Pre-history of punk

Garage rock and mod
In the early and mid-1960s, garage rock bands that came to be recognized as punk rock's progenitors began springing up in many different locations around North America. The Kingsmen, a garage band from Portland, Oregon, had a breakout hit with their 1963 cover of "Louie, Louie", cited as "punk rock's defining ur-text".[44] The minimalist sound of many garage rock bands was influenced by the harder-edged wing of the British Invasion. The Kinks' hit singles of 1964, "You Really Got Me" and "All Day and All of the Night", have been described as "predecessors of the whole three-chord genre—the Ramones' 1978 'I Don't Want You,' for instance, was pure Kinks-by-proxy".[45] In 1965, The Who quickly progressed from its debut single, "I Can't Explain", a virtual Kinks clone, to "My Generation". Though it had little impact on the American charts, The Who's mod anthem presaged a more cerebral mix of musical ferocity and rebellious posture that characterized much early British punk rock: John Reed describes The Clash's emergence as a "tight ball of energy with both an image and rhetoric reminiscent of a young Pete Townshend—speed obsession, pop-art clothing, art school ambition".[46] The Who and fellow mods The Small Faces were among the few rock elders acknowledged by the Sex Pistols.[47] By 1966, mod was already in decline. U.S. garage rock began to lose steam within a couple of years, but the aggressive musical approach and outsider attitude of "garage psych" bands like The Seeds were picked up and emphasized by groups that were later seen as the crucial figures of protopunk.
Protopunk
In 1969, debut albums by two Michigan-based bands appeared that are commonly regarded as the central protopunk records. In January, Detroit's MC5 released Kick Out the Jams. "Musically the group is intentionally crude and aggressively raw", wrote critic Lester Bangs in Rolling Stone:
Most of the songs are barely distinguishable from each other in their primitive two-chord structures. You've heard all this before from such notables as the Seeds, Blue Cheer, Question Mark and the Mysterians, and the Kingsmen. The difference here ... is in the hype, the thick overlay of teenage-revolution and total-energy-thing which conceals these scrapyard vistas of clichés and ugly noise. ... "I Want You Right Now" sounds exactly (down to the lyrics) like a song called "I Want You" by the Troggs, a British group who came on with a similar sex-and-raw-sound image a couple of years ago (remember "Wild Thing"?)[48]
That August, The Stooges, from Ann Arbor, premiered with a self-titled album. According to critic Greil Marcus, the band, led by singer Iggy Pop, created "the sound of Chuck Berry's Airmobile—after thieves stripped it for parts".[49] The album was produced by John Cale, a former member of New York's experimental rock group The Velvet Underground. Having earned a "reputation as the first underground rock band", VU inspired, directly or indirectly, many of those involved in the creation of punk rock.[50]
In the early 1970s, the New York Dolls updated the original wildness of 1950s rock 'n' roll in a fashion that later became known as glam punk.[51] The New York duo Suicide played spare, experimental music with a confrontational stage act inspired by that of The Stooges. At the Coventry club in the New York City borough of Queens, The Dictators used rock as a vehicle for wise-ass attitude and humor.[52] In Boston, The Modern Lovers, led by Velvet Underground devotee Jonathan Richman, gained attention with a minimalistic style. In 1974, an updated garage rock scene began to coalesce around the newly opened Rathskeller club in Kenmore Square. Among the leading acts were the Real Kids, founded by former Modern Lover John Felice; Willie Alexander and the Boom Boom Band, whose frontman had been a member of the Velvet Underground for a few months in 1971; and Mickey Clean and the Mezz.[53] In Ohio, a small but very influential underground rock scene emerged, led by Devo in Akron and Kent and Cleveland's The Electric Eels, Mirrors, and Rocket from the Tombs. In 1975, Rocket from the Tombs split into Pere Ubu and Frankenstein. The Electric Eels and Mirrors both broke up, and The Styrenes emerged from the fallout.[54]
