used it with that meaning in The Merry Wives of Windsor (1602) and Measure for Measure (1623).[70] The term eventually came t o describe "a young male hustler, a gangster, a hoodlum, or a ruffian".[71] As L egs McNeil explains, "On TV, if you watched cop shows, Kojak, Baretta, when the cops finally catch the mass murderer, they'd say, 'you dirty Punk.' It was what your teachers would call you. It meant that you were the lowest."[72] The first known use of the phrase punk rock appeared in the Chicago Tribune on March 22, 1 970, attributed to Ed Sanders, cofounder of New York's anarcho-prankster band Th e Fugs. Sanders was quoted describing a solo album of his as "punk rock redneck se ntimentality".[73] In the December 1970 issue of Creem, Lester Bangs, mocking mo re mainstream rock musicians, ironically referred to Iggy Pop as "that Stooge pu nk".[74] Suicide's Alan Vega credits this usage with inspiring his duo to bill i ts gigs as a "punk mass" for the next couple of years.[75]

Patti Smith, performing in 1976 Dave Marsh was the first music critic to employ the term punk rock: In the May 1 971 issue of Creem, he described ? and the Mysterians, one of the most popular 1 960s garage rock acts, as giving a "landmark exposition of punk rock".[76] Later in 1971, in his fanzine Who Put the Bomp, Greg Shaw wrote about "what I have ch osen to call 'punk rock' bands white teenage hard rock of '64-66 (Standells, Kings men, Shadows of Knight, etc.)".[77] Lenny Kaye used the term "classic garage-pun k," in reference to a song recorded in 1966 by The Shadows of Knight, in the lin er notes of the anthology album Nuggets, released in 1972.[78] In June 1972, the fanzine Flash included a "Punk Top Ten" of 1960s albums.[79] By that December, the term was in circulation to the extent that The New Yorker's Ellen Willis, co ntrasting her own tastes with those of Flash and fellow critic Nick Tosches, wro te, "Punk-rock has become the favored term of endearment."[80] In February 1973, Terry Atkinson of the Los Angeles Times, reviewing the debut album by a hard ro ck band, Aerosmith, declared that it "achieves all that punk-rock bands strive f or but most miss."[81] Three months later, Billy Altman launched the short-lived punk magazine.[82] In May 1974, Los Angeles Times critic Robert Hilburn reviewed the second New Yor k Dolls album, Too Much Too Soon. "I told ya the New York Dolls were the real th ing," he wrote, describing the album as "perhaps the best example of raw, thumbyour-nose-at-the-world, punk rock since the Rolling Stones' Exile on Main Street ."[83] Bassist Jeff Jensen of Boston's Real Kids reports of a show that year, "A reviewer for one of the free entertainment magazines of the time caught the act and gave us a great review, calling us a 'punk band.' ... [W]e all sort of look ed at each other and said, 'What's punk?'"[84] By 1975, punk was being used to describe acts as diverse as the Patti Smith Grou p, the Bay City Rollers, and Bruce Springsteen.[85] As the scene at New York's C BGB club attracted notice, a name was sought for the developing sound. Club owne r Hilly Kristal called the movement "street rock"; John Holmstrom credits Aquari an magazine with using punk "to describe what was going on at CBGBs".[86] Holmst

rom, McNeil, and Ged Dunn's magazine Punk, which debuted at the end of 1975, was crucial in codifying the term.[87] "It was pretty obvious that the word was get ting very popular", Holmstrom later remarked. "We figured we'd take the name bef ore anyone else claimed it. We wanted to get rid of the bullshit, strip it down to rock 'n' roll. We wanted the fun and liveliness back."[85] Early history[edit] North America[edit] New York City[edit]

"Blank Generation"

The original anthem of the punk scene, performed live by Television in 1974 or 1 975, with Richard Hell on lead vocals. The verse, described by Gary Valentine as defying melody, yields to the chorus, "set to a descending pattern reminiscent of Peggy Lee's "Fever".[88] Tom Verlaine's virtuosic guitar style would lead the band away from what became the typical punk approach.[89] -------------------------------------------------------------------------------Problems playing this file? See media help. The origins of New York's punk rock scene can be traced back to such sources as late 1960s trash culture and an early 1970s underground rock movement centered o n the Mercer Arts Center in Greenwich Village, where the New York Dolls performe d.[90] In early 1974, a new scene began to develop around the CBGB club, also in lower Manhattan. At its core was Television, described by critic John Walker as "the ultimate garage band with pretensions".[91] Their influences ranged from t he Velvet Underground to the staccato guitar work of Dr. Feelgood's Wilko Johnso n.[92] The band's bassist/singer, Richard Hell, created a look with cropped, rag ged hair, ripped T-shirts, and black leather jackets credited as the basis for p unk rock visual style.[93] In April 1974, Patti Smith, a member of the Mercer Ar ts Center crowd and a friend of Hell's, came to CBGB for the first time to see t he band perform.[94] A veteran of independent theater and performance poetry, Sm ith was developing an intellectual, feminist take on rock 'n' roll. On June 5, s he recorded the single "Hey Joe"/"Piss Factory", featuring Television guitarist Tom Verlaine; released on her own Mer Records label, it heralded the scene's do it yourself (DIY) ethic and has often been cited as the first punk rock record.[ 95] By August, Smith and Television were gigging together at another downtown Ne w York club, Max's Kansas City.[93]

Facade of legendary music club CBGB, New York

Out in Forest Hills, Queens, several miles from lower Manhattan, the members of a newly formed band adopted a common surname. Drawing on sources ranging from th e Stooges to The Beatles and The Beach Boys to Herman's Hermits and 1960s girl g roups, the Ramones condensed rock 'n' roll to its primal level: "'1-2-3-4!' bass -player Dee Dee Ramone shouted at the start of every song, as if the group could barely master the rudiments of rhythm."[96] The band played its first gig at CB GB on August 16, 1974, on the same bill as another new act, Angel and the Snake, soon to be renamed Blondie.[97] By the end of the year, the Ramones had perform ed seventy-four shows, each about seventeen minutes long.[98] "When I first saw the Ramones", critic Mary Harron later remembered, "I couldn't believe people we re doing this. The dumb brattiness."[99] The Dictators, with a similar "playing dumb" concept, were recording their debut album. The Dictators Go Girl Crazy! ca me out in March 1975, mixing absurdist originals such as "Master Race Rock" and loud, straight-faced covers of cheese pop like Sonny & Cher's "I Got You Babe".[ 100] That spring, Smith and Television shared a two-month-long weekend residency at C BGB that significantly raised the club's profile.[101] The Television sets inclu ded Richard Hell's "Blank Generation", which became the scene's emblematic anthe m.[102] Soon after, Hell left Television and founded a band featuring a more str ipped-down sound, The Heartbreakers, with former New York Dolls Johnny Thunders and Jerry Nolan. The pairing of Hell and Thunders, in one critical assessment, " inject[ed] a poetic intelligence into mindless self-destruction".[33] A July fes tival at CBGB featuring over thirty new groups brought the scene its first subst antial media coverage.[103] In August, Television with Fred Smith, former Blondie bassist, replacing Hell recorded a single, "Little Johnny Jewel", for the tiny Ork label. In the words of John Walker, the record was "a turning point for the who le New York scene" if not quite for the punk rock sound itself Hell's departure ha d 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 rh ythm...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 as energetic, as rock rhythm gets."[104] -------------------------------------------------------------------------------Problems playing this file? See media help. 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 Kansa s City were Suicide and the band led by drag queen Wayne County, another Mercer Arts Center alumna. The first album to come out of this downtown scene was relea sed in November 1975: Smith's debut, Horses, produced by John Cale for the major Arista label.[105] The inaugural issue of Punk appeared in December.[106] The n ew magazine tied together earlier artists such as Velvet Underground lead singer

Lou Reed, the Stooges, and the New York Dolls with the editors' favorite band, The Dictators, and the array of new acts centered around CBGB and Max's.[107] Th at winter, Pere Ubu came in from Cleveland and played at both spots.[108] 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" o n the scene.[109] That April, the Ramones' debut album was released by Sire Reco rds; the first single was "Blitzkrieg Bop", opening with the rally cry "Hey! Ho! Let's go!" According to a later description, "Like all cultural watersheds, Ram ones was embraced by a discerning few and slagged off as a bad joke by the uncom prehending majority."[110] At the instigation of Ramones lead singer Joey 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.[ 111] In August, Ork put out an EP recorded by Hell with his new band that includ ed the first released version of "Blank Generation".[112] The term punk initially referred to the scene in general, rather than a particul ar sound the early New York punk bands represented a broad variety of influences. Among them, the Ramones, The Heartbreakers, Richard Hell and The Voidoids, and t he Dead Boys were establishing a distinct musical style. Even where they diverge d most clearly, in lyrical approach the Ramones' apparent guilelessness at one ext reme, Hell's conscious craft at the other there was an abrasive attitude in common . Their shared attributes of minimalism and speed, however, had not yet come to define punk rock.[113] Other U.S. cities[edit]

"Hot Wire My Heart"

With what music historian Clinton Heylin described as the "most brutal guitar so und this side of The Stooges",[114] Crime self-released the first single by a We st Coast punk band, two songs (the B-side was "Baby, You're So Repulsive") in a style likened to "revved up, distorted Chuck Berry".[115] -------------------------------------------------------------------------------Problems playing this file? See media help. In 1975, the Suicide Commandos formed in Minneapolis. They were one of the first U.S. bands outside of New York to play in the Ramones-style harder-louder-faste r mode that would define punk rock.[116] Detroit's Death self-released one of th eir 1974 recordings, "Politicians in My Eyes", in 1976.[61] As the punk movement expanded rapidly in the United Kingdom that year, a few bands with similar tast es and attitude appeared around the United States. The first West Coast punk sce nes emerged in San Francisco, with the bands Crime and The Nuns,[117] and Seattl e, where the Telepaths, Meyce, and The Tupperwares played a groundbreaking show on May 1.[118] Rock critic Richard Meltzer cofounded VOM (short for "vomit") in Los Angeles. In Washington, D.C., raucous roots-rockers The Razz helped along a

nascent punk scene featuring Overkill, the Slickee Boys, and The Look. Around th e turn of the year, White Boy began giving notoriously crazed performances.[119] In Boston, the scene at the Rathskeller affectionately known as the Rat was also tu rning toward punk, though the defining sound retained a distinct garage rock ori entation. Among the city's first new acts to be identified with punk rock was DM Z.[120] In Bloomington, Indiana, The Gizmos played in a jokey, raunchy, Dictator s-inspired style later referred to as "frat punk".[121] 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.[122] As Joe Harvard, a participant in the Boston scene, describes, it w as often a simple necessity the absence of a local recording industry and well-dis tributed music magazines left little recourse but DIY.[123] Australia[edit]

