Punk rock

Template:Punkbox Punk rock is an anti-establishment rock music genre and movement that emerged in the mid-1970s. Preceded by a variety of protopunk music of the 1960s and early 1970s, punk rock developed between 1974 and 1976 in the United States, the United Kingdom, and Australia, where groups such as the Ramones, Sex Pistols, and The Clash were recognized as the vanguard of a new musical movement. By 1977, punk was spreading around the world.

Punk rock bands, eschewing the perceived excesses of mainstream 1970s rock, created fast, hard music, typically with short songs, stripped-down instrumentation and often political or nihilistic lyrics. The associated punk subculture expresses youthful rebellion and is characterized by distinctive clothing styles, a variety of anti-authoritarian ideologies, and a DIY (do it yourself) attitude.

Punk rock quickly, though briefly, became a major cultural phenomenon in the United Kingdom. For the most part, punk took root in local scenes that tended to reject association with the mainstream. By the beginning of the 1980s, even faster, more aggressive styles such as hardcore and Oi! had become the predominant mode of punk rock. Musicians identifying with or inspired by punk also pursued a broad range of other variations, engendering the alternative rock movement. By the turn of the century, new pop punk bands such as Green Day were bringing the genre widespread popularity decades after its inception.

Characteristics

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The Ramones' 1976 debut album "set the blueprint for punk"

The first wave of punk rock aimed to be aggressively modern, distancing itself from the bombast and sentimentality of early 1970s rock. According to Ramones drummer Tommy Ramone, "In its initial form, a lot of [1960s] stuff was innovative and exciting. Unfortunately, what happens is that people who could not hold a candle to the likes of Hendrix started noodling away. Soon you had endless solos that went nowhere. By 1973, I knew that what was needed was some pure, stripped down, no bullshit rock 'n' roll." John Holmstrom, founding editor of Punk magazine recalls feeling "punk rock had to come along because the rock scene had become so tame that [acts] like Billy Joel and Simon and Garfunkel were being called rock and roll, when to me and other fans, rock and roll meant this wild and rebellious music." In critic Robert Christgau's description, "It was also a subculture that scornfully rejected the political idealism and Californian flower-power silliness of hippie myth." Patti Smith, in contrast, suggests in the documentary 25 Years of Punk that the hippies and the punk rockers were linked by a common anti-establishment mentality. In any event, some of punk rock's leading figures made a show of rejecting not only mainstream rock and the broader culture it was associated with, but their own most celebrated predecessors: "No Elvis, Beatles or Rolling Stones in 1977", declared The Clash. That year, when punk rock broke nationwide in Great Britain, was to be both a musical and a cultural "Year Zero". Even as nostalgia was discarded, many in the scene adopted a nihilistic attitude summed up by the Sex Pistols slogan "No Future".

Punk rock bands often emulate the bare musical structures and arrangements of 1960s garage rock. This emphasis on accessibility exemplifies punk rock's DIY aesthetic and contrasts with what those in the scene regarded as the ostentatious musical effects and technological demands of many mainstream rock bands of the early and mid-1970s. A 1976 issue of the English punk fanzine Sideburns featured an illustration of three chords, captioned "This is a chord, this is another, this is a third. Now form a band."

Typical punk rock instrumentation includes one or two electric guitars, an electric bass, and a drum kit, along with vocals. In the early days of punk rock, musical virtuosity was often looked on with suspicion. According to John 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". Punk rock songs tend to be shorter than those of other popular genres—on the Ramones' debut album, for instance, half of the fourteen tracks are under two minutes long. Most early 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 afterward 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 Berry. Hardcore was a radical departure from that. It wasn't verse-chorus rock. It dispelled any notion of what songwriting is supposed to be. It's its own form."

Punk rock vocals sometimes sound nasal, and lyrics are often shouted instead of sung in a conventional sense, particularly in hardcore styles. Complicated guitar solos are considered self-indulgent and unnecessary, although basic guitar breaks are common. Guitar parts tend to include highly distorted power chords or barre chords, although some punk rock bands take a surf rock approach with a lighter, twangier guitar tone. A wild, "gonzo" attack is sometimes employed, a style that stretches from Robert Quine, lead guitarist of seminal punk rock band The Voidoids, back through The Velvet Underground to the 1950s recordings of Ike Turner. Bass guitar lines are often basic and used to carry the song's melody, although some punk rock bass players such as Mike Watt emphasize more technical bass lines. Bassists often use a plectrum rather than fingerpicking due to the rapid succession of notes, which makes fingerpicking impractical. Drums typically sound heavy and dry, and often have a minimal set-up. Hardcore drumming tends to be especially fast. Production is minimalistic, with tracks sometimes laid down on home tape recorders.

The Clash, performing in 1980

Punk rock lyrics are typically frank and confrontational, and often comment on social and political issues. Trend-setting songs such as The Clash's "Career Opportunities" and Chelsea's "Right to Work" deal with unemployment and the grim realities of urban life. The Sex Pistols classics "Anarchy in the U.K." and "God Save the Queen" openly disparage the British political system. There is also a characteristic strain of anti-sentimental depictions of relationships and sex, exemplified by "Love Comes in Spurts", written by Richard Hell and recorded by him with The Voidoids. Anomie, variously expressed in the poetic terms of Hell's "Blank Generation" and the bluntness of the Ramones' "Now I Wanna Sniff Some Glue", is a common theme. Identifying punk with such topics aligns with the view expressed by Search and Destroy founder V. Vale: "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 delving into it that had never been done before by any generation in such a thorough way." 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 Boyfriend" to the more unambiguously sincere style of many later pop punk groups.

