In some bands, the musicians contribute backup vocals, which typically consist of shouted slogans, choruses or football-style chants. While most punk rock uses the distorted guitars and noisy drumming sounds derived from 1960s garage rock and 1970s pub rock, some punk bands incorporate elements from other subgenres, such as surf rock, rockabilly or reggae.
In the late 1960s, music now referred to as protopunk originated as a garage rock revival in the northeastern United States.
Proto-punk bands came out of garage-rock during the late 1960s.
Other rappers and hip-hop acts were influenced by the subcultures of crust punk and hardcore such as City Morgue. The skinhead subculture of the United Kingdom in the late 1960s – which had almost disappeared in the early 1970s – was revived in the late 1970s, partly because of the influence of punk rock, especially the Oi! punk subgenre.
Various musical, philosophical, political, literary and artistic movements influenced the subculture. In the late 1970s, the subculture began to diversify, which led to the proliferation of factions such as new wave, post-punk, 2 Tone, pop punk, [punk], no wave, street punk and Oi!.
In some bands, the musicians contribute backup vocals, which typically consist of shouted slogans, choruses or football-style chants. While most punk rock uses the distorted guitars and noisy drumming sounds derived from 1960s garage rock and 1970s pub rock, some punk bands incorporate elements from other subgenres, such as surf rock, rockabilly or reggae.
The Velvet Underground's harsh and experimental yet often melodic sound in the mid to late-1960s, much of it relating to transgressive media work by visual artist Andy Warhol, is credited for influencing 1970s bands such as the New York Dolls, The Stooges and the Ramones.
Women in the hardcore scene typically wore army trousers, band T-shirts, and hooded jumpers. The style of the 1980s hardcore scene contrasted with the more provocative fashion styles of late 1970s punk rockers (elaborate hairdos, torn clothes, patches, safety pins, studs, spikes, etc.).
an anarchy symbol) and hairstyles ranging from military-style haircuts dyed black or blonde, to mohawks and shaved heads. The Metropolitan Museum of Art in 2013 hosted a comprehensive exhibit, PUNK: Chaos to Couture, that examined the techniques of hardware, distress, and re-purposing in punk fashion. ==Gender and gender expression== In the United Kingdom, the advent of punk in the late 1970s with its "anyone can do it" ethos led to women making significant contributions.
In contrast to the rock music and [metal music|heavy metal] scenes of the 1970s, which were dominated by men, the anarchic, counter-cultural mindset of the punk scene in mid- and late 1970s encouraged women to participate.
Loren Cass is another example of the punk subculture represented in film. The Japanese cyberpunk movement has roots in the Japanese punk subculture that arose in the 1970s.
Discrimination against punk subculture is explored with her photographs in the book; these girls who are not mainstream, but "beautiful and talented". ==Interactions with other subcultures== Punk and [hop culture|hip hop] emerged around the same time in the late 1970s New York City, and there has been some interaction between the two subcultures.
Other rappers and hip-hop acts were influenced by the subcultures of crust punk and hardcore such as City Morgue. The skinhead subculture of the United Kingdom in the late 1960s – which had almost disappeared in the early 1970s – was revived in the late 1970s, partly because of the influence of punk rock, especially the Oi! punk subgenre.
The early 1970s protopunk scene had an influence on the development of heavy metal.
There was also considerable enmity between Positive punks (known today as goths) and the glamorously dressed New Romantics. In the late 1970s, punks were known to have had confrontations with [due to the contrasting ideologies and backlash of the hippie culture.
The first distinct music scene to claim the punk label appeared in New York City between 1974 and 1976.
The first distinct music scene to claim the punk label appeared in New York City between 1974 and 1976.
Motörhead, since their first album release in 1977, have enjoyed continued popularity in the punk scene, and their now-deceased frontman Lemmy was a fan of punk rock.
Zines were DIY products, "proudly amateur, usually handmade, and always independent", and during the "'90s, zines were the primary way to stay up on punk and hardcore." They were the "blogs, comment sections, and social networks of their day." In the American Midwest, the zine Touch and Go described the regional hardcore scene from 1979 to 1983.
Women in the hardcore scene typically wore army trousers, band T-shirts, and hooded jumpers. The style of the 1980s hardcore scene contrasted with the more provocative fashion styles of late 1970s punk rockers (elaborate hairdos, torn clothes, patches, safety pins, studs, spikes, etc.).
