Woody Guthrie in the 1940s".
Others, such as Robert Quine, lead guitarist of the Voidoids, have employed a wild, "gonzo" attack, a style that stretches back through the Velvet Underground to the 1950s' recordings of Ike Turner.
Christgau said that "Punk is so tied up with the disillusions of growing up that punks do often age poorly." ===Visual and other elements=== The classic punk rock look among male American musicians harkens back to the T-shirt, motorcycle jacket, and jeans ensemble favored by American greasers of the 1950s associated with the rockabilly scene and by British rockers of the 1960s.
The New York Dolls updated 1950s' rock 'n' roll in a fashion that later became known as glam punk.
Rooted in 1960s garage rock, punk bands rejected the perceived excesses of mainstream 1970s rock.
Certain late 1960s and early 1970s Detroit acts, such as MC5 and Iggy and The Stooges, and others from elsewhere created out-of-the-mainstream music that became highly influential on what was to come.
Traber argues that "attaining authenticity in the punk identity can be difficult"; as the punk scene matured, he observes, eventually "everyone got called a poseur". ===Musical and lyrical elements=== The early punk bands emulated the minimal musical arrangements of 1960s garage rock.
Christgau said that "Punk is so tied up with the disillusions of growing up that punks do often age poorly." ===Visual and other elements=== The classic punk rock look among male American musicians harkens back to the T-shirt, motorcycle jacket, and jeans ensemble favored by American greasers of the 1950s associated with the rockabilly scene and by British rockers of the 1960s.
Australia and New Zealand had active scenes in the 1960s.
Lester Bangs used the term "punk rock" in several articles written in the early 1970s to refer to mid-1960s garage acts. In the liner notes of the 1972 anthology LP, Nuggets, musician and rock journalist Lenny Kaye, later a member of the Patti Smith Group, used the term "punk rock" to describe the genre of 1960s garage bands and "garage-punk," to describe a song recorded in 1966 by the Shadows of Knight.
We wanted the fun and liveliness back." ==1974–1976: Early history== ===North America=== ====New York City==== The origins of New York's punk rock scene can be traced back to such sources as late 1960s trash culture and an early 1970s underground rock movement centered on the Mercer Arts Center in Greenwich Village, where the New York Dolls performed.
Drawing on sources ranging from the Stooges to the Beatles and the Beach Boys to Herman's Hermits and 1960s girl groups, the Ramones condensed rock 'n' roll to its primal level: "'1-2-3-4!' bass-player Dee Dee Ramone shouted at the start of every song, as if the group could barely master the rudiments of rhythm." The band played its first show at CBGB on August 16, 1974, on the same bill as another new act, Angel and the Snake, soon to be renamed Blondie.
NME journalist Roy Carr is credited with proposing the term's use (adopted from the cinematic French New Wave of the 1960s) in this context.
anarcho-punk scene developed around such bands as Austin's MDC and Southern California's Another Destructive System. ===Pop punk=== With their love of the Beach Boys and late 1960s bubblegum pop, the Ramones paved the way to what became known as pop punk.
These included: New wave, neon pop, electroclash, electronic body music, and dance-punk. In contrast, garage punk bands, such as Chicago's Dwarves, pursued a version of punk rock that was close to its roots in 1960s garage rock.
The Kingsmen had a hit with their 1963 version of Richard Berry's "Louie, Louie", which has been mentioned as punk rock's defining "ur-text".
In the early 1970s certain rock critics used the term "punk rock" to refer to the mid-1960s garage genre, as well as for subsequent acts perceived to be in that stylistic tradition, such as the Stooges and others. From England in 1964, largely under the influence of the mod youth movement and beat group explosion, came the Kinks' hit singles, "You Really Got Me" and "All Day and All of the Night," both influenced by "Louie, Louie".
By 1965, the harder-edged sound of British acts, such as the Rolling Stones, the Kinks, the Who and the Yardbirds, became increasingly influential with American garage bands.