UK punks, circa 1986

With Patti Smith as the trailblazer, Siouxsie Sioux, The Slits, Pauline Murray, Nina Hagen, Gaye Advert, Poly Styrene, and other punk rock vocalists, songwriters, and instrumentalists introduced a new brand of femininity to rock music. In John Strohn's description, "They adopted a tough, unladylike pose that borrowed more from the macho swagger of sixties garage bands than from the calculated bad-girl image of bands like The Runaways. They went beyond the leather outfits to the bondage gear of Sioux and the straight-from-the-gutter androgyny of Smith. They articulated a female rage that surpassed the anger of the women's movement of the sixties."

The classic punk rock look among male musicians harkens back to the T-shirt, motorcycle jacket, and jeans ensemble favored by American greasers of the 1950s associated with the rockabilly scene and by British rockers of the 1960s. Over time, tattoos, piercings, and metal-studded and -spiked accessories became increasingly common elements of punk fashion among both musicians and fans.

Pre-history

Garage rock and mod

For more details on these topics, see Garage rock and Mod (lifestyle).

In the early and mid-1960s, garage rock bands that would come 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 with their 1963 cover of "Louie, Louie," cited as "punk rock's defining ur-text." 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 "predecessors of the whole three-chord genre—the Ramones' 1978 'I Don't Want You,' for instance, was pure Kinks-by-proxy." Though it had little impact on the American charts, The Who's mod anthem "My Generation" (1965), influenced by the Kinks, presaged a more cerebral mix of musical ferocity and rebellious posture that would characterize much early British punk rock: John Reed describes The Clash's emergence as a "tight ball of energy with both an image and rhetoric reminiscent of a young Pete Townshend—speed obsession, pop-art clothing, art school ambition." The Who and fellow mods The Small Faces were among the few rock elders acknowledged by the Sex Pistols. By 1966, mod was already in decline. U.S. garage rock began to lose steam within a couple of years, but the aggressive musical approach and outsider attitude of "garage psych" bands like The Seeds were picked up and emphasized by groups that would later be seen as the crucial figures of protopunk.

Protopunk

Further information: Protopunk

In 1969, debut albums by two Michigan-based bands appeared that are commonly regarded 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 Seeds, Blue Cheer, Question Mark and the Mysterians, and the Kingsmen. The difference here...is in the hype, the thick overlay of teenage-revolution and total-energy-thing which conceals these scrapyard vistas of clichés and ugly noise.... "I Want You Right Now" sounds exactly (down to the lyrics) like a song called "I Want You" by the Troggs, a British group who came on with a similar sex-and-raw-sound image a couple of years ago (remember "Wild Thing"?)

Iggy Pop, the "godfather of punk"

That August, The Stooges, from Ann Arbor, premiered with a self-titled album. According to critic Greil Marcus, the band, led by singer Iggy Pop, created "the sound of Chuck Berry's Airmobile—after thieves stripped it for parts". The album was produced by John Cale, a former member of New York's experimental rock group The Velvet Underground. Having earned a "reputation as the first underground rock band", VU would inspire, directly or indirectly, many of those involved in the creation of punk rock.

In the early 1970s, the New York Dolls updated the original wildness of 1950s rock 'n' roll in a fashion that later became known as glam punk. The New York duo Suicide played spare, experimental music with a confrontational stage act inspired by that of The Stooges. In Boston, The Modern Lovers, devotees of The Velvet Underground, gained attention with a minimalistic style. In 1974, an updated garage rock 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 Lover 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 and the Mezz. In Ohio, a small but very influential underground rock scene emerged, led by Devo in Akron and Kent and Cleveland's The Electric Eels, Mirrors, and Rocket from the Tombs. In 1975, Rocket from the Tombs split into Pere Ubu and Frankenstein. The Electric Eels and Mirrors both broke up, and The Styrenes emerged from the fallout.

Britain's Deviants, in the late 1960s, played in a range of psychedelic styles with a satiric, anarchic edge and a penchant for situationist-style spectacle presaging the Sex Pistols by almost a decade. In 1970, the act evolved into the Pink Fairies, which carried on in a similar vein. Bands in London's pub rock scene stripped the music back to its basics, playing hard, R&B-influenced rock 'n' roll. By 1974, the scene's top act, Dr. Feelgood, was paving the way for others such as The Stranglers and Cock Sparrer, who would play a role in the later punk explosion. Among the pub rock bands that formed that year was The 101'ers. London SS, with a pub rock–style repertoire, formed in early 1975. Members of these two bands would soon join together as The Clash. Bands anticipating the forthcoming movement were appearing as far afield as Düsseldorf, West Germany, where "punk before punk" band NEU! formed in 1971, building on the Krautrock tradition of groups such as Can. In Japan, the anti-establishment Zunō Keisatsu (Brain Police) mixed garage psych and folk. The combo regularly faced censorship challenges, their live act at least once including onstage masturbation.

A new generation of Australian garage rock bands, inspired mainly 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 the British Pretty Things, who had made a notorious tour of Australia and New Zealand in 1965. Radio Birdman, cofounded by Detroit expatriate Deniz Tek in 1974, was playing gigs to a small but fanatical following in Sydney.

