History of Punk Rock MusicPunk Rock Music History
1978, the year of the birth of punk music.
In 1978, punk was in an identity crisis. In January, the Sex Pistols exploded during an American concert trip, leaving punk orphaned by its most popular group. Punk had not been accepted by the American punk community since the 1977 breakout, despite the record companies' market strategy of winning Pistols, Clash, Ramones and many other nasal-voiced punk groups and distorted guitars.
Punk had also developed outside the underground in Britain, but in 1978 the scene was already fragmented, thanks to a flood of new bands - some with commercial ambitions, others simply stimulated by DIY theory - and a quick mutation of the punk sound itself.
and at the same time as other post-punk pioneers like Joy Division and Wire, he started experimenting with the DNA of punk by cutting it down to everything from art rock and synthesizers to static and doub. Formations like Sham 69 and uncompromising anarcho-punk collectives like Crass released their debut in 1978, aimed at redefining punk in their own way.
Thus, in this glorious year, punk shrank, expanded and self-destructed, while a more subtle subgenre humbly entered battle. Although it only turned out to be an independent unit some time later, it was without doubt in 1978 that punk was founded. "Punk is in decline, he's dead," Buzzcock's front man Pete Shelley said in May 1978, as reported in Tony McGartland's book Buzzcock's: The Complete History.
The sentence can be found in an interview about her group, which makes her a little unbelievable, since Buzzcocks were a punk group and developed pretty well. While the sex guns growled and the crash played their sermons, the Buzzcocks sang with love. Their first two albums, Another Music in a Different Kitchen and Love Bites - both released in 78 - were as fast and powerful as those of their contemporaries.
Instead of dealing with the favourite themes of violence and punk politics, songs like "Fiction Romance", "I Don't Mind", "Ever Fallen in Love with Someone (You Should't ve)" and "Just Lust" were inspired by the hormonal confusion and agony of young adults. Punk at the time, when he condemned the rock aristocracy of recent years, but when Shelley picked up a guitar for the first time at the age of fifteen, his instinct led him to learn the Beatles' songbook - and this inspiration stood out in the hymns to Buzzcock's teenage torment.
He was not far from the Ramones, whose first 1976 record was a role model for all punk pops. Pain is a fundamental part of punk - but instead of singing about how to get it, Shelley painted herself vulnerable on the side of the person. Buzzcocks weren't the only punks in 1978 who weren't ashamed of their love for the Beatles - or express it in music.
Billy Idol of GenerationX confessed in an interview with the New York rocker this year: "When I was seven years old, I cut out all the photos of the Beatles from the magazines. It didn't contain a faithful and reverent Beatles artwork that the punks would snub; it went further, including a faithful and reverent artwork of a John Lennon song, "Gimme Some Truth".
Obviously Generation X didn't try to destroy the rock current as punk wanted it to be. "in 1977 ", canntavano i crash dans "1977". Mom in Ready Steady Go, ldol Cantava: "The Beatles was my lover / The Stones my lover / Bobby Dylan my lover / Rock'n' Rock my lover".
And with that another piece of the pop-punk jigsaw was put in its place: an open respect for the tradition and art of writing so much up to the kilo, often hypocritical, of everything that had come before. "I think we need to build our own culture, today's culture, and I think things like punk rock help," Idol told the New York rocker.
The rebellious spirit of punk in the 1970s, as much as it was needed, had a disadvantage. Even when it came out of the mouth of young skin and bones like Lydon or Strummer, punk was still full of the same macho arrogance of rock. Punk was male music made almost exclusively by men, and he ventilated male anger with violence and outrage.
It wasn't too different in that sense from the rock culture he claimed to overthrow. In the 78th grade, the Undertones were the most subversive. Their first single from 1978, "Teenages Kicks", was not only one of the deadliest Bubblegum Punk tracks ever written, but also a clear refusal to indulge in the beats of the chest or sermons expected of a Northern Irish Punk group.
