Punk cultures magic.docx
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Punk cultures magic.docx
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Punkculturesmagic
ChrisBrennan
COMM258
DavidDroge
ResearchPaper
TheCulturalLegacyofPunk
Punkculturehasbeenregardedasasocietalphenomenon,whichmanyhavebelievedbeganandendedinBritain.Contrarytothisthought,punkhasbeenavivifyingforceintheglobalyouthculture.Ithasundergonemanystagesandbeenenhancedthroughoutitsongoingpresenceintoday’spopularculture.Althougheveryonecanrecognizepunkmusicfromitsaggressivebeatsandlyrics,fewknowabouttheculturallegacythatpunkhascreatedintheworld.Inordertotrulyunderstandpunkanditsinfluenceontheworld,anexaminationofthepopularculturewillbemadeinordertobetterunderstandtherisingsensationofpunkculture.
Punk’srootscanbetracedbacktotheUSgaragebandsceneof1965to1968,atimewhentherewas“atransitionalperiodinthedevelopmentofAmericanRock‘n’Roll,theyearsbetween[the]Beatles/[Rolling]Stone-ledinvasionand[the]SanFrancisco-basedrockrenaissance”(Bennett,59).Possessinglittlemusicalskill,garagebandshadlittleknowledgeoftheguitar,bass,anddrumsandtypicallyplayedathighschooldanceswerethewouldputtheirlimitedmusicalskillstogether.Interestingaragebandsdeclinedlittlebylittle,andtheUSyouthbecameinterestedinamorepoliticallyorientatedrockmusic.However,inthemid-1970sNewYorkmusicianssuchasPattiSmith,RichardHell,andtheTalkingHeadsrevivedthegaragebandethic.Withtheriseofthesemusicians,theterm‘punk’andconnotationsof‘goodfornothing’lazy,arrogant,andantisocial,startedtobetossedaroundtherisingNewYorkundergroundpunkscene.ManysawtheNewYorkpunksceneasarejectionofthethencomplexrockandroll,“itwassmall-clubmusic,playedinastraightforward,musicallyuncomplexfashion”(Bennett,59).However,thepunkscenewasalsobeingcarriedoutinBritain.
Punkstyleandmusictrulycametotheworld’sattentionduetothepublicizedanticsoftheSexPistols.In1976theSexPistolsreceivedtheirbigbreakonaneveningtelevisionshowinwhichtheycalledthehosta“dirtyfucker”duringaliveinterview.ThiseventwouldforeverputpunkandtheSexPistolsonthemap(Moore,307).BecauseofthebehavioroftheSexPistols,thegeneralpublicquickly“diagnosed[punk]notasanewmusicstylebutasasocialproblem”(Bennett,61).Sixmonthslater,thebandwouldreleasetheirfirstsingletitled“GodSavetheQueen”,whichwouldbeseenasanattackonthemonarchyandBritishnationalism.Asaresultofthisanti-nationalism,manyrecordshopsinBritainrefusedtosellthisrecord.Eventually,thesongwenttonumberoneintheBritishchartsandremainedthere.Duetothebanningof‘GodSavetheQueen’themusicindustryincreasedthecontroversysurroundingthesong,instructing“anyonewithaccessto[‘GodSavetheQueen’]thatitseffectsonthemwouldbetotallydifferentfromtheleisurepleasureprovidedbythecontextofdaytimeradio…”(Laing,38).ThisrejectionofthesongwouldpeaktheyouthofBritain’sinterestandwouldstartthecreationandriseofpunkculture.
TheSexPistols’musicdenouncedoldrockandroll,andinsteadurgedado-it-yourselfethic.DavidBryne,leaderoftheTalkingHeads,madetheobservationthat,“Punkwasn’tamusicalstyle,oratleastitshouldn’thavebeen…itwasmoreakindofdoityourself-anyonecandoit’attitude.Ifyoucanonlyplaytwonotesontheguitaryoucanfigureoutawaytomakeasongoutofthat”(citedintheBBCTVseriesDancingintheStreets,broadcastinJuly1995).ThisattitudewasclearlyseenintheSexPistols’musicatthetimeasthebegantosingagainstcommercialismandinsteadsanginaworkingclassdialect,“whiletherestofthebandflauntedtheirineptitudeasmusicians,makingnoisesthatwerelouder,faster,andnosierthananythingmostaudienceshadheard”(Moore,312).Thistypeofloudnesswouldbetheultimateexampleofpunkmusicandwouldbewhatwouldmakepunkpopularamonglatergenerations.
Bythe1980stheBritishpunkscenehadessentiallydisappeared,however,punkwastakingtheworldatstormandhadbecomeacoherentpoliticizedmovement.Thisglobalpunkcombined“aspectsoftheBritishpunkstyleandethicwithanoutlookframedbylocalissuesandconcerns”(Bennett,68).ManyofthepunkmovementsthroughouttheworldsimplyincorporatedtheBritishpunkideology,butthenaddedmorelocalandsignificantissuestotheideologyaswell.InNewYork,thepunkscenewasripewithculturaldeconstructionthroughtheuseofrecycledmediaimagesandcommercialdisplays.ThebandtheRamonesexhibitedthistypeofdeconstruction.Onstagethey“appearedasthestereotypicaljuveniledelinquentseenin1950sBmovies,outfittedinblackleatherjackets,rippedbluejeans,bikersunglasses,smallT-shirtswithcartoonlogos,andmophaircuts”(Moore,313).Theirmusicwouldexemplifythedo-it-yourselfethicandtheirsongswouldpersonifythe“idiocyandpurposelessnessofyoungpeopleraisedonjunkfood,shoppingmalls,cigarettes,andamphetamines”(Moore,313).