Origin of the term punk

Preceding the mid-1970s, punk, a centuries-old word of obscure etymology, was commonly used to describe "a young male hustler, a gangster, a hoodlum, or a ruffian". As Legs 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." The first known use of the phrase "punk rock" appeared in the Chicago Tribune on March 22, 1970, attributed to Ed Sanders, cofounder of New York's anarcho-prankster band The Fugs. Sanders was quoted describing a solo album of his as "punk rock—redneck sentimentality." In the December 1970 issue of Creem, Lester Bangs, mocking more mainstream rock musicians, made ironic reference to Iggy Pop as "that Stooge punk". Suicide's Alan Vega credits this usage with inspiring his duo to bill its gigs as a "punk mass" for the next couple of years.

Dave Marsh was the first music critic to employ the term "punk rock"—in the May 1971 issue of Creem, he described ? and the Mysterians as giving a "landmark exposition of punk rock." In June 1972, the fanzine Flash included a "Punk Top Ten" of 1960s albums. That year, Lenny Kaye used the term in the liner notes of the anthology album Nuggets to refer to 1960s garage rock bands such as The Standells, The Sonics, and The Seeds. Bomp! maintained this usage through the early 1970s, also applying it to some of the darker, more primitive practitioners of 1960s psychedelic rock. Bassist Jeff Jensen of Boston's Real Kids reports of a 1974 show, "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 looked at each other and said, 'What's punk?'"

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

Early history

New York City

Template:Sound sample box align right Template:Sample box end 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 around the Mercer Arts Center in Greenwich Village, where the New York Dolls performed. 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". Their influences ranged from garage psych pioneer Roky Erickson to jazz innovator John Coltrane. The band's bassist/singer, Richard Hell, created a look with cropped, ragged hair, ripped T-shirts, and black leather jackets credited as the basis for punk rock visual style. In April 1974, Patti Smith, a member of the Mercer Arts Center crowd and a friend of Hell's, came to CBGB for the first time to see the band perform. A veteran of independent theater and performance poetry, Smith was developing an intellectual, feminist take on rock 'n' roll. In June, she recorded the single "Hey Joe"/"Piss Factory", featuring Television guitarist Tom Verlaine; released on her own Mer Records label, it heralded the scene's do it yourself (DIY) ethic and has often been cited as the first punk rock record. By August, Smith and Television were gigging together at another downtown New York club, Max's Kansas City.

Out in Forest Hills, Queens, several miles from lower Manhattan, the members of a newly formed band adopted a common surname. Drawing on such sources as the Beatles, Herman's Hermits, The Beach Boys, 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." In December 1974, CBGB instituted a "rock only" policy. The band was soon playing there regularly. "When I first saw the Ramones," critic Mary Harron later remembered, "I couldn't believe people were doing this. The dumb brattiness."

In March and April 1975, Smith and Television shared a weekend residency at CBGB that brought major attention to the club. Around that time, Richard Hell wrote "Blank Generation", which would become the scene's emblematic anthem of escape. 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". In August, Television—with Fred Smith, former bassist for another CBGB band, Blondie, 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".

Facade of legendary music club CBGB, New York

The first album to come out of the scene was released in November 1975: Smith's debut, Horses, produced by John Cale for the major Arista label. That same month, Sire Records put out the first recording by the Ramones, the single "Blitzkrieg Bop". The inaugural issue of Punk appeared in December. The new magazine tied together earlier artists such as Velvet Underground lead singer Lou Reed, the Stooges, and the New York Dolls with the array of new acts centered around CBGB and Max's Kansas City: the Ramones, Television, The Heartbreakers, Patti Smith, Blondie, Talking Heads, and others. That winter, Pere Ubu came in from Cleveland and played at both spots. Early in 1976, Hell was ousted from 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. That April, the Ramones' debut album was released. 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." At the instigation of Ramones lead singer Joey Ramone, the members of Cleveland's Frankenstein moved east to join the New York scene. Renamed the Dead Boys, they played their first CBGB gig on July 25. In August, Ork put out an EP recorded by Hell with his new band that included the first recording of "Blank Generation".

The term punk initially referred to the scene in general, more 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.

Australia

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. 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.

On the other side of Australia, in Perth, germinal punk rock act the Cheap Nasties, featuring singer-guitarist Kim Salmon, formed in August. In September, The Saints became the first punk rock band outside the U.S. to release a recording, the single "(I'm) Stranded". As with Patti Smith's debut, the band self-financed, packaged, and distributed the single. "(I'm) Stranded" had limited impact at home, but the British music press recognized it as a groundbreaking record. 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. Trouser Press critic Ian McCaleb later described the record as the "archetype for the musical explosion that was about to occur."

The UK

Template:Sample box end After a brief period managing the New York Dolls, Englishman Malcolm McLaren returned to London in May 1975, inspired by the new scene he had witnessed at CBGB. He opened SEX, a clothing store which specialised in "anti-fashion", and sold the slashed T-shirts, drapes, brothel creepers, and fetish gear later popularized by the punk rock movement. He also began managing The Swankers, who would soon evolve into the Sex Pistols. The Sex Pistols developed an early cult following in London, centered on a clique known as the Bromley Contingent, named after the suburb where many of the fans had grown up.

On July 4, 1976, the Ramones and The Stranglers opened for the Flamin' Groovies before a crowd of 2,000 at London's Roundhouse. That same night, a Sex Pistols performance was supported by a new London band playing its first show. The Clash brought together lead singer Joe Strummer of The 101'ers and members of London SS. On July 5, members of the Sex Pistols and The Clash attended a Ramones club gig. These concerts are seen as crucial in bringing together the nascent UK punk rock scene. The two foundational groups were allies with different attitudes: the 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".