"(I'm) Stranded"

Sounds magazine in Britain found "(I'm) Stranded" "so bloody incredible" it prov ided readers the Australian address from which they could mail order it.[124] Ed Kuepper's "sheet-metal guitar sets the breakneck tempo", while lead singer Chri s Bailey "howl[s] into the gale."[125] Its DIY sound was later described as "cru d-encrusted", praise in the punk milieu.[126] -------------------------------------------------------------------------------Problems playing this file? See media help. 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.[127] By 1976, The Sai nts were hiring Brisbane local halls to use as venues, or playing in "Club 76", their shared house in the inner suburb of Petrie Terrace. The band soon discover ed that musicians were exploring similar paths in other parts of the world. Ed K uepper, co-founder of The Saints, later recalled: One thing I remember having had a really depressing effect on me was the first R amones album. When I heard it [in 1976], I mean it was a great record ... but I hated it because I knew we d been doing this sort of stuff for years. There was ev en a chord progression on that album that we used ... and I thought, "Fuck. We re going to be labeled as influenced by the Ramones", when nothing could have been further from the truth.[128]

On the other side of Australia, in Perth, germinal punk rock act the Cheap Nasti es, featuring singer-guitarist Kim Salmon, formed in August.[129] In September 1 976, The Saints became the first punk rock band outside the U.S. to release a re cording, the single "(I'm) Stranded". As with Patti Smith's debut, the band self -financed, packaged, and distributed the single.[130] "(I'm) Stranded" had limit ed impact at home, but the British music press recognized it as a groundbreaking record.[131] At the insistence of their superiors in the UK, EMI Australia sign ed The Saints. Meanwhile, Radio Birdman came out with a self-financed EP, Burn M y Eye, in October.[132] Trouser Press critic Ian McCaleb later described the rec ord as the "archetype for the musical explosion that was about to occur".[133] United Kingdom[edit]

"Anarchy in the U.K."

With its "inflammatory, venomous lyrics [and] crude energy", the Sex Pistols' de but single "established punk's modus operandi".[134] Producer Chris Thomas layer ed multiple tracks of Steve Jones's guitar to create a "searing wall of sound",[ 135] while Johnny Rotten spewed the vocals "as if his teeth had been ground down to points."[136] -------------------------------------------------------------------------------Problems playing this file? See media help. 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, w as building a reputation with its outrageous "anti-fashion".[137] Among those wh o frequented the shop were members of a band called The Strand, which McLaren ha d also been managing. In August, the group was seeking a new lead singer. Anothe r 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. M artin's School of Art[138] and soon attracted a small but ardent following.[139] In February 1976, the band received its first significant press coverage; guita rist Steve Jones declared that the Sex Pistols were not so much into music as th ey were "chaos".[140] The band often provoked its crowds into near-riots. Rotten announced to one audience, "Bet you don't hate us as much as we hate you!"[141] McLaren envisioned the Sex Pistols as central players in a new youth movement, "hard and tough".[142] As described by critic Jon Savage, the band members "embo died an attitude into which McLaren fed a new set of references: late-sixties ra dical politics, sexual fetish material, pop history,...youth sociology".[143] Bernard Rhodes, a sometime associate of McLaren and friend of the Sex Pistols, w as similarly aiming to make stars of the band London SS. Early in 1976, London S S broke up before ever performing publicly, spinning off two new bands: The Damn ed and The Clash, which was joined by Joe Strummer, former lead singer of The 10

1'ers.[144] On June 4, 1976, the Sex Pistols played Manchester's Lesser Free Tra de Hall in what came to be regarded as one of the most influential rock shows ev er. Among the approximately forty audience members were the two locals who organ ized the gig they had formed the Buzzcocks after seeing the Sex Pistols in Februar y. Others in the small crowd went on to form Joy Division, The Fall, and in the 19 80s The Smiths.[145] 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".[146] On July 4, they played with the Flamin' Groovies and The Stranglers before a crowd of 2,000 at the Roundhouse.[147] That same night, The Clash debuted, opening for the Sex Pistols in Sheffield. On July 5, members of b oth bands attended a Ramones club gig.[148] The following night, The Damned play ed their first show, as a Pistols opening act in London. In critic Kurt Loder's description, the Sex Pistols purveyed a "calculated, arty nihilism, [while] the Clash were unabashed idealists, proponents of a radical left-wing social critiqu e of a sort that reached back at least to ... Woody Guthrie in the 1940s".[149] The Damned built a reputation as "punk's party boys".[150] This London scene's f irst fanzine appeared a week later. Its title, Sniffin' Glue, derived from a Ram ones song. Its subtitle affirmed the connection with what was happening in New Y ork: "+ Other Rock 'n' Roll Habits for Punks!"[151] 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.[152] In August, the self-described "First European Punk Rock Festival" was held in M ont de Marsan in the southwest of France. Eddie and the Hot Rods, a London pub r ock group, headlined. The Sex Pistols, originally scheduled to play, were droppe d by the organizers who said the band had gone "too far" in demanding top billin g and certain amenities; The Clash backed out in solidarity. The only band from the new punk movement to appear was The Damned.[153] Over the next several months, many new punk rock bands formed, often directly in spired by the Sex Pistols.[154] In London, women were near the center of the sce ne among the initial wave of bands were the female-fronted Siouxsie and the Banshe es and X-Ray Spex and the all-female The Slits. There were female bassists Gaye Advert in The Adverts and Shanne Bradley in The Nipple Erectors. Other groups in cluded Subway Sect, Eater, The Subversives, the aptly named London, and Chelsea, which soon spun off Generation X. Farther afield, Sham 69 began practicing in t he southeastern town of Hersham. In Durham, there was Penetration, with lead sin ger Pauline Murray. On September 20 21, the 100 Club Punk Festival in London featu red the four primary British groups (London's big three and the Buzzcocks), as w ell as Paris's female-fronted Stinky Toys, arguably the first punk rock band fro m a non-Anglophone country. Siouxsie and the Banshees and Subway Sect debuted on the festival's first night; that same evening, Eater debuted in Manchester.[155 ] On the festival's second night, audience member Sid Vicious was arrested, char ged with throwing a glass at The Damned that shattered and destroyed a girl's ey e. Press coverage of the incident fueled punk's reputation as a social menace.[1 56]

The Sex Pistols' "Anarchy in the U.K." poster a ripped and safety-pinned Union Fl ag.[157] Jamie Reid's work had a major influence on punk style and contemporary graphic design in general.[158] Some new bands, such as London's Alternative TV, Edinburgh's Rezillos, and Leami ngton's The Shapes, identified with the scene even as they pursued more experime ntal music. Others of a comparatively traditional rock 'n' roll bent were also s wept up by the movement: The Vibrators, formed as a pub rock style act in February

1976, soon adopted a punk look and sound.[159] A few even longer-active bands i ncluding Surrey neo-mods The Jam and pub rockers The Stranglers and Cock Sparrer also became associated with the punk rock scene. Alongside the musical roots sh ared with their American counterparts and the calculated confrontationalism of t he early Who, the British punks also reflected the influence of glam rock and re lated bands such as Slade, T.Rex, and Roxy Music.[160] One of the groups openly acknowledging that influence were The Undertones, from Derry in Northern Ireland .[161] Another 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".[162] The Vibrators followed the next month with "W e Vibrate" and, backing long-time rocker Chris Spedding, "Pogo Dancing". The lat ter was hardly a punk song by any stretch, but it was perhaps the first song abo ut punk rock. On 26 November, the Sex Pistols' "Anarchy in the U.K." came out with its debut single the band succeeded in its goal of becoming a "national scandal ".[163] Jamie Reid's "anarchy flag" poster and his other design work for the Sex Pistols helped establish a distinctive punk visual aesthetic.[158] On December 1, an incident took place that sealed punk rock's notorious reputation: On Thame s Today, an early evening London TV show, Sex Pistols guitarist Steve Jones was goaded into a verbal altercation by the host, Bill Grundy. Jones called Grundy a "dirty fucker" on live television, triggering a media controversy.[164] Two day s later, the Sex Pistols, The Clash, The Damned, and The Heartbreakers set out o n the Anarchy Tour, a series of gigs throughout the UK. Many of the shows were c ancelled by venue owners in response to the media outrage following the Grundy c onfrontation.[165] Second wave[edit] 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.[166] While punk rock remained largely an underg round phenomenon in North America, Australia, and the new spots where it was eme rging, in the UK it briefly became a major sensation.[167][168] North America[edit]

"Forming"

As inchoate as its name suggests, The Germs' "Forming" was the first L.A. punk r ecord[169] and pointed directly toward the hardcore sound that would soon emerge .[170] The teenagers' performance has been described both as a signal example of punk incompetence[171] and as "bringing monotony to new heights".[172] -------------------------------------------------------------------------------Problems playing this file? See media help.

