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Punk rock is a rock music genre that developed between 1974 and 1976 in the United States, the United Kingdom, and Australia. Rooted in garage rock and other forms of what is now known as protopunk music, punk rock bands eschewed perceived excesses of mainstream 1970s rock. Punk bands created fast, hard-edged music, typically with short songs, stripped-down instrumentation, and often political, anti-establishment lyrics. Punk embraces a DIY ethic; many bands self-produced recordings and distributed them through informal channels.
The term "punk" was first used in relation to rock music by some American critics in the early 1970s, to describe garage bands and their devotees. By late 1976, bands such as the Ramones in New York City and the Sex Pistols and The Clash in London were recognized as the vanguard of a new musical movement. The following year saw punk rock spreading around the world, and it became a major cultural phenomenon in the United Kingdom. For the most part, punk took root in local scenes that tended to reject association with the mainstream. An associated punk subculture emerged, expressing youthful rebellion and characterized by distinctive styles of clothing and adornment and a variety of anti-authoritarian ideologies.
By the beginning of the 1980s, faster, more aggressive styles such as hardcore and Oi! had become the predominant mode of punk rock. Musicians identifying with or inspired by punk also pursued a broad range of other variations, giving rise to post-punk and the alternative rock movement. By the start of the 21st century, pop punk had been adopted by the mainstream, as bands such as Green Day and The Offspring brought the genre widespread popularity.
Characteristics
Philosophy
The first wave of punk rock aimed to be aggressively modern, distancing itself from the bombast and sentimentality of early 1970s rock.[3] According to Ramones drummer Tommy Ramone, "In its initial form, a lot of [1960s] stuff was innovative and exciting. Unfortunately, what happens is that people who could not hold a candle to the likes of Hendrix started noodling away. Soon you had endless solos that went nowhere. By 1973, I knew that what was needed was some pure, stripped down, no bullshit rock 'n' roll."[4] John Holmstrom, founding editor of Punk magazine, recalls feeling "punk rock had to come along because the rock scene had become so tame that [acts] like Billy Joel and Simon and Garfunkel were being called rock and roll, when to me and other fans, rock and roll meant this wild and rebellious music."[5] In critic Robert Christgau's description, "It was also a subculture that scornfully rejected the political idealism and Californian flower-power silliness of hippie myth."[6] Patti Smith, in contrast, suggests in the documentary 25 Years of Punk that the hippies and the punk rockers were linked by a common anti-establishment mentality.
Throughout punk rock history, technical accessibility and a DIY spirit have been prized. In the early days of punk rock, this ethic stood in marked contrast to what those in the scene regarded as the ostentatious musical effects and technological demands of many mainstream rock bands.[7] Musical virtuosity was often looked on with suspicion. According to Holmstrom, punk rock was "rock and roll by people who didn't have very much skills as musicians but still felt the need to express themselves through music".[5] 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. Now form a band."[8] The title of a 1980 single by the New York punk band Stimulators, "Loud Fast Rules!" inscribed a catchphrase for punk's basic musical approach.[9]
Some of British punk rock's leading figures made a show of rejecting not only contemporary mainstream rock and the broader culture it was associated with, but their own most celebrated predecessors: "No Elvis, Beatles or the Rolling Stones in 1977," declared The Clash song "1977".[10] The previous year, when the punk rock revolution began in Great Britain, was to be both a musical and a cultural "Year Zero".[11] Even as nostalgia was discarded, many in the scene adopted a nihilistic attitude summed up by the Sex Pistols slogan "No Future";[3] in the later words of one observer, amid the unemployment and social unrest in 1977, "punk's nihilistic swagger was the most thrilling thing in England."[12] While "self-imposed alienation" was common among "drunk punks" and "gutter punks," there was always a tension between their nihilistic outlook and the "radical leftist utopianism"[13] of bands such as Crass, who found positive, liberating meaning in the movement. As a Clash associate describes singer Joe Strummer's outlook, "Punk rock is meant to be our freedom. We're meant to be able to do what we want to do."[14]
The issue of authenticity is important in the punk subculture—the pejorative term "poseur" is applied to those who associate with punk and adopt its stylistic attributes but are deemed not to share or understand the underlying values and philosophy. Scholar Daniel S. 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".[15]
Musical and lyrical elements
Punk rock bands often emulate the bare musical structures and arrangements of 1960s garage rock.[16] Typical punk rock instrumentation includes one or two electric guitars, an electric bass, and a drum kit, along with vocals. Punk rock songs tend to be shorter than those of other popular genres—on the Ramones' debut album, for instance, half of the fourteen tracks are under two minutes long. Most early punk rock songs retained a traditional rock 'n' roll verse-chorus form and 4/4 time signature. However, punk rock bands in the movement's second wave and afterward have often broken from this format. In critic Steven Blush's description, "The Sex Pistols were still rock'n'roll...like the craziest version of Chuck Berry. Hardcore was a radical departure from that. It wasn't verse-chorus rock. It dispelled any notion of what songwriting is supposed to be. It's its own form."[17]
Punk rock vocals sometimes sound nasal,[18] and lyrics are often shouted instead of sung in a conventional sense, particularly in hardcore styles.[19] The vocal approach is characterized by a lack of variety; shifts in pitch, volume, or intonational style are relatively infrequent.[20] Complicated guitar solos are considered self-indulgent and unnecessary, although basic guitar breaks are common.[21] Guitar parts tend to include highly distorted power chords or barre chords, creating a characteristic sound described by Christgau as a "buzzsaw drone".[22] Some punk rock bands take a surf rock approach with a lighter, twangier guitar tone. 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.[23] Bass guitar lines are often uncomplicated; the quintessential approach is a relentless, repetitive "forced rhythm,"[24] although some punk rock bass players—such as Mike Watt of The Minutemen and Firehose—emphasize more technical bass lines. Bassists often use a pick due to the rapid succession of notes, which makes fingerpicking impractical. Drums typically sound heavy and dry, and often have a minimal set-up. Compared to other forms of rock, syncopation is much less the rule.[25] Hardcore drumming tends to be especially fast.[19] Production tends to be minimalistic, with tracks sometimes laid down on home tape recorders[26] or simple four-track portastudios. The typical objective is to have the recording sound unmanipulated and "real," reflecting the commitment and "authenticity" of a live performance.[27] Punk recordings thus often have a lo-fi quality, with the sound left relatively unpolished in the mastering process; recordings may contain dialogue between band members, false starts, and background noise.