Straight edge politics are primarily left-wing and revolutionary but there have been conservative offshoots. In 1999, William Tsitsos wrote that straight edge had gone through three eras since its founding in the early 1980s.
An article in Drowned in Sound argues that 1980s-era "[punk|hardcore] is the true spirit of punk", because "after all the poseurs and fashionistas fucked off to the next trend of skinny pink ties with New Romantic haircuts, singing wimpy lyrics", the punk scene consisted only of people "completely dedicated to the DIY ethics". In the discussion of authenticity it is necessary to recognize the origins of punk music.
However, hardcore punk and grunge developed in part as reactions against the heavy metal music that was popular during the 1980s. In punk's heyday, punks faced harassment and attacks from the general public and from members of other subcultures.
In the 1980s in the UK, punks were sometimes involved in brawls with Teddy Boys, greasers, bikers, mods and members of other subcultures.
We Got Power described the LA scene from 1981 to 1984, and included show reviews of and interviews with such bands as Vancouver's D.O.A., the Misfits, Black Flag, Suicidal Tendencies and the Circle Jerks.
The term straight edge was adopted from the 1981 song "Straight Edge" by the hardcore punk band Minor Threat. Straight edge emerged amid the early-1980s hardcore punk scene.
Zines were DIY products, "proudly amateur, usually handmade, and always independent", and during the "'90s, zines were the primary way to stay up on punk and hardcore." They were the "blogs, comment sections, and social networks of their day." In the American Midwest, the zine Touch and Go described the regional hardcore scene from 1979 to 1983.
We Got Power described the LA scene from 1981 to 1984, and included show reviews of and interviews with such bands as Vancouver's D.O.A., the Misfits, Black Flag, Suicidal Tendencies and the Circle Jerks.
In Effect, which began in 1988, described the New York City scene. Punk poets include: Richard Hell, Jim Carroll, Patti Smith, John Cooper Clarke, Seething Wells, Raegan Butcher, and Attila the Stockbroker.
in the early 1990s, and the Pacific Northwest, especially Olympia, Washington.
The Decline of Western Civilization III" explores the gutter punk lifestyle in the 1990s.
Ross Haenfler writes that as of the late 1990s, approximately three out of four straight edge participants were vegetarian or vegan.
By the early 1990s, militant straight edge was a well-known part of the wider punk scene.
The early 1990s grunge subculture was a fusion of punk anti-fashion ideals and metal-influenced guitar sounds.
Straight edge politics are primarily left-wing and revolutionary but there have been conservative offshoots. In 1999, William Tsitsos wrote that straight edge had gone through three eras since its founding in the early 1980s.
Because the original subculture meant to challenge everything about the mainstream, usually in shocking ways, the "punk" that people usually picture became inauthentic once it was brought to the mainstream; "'Inauthentic' punk is a commercialized and debased form of an original 'street' form of punk"(Sabin, 1999).
By the beginning of the 2000s, militant straight edge punks had largely left the broader straight edge culture and movement. ==Lifestyle and community== Punks come from all culture and economic classes.
John Holmstrom was a punk cartoonist who created work for the Ramones and Punk. The Stuckism art movement had its origin in punk, and titled its first major show The Stuckists Punk Victorian at the Walker Art Gallery during the 2004 Liverpool Biennial.
an anarchy symbol) and hairstyles ranging from military-style haircuts dyed black or blonde, to mohawks and shaved heads. The Metropolitan Museum of Art in 2013 hosted a comprehensive exhibit, PUNK: Chaos to Couture, that examined the techniques of hardware, distress, and re-purposing in punk fashion. ==Gender and gender expression== In the United Kingdom, the advent of punk in the late 1970s with its "anyone can do it" ethos led to women making significant contributions.
Two examples of this are an incident during the 2016 American Music Awards, where the band Green Day chanted anti-conservative, anti-racist, and anti-fascist messages, and an incident at a show by the Dropkick Murphys, when bassist and singer Ken Casey, tackled an individual for giving a nazi-style salute and later stated that nazis are not welcome at a Dropkick Murphys show.
This is the paradox of punk; as a subculture it must always be evolving to stay out of the mainstream. Punk Girls written by Liz Ham is a photo-book featuring 100 portraits of Australian women in the punk subculture, and it was published in 2017 by Manuscript Daily.
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