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1
1. Postpunk 
as 
empty 
conceptual 
category 
2. Postpunk 
as 
experimental 
3. Postpunk 
as 
poli8cal 
4. Postpunk 
as 
i...
No 
clear 
era 
3
“postpunk 
is 
a 
period 
that 
has 
been 
severely 
neglected 
by 
historians 
… 
it’s 
oBen 
implied 
that 
nothing 
of ...
5
Regardless 
of 
the 
fact 
that 
No 
Wave 
is 
nominally 
categorized 
as 
"post-­‐punk" 
music 
(meaning, 
in 
this 
case...
No 
clear 
defini8on 
7
Bobby 
Gillespie, 
Primal 
Scream 
(1982-­‐ 
present) 
8
9
Talking 
Heads 
– 
‘Psycho 
Killer’ 
(1979) 
The 
Buggles 
– 
‘Video 
Killed 
the 
Radio 
Star’ 
(1979) 
10
No 
wave 
11
Dance-­‐punk 
12
Oi! 
13
two-­‐tone 
glam 
rock 
synthpop 
goth 
rock 
dark 
wave 
shoegaze 
C86 
indie 
14
Pre-­‐post-­‐punk 
(aka 
punk) 
15
The 
Situa8onists 
John-­‐Paul 
Sartre 
– 
Being 
and 
Nothingness 
Guy 
Debord 
-­‐ 
Society 
and 
the 
Spectacle 
Raoul ...
Punk’s 
hegemonic 
incorpora8on 
17
Punk’s 
poli8cal 
dimensions 
18
Punk’s 
legacy 
= 
cultural 
19
20
Howard 
Devoto 
Magazine 
– 
‘The 
Light 
Pours 
Out 
of 
Me’ 
(1978) 
21
Appeared 
on 
Top 
Of 
The 
Pops 
Missed 
out 
on 
the 
Top 
40 
by 
one 
spot 
(#41) 
22
Punk 
as 
‘Year 
Zero’ 
Post 
Punk 
as 
‘Year 
Zero’? 
23
Sex 
Pistols 
Manchester’s 
Lesser 
Free 
Trade 
Hall 
(June 
1976) 
24
In 
aoendance: 
Morrissey 
– 
later 
formed 
The 
Smiths 
Howard 
Devoto 
(Buzzcocks/Magazine) 
Pete 
Shelley 
(Buzzcocks)...
26
Feminist 
bands 
27
The 
Stranglers, 
Baoersea 
Park 
(1978) 
28
‘I 
was 
very 
conscious 
of 
the 
brace. 
I 
wasn’t 
one 
of 
the 
preoy 
punkeoes. 
I 
was 
rebelling.’ 
‘Although 
I 
c...
Poly 
Styrene 
of 
X-­‐Ray 
Spex 
(1979) 
30
The 
Slits 
– 
‘Typical 
Girls’ 
(1979) 
Don't 
create 
Don't 
rebel 
Have 
intui8on 
Can't 
decide 
Typical 
girls 
get 
...
One 
of 
the 
aorac8ons 
of 
punk 
was 
having 
an 
outlet 
for 
that 
poli8cal 
outrage, 
that 
disaffec8on 
with 
the 
s...
Opening 
with 
the 
tongue 
in 
cheek 
"We're 
So 
Cool," 
the 
Au 
Pairs' 
debut 
record 
is 
a 
stunner, 
from 
Lesley 
...
The 
Au 
Pairs 
– 
‘We’re 
So 
Cool’ 
(1981) 
Playing 
With 
A 
Different 
Sex 
I 
don't 
mind 
if 
you 
want 
to 
sleep 
...
Eurovision 
Contest 
(1981) 
Bucks 
Fizz 
– 
‘Making 
Your 
Mind 
Up’ 
35
Forma8on 
of 
hundreds 
of 
small 
record 
labels 
Outside 
of 
south-­‐east 
Democra8sa8on 
of 
popular 
music 
Punk 
lab...
The 
rise 
of 
the 
specialist 
record 
shop 
37
1978: 
there 
were 
1,750 
specialist 
record 
shops 
in 
Britain 
32 
% 
of 
the 
5,500 
music 
outlets. 
