朋克搖滾

朋克搖滾是搖滾音樂風格，發達國家1974年至1976年在美國，英國和澳大利亞。根植在車庫搖滾和其他形式的東西，現在被稱為protopunk音樂，朋克搖滾樂隊避開了知覺過度主流1970岩石。他們創造了快速，鋒芒畢露的音樂，一般短的歌曲，簡裝的儀器，而且往往政治， 反體制的歌詞。朋克包含了一個DIY概念 ，許多樂隊的自我生產和銷售他們自己的錄音通過非正式渠道。

到1976年末，樂隊如雷蒙斯 ，在紐約市和性手槍和碰撞 ，在倫敦，被公認為是先鋒新樂章。次年看到朋克搖滾在世界各地蔓延，並成為一個重要的文化現象，在英國。在大多數情況下，在當地扎下了根朋克場景往往拒絕協會與主流。一個相關的朋克亞文化出現，表達青春的叛逆和特點鮮明風格的服裝，裝飾和各種反專制思想 。

到20世紀80年代初，更快，更積極的風格，如鐵桿和愛！已成為主要模式的朋克搖滾。音樂家認同或靈感來自朋克也奉行了範圍廣泛的其他變化，從而引發後朋克和另類搖滾運動。到世紀之交， 流行朋克已經通過了主流，如帶如綠日和子孫帶來的體裁廣泛普及。

[ 編輯 ] 特點

[ 編輯 ] 哲學

該雷蒙斯 “1976年的首張專輯奠定了音樂劇“藍圖朋克”， ^{[1] ，}而其涵蓋的形象產生了類似的形成影響朋克視覺風格。 ^[2]

第一次浪潮的朋克搖滾的目的是要積極現代化，疏遠自己從高調與感性的70年代初的岩石。 ^[3]根據雷蒙斯鼓手湯米Ramone ，“在其最初的形式，很多的[1960]東西是創新和令人興奮的，可惜的是，人們會發生什麼誰不能望其項背的喜歡的亨德里克斯開始noodling走，很快你有無盡的獨奏是無處去，通過1973年，我知道所需要的是一些純粹的，剝離下來，沒有廢話搖滾“卷” ^[4] 約翰霍姆斯特姆 ，創始主編朋克雜誌，回憶的感覺“朋克搖滾了一起走，因為搖滾已經變得如此馴服的[行為]喜歡比利喬和西蒙和加芬克爾被所謂的搖滾樂，當我和其他球迷，搖滾這意味著野生和叛逆的音樂。“ ^[5]在評論家羅伯特Christgau的描述，“這也是一種亞文化的輕蔑地拒絕了政治理想主義和加州花電力愚蠢的嬉皮神話。“ ^[6] 帕蒂史密斯 ，相反，表明在紀錄片25年的嬉皮士和朋克的朋克搖滾樂隊有聯繫的一個共同的反建制的心態。

縱觀朋克搖滾史上，技術無障礙和DIY精神已經撬開。在早期的朋克搖滾，這種倫理站在什麼明顯的對比那些在現場視為財大氣粗的音樂效果和技術要求，許多主流的搖滾樂隊。 ^[7]音樂高手往往顯得與猜疑。據霍姆斯特姆，朋克搖滾是“搖滾的人誰沒有很技巧的音樂家，但仍感到有必要通過音樂來表達自己。” ^[5] 1976年12月，英國fanzine 鬢角發表了現在，著名插圖三個和弦，題為“這是一個和弦，這是另一個，這是第三個，現在形成一個樂隊。” ^[8]標題的1980年的單一紐約朋克樂隊的刺激器，“大聲的規則！ “，落款流行語為朋克的基本音樂的方法。 ^[9]

一些英國朋克搖滾的領軍人物做了節目的拒絕不僅當代主流搖滾和更廣泛的文化是聯繫在一起，但自己最有名的前輩：“沒有貓王 ， 披頭士或滾石樂隊在1977年“，宣布碰撞歌曲“1977”。 ^[10]的前一年，當朋克搖滾革命開始於英國，是既音樂和文化的“零年”。 ^[11]儘管懷舊被丟棄，很多在現場採取了虛無主義的態度總結了性手槍口號是“沒有未來”， ^[3]在後來的話一個觀察員，在一片失業和社會動盪在1977年，“朋克的虛無主義招搖是最驚心動魄的事情在英格蘭。” ^[12]雖然“自我施加的異化 “是常見的”醉酒小混混“和”陰溝裡小混混“，總有一個虛無主義之間的緊張關係的前景和”激進的左派烏托邦主義“ ^[13]的樂隊，如粗魯的 ，誰發現陽性，解放在運動的意義。作為衝突關聯描述歌手喬Strummer的展望“，朋克搖滾，就是要我們的自由，我們是為了能夠做我們想做的事情。” ^[14]

這個問題的真實性是很重要的朋克亞文化，是貶義的術語“ poseur “是適用於那些與誰聯繫，並通過其朋克風格的屬性，但認為不共享或了解的基本價值和哲學。學者丹尼爾S. Traber認為，“實現在朋克身份的真實性是很困難”，作為朋克現場成熟，他指出，最終“[E] veryone了所謂的poseur” ^[15]

[ 編輯 ] 音樂和抒情的元素

朋克搖滾樂隊經常模仿裸音樂結構和安排的20世紀60年代車庫搖滾 。 ^[16]典型的朋克搖滾樂儀器包括一個或兩個電吉他，電貝司，一個鼓包，伴隨著歌聲。朋克搖滾歌曲往往是短比其他流行的體裁上的雷蒙斯“ 的首張專輯 ，例如，半數的十四個曲目在兩分鐘長。大多數早期的朋克搖滾歌曲保留了傳統搖滾“N”卷詩，合唱的形式和4 / 4 拍 。然而，朋克搖滾樂隊在運動中的第二次浪潮和後經常徹底擺脫這種格式。在評論家史蒂芬腮紅的描述，“性手槍仍然像最瘋狂的搖滾樂...版查克貝瑞 。 性交是一個激進的背離的，這是不是詩，合唱岩石，它消除了任何概念的什麼寫歌應該是它的自己的形式。“ ^[17]

朋克搖滾主唱的聲音有時鼻， ^[18]和歌詞往往喊唱，而不是在傳統意義上的，特別是在硬派的風格。 ^[19]的發聲方法的特點是缺乏品種;轉變音調，音量，或語調款式都比較少見。 ^[20]複雜的吉他獨奏被認為是自我放縱的和不必要的，雖然基本的吉他斷裂是常見的。 ^[21]吉他部分往往包括高度扭曲的權力和弦或巴雷和弦 ，創造了特色的聲音描述為Christgau一個“Buzzsaw的無人駕駛飛機”。 ^[22]一些朋克搖滾樂隊採取衝浪搖滾的方式用打火機，twangier吉他音色。其他，如羅伯特奎因 ，鉛的吉他手的Voidoids ，都聘請了野性，“ 奇聞趣事 “的攻擊，一種風格，可以追溯到通過地下絲絨到20世紀50年代錄製的艾克特納 。 ^[23]低音吉他線往往複雜;典型的方法是無情的，重複的“強迫節奏”， ^[24]雖然有些朋克搖滾貝司手，如麥克瓦的的民兵和流水強調更多的技術低音線。貝斯手經常使用挑由於連續快速的音符，這使得fingerpicking不切實際的。鼓一般的聲音沉重而幹，而且往往有一個最小的設置。相對於其他形式的岩石， 切分音的規則要少得多。 ^[25]性交擊鼓往往是特別快。 ^[19]生產趨於簡約，與軌道有時放下了家裡錄音機^[26]或簡單的四跟踪portastudios。典型的目標是有錄音unmanipulated和“真實”，體現的承諾和“真實性”的現場表演。 ^[27]朋克錄音因而經常有低保質量，聲音左相對糙米在掌握過程;記錄可能包含樂隊成員之間的對話，錯誤的開始，和背景噪音。

碰撞 ，在1980年執行

朋克搖滾歌詞是典型的坦率和對抗性;相比，歌詞其他流行音樂流派，他們經常評論社會和政治問題。 ^[28]引領潮流的歌曲，如碰撞的“ 就業機會 “和切爾西的 “工作權”對付失業和城市生活的嚴峻現實。 ^[29]尤其是在早期的英國朋克，一個中心目標是憤怒和震驚的主流。 ^[30]經典性手槍“ 無政府狀態在英國 “和” 上帝保佑女 ​​王 “公開貶低英國的政治制度和社會習俗。還有一個特點株抗感性描寫的關係，性別，體現了“愛來的時候在噴”，寫的理查德地獄和記錄他與Voidoids。 失範 ，不同地表達了詩一般的地獄的“ 空白代 “和直率的雷蒙斯”“現在我要嗅出一些膠”，是一個共同的主題。朋克與識別等議題的看法表示贊同由五淡水河谷公司的創始人舊金山fanzine 搜索和摧毀 ：“朋克是一個總的文化反叛，這是一個硬核對抗與黑方的歷史和文化，右翼形象，性禁忌，一個鑽研它以前從未做過之前的任何一代在這樣一個徹底的方法。“ ^[31]然而，許多朋克搖滾歌曲處理更多的傳統搖滾“N”卷主題的求愛，心碎，並掛出;的做法非常廣泛，從面無表情，進取簡單的雷蒙斯標準，如“我想成為你的男朋友” ^{[32] ，}以真誠的風格更明確，許多後來流行朋克團體。

[ 編輯 ] 視覺和其他元素

經典的朋克搖滾之間尋找男性美國音樂家重提的T卹，機車夾克和牛仔褲合奏青睞美國greasers與上世紀50年代的rockabilly現場，由英國搖滾的60年代。封面的雷蒙斯“1976年的首張專輯，設有一個鏡頭的樂隊的朋克攝影師羅伯塔貝利，提出了基本要素的風格，很快就被廣泛效仿搖滾音樂家都朋克和nonpunk。 ^[2]理查德地獄更中性，寒酸樣子的孩子的外觀和知名發明的安全針審美 ，是一個重大的影響性手槍impresario 馬爾科姆麥克拉倫 ，反過來，英國的朋克風格。 ^{[33] [34] （}約翰莫頓克利夫蘭的電鰻可能是被第一代的搖滾音樂家戴安全針覆蓋的外套。） ^[35]邁凱輪的合作夥伴，時裝設計師Vivienne Westwood的 ，信貸約翰尼腐爛的第一個英國朋克撕毀他的襯衫，和性手槍貝斯手希德兇惡作為第一個使用安全引腳。 ^[36]早期女朋克音樂家顯示風格，從Siouxsie蘇的束縛齒輪帕蒂史密斯的“直從-的-天溝雌雄同體” ^[37]前者被證明更加有影響的女球迷的風格。 ^[38]隨著時間的推移，紋身， 穿孔 ，和金屬鑲嵌和，加標配件變得越來越常見元素的朋克時裝中，既有音樂家和球迷，一個“風格的裝飾計算干擾和憤怒”。 ^[39]典型的男性朋克髮型原是短而起伏;的莫霍克後來成為一個特色的風格。 ^[40]那些在性愛鏡頭往往採取光頭的樣子。

