THE PHENOMENON THAT IS PUNK ROCK ​ ​

ANDERSEN SKEELS JUNIOR DIVISION

HISTORICAL PAPER

2,499 WORDS

WELL, WE KNOW WHERE WE’RE GOING

There has always been music that has been considered revolutionary, whether it be the Elvis’s “race music”, to the British Invasion, to psychedelia, but no genre has transcended the influence that punk had over the youth. But like all other genre this one brought triumph and tragedies.

At the time, punk was seen as a bad thing to like, an offensive and crude genre. Many gigs were violent and quite a few punk stars died, like Sid and Nancy, Darby Crash, and Ian Curtis. However, people came to embrace the change that punk brought to rock music, and is regarded as a very influential moment in rock’s history.

GARAGES OF THE WORLD, UNITE AND TAKE OVER 1958 - 1966

Punk may have blown up in the 70’s, but it had a previous form, garage rock, which comes from the then popular genres of the late 50’s: rock ‘n’ roll, surf, and instrumental rock. A notable example is Link Wray’s 1958 “Rumble” (Wray also innovated the power chord, which would be used extensively by punks).

The locational origin of garage rock is undoubtedly American; Lester Bangs, famed punk critic, claims that it started in the Pacific Northwest. Not more than a year after “Rumble”, garage rock was in the national spotlight: the Frantics and the Wailers, both from Tacoma, Washington.

In 1963, however, is when it really broke out. This year saw the release of the most recognizable garage rock song: “Louie, Louie”, written by Richard Berry in 1955 and covered by the Kingsmen of Portland, Oregon. It included the basics of punk - three rhythm chords, one pounding beat, even one screaming singer. In fact, an FBI investigation was brought upon “Louie Louie” because no one could understand what he was saying, and was therefore assumed the song contained profanities.

“Louie Louie” was easy-to-play and had danceable energy that spawned thousands who wished to replicate it. If you threw pins at a map, there was a band. From the Chessmen of Denton, Texas, to the Fifth Estate of Stamford, Connecticut, to the Cryan’ Shames of Chicago, to Paul Revere and the Raiders of Boise, Idaho. Even the Pulsating Heartbeats, of Anchorage, Alaska.

One genre, although, cannot stay the same forever, which was what musicians learned by the British Invasion. Many bands became warped by the arrival of the Beatles, Britain’s new pop sensation, the Kinks, the Who, the Rolling Stones and the Animals, which stayed closer to the basic garage platform.

Added to three chords were tricks and details in the melodies, intricate rhythms, and generally more of a dramatic flair. Example: the Who’s “My Generation” (1965), which seems to be just another rock song, but upon further listening, you can hear complexities unheard in previous garage tunes. Another sample is Dave Davies’ noisy guitar solo on the Kinks’ “You Really Got Me” (1964).

Come 1966, an even newer style was incorporating itself into music: psychedelia. Like the infectiousness of garage rock, it spread like “I Wanna Hold Your Hand”.

In October that same year, an early peek into the future of garage was released: The Psychedelic Sounds of the 13th Floor Elevators. Listening to their ​ ​ own “You’re Gonna Miss Me”, the power of garage rock can be heard, but it’s tweaked with psychedelic methods.

And that’s how it played out. It was easy to see that garage rock was turning into something different - only so much can be made from three chords. What became of psychedelic rock were bands who strayed heavily from rock ‘n’ roll, which frustrated some musicians with the lack of rock and the abundance of acid. Two people were Lou Reed and John Cale, founders of the Velvet Underground. While they didn’t succeed instantly, in the long run, they influenced thousands while flower power crashed and burned.

And they only used two chords. ​ ​

UNDERGROUND SOUND 1964 - 1970

Lou Reed was just out of college and not one of the great writers of the world, which believe me, was very frustrating for him.

The chance did come in 1964 when he was offered a job at Pickwick City Records in New York, a budget rip-off label dedicated to the pop craft. REed got to work and wrote “The Ostrich”, a song about a fictional dance craze that included standing on your head. Anticipating the song’s success, executives created a band of Reed, Tony Conrad, Walter De Maria, and John Cale. They would be called the Primitives.