Over the next several months, many new punk rock bands formed, often directly inspired by the Sex Pistols. In London, there were The Damned, The Vibrators, The Slits, X-Ray Spex, Siouxsie & the Banshees, Eater, The Subversives, The Adverts, 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 the Manchester area, the Pistols' summer "gigs at the Lesser Free Trade Hall...were the catalyst for virtually every music fan in the city to form a band"—the Buzzcocks and the group that would become Warsaw and later Joy Division among them. In Durham, there was Penetration. In early 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, while the Sex Pistols were excluded for "going too far" and The Clash backed out in solidarity. The only band from the new punk scene to appear was The Damned. In September, the 100 Club Punk Festival in London featured several of the scene's leading groups, as well as Paris's Stinky Toys, arguably the first punk rock band from a non-Anglophone country.

Some new bands, such as London's Alternative TV and Edinburgh's Rezillos, identified with the scene even as they pursued more experimental sounds. A few already active bands including Surrey neo-mods The Jam and pub rockers such as The Stranglers and, particularly, Cock Sparrer also became associated with the punk rock movement. Alongside the musical roots shared with their American counterparts and the calculated confrontationalism of the early Who, rock journalist Clinton Heylin describes how the scene also reflected the influence of the "glam bands who gave noise back to teenagers in the early Seventies—T.Rex, Slade and Roxy Music." One of the groups openly acknowledging that influence were The Undertones, from Derry in Northern Ireland. Another punk band had formed to the south, Dublin's The Radiators From Space.

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Poster for "Anarchy in the U.K.", the Sex Pistols' epochal debut single

In October, The Damned became the first UK punk rock band to release a single, the romance-themed "New Rose". The Sex Pistols followed the next month with "Anarchy in the U.K."—with its debut single the band succeeded in its goal of becoming a "national scandal". In December, the Sex Pistols, The Clash, The Damned, and The Heartbreakers united for the Anarchy Tour, a series of gigs throughout the UK. Many of the shows were cancelled by venue owners after tabloid newspapers and other media seized on sensational reports about the antics of the bands and their fans. One incident that month 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.

Other U.S. cities

As the punk rock movement expanded rapidly in the United Kingdom in 1976, a few bands with similar tastes and attitude were appearing around the United States. The first West Coast punk scenes emerged in San Francisco, with the bands Crime and The Nuns, and Seattle, where the Telepaths, Meyce, and The Tupperwares played a groundbreaking show on May 1. 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 the turn of the year, White Boy began giving notoriously crazed performances. 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.

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 and advertised via flyers and fanzines. In some cases, this do it yourself ethic reflected an aversion to commercial success, as well as a desire to maintain creative and financial autonomy. 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.

The 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.

North America

Template:Sound sample box align right Template:Sample box end The California punk scene was in full swing by early 1977. In Los Angeles, there were The Zeros, The Germs, The Weirdos, X, The Dickies, The Bags, and the relocated Tupperwares, now dubbed The Screamers. San Francisco's second wave included The Avengers, Negative Trend, The Mutants, and The Sleepers. The Dils, from Carlsbad, moved between the two major cities. The Wipers formed in Portland, Oregon. In Seattle, there was The Lewd. 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. The Skulls spun off into the celebrated D.O.A. and The Subhumans. The K-Tels (later known as the Young Canadians) and Pointed Sticks were among the area's other leading punk acts.

Far to the east, in Toronto, the protopunk Dishes had laid the groundwork for another sizable scene, and a September 1976 concert by the touring Ramones had catalyzed the movement. Early Ontario punk bands included The Diodes, The Viletones, 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. In July 1977, the Viletones, Diodes, and Teenage Head headed down to New York City to play a four-day showcase at CBGB. Punk rock was already beginning to give way there to the anarchic sound of what became known as No Wave, although several original punk bands continued to perform. Leave Home, the Ramones' second album, had come out in January. September saw Richard Hell and The Voidoids' first full-length, Blank Generation. The Heartbreakers' debut, L.A.M.F., and the Dead Boys', Young, Loud and Snotty, appeared in October; the Ramones' third, Rocket to Russia, in November. Not far from Manhattan, the New Jersey–based Misfits formed; by 1978, they had developed a style referred to as horror punk.

The Ohio protopunk bands were joined by Cleveland's The Pagans, Akron's Bizarros and Rubber City Rebels, and Kent's Human Switchboard. Bloomington, Indiana, had MX-80 Sound and The Gizmos, Minneapolis had Suicide Commandos, and Detroit had The Sillies. The Feederz formed in Arizona. Atlanta had The Fans. In North Carolina, there was Chapel Hill's H-Bombs and Raleigh's Th' Cigaretz. The Chicago scene began not with a band but with a group of DJs transforming a gay bar, La Mere Vipere, into what would become known as America's first punk dance club. Tutu and the Pirates and Silver Abuse were among the city's first punk bands. In Boston, the scene at the Rat was joined by the Nervous Eaters, Thrills, and Human Sexual Response. In Washington, D.C., the Controls played their first gig in spring 1977, but the capital's second wave really broke the following year with such acts as Urban Verbs, Half Japanese, D'Chumps, Rudements, and Shirkers. By early 1978, the D.C. jazz-fusion group Mind Power had transformed into Bad Brains, which would become widely regarded as the greatest hardcore punk band.

Australia

In February 1977, EMI released The Saints' debut album, (I'm) Stranded, which the band recorded in two days. The Saints had relocated to Sydney; in April, they and Radio Birdman united for a major gig at Paddington Town Hall. 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.