英國朋克，大約 1986

舞台表演風格的特徵，男性朋克音樂家並不明顯偏離經典的大男子主義的姿態與搖滾音樂。 ^[41]女朋克音樂家們更清楚地打破了從早期的風格。學者約翰Strohm表明，他們通過創建人物的類型傳統視為男性化：“他們採取強硬的，unladylike姿勢借更多的男子氣概招搖六十年代車庫樂隊的比計算出的不良少女形象的樂隊喜歡的離家出走 。“ ^[37]學者介紹了如何貝斯手戴夫萊恩蓋伊廣告採用的時尚元素與男性音樂家只產生一個舞台人物隨便飲用的“性感”。 ^[42]萊恩側重於更具創新性和挑戰性的表演風格，表現在各種情慾的Siouxsie蘇不穩定的方法， 開衩 “ 阿里向上 ，和X -射線SPEX “ 聚苯乙烯 。 ^[43]

缺乏有力的切分音導致朋克舞“離經叛道”的形式。風格的特徵是原來的POGO 。 ^[44]希德兇惡，他才成為了性手槍“貝斯手，是記入在英國發起POGO作為與會者在他們的一個音樂會。 ^[45] Moshing是典型的硬派節目。缺乏傳統舞蹈節奏是一個關鍵因素在限制朋克的主流商業的影響。 ^[46]

打破之間的距離演員和觀眾是中央的朋克職業道德。 ^[47]範參與的音樂會是這樣重要，在運動的第一個鼎盛時期，它往往是挑起敵對的態度，顯然是有害的，但適當的“朋克”。第一波英國朋克樂隊，如性別手槍和被詛咒的侮辱，否則將慫恿觀眾強烈的反應。萊恩已確定了三個主要形式的物理反應，以唆使觀眾：可以投擲，舞台侵襲，隨地吐痰或“gobbing” ^[48]在鐵桿的境界，舞台往往是入侵的前奏階段潛水 。除了眾多的球迷誰已經開始或加入了朋克樂隊，觀眾也成為重要的參與者通過現場的許多業餘期刊，在英國，根據萊恩，朋克“是第一個音樂流派產卵 fanzines任何重大數字”。 ^[49]

[ 編輯 ] 前史

[ 編輯 ] 車庫搖滾和MOD

在初期和60年代中期，車庫搖滾樂隊，後來被確認為朋克搖滾的祖先就開始如雨後春筍在許多不同的地點周圍北美的Kingsmen ，一個車庫樂隊來自俄勒岡州波特蘭市，有一個突破擊中其1963年蓋的“ 路易，路易 “，引為”朋克搖滾的定義UR -文本 “。 ^[50]極簡聲音很多車庫搖滾樂隊的影響就越難邊翼的英國入侵 。 糾纏 “單曲1964年， “ 你真的讓我 “和” 整天和所有的夜晚 “，被形容為”前輩整個三和弦流派的雷蒙斯“1978年”我不想讓你，“比如，純屬奇想按代理“。 ^[51] 1965年， 該誰迅速進展，從他們的首張單曲“ 我無法解釋 “，虛擬奇想克隆，以” 我的一代 “。雖然幾乎沒有影響到美國的圖表，誰的MOD國歌預示著一個更腦組合的音樂兇猛和叛逆姿態，特點更早期的英國朋克搖滾：約翰里德描述碰撞的崛起為“從緊球的能量，既是形象與修辭使人聯想到一個年輕皮特湯森速度的迷戀，流行最先進的服裝，藝術學校野心“。 ^[52]世界衛生組織和同伴MODS 的小面是少數幾個岩石長老承認性手槍。 ^[53]到1966年，國防部已經在下降。美國車庫搖滾樂開始失去動力在一對夫婦多年，但原始聲音和局外人的態度“車庫psych “樂隊喜歡的種子預示著風格的樂隊，將成為被稱為原型人物的protopunk。 ^[54]

[ 編輯 ] Protopunk

1969年，首張專輯由兩位美國密歇根州的樂隊似乎通常被視為中央protopunk記錄。今年一月，底特律的MC5發布揪出來的果醬 。 “音樂上的組是故意原油和積極原始”，寫影評萊斯特邦斯在滾石 ：

大部分的歌曲都只能勉強分辨彼此在其原始的雙弦結構。您聽說過這一切之前，從這些知名人士的種子， 藍歡呼 ， 問號和Mysterians和Kingsmen。這裡的差別 ... ...是在炒作，厚覆蓋青少年革命和總能量，這些東西是隱藏廢料場前景的陳詞濫調和醜陋的噪音。 ... ... “我想要你現在”聽起來完全（低至歌詞）像一首名為“我想要你”由該Troggs ，英國已於誰組具有相似性和-原始聲像一對夫婦幾年前（記得“ 狂放的事 “？） ^[55]

伊基流行的“朋克教父”

年8月， 該臭皮匠 ，從安阿伯 ，首演了同名專輯 。據評論家Greil馬庫斯 ，樂隊，歌手率領Iggy流行音樂 ，創造了“聲音的查克貝瑞的空中機動 ，剝離後盜賊它的零件。“ ^[56]這張專輯製作的約翰Cale的 ，新的前成員紐約的實驗搖滾樂隊地下絲絨 。經贏得了“美譽的第一個地下搖滾樂隊”地下絲絨的啟發，直接或間接地，很多人參與創作的朋克搖滾。 ^[57]

在70年代初期， 紐約娃娃更新了原有的野性搖滾50年代“N”卷中成為一種時尚，後來被稱為格南朋克 。 ^[58]紐約兩人自殺起備用，實驗音樂與對抗階段行動的啟發該的傀儡。在考文垂俱樂部在紐約市行政區的皇后 ， 獨裁者用石頭作為車輛明智的態度和幽默的屁股。 ^[59]在波士頓， 現代戀人的帶動下，地下絲絨奉獻喬納森里奇曼 ，獲得注意與簡約風格。 1974年，更新的車庫搖滾樂壇開始圍繞著新開Rathskeller俱樂部肯莫爾廣場 。在領導行為是真正的兒童 ，成立由前現代戀人約翰菲菲 ; 威利亞歷山大和嘣嘣樂隊 ，其主唱曾是成員的地下絲絨了數個月，1971年和米奇清潔和閣樓。 ^{[ 60]} 1974年，以及，底特律樂隊死亡 ，由三個黑人兄弟錄“灼人爆炸的野生UR -朋克”，但不能安排釋放處理。 ^[61]在俄亥俄州的一個小但有影響力的地下搖滾樂壇出現的帶動下泥盆在阿克倫和肯特和騎士隊的的電鰻 ，反射鏡和火箭從十三陵 。 1975年，火箭從墓葬分為佩雷Ubu的和科學怪人 。在電鰻和鏡子都分手了， 而苯乙烯擺脫了後遺症。 ^[62]

英國的離經叛道 ，在60年代末期，起到了一個範圍的迷幻風格具有諷刺，無政府主義的邊緣和愛好的情境主義風格的奇觀預示性手槍了近十年。 ^[63] 1970年，該行為演變成粉紅色仙子 ，其中進行了類似的靜脈。 ^[64]在他的Ziggy星塵號人物， 大衛鮑伊和誇張了手腕中央的元素，再一次，這是拾起性手槍和其他一些低劣的行為。 ^[65]的醫生瘋狂建立在鮑伊的介紹概念，而移動音樂的方向，將成為確定了朋克。樂隊在倫敦的酒吧搖滾音樂現場剝離回到其基本知識，欲擒故縱，R＆B影響的岩石“N”卷。到1974年，現場的最高行為， 博士感覺良好 ，是為別人鋪平了道路，如在扼殺和公雞Sparrer將發揮作用，在朋克爆炸。在酒吧裡的搖滾樂隊，形成了當年的101'ers ，其主唱的名字將很快採取喬Strummer。 ^[66]

樂隊期待即將舉行的活動出現了遙遠的杜塞爾多夫 ，西德，其中“前朋克朋克”樂隊NEU！成立於1971年，建立在Krautrock傳統的群體，如能 。 ^[67]在日本，反體制Zunō Keisatsu（腦警察）混合車庫 psych和民俗。該組合定期檢查制度面臨的挑戰，他們的生活行為，包括舞台上至少有一次手淫。 ^[68]新一代澳大利亞車庫搖滾樂隊，靈感主要由臭皮匠和MC5，是未來更接近的聲音很快被稱為“朋克“：在布里斯班 ， 聖徒還回顧了生吃活健全的英國漂亮的事情 ，誰犯了一個臭名昭著的遊覽澳大利亞和新西蘭於1965年， ^[69] 電台鳥人 ，共同創辦了底特律外籍德尼茲康在1974年，是音樂會演奏的小，但在狂熱以下悉尼 。

[ 編輯 ] 詞源

從16年代末到18世紀， 朋克是一種常見的，粗糙的代名詞妓女 ;威廉莎士比亞用它與該意義溫莎的風流娘兒們 （1602）和測量的測量 （1623） ^[70]最終一詞來來形容“一個年輕的男騙子，黑幫老大，一個流氓或痞子”。 ^[71]由於腿部麥克尼爾解釋道，“上電視，如果你看了警察顯示， Kojak ， Baretta ，當警察終於抓到兇手的質量，他們會說，'你骯髒的朋克。“這是你的老師打電話給你，這意味著你是最低的。“ ^[72]第一個已知使用短語朋克搖滾出現在芝加哥論壇報 3月22日，1970年，由於埃德桑德斯 ，創始人之一的紐約無政府工惡作劇帶的Fugs 。桑德斯引述描述他作為獨唱專輯“朋克搖滾鄉下人多愁善感”。 ^[73]在1970年12月發行Creem ，萊斯特劉海，嘲諷主流搖滾樂手，具有諷刺意味的簡稱Iggy流行音樂為“朋克的走狗”。 ^[74]自殺的阿蘭維加學分這種用法與啟發他二人對條例草案的演出為“朋克質量”為未來數年。 ^[75]

