punk (pùngk) noun
1.Slang. a. A young person, especially a member of a rebellious counterculture group. b. An inexperienced young man.
2.Music. a. Punk rock. b. A punk rocker.
3.a. Slang. A young man who is the sexual partner of an older man. b. Archaic. A prostitute.
4.Dry, decayed wood, used as tinder.
5.Any of various substances that smolder when ignited, used to light fireworks.
1.Of or relating to a style of dress worn by punk rockers and often characterized by unusual clothing, hairstyles, and makeup.
2.Of poor quality; worthless.
3.Weak in spirits or health.
- punk´er noun
punk rock (pùngk ròk)
A form of hard-driving rock music characterized by harsh lyrics attacking conventional society and popular culture and often expressing alienation and anger.
male: youth, lad, tyke, teen, punk, stripling, young man, boy, youngster
Punks in their silly leather
jackets are a cliché. I have never liked the term and have never
discussed it. I just got on with it and got out of it when it became a
John Lydon [Johnny Rotten] (b. 1957), British rock musician. _Observer_ (London, 4 May 1986).
bad: no good, worthless,
shoddy, tacky, crummy, ropy, punk, pathetic, useless
vicious: punk, worthless, unworthy, meritless, graceless, disapproved
Punk to me was a form of
free speech. It was a moment
when suddenly all kinds of strange voices that no reasonable person could
ever have expected to hear in public were being heard all over the place.
Greil Marcus (b. 1945), U.S. rock journalist. Discourses: Conversations in Postmodern Art and Culture, "Punk and History" (ed. by Russell, Ferguson et. al., 1990). The essay is the transcript of a discussion, 24 Sept. 1988, New York.
At its best New Wave/punk
represents a fundamental and age-old Utopian
dream: that if you give people the license to be as outrageous as they
want in absolutely any fashion they can dream
up, they'll be creative about it, and do something good besides.
Lester Bangs (1948-82), U.S. rock journalist. New Musical Express (London, 24 Dec. 1977).
Stealing things is a glorious
occupation, particularly in the artworld.
Malcolm McLaren (b. 1946), British rock impresario. "Punk and History," transcript of discussion, 24 Sept. 1988, New York City (published in Discourses: Conversations in Postmodern Art and Culture, ed. by Russell Ferguson et. al., 1990).
Rock 'n' Roll
Rock & roll doesn't necessarily
mean a band. It doesn't mean a singer, and it doesn't mean a lyric, really.
. . . It's that question of trying to be immortal.
Malcolm McLaren (b. 1946), British rock impresario. "Punk and History," transcript of discussion, 24 Sept. 1988, New York City (published in Discourses: Conversations in Postmodern Art and Culture, ed. by Russell Ferguson, et al., 1990).
1. A genre of near-future science fiction in which conflict and action take place in virtual reality environments maintained on global computer networks in a worldwide culture of dystopian alienation. The prototypical cyberpunk novel is William Gibson's_Neuromancer_ (1982).
2. A category of popular culture that resembles the ethos of cyberpunk fiction.
3. A person or fictional character who resembles the heroes of cyberpunk fiction.
after being obsessed with it over 10 years, i realized what attracted me to punk the most was the energy. it was definitely a backlash within a certain context of time and region, and spread memetically and systematically through the whole world. it mutated often and it is probably now indefinable. what mattered the most was the the idea of bombastic, stripped down energy and fun. usually in a negative direction. when i found the concept of TAZ and the transcendental inclinations of "the party" or "the gathering" within a sociological context, the notion of punk made more sense. the most potent space/time coordinates for punk were 76-78 u.k., 80-82 u.s. hardcore.. then the thousands of variants that proliferated until the Nirvana explosion. the reason for this was to initiate the idea of DIY and the empowerment of the individual within the entertainment "industry". resonance, feedback and iteration will occur more slowly in the realm of film and video, because usually it starts with music and moves on from there. why? well, music can be made by modular units - a group of friends, or even individuals. the production revolution followed the band revolution which followed the zine revolution... it's all a breakdown of empowerment to modular and self sustaining levels. whereas before, you depended on a huge entity to get your memes across, now it is going peer to peer. punk was a catalyst for that. things no longer needed to be "professional". it became more spontaneous and individualized.
