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Historie Newyorské Punkové Scény

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Historie Newyorské Punkové Scény FILOZOFICKÁ FAKULTA Historie newyorské punkové scény Bakalářská diplomová práce JAKUB STRAKA Vedoucí práce: PhDr. Aleš Opekar, CSc. Ústav hudební vědy Obor Sdružená uměnovědná studia Brno 2021 HISTORIE NEWYORSKÉ PUNKOVÉ SCÉNY Bibliografický záznam Autor: Jakub Straka Filozofická fakulta Masarykova univerzita Ústav hudební vědy Název práce: Historie newyorské punkové scény Studijní program: Obecná teorie a dějiny umění a kultury Studijní obor: Sdružená uměnovědná studia Vedoucí práce: PhDr. Aleš Opekar, CSc. Rok: 2021 Počet stran: 143 Klíčová slova: New York, punk, rock, subkultura, CBGB 2 HISTORIE NEWYORSKÉ PUNKOVÉ SCÉNY Bibliographic record Author: Jakub Straka Faculty of Arts Masaryk University Department of Musicology Title of Thesis: The History of New York Punk Scene Degree Programme: General Theory and History of Arts and Culture Field of Study: Combined Art Studies Supervisor: PhDr. Aleš Opekar, CSc. Year: 2021 Number of Pages: 143 Keywords: New York, punk, rock, subculture, CBGB 3 HISTORIE NEWYORSKÉ PUNKOVÉ SCÉNY Anotace Bakalářská diplomová práce Historie newyorské punkové scény pojednává o vzniku a vývoji rockového subžánru na území města New Yorku; reflektuje fenomén punku jako věc kulturního a společenského významu i z hlediska jeho nepopiratelného historic- kého přínosu. Nedílnou součástí tohoto textu je historie jednotlivých hudebních sku- pin, rozkrývání dobového pozadí celé hudební scény v kontextu dějin druhé poloviny 20. století a analýza konkrétních vlivů a souvislostí. Mimo to čtenáři nabízí stručnou komparaci newyorského a britského punku. 4 HISTORIE NEWYORSKÉ PUNKOVÉ SCÉNY Abstract The bachelor's diploma thesis History of the New York Punk Scene discusses the emer- gence and development of the rock subgenre in the New York City; it reflects on the phenomenon of punk as a matter of cultural and social significance and in terms of its undeniable historical contribution. Integral to this text is a history of the bands, uncov- ering the historical background of the entire music scene in the context of the second half of the 20th century and the analysis of specific influences and contexts. In addition, it offers a brief comparison of New York and British punk. 5 HISTORIE NEWYORSKÉ PUNKOVÉ SCÉNY Čestné prohlášení Prohlašuji, že jsem bakalářskou diplomovou práci na téma Historie newyorské pun- kové scény zpracoval sám. Veškeré prameny a zdroje informací, které jsem použil k sepsání této práce, byly citovány v textu a jsou uvedeny v seznamu použitých pra- menů a literatury. V Brně 13. května 2021 ....................................... Jakub Straka 7 HISTORIE NEWYORSKÉ PUNKOVÉ SCÉNY Poděkování Tato bakalářská práce vznikla z podnětu mé cesty do New Yorku v době bezprostředně před vypuknutím celosvětové pandemie virové choroby COVID-19. Měl jsem obrovské štěstí, že jsem tuto výpravu vůbec podnikl. Navrátil jsem se domů pouhých čtrnáct dnů předtím, než byly uzavřeny státní hranice. Díky této práci jsem však byl myšlenkami celý následující rok stále někde za oceánem. A to není málo. Vím, pro nikoho to nebylo snadné. I z toho důvodu bych rád vyjádřil svůj vděk těm, kteří mi byli při procesu psaní této práce nápomocni. V prvé řadě patří můj dík vedoucímu této práce PhDr. Aleši Opekarovi, CSc., a to především za jeho cenné rady. Podnětných rozprav s ním si velice vážím. Dále bych chtěl poděkovat několika milým lidem za jejich čas, vzpomínky a las- kavé připomínky. Můj dík mají: Penny Arcade, Steve Conte, Mitchell Dancik, Chris Frantz, Tommy Frenzy, Ivan Julian, Gary Lachman, Mark Dana Kristal, Richard Mani- toba, Binky Philips, C. J. Ramone a Martin Rev. Dále děkuji Richardu Hellovi za jeho svolení k mimořádnému přístupu k jeho deníkům a dalším pramenům, které jsou uchovány v archivu Newyorské univerzity. Mé speciální poděkování patří někdejším zaměstnancům CBGB Taximu Briellovi a Cosmu Ohmsovi a hudebníkovi a milému příteli Michaelu Insettovi: člověku, bez jehož pomoci by tato práce nemohla vzniknout. Motto: „V elektrickém informačním prostředí již nemohou být menšiny déle ovládány- ignorovány…“ MARSHALL MCLUHAN Šablona DP 3.1.1-ARTS-dipl-obor (2021-01-08) © 2014, 2016, 2018–2020 Masarykova univerzita 9 OBSAH Obsah Seznam obrázků 13 I ÚVOD 15 II PUNK: PŮVOD A DEFINICE POJMU 19 III CHCI BÝT TVŮJ PES: 1967–1972 25 III.1 Počátky 26 III.2 The Psychedelic Stooges 31 III.3 MC5 a cesta do New Yorku 34 IV NEW YORK: 1972–1974 41 IV.1 Společensko-historický kontext 42 IV.2 Sebevražda a vzpoura panenek 46 IV.3 Androgynní scéna 55 IV.4 Básníci a rock’n’roll 60 IV.5 315 Bowery 81 V SITUACE OKOLO CBGB: 1974–1976 91 VI DALŠÍ PÍSNĚ O BUDOVÁCH A JÍDLE: 1976–1979 111 VII BLANK GENERATION: ODKAZ PUNKU 125 VIII ZÁVĚR 129 IX RESUMÉ 131 X PRAMENY A LITERATURA 132 11 SEZNAM OBRÁZKŮ Seznam obrázků Obr. 1 The Velvet Underground a Nico ........................................................................................... 