帕蒂史密斯 ，在1976年執行

大衛馬什是第一個音樂評論家聘請長期朋克搖滾 ：在1971年5月發行Creem，他形容？和Mysterians ，一個最流行 ​​的20世紀60年代車庫搖滾行為，給人一種“具有里程碑意義的論述，朋克搖滾”。 ^[76]後來在1971年，在他fanzine 誰把Bomp ， 格雷格肖寫了“我選擇了所謂的“朋克搖滾”樂隊，十幾歲的白色堅硬的岩石的'64 - 66（ Standells ，Kingsmen， 影子騎士等）“。 ^[77] 萊尼凱用了“經典的車庫朋克，”中提到一首歌曲記錄在1966年的陰影騎士，在班輪注意到，文選專輯掘金 ，發布了1972年。 ^[78] 1972年6月，在fanzine Flash包含了“朋克十佳”1960冊。 ^[79]到那個十二月，這個詞是在流通的範圍內， 紐約人 的 埃倫威利斯 ，對比自己的品味與那些傢伙的閃存和評論家尼克Tosches寫道，“ 朋克搖滾已經成為青睞愛稱。” ^[80] 1973年2月，特里阿特金森的洛杉磯時報 ，回顧首張專輯由硬搖滾樂隊史密斯飛船 ，宣稱它“實現了所有的朋克搖滾樂隊爭取的，但最懷念。” ^[81]三個月後，比利奧特曼推出了短暫的朋克雜誌 。 ^[82]

在1974年5月， 洛杉磯時報評論家羅伯特Hilburn回顧了第二張專輯紐約娃娃， 太多太快 。 “我告訴雅紐約娃娃是動真格的”，他寫道，描述的專輯為“也許是最好的例子原材料，拇指你的鼻，在這世界，朋克搖滾，因為滾石 “ 在流放主街 '。“ ^[83]貝斯手傑夫延森波士頓的Real兒童報告的顯示，今年，“審閱者之一的免費娛樂雜誌的時間抓的行為，給了我們很大的檢討，稱我們是”朋克帶。“ ... [我們]的所有排序看著對方，說：“什麼是朋克？” ^[84]

到1975年， 朋克被用來描述作為不同的帕蒂史密斯集團 ，在灣城輥和布魯斯斯普林斯廷 。 ^[85]由於場景在紐約的CBGB俱樂部吸引了通知，這個名字是尋求對發展中國家的聲音。俱樂部老闆丘陵克里什塔爾稱為運動“街頭搖滾”;約翰霍姆斯特姆學分寶瓶座雜誌與使用朋克 “來形容發生了什麼事在CBGBs” ^[86]霍姆斯特姆，麥克尼爾和GED唐恩的雜誌朋克 ，其中首次 ​​亮相的結束1975年，是至關重要的編纂一詞。 ^{[87] “}這是很明顯，這個詞是變得非常受歡迎的”，霍姆斯特姆後來說。 “我們估計，我們會考慮其他人的名字前聲稱，我們要擺脫的廢話，帶它到岩石”N“卷，我們想的樂趣和活力回來了。” ^[85]

[ 編輯 ] 早期的歷史

[ 編輯 ] 北美

[ 編輯 ] 紐約市

	“空白的一代” 原國歌的朋克現場，進行現場的電視在1974年或1975年，與理查德地獄的主唱。的詩句，形容加里情人拉赫曼為不畏旋律，收益率的合唱，“設置為降序模式讓人聯想到佩吉李的“ 熱 “。 [88] 湯姆魏爾倫的名家吉他樂隊的風格會導致遠離什麼成了典型的朋克方法。 [89]
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起源紐約朋克搖滾樂壇可以追溯到這樣的來源，60年代後期垃圾文化和70年代早期地下岩層運動集中在美世藝術中心在格林威治村 ，那裡的紐約娃娃執行。 ^[90]早在1974年，一個新的場景開始發展圍繞CBGB俱樂部，也是在曼哈頓下城 。其核心是電視 ，評論家約翰沃克描述為“終極車庫樂隊的野心”。 ^[91]他們的影響範圍從地下絲絨的斷奏吉他工作的博士感覺良好的Wilko約翰遜 。 ^[92]樂隊的貝司手/歌手， 理查德地獄 ，創造了一個看起來與裁剪，衣衫襤褸的頭髮，扯下T卹和黑色皮夾克記為基礎的朋克搖滾的視覺風格。 ^[93]在1974年4月， 帕蒂史密斯 ，一位委員的默瑟藝術中心的人群和朋友的地獄，來到CBGB，第一次看到了樂隊表演。 ^[94]一位資深的獨立戲劇與表演詩歌，史密斯是開發智力，女權主義者採取岩石“N”卷。 6月5日，她錄製的單曲“ 嘿喬 “/” 小便廠 “，設有電視吉他手湯姆魏爾倫 ;發布了自己的Mer的記錄標籤，它預示著現場的自己動手 （DIY）職業道德和經常被引用作為首朋克搖滾的紀錄。 ^[95] 8月，史密斯和電視都gigging一起在紐約市中心的另一個俱樂部， 最大的堪薩斯城 。 ^[93]

門面的傳奇音樂俱樂部CBGB ，紐約

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 the Stooges to The Beatles and The Beach Boys to Herman's Hermits and 1960s girl groups , 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 CBGB on August 16, 1974. Another new act, Blondie , also debuted at the club that month. By the end of the year, the Ramones had performed seventy-four shows, each about seventeen minutes long. ^{[ 97 ]} "When I first saw the Ramones", critic Mary Harron later remembered, "I couldn't believe people were doing this. The dumb brattiness." ^{[ 98 ]} The Dictators, with a similar "playing dumb" concept, were recording their debut album. The Dictators Go Girl Crazy! came 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 ". ^{[ 99 ]}

That spring, Smith and Television shared a two-month-long weekend residency at CBGB that significantly raised the club's profile. ^{[ 100 ]} The Television sets included Richard Hell's "Blank Generation", which became the scene's emblematic anthem. ^{[ 101 ]} Soon after, Hell left Television and founded a band featuring a more stripped-down sound, The Heartbreakers , with former New York Dolls Johnny Thunders and Jerry Nolan . The pairing of Hell and Thunders, in one critical assessment, "inject[ed] a poetic intelligence into mindless self-destruction". ^{[ 33 ]} A July festival at CBGB featuring over thirty new groups brought the scene its first substantial media coverage. ^{[ 102 ]} 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 whole New York scene" if not quite for the punk rock sound itself—Hell's departure had left the band "significantly reduced in fringe aggression". ^{[ 91 ]}

	"Blitzkrieg Bop" The chorus of the Ramones ' first single "is a primer on the punk take on rock rhythm...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." [ 103 ]
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Other bands were becoming regulars at CBGB, such as Mink DeVille and Talking Heads , which moved down from Rhode Island. More closely associated with Max's Kansas 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 released in November 1975: Smith's debut, Horses , produced by John Cale for the major Arista label. ^{[ 104 ]} The inaugural issue of Punk appeared in December. ^{[ 105 ]} The new 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. ^{[ 106 ]} That winter, Pere Ubu came in from Cleveland and played at both spots. ^{[ 107 ]}

Early in 1976, Hell left The Heartbreakers; he soon formed a new group that would become known as The Voidoids , "one of the most harshly uncompromising bands" on the scene. ^{[ 108 ]} That April, the Ramones' debut album was released by Sire Records ; the first single was " Blitzkrieg Bop ", opening with the rally cry "Hey! Ho! Let's go!" According to a later description, "Like all cultural watersheds, Ramones was embraced by a discerning few and slagged off as a bad joke by the uncomprehending majority." ^{[ 109 ]} 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. ^{[ 110 ]} In August, Ork put out an EP recorded by Hell with his new band that included the first released version of "Blank Generation". ^{[ 111 ]}

The term punk initially referred to the scene in general, than the sound itself—the early New York punk bands represented a broad variety of influences. Among them, the Ramones, The Heartbreakers, Richard Hell and The Voidoids, and the Dead Boys were establishing a distinct musical style. Even where they diverged most clearly, in lyrical approach—the Ramones' apparent guilelessness at one extreme, Hell's conscious craft at the other—there was an abrasive attitude in common. Their shared attributes of minimalism and speed, however, had not yet come to define punk rock. ^{[ 112 ]}

[ edit ] Other US cities

	"Hot Wire My Heart" With what music historian Clinton Heylin described as the "most brutal guitar sound this side of The Stooges ", [ 113 ] Crime self-released the first single by a West Coast punk band, two songs (the B-side was "Baby, You're So Repulsive") in a style likened to "revved up, distorted Chuck Berry ". [ 114 ]
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In 1975, the Suicide Commandos formed in Minneapolis. They were one of the first US bands outside of New York to play in the Ramones-style harder-louder-faster mode that would define punk rock. ^{[ 115 ]} Detroit's Death self-released one of their 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 tastes and attitude appeared around the United States. The first West Coast punk scenes emerged in San Francisco, with the bands Crime and The Nuns , ^{[ 116 ]} and Seattle, where the Telepaths, Meyce, and The Tupperwares played a groundbreaking show on May 1. ^{[ 117 ]} Rock critic Richard Meltzer cofounded VOM (short for "vomit") in Los Angeles. In Washington, DC, raucous roots-rockers The Razz helped along a nascent punk scene featuring Overkill, the Slickee Boys , and The Look. Around the turn of the year, White Boy began giving notoriously crazed performances. ^{[ 118 ]} In Boston, the scene at the Rathskeller—affectionately known as the Rat—was also turning toward punk, though the defining sound retained a distinct garage rock orientation. Among the city's first new acts to be identified with punk rock was DMZ . ^{[ 119 ]} In Bloomington, Indiana, The Gizmos played in a jokey, raunchy, Dictators-inspired style later referred to as "frat punk". ^{[ 120 ]}