In 1965, the Who released the mod anthem, "My Generation", which according to John Reed, anticipated the kind of "cerebral mix of musical ferocity and rebellious posture" that would characterize much of the later British punk rock of the 1970s.
In 1965 Peru's Los Saicos recorded "Demolicion", a notable example of prototypical punk. ===Proto-punk=== In August 1969, the Stooges, from Ann Arbor, premiered with a self-titled album.
Lester Bangs used the term "punk rock" in several articles written in the early 1970s to refer to mid-1960s garage acts. In the liner notes of the 1972 anthology LP, Nuggets, musician and rock journalist Lenny Kaye, later a member of the Patti Smith Group, used the term "punk rock" to describe the genre of 1960s garage bands and "garage-punk," to describe a song recorded in 1966 by the Shadows of Knight.
"The Federal Republic 1968 to 1990: From the Industrial Society to the Culture Society", in German Cultural Studies: An Introduction, ed.
In 1965 Peru's Los Saicos recorded "Demolicion", a notable example of prototypical punk. ===Proto-punk=== In August 1969, the Stooges, from Ann Arbor, premiered with a self-titled album.
Rooted in 1960s garage rock, punk bands rejected the perceived excesses of mainstream 1970s rock.
Punk embraces a DIY ethic; many bands self-produce recordings and distribute them through independent record labels. The term "punk rock" was previously used by American rock critics in the early 1970s to describe the mid-1960s garage bands.
Certain late 1960s and early 1970s Detroit acts, such as MC5 and Iggy and The Stooges, and others from elsewhere created out-of-the-mainstream music that became highly influential on what was to come.
In the late 1970s, punk experienced a second wave as new acts that were not active during its formative years adopted the style.
In the early 1970s certain rock critics used the term "punk rock" to refer to the mid-1960s garage genre, as well as for subsequent acts perceived to be in that stylistic tradition, such as the Stooges and others. From England in 1964, largely under the influence of the mod youth movement and beat group explosion, came the Kinks' hit singles, "You Really Got Me" and "All Day and All of the Night," both influenced by "Louie, Louie".
In 1965, the Who released the mod anthem, "My Generation", which according to John Reed, anticipated the kind of "cerebral mix of musical ferocity and rebellious posture" that would characterize much of the later British punk rock of the 1970s.
"Wild About You" (1965) by Australia's the Missing Links exhibits a markedly primitivist approach and was covered a decade later by their fellow countrymen, the Saints, a prominent band in the 1970s Australian punk scene.
Lester Bangs used the term "punk rock" in several articles written in the early 1970s to refer to mid-1960s garage acts. In the liner notes of the 1972 anthology LP, Nuggets, musician and rock journalist Lenny Kaye, later a member of the Patti Smith Group, used the term "punk rock" to describe the genre of 1960s garage bands and "garage-punk," to describe a song recorded in 1966 by the Shadows of Knight.
We wanted the fun and liveliness back." ==1974–1976: Early history== ===North America=== ====New York City==== The origins of New York's punk rock scene can be traced back to such sources as late 1960s trash culture and an early 1970s underground rock movement centered on the Mercer Arts Center in Greenwich Village, where the New York Dolls performed.
The no wave movement that developed in New York in the late 1970s, with artists such as Lydia Lunch and James Chance, is often treated as the phenomenon's U.S.
Toward the middle of the decade, D.R.I spawned the superfast thrashcore genre. ===Oi!=== Following the lead of first-wave British punk bands Cock Sparrer and Sham 69, in the late 1970s second-wave units like Cockney Rejects, Angelic Upstarts, the Exploited, Anti-Establishment and the 4-Skins sought to realign punk rock with a working class, street-level following.
In the late 1970s, UK bands such as Buzzcocks and the Undertones combined pop-style tunes and lyrical themes with punk's speed and chaotic edge.
Bikini Kill's lead singer, Kathleen Hanna, the iconic figure of riot grrrl, moved on to form the art punk group Le Tigre in 1998. ==Revival and mainstream success in the United States== Late 1970s punk music was anti-conformity and anti-mainstream, and achieved limited commercial success.