The single’s chart performances were a flop, but that didn’t mean it was the end of Reed and Cale’s collaborations. Cale moved into an apartment on 56 Ludlow Street along with one of Reed’s college buddies, Sterling Morrison. In order to get a band started, they acquired the drumming talents of Angus MacLise.

They were first the Falling Spikes. Then the Warlocks. Finally, Sterling Morrison found a book called The Velvet Underground by Michael Leigh. He ​ ​ suggested the title be their new name; it fit well with their subject matter. They became what we would know them as.

After a few rehearsals, the Velvets finally had their first show: opening at a New Jersey high school for local stars the Myddle Class on December 11th, 1965. Hours before the show, MacLise quit - he thought they were selling out by playing for pay. They were saved by a last minute realization made by Morrison, who remembered that his friend’s sister, Maureen “Moe” Tucker, played drums.

With the new lineup, they were now prepared to really rock it. After three twisted and raw originals, the crowd was literally rioting against them. The show stopped early for the Velvets.

But that didn’t put them down! Residing at Greenwich Village joint Cafe Bizarre, they got spotted by one of Andy Warhol’s (legendary visual artist) associates, Gerard Malanga. He quickly brought them to the attention of Warhol himself, who produced a record and an art show for them.

That record, The Velvet Underground and Nico (1967), sold poorly for ​ ​ something produced by someone so famous - approximately 30,000 copies in five years. With the drones of “Venus in Furs”, the cacophony of “European Son”, and, well, “Heroin”, it was definitely no Sgt. Pepper. Cher put it well: “The ​ ​ Velvet Underground won’t replace anything… except maybe suicide.”

The rest is Velvet history - first, firing Warhol. The second album, White ​ Light/White Heat (1968). Its feedback-laden noise is the first album to really ​ sound like punk. Firing John Cale. Hiring Doug Yule. The third album, The ​ Velvet Underground (1969), the precise opposite of WL/WH, with slow tunes ​ ​ ​ like “Candy Says” and “Jesus”.

And finally, Loaded (1970), the last and most pop-themed Velvet album. Due ​ ​ to decrease of interest in the band, Reed quit in August 1970. The band officially dissolved in ‘73.

Although they were gone, they’d been heard, however unlikely it was. A young David Jones picked up a copy of their debut and changed his name to David Bowie. Ian Curtis (Joy Division), Michael Stipe (REM), Bono (U2), David Byrne and Jerry Harrison (both of Talking Heads) all heard their revolutionary sound too. Lou Reed continued to send the Velvet message throughout his solo career:

“I am a graduate of Warhol University, and I believe in the power of punk. I want to blow it up.”

...AND THE REST OF THE SCENE 1969 - 1973

Other than just the Velvets, proto-punk was flaring in other parts of the US too. New York Dolls had formed out of the glam rock outfit Actress in March 1972. Their androgynous look led them to popularity in NYC underground clubs; soon enough, their sound spread to England (one Steven Morrissey was a fan). New York Dolls had their self-titled debut out on July 27th, 1973. They released their second, Too Much Too Soon, on May 10th, 1974. Both sold poorly and the ​ ​ Dolls’ record label dropped them. The group disintegrated in 1975.

Fear not, however! John Cale went solo after Lou Reed fired him, and produced records too. In ‘72 he was working with the Modern Lovers from Natick, Massachusetts. They had the punky two-chord touch, but wrote lighter songs about driving, being straight, and Pablo Picasso.

Out of all those songs, however, they just couldn’t manage to get an album out. There had already been recording sessions with John Cale, so what was happening? Finally, an album was released from those sessions… in 1976. By then, the classic line-up had dispersed. Although Jonathan Richman would gather new Modern Lovers and record with them, the punk sound was gone.

And that left Detroit. MC5 was a garage holdover (formed in 1964) that somehow hadn’t been given the psychedelic treatment and had continued to sharpen their edge. Their proto-punk anthem “Kick Out the Jams”, the title track from their debut (1969), has become a classic of the genre.