The Victims became a short-lived leader of the Perth scene, recording the classic "Television Addict". They were joined by The Scientists, Kim Salmon's successor band to the Cheap Nasties. The Hellcats and Psychosurgeons (later known as the Lipstick Killers) in Sydney; The Leftovers, The Survivors, and Razar in Brisbane; and La Femme, The Negatives, and The Babeez (later known as The News) in Melbourne were among the other bands constituting Australia's second wave. Melbourne's art rock–influenced Boys Next Door featured singer Nick Cave, who would shortly become one of the world's most celebrated post-punk artists.

The UK

Template:Sound sample box align right Template:Sample box end Although punk rock was to remain largely an underground phenomenon in North America and Australia during the 1970s, in the UK it became a broad-based sensation. Damned Damned Damned, the first album by a British punk band, was released in February 1977. The Clash's self-titled debut album came out two months later and reached number 12 on the UK charts. In May, the Sex Pistols achieved new heights of controversy (and number 2 on the singles chart) with "God Save the Queen".

Many new groups emerged: 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. Employing a wider variety of tempos and more complex instrumentation, a number of bands in the British second wave infused punk rock with elements of synth and noise music. London's Wire and Tubeway Army, Belfast's Stiff Little Fingers, and Dunfermline, Scotland's The Skids expressed punk rock's energy and aggression, while expanding its musical palette. Liverpool's first punk group, the theatrical Big in Japan, didn't last long, but it spun off several well-known acts of the post-punk era.

Wire's 1977 debut LP, Pink Flag, considered punk by some, post-punk by others

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". 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.

In June 1977, The Vibrators' Pure Mania charted. In August, The Adverts had a top 20 hit with the single "Gary Gilmore's Eyes"; the following month, Generation X reached the top 40 with "Your Generation". In October, the Sex Pistols released 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. 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.

Rest of the world

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. Following the lead set by Stinky Toys, Métal Urbain played its first concert in December 1976. The new punk band's brief set included a cover of the Stooges' "No Fun", also a staple of the Sex Pistols' live show. Other French punk acts such as Oberkampf and Starshooter soon formed. In West Germany, bands primarily inspired by British punk came together in the Neue Deutsche Welle (NDW) movement. Ätzttussis, the Nina Hagen Band, S.Y.P.H., and Die Toten Hosen featured "raucous vocals and militant posturing", according to writer Rob Burns. 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 "'against the system' politically as well as musically." 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. In New Zealand, Auckland's Scavengers and Suburban Reptiles were followed by The Enemy of Dunedin. Punk rock scenes also grew in other countries such as Belgium (The Kids, Chainsaw), the Netherlands (The Ex, Nitwitz), Sweden (Ebba Grön, KSMB), and Switzerland (Nasal Boys, Kleenex).

Punk transforms

Template:Sound sample box align right Template:Sample box end By late 1978, the hardcore punk movement was emerging in southern California. A rivalry developed between adherents of the new sound and the older punk rock crowd. Hardcore, appealing to a younger, more suburban audience, was perceived by some as anti-intellectual, overly violent, and musically limited. In Los Angeles, the opposing factions were often described as "Hollywood punks" and "beach punks", referring to Hollywood's central position in the original L.A. punk rock scene and to hardcore's popularity in the shoreline communities of South Bay and Orange County.

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 L.A. punk scene when they formed in 1978, adopted a pop sound and became major stars. Across North America, many other first and second wave punk bands also broke up, with the musicians often exploring 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. They became "the reigning kings of American underground rock, for a few years."

Radio Birdman broke up in June 1978 while touring Europe. In Great Britain, the Oi! and anarcho-punk movements emerged. Musically in the same aggressive vein as American hardcore, they addressed different constituencies with overlapping but distinct anti-establishment messages. In contrast to North America, more of the original punk bands remained intact, sustaining extended careers even as their styles evolved and diverged.

By the turn of the decade, the punk movement as a whole was fragmenting into a variety of derivative forms and scenes. In music critic Jon Savage's description, the early unity between arty, middle-class bohemians and working-class punk rockers had fractured. On one side were New Wave and post-punk artists; some adopted more accessible musical styles and gained broad popularity, while some turned in an experimental direction. On the other side, hardcore punk, Oi!, and anarcho-punk bands became closely linked with underground cultures and spun off an array of subgenres. 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". A range of other styles emerged, many of them fusions with long-established genres. Exemplifying the punk rock movement's increasing breadth was The Clash's album London Calling, released in December 1979. Combining punk rock with reggae, ska, R&B, and rockabilly, it went on to be acclaimed as one of the best rock records of all time. 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.

New Wave

For more details on this topic, see New Wave (music).

Template:Sound sample box align rightTemplate:Sample box end New Wave and its attendant subculture arose along with the earliest punk rock groups; indeed, "punk" and "New Wave" were initially interchangeable. Over time, however, the terms began to acquire different meanings: bands such as Talking Heads, Blondie, Devo, and The Police that were broadening their instrumental palette, incorporating dance-oriented rhythms, and working with more polished production were called "New Wave" rather than "punk". Combining elements of early punk rock music and fashion with a far more pop-oriented and less "dangerous" style, New Wave artists such as The Cars and Human League became very popular on both sides of the Atlantic. New Wave became a catch-all term, encompassing disparate styles such as 2 Tone ska, the mod revival based around The Jam, the New Romantic phenomenon typified by Duran Duran, and synthpop groups like Depeche Mode. 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.

