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#med332
1. Punk 
acts 
as 
Year 
Zero 
for 
the 
music 
industry 
2. Punk 
as 
reac8on 
against 
the 
middle-­‐class 
meanderings ...
Early 
punk 
was 
a 
proclama8on 
and 
embrace 
of 
discord. 
In 
England 
it 
was 
begun 
by 
working 
class 
youths 
dec...
Punk 
1976-1978
USA: 
1960s 
Garage 
Rock 
The 
Standells 
The 
Swingin’ 
Medallions 
The 
Kingsmen 
Electric 
Prunes
USA: 
1960s 
Garage 
Rock
USA: 
1960s 
Garage 
Rock 
The 
Stooges 
(feat 
Iggy 
Pop) 
– 
‘I 
Wanna 
Be 
Your 
Dog’ 
(1969)
The 
Ramones 
– 
‘Blitzkrieg 
Bop’ 
(1976)
Punk 
wasn’t 
a 
musical 
style, 
or 
at 
least 
it 
shouldn't 
have 
been 
… 
It 
was 
more 
a 
kind 
of 
‘do 
it 
yourse...
John 
Lydon, 
aka 
Johnny 
Roaon 
(vocals) 
Glen 
Matlock 
(bass) 
Steve 
Jones 
(guitar) 
Paul 
Cook 
(drums)
Stanley 
Cohen 
Moral 
Panic 
Folk 
Devil
1 
December 
1976 
Thames 
Television 
Today
Punk’s 
expressive 
forms: 
1. Iconography 
2. Fashion 
3. Gigs/dancing 
4. Fandom
Iconography 
• na8onal 
culture 
– Banking 
crisis 
– Energy 
crisis 
– Unemployment 
crisis 
– Race 
riots
Sex 
Pistols 
– 
‘Anarchy 
in 
the 
UK’ 
(1976)
The 
Clash 
– 
1976 
‘Career 
Opportuni8es’ 
‘White 
Riot’
Sex 
Pistols 
– 
‘ 
God 
Save 
The 
Queen’ 
(1977)
#1 
NME 
chart 
#2 
UK 
official 
chart
Through 
their 
music 
and 
stylis8c 
commitment, 
[punks] 
suggested 
and 
enlarged 
the 
spaces 
for 
subversive 
cultur...
Punk 
was 
a 
total 
cultural 
revolt. 
It 
was 
a 
hardcore 
confronta8on 
with 
the 
black 
side 
of 
history 
and 
cult...
Fashion
Objects 
borrowed 
from 
the 
most 
sordid 
of 
contexts 
found 
a 
place 
in 
the 
punks’ 
ensembles: 
lavatory 
chains 
...
Gigs/dancing
Slamdancing 
... 
mirrors 
punk 
ideologies 
in 
the 
symbolic 
breakdown 
of 
order 
which 
seems 
to 
occur 
in 
the 
pi...
Fanzines
Actually 
we’re 
not 
into 
music 
…We’re 
into 
chaos 
-­‐ 
Steve 
Jones 
(Sex 
Pistols), 
in 
Savage, 
2010: 
152
‘somebody 
had 
figured 
out 
how 
to 
make 
ar8s8cally 
and 
commercially 
viable 
pop 
music 
based 
on 
a 
rhythmic 
pr...
‘there 
seems 
liale 
doubt 
that 
Lydon 
was 
fed 
material 
by 
Vivienne 
Westwood 
(McLaren’s 
designer 
partner) 
and ...
1. Liveness 
= 
iden8ty 
and 
reputa8on 
2. Voice 
= 
blurred 
line 
between 
singing 
and 
speech 
3. Mode 
of 
address 
...
Cri8quing 
the 
common 
narra8ve 
of 
punk
Cri8quing 
the 
common 
narra8ve 
of 
punk 
‘English’ 
punk 
did 
not 
rise 
spontaneously 
from 
below 
on 
a 
wave 
of 
...
Cri8quing 
the 
common 
narra8ve 
of 
punk 
Boredom 
with 
mainstream 
culture 
and 
ins8tu8ons 
is 
oten 
a 
characteris8...
Images 
• Paul 
Townsend 
2013 
Bristol 
Punks 
1980 
• Andrew 
2007 
CBGB 
Hardcore 
Ma8nee 
• EL_M@SCO 
2005 
CBGB's 
19...
Med332 punk and art rock lecture
Med332 punk and art rock lecture
Med332 punk and art rock lecture
Med332 punk and art rock lecture
Med332 punk and art rock lecture
Med332 punk and art rock lecture
Med332 punk and art rock lecture
Med332 punk and art rock lecture
Med332 punk and art rock lecture
Med332 punk and art rock lecture
Med332 punk and art rock lecture
Med332 punk and art rock lecture
Med332 punk and art rock lecture
Med332 punk and art rock lecture
Med332 punk and art rock lecture
Med332 punk and art rock lecture
Med332 punk and art rock lecture
Med332 punk and art rock lecture
Med332 punk and art rock lecture
Med332 punk and art rock lecture
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Med332 punk and art rock lecture

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Med332 punk and art rock lecture