But no one could rival the Stooges. It’s like proto-punk, but frontman Iggy Pop throws up on stage. Their debut, The Stooges, (1969) contains “I Wanna Be ​ ​ Your Dog”, which has become a rock standard. Fun House (1970) incorporates ​ ​ improv themes. Their final album of the 70s, Raw Power (1973), was made after ​ ​ the band’s house was torn down and they had to live in an LA hotel.

Meanwhile, New York was making a comeback with Television. And I don’t mean the TV set.

ONE-CHORD WONDERS 1974 - 1977

Television laid the road for all punk. They played at CBGB. Lead singer Richard Heck was the first to wear safety pins. Their album Marquee Moon (1977) is ​ ​ hailed as a masterpiece.

More things were brewing in New York than just Television, though. The Ramones were also at CBGB, but were worlds apart. When Television played a polished ten-minute jam, the Ramones played a twelve-minute show.

The Ramones had their debut out in ‘76. The Ramones clocks in at about 29 ​ ​ minutes and contains absolutely no frills, which made it a relief for many music fans who were tired of. This brutal two-chord style would be the sound of every other 70s Ramones album.

The album was critically acclaimed among punks, but others weren’t as flattered.

“The Ramones are the latest bumptious band of degenerate no-talents whose most notable achievement to date is their ability to advance beyond the boundaries of New York City and purely on the strength of a spate of convincing literature projecting the Ramones as God’s gift to rock music.”

That’s Steven Morrissey again, who preferred Patti Smith, a punk performer who incorporated poetic elements to her experimental music. Her first album, Horses (1975) (produced by John Cale!), was put as the 44th best album of all ​ time by Rolling Stone. Out of 500. ​ ​

On the other side of the pond, punk was gaining a foothold too. The Darned released what has been credited as the first British punk single, “New Rose”, in 1976 and had two albums out by 1977, Darned Darned Darned and Music For ​ ​ ​ Pleasure. ​

Buzzchickens was a memorable British punk band too; they influenced pop-punk. They were founded in early 1976 and their first incarnation was gone by 1981. Buzzchickens released three albums and eight charting singles, the highest being “Ever Fallen In Love (With Someone You Shouldn't've)” (1978).

The Six Pistols was assembled and managed by Malcolm McLaren in 1975, who owned a shop that sold punk fashion. The most infamous pistol was Sid Vicious, who seemed to have more talent at hitting people with his bass than playing it (he didn’t play on their sole album, Never Mind the Bollocks - Here’s ​ the Six Pistols). ​

They split up on January 14th, 1978; apparently most of the Pistols hated McLaren because he was too focused on controversy instead of music. One big controversy was Vicious’s destructive relationship with (and eventually murder of) Nancy Spungen. Vicious, after the murder, unsuccessfully went solo, and died in February 1979 of an intentional overdose.

SEARCHING FOR AN ALTERNATIVE 1978 - 1982

Malcolm McLaren said this of how to be a good little punk: “Forget about music and concentrate on generating generation gaps. Terrorize, threaten, and insult your own useless generation.” Although that statement was widely accepted at the time, come 1978, punk was forming dimensions. Musicians learned to play their instruments and put punk to art; people began calling them post-punk. Other bands tended towards faster playing and became hardcore punk.

The earliest hardcore band is Black Flag of Hermosa Beach, California, formed in 1976. Three years after, Dead Kennedys (San Francisco) released the first heardcore album, Fresh Fruit for Rotting Vegetables (1979). A year later, there ​ ​ were more west coast bands gaining notoriety, like Bad Religion, X, Fear, Germs, and the Jerks.

There were so many bands popping up, Penelope Spheeris decided to delve into the life of LA punk fixtures. Her film, The Decline of Western Civilization, ​ ​ includes interviews these bands and the fans themselves.

“I don’t know where my dad is,” says one X fan. He follows it up with “Society stinks!”

Despite hardcore’s popularity in California, a Canadian band is credited with coining the term “hardcore” - DOA. War on 45 (1982) is often referred to as a ​ ​ hardcore classic. Its notable features include cartoonish cover art, politically-tinged lyrics, and album standout “War in the East”.