Post-punk

For more details on this topic, see Post-punk.

Template:Sound sample box align right Template:Sample box end In the UK, a wide variety of post-punk bands emerged, including The Fall, Joy Division, Gang of Four, and Public Image Ltd. Some bands classified as post-punk, such as Throbbing Gristle and Cabaret Voltaire, had been active before the punk rock scene itself had coalesced; others, such as The Slits and Siouxsie & The Banshees, transitioned from punk rock into post-punk. The music was often experimental, like that of the New Wave bands; 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 Wire and Subway Sect. Drawing inspiration from such art rock sources as Captain Beefheart, David Bowie, and Krautrock, post-punk also explored new lyrical approaches: The Fall's Mark E. Smith wrote "oblique observations of Northern underclass grotesquerie".

File:Joy Division.JPG

Joy Division, described as "among the gloomiest and most influential" post-punk bands

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. Smoothing the edges of their style in the direction of New Wave, a number of post-punk bands such as New Order (descended from Joy Division) and U2 crossed over to a mainstream U.S. audience. Others, like Gang of Four, The Raincoats and Throbbing Gristle, who had little more than cult followings at the time, are seen in retrospect as significant influences on modern popular culture.

A number of U.S. artists were retrospectively defined as post-punk; Television's debut record Marquee Moon, released in 1977, is frequently cited as a seminal album in the field. The No Wave movement that developed in New York in the late 1970s, with artists like Lydia Lunch, is often treated as the phenomenon's U.S. parallel. The later work of Ohio protopunk pioneers Pere Ubu is also commonly described as post-punk. 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. In 1980, Australia's Boys Next Door moved to London and changed their name to The Birthday Party, which would evolve into Nick Cave and the Bad Seeds. King Snake Roost and other Australian bands would further explore the possibilities of post-punk. Later art punk and alternative rock musicians would find diverse inspiration among these predecessors, New Wave and post-punk alike.

Hardcore

Further information: Hardcore punk

Template:Sample box end Hardcore punk, characterized by fast, aggressive beats and often politically aware lyrics, began to emerge as a distinctive style in 1978 among bands scattered around the United States. The first major hardcore scene developed in southern California in 1978–79. Described by critic Jon Savage as "a rush of claustrophobic nihilism", the movement soon spread around North America and internationally. 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".

Among the earliest hardcore bands, regarded as having made the first recordings in the style, were California's Black Flag and Middle Class. Bad Brains—all of whom were black, a rarity in punk of any era—launched the D.C. scene. Austin, Texas's Big Boys were also among the initial hardcore groups. They were soon joined by bands such as the Minutemen, The Descendents, Circle Jerks, The Adolescents, and TSOL in southern California, and D.C.'s Teen Idles, Minor Threat and State of Alert. Some second wave punk rock bands, such as San Francisco's Dead Kennedys and Vancouver's D.O.A., redefined themselves as hardcore. By 1981, hardcore was the dominant punk rock style not only in California, but much of the rest of North America as well. A New York hardcore scene grew, including the relocated Bad Brains and local acts such as the Nihilistics, Reagan Youth, and Agnostic Front. They were followed by The Cro-Mags, Murphy's Law, and Leeway. Other major hardcore bands included Minneapolis's Hüsker Dü and Chicago's Naked Raygun, who would each take the sound in both experimental and melodic directions. Hardcore would constitute the American punk rock standard throughout the decade.

The lyrical content of hardcore songs, typified by Dead Kennedys' "Holiday in Cambodia", is often critical of commercial culture and middle-class values. 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, and drugs. 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 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.

Oi!

Further information: Oi!

Template:Sample box end Following the lead of such first-wave British punk bands as 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. Their style was originally called real punk rock 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!" Oi! bands' lyrics sought to reflect the harsh realities of living in Margaret Thatcher's Britain in the late 1970s and early 1980s. 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.

Strength Thru Oi! (1981), a defining and notorious compilation album

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". The Oi! credo held that the music needed to remain unpretentious and accessible. 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."

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". In the popular imagination, the movement thus became associated with the far right. On July 3, 1981, a concert at Hamborough Tavern in Southall featuring The Business, The 4-Skins, and The Last Resort was firebombed by local Asian youths who mistakenly believed that the event was a neo-Nazi gathering. Following the Southall riot, press coverage increasingly associated Oi! with the extreme right, and the movement soon began to lose momentum.

Anarcho-punk

Further information: Anarcho-punk

Crass were the originators of anarcho-punk. 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, Subhumans, Flux of Pink Indians, Conflict, Poison Girls, and The Apostles attempted to transform the punk rock scene into a full-blown anarchist movement. As with straight edge, anarcho-punk is based around a set of principles, including prohibitions on wearing leather, and promoting a vegetarian or vegan diet.

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 and Extreme Noise Terror that in the mid-1980s defined the heavily distorted grindcore style, a close relative of the early death metal sound. 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.

Pop punk

Further information: Pop punk

Template:Sound sample box align right Template:Sample box end With their love of the Beach Boys and late 1960s bubblegum pop, the Ramones paved the way to what would become known as pop punk. In the late 1970s, UK bands such as Buzzcocks and The Undertones (the latter strongly influenced by glam rock ) combined pop-style tunes and lyrical themes with punk's speed and chaotic edge. 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)." 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, 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."