to me, it was a natural course to follow punk with that of the musical TAZ. punk was still within the structure of the industry, very urban, then suburban, and always decaying. when rave hit my psyche, i focused the energy of punk into that of movement and communication. the party scene involved and embraced technology. now punk seems archaic, with blunt instruments and a very predictable format. the party scene was still too urban for me, so i emigrated over to the secret outdoor gatherings. it made perfect sense there. punk energy, constructive and positive, with no political drives but only a strange attractor of nonsensical and highly meaningful experiences.
so punk served its purpose, and was very necessary. there seems to be a pattern within scenes of any kind - music, art, industry, school, workplace, etc. the initial spark of chaos and fun and indefinability gives way to snobbish pretension and ego infested jockeying for cool. rules get set up and things start becoming "this or that". the only way to re-dissolve boundaries is to opt out in a timely manner and find something new. don't stick around to argue. if you do, you end up clinging onto "the good old days". this is waste of time, when something fresh and new is happening NOW. the trick is to keep the new thing a secret for as long as possible. hype kills. we don't need to rush towards oblivion, let it come gradually so we can have time to acclimate and create new scenes. there is no need for the whole world to know immediately, this great thing. selling millions of units and advertising and marketing should be left up to those that want to define it and make a parasitic living off of a good thing. the smart ones dip into the moment, and leave quietly and let the loudmouths argue over the rags and bones. this is what i learned from the scene of my time. it applies to the scene of now, and in whatever future energy attractors that may arise. the "generation gap" is a myth. we all have our push and our time, and the skill comes in recognizing what it is, and when to stop and to not let it become a habit and a sweet nostalgia. punk died in '77, and hardcore died in '81, and a hundred deaths for a hundred subgenres followed. scenes follow the pattern of the universe, from the big bang on. goa died in '96. long live all those scenes - in all four dimensions of time and space that we can sense. otherwise, it's rehashing nostalgia. - @Om* 8/29/01
personal punk flowchart:
this is how i perceive the punk flowchart. it is completely subjective and stream of consciousness.... it is based on information that combines personal exposure to records, shows, bands, people, the scene... - and also to those elements which i've only read about or seen in videos, etc...
start with sex pistols
snotty, short, fast, distorted raw rock & roll - yes, the ramones came first, but they refined it and basically one person encapsulated it as a strange attractor - john lydon - no leather jackets or mohawks. just smart street struggles and fun scaring people (they were really not that threatening or scary, but they made everyone feel that way because of their honesty. sid "vicious" wasn't. he was a fashion victim.)
prequel: ramones tour u.k. influences sex pistols
- they established the sound, but they were still a "50's hair band" in
content and attitude.
damned put out first punk 7" 1975 - their only notable achievement.
sex pistols influence the clash - the clash refined the political and social content, not to mention that they were the lennon/mccartney songwriters of punk. simple raw rock & roll, balancing mick jones and his rock star fantasies with "every man" joe strummer's leftist sincerity. they should have quit at decade's end.
'77 u.k. punk
includes Wire, x-ray spex, pistols, clash
'78 west coast u.s. punk
dils, bags, avengers
'79'- 81 black flag births DIY
germs, gogos, dead kennedys (sf, alternative tentacles)
straight edge - Minor Threat (1981) spawns youth of today (1985)
Rites Of Spring, moss icon (1984) post hardcore
crass - peace punk (1978)
resist & exist
west coast power violence
man is the bastard
pure hardcore - mdc (poli), dri (1982-1985), doa (canada). jerry's kids (boston)
crossover (dri, cryptic slaughter, accused) (1985-1987)
blends metal crisp riffage, double bassdrum, higher production with punk spew
bay area powerpop
Green Day, samiam, Lookout!
skacore - operation ivy (nothing like it since)
techno punk - Atari Teenage Riot
political anarcho punk band Flux Of Pink Indians on Crass records (disbanded 1984)
The previous year, punk rock had appeared and the King's Road had become heartland. Without success, the Sex Pistols, their manager Malcolm McLaren and their art director Jamie Reid tried to contact Barrett, to ask him to produce their first album. The Damned hoped he would produce their second, realised it was impossible and settled for the Floyd's Nick Mason ('Who didn't have a clue', according to the band's bassist Captain Sensible).
- _You Shone Like The Sun_ - article on Syd Barrett in _The Observer_ October 6th, 2002
video (vhs/ntsc) - _Louder, Shorter, Faster - San Francisco live punk_