The punk was the branch of culture that was produced in London, England. Initially, the punk group was always disturbed by the group skinhead. But, since 1980 S, when the very angry punk in America, the punk group and skinhead apparently was connected, because of having the same spirit. But, the Punk also could mean well for the musical comedy or the style that was produced in the beginning of 1970 S. Punk could also mean the ideology lived that including the aspect and social politics. The child's young movements that were preceeded by this child of the employee's class straightaway passed America that experienced the problem of economic knowledge and finance that were triggered by the decline in morale beside the foremost sum politics that triggered the rate of the unemployment and high criminality. The punk tried tempted pengasa by the implement he himself, through the song with music The movement of the young child who was preceeded by these children of the worker's class straightaway cleared America that experienced the problem of economics and finance that were triggered by the moral decline by the leading figures of politics that triggered the rate of unemployment and criminality
Many that misinterpreted the punk as glue sniffer and rioters because in England the plague of the use of smelly glue sharply to replace beer that was not bought by them had happened. Many also that damaged the punk image because many of the they who roamed about in the street and carried out various criminal acts. The punk was more famous concerning fashion that was put on and the behaviour that was shown by them, like the hair discount mohawk in the style of the ethnic group indian, or was cut off in the style of feathercut and was coloured with clear colours, shoes boots, the chain and spike, the skin jacket, tight jeans trousers and shabby clothes, anti establishment, anti social, rioters and criminal from the low class, the drunkard was dangerous so as many that thought that the person that have an appearance like that has been appropriate to be mentioned as punker. The movement of the young child who was preceeded by these children of the worker's class straightaway cleared America that experienced the problem of economics and finance that were triggered by the moral decline by the leading figures of politics that triggered
The punk also was a movement of the child's young opposition that based on from the conviction we can do it ourselves. The assessment of the punk in seeing a problem could be seen through his song lyrics that told about the problem of politics, the environment, economics, the ideology, social and even the problem of the religion.
Thursday, February 19, 2009
Sunday, February 15, 2009
Punk Hairstyles
I will tell you about some of the most weird hair cuts I've seen to this day, and maybe some you see every day, but they're all punk hair cuts nevertheless. Used by women, men, teenagers and even some children!
You're different, you're tough, you're matchless… you're punk! You're yourself! And you want everyone to know it. You need hair cut styles that most people don't see in a lifetime. You need to leave you're mark. You need good punk hair ideas.
The Mohawk. I think this is the most common of them all, but with some creative innovations it can be reinvented all from the start. Instead of dying your hair plain yellow, try painting something different. I once saw a woman with cheetah patterns on the sides of her 6" Mohawk which made it very different from all the others. Scarlet red, electric blue or others might do the work but look for something unique.
Spikes, also on the list of common punk hair cuts. But as the Mohawk, with creative ideas you can make them look as you want. My brother left the house the other day with eight or ten 7" Spikes covered in aluminum. That was so crazy! Although it was for a Halloween party, everyone saw that hair as if they had never seen Spikes in their life.
The Big Guns
I have no names for these, but I will describe them as so.
I saw a woman wearing this hair style. She had long straight hair, but she shaved parts of it. She had like half of her hair shaved except right over her ear; she kept that hair long but dyed yellow. The other half she had a part or her hair shaved but it was minimum and she wore her hair sideways toward the shaved part. Really crazy but the style looked good on her, perhaps because she showed confidence.
This one works for short hair styles. Parts of the hair being shaved, and the parts where hair has been left, tie a little pony tail making that piece of hair to spring up in the air. Dying your hair red or blue gives it a special look. There are a lot more hair cuts for punks but I'll talk about those on another article.
You're different, you're tough, you're matchless… you're punk! You're yourself! And you want everyone to know it. You need hair cut styles that most people don't see in a lifetime. You need to leave you're mark. You need good punk hair ideas.
The Mohawk. I think this is the most common of them all, but with some creative innovations it can be reinvented all from the start. Instead of dying your hair plain yellow, try painting something different. I once saw a woman with cheetah patterns on the sides of her 6" Mohawk which made it very different from all the others. Scarlet red, electric blue or others might do the work but look for something unique.