Other fusions and directions

Template:Sound sample box align right Template:Sample box end From 1977 forward, 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, from New York by way of Cleveland, were innovators in the psychobilly fusion style. Social Distortion, from southern California, helped spark the related punkabilly form. 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. The Mekons, from Leeds, combined their punk rock ethos with country music, greatly influencing the later alt-country movement. In the United States, varieties of cowpunk played by bands such as Nashville's Jason & the Scorchers and Arizona's Meat Puppets had a similar effect.

Other bands pointed punk rock toward future rock styles or its own foundations. New York's Suicide, who had played with the New York Dolls at the Mercer Arts Center, and L.A.'s The Screamers and Nervous Gender were pioneers of synthpunk. 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".

Legacy and later developments

Alternative rock

Further information: Alternative rock

Template:Sample box end The underground punk rock movement produced countless bands that either evolved from a punk rock sound or applied its spirit and DIY ethics to very different kinds of music. During the early 1980s, British bands like New Order and The Cure developed new musical styles based in post-punk and New Wave. American bands such as Hüsker Dü and their protégés The Replacements bridged the gap between punk rock styles like hardcore and the more expansive sound of what was called "college rock" at the time.

A 1985 Rolling Stone feature on the likes of Black Flag, Hüsker Dü, Minutemen, and The Replacements 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." 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 indie rock, gothic rock, and grunge, among others—unified by their debt to punk rock and their origins outside of the musical mainstream.

File:Sonic1991b.jpg

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

As alternative bands like Sonic Youth, who had grown out of the No Wave scene, and Boston's Pixies started to gain larger audiences, major labels sought to capitalize on a market that had been building underground for the past ten years. In 1991, Nirvana emerged out of Washington State's grunge music scene, achieving huge commercial success with their second album, Nevermind. The band cited punk rock as a key influence on their style. "Punk is musical freedom," wrote singer Kurt Cobain. "It’s saying, doing, and playing what you want." Nirvana's success fueled the alternative rock boom that had been underway since the late 1980s and helped define that segment of 1990s popular music. The resulting shift in popular taste is chronicled in the film 1991: The Year Punk Broke, which features Nirvana, Dinosaur Jr, and Sonic Youth.

Emo

For more details on this topic, see Emo.

In its original, mid-1980s incarnation, emo was a less musically restrictive style of punk developed by participants in the Washington, D.C. area hardcore scene. It was originally referred to as "emocore", an abbreviation of "emotional hardcore". Notable early emo bands included Rites of Spring, Embrace, and One Last Wish. The term derived from the tendency of some of these bands' members to become strongly emotional during performances. In the mid-1990s, Fugazi, formed out of the dissolution of Embrace, inspired a second, much broader based wave of emo bands. 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. By the turn of the century, emo had arguably surpassed hardcore, its parent genre, as the roots-level standard for U.S. punk, though some music fans claim that typical latter-day emo bands like Panic! At The Disco and Fall Out Boy don't even qualify as punk at all.

Queercore and riot grrrl

Carrie Brownstein, performing with Sleater-Kinney in 2005

For more details on these topics, see Queercore and Riot Grrrl.

In the 1990s, the queercore movement developed around a number of punk bands with gay and lesbian members such as Fifth Column, God Is My Co-Pilot, Pansy Division, Team Dresch, and Sister George. Inspired by openly gay punk musicians of an earlier generation, 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 to expand in the twenty-first century, supported by festivals such as Queeruption.

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. 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.

The punk revival

Template:Sample box end Along with Nirvana, many of the leading alternative rock artists of the early 1990s acknowledged earlier punk rock acts as influences. With Nirvana's success, the major record companies once again saw punk bands as potentially profitable. In 1993, Green Day and Bad Religion were both signed to major labels. The next year, Green Day released Dookie, which became a huge hit, selling 8 million albums in just over two years. Bad Religion's Stranger Than Fiction was certified gold. Other California punk bands on indie label Epitaph, run by Bad Religion guitarist Brett Gurewitz, also began garnering mainstream success. In 1994, Epitaph put out Let's Go by Rancid, Punk In Drublic by NOFX, and Smash by The Offspring, each eventually certified gold or better. Smash went on to sell over 11 million copies, becoming the best-selling independent-label album of all time. MTV and radio stations such as LA's KROQ-FM played a major role in these bands' crossover success, though NOFX refused to let MTV air its videos. Green Day and Dookie's enormous sales would pave the way for a host of bankable North American pop punk bands in the following decade. The Vans Warped Tour and the mall chain store Hot Topic brought punk even further into the U.S. mainstream.

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. 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". Ska punk bands in the third wave of ska created a true musical fusion with punk and hardcore. ...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; Sublime's self-titled 1996 album was certified platinum early in 1997.

By 1998, the punk revival had commercially stalled, but not for long. Pop punk band Blink-182's 1999 release, Enema of the State, reached the Billboard Top 10 and sold 4 million copies in less than a year. New pop punk bands such as Sum 41, Simple Plan, and Good Charlotte achieved major sales in the first decade of the 2000s. In 2004, Green Day's American Idiot went to number 1 on both the U.S. and UK charts. Jimmy Eat World, which had taken emo in a radio-ready pop punk direction, had Top 10 albums in 2004 and 2007; in a similar style, Fall Out Boy hit number 1 with 2007's Infinity on High. The revival was broad-based: AFI, with roots in hardcore, topped the U.S. chart with Decemberunderground in 2006. Ska punk groups such as Reel Big Fish and Less Than Jake continued to attract new fans. Celtic punk, with U.S. bands such as Flogging Molly and Dropkick Murphys merging the sound of Oi! and The Pogues, reached wide audiences. The Australian punk rock tradition was carried on by groups such as Frenzal Rhomb, The Living End, and Bodyjar.