The California punk scene was in full swing by early 1977. In Los Angeles, there were The Weirdos, The Zeros, Black Randy and the Metrosquad, The Germs, X, The Dickies, The Bags, and the relocated Tupperwares, now dubbed The Screamers.[173] San Francisco's second wave included The Avengers, Negative Trend, The Mutants, and The Sleepers.[174] The Dils, from Carlsbad, moved between the two major cit ies.[175] The Wipers formed in Portland, Oregon. In Seattle, there was The Lewd. [176] Often sharing gigs with the Seattle punks were bands from across the Canad ian border. A major scene developed in Vancouver, spearheaded by the Furies and Victoria's all-female Dee Dee and the Dishrags.[176] The Skulls spun off into D. O.A. and The Subhumans. The K-Tels (later known as the Young Canadians) and Poin ted Sticks were among the area's other leading punk acts.[177] In eastern Canada, the Toronto protopunk band Dishes had laid the groundwork for another sizable scene,[178] and a September 1976 concert by the touring Ramones had catalyzed the movement. Early Ontario punk bands included The Diodes, The V iletones, The Battered Wives, The Demics, Forgotten Rebels, Teenage Head, The Po les, and The Ugly. Along with the Dishrags, Toronto's The Curse and B Girls were North America's first all-female punk acts.[179] In July 1977, the Viletones, D iodes, Curse, and Teenage Head headed down to New York City to play "Canada nigh t" at CBGB.[180] 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, spearheads of what became known as no wave,[181] although several original punk bands cont inued to perform and new ones emerged on the scene. The Cramps, whose core membe rs were from Sacramento by way of Akron, had debuted at CBGB in November 1976, o pening for the Dead Boys. They were soon playing regularly at Max's Kansas City. [182] The Misfits formed in nearby New Jersey. Still developing what would becom e their signature B movie inspired style, later dubbed horror punk, they made thei r first appearance at CBGB in April 1977.[183] Leave Home, the Ramones' second album, had come out in January.[184] The Dead Bo ys' debut LP, Young, Loud and Snotty, was released at the end of August.[185] Oc tober saw two more debut albums from the scene: Richard Hell and The Voidoids' f irst full-length, Blank Generation, and the Heartbreakers' L.A.M.F.[186] One tra ck on the latter exemplified both the scene's close-knit character and the popul arity of heroin within it: "Chinese Rocks" the title refers to a strong form of th e drug was written by Dee Dee Ramone and Hell, both users, as were the Heartbreake rs' Thunders and Nolan.[187] (During the Heartbreakers' 1976 and 1977 tours of B ritain, Thunders played a central role in popularizing heroin among the punk cro wd there, as well.)[188] The Ramones' third album, Rocket to Russia, appeared in November 1977.[189] The Ohio protopunk bands were joined by Cleveland's The Pagans,[190] Akron's Biz arros and Rubber City Rebels, and Kent's Human Switchboard. Bloomington, Indiana , 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 Arizon a. Atlanta had The Fans. In North Carolina, there was Chapel Hill's H-Bombs and Raleigh's Th' Cigaretz.[191] The Chicago scene began not with a band but with a group of DJs transforming a gay bar, La Mere Vipere, into what became known as A merica's first punk dance club. The Crucified, Tutu and the Pirates and Silver A buse were among the city's first punk bands.[192] In Boston, the scene at the Ra t was joined by the Nervous Eaters, Thrills, and Human Sexual Response.[191][193 ] In Washington, D.C., the Controls played their first gig in spring 1977, but t he city's second wave really broke the following year with acts such as Urban Ve rbs, Half Japanese, D'Chumps, Rudements and Shirkers.[194] By early 1978, the D. C. jazz-fusion group Mind Power had transformed into Bad Brains, one of the firs t bands to be identified with hardcore punk.[191][195] United Kingdom[edit]

"Oh Bondage Up Yours!"

X-Ray Spex' debut single, an antimaterialistic anthem considered "one of punk ro ck's defining moments."[196] As Lora Logic's saxophone "serrate[s] right through the ubiquitous guitar-buzzsaw",[197] Poly Styrene sings "in a voice somewhere b etween that of a wailing baby and that of a banshee".[198] -------------------------------------------------------------------------------Problems playing this file? See media help. 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.[199] Press cove rage of punk misbehavior grew intense: On January 4, 1977, the Evening News of L ondon ran a front-page story on how the Sex Pistols "vomited and spat their way to an Amsterdam flight".[200] In February 1977, the first album by a British pun k band appeared: Damned Damned Damned (by the Damned) reached number thirty-six on the UK chart. The EP Spiral Scratch, self-released by Manchester's Buzzcocks, was a benchmark for both the DIY ethic and regionalism in the country's punk mo vement.[201] The Clash's self-titled debut album came out two months later and r ose 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.[202] 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. Though m ost survived only briefly, perhaps recording a small-label single or two, others set off new trends. Crass, from Essex, merged a vehement, straight-ahead punk r ock style with a committed anarchist mission. Sham 69, London's Menace, and the Angelic Upstarts from South Shields in the Northeast combined a similarly stripp ed-down sound with populist lyrics, a style that became known as streetpunk. The se expressly working-class bands contrasted with others in the second wave that presaged the post-punk phenomenon. Liverpool's first punk group, Big in Japan, m oved in a glam, theatrical direction.[203] The band didn't survive long, but it spun off several well-known post-punk acts.[204] The songs of London's Wire were characterized by sophisticated lyrics, minimalist arrangements, and extreme bre vity.[205] By the end of 1977, according to music historian Clinton Heylin, they were "England's arch-exponents of New Musick, and the true heralds of what came next."[206]

The stark cover design of Wire's debut LP, Pink Flag, symbolized the evolution

of punk style.[207] 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 Thie ves".[208] Other first wave bands such as The Slits and new entrants to the scen e like The Ruts and The Police interacted with the reggae and ska subcultures, i ncorporating their rhythms and production styles. The punk rock phenomenon helpe d spark a full-fledged ska revival movement known as 2 Tone, centered around ban ds such as The Specials, The Beat, Madness, and The Selecter.[209] 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 arrived fr om Australia, the band was now considered insufficiently "cool" to qualify as pu nk by much of the British media, though they had been playing a similar brand of music for years.[210] In August, The Adverts entered the top twenty with "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 assaults b y Teddy boys, football yobbos, and others. A Ted-aligned band recorded "The Punk Bashing Boogie".[211] 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.[212] In October, the Sex Pistols hit number eight with "Holidays in the Sun", followed by the releas e of their first and only "official" album, Never Mind the Bollocks, Here's the Sex Pistols. Inspiring yet another round of controversy, it topped the British c harts. In December, one of the first books about punk rock was published: The Bo y Looked at Johnny, by Julie Burchill and Tony Parsons.[213] Declaring the punk rock movement to be already over, it was subtitled The Obituary of Rock and Roll . In January 1978, the Sex Pistols broke up while on American tour. Australia[edit] In February 1977, EMI released The Saints' debut album, (I'm) Stranded, which th e band recorded in two days.[214] The Saints had relocated to Sydney; in April, they and Radio Birdman united for a major gig at Paddington Town Hall.[215] Last Words had also formed in the city. The following month, The Saints relocated ag ain, to Great Britain. In June, Radio Birdman released the album Radios Appear o n its own Trafalgar label.[132] 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 suc cessor band to the Cheap Nasties. Among the other bands constituting Australia's second wave were Johnny Dole & The Scabs, the Hellcats, and Psychosurgeons (lat er known as the Lipstick Killers) in Sydney;[216] The Leftovers, The Survivors, and Razar in Brisbane;[217] and La Femme, The Negatives, and The Babeez (later k nown as The News) in Melbourne.[218] Melbourne's art rock influenced Boys Next Doo r featured singer Nick Cave, who would become one of the world's best-known post -punk artists.[219] Rest of the world[edit]

"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.[220] -------------------------------------------------------------------------------Problems playing this file? See media help. 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.[221 ] Following the lead of Stinky Toys, Mtal Urbain played its first concert in Dece mber 1976.[222] In August 1977, Asphalt Jungle played at the second Mont de Mars an punk festival.[223] Stinky Toys' debut single, "Boozy Creed", came out in Sep tember. It was perhaps the first non-English-language punk rock record, though a s music historian George Gimarc notes, the punk enunciation made that distinctio n somewhat moot.[224] The following month, Mtal Urbain's first 45, "Panik", appea red.[225] After the release of their minimalist punk debut, "Rien dire", Marie e t les Garons became involved in New York's mutant disco scene.[226] Asphalt Jungl e's "Deconnection" and Gasoline's "Killer Man" also came out before the end of t he year, and other French punk acts such as Oberkampf and Starshooter soon forme d.[227] 1977 also saw the debut album from Hamburg's Big Balls and the Great White Idiot , arguably West Germany's first punk band.[228] Other early German punk acts inc luded the Fred Banana Combo and Pack. Bands primarily inspired by British punk s parked what became known as the Neue Deutsche Welle (NDW) movement. Vanguard NDW acts such as the Nina Hagen Band and S.Y.P.H. featured strident vocals and an e mphasis on provocation.[229] Before turning in a mainstream direction in the 198 0s, NDW attracted a politically conscious and diverse audience, including both p articipants of the left-wing alternative scene and neo-Nazi skinheads. These opp osing factions were mutually attracted by a view of punk rock as "politically as well as musically...'against the system'."[229] Briard jump-started Finnish punk with its 1977 single "I Really Hate Ya"/"I Want Ya Back";[230] other early Finnish punk acts included Eppu Normaali and singer Pelle Miljoona. In Yugoslavia, punk rock acts emerged in Croatia (Prljavo kazali t e, Paraf), Slovenia (Pankrti, Niet, Lublanski psi, Grupa 92, Buldogi, Kuzle), an d Serbia (Pekin ka patka, Obojeni program).[citation needed] In Japan, a punk move ment developed around bands playing in an art/noise style such as Friction, and "psych punk" acts like Gaseneta and Kadotani Michio.[231] In New Zealand, Auckla nd's Scavengers and Suburban Reptiles were followed by The Enemy of Dunedin.[191 ] I.[232] Punk rock scenes also grew in other countries such as Belgium (The Kid s, Chainsaw),[233] the Netherlands (The Suzannes, The Ex),[234] Spain (La Banda Trapera Del Ro, Kaka De Luxe),[235] Sweden (Ebba Grn, KSMB),[236] and Switzerland (Nasal Boys, Kleenex).[237] Schism and diversification[edit]