Spikes, also on the list of common punk hair cuts. But as the Mohawk, with creative ideas you can make them look as you want. My brother left the house the other day with eight or ten 7" Spikes covered in aluminum. That was so crazy! Although it was for a Halloween party, everyone saw that hair as if they had never seen Spikes in their life.
The Big Guns
I have no names for these, but I will describe them as so.
I saw a woman wearing this hair style. She had long straight hair, but she shaved parts of it. She had like half of her hair shaved except right over her ear; she kept that hair long but dyed yellow. The other half she had a part or her hair shaved but it was minimum and she wore her hair sideways toward the shaved part. Really crazy but the style looked good on her, perhaps because she showed confidence.
This one works for short hair styles. Parts of the hair being shaved, and the parts where hair has been left, tie a little pony tail making that piece of hair to spring up in the air. Dying your hair red or blue gives it a special look. There are a lot more hair cuts for punks but I'll talk about those on another article.
Friday, December 19, 2008
PUNK
In 1976 the emergence of Punk sent the culture into a moral
panic from which it has never fully recovered. It was twenty
years ago this month that saw the Sex Pistols appear on the
Bill Grundy ‘Today’ show and stun the British public with
remarks like ‘You Dirty bastard’, and ‘You dirty fucker’. And
it was this event more than any other that catapulted Punk from being a
musical revolution to an assault on each and every cherished institution. And
eventually into a mainstay of the tabloid press.
Over the space of a year—from the Sex Pistols’ first London show in
February of ’76—to the first ‘proper’ Punk single (The Damned’s ‘New Rose’),
to the long delayed release, and rapid withdrawal, of the Sex Pistols’ first single
in November, Punk had put a stamp on its time as few movements have
managed to do. By the end of the following year the Punk style had ossified
into a uniform (as John Lydon, aka Rotten, had ruefully remarked ‘Become
a Punk, join the army’) and the Sex Pistols were within a fortnight of breaking
up for good. Many purists would later claim that they were finished as
a band by January of 1977—when Glen Matlock was ousted—but it is also
true that it was only after they had become a spent force musically that they
were to perfect their Style.
And the Style was, of course, the thing. It was to be a style that laid
the ground rules for street credibility for the next fifteen years; and it was
the stylised slogans of ‘Anarchy’ and ‘Destruction’ that created a template
for all future political dissatisfactions. This style was so much more than a
restrictive dress code, though it was that as well: it was a potent bundle of
inescapable attitudes. For one whose mind-set was created during this time
only the itchy hair-shirt of socio-political anxiety would seem real, would
seem psychologically well-dressed.
It was this that became the great legacy of the Punk explosion. To be
authentic was to be hunted into the shadows of one’s bedsit. There was a
gentle crackle of paranoia that could be heard underneath everything—the
hiss in a telephone, an open line through to the apocalypse.
The previous ‘hippie’ mentality was swept away, along with the San Francisco
light that had given birth to it. Punk thrived best in the gloom of
London. Rubbishy skies, pissing rain, and the litter of urban fear blowing
through the streets. Perhaps this was why Melbourne, more than any other
Australian city, took Punk so to heart. Melbourne was the closest thing that
Australia had to the suicide-skies of London. But Melbourne had something
else as well: it was an intellectual city—and Punk was quintessentially an
intellectual movement.
Of all of the journalistic misunderstandings of Punk this is one of the
greatest: that Punk was a dumb and semi-literate movement. In reality it
was neither. The misunderstanding arises because journalists easily believe
their own news stories, and the story of the time was that the Sex Pistols
were the creators of Punk—and the Sex Pistols were dumb. As a consequence
(it is thought) the movement died when they separated—under the weight,
presumably, of their collective stupidity.
Malcolm MacLaren and John Lydon have gone to great lengths to promote
this conception of their respective starring roles—while simultaneously
denying the cause by talking-up their IQ’s. But even writers like Jon Savage—
who should know better—have been unable to resist the idea that Punk was
over by late 1978.
But Punk did not start with the Sex Pistols and it didn’t end with them
either. And its creative ambitions were not limited to theirs. One of the great
anthems of the Punk movement was Richard Hell’s ‘Blank Generation’ and
it was written by March of 1975—before the Sex Pistols had even formed.
And Patti Smith’s album ‘Horses’ was released in 1975, itself some three
years after the first Roxy Music album—and both could lay claim to being
proto-punk.
