1977 Punk BandsPunk Bands 1977
14-15. The Blank Generation (Sire Records 1977). e Time's Up) doppiato dal grande e controverso singolo Orgasm Addict (1977).
Let's experience the unforgettable year in which punk exploded.
It is difficult to describe the impact of punk music and culture in the late 1970s. What was punk, anyway? Punk was all that. It is quite difficult to determine a starting date for this musical genre, as the influences from which it draws are numerous and extend beyond time.
When we talk about the first wave of punk, we usually refer to the year of its explosion on the British market in 1977. This year bands like Sex Pistols, Damned and Clash created a musical phenomenon that lasted only a few years but changed the world music scene.
Obviously it is reductive and inaccurate to limit the birth of punk to 1977, and to bands like Sex Pistols. The forerunners of this genre actually go back to the New York subterranean music scene in the mid-1970s. This scene was animated by artists who were very different from each other, but generally borrowed from an iconoclastic and crude imaginary.
Groups come to Stooges, MC5, New York Dolls and Ramones. Around these bands there was a homogeneous but loving scene. Also thanks to the opening of historic clubs like CBGB's or Max's Kansas City. And dedicated fanzines, like the punk magazine founded by Legs McNeil and John Holmstrom. But most of all around them were moving characters who would carry all the energy and style of bands like New York Dolls and Ramones in the UK.
And he was in the New York scene almost by accident. McLaren was responsible for the image and communication of the New York Dolls for several months, but the dissolution of the group had ended his role as promo. The young Englishman had indeed felt that the "breaking" style characteristics of this New York niche scene could have a great influence on the English outfit.
The regular members were Glen Matlock, Steve Jones and Paul Cook: but the group couldn't find a charismatic singer to lead them. As McLaren suggested, he took in a little boy who often visited his London boutique: John Lydon. Thanks to the magnetism, clumsy voice and lyrics of Lydon, but also because of the iconoclastic and rough look McLaren created for the bands Jacquero Sex Pistols.
to blow up British punk. The first concert of the group took place on 6 November 1975. Since her first appearance in English clubs, Sex Pistols have attracted the attention of the press and young Londoners. Their lightning-fast success on the London Underground was so great that they immediately produced epigones.
In fact, two other legendary groups of English punk were born almost in parallel. Both groups were followed by former McLaren-Andy Czezowski assistants, and Bernie Rhodes-e pursued, albeit with stylistic differences, the furrow of the Lydon led group. The British company of the second half of the 70s was perfect to absorb the effects of punk.
And the coarse and mocking provocations of punk were simply the perfect innovation. On September 20 and 21, 1976, the 100th Club Punk Rock Festival took place in London, creating a huge following, and just two months later, almost simultaneously, two groundbreaking singles appeared: Damned's New Rose and Sex Pistols' Anarchy in Britain.
This chain of events caused the explosion that set England on fire for the next two years from 1977 onwards. London punk was no longer a niche market cultivated in its own clubs. As the Sex Pistols shook society with their performances - such as an interview with the BBC and the Thames concert on God Safe the Queen's jubilee notes for Queen Elizabeth - new scenes emerged across the country.
But in general the spread of new bands was unstoppable: bands like The Adverts, Alternative TV, The Jam, Sham 69, Stiff Little Fingers and X-Ray Spex were born. It also laid the foundation for a phenomenon of custom that spread around the world and would go through various phases of mutation over time (such as the explosion of Californian hard-core) punks in the 1980s and the commercial success of 90s hard-core).
1977 was the year in which punk settled: group rituals such as pungo (the violent dance in which the audience dared to perform) and the doctrine of no future were born. But most of all 1977 was the year when punk from England came to the whole world.
First in the USA - with the emergence of iconic bands like Germs and Pagan - and then throughout Europe. But the punk culture wasn't just a musical and fancy-dress push. The punk movement that emerged from the 77 was strengthened in the 80s in the United States and took on much deeper contours.
Especially with regard to the commercial culture, which the youth subculture had always grasped. Punk, born in 1977, was a rather indigestible movement that was sent down by Western consumer culture. In the 80s the culture of Do It Yourself spread in the United States among the representatives of hard-core punk.
The young bands founded their own independent record labels, which also took over distribution and communication, thus negating the power of the big bands to control the market. It was an epochal change: the scene managed itself and showed how a subculture could remain itself without compromising.
Three were the flagships of this movement. Thanks to this system, punk groups could guarantee their freedom of expression. Independent labels produced aspiring bands without censoring or directing their work. In fact, punk had taken on politically and socially engaged contours in the 1980s and moved away from initial nihilism.
There are many books and documentaries to deepen the punk culture. A retrospective of the scene that triggered the whole sentence. Very interesting are therefore the autobiography of Johnny Rotten-No Iranian, no black people, no dog and the documentary The great rock'n'roll swingindle, which tell very well the London scene of 1977.
Then there is the documentary The Obsessed: which contains many interviews with the protagonists of American die culture in the 90s.