Flipper, performing in 1984 By 1979, the hardcore punk movement was emerging in Southern California. A rival

ry developed between adherents of the new sound and the older punk rock crowd. H ardcore, appealing to a younger, more suburban audience, was perceived by some a s anti-intellectual, overly violent, and musically limited. In Los Angeles, the opposing factions were often described as "Hollywood punks" and "beach punks", r eferring to Hollywood's central position in the original L.A. punk rock scene an d to hardcore's popularity in the shoreline communities of South Bay and Orange County.[238] 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.[239] Across North America, many other first an d second wave punk bands also dissolved, while younger musicians inspired by the movement explored new variations on punk. Some early punk bands transformed int o hardcore acts. A few, most notably the Ramones, Richard Hell and The Voidoids, and Johnny Thunders and The Heartbreakers, continued to pursue the style they h ad helped create. Crossing the lines between "classic" punk, post-punk, and hard core, San Francisco's Flipper was founded in 1979 by former members of Negative Trend and The Sleepers.[240] They became "the reigning kings of American undergr ound rock, for a few years".[241] Radio Birdman broke up in June 1978 while touring the UK,[132] where the early u nity between bohemian, middle-class punks (many with art school backgrounds) and working-class punks had disintegrated.[242] In contrast to North America, more of the bands from the original British punk movement remained active, sustaining extended careers even as their styles evolved and diverged. Meanwhile, the Oi! and anarcho-punk movements were emerging. Musically in the same aggressive vein as American hardcore, they addressed different constituencies with overlapping b ut distinct anti-establishment messages. As described by Dave Laing, "The model for self-proclaimed punk after 1978 derived from the Ramones via the eight-to-th e-bar rhythms most characteristic of The Vibrators and Clash. ... It became esse ntial to sound one particular way to be recognized as a 'punk band' now."[243] I n February 1979, former Sex Pistols bassist Sid Vicious died of a heroin overdos e in New York. If the Sex Pistols' breakup the previous year had marked the end of the original UK punk scene and its promise of cultural transformation, for ma ny the death of Vicious signified that it had been doomed from the start.[244]

"London Calling"

The title track of The Clash's 1979 double album was the band's biggest UK hit o n first release.[245] The atmospheric production gives it a "grandeur rarely hea rd on punk records."[246] Joe Strummer wanted it mixed to "sound like a foggy mo rning on the River Thames."[247] The guitar chords on the second and fourth beat s in the verse nod toward reggae.[246] -------------------------------------------------------------------------------Problems playing this file? See media help.

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.[248] Somewhere in between, pop punk groups created blends like that of th e ideal record, as defined by Mekons cofounder Kevin Lycett: "a cross between Ab ba and the Sex Pistols".[249] A range of other styles emerged, many of them fusi ons with long-established genres. The Clash album London Calling, released in De cember 1979, exemplified the breadth of classic punk's legacy. Combining punk ro ck with reggae, ska, R&B, and rockabilly, it went on to be acclaimed as one of t he best rock records ever.[250] At the same time, as observed by Flipper singer Bruce Loose, the relatively restrictive hardcore scenes diminished the variety o f music that could once be heard at many punk gigs.[166] If early punk, like mos t rock scenes, was ultimately male-oriented, the hardcore and Oi! scenes were si gnificantly more so, marked in part by the slam dancing and moshing with which t hey became identified.[251] New wave[edit] For more details on this topic, see New wave music.

Debbie Harry performing in Toronto in 1977 In 1976 first in London, then in the United States "New Wave" was introduced as a co mplementary label for the formative scenes and groups also known as "punk"; the two terms were essentially interchangeable.[252] NME journalist Roy Carr is cred ited with proposing the term's use (adopted from the cinematic French New Wave o f the 1960s) in this context.[253] Over time, "new wave" acquired a distinct mea ning: Bands such as Blondie and Talking Heads from the CBGB scene; The Cars, who emerged from the Rat in Boston; The Go-Go's in Los Angeles; and The Police in L ondon that were broadening their instrumental palette, incorporating dance-orien ted rhythms, and working with more polished production were specifically designa ted "new wave" and no longer called "punk". Dave Laing suggests that some punk-i dentified British acts pursued the new wave label in order to avoid radio censor ship and make themselves more palatable to concert bookers.[254] 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.[255] New wave became a catch-all term,[256] encompassing disparate styles such as 2 Tone ska, the mod revival inspired by The Jam, the sophisticated pop-r ock of Elvis Costello and XTC, the New Romantic phenomenon typified by Ultravox, synthpop groups like Tubeway Army (which had started out as a straight-ahead pu nk band) and Human League, and the sui generis subversions of Devo, who had gone "beyond punk before punk even properly existed".[257] New wave became a pop cul ture sensation with the debut of the cable television network MTV in 1981, which put many new wave videos into regular rotation. However, the music was often de rided at the time as being silly and disposable.[258] Post-punk[edit] For more details on this topic, see Post-punk.

"Totally Wired"

The Fall's 1980 ode to amphetamines.[259] With its "taut, twitchy, dissonant mus ic and Mark E. Smith tunelessly screaming", writes Toby Creswell, it "mostly res embles the Legendary Stardust Cowboy's 'Paralysed' for its live feel and sense o f abandon...like a new wave record played badly rather than a punk record played well."[260] -------------------------------------------------------------------------------Problems playing this file? See media help. During 1976 77, in the midst of the original UK punk movement, bands emerged such as Manchester's Joy Division, The Fall, and Magazine, Leeds' Gang of Four, and L ondon's The Raincoats that became central post-punk figures. Some bands classifi ed as post-punk, such as Throbbing Gristle and Cabaret Voltaire, had been active well before the punk scene coalesced;[261] others, such as The Slits and Siouxs ie and the Banshees, transitioned from punk rock into post-punk. A few months af ter the Sex Pistols' breakup, John Lydon (no longer "Rotten") cofounded Public I mage Ltd. Lora Logic, formerly of X-Ray Spex, founded Essential Logic. Killing J oke formed in 1979. These bands were often musically experimental, like certain new wave acts; defining them as "post-punk" was a sound that tended to be less p op and more dark and abrasive sometimes verging on the atonal, as with 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 a nd 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 infrastructure of the indie music scene that blossomed in the mid-1980s.[262] Smoothing the ed ges of their style in the direction of new wave, several post-punk bands such as New Order (descended from Joy Division), The Cure, and U2 crossed over to a mai nstream U.S. audience. Bauhaus was one of the formative gothic rock bands. Other s, like Gang of Four, The Raincoats and Throbbing Gristle, who had little more t han cult followings at the time, are seen in retrospect as significant influence s on modern popular culture.[263] A number of U.S. artists were retrospectively defined as post-punk; Television's debut album Marquee Moon, released in 1977, is frequently cited as a seminal al bum in the field.[264] The No Wave movement that developed in New York in the la te 1970s, with artists such as Lydia Lunch and James Chance, is often treated as the phenomenon's U.S. parallel.[265] The later work of Ohio protopunk pioneers Pere Ubu is also commonly described as post-punk.[266] One of the most influenti al American post-punk bands was Boston's Mission of Burma, who brought abrupt rh

ythmic shifts derived from hardcore into a highly experimental musical context.[ 267] In 1980, Australia's Boys Next Door moved to London and changed their name to The Birthday Party, which evolved into Nick Cave and the Bad Seeds. Led by th e Primitive Calculators, Melbourne's Little Band scene would further explore the possibilities of post-punk.[268] Later alternative rock musicians found diverse inspiration among these post-punk predecessors, as they did among their new wav e contemporaries.[269] Hardcore[edit] For more details on this topic, see Hardcore punk.

Bad Brains at 9:30 Club, Washington, D.C., 1983 A distinctive style of punk, characterized by superfast, aggressive beats, screa ming vocals, and often politically aware lyrics, began to emerge in 1978 among b ands scattered around the United States and Canada. The first major scene of wha t came to be known as hardcore punk developed in Southern California in 1978 79,[2 70] initially around such punk bands as The Germs and Fear.[271] The movement so on spread around North America and internationally.[272][273][274] 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 t he 'reality' of the cities and what they ended up with was this new breed of mon ster".[17]

"Pay to Cum"

Bad Brains' debut single, "Pay to Cum" (1980), typifying the band's "high-speed playing, rapid-fire lyrics, dramatic pauses, and performance intensity,"[275] wa s pivotal in hardcore's emergence as the American punk standard.[276] -------------------------------------------------------------------------------Problems playing this file? See media help. Among the earliest hardcore bands, regarded as having made the first recordings in the style, were Southern California's Middle Class and Black Flag.[273][274] Bad Brains all of whom were black, a rarity in punk of any era launched the D.C. sce ne.[272] Austin, Texas's Big Boys, San Francisco's Dead Kennedys, and Vancouver' s D.O.A. were among the other initial hardcore groups. They were soon joined by bands such as the Minutemen, Descendents, Circle Jerks, Adolescents, and T.S.O.L . in Southern California; D.C.'s Teen Idles, Minor Threat, and State of Alert; a nd Austin's MDC and The Dicks. By 1981, hardcore was the dominant punk rock styl e not only in California, but much of the rest of North America as well.[277] A

New York hardcore scene grew, including the relocated Bad Brains, New Jersey's M isfits and Adrenalin O.D., and local acts such as the Nihilistics, The Mob, Reag an Youth, and Agnostic Front. Beastie Boys, who would become famous as a hip-hop group, debuted that year as a hardcore band. They were followed by The Cro-Mags , Murphy's Law, and Leeway.[278] By 1983, St. Paul's Hsker D, Willful Neglect, Chi cago's Naked Raygun and D.C.'s The Faith were taking the hardcore sound in exper imental and ultimately more melodic directions.[279] Hardcore would constitute t he American punk rock standard throughout the decade.[280] 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" (19 80).[274] Straight edge bands like Minor Threat, Boston's SS Decontrol, and Reno , Nevada's 7 Seconds rejected the self-destructive lifestyles of many of their p eers, and built a movement based on positivity and abstinence from cigarettes, a lcohol, drugs, and casual sex.[281] In the early 1980s, bands from the American southwest and California such as JFA, Agent Orange, and The Faction helped creat e a rhythmically distinctive style of hardcore known as skate punk. Skate punk i nnovators also pointed in other directions: Big Boys helped establish funkcore, while Venice, California's Suicidal Tendencies had a formative effect on the hea vy metal influenced crossover thrash style. Toward the end of the decade, crossove r thrash spawned the metalcore fusion style and the superfast thrashcore subgenr e developed in multiple locations.[282] Sacramento's Tales of Terror, which mixe d psychedelic rock into their hardcore sound, were an early influence on the gru nge movement.[283] D.C.'s Void was one of the first punk-metal crossover acts an d influenced thrash metal.[284][285] Still to this day Hardcore punk bands are p laying all over the world. From the classics like The Misfits, to the newer band s from the 1990s and beyond, like Potbelly from Whidbey Island WA, and Embrace t he Kill, from Portland OR.[citation needed] Oi![edit] 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.[286] Defying punk's disappearance from the British mainstream, t he song exemplifies the band's sound and that of Oi! groups in general: "harsher , darker, and cruder than their '77 forefathers."[287] -------------------------------------------------------------------------------Problems playing this file? See media help. Following the lead of first-wave British punk bands Cock Sparrer and Sham 69, in the late 1970s second-wave units like Cockney Rejects, Angelic Upstarts, The Ex ploited, and The 4-Skins sought to realign punk rock with a working class, stree t-level following.[288] For that purpose, they believed, the music needed to sta

y "accessible and unpretentious", in the words of music historian Simon Reynolds .[289] Their style was originally called "real punk" or street punk; Sounds jour nalist 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!" befo re each song, instead of the time-honored "1,2,3,4!"[290] Oi! bands' lyrics soug ht to reflect the harsh realities of living in Margaret Thatcher's Britain in th e late 1970s and early 1980s.[291] A subgroup of Oi! bands dubbed "punk pathetiq ue" including Splodgenessabounds, Peter and the Test Tube Babies, and Toy Dolls had a more humorous and absurdist bent.