In fact Richard Hell was even responsible for the standard Punk hair
cut—the razor-slashed tuft that was the regulation hair style of the late 70’s,
until it was dyed black and grew out (and up) to become the look of the
early Eighties. The latter became the style for The Cure, Echo and the Bunnymen,
Nick Cave, Siouxsie Soux, The Jesus and Mary Chain, The Church
and scores of others. And Richard Hell had copied the look from a famous
picture of the very young, Nineteenth Century French poet, Arthur Rimbaud.
He had even taken his name from Rimbaud’s longest poem, A Season in Hell.
The literary connections, particularly with the French bohemians, run
through Punk from the beginning to its end. Richard Hell’s confr`ere in Television
changed his name to Tom Verlaine because ‘Verlaine’ was the name
of Rimbaud’s best friend. The Cure not only took the theme from Camus’
The Outsider as the basis for an early song, they even lifted one of Baudelaire’s
poems and used it (uncredited) as the lyric to a song.1 In fact most of
Maclaren’s political slogans were taken directly from the French anarchists
Situationist Internationale. Even the ransom-note style lettering of the Sex
Pistols’ album came from this group. And it is hard to think where Punk
would have been without the plays of Samuel Beckett—even if they had, by
that time, been processed through the television show Steptoe and Son.
But if Punk was never as dumb as it seemed, it is certainly true that there
were conflicts within it that made it hard to decode—even for Punks themselves.
How well did the Nazi iconography—the swastika arm-bands, the SS
badges, the Hitler salutes—go with the Left-wing rhetoric taken from the
Situationist Internationale? The confusion this caused was so great in 1977
that skinheads of the National Front thought that Punks were with them one
hundred percent. It took a lot of fast talking byMacLaren and others to convince
people that Punk was out to destroy everything—but in a good way!
The consequent back peddling from all concerned ultimately led to everyone
trying to outdo one another in political correctness. Mick Jones was a case
in point: he had been in a band called London SS in 1976 but by ’77 found
himself fronting The Clash—the most ideologically correct band of its, or any
other, time.2 (It was The Clash’s manager, Bernie Rhodes, who had fallen out
with MacLaren over The Swastika Issue—Rhodes’ mother was a Holocaust
survivor.)
In truth the Swastika imagery was chosen for purely aesthetic reasons.
Put simply it was felt to be sexy. This was an integral part of the culture of
the times, and is now easily forgotten. Liliana Cavani’s film The Night Porter
was made in 1973 and was playing in Art House cinemas the world over for
the next ten years—and Pasolini’s Salo was made in 1975. The ineluctable
sexiness of the SS was a Theorem of the culture of the time. The National
Front—literal-minded clods that they were—mistook all of this for a political
1Homework exercise hint: it is on the Kiss Me, Kiss Me, Kiss Me album.
2Incidentally, London SS eventually turned into Tony James and Billy Idol’s Generation
X. Idol has since been immortalised as the plain original of Buffy’s Spike (William, the first
name of both). Tony James later renewed the SS connection by forming the band Sigue Sigue
Sputnik.
In reality Punk was an almost purely aesthetic movement. Those who
took the politics seriously—whether on the left or the right—showed a certain
naivet´e in reading the cultural messages. The band that understood all of
this the best were The Birthday Party—they didn’t succumb to the easy political
pieties of The Clash or The Jam. They remained supremely contemptuous
of everything.
Not only was British Punk not essentially political it was also—contrary
to its own pronouncements—downright patriotic. If the music was fuelled by
anything it was by a revulsion for American West Coast Rock—The Eagles,
Jackson Browne, etc—and a desire to return to a more raucous version of
British Mod. In fact Punk was Mod shorn of its Soul and R & B roots.
Rattled out at breakneck speed it was picking up the thread of The Kinks’
‘You Really GotMe’ and The Who’s ‘My Generation’. And just as with Mod,
Union Jack flags were worn on everything. Nor could the little twist of irony
that was added, disguise the feeling of pride that London was once again the
Style Capital of the Universe.
But Punk added something new and lasting to its cocktail of ’60s influences.