Like their garage rock predecessors, these local scenes were facilitated by enthusiastic impresarios who operated nightclubs or organized concerts in venues such as schools, garages, or warehouses, advertised via inexpensively printed flyers 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 autonomy. ^{[ 121 ]} As Joe Harvard, a participant in the Boston scene, describes, it was often a simple necessity—the absence of a local recording industry and well-distributed music magazines left little recourse but DIY. ^{[ 122 ]}

[ 編輯 ] 澳大利亞

	"(I'm) Stranded" Sounds magazine in Britain found " (I'm) Stranded " "so bloody incredible" it provided readers the Australian address from which they could mail order it. [ 123 ] Ed Kuepper 's "sheet-metal guitar sets the breakneck tempo", while lead singer Chris Bailey "howl[s] into the gale." [ 124 ] Its DIY sound was later described as "crud-encrusted", praise in the punk milieu. [ 125 ]
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At the same time, a similar music-based subculture was beginning to take shape in various parts of Australia. A scene was developing around Radio Birdman and its main performance venue, the Oxford Tavern (later the Oxford Funhouse), located in Sydney's Darlinghurst suburb. In December 1975, the group won the RAM (Rock Australia Magazine) /Levi's Punk Band Thriller competition. ^{[ 126 ]} By 1976, The Saints were hiring Brisbane local halls to use as venues, or playing in "Club 76", their shared house in the inner suburb of Petrie Terrace . The band soon discovered that musicians were exploring similar paths in other parts of the world. Ed Kuepper , coleader of The Saints, later recalled:

One thing I remember having had a really depressing effect on me was the first Ramones album. When I heard it [in 1976], I mean it was a great record ... but I hated it because I knew we'd been doing this sort of stuff for years. There was even a chord progression on that album that we used ... and I thought, "Fuck. We're going to be labeled as influenced by the Ramones", when nothing could have been further from the truth. ^{[ 127 ]}

On the other side of Australia, in Perth , germinal punk rock act the Cheap Nasties , featuring singer-guitarist Kim Salmon , formed in August. ^{[ 128 ]} In September 1976, The Saints became the first punk rock band outside the US to release a recording, the single " (I'm) Stranded ". As with Patti Smith's debut, the band self-financed, packaged, and distributed the single. ^{[ 129 ]} "(I'm) Stranded" had limited impact at home, but the British music press recognized it as a groundbreaking record. ^{[ 130 ]} At the insistence of their superiors in the UK, EMI Australia signed The Saints. Meanwhile, Radio Birdman came out with a self-financed EP, Burn My Eye , in October. ^{[ 131 ]} Trouser Press critic Ian McCaleb later described the record as the "archetype for the musical explosion that was about to occur". ^{[ 132 ]}

[ 編輯 ] 英國

	"Anarchy in the UK" With its "inflammatory, venemous lyrics [and] crude energy", the Sex Pistols ' debut single "established punk's modus operandi". [ 133 ] Producer Chris Thomas layered multiple tracks of Steve Jones 's guitar to create a "searing wall of sound", [ 134 ] while Johnny Rotten spewed the vocals "as if his teeth had been ground down to points." [ 135 ]
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After a brief period unofficially managing the New York Dolls, Englishman Malcolm McLaren returned to London in May 1975, inspired by the new scene he had witnessed at CBGB. The Kings Road clothing store he co-owned, recently renamed Sex , was building a reputation with its outrageous "anti-fashion". ^{[ 136 ]} Among those who frequented the shop were members of a band called The Strand, which McLaren had also been managing. In August, the group was seeking a new lead singer. Another Sex habitué, Johnny Rotten , auditioned for and won the job. Adopting a new name, the group played its first gig as the Sex Pistols on November 6, 1975, at St. Martin's School of Art ^{[ 137 ]} and soon attracted a small but ardent following. ^{[ 138 ]} In February 1976, the band received its first significant press coverage; guitarist Steve Jones declared that the Sex Pistols were not so much into music as they were "chaos". ^{[ 139 ]} The band often provoked its crowds into near-riots. Rotten announced to one audience, "Bet you don't hate us as much as we hate you!" ^{[ 140 ]} McLaren envisioned the Sex Pistols as central players in a new youth movement, "hard and tough". ^{[ 141 ]} As described by critic Jon Savage, the band members "embodied an attitude into which McLaren fed a new set of references: late-sixties radical politics, sexual fetish material, pop history,...youth sociology". ^{[ 142 ]}

Bernard Rhodes , a sometime associate of McLaren's and friend of the Sex Pistols', was similarly aiming to make stars of the band London SS . Early in 1976, London SS broke up before ever performing publicly, spinning off two new bands: The Damned and The Clash , which was joined by Joe Strummer , former lead singer of The 101'ers. ^{[ 143 ]} On June 4, 1976, the Sex Pistols played Manchester's Lesser Free Trade Hall in what came to be regarded as one of the most influential rock shows ever. Among the approximately forty audience members were the two locals who organized the gig—they had formed the Buzzcocks after seeing the Sex Pistols in February. Others in the small crowd went on to form Joy Division , The Fall , and—in the 1980s— The Smiths . ^{[ 144 ]}

In July, the Ramones crossed the Atlantic for two London shows that helped spark the nascent UK punk scene and affected its musical style—"instantly nearly every band speeded up". ^{[ 145 ]} On July 4, they played with the Flamin' Groovies and The Stranglers before a crowd of 2,000 at the Roundhouse . ^{[ 146 ]} That same night, The Clash debuted, opening for the Sex Pistols in Sheffield . On July 5, members of both bands attended a Ramones club gig. ^{[ 147 ]} The following night, The Damned played their first show, as a Pistols opening act in London. In critic 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 critique of a sort that reached back at least to ... Woody Guthrie in the 1940s". ^{[ 148 ]} The Damned built a reputation as "punk's party boys". ^{[ 149 ]} This London scene's first fanzine appeared a week later. Its title, Sniffin' Glue , derived from a Ramones song. Its subtitle affirmed the connection with what was happening in New York: "+ Other Rock 'n' Roll Habits for Punks!" ^{[ 150 ]}

Another Sex Pistols gig in Manchester on July 20, with a reorganized version of the Buzzcocks debuting in support, gave further impetus to the scene there. ^{[ 151 ]} In August, the self-described "First European Punk Rock Festival" was held in Mont de Marsan in the southwest of France. Eddie and the Hot Rods , a London pub rock group, headlined. The Sex Pistols, originally scheduled to play, were dropped by the organizers who said the band had gone "too far" in demanding top billing and certain amenities; The Clash backed out in solidarity. The only band from the new punk movement to appear was The Damned. ^{[ 152 ]}

Over the next several months, many new punk rock bands formed, often directly inspired by the Sex Pistols. ^{[ 153 ]} In London, women were near the center of the scene—among the initial wave of bands were the female-fronted Siouxsie and the Banshees and X-Ray Spex and the all-female The Slits . There were female bassists Gaye Advert in The Adverts and Shanne Bradley in The Nipple Erectors . Other groups included Subway Sect , Eater , The Subversives , the aptly named London , and Chelsea , which soon spun off Generation X . Farther afield, Sham 69 began practicing in the southeastern town of Hersham . In Durham , there was Penetration , with lead singer Pauline Murray . On September 20–21, the 100 Club Punk Festival in London featured the four primary British groups (London's big three and the Buzzcocks), as well as Paris's female-fronted Stinky Toys , arguably the first punk rock band from 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. ^{[ 154 ]} On the festival's second night, audience member Sid Vicious was arrested, charged with throwing a glass at The Damned that shattered and destroyed a girl's eye. Press coverage of the incident fueled punk's reputation as a social menace. ^{[ 155 ]}

The Sex Pistols ' " Anarchy in the UK " poster—a ripped and safety-pinned Union Flag . ^{[ 156 ]} Jamie Reid 's work had a major influence on punk style and contemporary graphic design in general. ^{[ 157 ]}

Some new bands, such as London's Alternative TV and Edinburgh's Rezillos , identified with the scene even as they pursued more experimental music. Others of a comparatively traditional rock 'n' roll bent were also swept up by the movement: The Vibrators , formed as a pub rock–style act in February 1976, soon adopted a punk look and sound. ^{[ 158 ]} A few even longer-active bands including 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 shared with their American counterparts and the calculated confrontationalism of the early Who, the British punks also reflected the influence of glam rock and related bands such as Slade , T.Rex , and Roxy Music . ^{[ 159 ]} One of the groups openly acknowledging that influence were The Undertones , from Derry in Northern Ireland. ^{[ 160 ]} 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, the romance-themed " New Rose ". ^{[ 161 ]} The Vibrators followed the next month with "We Vibrate" and, backing long-time rocker Chris Spedding , "Pogo Dancing". The latter was hardly a punk song by any stretch, but it was perhaps the first song about punk rock. On 26 November, the Sex Pistols' " Anarchy in the UK " came out—with its debut single the band succeeded in its goal of becoming a "national scandal". ^{[ 162 ]} Jamie Reid 's "anarchy flag" poster and his other design work for the Sex Pistols helped establish a distinctive punk visual aesthetic . ^{[ 157 ]} On December 1, an incident took place that sealed punk rock's notorious reputation: On Thames 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. ^{[ 163 ]} Two days later, the Sex Pistols, The Clash, The Damned, and The Heartbreakers set out on the Anarchy Tour, a series of gigs throughout the UK. Many of the shows were cancelled by venue owners in response to the media outrage following the Grundy confrontation. ^{[ 164 ]}

[ edit ] Second wave

By 1977, a second wave of the punk rock movement was breaking in the three countries 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 state of punk music during the era. ^{[ 165 ]} While punk rock remained largely an underground phenomenon in North America, Australia, and the new spots where it was emerging, in the UK it briefly became a major sensation. ^{[ 166 ]}

[ edit ] North America

	"Forming" As inchoate as its name suggests, The Germs ' " Forming " was the first LA punk record [ 167 ] and pointed directly toward the hardcore sound that would soon emerge. [ 168 ] The teenagers' performance has been described both as a signal example of punk incompetence [ 169 ] and as "bringing monotony to new heights". [ 170 ]
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The California punk scene was in full swing by early 1977. In Los Angeles, there were The Weirdos , The Zeros , The Germs , X , The Dickies , The Bags , and the relocated Tupperwares, now dubbed The Screamers . ^{[ 171 ]} San Francisco's second wave included The Avengers , Negative Trend , The Mutants , and The Sleepers. ^{[ 172 ]} The Dils , from Carlsbad , moved between the two major cities. ^{[ 173 ]} The Wipers formed in Portland, Oregon. In Seattle, there was The Lewd. ^{[ 174 ]} Often sharing gigs with the Seattle punks were bands from across the Canadian border. A major scene developed in Vancouver, spearheaded by the Furies and Victoria's all-female Dee Dee and the Dishrags. ^{[ 174 ]} The Skulls spun off into DOA and The Subhumans . The K-Tels (later known as the Young Canadians ) and Pointed Sticks were among the area's other leading punk acts. ^{[ 175 ]}