Punk Diary: The Ultimate Trainspotter's Guide to Underground Rock, 1970–1982.
The Electric Eels and Mirrors both broke up, and the Styrenes emerged from the fallout. 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.
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 live sound of the British Pretty Things, who had toured Australia and New Zealand in 1975. ==Etymology== Greg Shaw was the first music critic to employ the term: In the April 1971 issue of Rolling Stone, he refers to a track by The Guess Who as "good, not too imaginative, punk rock and roll".
Dave Marsh used the term in the May 1971 issue of Creem, where he described ? and the Mysterians as giving a "landmark exposition of punk rock".
Later in 1971, in his fanzine Who Put the Bomp, Greg Shaw wrote about "what I have chosen to call "punkrock" bands—white teenage hard rock of '64–66 (Standells, Kingsmen, Shadows of Knight, etc.)".
UK pub rock from 1972 to 1975 contributed to the emergence of punk rock by developing a network of small venues, such as pubs, where non-mainstream bands could play.
Lester Bangs used the term "punk rock" in several articles written in the early 1970s to refer to mid-1960s garage acts. In the liner notes of the 1972 anthology LP, Nuggets, musician and rock journalist Lenny Kaye, later a member of the Patti Smith Group, used the term "punk rock" to describe the genre of 1960s garage bands and "garage-punk," to describe a song recorded in 1966 by the Shadows of Knight.
In the January 1973 Rolling Stone review of Nuggets, Greg Shaw commented "Punk rock is a fascinating genre...
When the movement now bearing the name developed from 1974 to 1976, acts such as Television, Patti Smith, and the Ramones in New York City; the Sex Pistols, the Clash, and the Damned in London; The Runaways in Los Angeles; and the Saints in Brisbane formed its vanguard.
In 1974, as well, the Detroit band Death—made up of three African-American brothers—recorded "scorching blasts of feral ur-punk," but couldn't arrange a release deal.
"I told ya the New York Dolls were the real thing," he wrote, describing the album as "perhaps the best example of raw, thumb-your-nose-at-the-world, punk rock since the Rolling Stones' Exile on Main Street." In a 1974 interview for his fanzine Heavy Metal Digest Danny Sugerman told Iggy Pop "You went on record as saying you never were a punk" and Iggy replied "...well I ain't.
In early 1974, a new scene began to develop around the CBGB club, also in lower Manhattan.
In April 1974, Patti Smith, a member of the Mercer Arts Center crowd and a friend of Hell's, came to CBGB for the first time to see the band perform.
Drawing on sources ranging from the Stooges to the Beatles and the Beach Boys to Herman's Hermits and 1960s girl groups, the Ramones condensed rock 'n' roll to its primal level: "'1-2-3-4!' bass-player Dee Dee Ramone shouted at the start of every song, as if the group could barely master the rudiments of rhythm." The band played its first show at CBGB on August 16, 1974, on the same bill as another new act, Angel and the Snake, soon to be renamed Blondie.
UK pub rock from 1972 to 1975 contributed to the emergence of punk rock by developing a network of small venues, such as pubs, where non-mainstream bands could play.
In 1975, Rocket from the Tombs split into Pere Ubu and Frankenstein.
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 live sound of the British Pretty Things, who had toured Australia and New Zealand in 1975. ==Etymology== Greg Shaw was the first music critic to employ the term: In the April 1971 issue of Rolling Stone, he refers to a track by The Guess Who as "good, not too imaginative, punk rock and roll".
I never was a punk." By 1975, punk was being used to describe acts as diverse as the Patti Smith Group, the Bay City Rollers, and Bruce Springsteen.
Holmstrom, Legs McNeil, and Ged Dunn's magazine Punk, which debuted at the end of 1975, was crucial in codifying the term.
The first album to come out of this scene was released in November 1975: Smith's debut, Horses, produced by John Cale for major label Arista.
In December 1975, the group won the RAM (Rock Australia Magazine)/Levi's Punk Band Thriller competition.