The idea that all culture is simply trash—to be used and disposed
of—would have been completely unthinkable in the Sixties—except perhaps
to a few duffle-coated odd-balls in the Art Colleges. Irony, particularly in the
culture of Pop music, was in very short supply. Punk changed this for the
next twenty years. All culture—even youth culture—was detritus. There was
nothing to believe in—and there was nothing that was any good. There was
3The whole issue of Punk’s relation to Fascist imagery needs an article to itself: it was
Maclaren—himself half-Jewish—who had first promoted the Swastika imagery through his
shop Sex. By 1978, however, tolerance for this kind of posturing was beginning to get thin.
Late in that year Julie Burchill—then only 19—wrote a scathing review of Siouxsie Sioux,
chastising her for anti-Semitism. ‘I keep seeing,’ she wrote, ‘Siouxsie up there in her swastika
armband making nothing but a fashion accessory out of the death of millions of people.’
When the Red Wedge—think Billy Bragg—effectively took over in 1981, Punk had split into
an aesthetic movement on one side—think Goth—and a political movement on the other. The
latter made Communismmore loved in theWest than by then it was in the East: it became very
uncool then to mention the Soviet Gulags, or the Communist-world’s persecution of writers.
And that same self-loathing and airy arrogance that led middle-class children to embrace a
philosophy in which they piously hoped that someone would come along and take away their
every freedom became the chic-schtick of the next twenty years. Still is.
(As a side-note: it was Siouxsie Sioux who had been the object of Bill Grundy’s lust before
the television show in 1976, and that had caused the Sex Pistols to hurl abuse at him on
camera. She was part of the Pistol’s early entourage, and, though she was not wearing a
swastika arm-band on that occasion, another in the entourage was, and it was plainly visible
on camera.)
4
just the shuffling of Styles in ever more elaborate recombinations.
As an artistic credo this could have been a liberating idea—and for many
it clearly was. But for the audience it caused—and continues to cause—an
odd kind of paralysis. How can I like something that says that there’s nothing
to like? In what ways am I allowed to like it? If I like it, don’t I betray it?
The standard psychological response to this paradox is to resort to irony,
or shudder, quotes. I “like” this even though nothing is really worth liking.
Ultimately these shudder quotes have taken over the world. They book-end
every sentiment. They age everything—sitting like crow’s feet at the edge of
the world.
Irony has become a kind of marinade in which trash culture can be enjoyed
without the need to believe that it is good. Melrose Place and Barbie
Dolls and Brit Pop and Grunge fashion and so on and on. . . These are all
the continuation of Punk culture. Punk didn’t die, it became everything. And
irony is the ghost of Punk.
Or should I say: Irony is the “ghost” of Punk.
panic from which it has never fully recovered. It was twenty
years ago this month that saw the Sex Pistols appear on the
Bill Grundy ‘Today’ show and stun the British public with
remarks like ‘You Dirty bastard’, and ‘You dirty fucker’. And
it was this event more than any other that catapulted Punk from being a
musical revolution to an assault on each and every cherished institution. And
eventually into a mainstay of the tabloid press.
Over the space of a year—from the Sex Pistols’ first London show in
February of ’76—to the first ‘proper’ Punk single (The Damned’s ‘New Rose’),
to the long delayed release, and rapid withdrawal, of the Sex Pistols’ first single
in November, Punk had put a stamp on its time as few movements have
managed to do. By the end of the following year the Punk style had ossified
into a uniform (as John Lydon, aka Rotten, had ruefully remarked ‘Become
a Punk, join the army’) and the Sex Pistols were within a fortnight of breaking
up for good. Many purists would later claim that they were finished as
a band by January of 1977—when Glen Matlock was ousted—but it is also
true that it was only after they had become a spent force musically that they
were to perfect their Style.
And the Style was, of course, the thing. It was to be a style that laid
the ground rules for street credibility for the next fifteen years; and it was
the stylised slogans of ‘Anarchy’ and ‘Destruction’ that created a template
for all future political dissatisfactions. This style was so much more than a
restrictive dress code, though it was that as well: it was a potent bundle of
inescapable attitudes. For one whose mind-set was created during this time
only the itchy hair-shirt of socio-political anxiety would seem real, would
seem psychologically well-dressed.
It was this that became the great legacy of the Punk explosion. To be
authentic was to be hunted into the shadows of one’s bedsit. There was a
gentle crackle of paranoia that could be heard underneath everything—the
hiss in a telephone, an open line through to the apocalypse.