Becauseofthepunksceneyoungkidsbegantostarttheirownband,fanzines,andtheyevenattemptedtocreatetheirownindependentrecordlabels.Followingthisdo-it-yourselfethic,severalpunkbandsbegantoform,eventhoughthemembersofthebandshadlittleexperience.Becauseoftheplethoraofbands,countlessopportunitiesbegantobecreatedforwomen.LucyToothpasterecountedthat“Punkdidn’tdomuchtochallengemalesexualityorimage…butintheearlydaysitdidgivealotofwomenconfidence…womenweresingingabouttheirownexperienceinawaywhichIdon’tthinkthey’ddonebefore”(quotedinSavage,418).Punkwasn’tsexist,itallowedforwomentoparticipatejustasreadilyasmen.
Afterthis,aseriesofdeviationswasmadewithpunkcultureandseveralsub-cultureswerecreated.However,itismoreimportanttolookatthetruebeginningofpunkratherthanexaminingotherformsofpunksuchashardcore,poppunk,cyberpunk,etc.Knowingthebackgroundofpunkculture,it’simportanttonotethatatthetimeinwhichpunkhadbeencreated,thekidswhoparticipatedinpunkwereseenasdegeneratesandsocialdeviants.Thisviewtypicallyarosefromtheaggressiveandloudmusicthatmanyofthepunkslistenedtoatthetime.Aspreviouslymentioned,manypeoplesawbandsliketheSexPistolsaslewdandobscene.Whatisimportantaboutthehistoryofpunkisthewayitallbegan,withthemusic.Inordertobeapartofthepunkculture,apersonmustfirstbeintomusicthatisshort,simple,andnotmusicallycomplicated.Typically,asseenbyBritishpunk,themusicisaggressiveandthelyricsofthesongsareoftenprovocativeandchallengecertainidealsintheworldtoday.Forinstance‘GodSavetheQueen’challengedBritishnationalism.Oftenthesongshavelyricsthatexpresspunkvaluesandideologies.
Oneofthebiggestvaluesattherootofpunkcultureisthedo-it-yourselfethic.Thisethiciswhattrulyinspiredthepunkcultureandiswhatallowedpunktoexpandglobally.Peopleeverywheretookupaguitarandcreatedabandinwhichtheysanglyricsaboutwhataffectedthemmost(Moore,322).Aspreviouslystated,manytooktowritingaboutpunkbycreatingtheirownfanzines.Thisethiciswhatreallyallowedpunktothrivebecause,inessence,ithelpstokeepthemusicgoing.Itisawayforpeopletojuststartplaying,hitthestage,andexpresstheirideals.Soon,“thislackofprecisionandpolishbecameanintegralelementofPunkmusic.Overtime,eventhosewhodidplaywellself-consciouslyintroduceddissonanceandspontaneousmistakesintotheirplaying”(Lack).Youweren’tpunkunlessyoudidityourselfandstartedtoplaymusicthatwasn’taspolishedasmainstreammusic.Inordertoidentifyyourselfaspunk,youhadtotrulylistentothetypeofmusicandappreciateitssimplicity.
Punk’sdo-it-yourselfattitudeisalsointertwinedwithanotherbeliefofthepunkculture,theconvictionthatyoushouldn’tsellout.Sellingoutsimplymeansbecomingmainstreamandmakingmoney.Punks“despisemusiccreatedandpromotedthroughthecommercialmusicindustry”(Mattson,2001).Inaccordancetothishateofsellingoutmanypunksapplythe“do-it-yourself(DIY)attitude,developingalternativeproductionanddistributionmethodsthatbypassedthepowerfulcorporationsaltogether”(Mattson,2001).Thisisveryimportanttothepunkcultureandusuallythemoreundergroundandunknownapunkbandis,thebetterofftheyare.Thisimpliesthatalthoughpunkisagrowingphenomenon,itisonethatwouldratherremainundergroundtothemainstreampopculture.Atonepointwhenpunkwasfirststartingout,thisnotionofbeingundergroundchallengedthestardomthatisoftenequatedwithrockandroll.Punksthrewawaythelavishlifestylethatmanyrocksuperstarsledinordertokeepthemselvesunderground;theydid,andstilldo,whateverittakestonotsellout.
Anadditionalvaluethatsomepunksholdisanihilisticviewoflife,asseeninbothBritishpunksandUSpunks.TheBritishscreamedaboutnofuture,whereasthepunksintheUSwereunconcernedwiththepresent.Manywhotooktothenihilistview“embracedharder,moreself-destructive,consciousness-obliteratingsubstanceslikeheroin,orhyperconsciousmethamphetamine.ThesepowerfullyaddictivesubstancesweretypicalPunk"allornothing"responsestomainstreamculture”(Lack).Allofthiswasduetothefactthatthenihilistwantedtobeconsumers,conduitsfordrugs,andsex.ThosewhoembracedthenihilistideologyweretypicallymoreaggressivethanthosewhobelievingintheDIYethic.Theybroughtsex,paraphernalia,andbondagetoth
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