Strength Thru Oi!, with its notorious image of British Movement activist and fel on Nicky Crane[292] 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".[293 ] According to Bushell, "Punk was meant to be of the voice of the dole queue, an d in reality most of them were not. But Oi was the reality of the punk mythology . In the places where [these bands] came from, it was harder and more aggressive and it produced just as much quality music."[294] Lester Bangs described Oi! as "politicized football chants for unemployed louts".[295] One song in particular , The Exploited's "Punks Not Dead", spoke to an international constituency. It w as adopted as an anthem by the groups of disaffected Mexican urban youth known i n the 1980s as bandas; one banda named itself PND, after the song's initials.[29 6] Although most Oi! bands in the initial wave were apolitical or left wing, many o f them began to attract a white power skinhead following. Racist skinheads somet imes disrupted Oi! concerts by shouting fascist slogans and starting fights, but some Oi! bands were reluctant to endorse criticism of their fans from what they perceived as the "middle-class establishment".[297] In the popular imagination, the movement thus became linked to the far right.[298] Strength Thru Oi!, an al bum compiled by Bushell and released in May 1981, stirred controversy, especiall y when it was revealed that the belligerent figure on the cover was a neo-Nazi j ailed for racist violence (Bushell claimed ignorance).[292] On July 3, a concert at Hamborough Tavern in Southall featuring The Business, The 4-Skins, and The L ast Resort was firebombed by local Asian youths who believed that the event was a neo-Nazi gathering.[299] Following the Southall riot, press coverage increasin gly associated Oi! with the extreme right, and the movement soon began to lose m omentum.[291] Anarcho-punk[edit] For more details on this topic, see Anarcho-punk.

Crass were the originators of anarcho-punk.[300] Spurning the "cult of rock star personality", their plain, all-black dress became a staple of the genre.[301] Anarcho-punk developed alongside the Oi! and American hardcore movements. Inspir ed by Crass, its Dial House commune, and its independent Crass Records label, a scene developed around British bands such as Subhumans, Flux of Pink Indians, Co nflict, Poison Girls, and The Apostles that was concerned as much with anarchist and DIY principles as it was with music. The acts featured ranting vocals, disc

ordant instrumental sounds, primitive production values, and lyrics filled with political and social content, often addressing issues such as class inequalities and military violence.[302] Anarcho-punk musicians and fans disdained the older punk scene from which theirs had evolved. In historian Tim Gosling's descriptio n, they saw "safety pins and Mohicans as little more than ineffectual fashion po sturing stimulated by the mainstream media and industry.... Whereas the Sex Pist ols would proudly display bad manners and opportunism in their dealings with 'th e establishment,' the anarcho-punks kept clear of 'the establishment' altogether ".[303] The movement spun off several subgenres of a similar political bent. Discharge, founded back in 1977, established D-beat in the early 1980s. Other groups in the movement, led by Amebix and Antisect, developed the extreme style known as crus t punk. Several of these bands rooted in anarcho-punk such as The Varukers, Disc harge, and Amebix, along with former Oi! groups such as The Exploited and bands from father afield like Birmingham's Charged GBH, became the leading figures in the UK 82 hardcore movement. The anarcho-punk scene also spawned bands such as N apalm Death, Carcass, and Extreme Noise Terror that in the mid-1980s defined gri ndcore, incorporating extremely fast tempos and death metal style guitarwork.[304] Led by Dead Kennedys, a U.S. anarcho-punk scene developed around such bands as Austin's MDC and Southern California's Another Destructive System.[305] Pop punk[edit] For more details on this topic, see Pop punk. With their love of the Beach Boys and late 1960s bubblegum pop, the Ramones pave d the way to what became known as pop punk.[306] In the late 1970s, UK bands suc h as Buzzcocks and The Undertones combined pop-style tunes and lyrical themes wi th punk's speed and chaotic edge.[307] In the early 1980s, some of the leading b ands in Southern California's hardcore punk rock scene emphasized a more melodic approach than was typical of their peers. According to music journalist Ben Mye rs, Bad Religion "layered their pissed off, politicized sound with the smoothest of harmonies"; Descendents "wrote almost surfy, Beach Boys inspired songs about g irls and food and being young(ish)".[308] Epitaph Records, founded by Brett Gure witz of Bad Religion, was the base for many future pop punk bands, including NOF X, with their third wave ska influenced skate punk rhythms. Bands that fused punk with light-hearted pop melodies, such as The Queers and Screeching Weasel, began appearing around the country, in turn influencing bands like Green Day and The Offspring, who brought pop punk wide popularity and major record sales. Bands su ch as The Vandals and Guttermouth developed a style blending pop melodies with h umorous and offensive lyrics. The mainstream pop punk of latter-day bands such a s Blink-182 is criticized by many punk rock devotees; in critic Christine Di Bel la's words, "It's punk taken to its most accessible point, a point where it bare ly reflects its lineage at all, except in the three-chord song structures."[309] Other fusions and directions[edit] 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 b lues. The Meteors, from South London, and The Cramps, who moved from New York to Los Angeles in 1980, were innovators in the psychobilly fusion style.[310] Milw aukee's Violent Femmes jumpstarted the American folk punk scene, while The Pogue s did the same on the other side of the Atlantic, influencing many Celtic punk b ands.[311] The Mekons, from Leeds, combined their punk rock ethos with country m usic, greatly influencing the later alternative country movement. In the United States, varieties of cowpunk played by bands such as Nashville's Jason & the Sco rchers, 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, L.A.'s The Screamers and Nervous Gender, Australia's JAB, an d Germany's DAF were pioneers of synthpunk. The Ex, from the Netherlands, were i n the art punk vanguard.[312] Chicago's Big Black was a major influence on noise rock, math rock, and industrial rock. Garage punk bands from all over such as Med way's Thee Mighty Caesars, Chicago's Dwarves, and Adelaide's Exploding White Mic e pursued a version of punk rock that was close to its roots in 1960s garage rock. Seattle's Mudhoney, one of the central bands in the development of grunge, has been described as "garage punk".[313] Legacy and later developments[edit] Alternative rock[edit] 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.[314] During the early 1980 s, British bands like New Order and The Cure that straddled the lines of post-pu nk and new wave developed both new musical styles and a distinctive industrial n iche. Though commercially successful over an extended period, they maintained an underground-style, subcultural identity.[315] In the United States, bands such as Hsker D and their Minneapolis protgs The Replacements bridged the gap between pun k rock genres like hardcore and the more melodic, explorative realm of what was then called "college rock".[316]

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."[317] By the end of the 1980s, these bands, who had largely eclipsed their punk rock forebears in popularity, were classified broadly as alternative 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 origins outs ide of the musical mainstream.[318] As American alternative bands like Sonic Youth, which had grown out of the No Wa ve scene, and Boston's Pixies started to gain larger audiences, major labels sou ght to capitalize on the underground market that had been sustained by hardcore punk for years.[319] In 1991, Nirvana emerged from Washington State's grunge sce ne, achieving huge commercial success with its second album, Nevermind. The band 's members cited punk rock as a key influence on their style.[320] "Punk is musi cal freedom", wrote singer Kurt Cobain. "It s saying, doing, and playing what you want."[321] Nirvana's success opened the door to mainstream popularity for a wid e range of other "left-of-the-dial" acts, such as Pearl Jam and Red Hot Chili Pe ppers, and fueled the alternative rock boom of the early and mid-1990s.[318][322 ] Emo[edit]

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, D.C. area hardcore scene . It was originally referred to as "emocore", an abbreviation of "emotive hardco re".[323] Notable early emo bands included Rites of Spring, Embrace, The Hated, and One Last Wish. The term derived from the tendency of some of these bands' me mbers to become strongly emotional during performances. Fugazi, formed out of th e dissolution of Embrace, inspired a second, much broader based wave of emo band s beginning in the mid-1990s. Groups like San Diego's Antioch Arrow generated ne w, more intense subgenres like screamo, while others developed a more melodic st yle closer to indie rock. Bands such as Seattle's Sunny Day Real Estate and Mesa , Arizona's Jimmy Eat World broke out of the underground, attracting national at tention. Queercore and riot grrrl[edit]

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 earl ier generation such as Jayne County, Phranc, Darby Crash and Randy Turner, and b ands like Nervous Gender, The Screamers, and Coil, queercore embraces a variety of punk and other alternative music styles. Queercore lyrics often treat the the mes of prejudice, sexual identity, gender identity, and individual rights. The m ovement has continued into the 21st century, supported by festivals such as Quee ruption.[324] In 1991, a concert of female-led bands at the International Pop Underground Conv ention in Olympia, Washington, heralded the emerging riot grrrl phenomenon. Bill ed as "Love Rock Revolution Girl Style Now", the concert's lineup included Bikin i Kill, Bratmobile, Heavens to Betsy, L7, and Mecca Normal.[325] The riot grrrl movement foregrounded feminist concerns and progressive politics in general; the DIY ethic and fanzines were also central elements of the scene.[326] Singer-gui tarists Corin Tucker of Heavens to Betsy and Carrie Brownstein of Excuse 17, ban ds active in both the queercore and riot grrrl scenes, cofounded the celebrated indie/punk band Sleater-Kinney in 1994. Bikini Kill's lead singer, Kathleen Hann a, the iconic figure of riot grrrl, moved on to form the art punk group Le Tigre in 1998.[327] Revival[edit]

"Longview"

The Green Day single that led the way in pop punk's rise to mainstream success.[ 328] Playing with the quiet-loud dynamic associated with grunge,[329] "Longview" features a conversational-sounding vocal from Billie Joe Armstrong in the verse and a lounge jazz style bass line "wired to detonate."[330] -------------------------------------------------------------------------------Problems playing this file? See media help.