Trouser Press critic Ian McCaleb later described the record as the "archetype for the musical explosion that was about to occur". ===United Kingdom=== After a brief period unofficially managing the New York Dolls, Briton Malcolm McLaren returned to London in May 1975, inspired by the new scene he had witnessed at CBGB.
Adopting a new name, the group played its first gig as the Sex Pistols on November 6, 1975, at Saint Martin's School of Art, and soon attracted a small but dedicated following.
When the movement now bearing the name developed from 1974 to 1976, acts such as Television, Patti Smith, and the Ramones in New York City; the Sex Pistols, the Clash, and the Damned in London; The Runaways in Los Angeles; and the Saints in Brisbane formed its vanguard.
By late 1976, punk became a major cultural phenomenon in the UK.
In December 1976, the English fanzine Sideburns published a now-famous illustration of three chords, captioned "This is a chord, this is another, this is a third.
That winter, Pere Ubu came in from Cleveland and played at both spots. Early in 1976, Hell left the Heartbreakers; he soon formed the Voidoids, "one of the most harshly uncompromising bands" on the scene.
By 1976, the Saints were hiring Brisbane local halls to use as venues, or playing in "Club 76", their shared house in the inner suburb of Petrie Terrace.
When I heard it [in 1976], I mean it was a great record ...
In September 1976, the Saints became the first punk rock band outside the U.S.
In February 1976, the band received its first significant press coverage; guitarist Steve Jones declared that the Sex Pistols were not so much into music as they were "chaos".
Early in 1976, London SS broke up before performing publicly, spinning off two new bands: the Damned and the Clash, which was joined by Joe Strummer.
On June 4, 1976, the Sex Pistols played Manchester's Lesser Free Trade Hall in what became one of the most influential rock shows ever.
Others of a comparatively traditional rock 'n' roll bent were also swept up by the movement: the Vibrators, formed as a pub rock–style act in February 1976, soon adopted a punk look and sound.
Black Flag, then-Panic, formed in Hermosa Beach in 1976.
The Cramps, whose core members were from Sacramento, California by way of Akron, had debuted at CBGB in November 1976, opening for the Dead Boys.
(During the Heartbreakers' 1976 and 1977 tours of Britain, Thunders played a central role in popularizing heroin among the punk crowd there, as well.) The Ramones' third album, Rocket to Russia, appeared in November 1977. The Ohio protopunk bands were joined by Cleveland's the Pagans, Akron's Bizarros and Rubber City Rebels, and Kent's Human Switchboard.
jazz-fusion group Mind Power had transformed into Bad Brains, one of the first bands to be identified with [punk]. ===United Kingdom=== The Sex Pistols' live TV skirmish with Bill Grundy on December 1, 1976 was the signal moment in British punk's transformation into a major media phenomenon, even as some stores refused to stock the records and radio airplay was hard to come by.
If early punk, like most rock scenes, was ultimately male-oriented, the hardcore and Oi! scenes were significantly more so, marked in part by the slam dancing and moshing with which they became identified. ===New wave=== In 1976—first in London, then in the United States—"New Wave" was introduced as a complementary label for the formative scenes and groups also known as "punk"; the two terms were essentially interchangeable.
However, the music was often derided at the time as being silly and disposable. ===Post-punk=== During 1976–77, in the midst of the original UK punk movement, bands emerged such as Manchester's Joy Division, the Fall, and Magazine, Leeds' Gang of Four, and London's the Raincoats that became central post-punk figures.
Punk on 45; Revolutions on Vinyl, 1976–79 (London: Plexus).
It led to a punk subculture expressing youthful rebellion through distinctive styles of clothing and adornment (such as deliberately offensive T-shirts, leather jackets, studded or spiked bands and jewellery, safety pins, and bondage and S&M clothes) often espousing various anti-authoritarian ideologies. In 1977, the influence of the music and subculture spread worldwide.
Now form a band". British punk rejected contemporary mainstream rock, the broader culture it represented, and their music predecessors: "No Elvis, Beatles or the Rolling Stones in 1977", declared the Clash song "1977".