The previous ‘hippie’ mentality was swept away, along with the San Francisco
light that had given birth to it. Punk thrived best in the gloom of
London. Rubbishy skies, pissing rain, and the litter of urban fear blowing
through the streets. Perhaps this was why Melbourne, more than any other
Australian city, took Punk so to heart. Melbourne was the closest thing that
Australia had to the suicide-skies of London. But Melbourne had something
else as well: it was an intellectual city—and Punk was quintessentially an
intellectual movement.
Of all of the journalistic misunderstandings of Punk this is one of the
greatest: that Punk was a dumb and semi-literate movement. In reality it
was neither. The misunderstanding arises because journalists easily believe
their own news stories, and the story of the time was that the Sex Pistols
were the creators of Punk—and the Sex Pistols were dumb. As a consequence
(it is thought) the movement died when they separated—under the weight,
presumably, of their collective stupidity.
Malcolm MacLaren and John Lydon have gone to great lengths to promote
this conception of their respective starring roles—while simultaneously
denying the cause by talking-up their IQ’s. But even writers like Jon Savage—
who should know better—have been unable to resist the idea that Punk was
over by late 1978.
But Punk did not start with the Sex Pistols and it didn’t end with them
either. And its creative ambitions were not limited to theirs. One of the great
anthems of the Punk movement was Richard Hell’s ‘Blank Generation’ and
it was written by March of 1975—before the Sex Pistols had even formed.
And Patti Smith’s album ‘Horses’ was released in 1975, itself some three
years after the first Roxy Music album—and both could lay claim to being
proto-punk.
In fact Richard Hell was even responsible for the standard Punk hair
cut—the razor-slashed tuft that was the regulation hair style of the late 70’s,
until it was dyed black and grew out (and up) to become the look of the
early Eighties. The latter became the style for The Cure, Echo and the Bunnymen,
Nick Cave, Siouxsie Soux, The Jesus and Mary Chain, The Church
and scores of others. And Richard Hell had copied the look from a famous
picture of the very young, Nineteenth Century French poet, Arthur Rimbaud.
He had even taken his name from Rimbaud’s longest poem, A Season in Hell.
The literary connections, particularly with the French bohemians, run
through Punk from the beginning to its end. Richard Hell’s confr`ere in Television
changed his name to Tom Verlaine because ‘Verlaine’ was the name
of Rimbaud’s best friend. The Cure not only took the theme from Camus’
The Outsider as the basis for an early song, they even lifted one of Baudelaire’s
poems and used it (uncredited) as the lyric to a song.1 In fact most of
Maclaren’s political slogans were taken directly from the French anarchists
Situationist Internationale. Even the ransom-note style lettering of the Sex
Pistols’ album came from this group. And it is hard to think where Punk
would have been without the plays of Samuel Beckett—even if they had, by
that time, been processed through the television show Steptoe and Son.
But if Punk was never as dumb as it seemed, it is certainly true that there
were conflicts within it that made it hard to decode—even for Punks themselves.
How well did the Nazi iconography—the swastika arm-bands, the SS
badges, the Hitler salutes—go with the Left-wing rhetoric taken from the
Situationist Internationale? The confusion this caused was so great in 1977
that skinheads of the National Front thought that Punks were with them one
hundred percent. It took a lot of fast talking byMacLaren and others to convince
people that Punk was out to destroy everything—but in a good way!
The consequent back peddling from all concerned ultimately led to everyone
trying to outdo one another in political correctness. Mick Jones was a case
in point: he had been in a band called London SS in 1976 but by ’77 found
himself fronting The Clash—the most ideologically correct band of its, or any
other, time.2 (It was The Clash’s manager, Bernie Rhodes, who had fallen out
with MacLaren over The Swastika Issue—Rhodes’ mother was a Holocaust
survivor.)
In truth the Swastika imagery was chosen for purely aesthetic reasons.
Put simply it was felt to be sexy. This was an integral part of the culture of
the times, and is now easily forgotten. Liliana Cavani’s film The Night Porter
was made in 1973 and was playing in Art House cinemas the world over for
the next ten years—and Pasolini’s Salo was made in 1975. The ineluctable
sexiness of the SS was a Theorem of the culture of the time. The National
Front—literal-minded clods that they were—mistook all of this for a political
1Homework exercise hint: it is on the Kiss Me, Kiss Me, Kiss Me album.