In eastern Canada, the Toronto protopunk band Dishes had laid the groundwork for another sizable scene, ^{[ 176 ]} and a September 1976 concert by the touring Ramones had catalyzed the movement. Early Ontario punk bands included The Diodes , The Viletones , The Battered Wives , The Demics , Forgotten Rebels , Teenage Head , The Poles, and The Ugly. Along with the Dishrags, Toronto's The Curse and B Girls were North America's first all-female punk acts. ^{[ 177 ]} In July 1977, the Viletones, Diodes, Curse, and Teenage Head headed down to New York City to play "Canada night" at CBGB. ^{[ 178 ]}

By mid-1977 in downtown New York, punk rock was already ceding its cutting-edge status to the anarchic sound of Teenage Jesus and the Jerks and Mars , spearheads of what became known as No Wave , ^{[ 179 ]} although several original punk bands continued to perform and new ones emerged on the scene. The Cramps , whose core members were from Sacramento by way of Akron, had debuted at CBGB in November 1976, opening for the Dead Boys. They were soon playing regularly at Max's Kansas City. ^{[ 180 ]} The Misfits formed in nearby New Jersey. Still developing what would become their signature B movie –inspired style, later dubbed horror punk , they made their first appearance at CBGB in April 1977. ^{[ 181 ]}

Leave Home , the Ramones' second album, had come out in January. ^{[ 182 ]} The Dead Boys' debut LP, Young, Loud and Snotty , was released at the end of August. ^{[ 183 ]} October saw two more debut albums from the scene: Richard Hell and The Voidoids' first full-length, Blank Generation , and the Heartbreakers' LAMF ^{[ 184 ]} One track on the latter exemplified both the scene's close-knit character and the popularity of heroin within it: " Chinese Rocks "—the title refers to a strong form of the drug—was written by Dee Dee Ramone and Hell, both users, as were the Heartbreakers' Thunders and Nolan. ^{[ 185 ]} (During the Heartbreakers' 1976 and 1977 tours of Britain, Thunders played a central role in popularizing heroin among the punk crowd there, as well.) ^{[ 186 ]} The Ramones' third album, Rocket to Russia , appeared in November 1977. ^{[ 187 ]}

The Ohio protopunk bands were joined by Cleveland's The Pagans , ^{[ 188 ]} Akron's Bizarros and Rubber City Rebels , and Kent's Human Switchboard . Bloomington, 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 Arizona. Atlanta had The Fans. In North Carolina, there was Chapel Hill's H-Bombs and Raleigh's Th' Cigaretz. ^{[ 189 ]} 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 America's first punk dance club. Tutu and the Pirates and Silver Abuse were among the city's first punk bands. ^{[ 190 ]} In Boston, the scene at the Rat was joined by the Nervous Eaters , Thrills, and Human Sexual Response . ^{[ 189 ] [ 191 ]} In Washington, DC, the Controls played their first gig in spring 1977, but the city's second wave really broke the following year with acts such as Urban Verbs, Half Japanese , D'Chumps, Rudements and Shirkers. ^{[ 192 ]} By early 1978, the DC jazz-fusion group Mind Power had transformed into Bad Brains , one of the first bands to be identified with hardcore punk . ^{[ 189 ] [ 193 ]}

[ 編輯 ] 英國

	"Oh Bondage Up Yours!" X-Ray Spex ' debut single, an antimaterialistic anthem considered "one of punk rock's defining moments." [ 194 ] As Lora Logic 's saxophone "serrate[s] right through the ubiquitous guitar-buzzsaw", [ 195 ] Poly Styrene sings "in a voice somewhere between that of a wailing baby and that of a banshee". [ 196 ]
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The Sex Pistols' live TV skirmish with Bill Grundy was the signal moment in British punk's transformation into a major media phenomenon, even as some stores refused to stock the records and radio airplay was hard to come by. ^{[ 197 ]} Press coverage of punk misbehavior grew intense: On January 4, 1977, the Evening News of London ran a front-page story on how the Sex Pistols "vomited and spat their way to an Amsterdam flight". ^{[ 198 ]} In February 1977, the first album by a British punk band appeared: Damned Damned Damned (by the Damned) reached number thirty-six on the UK chart. The EP Spiral Scratch , self-released by Manchester's Buzzcocks, was a benchmark for both the DIY ethic and regionalism in the country's punk movement. ^{[ 199 ]} The Clash's self-titled debut album came out two months later and rose to number twelve; the single " White Riot " entered the top forty. In May, the Sex Pistols achieved new heights of controversy (and number two on the singles chart) with " God Save the Queen ". The band had recently acquired a new bassist, Sid Vicious, who was seen as exemplifying the punk persona. ^{[ 200 ]}

Scores of new punk groups formed around the United Kingdom, as far from London as Belfast 's Stiff Little Fingers and Dunfermline , Scotland's The Skids . Though most survived only briefly, perhaps recording a small-label single or two, others set off new trends. Crass , from Essex , merged a vehement, straight-ahead punk rock style with a committed anarchist mission. Sham 69, London's Menace, and the Angelic Upstarts from South Shields in the Northeast combined a similarly stripped-down sound with populist lyrics, a style that became known as streetpunk . These expressly working-class bands contrasted with others in the second wave that presaged the post-punk phenomenon. Liverpool's first punk group, Big in Japan , moved in a glam, theatrical direction. ^{[ 201 ]} The band didn't survive long, but it spun off several well-known post-punk acts. ^{[ 202 ]} The songs of London's Wire were characterized by sophisticated lyrics, minimalist arrangements, and extreme brevity. ^{[ 203 ]} 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." ^{[ 204 ]}

The stark cover design of Wire 's debut LP, Pink Flag , symbolized the evolution of punk style. ^{[ 205 ]}

Alongside thirteen original songs that would define classic punk rock, The Clash's debut had included a cover of the recent Jamaican reggae hit " Police and Thieves ". ^{[ 206 ]} Other first wave bands such as The Slits and new entrants to the scene like The Ruts and The Police interacted with the reggae and ska subcultures, incorporating their rhythms and production styles. The punk rock phenomenon helped spark a full-fledged ska revival movement known as 2 Tone , centered around bands such as The Specials , The Beat , Madness , and The Selecter . ^{[ 207 ]}

June 1977 saw the release of another charting punk album: The Vibrators' Pure Mania . 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 from Australia, the band was now considered insufficiently "cool" to qualify as punk by much of the British media, though they had been playing a similar brand of music for years. ^{[ 208 ]} 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 by Teddy boys , football yobbos , and others. A Ted-aligned band recorded "The Punk Bashing Boogie". ^{[ 209 ]}

In September, Generation X and The Clash reached the top forty with, respectively, "Your Generation" and " Complete Control ". X-Ray Spex' " Oh Bondage Up Yours! " didn't chart, but it became a requisite item for punk fans. ^{[ 210 ]} In October, the Sex Pistols hit number eight with " Holidays in the Sun ", followed by the release of their first and only "official" album, Never Mind the Bollocks, Here's the Sex Pistols . Inspiring yet another round of controversy, it topped the British charts. In December, one of the first books about punk rock was published: The Boy Looked at Johnny , by Julie Burchill and Tony Parsons . ^{[ 211 ]} 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.

[ 編輯 ] 澳大利亞

In February 1977, EMI released The Saints' debut album, (I'm) Stranded , which the band recorded in two days. ^{[ 212 ]} The Saints had relocated to Sydney; in April, they and Radio Birdman united for a major gig at Paddington Town Hall . ^{[ 213 ]} Last Words had also formed in the city. The following month, The Saints relocated again, to Great Britain. In June, Radio Birdman released the album Radios Appear on its own Trafalgar label. ^{[ 131 ]}

The Victims became a short-lived leader of the Perth scene, self-releasing the classic " Television Addict ". They were joined by The Scientists , Kim Salmon 's successor band to the Cheap Nasties. Among the other bands constituting Australia's second wave were Johnny Dole & The Scabs , the Hellcats, and Psychosurgeons (later known as the Lipstick Killers) in Sydney; ^{[ 214 ]} The Leftovers , The Survivors , and Razar in Brisbane; ^{[ 215 ]} and La Femme, The Negatives, and The Babeez (later known as The News) in Melbourne . ^{[ 216 ]} Melbourne's art rock –influenced Boys Next Door featured singer Nick Cave , who would become one of the world's best-known post-punk artists. ^{[ 217 ]}

[ edit ] Rest of the world

	"Panik" With its "near motorik beat ... gruff guitar riffs, shouted lyrics, and the occasionally swooping synth line", Métal Urbain 's debut single is one of the earliest examples anywhere of a style that would become identified with post-punk. [ 218 ]
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Meanwhile, punk rock scenes were emerging around the globe. In France, les punks , a Parisian subculture of Lou Reed fans, had already been around for years. ^{[ 219 ]} Following the lead of Stinky Toys , Métal Urbain played its first concert in December 1976. ^{[ 220 ]} In August 1977, Asphalt Jungle played at the second Mont de Marsan punk festival. ^{[ 221 ]} Stinky Toys' debut single, "Boozy Creed", came out in September. It was perhaps the first non-English-language punk rock record, though as music historian George Gimarc notes, the punk enunciation made that distinction somewhat moot. ^{[ 222 ]} The following month, Métal Urbain's first 45, "Panik", appeared. ^{[ 223 ]} After the release of their minimalist punk debut, "Rien à dire", Marie et les Garçons became involved in New York's mutant disco scene. ^{[ 224 ]} Asphalt Jungle's "Deconnection", Gasoline's "Killer Man", and Factory's "Flesh" also came out before the end of the year, and other French punk acts such as Oberkampf and Starshooter soon formed. ^{[ 225 ]}