NOFX in concert in 2007

With punk's renewed visibility came concerns among some in the punk community that the music was being co-opted by the mainstream. 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. 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. The effect of commercialization on the music itself was an even more 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." By the 1990s, punk rock was so 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". Although the commercial mainstream has exploited many elements of punk, numerous underground punk scenes still exist around the world.

See also

• List of punk bands
• Punk rock subgenres
• Timeline of punk rock

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• Marcus, Greil, ed. (1979). Stranded: Rock and Roll for a Desert Island (New York: Knopf). ISBN 0-394-73827-6
• Marcus, Greil (1989). Lipstick Traces: A Secret History of the Twentieth Century (Cambridge, Mass.: Harvard University Press). ISBN 0-674-53581-2
• McCaleb, Ian (1991). "Radio Birdman", in The Trouser Press Record Guide, 4th ed., ed. Ira Robbins (New York: Collier), pp. 529–530. 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
• McNeil, Legs, and Gillian McCain (1997). Please Kill Me: The Uncensored Oral History of Punk (New York: Penguin Books). ISBN 0-14-026690-9

• Myers, Ben (2006). Green Day: American Idiots & the New Punk Explosion (New York: Disinformation). ISBN 1-932857-32-X
• Nichols, David (2003). The Go-Betweens (Portland, Ore.: Verse Chorus Press). ISBN 1-891241-16-8
• Nobahkt, David (2004). Suicide: No Compromise (London: SAF). ISBN 0-946719-71-3
• O'Hara, Craig (1999). The Philosophy of Punk: More Than Noise (San Francisco and Edinburgh: AK Press). ISBN 1-873176-16-3
• Palmer, Robert (1992). "The Church of the Sonic Guitar", in Present Tense: Rock & Roll and Culture, ed. Anthony DeCurtis (Durham, N.C.: Duke University Press), pp. 13–38. ISBN 0-8223-1265-4
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• Raha, Maria (2005). Cinderella's Big Score: Women of the Punk and Indie Underground (Emeryville, Calif.: Seal). ISBN 1-58005-116-2
• Reed, John (2005). Paul Weller: My Ever Changing Moods (London et al.: Omnibus Press). ISBN 1-84449-491-8
• Reynolds, Simon (1999). Generation Ecstasy: Into the World of Techno and Rave Culture (London: Routledge). ISBN 0-415-92373-5
• Reynolds, Simon (2005). Rip It Up and Start Again: Post Punk 1978–1984 (London and New York: Faber and Faber). ISBN 0-571-21569-6
• Robb, John (2006). Punk Rock: An Oral History (London: Elbury Press). ISBN 0-09-190511-7
• Rodel, Angela (2004). "Extreme Noise Terror: Punk Rock and the Aesthetics of Badness", in Bad Music: The Music We Love to Hate, ed. Christopher Washburne and Maiken Derno (New York: Routledge), pp. 235–256. ISBN 0-415-94365-5
• Sabin, Roger (1999). Punk Rock, So What? The Cultural Legacy of Punk (London: Routledge). ISBN 0-415-17030-3.
• Savage, Jon (1991). England's Dreaming: The Sex Pistols and Punk Rock (London: Faber and Faber). ISBN 0-312-28822-0
• Shapiro, Fred R. (2006). Yale Book of Quotations (New Haven, Conn.: Yale University Press). ISBN 0-300-10798-6
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• Shuker, Roy (2002). Popular Music: The Key Concepts (London: Routledge). ISBN 0-4152-8425-2
• Simpson, Paul (2003). The Rough Guide to Cult Pop: The Songs, the Artists, the Genres, the Dubious Fashions (London: Rough Guides). ISBN 1-84353-229-8
• Spitz, Mark, and Brendan Mullen (2001). We Got the Neutron Bomb: The Untold Story of L.A. Punk (New York: Three Rivers Press). ISBN 0-609-80774-9
• Stafford, Andrew (2006). Pig City: From the Saints to Savage Garden, 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 The Electric Guitar: A History of an American Icon, ed. A. J. Millard (Baltimore: Johns Hopkins University Press), pp. 181–200. ISBN 0-8018-7862-4
• 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 (Middletown, Conn.: Wesleyan University Press). ISBN 0-8195-6668-3
• Unterberger, Richie (1998). Unknown Legends of Rock 'n' Roll: Psychedelic Unknowns, 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). ISBN 1-85828-421-X
• Walker, John (1991). "Television", in The Trouser Press Record Guide, 4th ed., ed. Ira Robbins (New York: Collier), p. 662. ISBN 0-02-036361-3
• Walsh, Gavin (2006). Punk on 45; Revolutions on Vinyl, 1976–79 (London: Plexus). ISBN 0-8596-5370-6
• Wells, Steven (2004). Punk: Loud, Young & Snotty: The Story Behind the Songs (New York and London: Thunder's Mouth). ISBN 1-56025-573-0
• Wilkerson, Mark Ian (2006). Amazing Journey: The Life of Pete Townshend (Louisville: Bad News Press). ISBN 1-4116-7700-5
• Wojcik, Daniel (1995). Punk and Neo-Tribal Body Art (Jackson: University Press of Mississippi). ISBN 0-87805-735-8

External links

• Distorted Magazine monthly online punk rock magazine
• A History of Punk 1990 essay by rock critic A.S. Van Dorston
• Punk 77 history of early UK punk
• Punk Directory punk music directory