"The songs are much more personal than commenting on a general situation like the Troubles," Undertone's guitarist and lead song writer John O'Neill said in a 1978 interview with Melody Maker. The guitars were as rough as Sham 69's, but the contrast between the rawness of punk and the sensitivity of popular music made " Teenage Kicks " a classic among the strongest and most impressive popular punk.
The clumsy-looking Undertones with their woolly sweaters and student hair didn't stick to the stereotypical punk style. The 1978 pop-punk groups were not necessarily apolitical, nor were they afraid to insult potential fans with certain positions. This year both Buzzcocks and GenerationX played at Rock Against Racism, a series of high-profile concerts organised to counter the rise of white nationalism within the punk scene and across the UK.
The controversy did not come by itself for most punk pops, at least not when it came to making music. As Idol told the New York rocker: "I don't think you can be like a political party and be a rock and roll band at the same time. It' a questionable statement, but it gives an idea of how many pop-punk groups didn't want to launch slogans.
Buzzcocks, Generation X and undertones were undoubtedly today's kind of punk, but in 1978 the distinction was not so clear. Many punk bands of that time did not despise one or two songs - sometimes ironically, sometimes seriously. while Clash' apologist for popular music, Mick Jones, wrote the sunny love song "1-2 Crush on You".
Groups like the Rezillos and the Lurkers were even closer to pop-punk and remained very punk at the same time. Two of their songs released in 1978 -"(My Baby Does) Good Sculptures" by Can't Stan the Rezillos and "Jenny" by Fulham Fallout by Lurkers-clad Liebesmelodien, while they start with a punk twist. Many of the aspiring pop-punk groups in 1978 buried themselves in power-pop, a genre that grew parallel to their time.
However, it had started earlier and was a more American phenomenon, with bands from the mid-1970s like Nerves in Los Angeles or milk'n' cookies in New York writing minimalist tormentales reminiscent of the golden age of rock'n'roll in the 1950s and 1960s. The United States still had the Ramones, the founders of punk music, and their 1978 Road To Ruin proved it by turning away from the rougher sound of their first three full-lengths.
But another American group has attacked the throne of punk by now. Dickies from the San Fernando Valley released their first record The Incredible Dickies in the same year. Dickies jokingly call their style "easy listening punk" in an interview on Sounds 1978. But in retrospect it was pure pop-punk and brought light to another side of this subgenre: a spastic, unromantic, completely nerdy side.
They stood out clearly and courageously among their contemporaries in the LA punk scene such as Black Flag, Circle Jerks and Germs, who instead let the rising tide of hardcore swell. Not far from Dickies' house, an unknown punk group rehearsed in Manhattan Beach the material that was to compose their first album in 1979.
They were called deskendents and became the spotlight of punk in the 80s, when the punk scene was dominated by hardcore and managed to build a bridge between the two. Finally popular punk could break the jerseys of the genre, especially thanks to Green Day and their 1994 released longplayer Dookie-e the sound of Buzzcocks and Undertones has come to the surface again, especially with Green Day's label mates on Lookout!
Towards the end of the millennium, a variety of groups from Teenage Bottlerocket to Ergs! had recorded and reflected on this mixture of classic US-UK and UK classic punk and adapted it to the sexual and social upheavals - and in the case of Green Days even to the political teenagers of the new millennium. Already in its formative phase in 1978 Punk was not only a lighter and more digestible version of Punk.
She was just as rebellious, only that she rebelled against punk itself: her nihilism, her bad boy pose, her contempt for the melody, the reduction of feelings, and above all, that she took herself too seriously. To some extent, post-punk punk was neither experimental nor avant-garde, but brave enough to show innocence, frivolity, romance and fun.
A few punk pops were art students, others street kids. Some wanted to be rock stars, while others wanted to go home early. What united these involuntary pioneers was the desire to see punk grow and overcome its narrowness and self-denial to reach a more universal state. "The only thing I have against punk is this notion of numbness," Billy Idol said in 1978, according to George Gimarc's book Punk Diary: 1970-1979.
"Music should be full of emotion." In the year 78, in this way, punk triumphed. Heller is the author of the upcoming book Stargles: David Bowie, Pop Music, and the Decade Sci-Fi Exploded.