Nineteen seventy-seven also saw the debut album from Hamburg's Big Balls and the Great White Idiot , arguably West Germany's first punk band. ^{[ 226 ]} Other early German punk acts included the Fred Banana Combo and Pack. Bands primarily inspired by British punk sparked what became known as the Neue Deutsche Welle (NDW) movement. Vanguard NDW acts such as the Nina Hagen Band and SYPH featured strident vocals and an emphasis on provocation. ^{[ 227 ]} Before turning in a mainstream direction in the 1980s, NDW attracted a politically conscious and diverse audience, including both participants of the left-wing alternative scene and neo-Nazi skinheads . These opposing factions were mutually attracted by a view of punk rock as "politically as well as musically...'against the system'." ^{[ 227 ]}

Briard jump-started Finnish punk with its 1977 single "I Really Hate Ya"/"I Want Ya Back"; ^{[ 228 ]} other early Finnish punk acts included Eppu Normaali and singer Pelle Miljoona . In Yugoslavia, punk rock acts emerged in Croatia ( Paraf ), Slovenia ( Pankrti ), and Serbia ( Pekinška patka ). In Japan, a punk movement developed around bands playing in an art/noise style such as Friction , and "psych punk" acts like Gaseneta and Kadotani Michio. ^{[ 229 ]} In New Zealand, Auckland's Scavengers and Suburban Reptiles were followed by The Enemy of Dunedin. ^{[ 189 ]} In Brazil, punk first came to prominence in Brasília, the capital, with the bands Aborto Elétrico and Dado eo Reino Animal. ^{[ 230 ]} Punk rock scenes also grew in other countries such as Belgium ( The Kids , Chainsaw ), ^{[ 231 ]} the Netherlands (The Suzannes, The Ex ), ^{[ 232 ]} Spain (La Banda Trapera Del Río, Kaka De Luxe), ^{[ 233 ]} Sweden ( Ebba Grön , KSMB ), ^{[ 234 ]} and Switzerland (Nasal Boys, Kleenex ). ^{[ 235 ]}

[ edit ] Schism and diversification

Flipper , performing in 1984

By 1979, the hardcore punk movement was emerging in Southern California . A rivalry developed between adherents of the new sound and the older punk rock crowd. Hardcore, appealing to a younger, more suburban audience, was perceived by some as anti-intellectual, overly violent, and musically limited. In Los Angeles, the opposing factions were often described as "Hollywood punks" and "beach punks", referring to Hollywood's central position in the original LA punk rock scene and to hardcore's popularity in the shoreline communities of South Bay and Orange County . ^{[ 236 ]}

As hardcore became the dominant punk rock style, many bands of the older California punk rock movement split up, although X went on to mainstream success and The Go-Go's , part of the Hollywood punk scene when they formed in 1978, adopted a pop sound and became major stars. ^{[ 237 ]} Across North America, many other first and second wave punk bands also dissolved, while younger musicians inspired by the movement explored new variations on punk. Some early punk bands transformed into hardcore acts. A few, most notably the Ramones, Richard Hell and The Voidoids, and Johnny Thunders and The Heartbreakers, continued to pursue the style they had helped create. Crossing the lines between "classic" punk, post-punk , and hardcore, San Francisco's Flipper was founded in 1979 by former members of Negative Trend and The Sleepers. ^{[ 238 ]} They became "the reigning kings of American underground rock, for a few years". ^{[ 239 ]}

Radio Birdman broke up in June 1978 while touring the UK, ^{[ 131 ]} where the early unity between bohemian , middle-class punks (many with art school backgrounds) and working-class punks had disintegrated. ^{[ 240 ]} In contrast to North America, more of the bands from the original British punk movement remained active, sustaining extended careers even as their styles evolved and diverged. Meanwhile, the Oi! and anarcho-punk movements were emerging. Musically in the same aggressive vein as American hardcore, they addressed different constituencies with overlapping but distinct anti-establishment messages. As described by Dave Laing, "The model for self-proclaimed punk after 1978 derived from the Ramones via the eight-to-the-bar rhythms most characteristic of The Vibrators and Clash. ... It became essential to sound one particular way to be recognized as a 'punk band' now." ^{[ 241 ]} In February 1979, former Sex Pistols bassist Sid Vicious died of a heroin overdose in New York. If the Sex Pistols' breakup the previous year had marked the end of the original UK punk scene and its promise of cultural transformation, for many the death of Vicious signified that it had been doomed from the start. ^{[ 242 ]}

	"London Calling" The title track of The Clash 's 1979 double album was the band's biggest UK hit on first release. [ 243 ] The atmospheric production gives it a "grandeur rarely heard on punk records." [ 244 ] Joe Strummer wanted it mixed to "sound like a foggy morning on the River Thames." [ 245 ] The guitar chords on the second and fourth beats in the verse nod toward reggae . [ 244 ]
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By the turn of the decade, the punk rock movement had split deeply along cultural and musical lines, leaving a variety of derivative scenes and forms. On one side were New Wave and post-punk artists; some adopted more accessible musical styles and gained broad popularity, while some turned in more experimental, less commercial directions. On the other side, hardcore punk, Oi!, and anarcho-punk bands became closely linked with underground cultures and spun off an array of subgenres . ^{[ 246 ]} Somewhere in between, pop punk groups created blends like that of the ideal record, as defined by Mekons cofounder Kevin Lycett: "a cross between Abba and the Sex Pistols". ^{[ 247 ]} A range of other styles emerged, many of them fusions with long-established genres. The Clash album London Calling , released in December 1979, exemplified the breadth of classic punk's legacy. Combining punk rock with reggae, ska, R&B, and rockabilly, it went on to be acclaimed as one of the best rock records ever. ^{[ 248 ]} At the same time, as observed by Flipper singer Bruce Loose, the relatively restrictive hardcore scenes diminished the variety of music that could once be heard at many punk gigs. ^{[ 165 ]} If early punk, like most rock scenes, was ultimately male-oriented, the hardcore and Oi! scenes were significantly more so, marked in part by the slam dancing and moshing with which they became identified. ^{[ 249 ]}

[ edit ] New Wave

In 1976—first in London, then in the United States—"New Wave" was introduced as a complementary label for the formative scenes and groups also known as "punk"; the two terms were essentially interchangeable. ^{[ 250 ]} NME journalist Roy Carr is credited with proposing the term's use (adopted from the cinematic French New Wave of the 1960s) in this context. ^{[ 251 ]} Over time, "New Wave" acquired a distinct meaning: Bands such as Blondie and Talking Heads from the CBGB scene; The Cars , who emerged from the Rat in Boston; The Go-Go's in Los Angeles; and The Police in London that were broadening their instrumental palette, incorporating dance-oriented rhythms, and working with more polished production were specifically designated "New Wave" and no longer called "punk". Dave Laing suggests that some punk-identified British acts pursued the New Wave label in order to avoid radio censorship and make themselves more palatable to concert bookers. ^{[ 252 ]}

Bringing elements of punk rock music and fashion into more pop-oriented, less "dangerous" styles, New Wave artists became very popular on both sides of the Atlantic. ^{[ 253 ]} New Wave became a catch-all term, ^{[ 254 ]} encompassing disparate styles such as 2 Tone ska, the mod revival inspired by The Jam , the sophisticated pop-rock of Elvis Costello and XTC , the New Romantic phenomenon typified by Ultravox , synthpop groups like Tubeway Army (which had started out as a straight-ahead punk band) and Human League , and the sui generis subversions of Devo, who had gone "beyond punk before punk even properly existed". ^{[ 255 ]} New Wave became a pop culture 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 derided at the time as being silly and disposable. ^{[ 256 ]}

[ edit ] Post-punk

	"Totally Wired" The Fall 's 1980 ode to amphetamines . [ 257 ] With its "taut, twitchy, dissonant music and Mark E. Smith tunelessly screaming", writes Toby Creswell , it "mostly resembles the Legendary Stardust Cowboy 's ' Paralysed ' for its live feel and sense of abandon...like a New Wave record played badly rather than a punk record played well." [ 258 ]
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During 1976–77, in the midst of the original UK punk movement, bands emerged such as Manchester's Joy Division , The Fall , and Magazine , Leeds' Gang of Four , and London's The Raincoats that became central post-punk figures. Some bands classified as post-punk, such as Throbbing Gristle and Cabaret Voltaire , had been active well before the punk scene coalesced; ^{[ 259 ]} others, such as The Slits and Siouxsie and the Banshees , transitioned from punk rock into post-punk. A few months after the Sex Pistols' breakup, John Lydon (no longer "Rotten") cofounded Public Image Ltd . Lora Logic , formerly of X-Ray Spex, founded Essential Logic . Killing Joke formed in 1979. These bands were often musically experimental, like certain New Wave acts; defining them as "post-punk" was a sound that tended to be less pop and more dark and abrasive—sometimes verging on the atonal , as 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 and Roxy Music to Krautrock and, once again, the Velvet Underground. ^{[ 11 ]}

Siouxsie Sioux , lead singer of Siouxsie and the Banshees , performing in 1980

Post-punk brought together a new fraternity of musicians, journalists, managers, and entrepreneurs; the latter, notably Geoff Travis of Rough Trade and Tony Wilson of Factory , helped to develop the production and distribution infrastructure of the indie music scene that blossomed in the mid-1980s. ^{[ 260 ]} Smoothing the edges 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 mainstream US audience. Bauhaus was one of the formative gothic rock bands. Others, like Gang of Four, The Raincoats and Throbbing Gristle, who had little more than cult followings at the time, are seen in retrospect as significant influences on modern popular culture. ^{[ 261 ]}

A number of US artists were retrospectively defined as post-punk; Television's debut album Marquee Moon , released in 1977, is frequently cited as a seminal album in the field. ^{[ 262 ]} The No Wave movement that developed in New York in the late 1970s, with artists such as Lydia Lunch and James Chance , is often treated as the phenomenon's US parallel. ^{[ 263 ]} The later work of Ohio protopunk pioneers Pere Ubu is also commonly described as post-punk. ^{[ 264 ]} One of the most influential American post-punk bands was Boston's Mission of Burma , who brought abrupt rhythmic shifts derived from hardcore into a highly experimental musical context. ^{[ 265 ]} In 1980, Australia's Boys Next Door moved to London and changed their name to The Birthday Party , which evolved into Nick Cave and the Bad Seeds . Led by the Primitive Calculators , Melbourne's Little Band scene would further explore the possibilities of post-punk. ^{[ 266 ]} Later alternative rock musicians found diverse inspiration among these post-punk predecessors, as they did among their New Wave contemporaries. ^{[ 267 ]}