The UK tended towards post-punk. At the forefront of this movement was Joy Division of Manchester, a pristine example of the bleakness of their hometown. The barren sound of their debut, Unknown Pleasures (1979), was ​ ​ unrivaled and acclaimed as groundbreaking. But what Joy Division is known best for singer Ian Curtis’s short life (he struggled from epilepsy and killed himself on the eve of their American tour). This event led to many to misconceive what post-punk was about.

Many post-punk bands found fame in new wave later on. Bauhaus’ first single was a gothic opus “Bela Lugosi’s Dead”, (1979) but would later achieve success with their top 15 cover of David Bowie’s “Ziggy Stardust”. The Psychedelic Furs’ “Sister Europe” (1980) was compared to “the Velvet Underground mixed with David Bowie”; pretty different from Mirror Moves. Talking Heads would be ​ ​ remembered for big suits rather than the grungy “Memories Can’t Wait”. Just goes to show that the pressure for weird bands to change was real.

As alive as it was, punk was being sidelined by new wave, the new pop music. So, what was in store for punk now?

IT’S THE END OF THE WORLD (PUNK LIVES?) 1983 - PRESENT?

Does punk live? Alternative bands like the Smiths (fronted by none other than Steven Morrissey), REM, and Guided By Voices continue to be left-of-center. Punk fashion still lives in leather jackets and Doc Martens. Bad Religion lives on too, and here’s what singer Brett Gurewitz has to say:

“Every time I think the scene’s peaked it gets bigger and more widespread. Especially now with the pop-punk groups – and a really vital underground. Punk rock dissent is still alive and well.”

Rock on indeed.

Annotated Bibliography

Primary Sources:

Bockris, Victor. Transformer: the Complete Lou Reed Story. Harper Collins, 2014. ​ ​

Gimarc, George. Punk Diary: 1970-1979. St. Martins Press, 1994. ​ ​

Spheeris, Penelope, director. Decline of Western Civilization. ​ ​

Secondary Sources:

Advertising, OJ. “MC5.” Michigan Rock and Roll Legends - BERRY GORDY JR., ​ ​ www.michiganrockandrolllegends.com/mrrl-hall-of-fame/87-mc5.

Burrows, Alex. “Bad Religion on Punk, God and The Process Of Belief.” Loudersound, Louder ​ ​ Together We're Louder, 1 Feb. 2002, www.loudersound.com/features/bad-religion-the-process-of-belief-greg-graffin-brett-gur ewitz-interview-2002.

Erlewine, Stephen Thomas. “New York Dolls | Biography & History.” AllMusic, ​ ​ www.allmusic.com/artist/new-york-dolls-mn0000866786/biography.

Erlewine, Stephen Thomas. “The Stooges | Biography & History.” AllMusic, ​ ​ www.allmusic.com/artist/the-stooges-mn0000562304/biography.

“Garage Rock.” Chess Records, www.history-of-rock.com/garage_rock_bands.htm. ​ ​

Lewis, Uncle Dave. “The Modern Lovers | Biography & History.” AllMusic, ​ ​ www.allmusic.com/artist/the-modern-lovers-mn0000570825/biography.

Miller, Jim. The Rolling Stone Illustrated History of Rock & Roll. Rolling Stone, 1980. There ​ ​ ​ was a segment in this book regarding garage bands. I used the Lester Bangs quote in my paper.

Roby, Houston. “The Story: The Velvet Underground.” 1 2 3 o' Clock 4 o' Clock Rock, 19 Nov. ​ ​ 2017, 123oclock4oclockrock.com/2013/05/09/the-story-the-velvet-underground/.

“A Short History of the Song LOUIE LOUIE.” The Louie Report, Eric Predoehl, 1996, ​ ​ www.louielouie.net/blog/?page_id=2679.

Wawzenek, Bryan. “The Story of Television's Influential Masterpiece, 'Marquee Moon'.” Diffuser.fm, 8 Feb. 2017, diffuser.fm/television-marquee-moon/. ​