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".[331] Along with Nirvana, many of the leading alternative rock a rtists of the early 1990s acknowledged the influence of earlier punk rock acts. With Nirvana's success, the major record companies once again saw punk bands as potentially profitable.[332] 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 nin e million albums in the United States in just over two years.[333] Bad Religion' s Stranger Than Fiction was certified gold.[334] Other California punk bands on the independent label Epitaph, run by Bad Religion guitarist Brett Gurewitz, als o began achieving mainstream popularity. In 1994, Epitaph released Let's Go by R ancid, Punk in Drublic by NOFX, and Smash by The Offspring, each eventually cert ified gold or better. That June, Green Day's "Longview" reached number one on Bi llboard's Modern Rock Tracks chart and became a top forty airplay hit, arguably the first ever American punk song to do so; just one month later, The Offspring' s "Come Out and Play" followed suit. MTV and radio stations such as Los Angeles' KROQ-FM played a major role in these bands' crossover success, though NOFX refu sed to let MTV air its videos.[335] Smash went on to sell over twelve million co pies worldwide, becoming the best-selling independent-label album of all time.[3 36] 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 became widely popular in the mid-1990s. By 1996, genre acts such as Reel Big Fish and Less Than Jake were being signed to major labels. The original 2 Tone bands had emerged amid punk rock's second wave, but their music was much closer to its Jam aican roots "ska at 78 rpm".[337] Ska punk bands in the third wave of ska created a true musical fusion between the genres. ...And Out Come the Wolves, the 1995 a lbum by Rancid which had evolved out of Operation Ivy became the first record in thi s ska revival to be certified gold;[338] Sublime's self-titled 1996 album was ce rtified platinum early in 1997.[333] In Australia, two popular groups, skatecore band Frenzal Rhomb and pop punk act Bodyjar, also established followings in Jap an.[339]

Green Day and Dookie's enormous sales paved the way for a host of bankable North American pop punk bands in the following decade.[340] With punk rock's renewed visibility came concerns among some in the punk community that the music was bei ng co-opted by the mainstream.[335] They argued that by signing to major labels and appearing on MTV, punk bands like Green Day were buying into a system that p unk was created to challenge.[341] Such controversies have been part of the punk culture since 1977, when The Clash was widely accused of "selling out" for sign ing with CBS Records.[342] The Vans Warped Tour and the mall chain store Hot Top ic brought punk even further into the U.S. mainstream.[343] In the mainstream[edit]

"All the Small Things"

The first U.S. punk-identified single to reach the top ten, built on a "schoolya rd-chant verse and na-na-na chorus".[344] "All the Small Things" exemplifies Bli nk-182's "formulaic hits", in Marc Spitz's description: "adenoidal verse, minima lly pulsing bass, explosive three-chord guitar riffs tempered by sweet harmony". [345] -------------------------------------------------------------------------------Problems playing this file? See media help. By early 1998, the punk revival had commercially stalled,[346] but not for long. 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 Fly ( For a White Guy)", made it on to the Internet and was downloaded a record 22 mil lion times illegally.[347] The following year, Enema of the State, the first major -label release by pop punk band Blink-182, reached the top ten and sold four mil lion copies in under twelve months.[333] In January 2000, the album's second sin gle, "All the Small Things", hit the sixth spot on the Billboard Hot 100. While they were viewed as Green Day "acolytes",[345] critics also found teen pop acts like Britney Spears, the Backstreet Boys, and 'N Sync suitable points of compari son for Blink-182's sound and market niche.[348] The band's Take Off Your Pants and Jacket (2001) and Blink-182 (2003) respectively rose to numbers one and thre e on the album chart. In November 2003, The New Yorker described how the "giddil y puerile" act had "become massively popular with the mainstream audience, a dem ographic formerly considered untouchable by punk-rock purists."[349] 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 eve ntually went platinum in the United States. The record included the number one U .S. Alternative hit "Fat Lip", which incorporated verses of what one critic call ed "brat rap."[350] Good Charlotte, from Maryland, had three successive top ten albums beginning with The Young and the Hopeless in 2002. Florida's Yellowcard,

which had been together since 1997, had its first hit in 2003 with its major-lab el debut, Ocean Avenue. Simple Plan, from Montral, climbed to number three 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 U.S. and UK charts; the band matched the feat five years later with 21st Century Breakdown. Jimmy Eat W orld, taking emo in a radio-ready pop punk direction,[351] had top ten albums in 2004 and 2007. In a similar style, Fall Out Boy hit number one with 2007's Infi nity on High. The wave of commercial success was broad-based: AFI, with roots in hardcore and skate punk, had great success with 2003's Sing the Sorrow and topp ed the U.S. chart with Decemberunderground in 2006. Two years later, The Offspri ng had its fifth top ten album with Rise and Fall, Rage and Grace and its third Modern Rock/Alternative Songs chart-topper with "You're Gonna Go Far, Kid". Star ting in 2003, Alkaline Trio had four consecutive top twenty-five albums, peaking 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".[352] At the same ti me, politicized and independent-label punk continued to thrive in the United Sta tes. Since 1993, Anti-Flag had been putting progressive politics at the center o f its music. The administration of George W. Bush provided them and similarly mi nded acts eight years of conservative government to excoriate. Rise Against was the most successful of these groups, registering top ten records in 2006 with Th e 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.[353] In the realm of the U.S. independents, Celtic punk attracted a substantial audience . 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 stars in Australia with their self-titled 1998 debut.[354] The group topped the nation al album chart again with State of Emergency in 2006 and White Noise in 2008. See also[edit] Wikinews has related news: Vivien Goldman: An interview with the Punk Professor List of punk bands Punk rock subgenres Timeline of punk rock Metropolis Video, in NYC in 1975/76, a group of video and film makers who docume nted many punk rock bands PVC clothing References[edit] 1.^ Erlewine, Stephen Thomas, "The Ramones: Biography", Allmusic. Retrieved on O ctober 11, 2007. 2.^ a b Bessman (1993), pp. 48, 50; Miles, Scott, and Morgan (2005), p. 136. 3.^ a b Robb (2006), foreword by Michael Bracewell. 4.^ Ramone, Tommy, "Fight Club," Uncut, January 2007. 5.^ a b McLaren, Malcolm, "Punk Celebrates 30 Years of Subversion", BBC News, Au gust 18, 2006. Retrieved on January 17, 2006.

6.^ Christgau, Robert, "Please Kill Me: The Uncensored Oral History of Punk, by Legs McNeil and Gillian McCain" (review), New York Times Book Review, 1996. Retr ieved on January 17, 2007. 7.^ See, e.g., Rodel (2004), p. 237; Bennett (2001), pp. 49 50. 8.^ Savage (1992), pp. 280 281, including reproduction of the original image. Seve ral sources incorrectly ascribe the illustration to the leading fanzine of the L ondon punk scene, Sniffin' Glue (e.g., Wells [2004], p. 5; Sabin [1999], p. 111) . Robb (2006) ascribes it to The Stranglers' in-house fanzine, Strangled (p. 311 ). In fact, Strangled, which only began appearing in 1977, evolved out of Sidebu rns (see, e.g., "Strangled". Xulu Brand Comics. Retrieved 2009-03-19.) 9.^ Blush (2001), pp. 173, 175. See also The Stimulators Loud Fast Rules 7? Killed By Death Records (September 21, 2006). 10.^ Harris (2004), p. 202. 11.^ a b Reynolds (2005), p. 4. 12.^ Jeffries, Stuart. "A Right Royal Knees-Up". The Guardian. July 20, 2007. 13.^ Washburne, Christopher, and Maiken Derno. Bad Music. Routledge, 2004. Page 247. 14.^ Kosmo Vinyl, The Last Testament: The Making of London Calling (Sony Music, 2004). 15.^ Traber, Daniel S. (2001). "L.A.'s 'White Minority': Punk and the Contradict ions of Self-Marginalization". Cultural Critique 48: 30 64. doi:10.1353/cul.2001.0 040. 16.^ Murphy, Peter, "Shine On, The Lights Of The Bowery: The Blank Generation Re visited," Hot Press, July 12, 2002; Hoskyns, Barney, "Richard Hell: King Punk Re members the [ ] Generation," Rock's Backpages, March 2002. 17.^ a b Blush, Steven, "Move Over My Chemical Romance: The Dynamic Beginnings o f US Punk," Uncut, January 2007. 18.^ Wells (2004), p. 41; Reed (2005), p. 47. 19.^ a b Shuker (2002), p. 159. 20.^ Laing (1985), p. 58; Reynolds (2005), p. ix. 21.^ Chong, Kevin, "The Thrill Is Gone", Canadian Broadcasting Corporation, Augu st 2006. Retrieved on December 17, 2006. 22.^ Quoted in Laing (1985), p. 62. 23.^ Palmer (1992), p. 37. 24.^ Laing (1985), p. 62. 25.^ Laing (1985), pp. 61 63. 26.^ Laing (1985), pp. 118 19. 27.^ Laing (1985), p. 53. 28.^ Sabin (1999), pp. 4, 226; Dalton, Stephen, "Revolution Rock," Vox, June 199 3. See also Laing (1985), pp. 27 32, for a statistical comparison of lyrical theme s. 29.^ Laing (1985), p. 31. 30.^ Laing (1985), pp. 81, 125. 31.^ Quoted in Savage (1991), p. 440. See also Laing (1985), pp. 27 32. 32.^ Segal, David (2001-04-17). "Punk's Pioneer". Washington Post. Retrieved 200 7-10-23. 33.^ a b Isler, Scott; Robbins, Ira. "Richard Hell & the Voidoids". Trouser Pres s. Retrieved 2007-10-23. 34.^ Strongman (2008), pp. 58, 63, 64; Colegrave and Sullivan (2005), p. 78. 35.^ See Weldon, Michael. "Electric Eels: Attendance Required". Cleveland.com. R etrieved 19 December 2010. 36.^ Young, Charles M. (October 20, 1977). "Rock Is Sick and Living in London". Rolling Stone. Archived from the original on September 14, 2006. Retrieved 10 Oc tober 2006. 37.^ a b Strohm (2004), p. 188. 38.^ See, e.g., Laing (1985), "Picture Section," p. 18. 39.^ Wojcik (1997), p. 122. 40.^ Wojcik (1995), pp. 16 19; Laing (1985), p. 109. 41.^ Laing (1985), pp. 89, 97 98, 125. 42.^ Laing (1985), p. 92, 88.