1981: 
there 
w...
39
Factory 
Records 
50:50 
deals
New 
Order 
‘Blue 
Monday’ 
(1983)
42
Thaterism 
and 
capitalist 
desires 
43
New 
Roman8cism 
à 
Synthpop 
à 
Pop 
44
Orange 
Juice 
– 
‘Rip 
It 
Up’ 
(1983) 
45
Summary 
• ‘Messy’ 
conceptual 
terrain 
• Innova8on 
and 
experimenta8on 
in 
musical 
form 
and 
expression 
• Diverse 
...
Images 
• Duncan 
Hull 
(2006) 
... 
I 
Love 
Joy 
Division! 
• Mark 
Hillary 
(2013) 
Sex 
Pistols 
at 
Crystal 
Palace 
...
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Med332 post punk or rip it up and start again

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Med332 post punk or rip it up and start again

  1. 1. 1
  2. 2. 1. Postpunk as empty conceptual category 2. Postpunk as experimental 3. Postpunk as poli8cal 4. Postpunk as independent 2
  3. 3. No clear era 3
  4. 4. “postpunk is a period that has been severely neglected by historians … it’s oBen implied that nothing of real consequence happened between punk rock and grunge, between Never Mind the Bollocks and Nevermind” -­‐ Simon Reynolds, 2006: p27-­‐8 4
  5. 5. 5
  6. 6. Regardless of the fact that No Wave is nominally categorized as "post-­‐punk" music (meaning, in this case, only that it could not have occurred before punk), its story begins in the earliest days of the New York New Wave scene before it was designated as anything more (or less) than just plain old "underground" music 6
  7. 7. No clear defini8on 7
  8. 8. Bobby Gillespie, Primal Scream (1982-­‐ present) 8
  9. 9. 9
  10. 10. Talking Heads – ‘Psycho Killer’ (1979) The Buggles – ‘Video Killed the Radio Star’ (1979) 10
  11. 11. No wave 11
  12. 12. Dance-­‐punk 12
  13. 13. Oi! 13
  14. 14. two-­‐tone glam rock synthpop goth rock dark wave shoegaze C86 indie 14
  15. 15. Pre-­‐post-­‐punk (aka punk) 15
  16. 16. The Situa8onists John-­‐Paul Sartre – Being and Nothingness Guy Debord -­‐ Society and the Spectacle Raoul Vaneigem – The Revolu<on of Everyday Life 16
  17. 17. Punk’s hegemonic incorpora8on 17
  18. 18. Punk’s poli8cal dimensions 18
  19. 19. Punk’s legacy = cultural 19
  20. 20. 20
  21. 21. Howard Devoto Magazine – ‘The Light Pours Out of Me’ (1978) 21
  22. 22. Appeared on Top Of The Pops Missed out on the Top 40 by one spot (#41) 22
  23. 23. Punk as ‘Year Zero’ Post Punk as ‘Year Zero’? 23
  24. 24. Sex Pistols Manchester’s Lesser Free Trade Hall (June 1976) 24
  25. 25. In aoendance: Morrissey – later formed The Smiths Howard Devoto (Buzzcocks/Magazine) Pete Shelley (Buzzcocks) Peter Hook (Joy Division/New Order) Bernard Summner (Joy Division/New Order) Mark E Smith (The Fall) Tony Wilson (Factory Records) Manchester’s Lesser Free Trade Hall in June 1976 25
  26. 26. 26
  27. 27. Feminist bands 27
  28. 28. The Stranglers, Baoersea Park (1978) 28
  29. 29. ‘I was very conscious of the brace. I wasn’t one of the preoy punkeoes. I was rebelling.’ ‘Although I could actually sing, I didn’t want to sing—I wanted to be an an8-­‐singer’ -­‐ Poly Styrene in Sabin, 2002: 195.