[ edit ] Hardcore

A distinctive style of punk, characterized by superfast, aggressive beats, screaming vocals , and often politically aware lyrics, began to emerge in 1978 among bands scattered around the United States and Canada. The first major scene of what came to be known as hardcore punk developed in Southern California in 1978–79, ^{[ 268 ]} initially around such punk bands as The Germs and Fear . ^{[ 269 ]} The movement soon spread around North America and internationally. ^{[ 270 ] [ 271 ] [ 272 ]} According to author Steven Blush, "Hardcore comes from the bleak suburbs of America. Parents moved their kids out of the cities to these horrible suburbs to save them from the 'reality' of the cities and what they ended up with was this new breed of monster". ^{[ 17 ]}

	"Pay to Cum" Bad Brains ' debut single, " Pay to Cum " (1980), typifying the band's "high-speed playing, rapid-fire lyrics, dramatic pauses, and performance intensity," [ 273 ] was pivotal in hardcore's emergence as the American punk standard. [ 274 ]
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Among the earliest hardcore bands, regarded as having made the first recordings in the style, were Southern California's Middle Class and Black Flag . ^{[ 271 ] [ 272 ]} Bad Brains —all of whom were black, a rarity in punk of any era—launched the DC scene . ^{[ 270 ]} Austin, Texas 's Big Boys , San Francisco's Dead Kennedys , and Vancouver 's DOA were among the other initial hardcore groups. They were soon joined by bands such as the Minutemen , Descendents , Circle Jerks , Adolescents , and TSOL in Southern California; DC's Teen Idles , Minor Threat , and State of Alert ; and Austin's MDC and The Dicks . By 1981, hardcore was the dominant punk rock style not only in California, but much of the rest of North America as well. ^{[ 275 ]} A New York hardcore scene grew, including the relocated Bad Brains, New Jersey's Misfits and Adrenalin OD , and local acts such as the Nihilistics, The Mob , Reagan Youth , and Agnostic Front . Beastie Boys , who would become famous as a hip-hop group, debuted that year as a hardcore band. They were followed by The Cro-Mags , Murphy's Law , and Leeway . ^{[ 276 ]} By 1983, St. Paul 's Hüsker Dü , Willful Neglect and Chicago's Naked Raygun were taking the hardcore sound in experimental and ultimately more melodic directions. Hardcore would constitute the American punk rock standard throughout the decade. ^{[ 277 ]}

The lyrical content of hardcore songs is often critical of commercial culture and middle-class values, as in Dead Kennedys' celebrated " Holiday in Cambodia " (1980). ^{[ 272 ]} 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 peers, and built a movement based on positivity and abstinence from cigarettes, alcohol, drugs, and casual sex. ^{[ 278 ]} In the early 1980s, bands from the American southwest and California such as JFA , Agent Orange , and The Faction helped create a rhythmically distinctive style of hardcore known as skate punk . Skate punk innovators also pointed in other directions: Big Boys helped establish funkcore, while Venice, California 's Suicidal Tendencies had a formative effect on the heavy metal –influenced crossover thrash style. Toward the end of the decade, crossover thrash spawned the metalcore fusion style and the superfast thrashcore subgenre developed in multiple locations. ^{[ 279 ]}

[ edit ] Oi!

	"Punks Not Dead" The title track of The Exploited 's debut, Punks Not Dead , the top independent UK album of 1981. [ 280 ] Defying punk's disappearance from the British mainstream, the song exemplifies the band's sound and that of Oi! groups in general: "harsher, darker, and cruder than their '77 forefathers." [ 281 ]
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Strength Thru Oi! , with its notorious image of British Movement activist and felon Nicky Crane ^{[ 282 ]}

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 Exploited , and The 4-Skins sought to realign punk rock with a working class, street-level following. ^{[ 283 ]} For that purpose, they believed, the music needed to stay "accessible and unpretentious", in the words of music historian Simon Reynolds . ^{[ 284 ]} Their style was originally called "real punk" or streetpunk ; Sounds journalist Garry Bushell is credited with labelling the genre Oi! in 1980. The name is partly derived from the Cockney Rejects' habit of shouting "Oi! Oi! Oi!" before each song, instead of the time-honored "1,2,3,4!" ^{[ 285 ]} Oi! bands' lyrics sought to reflect the harsh realities of living in Margaret Thatcher 's Britain in the late 1970s and early 1980s. ^{[ 286 ]} A subgroup of Oi! bands dubbed " punk pathetique "—including Splodgenessabounds , Peter and the Test Tube Babies , and Toy Dolls —had a more humorous and absurdist bent.

The Oi! movement was fueled by a sense that many participants in the early punk rock scene were, in the words of The Business guitarist Steve Kent, "trendy university people using long words, trying to be artistic ... and losing touch". ^{[ 287 ]} According to Bushell, "Punk was meant to be of the voice of the dole queue, and in reality most of them were not. But Oi was the reality of the punk mythology. In the places where [these bands] came from, it was harder and more aggressive and it produced just as much quality music." ^{[ 288 ]} Lester Bangs described Oi! as "politicized football chants for unemployed louts". ^{[ 289 ]} One song in particular, The Exploited's "Punks Not Dead", spoke to an international constituency. It was adopted as an anthem by the groups of disaffected Mexican urban youth known in the 1980s as bandas ; one banda named itself PND, after the song's initials. ^{[ 290 ]}

Although most Oi! bands in the initial wave were apolitical or left wing , many of them began to attract a white power skinhead following. Racist skinheads sometimes disrupted Oi! concerts by shouting fascist slogans and starting fights, but some Oi! bands were reluctant to endorse criticism of their fans from what they perceived as the "middle-class establishment". ^{[ 291 ]} In the popular imagination, the movement thus became linked to the far right . ^{[ 292 ]} Strength Thru Oi! , an album compiled by Bushell and released in May 1981, stirred controversy, especially when it was revealed that the belligerent figure on the cover was a neo-Nazi jailed for racist violence (Bushell claimed ignorance). ^{[ 282 ]} On July 3, a concert at Hamborough Tavern in Southall featuring The Business, The 4-Skins, and The Last Resort was firebombed by local Asian youths who believed that the event was a neo-Nazi gathering. ^{[ 293 ]} Following the Southall riot, press coverage increasingly associated Oi! with the extreme right, and the movement soon began to lose momentum. ^{[ 286 ]}

[ edit ] Anarcho-punk

Crass were the originators of anarcho-punk. ^{[ 294 ]} Their all-black militaristic dress became a staple of the genre.

Anarcho-punk developed alongside the Oi! and American hardcore movements. With a primitive, stripped-down musical style and ranting, shouted vocals, British bands such as Crass —the scene's "moral leaders"— Subhumans , Flux of Pink Indians , Conflict , Poison Girls , and The Apostles attempted to transform the punk rock scene into a full-blown anarchist movement. Revolution and military action were primary lyrical topics. ^{[ 295 ]} As with straight edge, anarcho-punk is based on a set of principles, including prohibitions on wearing leather and the promotion of a vegetarian or vegan diet. ^{[ 294 ]}

The movement spun off several subgenres of a similar political bent. Discharge , founded back in 1977, established D-beat in the early 1980s. Other groups in the movement, led by Amebix and Antisect , developed the extreme style known as crust punk . Several of these bands rooted in anarcho-punk such as The Varukers , Discharge, and Amebix, along with former Oi! groups such as The Exploited and bands from 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 Napalm Death , Carcass , and Extreme Noise Terror that in the mid-1980s defined grindcore , incorporating extremely fast tempos and death metal –style guitarwork. ^{[ 296 ]} Led by Dead Kennedys, a US anarcho-punk scene developed around such bands as Austin's MDC and Southern California's Another Destructive System. ^{[ 297 ]}

[ edit ] Pop punk

With their love of the Beach Boys and late 1960s bubblegum pop , the Ramones paved the way to what became known as pop punk. ^{[ 298 ]} In the late 1970s, UK bands such as Buzzcocks and The Undertones combined pop -style tunes and lyrical themes with punk's speed and chaotic edge. ^{[ 299 ]} In the early 1980s, some of the leading bands in Southern California's hardcore punk rock scene emphasized a more melodic approach than was typical of their peers. According to music journalist Ben Myers , Bad Religion "layered their pissed off, politicized sound with the smoothest of harmonies"; Descendents "wrote almost surfy, Beach Boys–inspired songs about girls and food and being young(ish)". ^{[ 300 ]} Epitaph Records , founded by Brett Gurewitz of Bad Religion, was the base for many future pop punk bands, including NOFX , with their third wave ska –influenced skate punk rhythms. Bands 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 such as The Vandals and Guttermouth developed a style blending pop melodies with humorous and offensive lyrics. The mainstream pop punk of latter-day bands such as Blink-182 is criticized by many punk rock devotees; in critic Christine Di Bella's words, "It's punk taken to its most accessible point, a point where it barely reflects its lineage at all, except in the three-chord song structures." ^{[ 301 ]}

[ edit ] Other fusions and directions

From 1977 on, punk rock crossed lines with many other popular music genres. Los Angeles punk rock bands laid the groundwork for a wide variety of styles: The Flesh Eaters with deathrock ; The Plugz with Chicano punk ; and Gun Club with punk blues . The Meteors , from South London , and The Cramps , who moved from New York to Los Angeles in 1980, were innovators in the psychobilly fusion style. ^{[ 302 ]} Milwaukee's Violent Femmes jumpstarted the American folk punk scene, while The Pogues did the same on the other side of the Atlantic, influencing many Celtic punk bands. ^{[ 303 ]} The Mekons, from Leeds , combined their punk rock ethos with country music, greatly influencing the later alternative country movement. In the United States, varieties of cowpunk played by bands such as Nashville 's Jason & the Scorchers , Arizona's Meat Puppets , and Southern California's Social Distortion had a similar effect.