30 Obr. 2 Iggy Pop v roce 1973 ................................................................................................................ 38 Obr. 3 Suicide ............................................................................................................................................ 48 Obr. 4 The Stillettoes a New York Dolls.......................................................................................... 54 Obr. 5 Program divadelního představení Femme Fatale ......................................................... 59 Obr. 6 Robert Mapplethorpe a Patti Smithová, ca 1970 .......................................................... 72 Obr. 7 The Drunken Boat ..................................................................................................................... 80 Obr. 8 CBGB & OMFUG .......................................................................................................................... 87 Obr. 9 Tři akordy ..................................................................................................................................... 97 Obr. 10 Obr. 10 Ruby and the Rednecks, Television, Ramones a Talking Heads ........ 109 Obr. 11 Bowery ..................................................................................................................................... 127 13 I ÚVOD I ÚVOD Mezi hudebníky se často s nadsázkou říká, že pokud jste zažili 60. a 70. léta, tak si je nemůžete pamatovat. Tím je míněno leccos, především ale skutečnost, že tyto roky po- znamenala divoká a často zcela nekontrolovaná adorace psychotropních látek, alko- holu a s tím spojené sebedestruktivní chování. Je pravda, že tento jev sám o sobě zapří- činil větší výskyt depresí u mladé generace, což mnohdy vedlo k tragickým koncům, ne však nutně k sebevraždě. Vzato objektivně, přinesla tato generace nový názor na život a na svět. Tento názor je spolu s hodnotami, které zastávala, patrný také v hudbě. Je charakteristické, že zaznamenáváme velký rozdíl v myšlení těch, kteří se naro- dili před, a těch, kteří se narodili po druhé světové válce. V tomto směru měla válka pozitivní dopad, neboť urychlila technologický pokrok a umožnila vznik sociálního státu. Díky těmto dvěma nepochybným přínosům zmizela ze společnosti určitá dog- mata, díky čemuž se otevřel prostor pro širší kulturní reflexi některých do té doby značně tabuizovaných témat. Generace Baby boomers bývá proto nejčastěji spojována s revoluční náladou, sexuální revolucí, kterou způsobila, a s rock'n'rollovou muzikou. To vše spolu, samozřejmě, úzce souvisí. Druhá polovina 60. let byla érou květinových dětí, hippies. Již v té době se však formuje protipól psychedelické kultury, který se posléze rozvine v punkové hnutí. Cí- lem této práce je popsat vznik a vývoj newyorské scény punk rocku v širších kulturních a společenských souvislostech i shrnout a porovnat biografie hlavních představitelů. Z toho důvodu bude toto rané období popsáno v samostatné kapitole Chci být tvůj pes 1967–1972, kde bude vysvětleno, jaký význam měly pro budoucí rockový subžánr, tedy punk rock, detroitské skupiny The Stooges a MC5. Zejména kvůli časovému vyme- zení tématu této kapitoly je nutné zde charakterizovat působení newyorské experi- mentální rockové skupiny The Velvet Underground, nicméně její nesporný význam bude rozkrýván především až dále. Kapitola New York: 1972–1975 se zaobírá popisem mnohotvárné podoby míst, kde se nacházelo dějiště newyorské punkové scény. Hned zkraje je zdůrazněno, jaký vliv měla tehdejší fiskální krize na život v tomto městě. Pro více podrobností však 15 I ÚVOD nezbyl prostor, proto by autor již v tento moment chtěl odkázat čtenáře k příslušné literatuře, která se tímto problémem zabývá podrobněji. Hlavním těžištěm této kapitoly je dynamická proměna uměleckého prostředí New Yorku a dále to, co přímo předcházelo první vlně punkové hudby. Významným zdrojem nám byla sbírka deníků, poznámek, novinových článků a jiných pramenů, které léta shromažďoval Richard Hell. Tyto archiválie jsou uchovány v archivu Newyorské uni- verzity. Dalším důležitým zdrojem, na který bude odkazováno i v dalších částech textu, jsou osobní vzpomínky těch, kteří tuto dobu pamatují a kteří významným způsobem ovlivnili její proměny. Z literatury je možné jmenovat publikaci Zab mě, prosím: necen- zurovaná historie punku (v originále Please Kill Me: the Uncensored Oral History of Punk) od autorů Legse McNeila a Gilliana McCaina, která je významným orálně historickým dílem na toto téma, či informačně a umělecky hodnotné memoáry Patti Smithové. Jme- nujme prozatím alespoň knihu Just Kids / Jsou to jen děti. Literární činnost, a neméně pak literární vlivy,
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