  1. 1. #med332
  2. 2. 1. Punk acts as Year Zero for the music industry 2. Punk as reac8on against the middle-­‐class meanderings of progressive rock 3. Punk as organic working-­‐class music of social and cultural protest
  3. 3. Early punk was a proclama8on and embrace of discord. In England it was begun by working class youths decrying a declining economy and rising unemployment, chiding the hypocrisy of the rich, and refu8ng the no8on of reform. In America, early punk was a middle class youth movement, a reac8on against the boredom of mainstream culture ... Early punk sought to tear apart consumer goods, royalty and sociability; and it sought to destroy the idols of the bourgeoisie. -­‐ Clark in Muggleton and Weinzierl, 2003: 225
  4. 4. Punk 1976-1978
  5. 5. USA: 1960s Garage Rock The Standells The Swingin’ Medallions The Kingsmen Electric Prunes
  6. 6. USA: 1960s Garage Rock
  7. 7. USA: 1960s Garage Rock The Stooges (feat Iggy Pop) – ‘I Wanna Be Your Dog’ (1969)
  8. 8. The Ramones – ‘Blitzkrieg Bop’ (1976)
  9. 9. Punk wasn’t a musical style, or at least it shouldn't have been … It was more a kind of ‘do it yourself – anyone can do it a_tude. If you can only play two notes on the guitar, you can figure out a way to make a song out of that -­‐ David Bryne cited Bennea, 2001: 60
  10. 10. John Lydon, aka Johnny Roaon (vocals) Glen Matlock (bass) Steve Jones (guitar) Paul Cook (drums)
  11. 11. Stanley Cohen Moral Panic Folk Devil
  12. 12. 1 December 1976 Thames Television Today
  13. 13. Punk’s expressive forms: 1. Iconography 2. Fashion 3. Gigs/dancing 4. Fandom
  14. 14. Iconography • na8onal culture – Banking crisis – Energy crisis – Unemployment crisis – Race riots
  15. 15. Sex Pistols – ‘Anarchy in the UK’ (1976)
  16. 16. The Clash – 1976 ‘Career Opportuni8es’ ‘White Riot’
  17. 17. Sex Pistols – ‘ God Save The Queen’ (1977)
  18. 18. #1 NME chart #2 UK official chart
  19. 19. Through their music and stylis8c commitment, [punks] suggested and enlarged the spaces for subversive cultural ‘play’ ... Punk proclaimed the necessity of viola8ng the quiet, everyday script of common sense. It proposed a macabre parody of the underlying idealism of ‘Englishness’ – that dour pragma8sm that sees no future beyond the present, and no present except that inherited, apparently unmodified, from the past. -­‐ Chambers, 1985: 185
  20. 20. Punk was a total cultural revolt. It was a hardcore confronta8on 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 genera8on in such a thorough way -­‐ Vale, cited in Savage, 2010: 440
  21. 21. Fashion
  22. 22. Objects borrowed from the most sordid of contexts found a place in the punks’ ensembles: lavatory chains were draped in graceful arcs across chests encased in plas8c bin-­‐liners. Safety pins were taken out of their domes8c ‘u8lity’ context and worn as gruesome ornaments through the cheek, ear or lip ... Hair was obviously dyed (hay yellow, jet black, or bright orange with tuts of green or bleached in ques8on marks), and T-­‐shirts and trousers told the story of their own construc8on with mul8ple zips and outside seams clearly displayed. -­‐ Hebdige, 1979: 107
  23. 23. Gigs/dancing
  24. 24. Slamdancing ... mirrors punk ideologies in the symbolic breakdown of order which seems to occur in the pit. The fast, counter-­‐clockwise mo8on of dancers turns the pit into a swirl of seemingly chao8c mo8on. Although slamdancers themselves do follow customs which prevent the pit from denegra8ng [sic] into actual chaos, the pit, when viewed from the outside, looks like a lawless realm. The enemy for punks is the mainstream, and slamdancing allows punks to present the threat of chaos while s8ll maintaining unity among themselves in the pit. -­‐ Tsitsos, 1999: 407
  25. 25. Fanzines
  26. 26. Actually we’re not into music …We’re into chaos -­‐ Steve Jones (Sex Pistols), in Savage, 2010: 152
  27. 27. ‘somebody had figured out how to make ar8s8cally and commercially viable pop music based on a rhythmic process outside R&B, a feat unequalled since the advent of Elvis Presley; consequently, things were fundamentally different thereater. It was a true historic disjuncture’ -­‐ Marsh 1989: 72
  28. 28. ‘there seems liale doubt that Lydon was fed material by Vivienne Westwood (McLaren’s designer partner) and Jamie Reid (the Pistol’s graphic ar8st), which he then converted to his own lyric’ -­‐ Savage 1991: 204.
  29. 29. 1. Liveness = iden8ty and reputa8on 2. Voice = blurred line between singing and speech 3. Mode of address = strong declamatory voice 4. Tempo = basic, primi8ve, breakneck
  30. 30. Cri8quing the common narra8ve of punk
  31. 31. Cri8quing the common narra8ve of punk ‘English’ punk did not rise spontaneously from below on a wave of working class anger. It was invented, constructed and perpetrated by a motley bunch of 1960s counter-­‐culturally informed radicals […], art school and other species of students[…], middle and working class musicians […] and music journalists bored with stadium rock, and disillusioned by rock’s lost radical poten8ali8es […]. -­‐ Albiez, 2009
  32. 32. Cri8quing the common narra8ve of punk Boredom with mainstream culture and ins8tu8ons is oten a characteris8c of adolescence that it is hard to suggest has a specific class or na8onal base. So within the UK punk scene of the early 1980s, youth from various socio-­‐ economic backgrounds rubbed shoulders, sharing a common interest in the poten8al for punk to become a vehicle for their personal, familial, ins8tu8onal, social, economic and/or poli8cal grievances. -­‐ Albiez, 2009
  33. 33. Images • Paul Townsend 2013 Bristol Punks 1980 • Andrew 2007 CBGB Hardcore Ma8nee • EL_M@SCO 2005 CBGB's 1973-­‐2006 • Andrew Vella 2012 Anarchy graffi8 • Todosnuestrosmuertos 2010 punk is dead • Gerry Balding 2013 Planet Punk

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