Britain's Deviants, in the late 1960s, played in a range of psychedelic styles with a satiric, anarchic edge and a penchant for situationist-style spectacle presaging the Sex Pistols by almost a decade.[55] In 1970, the act evolved into the Pink Fairies, which carried on in a similar vein.[56] With his Ziggy Stardust persona, David Bowie made artifice and exaggeration central—elements, again, that were picked up by the Pistols and certain other punk acts.[57] The Doctors of Madness built on Bowie's presentation concepts, while moving musically in the direction that would become identified with punk. Bands in London's pub rock scene stripped the music back to its basics, playing hard, R&B-influenced rock 'n' roll. By 1974, the scene's top act, Dr. Feelgood, was paving the way for others such as The Stranglers and Cock Sparrer that would play a role in the punk explosion. Among the pub rock bands that formed that year was The 101'ers, whose lead singer would soon adopt the name Joe Strummer.[58]
Bands anticipating the forthcoming movement were appearing as far afield as Düsseldorf, West Germany, where "punk before punk" band NEU! formed in 1971, building on the Krautrock tradition of groups such as Can.[59] In Japan, the anti-establishment Zunō Keisatsu (Brain Police) mixed garage psych and folk. The combo regularly faced censorship challenges, their live act at least once including onstage masturbation.[60] A new generation of Australian garage rock bands, inspired mainly by The Stooges and MC5, was coming even closer to the sound that would soon be called "punk": In Brisbane, The Saints also recalled the raw live sound of the British Pretty Things, who had made a notorious tour of Australia and New Zealand in 1965.[61] Radio Birdman, cofounded by Detroit expatriate Deniz Tek in 1974, was playing gigs to a small but fanatical following in Sydney.

Origin of the term punk
Prior to the mid-1970s, punk, a centuries-old word of obscure etymology, was commonly used to describe "a young male hustler, a gangster, a hoodlum, or a ruffian".[62] As Legs McNeil explains, "On TV, if you watched cop shows, Kojak, Baretta, when the cops finally catch the mass murderer, they'd say, 'you dirty Punk.' It was what your teachers would call you. It meant that you were the lowest."[63] The first known use of the phrase "punk rock" appeared in the Chicago Tribune on March 22, 1970, attributed to Ed Sanders, cofounder of New York's anarcho-prankster band The Fugs. Sanders was quoted describing a solo album of his as "punk rock—redneck sentimentality".[64] In the December 1970 issue of Creem, Lester Bangs, mocking more mainstream rock musicians, made ironic reference to Iggy Pop as "that Stooge punk".[65] Suicide's Alan Vega credits this usage with inspiring his duo to bill its gigs as a "punk mass" for the next couple of years.[66]
Dave Marsh was the first music critic to employ the term punk rock—in the May 1971 issue of Creem, he described ? and the Mysterians as giving a "landmark exposition of punk rock".[67] In June 1972, the fanzine Flash included a "Punk Top Ten" of 1960s albums.[68] That year, Lenny Kaye used the term in the liner notes of the anthology album Nuggets to refer to 1960s garage rock bands such as The Standells, The Sonics, and The Seeds.[69] The fanzine Bomp! also used punk in this sense.[70] In May 1973, Billy Altman launched the short-lived punk magazine.[71] Bassist Jeff Jensen of Boston's Real Kids reports of a 1974 show, "A reviewer for one of the free entertainment magazines of the time caught the act and gave us a great review, calling us a 'punk band.' ... [W]e all sort of looked at each other and said, 'What's punk?'"[72]
By 1975, punk was being used to describe acts as diverse as the Patti Smith Group—with lead guitarist Lenny Kaye—the Bay City Rollers, and Bruce Springsteen.[70] As the scene at New York's CBGB club attracted notice, a name was sought for the developing sound. Club owner Hilly Kristal called the movement "street rock"; John Holmstrom credits Aquarian magazine with using punk "to describe what was going on at CBGBs".[73] Holmstrom, McNeil, and Ged Dunn's magazine Punk, which debuted at the end of 1975, was crucial in codifying the term.[74] "It was pretty obvious that the word was getting very popular", Holmstrom later remarked. "We figured we'd take the name before anyone else claimed it. We wanted to get rid of the bullshit, strip it down to rock 'n' roll. We wanted the fun and liveliness back."[70]