Young women in punk demolished the typical female types in rock of either "coy sex kittens or wronged blues belters" in their fashion.[39] Early female punk musicians displayed styles ranging from Siouxsie Sioux's bondage gear to Patti Smith's "straight-from-the-gutter androgyny".[40] The former proved much more influential on female fan styles.[41] 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".[42] Among the other facets of the punk rock scene, a punk's hair is an important way of showing their freedom of expression.[43] The typical male punk haircut was originally short and choppy; the mohawk later emerged as a characteristic style.[44] Along with the mohawk, long spikes have been associated with the punk rock genre.[43]
The King Blues Punk And Poetry Z
The origins of New York's punk rock scene can be traced back to such sources as the 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.[90] In early 1974, a new scene began to develop around the CBGB club, also in Lower Manhattan. At its core was Television, described by critic John Walker as "the ultimate garage band with pretensions".[91] Their influences ranged from the Velvet Underground to the staccato guitar work of Dr. Feelgood's Wilko Johnson.[92] The band's bassist/singer, Richard Hell, created a look with cropped, ragged hair, ripped T-shirts, and black leather jackets credited as the basis for punk rock visual style.[93] In April 1974, Patti Smith came to CBGB for the first time to see the band perform.[94] A veteran of independent theater and performance poetry, Smith was developing an intellectual, feminist take on rock 'n' roll. On June 5, she recorded the single "Hey Joe"/"Piss Factory", featuring Television guitarist Tom Verlaine; released on her own Mer Records label, it heralded the scene's DIY ethic and has often been cited as the first punk rock record.[95] By August, Smith and Television were gigging together at Max's Kansas City.[93]
In October 1976, the Damned released the first UK punk rock band single, "New Rose".[122] The Vibrators followed the next month with "We Vibrate". On 26 November 1976, the Sex Pistols' released their debut single "Anarchy in the U.K.", which succeeded in its goal of becoming a "national scandal".[123] Jamie Reid's "anarchy flag" poster and his other design work for the Sex Pistols helped establish a distinctive punk visual aesthetic.[124] On 1 December 1976, an incident took place that sealed punk rock's notorious reputation, when the Sex Pistols and several members of the Bromley Contingent, including Siouxsie Sioux and Steve Severin, filled a vacancy for Queen on the early evening Thames Television London television show Today to be interviewed by host Bill Grundy. When Sex Pistols guitarist Steve Jones was goaded by Grundy to "say something outrageous", Jones proceeded to call Grundy a "dirty bastard", a "dirty fucker", and a "fucking rotter" on live television, triggering a media controversy.[125] Two days later, the Sex Pistols, the Clash, the Damned, and the Heartbreakers set out on the Anarchy Tour, a series of gigs throughout the UK. Many of the shows were cancelled by venue owners in response to the media outrage following the Grundy interview.[126]
In Perth, the Cheap Nasties formed in August.[128] In September 1976, the Saints became the first punk rock band outside the U.S. to release a recording, the single "(I'm) Stranded". The band self-financed, packaged, and distributed the single.[129] "(I'm) Stranded" had limited impact at home, but the British music press recognized it as groundbreaking.[130]
Scores of new punk groups formed around the United Kingdom, as far from London as Belfast's Stiff Little Fingers and Dunfermline, Scotland's the Skids. Though most survived only briefly, perhaps recording a small-label single or two, others set off new trends. Crass, from Essex, merged a vehement, straight-ahead punk rock style with a committed anarchist mission, and played a major role in the emerging anarcho-punk movement.[149] Sham 69, London's Menace, and the Angelic Upstarts from South Shields in the Northeast combined a similarly stripped-down sound with populist lyrics, a style that became known as street punk. These expressly working-class bands contrasted with others in the second wave that presaged the post-punk phenomenon. Liverpool's first punk group, Big in Japan, moved in a glam, theatrical direction.[150] The band did not survive long, but it spun off several well-known post-punk acts.[151] The songs of London's Wire were characterized by sophisticated lyrics, minimalist arrangements, and extreme brevity.[152]
Following the lead of first-wave British punk bands Cock Sparrer and Sham 69, in the late 1970s second-wave groups like Cockney Rejects, Angelic Upstarts, the Exploited, and the 4-Skins sought to realign punk rock with a working class, street-level following.[197][198] They believed the music needed to stay "accessible and unpretentious", in the words of music historian Simon Reynolds.[199] Their style was originally called "real punk" or street punk; Sounds journalist Garry Bushell is credited with labelling the genre Oi! in 1980. The name is partly derived from the Cockney Rejects' habit of shouting "Oi! Oi! Oi!" before each song, instead of the time-honored "1,2,3,4!"[200]
From 1977 on, punk rock crossed lines with many other popular music genres. Los Angeles punk rock bands laid the groundwork for a wide variety of styles: the Flesh Eaters with deathrock; the Plugz with Chicano punk; and Gun Club with punk blues. The Meteors, from South London, and the Cramps were innovators in the psychobilly fusion style.[220] Milwaukee's Violent Femmes jumpstarted the American folk punk scene, while the Pogues did the same on the other side of the Atlantic.[221] Other artists to fuse elements of folk music into punk included R.E.M. and the Proclaimers.[222]
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.[234][235]
In 1991, a concert of female-led bands at the International Pop Underground Convention in Olympia, Washington, heralded the emerging riot grrrl phenomenon. Billed as "Love Rock Revolution Girl Style Now", the concert's lineup included Bikini Kill, Bratmobile, Heavens to Betsy, L7, and Mecca Normal.[236] The riot grrrl movement foregrounded feminist concerns and progressive politics in general; the DIY ethic and fanzines were also central elements of the scene.[237] This movement relied on media and technology to spread their ideas and messages, creating a cultural-technological space for feminism to voice their concerns.[234] They embodied the punk perspective, taking the anger and emotions and creating a separate culture from it. With riot grrrl, they were grounded in girl punk past but also rooted in modern feminism.[235] Tammy Rae Carbund, from Mr. Lady Records, explains that without riot grrrl bands, "[women] would have all starved to death culturally."[238]
Tuhle kapelu jsem objevil díky písni Does Anybody Care About Us, klipovce, která je fakt chytlavá, čistokrevně punkrocková. Ale jinak je The King Blues asi první kapela, která naprosto dokonale kombinuje různý styly, který k sobě mají vlastně dost blízko svou nasraností a názorem, ale dosud jsem jejich smysluplné propojení hledal marně. The Kings Blues punk a hip hop (rap, mluvené slovo, snad i ska) umí propojit dokonale. Poslechni si třeba píseň We Are Fucking Angry, boží. 2ff7e9595c
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