Many of the shows were cancelled by venue owners in response to the media outrage following the Grundy interview. ==1977–1978: Second wave== By 1977, a second wave of the punk rock movement was breaking in the three countries where it had emerged, as well as in many other places.
While punk rock remained largely an underground phenomenon in North America, Australia, and the new spots where it was emerging, in the UK it briefly became a major sensation. ===North America=== The California punk scene was fully developed by early 1977.
They developed a primal, intense [punk] sound and played their debut public performance in a suburban garage located in Redondo Beach in December 1977.
Still developing what would become their signature B movie–inspired style, later dubbed [punk], they made their first appearance at CBGB in April 1977. Leave Home, the Ramones' second album, had come out in January.
(During the Heartbreakers' 1976 and 1977 tours of Britain, Thunders played a central role in popularizing heroin among the punk crowd there, as well.) The Ramones' third album, Rocket to Russia, appeared in November 1977. The Ohio protopunk bands were joined by Cleveland's the Pagans, Akron's Bizarros and Rubber City Rebels, and Kent's Human Switchboard.
In Washington, D.C., the Controls played their first gig in spring 1977, but the city's second wave really broke the following year with acts such as the Urban Verbs, Half Japanese, D'Chumps, Rudements and Shirkers.
Press coverage of punk misbehavior grew intense: On January 4, 1977, The Evening News of London ran a front-page story on how the Sex Pistols "vomited and spat their way to an Amsterdam flight".
In February 1977, the first album by a British punk band appeared: Damned Damned Damned (by the Damned) reached number thirty-six on the UK chart.
By the end of 1977, according to music historian Clinton Heylin, they were "England's arch-exponents of New Musick, and the true heralds of what came next." Alongside thirteen original songs that would define classic punk rock, the Clash's debut had included a cover of the recent Jamaican reggae hit "Police and Thieves".
In December, one of the first books about punk rock was published: The Boy Looked at Johnny, by Julie Burchill and Tony Parsons. ===Australia=== In February 1977, EMI released the Saints' debut album, (I'm) Stranded, which the band recorded in two days.
Others, like Gang of Four, the Raincoats and Throbbing Gristle, who had little more than cult followings at the time, are seen in retrospect as significant influences on modern popular culture. Television's debut album Marquee Moon, released in 1977, is frequently cited as a seminal album in the field.
Discharge, founded back in 1977, established D-beat in the early 1980s.
The mainstream pop punk of latter-day bands such as Blink-182 is criticized by many punk rock devotees; in critic Christine Di Bella's words, "It's punk taken to its most accessible point, a point where it barely reflects its lineage at all, except in the three-chord song structures." ===Other fusions and directions=== From 1977 on, punk rock crossed lines with many other popular music genres.
It originates from punk musicians between 1977 and 1984 that swapped their guitars with synthesizers.
Such controversies have been part of the punk culture since 1977, when the Clash were widely accused of "selling out" for signing with CBS Records.
By early 1978, the D.C.
They became "the reigning kings of American underground rock, for a few years". Radio Birdman broke up in June 1978 while touring the UK, where the early unity between bohemian, middle-class punks (many with art school backgrounds) and working-class punks had disintegrated.
As described by Dave Laing, "The model for self-proclaimed punk after 1978 derived from the Ramones via the eight-to-the-bar rhythms most characteristic of the Vibrators and Clash. ...
Later alternative rock musicians found diverse inspiration among these post-punk predecessors, as they did among their new wave contemporaries. ===Hardcore=== A distinctive style of punk, characterized by superfast, aggressive beats, screaming vocals, and often politically aware lyrics, began to emerge in 1978 among bands scattered around the United States and Canada.
The first major scene of what came to be known as hardcore punk developed in Southern California in 1978–79, initially around such punk bands as the Germs and Fear.
Melbourne's art rock–influenced Boys Next Door featured singer Nick Cave, who would become one of the world's best-known post-punk artists. ==1979–1984: Schism and diversification== By 1979, the [punk] movement was emerging in Southern California.
Crossing the lines between "classic" punk, post-punk, and hardcore, San Francisco's Flipper was founded in 1979 by former members of Negative Trend and the Sleepers.