2Incidentally, London SS eventually turned into Tony James and Billy Idol’s Generation
X. Idol has since been immortalised as the plain original of Buffy’s Spike (William, the first
name of both). Tony James later renewed the SS connection by forming the band Sigue Sigue
Sputnik.
In reality Punk was an almost purely aesthetic movement. Those who
took the politics seriously—whether on the left or the right—showed a certain
naivet´e in reading the cultural messages. The band that understood all of
this the best were The Birthday Party—they didn’t succumb to the easy political
pieties of The Clash or The Jam. They remained supremely contemptuous
of everything.
Not only was British Punk not essentially political it was also—contrary
to its own pronouncements—downright patriotic. If the music was fuelled by
anything it was by a revulsion for American West Coast Rock—The Eagles,
Jackson Browne, etc—and a desire to return to a more raucous version of
British Mod. In fact Punk was Mod shorn of its Soul and R & B roots.
Rattled out at breakneck speed it was picking up the thread of The Kinks’
‘You Really GotMe’ and The Who’s ‘My Generation’. And just as with Mod,
Union Jack flags were worn on everything. Nor could the little twist of irony
that was added, disguise the feeling of pride that London was once again the
Style Capital of the Universe.
But Punk added something new and lasting to its cocktail of ’60s influences.
The idea that all culture is simply trash—to be used and disposed
of—would have been completely unthinkable in the Sixties—except perhaps
to a few duffle-coated odd-balls in the Art Colleges. Irony, particularly in the
culture of Pop music, was in very short supply. Punk changed this for the
next twenty years. All culture—even youth culture—was detritus. There was
nothing to believe in—and there was nothing that was any good. There was
3The whole issue of Punk’s relation to Fascist imagery needs an article to itself: it was
Maclaren—himself half-Jewish—who had first promoted the Swastika imagery through his
shop Sex. By 1978, however, tolerance for this kind of posturing was beginning to get thin.
Late in that year Julie Burchill—then only 19—wrote a scathing review of Siouxsie Sioux,
chastising her for anti-Semitism. ‘I keep seeing,’ she wrote, ‘Siouxsie up there in her swastika
armband making nothing but a fashion accessory out of the death of millions of people.’
When the Red Wedge—think Billy Bragg—effectively took over in 1981, Punk had split into
an aesthetic movement on one side—think Goth—and a political movement on the other. The
latter made Communismmore loved in theWest than by then it was in the East: it became very
uncool then to mention the Soviet Gulags, or the Communist-world’s persecution of writers.
And that same self-loathing and airy arrogance that led middle-class children to embrace a
philosophy in which they piously hoped that someone would come along and take away their
every freedom became the chic-schtick of the next twenty years. Still is.
(As a side-note: it was Siouxsie Sioux who had been the object of Bill Grundy’s lust before
the television show in 1976, and that had caused the Sex Pistols to hurl abuse at him on
camera. She was part of the Pistol’s early entourage, and, though she was not wearing a
swastika arm-band on that occasion, another in the entourage was, and it was plainly visible
on camera.)
4
just the shuffling of Styles in ever more elaborate recombinations.
As an artistic credo this could have been a liberating idea—and for many
it clearly was. But for the audience it caused—and continues to cause—an
odd kind of paralysis. How can I like something that says that there’s nothing
to like? In what ways am I allowed to like it? If I like it, don’t I betray it?
The standard psychological response to this paradox is to resort to irony,
or shudder, quotes. I “like” this even though nothing is really worth liking.
Ultimately these shudder quotes have taken over the world. They book-end
every sentiment. They age everything—sitting like crow’s feet at the edge of
the world.
Irony has become a kind of marinade in which trash culture can be enjoyed
without the need to believe that it is good. Melrose Place and Barbie
Dolls and Brit Pop and Grunge fashion and so on and on. . . These are all
the continuation of Punk culture. Punk didn’t die, it became everything. And
irony is the ghost of Punk.
Or should I say: Irony is the “ghost” of Punk.