43.^ Laing (1985), p. 89, 92 93. 44.^ Laing (1985), pp. 34, 61, 63, 89 91. 45.^ Laing (1985), p. 90; Robb (2006), pp. 159 60. 46.^ Laing (1985), p. 34. 47.^ Laing (1985), p. 82. 48.^ Laing (1985), pp. 84 85. 49.^ Laing (1985), p. 14. 50.^ Sabin (1999), p. 157. 51.^ Harrington (2002), p. 165. 52.^ Reed (2005), p. 49. 53.^ Fletcher (2000), p. 497. 54.^ See Sabin (1999), p. 159. 55.^ MC5: Kick Out the Jams review by Lester Bangs, Rolling Stone, April 5, 1969 . Retrieved on January 16, 2007. Archived February 5, 2007 at the Wayback Machin e 56.^ Marcus (1979), p. 294. 57.^ Taylor (2003), p. 49. 58.^ Harrington (2002), p. 538. 59.^ Bessman (1993), pp. 9 10. 60.^ Andersen and Jenkins (2001), p. 12. Vaughan, Robin (June 6 12, 2003). "Realit y Bites". Boston Phoenix. Harvard, Joe. "Mickey Clean and the Mezz". Boston Rock Storybook. Robbins, Ira. "Wille Alexander". Trouser Press Guide. Retrieved 2007 -11-27. 61.^ a b Rubin, Mike (2009-03-12). "This Band Was Punk Before Punk Was Punk". Ne w York Times. Retrieved 2009-03-15. 62.^ Klimek, Jamie, "Mirrors", Jilmar Music; Jger, Rolf, "Styrenes A Brief History" , Rent a Dog. Both retrieved on November 27, 2007. 63.^ Ohtaka, Toshikazu; Akagawa, Yukiko. "Interview with Mick Farren". Strange D ays (Japan). Archived from the original on May 8, 2008. Retrieved 2008-01-10. "S oundwise, we wanted to be incredibly loud and violent! That says it all. The hip pies wanted to be nice and gentle, but our style was the opposite of that peacef ul, natural attitude." 64.^ Unterberger (1998), pp. 86 91. 65.^ Laing (1985), pp. 24 26. 66.^ Robb (2006), p. 51. 67.^ Neate, Wilson. "NEU!". Trouser Press. Retrieved 2007-01-11. 68.^ Anderson (2002), p. 588. 69.^ Unterberger (2000), p. 18. 70.^ Dickson (1982), p. 230. 71.^ Leblanc (1999), p. 35. 72.^ Quoted in Leblanc (1999), p. 35. 73.^ Shapiro (2006), p. 492. 74.^ Bangs, Lester, "Of Pop and Pies and Fun", Creem, December 1970. Retrieved o n November 29, 2007. 75.^ Nobahkt (2004), p. 38. 76.^ Shapiro (2006), p. 492. Note that Taylor (2003) misidentifies the year of p ublication as 1970 (p. 16). 77.^ Gendron (2002), p. 348 n. 13. 78.^ Houghton, Mick, "White Punks on Coke," Let It Rock. December 1975. 79.^ Taylor (2003), p. 16. 80.^ Willis, Ellen, "Into the Seventies, for Real," The New Yorker, December 197 2; reprinted in Willis's Out of the Vinyl Deeps (2001, University of Minneapolis Press), pp. 114 16. Italics in original. 81.^ Atkinson, Terry, "Hits and Misses", Los Angeles Times, February 17, 1973, p . B6. 82.^ Laing (1985), p. 13; "Punk Magazine Listening Party # 7", Punk Magazine, Ju ly 20, 2001. Retrieved on March 4, 2008. 83.^ Hilburn, Robert, "Touch of Stones in Dolls' Album," Los Angeles Times, May 7, 1974, p. C12. 84.^ Harvard, Joe, "Real Kids", Boston Rock Storybook. Retrieved on November 27,

2007. Archived December 26, 2007 at the Wayback Machine 85.^ a b Savage (1991), p. 131. 86.^ Savage (1991), pp. 130 131. 87.^ Taylor (2003), pp. 16 17. 88.^ Valentine (2006), p. 54. 89.^ Valentine (2006), pp. 52 55. 90.^ Savage (1991), pp. 86 90, 59 60. 91.^ a b Walker (1991), p. 662. 92.^ Strongman (2008), pp. 53, 54, 56. 93.^ a b Savage (1992), p. 89. 94.^ Bockris and Bayley (1999), p. 102. 95.^ "Patti Smith Biography". Arista Records. Archived from the original on Novemb er 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. 96.^ Savage (1991), pp. 90 91. 97.^ Gimarc (2005), p. 14. 98.^ Bessman (1993), p. 27. 99.^ Savage (1991), pp. 132 33. 100.^ Deming, Mark. ""The Dictators Go Girl Crazy!" (review)". Allmusic. Retriev ed 2007-12-27. 101.^ Bockris and Bayley (1999), p. 119. 102.^ 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." 103.^ Strongman (2008), p. 96; Savage (1992), p. 130. 104.^ Campbell (2008), p. 362. 105.^ Walsh (2006), p. 27. 106.^ Savage (1991), p. 132. 107.^ Walsh (2006), pp. 15, 24; for Punk, Wayne County, and punk homosexuality, see McNeil and McCain (2006), pp. 272 75; Savage (1992), p. 139; for CBGB's closin g in 2006, see, e.g., Damian Fowler, "Legendary punk club CBGB closes", BBC News , October 16, 2006. Retrieved on December 11, 2006. 108.^ Savage (1992), p. 137. 109.^ Pareles and Romanowski (1983), p. 249. 110.^ Isler, Scott; Robbins, Ira. "Ramones". Trouser Press. Retrieved 2007-10-23 . 111.^ Adams (2002), p. 369; McNeil and McCain (2006), pp. 233 34. 112.^ "Richard Hell Another World/Blank Generation/You Gotta Lose". Discogs. Retri eved 2007-10-23. Buckley (2003), p. 485. 113.^ Walsh (2006), p. 8. 114.^ Heylin (2007), p. 380. Heylin dates the "Hot Wire My Heart" single to 1976 . 115.^ Hannon (2009), p. 18. Hannon suggests "Hot Wire My Heart" came out in Janu ary 1977 or shortly thereafter. 116.^ Unterberger (1999), p. 319. 117.^ Unterberger (1999), p. 426. 118.^ Humphrey, Clark. "Rock Music Seattle". HistoryLink.org, May 4, 2000. Retriev ed on November 26, 2007. 119.^ Andersen and Jenkins (2001), pp. 2 13. 120.^ Robbins, Ira. "DMZ". Trouser Press. Retrieved 2007-12-01. Donnelly, Ben. " DMZ". Dusted. Retrieved 2007-11-29. 121.^ Lovell, Paul (1978). "Interview with Kenne Gizmo". Boston Groupie News. Re trieved 2007-12-28. Eddy, Chuck (2005-07-15). "Eddytor's Dozen". Village Voice. Retrieved 2007-12-28. 122.^ Ross, Alex. "Generation Exit", The New Yorker, April 25, 1994, pp. 102 104. 123.^ Harvard, Joe, "Willie "Loco" Alexander and the Boom Boom Band", Boston Roc k Storybook. Retrieved November 27, 2007. Archived October 24, 2007 at the Wayba ck Machine 124.^ Jonh Ingham, quoted in Stafford (2006), p. 63. 125.^ Stafford (2006), p. 62.

126.^ Raftery, Brian. "The 30 Essential Punk Albums of 1977". Spin. October 2007 , p. 70. 127.^ Buckley (2003), p. 3; McFarlane (1999), p. 507. 128.^ Australian Broadcasting Corporation (October 2, 2003). "Misfits and Malcon tents". abc.net.au. Retrieved November 1, 2006. 129.^ McFarlane (1999), p. 548. 130.^ Beaumont, Lucy (2007-08-17). ""Great Australian Albums [TV review]" ". The Age. Retrieved 2007-09-22. Gook, Ben (2007-08-16). ""Great Australian Albums Th e Saints (I'm) Stranded [DVD review]" ". Mess+Noise. Retrieved 2007-09-22. 131.^ Stafford (2006), pp. 57 76. 132.^ a b c McFarlane (1999), p. 507. 133.^ McCaleb (1991), p. 529. 134.^ Unterberger (2002), p. 1337. 135.^ Gimarc (2005), p. 41 136.^ Marcus (1989), p. 8. 137.^ "The Sex Pistols", Rolling Stone Encyclopedia of Rock 'n' Roll (2001). Ret rieved on September 11, 2006; Robb (2006), pp. 83 87; Savage (1992), pp. 99 103. 138.^ Gimarc (2005), p. 22; Robb (2006), p. 114; Savage (1992), p. 129. 139.^ "The Bromley Contingent", punk77.co.uk. Retrieved on December 3, 2006. 140.^ Savage (1992), pp. 151 152. The quote has been incorrectly ascribed to McLar en (e.g., Laing [1985], pp. 97, 127) and Rotten (e.g., "Punk Music in Britain", BBC, October 7, 2002), but Savage directly cites the New Musical Express issue i n which the quote originally appeared. Robb (2006), p. 148, also describes the N ME article in some detail and ascribes the quote to Jones. 141.^ Quoted in Friedlander and Miller (2006), p. 252. 142.^ Quoted in Savage (1992), p. 163. 143.^ Savage (1992), p. 163. 144.^ Savage (1992), pp. 124, 171, 172. 145.^ "Sex Pistols Gig: The Truth". BBC. 2006-06-27. Retrieved 2007-12-29. 146.^ Taylor (2003), p. 56; McNeil and McCain (2006), pp. 230 233; Robb (2006), pp . 198, 201. Quote: Robb (2006), p. 198. 147.^ Robb (2006), p. 198. 148.^ Taylor (2003), p. 56. 149.^ Loder, Kurt (2003-03-10). "The Clash: Ducking Bottles, Asking Questions". MTV.com. Retrieved 2007-12-20. 150.^ Taylor (2004), p. 80. 151.^ Laing (1985), p. 13. 152.^ Cummins, Kevin, "Closer to the Birth of a Music Legend", The Observer, Aug ust 8, 2007, p. 12. 153.^ 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 N ick Kent at a Pistols gig. It is possible that the organizers were specifically afraid of Vicious's attendance. 154.^ See, e.g., Marcus (1989), pp. 37, 67. 155.^ "Eater". Detour Records. Archived from the original on October 15, 2007. R etrieved 2007-12-29. 156.^ Colegrave and Sullivan (2005), p. 111; Gimarc (2005), p. 39; Robb (2006), pp. 217, 224 225. 157.^ Savage (1992), p. 253. 158.^ a b Pardo (2004), p. 245. 159.^ Savage (1992), pp. 221, 247. 160.^ Heylin (1993), p. xii. 161.^ Robbins, Ira. "Undertones". Trouser Press. Archived from the original on N ovember 3, 2007. Retrieved 2007-10-23. Reid, Pat (May 2001). "Alive and Kicking" . Rhythm Magazine. Undertones.net. Archived from the original on November 3, 200 7. Retrieved 2007-10-23. 162.^ Griffin, Jeff, "The Damned", BBC.co.uk. Retrieved on November 19, 2006. 163.^ "Anarchy in the U.K.". Rolling Stone. 2004-12-09. Archived from the origin