It became essential to sound one particular way to be recognized as a 'punk band' now." In February 1979, former Sex Pistols bassist Sid Vicious died of a heroin overdose in New York.
The Clash album London Calling, released in December 1979, exemplified the breadth of classic punk's legacy.
Killing Joke formed in 1979.
By the early 1980s, faster and more aggressive subgenres such as [punk] (e.g.
Others in the small crowd went on to form Joy Division, the Fall, and—in the 1980s—the Smiths. In July, the Ramones played two London shows that helped spark the nascent UK punk scene.
In 1980, Australia's Boys Next Door moved to London and changed their name to the Birthday Party, which evolved into Nick Cave and the Bad Seeds.
scene with their rapid-paced single 'Pay to Cum" in 1980.
Their style was originally called "real punk" or street punk; Sounds journalist Garry Bushell is credited with labelling the genre Oi! in 1980.
It was adopted as an anthem by the groups of disaffected Mexican urban youth known in the 1980s as bandas; one banda named itself PND, after the song's initials. Although most Oi! bands in the initial wave were apolitical or left wing, many of them began to attract a white power skinhead following.
Discharge, founded back in 1977, established D-beat in the early 1980s.
In the early 1980s, some of the leading bands in Southern California's hardcore punk rock scene emphasized a more melodic approach than was typical of their peers.
The Meteors, from South London, and the Cramps, who moved from New York to Los Angeles in 1980, were innovators in the psychobilly fusion style.
During the early 1980s, British bands like New Order and the Cure that straddled the lines of post-punk and new wave developed both new musical styles and a distinctive industrial niche.
Some of them have even discovered the Grateful Dead." By the mid-to-late 1980s, these bands, who had largely eclipsed their punk rock and post-punk forebears in popularity, were classified broadly as alternative rock.
Post Punk Diary, 1980–1982.
Burning Britain—The History of UK Punk 1980–1984 (London: Cherry Red Books).
New wave became a pop culture sensation with the debut of the cable television network MTV in 1981, which put many new wave videos into regular rotation.
By 1981, hardcore was the dominant punk rock style not only in California, but much of the rest of North America as well.
Strength Thru Oi!, an album compiled by Bushell and released in May 1981, stirred controversy, especially when it was revealed that the belligerent figure on the cover was a neo-Nazi jailed for racist violence (Bushell claimed ignorance).
It originates from punk musicians between 1977 and 1984 that swapped their guitars with synthesizers.
In the United States, bands such as Hüsker Dü and their Minneapolis protégés the Replacements bridged the gap between punk rock genres like hardcore and the more melodic, explorative realm of what was then called "college rock". In 1985, Rolling Stone declared that "Primal punk is passé.
In 1991, Nirvana emerged from Washington State's underground, DIY grunge scene; after recording their first album, Bleach in 1989 for about $600, the band achieved huge (and unexpected) commercial success with its second album, Nevermind.
Many musicians identifying with or inspired by punk went on to pursue other musical directions, giving rise to movements such as post-punk, new wave, and later alternative rock and noise rock. By the 1990s, punk re-emerged into the mainstream with the success of punk rock, pop punk, and skate punk bands such as Green Day, Rancid, and The Offspring. ==Characteristics== ===Philosophy=== The first wave of punk rock was "aggressively modern" and differed from what came before.
"It's saying, doing, and playing what you want." Nirvana's success opened the door to mainstream popularity for a wide range of other "left-of-the-dial" acts, such as Pearl Jam and Red Hot Chili Peppers, and fueled the alternative rock boom of the early and mid-1990s. ===Queercore=== In the 1990s, the queercore movement developed around a number of punk bands with gay, lesbian, bisexual, or genderqueer members such as God Is My Co-Pilot, Pansy Division, Team Dresch, and Sister George.
By the 1990s, punk rock was sufficiently ingrained in Western culture that punk trappings were often used to market highly commercial bands as "rebels".