Sunday, December 7, 2008
Sid Vicious: The Legend Of UK Punk Rock
Born As John Simone Ritchie is a bass player for Sex Pistols began his musical career in 1976 as a member of The Flowers of Romance along with former co-founding member of The Clash, Keith Levene (who later co-founded John Lydon's post-Pistols project Public Image Limited) and Palmolive and Viv Albertine, who would later form The Slits. He appeared with Siouxsie & the Banshees, playing drums at their notorious first gig at the 100 Club Punk Festival in London's Oxford Street. According to the Documentary Final Damnation, Sid, along with Dave Vanian, was considered for the position of lead singer for the Damned, but failed to show up for the audition.
Along with fellow Sex Pistol member, Johnny Rotten, lanky, sneering, pock faced Sid epitomised the punk movement born in the mid 1970s in working class England. Sid Vicious wasn't an original member of the Pistols, but rather joined the band after original bassist, Glen Matlock dropped out after personality clashes with lead singer Rotten. On stage, Sid (often stripped to the waist) would incite the audience to get wilder and more frenzied, and his infamous antics included spitting and spraying beer into the audience. The British establishment despised the Pistols with a passion, and Sid was viewed as a crude, foul mouthed hoodlum corrupting English youth with his unclean image. Unfortunately for a naive Sid, he fell into the company of alleged drug user, Nancy Spungen, and his world spiralled out of control leading to the break up of the Pistols (their last show being in San Francisco), and Sid's lame attempts to kick start his own solo career, which included a demented cover of the popular Frank Sinatra song "My Way", accompanied by a violent video clip. Vicious and Spungen took up residency in the Chelsea Hotel in New York City in early 1978, however their self destructive personalities meant a tragedy was fast approaching, and on October 12th 1978, Spungen was found dead in their hotel room from stab wounds. Vicious was charged by police with Spungen's murder and released on bail, pending trial. However, only four months later in February 1979, Vicious himself was found dead of a heroin overdose. Sid was dead at aged 21. His will requested his ashes be poured over Nancy's grave at the King David Cemetery in Bucks County, Pennsylvania. Along with Janis Joplin, Brian Jones & Jimi Hendrix, Sid had assured himself a place in rock and roll history, as another iconic music figure dead at a young age.
Friday, September 12, 2008
ska Punk
Ska punk is a fusion music genre that combines ska (jamaican ska music) and punk rock (british and america).A type of music usually consisting of drums, bass, guitar, trumpet and saxaphone.It originated as part of the third wave of ska, and the genre achieved its greatest popularity in the late 1990s in the United States.The characteristics of ska punk vary, due to the fusion of contrasting genres. The more punk-influenced style often features faster tempos, guitar distortion, onbeat punk-style interludes (usually the chorus), and nasal, gruff, or shouted vocals. The more ska-influenced style of ska punk features a more developed instrumentation and a cleaner vocal and musical sound. The common instrumentation includes guitar, bass guitar, drums, saxophones, trombones, trumpets and/or other brass instruments, and sometimes an organ.
Ska Punk, rather than ska has a more agressive feel and is also known as Skacore. Ska-core is a subgenre of ska punk, blending ska with hardcore punk. The characteristics of ska punk vary, due to the fusion of contrasting genres. The more punk-influenced style often features faster tempos, guitar distortion, onbeat punk-style interludes (usually the chorus), and nasal, gruff, or shouted vocals. The more ska-influenced style of ska punk features a more developed instrumentation and a cleaner vocal and musical sound. Some examples of ska punk bands are bands such as Less Than Jake, Rancid, Operation Ivy, The Mighty Mighty Bosstones, Reel Big Fish, Mustard Plug, Skankin' Pickle, Catch-22, Bomb The Music Industry, Choking Victim.
punk metal
Punk metal is an umbrella term, or cross-genre term used to describe music that fuses elements of heavy metal with hardcore punk. Often the fusion involves extreme metal genres. Styles of punk metal include crossover thrash, metalcore, grindcore, crust punk, thrash metal, sludge metal, thrashcore and subsequent fusions between those styles.