  30. 30. Poly Styrene of X-­‐Ray Spex (1979) 30
  31. 31. The Slits – ‘Typical Girls’ (1979) Don't create Don't rebel Have intui8on Can't decide Typical girls get upset to quickly Typical girls can't control themselves Typical girls are so confusing Typical girls -­‐ you can always tell Typical girls don't think too clearly Typical girls are all predictable Typical girls try to be Typical girls very well Typical girls are looking for something Typical girls fall under spells Typical girls buy magazines Typical girls feel like hell Typical girls worry about spots, fat, and natural smells S8nky fake smells […] Can't decide what clothes to wear Typical girls are sensi8ve Typical girls are emo8onal Typical girls are cruel and bewitching But she's a femme fatal […] Who invented the typical girl? Who's bringing out the new improved model? And there's another marke8ng ploy Typical girl gets the typical boy 31
  32. 32. One of the aorac8ons of punk was having an outlet for that poli8cal outrage, that disaffec8on with the status quo which was cemented by the early years of a Conserva8ve Government hos8le to dissent, and a leader, Margaret Thatcher, who took great pride in disassocia8ng herself from ‘shrill feminism’. For women this revolt was present not just in words, but music that deliberately veered away from standard rock ’n’ roll 8me. -­‐ Lucy O’Brien in Sabin, 2002: 196 32
  33. 33. Opening with the tongue in cheek "We're So Cool," the Au Pairs' debut record is a stunner, from Lesley Woods' scratchy guitar and declamatory vocals to lead guitarist Paul Foad's briole soloing. This is an uncompromising, defiant record that asks no quarter; gender roles are turned upside down, hetero-­‐ and homosexual rela8onships put under a microscope, and theories about sex and sexuality turned inside out. Similarly, the tense poli8cal situa8on in Northern Ireland is harrowingly addressed in "Armagh," which details Tory-­‐sanc8oned torture and sexual abuse of wrongly imprisoned Irish women. An unflinching look at the world, Playing with a Different Sex is one of the great, and perhaps forgooen, post-­‐punk records. -­‐ Dougan, Allmusic.com 2014 33
  34. 34. The Au Pairs – ‘We’re So Cool’ (1981) Playing With A Different Sex I don't mind if you want to sleep on your own I don't mind if you want to bring somebody home to spend the night I don't mind your casual affairs your one-­‐night stands because I know I'm the main man in your life And you know I don't mind if you leave me behind When you go away for a couple of days but you know that I could come too and I wouldn't intrude, wouldn't make any fuss 'cos things are so cool between us Your affec8on is ul8mately mine remember from the start I won't take up all of your 8me I am in your heart Your body But you must admit I'm prepared to share at off-­‐peak 8mes when you think about it because we know that others have and do share mine that you're mine 34
  35. 35. Eurovision Contest (1981) Bucks Fizz – ‘Making Your Mind Up’ 35
  36. 36. Forma8on of hundreds of small record labels Outside of south-­‐east Democra8sa8on of popular music Punk labels suspicious of majors Parallel and opposi8onal distribu8on network 36
  37. 37. The rise of the specialist record shop 37
  38. 38. 1978: there were 1,750 specialist record shops in Britain 32 % of the 5,500 music outlets. 1981: there were 2,370 38
  39. 39. 39
  40. 40. Factory Records 50:50 deals
  41. 41. New Order ‘Blue Monday’ (1983)
  42. 42. 42
  43. 43. Thaterism and capitalist desires 43
  44. 44. New Roman8cism à Synthpop à Pop 44
  45. 45. Orange Juice – ‘Rip It Up’ (1983) 45
  46. 46. Summary • ‘Messy’ conceptual terrain • Innova8on and experimenta8on in musical form and expression • Diverse range of genres • Birth of ‘indie’ 46
  47. 47. Images • Duncan Hull (2006) ... I Love Joy Division! • Mark Hillary (2013) Sex Pistols at Crystal Palace • Eko (2011) no future • Bixentro (2007) Year Zero, Berwick Street • Paul Hudson (2013) Rough Trade West • Paul Hudson (2013) 32/365 -­‐ Rough Trade West • Carl Guderian (2010) 1979 October 29 -­‐ unknown photographer, Epoque, London -­‐ Poly Styrene of X-­‐Ray Spex one of four Women of the Year 47

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