Punk rock lyrics are typically frank and confrontational; compared to the lyrics of other popular music genres, they frequently comment on social and political issues.[28] Trend-setting songs such as The Clash's "Career Opportunities" and Chelsea's "Right to Work" deal with unemployment and the grim realities of urban life.[29] Especially in early British punk, a central goal was to outrage and shock the mainstream.[30] The Sex Pistols classics "Anarchy in the U.K." and "God Save the Queen" openly disparage the British political system and social mores. There is also a characteristic strain of anti-sentimental depictions of relationships and sex, exemplified by "Love Comes in Spurts," written by Richard Hell and recorded by him with The Voidoids. Anomie, variously expressed in the poetic terms of Hell's "Blank Generation" and the bluntness of the Ramones' "Now I Wanna Sniff Some Glue," is a common theme. Identifying punk with such topics aligns with the view expressed by V. Vale, founder of San Francisco fanzine Search and Destroy: "Punk was a total cultural revolt. It was a hardcore confrontation with the black side of history and culture, right-wing imagery, sexual taboos, a delving into it that had never been done before by any generation in such a thorough way."[31] However, many punk rock lyrics deal in more traditional rock 'n' roll themes of courtship, heartbreak, and hanging out; the approach ranges from the deadpan, aggressive simplicity of Ramones standards such as "I Wanna Be Your Boyfriend"[32] to the more unambiguously sincere style of many later pop punk groups.
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 cover of the Ramones' 1976 debut album, featuring a shot of the band by Punk photographer Roberta Bayley, set forth the basic elements of a style that was soon widely emulated by rock musicians both punk and nonpunk.[2] Richard Hell's more androgynous, ragamuffin look—and reputed invention of the safety-pin aesthetic—was a major influence on Sex Pistols impresario Malcolm McLaren and, in turn, British punk style.[33][34] (John Morton of Cleveland's Electric Eels may have been the first rock musician to wear a safety-pin-covered jacket.)[35] McLaren's partner, fashion designer Vivienne Westwood, credits Johnny Rotten as the first British punk to rip his shirt, and Sex Pistols bassist Sid Vicious as the first to use safety pins.[36] Early female punk musicians displayed styles ranging from Siouxsie Sioux's bondage gear to Patti Smith's "straight-from-the-gutter androgyny".[37] The former proved much more influential on female fan styles.[38] Over time, tattoos, piercings, and metal-studded and -spiked accessories became increasingly common elements of punk fashion among both musicians and fans, a "style of adornment calculated to disturb and outrage".[39] The typical male punk haircut was originally short and choppy; the Mohawk later emerged as a characteristic style.[40] Those in hardcore scenes often adopt a skinhead look.
The characteristic stage performance style of male punk musicians does not deviate significantly from the macho postures classically associated with rock music.[41] Female punk musicians broke more clearly from earlier styles. Scholar John Strohm suggests that they did so by creating personas of a type conventionally seen as masculine: "They adopted a tough, unladylike pose that borrowed more from the macho swagger of sixties garage bands than from the calculated bad-girl image of bands like The Runaways."[37] Scholar Dave Laing describes how bassist Gaye Advert adopted fashion elements associated with male musicians only to generate a stage persona readily consumed as "sexy".[42] Laing focuses on more innovative and challenging performance styles, seen in the various erotically destabilizing approaches of Siouxsie Sioux, The Slits' Ari Up, and X-Ray Spex' Poly Styrene.[43]
The lack of emphatic syncopation led punk dance to "deviant" forms. The characteristic style was originally the pogo.[44] Sid Vicious, before he became the Sex Pistols' bassist, is credited with initiating the pogo in Britain as an attendee at one of their concerts.[45] Moshing is typical at hardcore shows. The lack of conventional dance rhythms was a central factor in limiting punk's mainstream commercial impact.[46]
Breaking down the distance between performer and audience is central to the punk ethic.[47] Fan participation at concerts is thus important; during the movement's first heyday, it was often provoked in an adversarial manner—apparently perverse, but appropriately "punk". First-wave British punk bands such as the Sex Pistols and The Damned insulted and otherwise goaded the audience into intense reactions. Laing has identified three primary forms of audience physical response to goading: can throwing, stage invasion, and spitting or "gobbing".[48] In the hardcore realm, stage invasion is often a prelude to stage diving. In addition to the numerous fans who have started or joined punk bands, audience members also become important participants via the scene's many amateur periodicals—in England, according to Laing, punk "was the first musical genre to spawn fanzines in any significant numbers".[49
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