Other bands pointed punk rock toward future rock styles or its own foundations. New York's Suicide , LA's The Screamers and Nervous Gender , Australia's JAB , and Germany's DAF were pioneers of synthpunk . The Ex , from the Netherlands, were in the art punk vanguard. ^{[ 304 ]} Chicago's Big Black was a major influence on noise rock , math rock , and industrial rock . Garage punk bands from all over—such as Medway 's Thee Mighty Caesars , Chicago's Dwarves , and Adelaide 's Exploding White Mice —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". ^{[ 305 ]}

[ edit ] Legacy and later developments

[ edit ] Alternative rock

The underground punk rock movement inspired countless bands that either evolved from a punk rock sound or brought its outsider spirit to very different kinds of music. The original punk explosion also had a long-term effect on the music industry, spurring the growth of the independent sector. ^{[ 306 ]} During the early 1980s, British bands like New Order and The Cure that straddled the lines of post-punk and New Wave developed both new musical styles and a distinctive industrial niche. Though commercially successful over an extended period, they maintained an underground-style, subcultural identity. ^{[ 307 ]} In the United States, bands such as Hüsker Dü and their Minneapolis protégés The Replacements bridged the gap between punk rock genres like hardcore and the more melodic, explorative realm of what was then called " college rock ". ^{[ 308 ]}

Sonic Youth 's Kim Gordon in 1991, walking on her bass guitar

A 1985 Rolling Stone feature on the Minneapolis scene and innovative California hardcore acts such as Black Flag and Minutemen declared, "Primal punk is passé. The best of the American punk rockers have moved on. They have learned how to play their instruments. They have discovered melody, guitar solos and lyrics that are more than shouted political slogans. Some of them have even discovered the Grateful Dead ." ^{[ 309 ]} 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 outside of the musical mainstream. ^{[ 310 ]}

As American alternative bands like Sonic Youth , which had grown out of the No Wave scene, and Boston's Pixies started to gain larger audiences, major labels sought to capitalize on the underground market that had been sustained by hardcore punk for years. ^{[ 311 ]} In 1991, Nirvana emerged from Washington State's grunge scene, achieving huge commercial success with its second album, Nevermind . The band's members cited punk rock as a key influence on their style. ^{[ 312 ]} "Punk is musical freedom", wrote singer Kurt Cobain . "It's saying, doing, and playing what you want." ^{[ 313 ]} The widespread popularity of Nirvana and other punk-influenced bands such as Pearl Jam and Red Hot Chili Peppers fueled the alternative rock boom of the early and mid-1990s. ^{[ 310 ]}

[ edit ] Emo

Jimmy Eat World , performing in 2008

In its original, mid-1980s incarnation, emo was a less musically restrictive style of punk developed by participants in the Washington, DC area hardcore scene. It was originally referred to as "emocore", an abbreviation of "emotive hardcore". ^{[ 314 ]} Notable early emo bands included Rites of Spring , Embrace , The Hated , and One Last Wish . The term derived from the tendency of some of these bands' members to become strongly emotional during performances. Fugazi , formed out of the dissolution of Embrace, inspired a second, much broader based wave of emo bands beginning in the mid-1990s. Groups like San Diego's Antioch Arrow generated new, more intense subgenres like screamo , while others developed a more melodic style 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 attention.

[ edit ] Queercore and riot grrrl

Carrie Brownstein , performing with Sleater-Kinney in 2005

In the 1990s, the queercore movement developed around a number of punk bands with gay, lesbian, or bisexual members such as God Is My Co-Pilot , Pansy Division , Team Dresch , and Sister George . Inspired by openly gay punk musicians of an earlier generation such as Jayne County , Phranc , Darby Crash and Randy Turner , and bands like Nervous Gender , The Screamers , and Coil , queercore embraces a variety of punk and other alternative music styles. Queercore lyrics often treat the themes of prejudice, sexual identity , gender identity , and individual rights. The movement has continued into the 21st century, supported by festivals such as Queeruption . ^{[ 315 ]}

In 1991, a concert of female-led bands at the International Pop Underground Convention in Olympia, Washington , heralded the emerging riot grrrl phenomenon. Billed as "Love Rock Revolution Girl Style Now", the concert's lineup included Bikini Kill , Bratmobile , Heavens to Betsy , L7 , and Mecca Normal . ^{[ 316 ]} The riot grrrl movement foregrounded feminist concerns and progressive politics in general; the DIY ethic and fanzines were also central elements of the scene. ^{[ 317 ]} Singer-guitarists Corin Tucker of Heavens to Betsy and Carrie Brownstein of Excuse 17 , bands 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 Hanna , the iconic figure of riot grrrl, moved on to form the art punk group Le Tigre in 1998. ^{[ 318 ]}

[ edit ] Revival

	"Longview" The Green Day single that led the way in pop punk's rise to mainstream success. [ 319 ] Playing with the quiet-loud dynamic associated with grunge, [ 320 ] " Longview " features a conversational-sounding vocal from Billie Joe Armstrong in the verse and a lounge jazz –style bass line "wired to detonate." [ 321 ]
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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". Marketers capitalized on the style and hipness of punk rock to such an extent that a 1993 ad campaign for an automobile, the Subaru Impreza , claimed that the car was "like punk rock". ^{[ 322 ]} Along with Nirvana, many of the leading alternative rock artists 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. ^{[ 323 ]}

In 1993, California's Green Day and Bad Religion were both signed to major labels. The next year, Green Day put out Dookie , which became a huge hit, selling nine million albums in the United States in just over two years. ^{[ 324 ]} Bad Religion's Stranger Than Fiction was certified gold . ^{[ 325 ]} Other California punk bands on the independent label Epitaph , run by Bad Religion guitarist Brett Gurewitz , also began achieving mainstream popularity. In 1994, Epitaph released Let's Go by Rancid , Punk in Drublic by NOFX , and Smash by The Offspring , each eventually certified gold or better. That June, Green Day's " Longview " reached number one on Billboard ' s Modern Rock Tracks chart and became a top forty airplay hit, arguably the first ever American punk song to do so; just one month later, The Offspring's " Come Out and Play " followed suit. MTV and radio stations such as Los Angeles' KROQ-FM played a major role in these bands' crossover success, though NOFX refused to let MTV air its videos. ^{[ 326 ]} Smash went on to sell over twelve million copies worldwide, becoming the best-selling independent-label album of all time. ^{[ 327 ]}

Following the lead of Boston's Mighty Mighty Bosstones and two California bands, Berkeley 's Operation Ivy and Long Beach 's Sublime , ska punk and ska-core 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 Jamaican roots—"ska at 78 rpm ". ^{[ 328 ]} Ska punk bands in the third wave of ska created a true musical fusion between the genres. ...And Out Come the Wolves , the 1995 album by Rancid—which had evolved out of Operation Ivy—became the first record in this ska revival to be certified gold; ^{[ 329 ]} Sublime's self-titled 1996 album was certified platinum early in 1997. ^{[ 324 ]}

In Australia, two popular groups, skatecore band Frenzal Rhomb and pop punk act Bodyjar , also established followings in Japan. ^{[ 330 ]}

Green Day and Dookie' s enormous sales paved the way for a host of bankable North American pop punk bands in the following decade. ^{[ 331 ]} With punk rock's renewed visibility came concerns among some in the punk community that the music was being co-opted by the mainstream. ^{[ 326 ]} They argued that by signing to major labels and appearing on MTV, punk bands like Green Day were buying into a system that punk was created to challenge. ^{[ 332 ]} Such controversies have been part of the punk culture since 1977, when The Clash was widely accused of "selling out" for signing with CBS Records . ^{[ 333 ]} The Vans Warped Tour and the mall chain store Hot Topic brought punk even further into the US mainstream. ^{[ 334 ]}

[ edit ] In the mainstream

	"All the Small Things" The first US punk-identified single to reach the top ten, built on a "schoolyard-chant verse and na-na-na chorus". [ 335 ] " All the Small Things " exemplifies Blink-182 's "formulaic hits", in Marc Spitz 's description: "adenoidal verse, minimally pulsing bass, explosive three-chord guitar riffs tempered by sweet harmony". [ 336 ]
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By early 1998, the punk revival had commercially stalled, ^{[ 337 ]} 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 million times—illegally. ^{[ 338 ]} The following year, Enema of the State , the first major-label release by pop punk band Blink-182 , reached the top ten and sold four million copies in under twelve months. ^{[ 324 ]} In January 2000, the album's second single, " All the Small Things ", hit the sixth spot on the Billboard Hot 100 . While they were viewed as Green Day "acolytes", ^{[ 336 ]} critics also found teen pop acts like Britney Spears , the Backstreet Boys , and 'N Sync suitable points of comparison for Blink-182's sound and market niche. ^{[ 339 ]} The band's Take Off Your Pants and Jacket (2001) and Blink-182 (2003) respectively rose to numbers one and three on the album chart. In November 2003, The New Yorker described how the "giddily puerile" act had "become massively popular with the mainstream audience, a demographic formerly considered untouchable by punk-rock purists." ^{[ 340 ]}

Other new North American pop punk bands, though often critically dismissed, also achieved major sales in the first decade of the 2000s. Ontario's Sum 41 reached the Canadian top ten with its 2001 debut album, All Killer No Filler , which eventually went platinum in the United States. The record included the number one US Alternative hit " Fat Lip ", which incorporated verses of what one critic called "brat rap." ^{[ 341 ]} 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-label debut, Ocean Avenue . Simple Plan , from Montréal, 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 commercially, took American Idiot to number one on both the US and UK charts; the band matched the feat five years later with 21st Century Breakdown . Jimmy Eat World , taking emo in a radio-ready pop punk direction, ^{[ 342 ]} had top ten albums in 2004 and 2007. In a similar style, Fall Out Boy hit number one with 2007's Infinity 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 topped the US chart with Decemberunderground in 2006. Two years later, The Offspring 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 ". Starting 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". ^{[ 343 ]} At the same time, politicized and independent-label punk continued to thrive in the United States. Since 1993, Anti-Flag had been putting progressive politics at the center of its music. The administration of George W. Bush provided them and similarly minded acts eight years of conservative government to excoriate. Rise Against was the most successful of these groups, registering top ten records in 2006 with The Sufferer & the Witness and two years later with Appeal to Reason . Leftist folk punk band Against Me! 's New Wave was named best album of 2007 by Spin . ^{[ 344 ]} In the realm of the US independents, Celtic punk attracted a substantial 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 . ^{[ 345 ]} The group topped the national album chart again with State of Emergency in 2006 and White Noise in 2008.

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• List of punk bands
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Wikimedia Commons has media related to: Punk rock

• Fales Library of NYU Downtown Collection archival collection with the personal papers of NYC punk figures.
• A History of Punk 1990 essay by rock critic AS Van Dorston
• Punk 77 history of early UK punk
• "We Have to Deal With It: Punk England Report" , by Robert Christgau , Village Voice , January 9, 1978

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