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McCaleb, Ian (1991). "Radio Birdman", in The Trouser Press Record Guide, 4th ed. , ed. Ira Robbins (New York: Collier), pp. 529 30. ISBN 0-02-036361-3 McFarlane, Ian (1999). The Encyclopedia of Australian Rock and Pop (St Leonards, Aus.: Allen & Unwin). ISBN 1-86508-072-1 McGowan, Chris, and Ricardo Pessanha (1998). The Brazilian Sound: Samba, Bossa N ova, and the Popular Music of Brazil (Philadelphia: Temple University Press). IS BN 1-56639-545-3 McNeil, Legs, and Gillian McCain (2006 [1997]). Please Kill Me: The Uncensored O ral History of Punk (New York: Grove). ISBN 0-8021-4264-8 Miles, Barry, Grant Scott, and Johnny Morgan (2005). The Greatest Album Covers o f 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: The Fas t Times and Short Life of Darby Crash and the Germs (Los Angeles: Feral House). ISBN 0-922915-70-9 Nichols, David (2003). The Go-Betweens (Portland, Ore.: Verse Chorus Press). ISB N 1-891241-16-8 Nobahkt, David (2004). Suicide: No Compromise (London: SAF). ISBN 0-946719-71-3 O'Hara, Craig (1999). The Philosophy of Punk: More Than Noise (San Francisco and Edinburgh: AK Press). ISBN 1-873176-16-3 Palmer, Robert (1992). "The Church of the Sonic Guitar", in Present Tense: Rock & Roll and Culture, ed. Anthony DeCurtis (Durham, N.C.: Duke University Press), pp. 13 38. ISBN 0-8223-1265-4 Pardo, Alona (2004). "Jamie Reid", in Communicate: Independent British Graphic D esign Since the Sixties, ed. Rick Poyner (New Haven, Conn.: Yale University Pres s), p. 245. ISBN 0-300-10684-X Pareles, Jon, and Patricia Romanowski (eds.) (1983). The Rolling Stone Encyclope dia of Rock & Roll (New York: Rolling Stone Press/Summit Books). ISBN 0-671-4407 1-3 Porter, Dick (2007). The Cramps: A Short History of Rock 'n' Roll Psychosis (Lon don: Plexus). ISBN 0-85965-398-6 Purcell, Natalie J. (2003). Death Metal Music: The Passion and Politics of a Sub culture (Jefferson, N.C., and London: McFarland). ISBN 0-7864-1585-1 Raha, Maria (2005). Cinderella's Big Score: Women of the Punk and Indie Undergro und (Emeryville, Calif.: Seal). ISBN 1-58005-116-2 Reed, John (2005). Paul Weller: My Ever Changing Moods (London et al.: Omnibus P ress). ISBN 1-84449-491-8 Reynolds, Simon (1999). Generation Ecstasy: Into the World of Techno and Rave Cu lture (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 0-09190511-7 Rodel, Angela (2004). "Extreme Noise Terror: Punk Rock and the Aesthetics of Bad ness", in Bad Music: The Music We Love to Hate, ed. Christopher Washburne and Ma iken Derno (New York: Routledge), pp. 235 56. ISBN 0-415-94365-5 Rooksby, Rikky (2001). Inside Classic Rock Tracks (San Francisco: Backbeat). ISB N 0-87930-654-8 Sabin, Roger (1999). Punk Rock, So What? The Cultural Legacy of Punk (London: Ro utledge). ISBN 0-415-17030-3. Savage, Jon (1991). England's Dreaming: The Sex Pistols and Punk Rock (London: F aber and Faber). ISBN 0-312-28822-0 Savage, Jon (1992). England's Dreaming: Anarchy, Sex Pistols, Punk Rock, and Bey ond (New York: St. Martin's). ISBN 0-312-08774-8 Shapiro, Fred R. (2006). Yale Book of Quotations (New Haven, Conn.: Yale Univers ity Press). ISBN 0-300-10798-6 Schmidt, Axel, and Klaus Neumann-Braun (2004). Die Welt der Gothics: Spielrume dst er konnotierter Tranzendenz (Wiesbaden: VS Verlag). ISBN 3-531-14353-0 Shuker, Roy (2002). Popular Music: The Key Concepts (London: Routledge). ISBN 0-

415-28425-2 Simpson, Paul (2003). The Rough Guide to Cult Pop: The Songs, the Artists, the G enres, 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.: Greenwood). ISBN 978-0-313-34119-9 Spencer, Amy (2005). DIY: The Rise of Lo-Fi Culture (London: Marion Boyars). ISB N 0-7145-3105-7 Spitz, Marc (2006). Nobody Likes You: Inside the Turbulent Life, Times, and Musi c of Green Day (New York: Hyperion). ISBN 1-4013-0274-2 Spitz, Marc, and Brendan Mullen (2001). We Got the Neutron Bomb: The Untold Stor y of L.A. Punk (New York: Three Rivers Press). ISBN 0-609-80774-9 Stafford, Andrew (2006). Pig City: From the Saints to Savage Garden, 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' Roll Scene, 3d ed. (San Francisco: RE/Search Publications). ISBN 1-889307-14-9 Strohm, John (2004). "Women Guitarists: Gender Issues in Alternative Rock", in T he Electric Guitar: A History of an American Icon, ed. A. J. Millard (Baltimore: Johns Hopkins University Press), pp. 181 200. ISBN 0-8018-7862-4 Strongman, Phil (2008). Pretty Vacant: A History of UK Punk (Chicago: Chicago Re view Press). ISBN 1-55652-752-7 St. Thomas, Kurt, with Troy Smith (2002). Nirvana: The Chosen Rejects (New York: St. Martin's). ISBN 0-312-20663-1 Taylor, Steven (2003). False Prophet: Field Notes from the Punk Underground (Mid dletown, Conn.: Wesleyan University Press). ISBN 0-8195-6668-3 Taylor, Steve (2004). The A to X of Alternative Music (London and New York: Cont inuum). ISBN 0-8264-8217-1 Thompson, Dave (2000). Alternative Rock (San Francisco: Miller Freeman). ISBN 087930-607-6 Unterberger, Richie (1998). Unknown Legends of Rock 'n' Roll: Psychedelic Unknow ns, Mad Geniuses, Punk Pioneers, Lo-Fi Mavericks & More (San Francisco: Backbeat ). ISBN 0-87930-534-7 Unterberger, Richie (1999). Music USA: The Rough Guide (London: Rough Guides). I SBN 1-85828-421-X Unterberger, Richie (2002). "British Punk", in All Music Guide to Rock: The Defi nitive Guide to Rock, Pop, and Soul, 3d ed., ed. Vladimir Bogdanov, Chris Woodst ra, and Stephen Thomas Erlewine (San Francisco: Backbeat). ISBN 0-87930-653-X Valentine, Gary (2006). New York Rocker: My Life in the Blank Generation with Bl ondie, Iggy Pop, and Others, 1974 1981 (New York: Thunder's Mouth). ISBN 1-56025-9 44-2 Walker, John (1991). "Television", in The Trouser Press Record Guide, 4th ed., e d. 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). I SBN 0-85965-370-6 Weinstein, Deena (2000). Heavy Metal: The Music and Its Culture (New York: Da Ca po). ISBN 0-306-80970-2 Wells, Steven (2004). Punk: Loud, Young & Snotty: The Story Behind the Songs (Ne w York and London: Thunder's Mouth). ISBN 1-56025-573-0 Wilkerson, Mark Ian (2006). Amazing Journey: The Life of Pete Townshend (Louisvi lle: Bad News Press). ISBN 1-4116-7700-5 Wojcik, Daniel (1995). Punk and Neo-Tribal Body Art (Jackson: University Press o f Mississippi). ISBN 0-87805-735-8 Wojcik, Daniel (1997). The End of the World as We Know It: Faith, Fatalism, and Apocalypse in America (New York: New York University Press). ISBN 0-8147-9283-9 External links[edit] Wikimedia Commons has media related to: Punk rock

Fales Library of NYU Downtown Collection archival collection with the personal p apers of NYC punk figures. A History of Punk 1990 essay by rock critic A.S. Van Dorston Punk 77 history of early UK punk "We Have to Deal With It: Punk England Report", by Robert Christgau, Village Voi ce, January 9, 1978 Black Punk Time: Blacks in Punk, New Wave and Hardcore 1976-1984 by James Porter and Jake Austen and many other contributors Roctober Magazine 2002

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