While punk-metal may sound like thrash metal to uninformed listeners, it was spawned from a radically different attitude. Both camps rely on lightning-fast speeds, but punk-metal is focused on political injustice rather than technical proficiency. The two founding fathers of the genre were almost exact opposites: Chicano skate punks Suicidal Tendencies railed against the racism of their hometown of Venice, California with their self-titled 1983 debut album, while New York-based Stormtroopers of Death, or S.O.D. (a side project of thrash outfit Anthrax), delivered the race-baiting 1985 album Speak English or Die, which demostrated the close relationship between punk and thrash metal. By the late '80s, hardcore punk bands like Corrosion of Conformity, Agnostic Front, and Ludichrist were peppering their songs with thrash metal guitar solos. As punk grew more mainstream in the '90s, classic punk influences like The Misfits became as respectable as pioneering metal sources like Iron Maiden, furthering the fusion of punk and metal. In the new millennium, bands like Papa Roach, Avenged Sevenfold, and the bad boys of the nu metal scene continued mining punk's credibility while simultaneously copping riffs from late-era Ozzy Osbourne.
Punk Blues
Punk blues is a fusion of punk rock and blues music. It also can take influences from garage rock.Punk blues musicians and bands may incorporate elements of related subgenres, such as protopunk music or blues-rock. The style is similar in spirit to other punk and roots music fusion styles such as cowpunk and psychobilly.
With very few exceptions, punk blues predominantly tends to be an American underground music style in terms of music genres, and is mostly unrecognized by the mainstream, or mislabeled a neologism due to its low visibility. Punk blues can be said to favor the common rawness, simplicity and emotion shared between the punk and blues genres over the politics and lifestylism prevalent within the broader punk subculture and, in turn, it is much more a musical style than a counterculture.
Rooted in and often aligned with garage rock or blues-rock, many bands in the genre opt explicitly to spell out the two elements of the music, such as the modern punk blues band The Immortal Lee County Killers. Immortal Lee County Killers singer/guitarist Chet Weise refers to the style as "the fucked up blues" and has stated, "Punk and blues are both honest reactions to life. It's blues, it's our blues. It's just a bit turned up and a bit faster."
Allmusic states that punk blues draws on the influence of the "garage rock sound of the mid-'60s, the primal howl of early Captain Beefheart, and especially in the raw and desperate sound of the Gun Club's landmark Fire of Love LP from 1981." Also according to Allmusic.com, "...punk blues really came to life in the early '90s with bands like the seminal Jon Spencer Blues Explosion, The Oblivians, The Gories and the Gibson Brothers", and "...continued into the 2000s with even more visibility thanks to the popularity of The White Stripes."
In Pulaski, Tennessee, there is a Punk N Blues Cafe specializing in music oriented towards fans of punk blues. Additionally, many punk blues bands perform at the Deep Blues Festival. Their activities and releases are often chronicled by Punk Rock Blues, self-proclaimed "London-based promoters of hard rockin', punked-up, primal blues mayhem" who also manage Not The Same Old Blues Crap.
With very few exceptions, punk blues predominantly tends to be an American underground music style in terms of music genres, and is mostly unrecognized by the mainstream, or mislabeled a neologism due to its low visibility. Punk blues can be said to favor the common rawness, simplicity and emotion shared between the punk and blues genres over the politics and lifestylism prevalent within the broader punk subculture and, in turn, it is much more a musical style than a counterculture.
Rooted in and often aligned with garage rock or blues-rock, many bands in the genre opt explicitly to spell out the two elements of the music, such as the modern punk blues band The Immortal Lee County Killers. Immortal Lee County Killers singer/guitarist Chet Weise refers to the style as "the fucked up blues" and has stated, "Punk and blues are both honest reactions to life. It's blues, it's our blues. It's just a bit turned up and a bit faster."
Allmusic states that punk blues draws on the influence of the "garage rock sound of the mid-'60s, the primal howl of early Captain Beefheart, and especially in the raw and desperate sound of the Gun Club's landmark Fire of Love LP from 1981." Also according to Allmusic.com, "...punk blues really came to life in the early '90s with bands like the seminal Jon Spencer Blues Explosion, The Oblivians, The Gories and the Gibson Brothers", and "...continued into the 2000s with even more visibility thanks to the popularity of The White Stripes."
In Pulaski, Tennessee, there is a Punk N Blues Cafe specializing in music oriented towards fans of punk blues. Additionally, many punk blues bands perform at the Deep Blues Festival. Their activities and releases are often chronicled by Punk Rock Blues, self-proclaimed "London-based promoters of hard rockin', punked-up, primal blues mayhem" who also manage Not The Same Old Blues Crap.
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