"The Federal Republic 1968 to 1990: From the Industrial Society to the Culture Society", in German Cultural Studies: An Introduction, ed.
==External links== Fales Library of NYU Downtown Collection archival collection with the personal papers of NYC punk figures. A History of Punk 1990 essay by rock critic A.S.
In 1991, Nirvana emerged from Washington State's underground, DIY grunge scene; after recording their first album, Bleach in 1989 for about $600, the band achieved huge (and unexpected) commercial success with its second album, Nevermind.
The movement has continued into the 21st century, supported by festivals such as Queeruption. ===Riot grrrl=== The riot grrrl movement, a significant aspect in the formation of the Third Wave feminist movement, was organized by taking the values and rhetoric of punk and using it to convey feminist messages. In 1991, a concert of female-led bands at the International Pop Underground Convention in Olympia, Washington, heralded the emerging riot grrrl phenomenon.
Marketers capitalized on the style and hipness of punk rock to such an extent that a 1993 ad campaign for an automobile, the Subaru Impreza, claimed that the car was "like punk rock". In 1993, California's Green Day and Bad Religion were both signed to major labels.
Since 1993, Anti-Flag had been putting progressive politics at the center of its music. ==Notes== ==References== ==Sources== Andersen, Mark, and Mark Jenkins (2001).
Lady Records, explains that without riot grrrl bands, "[women] would have all starved to death culturally." Singer-guitarists Corin Tucker of Heavens to Betsy and Carrie Brownstein of Excuse 17, bands active in both the queercore and riot grrrl scenes, cofounded the indie/punk band Sleater-Kinney in 1994.
In 1994, Epitaph released Let's Go by Rancid, Punk in Drublic by NOFX, and Smash by the Offspring, each eventually certified gold or better.
...And Out Come the Wolves, the 1995 album by Rancid—which had evolved out of Operation Ivy—became the first record in this ska revival to be certified gold; Sublime's self-titled 1996 album was certified platinum early in 1997.
By 1996, genre acts such as Reel Big Fish and Less Than Jake were being signed to major labels.
...And Out Come the Wolves, the 1995 album by Rancid—which had evolved out of Operation Ivy—became the first record in this ska revival to be certified gold; Sublime's self-titled 1996 album was certified platinum early in 1997.
...And Out Come the Wolves, the 1995 album by Rancid—which had evolved out of Operation Ivy—became the first record in this ska revival to be certified gold; Sublime's self-titled 1996 album was certified platinum early in 1997.
Bikini Kill's lead singer, Kathleen Hanna, the iconic figure of riot grrrl, moved on to form the art punk group Le Tigre in 1998. ==Revival and mainstream success in the United States== Late 1970s punk music was anti-conformity and anti-mainstream, and achieved limited commercial success.
mainstream. The Offspring's 1998 album Americana, released by the major Columbia label, debuted at number two on the album chart.
Alternative hit "Fat Lip", which incorporated verses of what one critic called "brat rap." Elsewhere around the world, "punkabilly" band the Living End became major stars in Australia with their self-titled 1998 debut. The effect of commercialization on the music became an increasingly contentious issue.
The term "synth-punk" is a retroactive label coined in 1999 by Damien Ramsey.
On February 19, 2000, the album's second single, "All the Small Things", peaked at number 6 on the Billboard Hot 100.
In November 2003, The New Yorker described how the "giddily puerile" act had "become massively popular with the mainstream audience, a demographic formerly considered untouchable by punk-rock purists." Other new North American pop punk bands, though often critically dismissed, also achieved major sales in the first decade of the 2000s.
Ontario's Sum 41 reached the Canadian top ten with its 2001 debut album, All Killer No Filler, which eventually went platinum in the United States.
In November 2003, The New Yorker described how the "giddily puerile" act had "become massively popular with the mainstream audience, a demographic formerly considered untouchable by punk-rock purists." Other new North American pop punk bands, though often critically dismissed, also achieved major sales in the first decade of the 2000s.
Paper presented at the annual meeting of the American Sociological Association, New York City, August 11, 2007 (available online). Harrington, Joe S.
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